Before and after: The magnificent renovation of a South Yarra arts and crafts style house


A once-foundering 1921 arts and crafts-style home in South Yarra has undergone a series of magnificent changes – by one of Melbourne’s most well-regarded heritage architecture practices – that goes way beyond an alteration and addition.

The result is more a remarkable resurrection.

When Tina Tam of Lovell Chen’s design team first saw the white-painted Edwardian brick bungalow with the arched entry, she says the roof tiles had reached the end of their life, the chimney was missing, the front verandah was infilled, and it had other issues, including rising damp.

A deceased estate, “the interiors were sound but tired,” she says.

Before the tired, old house was recovered by new owners and heritage experts Lovell Chen.
Before the tired, old house was recovered by new owners and heritage experts Lovell Chen. Photo: Trevor Mein

Ordinarily, such an old pile on a corner block would excite developers. Fortunately, heritage overlays prevented demolition, and so it came into the ownership of a professional couple who had the idea of creating their forever home.

Lovell Chen’s design strategy was to extend up into the roof cavity and out to a new, three-level rear pavilion to adapt the house to fit this new brief.

Today, the upstairs, lantern-like new room, or “His study” above the garage and deep basement gym, sauna and cinema room, does present to the street as an obvious novel extension.

His study is a new room up in the trees, with furnishings and colour by Nexus Designs.
His study is a new room up in the trees, with furnishings and colour by Nexus Designs. Photo: Trevor Mein

But with the tall chimney reinstated, the lower brickwork stripped back and re-tuckpointed, the upper facades re-rendered, the front porch reinstated, and a suitable new fence, the Jewel Box appears to be a rather interesting period house that’s been polished back to respectability.

Yet, so much more has happened underneath those replacement Marseilles tiles that had to be imported from France.

A huge works program that Tam explains “kept the principal structure of the floor plan intact” commenced with dismantling and rebuilding the roof. The ground floor’s former 3.6-metre ceiling height was brought down by 600 mm, creating a viable attic space and enabling the internal accommodation to almost double.

One of the two bedrooms in the amplified space under the new roof.
One of the two bedrooms in the amplified space under the new roof. Photo: Trevor Mein

“The owners,” Ms Tam says, “wanted to keep the humble nature of the house”. And duly, that’s how it might appear to an uninformed eye.

“Yet with a gross floor area that is now 450 square metres, it’s quite a lot of house to be fitting onto a small site.”

Up the new staircase that fits in seamlessly beneath a large custom-made leaded ceiling light is a charming suite of inserted rooms that includes two bedrooms, two bathrooms and masses of storage.

It looks authentically Arts and Crafts, but neither the stairs nor leaded skylight existed until last year.
It looks authentically arts and crafts but neither the stairs nor leaded skylight existed until last year. Photo: Trevor Mein

New dormer windows, invisible from the street, infuse the upper level with daylight. And from the main bedroom, a small rear balcony and an aerial bridge lead to the “Master’s study”, which is surrounded by timber-framed windows with wide sills, providing “views to the treetops on all sides”.

Also accessible via a new spiral stair, arrival in the aerial workspace gives a sense of coming up into the trees. Tina Tam talks of “a sense of release”.

Augmenting the agreeableness of the space is, she says, “the horizontality of the room, which is so different”.

The couple also asked for one of the downstairs rooms to be dedicated as a library and along the same north, garden-facing frontage, a “Hers study”.

It is this room – perhaps more than any other of the spaces that have been so perfectly composed in a collaboration between the Lovell Chen team and the equally estimable interiors specialists, Nexus Designs – that makes a case for employing the best in the business to get the best of results.

Nexus introduced wallpaper and matching curtaining designed by the Arts and Crafts Movement founder William Morris. So not only is it period-appropriate, it creates an enwrapping verdant atmosphere, somewhat like an interior garden.

William Morris wallpaper and curtains make her study like an interior garden.
William Morris wallpaper and curtains make her study like an interior garden. Photo: Trevor Mein

Without being overly beholden to one of the most influential decor movements of the Industrial Age, Nexus has acknowledged the style, but throughout the house has mixed in an effortless collation of modern art, furnishings and jewel-like paint colours and fabrics.

The totality of the makeover is the hallmark of the now extraordinary home.

