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In Surry Hills, Sydney, architect Adam Haddow transformed a retained corner building and a compact extension into a highly personal home organized around geometry, reused materials and carefully placed flashes of color. The result is not a neutral small-space scheme: it uses tall ceilings, unusual openings, artwork and vivid details to make a three-level residence feel expressive rather than restricted.
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The project at a glance
| Detail | What the Architectural Digest feature reports |
|---|---|
| Location | Surry Hills, Sydney, Australia |
| Living area | 750 square feet, as reported by Architectural Digest in 2023 |
| Built footprint | 969 square feet, a separate figure reported by the same feature |
| Configuration | Three floors |
| Architect and resident | Adam Haddow; the home serves Haddow, his husband and their Yorkshire terrier, Eric |
| Design intention | A playful, geometric interior with references to the sweeping, zany atmosphere of a Jacques Tati film |
| Photography | Anson Smart |
| Published source | Architectural Digest, “A 750-Square-Foot Sydney Home Filled with Surprise Pops of Color and Playful Geometry,” October 23, 2023 |
The 750-square-foot number describes living space; it should not be substituted for the reported 969-square-foot footprint. The feature does not provide a survey, measurement method or original project specification, so both figures should be read as published descriptions rather than independently verified measurements.
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How the old building and extension work together
The project keeps a corner building instead of treating the existing structure as disposable. A small extension became the main residence, while surviving outer walls of the older structure were incorporated into a guest house. That arrangement lets one compact property support everyday living, visitors and the possibility of a retail space in the existing building.
This is an important planning decision in a small home. The extension carries the principal domestic rooms, while the retained structure gives guests a degree of separation. Reusing the old walls also preserves the visual memory of the corner site. Rather than disguising the junction between old and new, the project makes the layered history part of the composition.
The house is spread over three floors, allowing the plan to gain rooms vertically instead of pushing every function onto one crowded level. The feature describes the principal living spaces as having ceilings almost 12 feet high. That height changes the proportion of the rooms: a small floor plate can still have a generous sense of volume when the eye is drawn upward.
Geometry is used as architecture, not decoration
Geometric forms appear in the building’s openings, fittings and circulation. The feature reports geometric window openings and a semicircular sink, while the exterior includes a semicircular bronze gate made for the project by Sydney-based artist Mika Utzon Popov. These are not isolated motifs. Curves and angled openings repeat at different scales, giving the house a visual language that can be recognized from the street through to the bathroom.
Haddow told Architectural Digest that he wanted the home to be “playful and reminiscent of the sweeping, zany aesthetic of a Jacques Tati movie.” The reference helps explain why the geometry is intentionally legible. A circular or semicircular element is allowed to be noticed rather than blended into a conventional background.
For a painter or renovator, the useful lesson is to decide which shapes should carry the identity of a room. A single arch, circle or diagonal can become a focal point when the surrounding surfaces remain calm. Repeating the same family of shapes in a window, a mirror or a painted panel creates cohesion without requiring every surface to be patterned.
Where the color appears
The kitchen
The kitchen combines stainless steel with an exposed wooden ceiling. Color arrives through the cabinet handles, which the feature describes as colorful rather than identifying a particular hue, maker or model. Because the metal appliances and work surfaces are restrained, the handles can function as small, high-impact accents.
This is a useful small-kitchen strategy: keep large, expensive surfaces durable and relatively quiet, then use replaceable details to supply personality. Handles are seen repeatedly as people move through the room, so even a modest number can establish a rhythm. The article does not identify their dimensions, mounting pattern, finish or source; those details should not be inferred from the photographs.
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The bathroom
Red tile is one of the clearest color statements reported in the tour. In the primary bathroom, a circular opening above the rain shower frames a view of the sky. Haddow described the shower as “such a joy” and said there was “no better way to start the day,” as quoted by Architectural Digest.
The combination of red tile and a round sky opening gives the room two kinds of emphasis: a saturated horizontal or vertical surface and a literal aperture to changing daylight. The feature does not state the tile size, grout color, waterproofing system or shower manufacturer, so those specifications remain unknown.
Bedrooms and living areas
Vivid accents also appear in the bedrooms. The report does not provide a complete color schedule, paint names or a room-by-room inventory, but it makes clear that color is distributed through the home rather than confined to one feature wall. In the living room, a work titled Eora by Nicholas Harding hangs above the sofa, placing art alongside the architectural color decisions.
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That balance matters. The strongest visual moments are not all paint: they include handles, tile, timber, metal, artwork and the shapes of openings. A room can therefore feel colorful even when most of its wall area remains comparatively quiet.
Reclaimed materials give the bright scheme weight
The facade uses recycled bricks. Haddow explained that he obtained them from a friend he had grown up with after encountering a large pile of broken bricks from another Sydney project while visiting family in Ararat, Victoria. He said the pieces were incorporated into the facade to create a brilliant, textured surface.
The guest house continues the reuse strategy with wood floors and bathroom tiles salvaged from a demolition project. Their importance is both practical and visual: irregular surfaces and signs of previous use prevent the playful geometry from becoming slick or purely graphic.
