在维多利亚女王的统治下，英国殖民地的住宅建筑沉浸在对哥特式建筑的怀旧和晚期浪漫的借用中，对约翰-罗斯金的文章《建筑的七盏灯》1进行了理想化的诠释，在这里，建筑商的技能和工艺比建筑师的概念化更重要。蕾丝花边、木制品、复杂的灰泥细节和精致的木制品是维多利亚时期殖民地住宅的标志。从某种程度上说，这个位于悉尼海滨郊区布朗特的房子具有维多利亚后期风格的许多特征，当被要求为它提供新的生命时，对路易吉来说，它使他想起了童年时的度假别墅，位于俯瞰马焦雷湖（意大利）的山顶上，因其水洗的粉红色渲染被命名为La Casa Rosa。

Under the reign of Queen Victoria, the residential architecture of the British colonies was immersed in a nostalgic and late romantic borrowing of gothic architecture in its idealised interpretations of John Ruskin’s essay, The Seven Lamps of Architecture1, where the skill and craft of the builder were more important than the architect’s conceptualisation. Lacework, fretwork, intricate plaster detailing, and elaborate timberwork was the currency of the Victorian colonial home. In a modest way, this home in the Sydney beachside suburb of Bronte possessed many of the traits of that late Victorian style, and when called upon to provide it with a new lease of life, for Luigi it brought to mind a holiday villa of his childhood, located on a hilltop overlooking Lago Maggiore (Italy) and named La Casa Rosa for its washed pink render.

本着真正的维多利亚时代的新哥特式精神，我们聚集了一个在各自领域都非常熟练的团队。Will Dangar在他富有创造力的石匠Nazih的帮助下监督景观设计；Arent & Pyke的Juliette Arent和Genevieve Hromas带来了他们对复杂细节的热爱和她的天才团队的投入；Callum Coombe提供了他在建造The Beehive2时首次磨练出来的将多余的陶土屋顶瓦片形成光亮的技能。Buildability建筑公司召集了一批优秀的木匠和农场工人；我们不能忘记悉尼木业公司令人惊叹的Stiven，他精致的细木工制品是每个房间不可或缺的特征，还有建筑石料概念公司的石匠工艺。

In true Victorian neogothic spirit, we gathered together a team highly skilled in their respective crafts: Will Dangar oversaw the landscaping, aided by his creative stonemason, Nazih; Juliette Arent and of Arent & Pyke and Genevieve Hromas brought their love of intricate detail and the input of her talented team; Callum Coombe lent his skill in forming a brise soleil of otherwise redundant terracotta roof tiles that he first honed in the construction of The Beehive2; Buildability Constructions assembled a crew of fine carpenters and farmworkers; and we must not forget the amazing Stiven of Sydney Joinery, whose refined joinery is an integral feature of every room, together with the Architecture Stone Concept’s stonemasonry.

最有创造力的是我们的客户，他的要求并不是简单地取代后来在房产后面的加建部分，在一楼的加建部分提供一个新的主要生活空间和一个主卧室套房和书房，而是要求我们为他们的家庭提供一个符合他们梦想和抱负的家。现在房子的每一个方面都是他们愿望的写照；他们对世界的Le Vie en Rose3的看法。在这个项目中没有任何浪费。房子不大；没有不必要的房间；没有不必要的设备。

Craftiest of all was our Client, whose brief did not simply seek to replace later additions to the rear of the property and provide a new main living space and a master bedroom suite and study in the first-floor additions, but who challenged us to provide their family with a home that fitted their dreams and ambitions. Every aspect of the house is now a depiction of their aspirations; their Le Vie en Rose3 perception of the world. There was no wastage in this project. The house is not large; there are no unnecessary rooms; no unnecessary gadgetry.

我们没有对原来房子前面的现有房间做任何改动，后面的新增加部分与该结构的比例很好。我们保留了现有的1980年代的游泳池，并保留了后院茂密的植被。我们回收了屋顶的瓦片来建造顶棚，如果不是瓦工热心地说服客户更换瓦片，我们会保留房子前面的赤土瓦。

We made no alterations to the existing rooms at the front of the original house, and the new additions to the rear are well proportioned in relation to that structure. We retained the existing 1980s pool and preserved the dense backyard vegetation. We recycled the roof tiles to construct the brise soleil and would have retained the terracotta roof tiles to the front of the house had the roofer not been so zealous in convincing the client to replace them.

我们在维多利亚时代的正面使用了二手木窗，并指定重新使用或回收拆除的材料。这座房子没有空调；相反，吊扇被用于机械冷却，结合良好的绝缘、大屋檐和所有窗户的遮阳；树木和水有助于冷却后院的空间。在短暂的冬季，取暖由水力发电板提供。

We used second-hand timber windows to the Victorian front façade and specified the reuse or recycling of demolition materials. This house is air conditioning-free; instead ceiling fans are employed for mechanical cooling in combination with good insulation, large eaves, and sun shading to all windows; trees and water help to cool the backyard space. Through the short winter months, heating is provided by hydronic panels.

该物业后部的新结构是用粉红色的混凝土建造的，通过在材料的整个厚度上添加矿物颜料来实现。这种颜料的名称 “火烈鸟 “与地面上的两只混凝土脚和后部立面的长悬臂颈部很相称。对于Luigi来说，La Casa Rosa在他的 “年轻时代 “拥有许多快乐的回忆，希望La Nuova Casa Rosa将为在那里成长的两个年幼的孩子带来类似的快乐。

The new structure to the rear of the property is constructed in pink concrete, achieved by adding a mineral pigment to the whole thickness of the material. The name of the pigment, ‘Flamingo’ fits well with the two concrete feet on the ground and the long cantilevered neck of the rear elevation. For Luigi, La Casa Rosa holds many happy memories at his ‘young age’, hopefully, La Nuova Casa Rosa will hold similar joys for the two young children who will grow up there.

Architects: Luigi Rosselli Architects
Area: 300 m²
Year: 2020
Photographs: Prue Ruscoe
Manufacturers: Vitrocsa, Bisanna Tiles, Design Within Reach, Jetmaster, Artedomus, Euromarble, Luigi Rosselli Architects, On Site, Robert Plumb, Robert Plumb + Luigi Rosselli Architects, Vajira Gunawardena
Design Architect:Luigi Rosselli
Project Architect:Daniel Nuñez, Carl Rutherfoord
Landscape Architect:Dangar Barin Smith
Interior Designers:Arent & Pyke
Builder:Buildability Constructions
Brise Soleil:Callum Coombe
Joiner:Sydney Joinery
Stonemason:Dasreef Pty Ltd
City:Bronte
Country:Australia