Lillelund
Named for the client’s great-grandfather’s Danish surname – which translates as ‘little forest’ – Lillelund is a tranquil, airy transformation of an historic Sydney bungalow by Madeleine Blanchfield Architects.
Located on a leafy street in Vaucluse in Sydney’s Eastern Suburbs, Lillelund is a project that is deeply connected to heritage, family and nature. The brief from the client – a stylist and costume designer – was threefold: to restore the spirit of the original home, a Californian bungalow originally built in 1914, create open, light-filled spaces and make the garden a central presence in the daily life of a family of five.
Architect Madeleine Blanchfield drew inspiration from the client’s individuality and style while also embracing and enhancing what the site had to offer. “Practically, she had quite a clear idea of what needed fixing and what she wanted to do,” says Blanchfield. “But also because of her creative background, she really brought a lot to the project… she was up for doing things that others might consider experimental or unusual.”
The result is a sophisticated mix of styles and sensibilities, drawing on neoclassical influences as well as the emphasis on craftsmanship and natural materials of the Arts and Crafts movement.
It was essential to the client that the character and romance of the original residence was maintained. “In this location, there’s a mix of heritage houses, which is part of the charm of the area,” explains Blanchfield. “We thought, ‘You have this really attractive, lovely frontage. Let that contribute to the streetscape and keep all our new work separate.’”
As a result, Lillelund still reads as the original bungalow from the street, with the second-storey bedrooms and expansive rear addition containing living, dining and kitchen zones tucked discreetly behind.
Blanchfield retained the home’s two front rooms, along with the original fireplaces, while the internal layout was updated for better flow and natural light. The arched motif in the fireplaces was then carried through to the addition. “We decided to borrow it but contemporise it, so it feels attached to and part of the old house, but you can still recognise it as being new.”
Moving through the curved doorway that links past and present, steps lead down to the living space as the ceiling vaults upward. Natural light pours in through Vitrocsa sliding glass windows, highlighting the incredible repeated curves of the ceiling, archways and generous glazing throughout. The space then opens out onto the sunlit garden, populated with lush plantings and mature trees.
The architect focused on creating dynamic, modern spaces with definition and character. A floor-to-ceiling fireplace in pale Krause bricks divides the living and dining zones, giving each room its own atmosphere. More intimate in scale, the dining area can also be entered directly from the garden. “As a family with three teenagers, the client wanted to have a couple of spaces that were differentiated, which is not necessarily the trend at the moment, but I think it’s nice that they also recognised how they live and what they wanted.”
In this generous, gallery-like space, one piece draws the eye: an immense concrete island balanced on two cylindrical pillars. Monumental yet refined, its plinth-like form subverts the conventions of a typical kitchen island – with no sink, joinery or seating – to act instead as a grand sculptural piece. A pendant crafted in steel and frosted glass by Anna Karlin Studio hangs delicately above it, echoing the island’s unique geometry and industrial-chic aesthetic. Meanwhile, the adjoining galley kitchen showcases joinery by In Vogue Kitchens & Joinery and is accessed through an arched opening to keep prep activities and everyday clutter out of sight from the living area.
Defined by creamy whites and sandy neutrals, the palette throughout is calm and minimal. Taubmans paints were specified across the project, not only for their suitability but also as a personal homage – a nod to another great-grandfather, who founded the company. A subtle, layered mix of materials – such as terrazzo floors, locally sourced timbers, Australian brickwork and steel-framed glazing – add texture and visual interest. Upstairs, the same pared-back design language continues through the bedrooms and bathrooms, where curved forms, soft finishes and tactile accents contribute to peaceful, intimate spaces.
Blanchfield notes that the design process for the interiors was incredibly collaborative, with the client bringing her own creative touch to the selection of objects and furnishings. “There are French pieces, vintage finds and contemporary makers – it’s quirky but cohesive.” A robust timber sideboard, passed down through the family, sits comfortably in the dining nook. Antique dining chairs are placed alongside a curved Pierre Augustin Rose sofa, while circular furniture arrangements reflect the arches of the ceiling. Handcrafted objects such as lamps by Lana Launay, ceramics by Steve Lees and artworks by Jahnne Pasco-White and Gemma Smith bring in moments of warmth and expression.
The project remained in Blanchfield’s studio for several years before being fully realised. That time, she says, was a gift. “It allowed us to try and test things. Then, when the client pressed go, everyone was quite comfortable with the decisions and direction, and we could focus on making everything richer.” The client echoes this sentiment, describing the home as “a space of tranquillity and beauty – one we find utterly mesmerising and never wish to leave”.
