Granny Flat Design Costs NSW 2026 - Get Free Quotes

Granny Flat Designs in NSW

Design and documentation for a secondary dwelling in New South Wales runs $800 to $2,000 to adapt a builder's existing plan, $1,500 to $6,000 for a full set drawn for your block, and $4,000 to $12,000 where an architect works the design up from nothing. Three dimensional views add $400 to $1,500 and a screening or landscape plan another $600 to $2,000. What separates those figures is how much of the thinking is done fresh for your site rather than borrowed from a plan that worked elsewhere. A standard plan carries less risk and less character, while a bespoke one carries the reverse. Neither is the correct answer for every block, and the choice turns on how ordinary your site is. Ask which stage each figure covers, since the word design is used for both a sketch and a full certification set.

The first question most households ask is whether the new building should match the house in front of it. It is a reasonable instinct and it is rarely the decision that matters most, because a dwelling in a rear yard is seen from your back door, your neighbours' upstairs windows and the occupant's own doorstep rather than from the footpath. Which way it faces, where its windows look and how somebody reaches the front door will affect daily life far more than whether the bricks are the same colour. Nobody stands on the footpath admiring a building they cannot see. Ask the designer to show both approaches before you decide.

Everything on this page is settled on paper and difficult to revisit later. A roof form can be changed for the cost of a redraw before documentation and for the cost of a rebuild afterwards. Window positions are cheap on a drawing and expensive once the frame is up. That sequence is the argument for spending a little more at design stage, and the internal arrangement is dealt with separately at granny flat floor plans. Design is the cheapest stage of any building project and the one households most often rush.

Match, Complement or Deliberately Differ

Matching the existing house is the instinct and it comes at a real price. Brickwork to blend with an established home adds $8,000 to $18,000 over a sheet cladding, and the thicker wall build up consumes floor area that may be capped, so you pay twice for the resemblance. On a building nobody sees from the street, that money frequently buys less than the same amount spent on ceiling height, glazing or a covered outdoor area. The wall thickness point catches people out repeatedly, since it is not obvious that a cladding decision could cost you a square metre of bedroom. On a hidden building that money buys more spent elsewhere. The match is rarely close enough to read as intentional anyway.

Complementing rather than matching is where most well resolved secondary dwellings land. Picking up one or two cues from the existing house, whether that happens to be the roof pitch, the trim colour, the window proportions or the depth of the eaves, ties the two buildings together without pretending the second one is old. It reads as deliberate rather than as a compromise, and it costs nothing beyond the thought that goes into it. Photograph the house and look at what actually characterises it before choosing which cue to borrow. One or two shared cues do more than a full imitation.

Deliberately differing suits some properties very well and needs conviction to carry off. A simple contemporary form in a dark colour behind a period cottage can look considered where a half hearted imitation would not, and it acknowledges what the building is rather than disguising it. This works best where the new dwelling is genuinely separate and screened by planting, and less well where the two buildings sit close enough to be read as one composition. Half measures read as mistakes, so commit to the approach or choose another one. Half hearted difference reads as a mistake rather than a decision.

Where the property is heritage listed or sits in a conservation area, the choice narrows and the council has a view. Materials, roof form, window proportions and visibility from the street all come into the assessment, and a design responding thoughtfully to the existing character will fare better than one that ignores it. Heritage information for this state is published by the NSW environment department, and the merit pathway sits at granny flat approval. A heritage adviser at the council will usually discuss a concept before you commission drawings. Speak to the council's heritage officer before drawings begin.

Visibility from the street is the practical test to apply before spending anything on resemblance. Where the new building will be genuinely hidden behind the house, materials matching is a preference rather than a requirement. Where it will be visible down a driveway or above a low fence, the two buildings will be read together and the relationship between them starts to matter. Take a photograph from the footpath and look at it rather than trusting your memory of the view. Where the building is genuinely hidden behind the house, matching becomes a preference rather than a requirement, and the money is better spent inside.

Choosing a Roof Form

A skillion roof is a single plane sloping one way and it is the cheapest form to build. It also does the most for the inside, because the ceiling can follow the slope to give a raked space rising toward the tall wall, and high windows can sit under that rise to bring light deep into the plan. On a compact dwelling this combination delivers more perceived space than any other roof decision available. It is also the simplest form for a builder to price accurately, which shows up in the quote. Few decisions about a small building repay themselves so visibly for so little money. It also sheds water in one direction, simplifying the guttering.

A gable is two planes meeting at a ridge and it reads more domestic than a skillion does. It costs $2,000 to $6,000 more, allows a raked ceiling to a central ridge, and sits comfortably beside most Australian houses without imitating them. Where a household wants the building to look like a small home rather than a modern pavilion, this is usually the form that achieves it at reasonable cost. Gable ends also give somewhere to put a high window facing the yard. It costs $2,000 to $6,000 more than a skillion, reads as a house rather than a pavilion, and still allows a raked ceiling to the central ridge. A gable end also gives somewhere sensible for a high window.

A hip roof slopes on all four sides and is what most conventional brick and tile houses have. It adds $4,000 to $9,000, uses the most framing and roofing material for the least internal volume, and produces flat ceilings throughout unless considerable effort goes into raking part of it. Its virtue is resemblance, so choose it when matching the house genuinely matters and not by default. The additional framing and the reduced ceiling height are the trade for that resemblance. Choose it when matching genuinely matters rather than by default. It is the safest choice where a council is sensitive to bulk.

Roof pitch matters as much as form and is worth discussing explicitly. A low pitch skillion reads contemporary and keeps the building visually low against a fence, while a steeper pitch adds height, presence and internal volume. On a block where the neighbours are close or the dwelling sits near a boundary, keeping the roof low reduces the sense of bulk from next door considerably. Ask to see the proposed pitch drawn against the existing house rather than described. Ask to see the roof drawn in section rather than only in plan.