Everything about it has been deliberated, even down to the bronze-coloured stainless steel lining beneath the eaves of the extension, put there, Ms Tam explains, “to reflect the garden underneath”.

The great room of the home, the living, dining and kitchen space is another achievement that sits agreeably in the house’s 1920s context.

The main living room is a grid of beefy timbers, period appropriate and supporting the new second-level structure above.
The main living room is a grid of beefy timbers, period-appropriate and supporting the new second-level structure above. Photo: Trevor Mein

Working as structure to support the upper floor and characteristic of the craftmanship of arts and crafts style, a new grid of exposed Victorian ash beams distinguishes the ceiling.

It’s another aspect of “contemporary arts and crafts”.

“It’s an interpretation,” Tam says, “but it all feels harmonious.”

lovellchen.com.au

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Jilamara Arts And Crafts 2021


Jilamara Arts And Crafts 2021

Jilamara Arts And Crafts 2021Jilamara Arts And Crafts 2021

Melbourne Art Rooms | MARS Gallery

22 June 2021 – 11 July 2021

Ngirramini Yimunga Murrakupupuni (Story Tribe Country)

Chris Black

Columbiere Tipungwuti

Janiuce Murray

Michelle Woody Minnapinni

Patrick Freddy Puruntatameri

Timothy Cook

Ngirramini Yimunga Murrakupupuni (Story Tribe Country) brings together the work of six of the Tiwi islands most dynamic emerging and senior artists in an exhibition of new work at MARS Gallery Melbourne. Across three spaces the works in the exhibition reflect the underpinnings of Tiwi culture art and life. Ngirramini Yimunga Murrakupupuni can translate as ‘Story Tribe and Country’ but as Pedro Wonaeamirri describes these concepts are all inherently interlinked and connected.

‘One word in Tiwi language it can also mean many things. For instance Yimunga means what’s your tribe it also what time is it also heart and pulse and it is the sun. Murrakupupuni is the land also Country. Ngirramini means song also story and also it can mean causing trouble. Ngirramini Yimunga Murrakupupuni these are really important to us all Tiwi people. These are all how we connect. You connect to the songs your dance and the stories you connect to your country through your father and grandfathers blood and you connect to you tribe because of your mother.’

Pedro Wonaeamirri 2021


❊ When & Where ❊

Date/s: Tuesday 22nd June 2021 – Sunday 11th July 2021

❊ Venue ❊

 Melbourne Art Rooms | MARS Gallery  Events 7
Events
⊜ 7 James St, Windsor | Map

Melbourne Art Rooms | MARS Gallery7 James St, , Windsor, , 3207

✆ Event: | Venue: 03 9521 7517

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As Victoria takes action to stop the spread of COVID-19, events may be cancelled, businesses and venues may close.

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Jilamara Arts And Crafts 2021


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The gentle crafts that bring peace


The gentle crafts that bring peace

(Image credit: Irwin Wong, Handmade in Japan, gestalten 2020)

From beautiful ceramics to everyday domestic objects, Japan’s extraordinary crafts embody tradition – and a bright future. Cameron Laux explores how.

I

It is easy to make the mistake of imagining Japan as an island – perhaps thinking only of the largest island, Honshu, where Tokyo is located – when in fact it is an archipelago of 6,852 islands which, as a string, extends over 1,800 miles, and over many more years of complex cultural history. Each of the archipelago’s regions has proud craft traditions that have developed during the huge span of Japan’s continuous civilisation.

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Japan is known worldwide for the quality of its handiwork in wood and bamboo as well as in metal – the poetic steel of Japanese knives is much prized, as are its cast-iron vessels.  Then there are the country’s ceramics – Japanese pottery is sought after and much imitated for its transcendent simplicity on the one hand, and its intricacy on the other.  And, of course, it is also known for its intricate paper crafts – think of the ubiquitous washi paper lanterns that Western mid-century moderns did much to popularise. And although they are rooted in the past, Japanese crafts are always evolving. They appeal to sustainability-minded consumers who are attracted by the intimacy of a beautiful, handmade object. They powerfully exemplify the human drive to be and do better. They look backward to the glories of Japan’s past, but they may also point the way forward to a less industrial, more human-scaled 21st Century. 