Reclaimed materials also introduce variation that manufactured color alone cannot provide. Brick fragments, old timber and salvaged tile carry shifts in tone and texture, so the surrounding paint can be more deliberate without making the interior feel flat. When adapting this approach, verify the condition, cleaning requirements and suitability of salvaged materials before installation; the feature does not document the project’s testing or preparation procedures.
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Facade and entry
The recycled-brick facade is the building’s most immediate public statement. Its textured surface is paired with Popov’s semicircular bronze gate, giving the entrance a strong outline and a tactile material contrast. The gate is an artwork made for the project, not a catalog product identified by the article.
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Living room
The living room benefits from the nearly 12-foot ceiling reported for the principal living spaces. The height leaves room for artwork such as Harding’s Eora above the sofa and allows the vertical plane to participate in the composition. The feature does not list the room’s exact dimensions or furniture specifications.
Kitchen
Stainless steel, the exposed timber ceiling and colorful cabinet handles create a three-part material balance: reflective metal, warm wood and small saturated accents. The approach demonstrates how a compact kitchen can gain character without covering every cabinet or wall in a strong color.
Primary bathroom
The semicircular sink echoes the project’s broader geometry. Above the rain shower, the circular ceiling opening brings the sky into the room. Together, those elements turn ordinary plumbing and structure into the bathroom’s central visual experience.
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The guest accommodation occupies the surviving outer walls of the older structure. Its salvaged wood floors and bathroom tiles connect the secondary building to the project’s wider ethic of reuse while allowing the new extension to remain the principal home.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Why the home feels larger than its floor area
- Vertical volume: ceilings almost 12 feet high in the main living spaces provide visual capacity that a floor-area figure cannot show.
- Three-level organization: stacking rooms separates uses without requiring a broad single-storey plan.
- Borrowed views: geometric windows and the bathroom’s sky opening extend attention beyond the immediate walls.
- Selective emphasis: a semicircular sink, colorful handles or red tile can create memorable focal points without consuming much floor space.
- Material contrast: stainless steel, exposed timber, brick, bronze and salvaged finishes provide depth even where the plan is compact.
These are spatial and sensory advantages, not evidence that the house is physically larger than reported. The source gives no independent comparison with other Sydney homes or measured study of perceived spaciousness.
How to borrow the design ideas without copying the house
- Map the fixed elements first. Record ceiling height, window positions, plumbing locations and the surfaces that cannot be moved. In a small room, these constraints determine where a geometric accent will have the most effect.
- Choose one dominant shape family. Circles, semicircles or angled openings can be repeated in a mirror, niche, furniture edge or painted panel. Keep the number of shapes limited so the room has a readable visual grammar.
- Set a quiet base. Use the existing timber, steel or masonry as part of the palette before selecting paint. The Sydney project gains richness because color works with material texture rather than replacing it.
- Add color in replaceable layers. Cabinet handles, a painted door, a tile zone, textiles or artwork can supply strong accents while preserving the option to change the scheme later. The feature identifies colorful handles in the kitchen but does not identify their source.
- Reserve the most saturated color for a decision point. Red tile in the bathroom is effective because it marks a room with a clear purpose. A similarly intense color can define an entry, shower wall or stair landing.
- Use daylight as part of the palette. Openings, skylights and reflective surfaces change how color reads over the day. Any new opening requires appropriate structural, waterproofing and planning advice; the article reports the design result, not a construction method.
- Place art where the architecture gives it room. A large work above a sofa or a purpose-made gate can carry as much identity as a painted wall. Leave enough surrounding quiet for the object to remain legible.
- Test samples in the actual light. Paint and tile colors shift beside stainless steel, aged timber and brick. View large samples at morning, midday and evening before committing to a full surface.
What the feature does—and does not—identify
Architectural Digest’s October 23, 2023 feature is a reported home tour, not a product schedule or measured set of project specifications. It identifies the architect, occupants, artists, broad materials and key spatial moves, but it does not name the brands or models of the cabinet handles, shower or concealed gadgets mentioned in the story. It also does not provide a detailed storage inventory, current product availability, paint colors, tile dimensions or construction costs.
The article says the project was first published by AD Germany, but the Architectural Digest feature does not state the original AD Germany publication date. Treat the reported areas and ceiling height as the feature’s figures, and do not present an unverified handle, shower or gadget as the one used in the house.
The design’s central idea
Haddow described the home as one that fits his household’s needs and aesthetics exactly, adding, “This is certainly not a house for everyone.” That admission is part of the project’s strength. The design does not pursue generic resale neutrality; it uses geometry, color, art and recovered materials to make a compact residence feel specific to its occupants.
He also said, “An important part of the interior concept for me is to include art and support creatives.” The bronze gate by Mika Utzon Popov and Harding’s Eora make that principle visible, while the recycled brick and salvaged finishes connect the visual playfulness to a practical ethic of reuse. Haddow’s hope that the building feels “happy” to people passing by captures the project’s public ambition: even a small home can contribute character to its street.
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