Kurraba Residences Is Redefining Luxury Harbourside Living - Kanebridge News
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Kurraba Residences Is Redefining Luxury Harbourside Living

A new architectural icon on Sydney harbour.

By Terry Christodoulou
Mon, Dec 7, 2020 2:20amGrey Clock 3 min

Set to become a notable architectural icon, the new Sydney project – Kurraba Residences at the tip of the headland in Kurraba Point – offers a front row seat to the action with 180-degree views that wander across the CBD, Opera House, Bridge and beyond, and which form a heady entree to what is a once in a generation build.

A powerful alignment of nature, architecture and interiors, Kurraba Residences rests between Neutral Bay and Shell Cove, encompassing just 24 designer addresses spanning 2- and 3- bedrooms inclusive of an ultimate 4-bedroom, 4.5 bath penthouse.

Custom cabinetry and wide aspects of the harbour.

Brought together by a tantalising trio – SJB architects, Mathieson Architects and landscapers Dangar Barin Smith – the exclusive Thirdi Group project proves a curved wonder that sits within the ’20s narrative of nearby properties, a tasteful nod to heritage as seen in the exterior use of shapely brickwork.

Each residence boasts a sense of style, space and elevated living, with finishes that include solid limestone and marble, alongside touches of bronze and fine ash timbers, with design that seamlessly melds the indoors to alfresco terraces.

Kitchens are fitted with Wolf and Sub-Zero appliances, with Grigio Argento marble workspaces boasting fluted detailing and custom fireplaces that align in the use of the finish.

Bedrooms feature commodious and functional wardrobes (with the option of customised cabinetry), while bathrooms and ensuites have carved marble basins, Vola tapware and custom stone baths alongside bronze adornments.

Luscious private gardens come grafted to several apartments, while others offer the use of a shared rooftop garden with views across the harbour. Elsewhere, landscaped grounds spill to the neighbouring Kurraba Reserve which borders the water’s edge and where heritage figs and slender palms line the shore.

View from the penthouse master suite.

The literal crown of Kurraba Residences is the 430sqm, two-storey penthouse. Serviced by private lift, the interiors echo the themes of other residences while limestone floors, coffered ceilings and skylights lighten the second story that’s accessed via a bespoke, stonework staircase.

The penthouse also boasts custom wine cellar, expansive garden terrace – the outdoor area measuring 250sqm – and private infinity pool framed by spectacular city and harbour views.

The main bathroom also takes in the aforementioned vistas and includes circular marble vanities and carved marble baths that complement an oculus skylight. Further, a second living area and private study forms a removed and private sanctuary.

Each residence has private parking and access to a temperature and humidity-controlled cellar as well as a communal lounge space and concierge services.

Fluted marble details adorn the kitchen.

Kurraba Residences sit 10 minutes from the Sydney CBD by car (or ferry from nearby Kurraba Point Wharf). The acclaimed Royal Sydney Yacht Squadron, Neutral Bay shopping precinct and Balmoral Beach are all within nearby and easy access.

The project will officially launch on November 7, with building to be completed in Q4 2022.

Sales and enquiries via CBRE Residential on 1800 656 874.

Kurrabaresidences.com.au



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I.M. Pei was the confident visionary behind such transformative structures as the Bank of China Tower in Hong Kong and the Louvre Pyramid in Paris, but he was also humble, and for years resisted a retrospective of his work.

Pei, a Chinese-American architect who died in 2019 at 102 , would always protest any suggestion of a major exhibition, saying, “why me,” noting, too, that he was still actively at work, recalls his youngest son, Li Chung “Sandi” Pei. A decade ago, when Pei was in his mid-to-late 90s, he relented, finally telling Aric Chen, a curator at the M+ museum in Hong Kong, “all right, if you want to do it, go ahead,” Sandi says.

A sweeping retrospective, “I.M. Pei: Life Is Architecture,” will open June 29 at M+ in the city’s West Kowloon Cultural District. The exhibition of more than 300 objects, including drawings, architectural models, photographs, films, and other archival documents, will feature Pei’s influential structures, but in dialogue with his “social, cultural, and biographical trajectories, showing architecture and life to be inseparable,” the museum said in a news release.

As a Chinese citizen who moved to the U.S. in 1935 to learn architecture, Pei—whose full first name was Ieoh Ming—brought a unique cultural perspective to his work.