Yukiko Kaizawa is an attoushi weaver in the far north of Japan – she uses shredded tree bark to create textile (Credit: Irwin Wong, Handmade in Japan, gestalten 2020)

Yukiko Kaizawa is an attoushi weaver in the far north of Japan – she uses shredded tree bark to create textile (Credit: Irwin Wong, Handmade in Japan, gestalten 2020)

The book Handmade in Japan, charts these crafts, from the Kyushu region in the south to the Hokkaido region in the north. Despite flourishing for many centuries, some crafts have died out, while others persist or have been brought back from the dead. Because of the fragility of the craft knowledge being handed down, Japan has created a system of nationally recognised master artisans, and designated some of the best people working in each category “living national treasures”, to encourage esteem for – and the continuation of – work in these areas.

Some of Japan’s living crafts harken back to its martial past. For instance, Satoshi Tachibana, an octogenarian in Fukushima, is one of the last surviving samurai armour smiths in the country. While he has in his career made suits of armour from scratch, he mostly confines his work these days to repairing existing suits of armour, some of which are worn in historical festivals. Samurai armour is designed to be as lightweight and flexible as possible, and is constructed with many small plates of iron or leather intricately bound together with cord over a leather backing. Brightly coloured silk cord is used to designate noble families.

The highly skilled master craftsmen and women in Japan are known as 'living national treasures' (Credit: Irwin Wong, Handmade in Japan, gestalten 2020)

The highly skilled master craftsmen and women in Japan are known as ‘living national treasures’ (Credit: Irwin Wong, Handmade in Japan, gestalten 2020)

Likewise the elegant longbows (yumi, whose striking size and asymmetry produce great power and accuracy) created by master craftsmen in Miyakonojo, Miyazaki Prefecture, following a design that is centuries old, are today used in archery competitions. In a similar vein, the katana, or samurai swords, which are one of the best-known symbols of Japan, are created by smiths using techniques that have been handed down through many generations. Such swords, which are really works of art, are now used for ceremonial purposes, but the kitchen knives which these smiths also produce are in common use worldwide (if you can afford them; Japanese knives are among the most expensive on the market, though with their textured steel they are certainly the most gorgeous).

Major traditions

The making of ceramics and pottery is very much a vibrant craft in contemporary Japan. There are major traditions dotted around the islands, but of note are the Aritayaki (Arita-ware) of Saga Prefecture in Kyushu, the Kutani yakimono (Kutani-ware) of Ishikawa Prefecture in central Japan, and the Bizen yakimono (Bizen-ware) to the south in Okayama Prefecture.

Arita-ware porcelain historically involves a vibrant blue underglaze with intricate patterns painted on top. In this period Holland was one of the few countries permitted to trade with Japan, and they became major exporters of Arita-ware to Europe, where it became favoured by the elite. The kiln and workshop structures are themselves beautiful and generations old.

There are differing traditions around the islands of Japan in ceramics and pottery (Credit: Irwin Wong, Handmade in Japan, gestalten 2020)

There are differing traditions around the islands of Japan in ceramics and pottery (Credit: Irwin Wong, Handmade in Japan, gestalten 2020)

The most recognisable varieties of modern Kutani-ware porcelain, in contrast, utilise red paint with gold accents; although there are many distinctive variations associated with the various workshops. The designs again are intricate – the hand painting is an impressive art in itself. A new generation of Kutani artists are using their painting skills to expand into new products such as earrings, nail art, and sneaker collaborations.

Finally, whereas work in porcelain in Japan is considered to be recent (dating back only a few centuries), the Bizen-ware of Okayama is thought to have its roots in the 6th Century, and over a long period the brownish and reddish tones for which it is known began to emerge. Bizen embodies the Japanese philosophy of wabi-sabi, or a reverence for imperfection. Bizen vessels are shaped from crude local clay which fires in interesting ways. The firing itself is a complicated ritual that involves different wood fuels and a careful rise of temperature over days; the results are always somewhat unpredictable, and even the best Bizen craftspeople end up sacrificing many more pieces than they keep.

The making of ceramics is a thriving craft in contemporary Japan (Credit: Irwin Wong, Handmade in Japan, gestalten 2020)

The making of ceramics is a thriving craft in contemporary Japan (Credit: Irwin Wong, Handmade in Japan, gestalten 2020)

On the more purely decorative side, crafts include the making of paper parasols and kites. Both of these products, usually boldly and gracefully painted, must surely be famous. The making of wagasa, or washi paper umbrellas, was once a huge industry in Japan, but was threatened by the influx of cheap foreign mass-manufactured umbrellas. However, this age-old art is finding a new lease of life with the renewed fashionability of wagasa in a luxury market that sells to young people. The umbrellas are engineering marvels constructed of wood, bamboo, paper and thread. And they are priced accordingly.

