The great paint debate | Restoration Australia скачать в хорошем качестве

The great paint debate | Restoration Australia

Karen needs to decide which colours she'll paint her house in Millers Point. With strict heritage colour restrictions and many clashing opinions, it is a tough decision to make. #RestorationAustralia Subscribe now: http://ab.co/subscribe ___________________________________________ Stuart Harrison, architect and historian, follows homeowners across the country as they restore Australia's greatest buildings. Stream now on iview: http://ab.co/RestorationAustralia ___________________________________________ Karen wants the house to make a statement on the street and nothing helps that more than a splash of colour. Being such an old, freestanding cottage and with its history, I think it’s an iconic house for Millers Point so it’s really important to have the right colours to have that street… yeah, street impact. But there are some no-go zones, like this distinctive stucco covering the home’s façade. It has to stay. The grey grout line work makes it look like stone blocks. That’s a classic Georgian illusion. According to the Conservation Management Plan it’s an “exceptionally rare, surviving original finish” and must be retained. Karen can’t paint the stucco so she’ll need to make the most of the rest of the surfaces out here. The street front is traditionally where it’s dark on the sashes. But Karen’s colour choices are seriously restricted by heritage as well. Either one of those very dark colours on here, get rid of the brown. You could even use that one on it. The very charcoaly colour. According to the Conservation Plan she must limit her palette only to colours that have been used on the house during its 180-year history. Heritage specialist Colin is trying to guide her towards the more traditional colours. See that colour there, is this colour here, which is too bland I think when you’ve got the whole building. I have certain colours in mind and Colin has other colours in mind. For me, it’s important that when I come in every day I like the colours that I see. So I’m looking at a greyish colour but it isn’t a Georgian colour. So it’d be dark sashes and you’d keep... Either go for that colour. All the early colours were quite, I suppose muddy in a way but they picked them up by putting the contrast in. At any particular time in history, there’s an absolute passion to do one colour. Years ago it was salmon pink. Now it’s grey. It’s grey and grey and grey everywhere you look. So part of the exercise is being convincing people that colours based on the original colour patina and the colour range are the ones that will have the best effect at highlighting the character of this house rather than greys. It’s just getting enough punch in it that it stands out. I’m not in love with the grey but… I would put a sample… Karen isn’t exactly sure what colours she wants but she knows what she doesn’t want. Before the builder does the in-fills it’d be good to get the colour right. In order to help find a compromise, Colin and Karen are calling in another opinion. Julie is a fourth-generation paint specialist and considered Australian paint royalty. After carefully scraping back years worth of paint she’s produced a paint ladder evidence of which colours have been used over the years. It’s given Karen some more options. I’m trying to get a very good, clear view of the different paint layers. There’s four greens there. I would love them to do one of these early greens even if Karen doesn’t like the dramatic dark one, go for the lighter one. Colour choice is subjective but here it really must be guided by what has happened before so working with the colour palette Julie’s uncovered is the best chance Karen has of securing Heritage Council approval.