“His life is what’s really interesting and separates him from many other architects,” Sandi says. “He brought with him so many sensibilities, cultural connections to China, and yet he was a man of America, the West.”

Facade of the Bank of China Tower in Hong Kong in a photograph commissioned by M+ in 2021.
© South Ho Siu Nam

Pei’s architectural work was significant particularly because of its emphasis on cultural institutions—from the East Building of the National Gallery of Art in Washington, D.C., to the Museum of Islamic Art in Doha, Qatar—“buildings that have a major impact in their communities,” Sandi says. But he also did several urban redevelopment projects, including Kips Bay Towers in Manhattan and Society Hill in Philadelphia.

“These are all places for people,” Sandi says. “He believed in the importance of architecture as a way to bring and celebrate life. Whether it was a housing development or museum or a tall building or whatever—he really felt a responsibility to try to bring something to wherever he was working that would uplift people.”

A critical juncture in Pei’s career was 1948, when he was recruited from the Harvard Graduate School of Design (where he received a master’s degree in architecture) by New York real estate developer William Zeckendorf.

With Zeckendorf, Pei traveled across the country, meeting politicians and other “movers and shakers” from Denver and Los Angeles, to Philadelphia, Washington D.C., Boston, and New York. “He became very adept at working in that environment, where you had to know how to persuade people,” Sandi says.

During the seven-year period Pei worked with Zeckendorf, the developer fostered the growth of his architecture practice, supporting an office that included urban, industrial, graphic, and interior designers, in addition to architects and other specialists, Sandi says.

When Pei started his own practice in 1955, “he had this wealth of a firm that could do anything almost anywhere,” Sandi says. “It was an incredible springboard for what became his own practice, which had no parallel in the profession.”

According to Sandi, Chinese culture, traditions, and art were inherent to his father’s life as he grew up, and “he brought that sensibility when he came into America and it always influenced his work.” This largely showed up in the way he thought of architecture as a “play of solids and voids,” or buildings and landscape.

“He always felt that they worked together in tandem—you can’t separate one from the other—and both of them are influenced by the play of light,” Sandi says.

View of the National Center for Atmospheric Research, on the mesa, in a photograph commissioned by M+ in 2021.
© Naho Kubota

Pei also often said that “architecture follows art,” and was particularly influenced by cubism, an artistic movement exploring time and space that was practiced in the early 20th century by Pablo Picasso, Georges Braque, and the sculptor Jacques Lipchitz, among others. This influence is apparent in the laboratory at the National Center for Atmospheric Research in Boulder, Colo., and at the Everson Museum of Art in Syracuse, N.Y. “Those two buildings, if you look at them, have a play of solid and void, which are very cubistic,” Sandi says.

Yet Sandi argues that his father didn’t have a specific architectural style. Geometry may have been a consistent feature to his work, but his projects always were designed in response to their intended site. The resulting structure emerged as almost inevitable, he says. “It just was the right solution.”

Pei also intended his buildings “not only to be themselves a magnet for life,” but also to influence the area where they existed. “He never felt that a building stood alone,” Sandi says. “Urban design, urban planning, was a very important part of his approach to architecture, always.”

After he closed his own firm to supposedly “retire” in the early 1990s, Pei worked alongside Sandi and his older brother, Chien Chung (Didi) Pei, who died late last year, at PEI Architects, formerly Pei Partnership Architects. Pei would work on his own projects, with their assistance, and would guide his sons, too. The firm had substantial involvement in the Museum of Islamic Art, among other initiatives, for instance, Sandi says.

Working with his father was fun, he says. In starting a project, Pei was often deliberately vague about his intentions. The structure would coalesce “through a process of dialogue and sketches and sometimes just having lunch over a bottle of wine,” Sandi says. “He was able to draw from each of us who was working on the project our best efforts to help to guide [it] to some kind of form.”

The M+ retrospective, which will run through Jan. 5, is divided into six areas of focus, from Pei’s upbringing and education through to his work in real estate and urban redevelopment, art and civic projects, to how he reinterpreted history through design.

Sandi, who will participate in a free public discussion moderated by exhibition co-curator Shirley Surya on the day it opens, is interested “in the opportunity to look at my father anew and to see his work in a different light now that it’s over, his last buildings are complete. You can take a full assessment of his career.”

And, he says, “I’m excited for other people to become familiar with his life.”