There was a time when kites were only flown for Buddhist rites in Japan, but now they are flown for recreation too. Traditional Japanese kites consist of delicate frames of bamboo covered in washi paper and decorated in brightly coloured inks. Their construction and decoration both involve a very high degree of technical skill; the result is flying works of art.

In the far north of Japan, in Hidaka Prefecture on Hokkaido island, attoushi, a bark cloth is woven according to Ainu tradition – the Ainu are an ethnic group indigenous to the region. Bark is harvested from elm trees, dried, shredded, rolled into thread, and dyed with colours extracted from local flowers such as marigolds, shiso, and bellflower. After that it is ready to be woven into rustic and extremely durable cloth.

Traditionally in Japan, kites were used in Buddhist rituals – they are created with bamboo and washi paper (Credit: Irwin Wong, Handmade in Japan, gestalten 2020)

Traditionally in Japan, kites were used in Buddhist rituals – they are created with bamboo and washi paper (Credit: Irwin Wong, Handmade in Japan, gestalten 2020)

Finally, on a more utilitarian note, Japanese craftspeople have a talent for making tools and everyday domestic objects of such precision and beauty that they also are elevated to the level of art. An example is Tango Tanimura, of Nara Prefecture, direct descendant of a line of master tea-whisk makers going back more than 500 years. The implements used in sado, the Japanese tea ceremony, are an important element of the ritual. The whisks are carved from a single piece of bamboo and used for mixing matcha; the tines are shaved by hand with the utmost delicacy. When whisks become worn out, they are discarded.

The talented brush makers of the town of Kumano, in Hiroshima Prefecture, are responsible for 80% of Japan’s brushes, of all shapes and sizes. Once they made a lot of calligraphy brushes, but with the decline of that style of writing they have branched out into makeup brushes. Note that their brushes are not cut: the hairs in the brush are selected and arranged by hand, and after an elaborate series of steps, gathered together and fitted to brush handles.

The town of Miki in Hyogo Prefecture is home to a concentration of smiths who specialise in creating implements, such as wood planes, chisels, handsaws, and trowels, used by other crafts, such as woodworking and plastering. The town traces its smithing techniques to the 6th Century. The tools its craftsmen produce are famed for their balance, durability – and, of course, beauty.

There is a peacefulness about Japanese crafts that reflects all the time and care that goes into them (Credit: Irwin Wong, Handmade in Japan, gestalten 2020)

There is a peacefulness about Japanese crafts that reflects all the time and care that goes into them (Credit: Irwin Wong, Handmade in Japan, gestalten 2020)

In his introduction to Handmade in Japan, the distinguished Japanese architect Kengo Kuma suggests that the power of his country’s crafts derives from their gentleness and inherent peacefulness. It is certainly the case that even the swords and knives have an unexpected calm about them, which is suggestive of all the time and care that has gone into them. They are a sort of philosophical gift for humankind, Kuma suggests. Peace goes into them and peace ripples outward from them.

Handmade in Japan is published by gestalten

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Anishinaabe artist crafts giant bead sculpture to honour SickKids patients


Using thousands of beads, an Anishinaabe artist has weaved a massive sculpture to represent the strength and resiliency of children who seek care at a Toronto hospital.

Monument to the Brave will be displayed in a new building at the Hospital for Sick Children which opens in 2023. 

“I’m really excited about this project and hope that it inspires more Indigenous folks to make more artwork,” said artist Nico Williams, who is from Aamjiwnaang First Nation in southwestern Ontario and now lives in Montreal.

Williams, who is known for his geometric beadwork, started the sculpture in September with his studio team. They stitched together the 90-centimetre sculpture with 250,000 beads, plus 3,000 others that were donated from the hospital’s Bravery Bead Program.

“This is so incredible being invited to do this sculpture, a work that is going to be monumental for these years to come for all these patients who are coming into SickKids,” said Williams.

“This work is something that really is going to represent the bravery of all these patients coming in and out of the hospital.”

