The Rothschild, a residential development in Sydney's Rosebery, is a testament to the power of thoughtful design and the unexpected beauty that can arise from it. The project, designed by Candalepas Associates, stands out in a rapidly developing suburb, offering a sense of calm and a unique aesthetic that challenges the typical apartment block. The development's street facades, inspired by the heritage-listed Mentmore House, showcase an abstracted neoclassical style, a departure from the usual utilitarian designs in the area. This neoclassical influence is further emphasized by the integrated public art columns, which are a series of abstracted caryatids designed by artist Natalie O'Loughlin. These columns, crafted from glass-reinforced concrete, add a playful and dynamic element to the building, challenging the notion that such decorative features are often value-managed out in the development process. The true beauty of The Rothschild, however, lies in its atmosphere and the pale, cool palette that evokes a sense of the area's pre-industrial character. The project's central courtyard, with a gridded olive grove, and its 'atomic' apartment modules with exceptional spatial efficiency, showcase a thoughtful approach to design that prioritizes functionality and a connection to nature. The development's circulation and entry points are highly choreographed, creating a sense of order and flow. The use of large-format exposed aggregate concrete pavers and the interplay of light and landscape further enhance the project's aesthetic, creating a sense of calm and tranquility. Candalepas Associates' director, Angelo Candalepas, acknowledges the importance of accepting constraints and working within the limitations of materials and time. He views The Rothschild as a project that represents his capacity to change his thinking, and he expresses deep love for the outcome. The development's success is also attributed to the collaboration with his wife, Mary Georgiou, who is the commercial manager of the studio. The article concludes by questioning the prevalent position that ornament is a crime, as advocated by Adolf Loos, and suggests that The Rothschild challenges this notion on a large scale. The author, Isabelle Toland, leaves the site intrigued to see how time will reveal the project's enduring merit.
