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Lifestyle
home decor
  • Author

    Peter Wood

  • Photography

    Jason Henley

Look closely at the chimney and this house begins to explain itself.

There, where a more conventional home might have a standard pot, sits a small ceramic castle. It is decorative, certainly, but functional too. Anthony Orford made it himself, specifically for the house, drawing on the old saying, “an Englishman’s home is his castle.”

According to daughters Pia and Fiona, such was the humour of English-born Orford. “Instead of an ordinary chimney feature, he created something completely personal and it’s become part of the identity of the house,” Pia says.

For more than 40 years, this freestanding cottage was home to the respected ceramist, teacher and creative presence in Sydney’s arts community. Like much of his work, the house appears to have been shaped by an instinct to make the everyday more considered. Nothing needed to be overly formal, or announce itself loudly. But there was always evidence of a discerning eye.

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“It’s warm, individual and welcoming,” Fiona says. “It has character, and it’s calm, comfortable and unpretentious.”

That character begins with the building itself. Freestanding homes of this scale are exceptional in Paddington, and this one occupies a northeast-facing parcel more than 12 metres wide. Its proportions give the house an unusual sense of openness, with wide side access running from front to rear and private gardens providing a buffer from the density of the surrounding suburb.

Inside, timber ceilings, floors, decorative architraves and wide cornices have been carefully preserved. The kitchen sits beneath a skylight and opens through sliding timber doors to a courtyard edged with palms and established greenery. It is an appropriately social room for a house whose dining table, in particular, holds a strong place in the family's memory.

“I picture him sitting at the dining table,” Pia says. “He would start the day with chai in one of his cups while following the news. He was always reading or researching something, either in books or online.”

When the family gathered, the table became something else again.

“There was nearly always a lively conversation going on around it,” Fiona says. “Dad loved listening to his grandchildren debating current events and joining in himself.”

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The house evolved gradually around those rituals. It was never conceived as a static interior, nor arranged around a single decorating moment. Orford’s ceramics were part of its daily life, alongside books, objects gathered through travel and the accumulated materials of a long creative career.

“Dad had a strong visual sense, although he preferred neutral, restful colours at home,” Fiona says. “It never felt overly styled or precious - it simply evolved around him, his ceramics, his books and the things he was interested in.”

 His work was everywhere, though not in the manner of a gallery. Finished pieces sat alongside sketchbooks, samples and the tools of his practice. Cups and bowls were used rather than protected behind glass.

“They weren’t treated as precious objects for display only,” Pia says. “His creative life was always present.”

Later in life, that same attention to form found its way into the kitchen.

“He became more interested in cooking and would present a dish as though it were a work of art,” Fiona says. “That attention to form and presentation was simply part of who he was.”

The house also knew how to expand around a crowd. One of the family's clearest memories is Orford's 90th birthday, celebrated with a nod to his long-standing love of South America and the many times he had travelled there.

“Like most of our family gatherings, it began inside but soon spilled out into the garden,” Pia says.

That movement between indoors and out remains one of the home's defining qualities. Oversized greenery and the private courtyard create a sense of enclosure, while the home's width allows the spaces to breathe. There is room for family life to change shape here: bedrooms can shift between sleeping quarters, studies or workspaces, and the existing house offers comfort now with clear potential for a future owner to reinterpret it.

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“He originally chose this area because he had friends nearby and it offered everything he needed,” Fiona says. “It had the feeling of a village, but was still very close to the city.”

That balance remains. From the quiet upper end of Paddington, Centennial Park is just beyond the gates, while Woollahra Village and Queen Street offer cafés, restaurants and independent shops within an easy walk. It is an area where the architecture is as much part of life as the daily ease, and where a home can feel removed from the city without ever being far from it.

The next chapter comes with a remarkable amount already in place: a generous freestanding footprint, northeast aspect, preserved period detail, private gardens and the flexibility to live in the house as it stands or imagine something further.

It’s also a home shaped over decades by making, reading, travelling, cooking, debating and gathering. A house where objects were used, not merely displayed, and where individuality was allowed to accumulate naturally.

And the ceramic castle will remain on the chimney, keeping watch over whatever comes next.

View the listing: 14 Paddington Lane, Paddington

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