Monument to the Brave consists of 250,000 beads, plus 3,000 others that were donated from SickKids’ Bravery Beads Program. (Submitted by the SickKids Foundation)

Since 2002, children have been given a bead for every procedure, test or treatment they go through at the hospital.

“The beads become badges of honour for the kids,” said SickKids Foundation CEO Ted Garrard.

“Children who have profound illnesses can be strong, they can overcome, they can endure all the kinds of medical procedures that they have to go through,” he said.

“I think it will give inspiration to other patients in the future. We know that there are others who are walking down the path we’re walking in terms of our health issues and we reflect on it, and take courage from it.”

Geoffrey Fang, 17, has collected hundreds of bravery beads during his hospital visits and donated some of them to the project. 

Geoffrey Fang, 17, was among the hundreds of patients to donate his bravery beads to the project. (Submitted by Geoffrey Fang)

“I think leaving behind a part of my story as a part of the Monument to the Brave is really a testament to myself, how I overcame my illness and beat all the odds to get where I am today,” said Fang.

Fang first went to SickKids in 2014 and was diagnosed with a rare immune system disease, hemophagocytic lymphohistiocytosis, and a rare form of blood cancer called myelodysplastic syndrome. He received a small yellow bear-shaped bead for the time he spent in isolation after a bone marrow transplant.

“By sharing my story, it also allows the Monument to the Brave to be a beacon of resilience, a beacon of hope to the new patients who walk through SickKids’ door every single day with all their fears and all their anxieties,” said Fang. 

“With all the beads from the bravery beads project and with Nico’s own work, it’s quite a breathtaking experience especially when you understand the meaning behind the monument.”

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Convicted criminals tasked with crafts and knitting during lockdown



Victims of crime have been left outraged after it was revealed convicted criminals spent lockdown knitting scarves and making dog toys as part of their community service.

Those impacted by crimes say it is an insult and fear lenient sentences are on the rise.

Craft criminals

Noel McNamara was dealt a life sentence 29 years ago when his daughter Tracey was murdered.

After his daughter’s killer was released after serving 10 years, Mr McNamara was shocked to learn criminals sentenced to community corrections orders spent the COVID lockdown doing arts and crafts instead.
“I think it’s disgusting. It’s outrageous, it’s an insult to all the victims suffering from these people – what they’ve done,” Mr McNamara told 9News.
Between March and December last year, traditional tasks like rubbish collection, cleaning footpaths and building community gardens were replaced with activities including quilting, knitting scarves, braiding dog leads, assembling planter boxes, sewing bags and sorting donations for op-shops. All items were donated to charities, animal shelters and aged care facilities.
Of the 700,000 community work hours ordered for last financial year, only 65 per cent were completed.
Now there are concerns lenient sentences will become more common as judges grapple with the massive court backlog sparked by the pandemic.

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From Facetime to crafts, here’s how people are spending Christmas Day in hotel coronavirus quarantine


Alexandra Gummer spent Christmas Day in hotel quarantine in Melbourne, making lots of calls to friends and family to stay in touch and share meals.

But her grandma doesn’t know she’s in Australia yet, so Ms Gummer had Christmas lunch in the dark so she can pull off a surprise when she’s released tomorrow.

Alexandra Gummer Facetiming with her Grandma on Christmas Day 2020.(Supplied: Alexandra Gummer)

“The most exciting [call on Christmas Day] was probably my grandma, who is probably my favourite person in the entire world,” she said.

“I had to close my blinds in the middle of the day today to make it appear like it was night-time in Switzerland where I would be.

“I called my family in the dark and had my Christmas lunch to try and pretend to my grandma that I’m still in Switzerland, so that when I surprise her tomorrow she’ll have no idea I’ve been in Melbourne for two weeks.”

Ms Gummer is just one of thousands of people around Australia spending Christmas in hotel quarantine after arriving from overseas.

Many have used Facetime and phone calls to stay in touch with loved ones during the Christmas period.

But many have also found creative ways to celebrate despite the isolation, such as learning new skills or decorating their hotel rooms.

Finding joy in an old hobby

Emytha Taihutu sitting at a small table smiling surrounded by crafted Christmas trees.
Emytha Taihutu having dinner on Christmas Eve in hotel quarantine in Sydney.(Supplied: Emytha Taihutu)

For Emytha Dyina Taihutu, who will be alone in hotel quarantine in Sydney for another five days, Christmas is one of the most special times of year.

“Coming from Indonesia, our whole family is into Christmas — normally my family celebrates Christmas Eve and [my partner] David celebrates Christmas Day, we usually have two balancing Christmases that we really love,” she said.

She took up an old hobby, painting, to stay busy during quarantine and has even made Christmas decorations out of magazines, tea bags and other items in the hotel room.

Ms Taihutu posted pictures of her creations in a Facebook group for Australians in quarantine and has been giving tips to other people in quarantine who want to try crafts too.

“I like that what I did in quarantine has inspired people to keep their spirits up,” she said.

Emytha Taihutu's desk with Christmas decorations made out of tea bags and papers.
Ms Taihutu’s designs have mostly been from childhood memories.(Supplied: Emytha D Taihutu)

Ms Taihutu has also been calling her loved ones on Facetime daily.

Even though she joined her family for Christmas lunch remotely, they set a place at the table for her and even laid out a cracker and some red wine.

“I have my placemat done with a little bit of handcrafting and painting to feel Christmassy, and the hotel gave me a surprise with a Christmas cracker and a bottle of sparkling,” she said.

Ms Taihutu has also used her crafting skills to make thank-you cards and origami angels for the hotel staff.

“I just want to make the most of it,” she said.

“This is Christmas — this is the best time of year, when we all should be grateful.”

Emytha Taihutu's painting supplies laid out neatly on a table in hotel quarantine.
Emytha Taihutu took up an old hobby when she got into quarantine.(Supplied: Emytha Taihutu)

Presents under a paper Christmas tree

Deepa Rao went to India for a two-week trip to see family back in March but got stuck for nine months because of the pandemic.

Deepa Rao wearing a Christmas hat, red lipstick and a red top in a photo decorated with snowflakes.
Deepa Rao dressed up to join Christmas lunch over Facetime.(Supplied: Deepa Rao)

Because there weren’t any direct flights to Australia, she had to travel through multiple cities and the United States before finally making it home to Sydney last week.

“I haven’t seen anyone’s face in about nine days, except for when I did the COVID test,” she said.

Ms Rao would normally be spending Christmas surrounded by friends, family, pets, good food and drinks.

But this year she got dressed up and joined her friends and family for Christmas lunch over Facetime, and has also put some decorations up in her room.

“It’s really, really weird to be in hotel quarantine but I drew up a Christmas tree and I stuck it up on my window so I have some festivities going on, and I also have a Santa hat I’ve been wearing the past few days,” she said.

“My friends were nice enough to drop me hampers and gifts so I’ve put it under the [Christmas tree drawing]. And obviously the wine helps.”

A drawing of a Christmas tree on a window, with presents, a bon bon, and a box of single malt scotch underneath.
Ms Rao put presents from her friends under a Christmas tree in her hotel room.(Supplied: Deepa Rao)

Ms Rao said she’s looking forward to seeing her family and pets when she leaves hotel quarantine in five days.

But while hotel quarantine wasn’t how Ms Rao had hoped to spend Christmas, she was ultimately glad to be home.

“Hotel quarantine sounds like a breeze, thinking of what I’ve been through in the past nine months — this 14 days is a breeze and I’m grateful I’ll be out of it at the end,” she said.

“It actually doesn’t seem as bad as it could’ve been. Mind over matter, really.”

Running a hotel-room marathon

Ms Gunner, who has been living in Switzerland for 12 months, is looking forward to meeting her sister’s newborn baby.

She was hoping to get out of quarantine on Christmas Day, but a cancelled flight pushed her plans back a day.

The hotel she’s staying in gave her some bonbons, but staying alone meant she had to come up with an “innovative way” to crack them.

“I had a skipping rope that I’ve been using to keep fit over the time that I’ve been in here, and I tied it around one end of the bonbon and then the other end to a table and was pulling the bonbon,” she said.

“Sometimes you’ve got to find different solutions.”

For the past two weeks, Ms Gummer has been trying to keep productive with work and fitness goals and even did a marathon by running back and forth in her hotel room.

“That’s something I probably never would have done, if I wasn’t in quarantine,” she said.

“And I’ve also been calling friends and sometimes having a break and actually not doing anything — I live a very busy life, so to be able to actually do nothing is actually quite nice.”



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