Eaves are the detail most often trimmed and most often missed afterwards. An overhang shades the windows beneath it through the hottest part of the day, keeps weather off the wall and off anyone standing at the door, and gives the building a finished look that a flush edge does not. Removing eaves saves a modest sum and costs comfort every summer, and construction detailing sits at granny flat construction. A six hundred millimetre overhang does more for summer comfort than most glazing upgrades. Losing them costs more in summer heat than the saving is worth.

Cladding and Finishes

Fibre cement sheet such as Scyon or HardiePlank from James Hardie, along with Weathertex weatherboard profiles, is the baseline for secondary dwellings and they perform well. They are light, quick to install, available in a wide range of profiles from wide boards to flush panels, and they take paint in any colour. The maintenance commitment is a repaint every eight to twelve years depending on exposure, which is a known cost rather than a surprise. Profile choice changes the character considerably at no change in cost, so it is worth looking at samples. The profiles range from wide traditional boards through to flush contemporary panels, and every one of them accepts paint. Get samples in your hand rather than choosing from a brochure.

A rendered finish adds $4,000 to $10,000 and reads as more solid than sheet cladding. It suits a building intended to look permanent rather than lightweight, sits well beside a rendered or painted brick house, and hides the joints that give sheet products their rhythm. Render needs a competent applicator and it does crack where the substrate moves, so the system and the trade both matter. Ask what render system is proposed and what warranty attaches to it, since systems vary and the applicator matters as much as the product. Standards for building materials are published by Standards Australia. Cracking at joints is the maintenance item to ask about.

Brickwork to match the house is the expensive choice and the reasons are worth understanding before committing. Beyond the $8,000 to $18,000 premium, a brick veneer wall is thicker than a clad frame, which on a capped floor area measured externally means a smaller room inside for the same permitted total. Matching an existing brick exactly is also difficult where the house is more than twenty years old, since colours and blends change. Bring a brick from the house to the supplier rather than working from a photograph, and check how the change affects your permitted area under 60 sqm granny flats. The thicker wall also takes floor area you may not have.

Colorbond steel sheet cladding from BlueScope suits contemporary designs and regional properties particularly well. It is durable, needs almost no maintenance, comes in the full colour range and reads honestly on a simple form. It transmits more sound in heavy rain than a lined masonry wall, which some occupants like and others do not, so it is worth raising with whoever will live there. Colour choice affects how warm the wall gets, with darker shades absorbing considerably more. It handles coastal exposure better than most alternatives.

Mixing two materials is a reliable way to give a small building interest without cost. A single feature wall in timber look cladding or a darker profile against a lighter body breaks up the elevation and draws the eye, and it typically costs a few hundred dollars more than a single material throughout. Restraint helps here, since two materials read as a decision and four read as indecision. Use the second material where it will be seen daily rather than on a hidden elevation. Keep the palette tight, because a building this size cannot carry a long list of finishes. Two is the limit, since three starts to look busy on a small form.

Which Way the Building Faces

Facing the main living area and its glazing toward the north is the single most effective comfort decision available at design stage. Winter sun reaches into the room when it is wanted, and a modest eave or awning above the glass keeps the higher summer sun out. This costs nothing to do and cannot be corrected later, which makes it the first thing to establish on any plan. Mark north on every drawing you are shown and check where the living area sits relative to it, since that decision outlasts every finish you choose in granny flat construction. The low winter sun comes in when you want it and the high summer sun is stopped by a modest eave or awning above the glass. Nothing else on the drawing repays attention as reliably.

West facing glass is the problem to avoid and it is easy to create by accident. Afternoon sun arrives low, comes in under any eave and heats a small room quickly, and a living area or bedroom facing that way becomes uncomfortable through summer regardless of how well the building is insulated. Where the block leaves no alternative, external shading, a screen or planting does more than any glazing specification. External shading beats internal blinds by a wide margin, since it stops the heat before it enters. A single well placed tree does more than any mechanical fix.

Cross ventilation needs openings on two sides and it is straightforward to design in and impossible to add. A room with windows on opposite or adjacent walls moves air through it on a breeze, while a room with one window does not, however large that window is. On a compact dwelling this affects comfort more than most households anticipate, particularly in bedrooms. Check each bedroom individually rather than assuming the plan handles it. Openings on opposite walls work better than two on adjacent ones.

Glazing performance is tied to the sustainability commitments for the dwelling and those are checked at completion. Glass area, orientation, shading, frame type and glazing specification all feed the assessment, so a design with a large expanse of unshaded glass will need to compensate elsewhere. Guidance on comfort and running costs for households is available from Energy NSW. Raise the assessment early rather than discovering at documentation that the glazing has to change. Bring the assessor in before the drawings are finalised.

Site constraints frequently override the ideal and the answer is to work with what is available. A rear yard with the good aspect, meaning the direction a building faces and the sun it therefore receives, occupied by the main house, a boundary setback that fixes the building's position by requiring a minimum distance from the fence, or a mature tree that cannot be touched all narrow the options. Ask which constraints shaped the design, since a good designer will name them readily. A designer who identifies and names the constraints before drawing anything produces a noticeably better result than one who draws first. A designer who names the constraints early is doing the job properly.

Windows and Overlooking

Two households sharing a block will see each other unless the windows are placed deliberately. A secondary dwelling living area window looking straight into the main house kitchen affects both parties every day, and the fix is trivial on a drawing and impossible afterwards. Mark both buildings on the site plan and check the sightlines between them before anything is fixed. Ten minutes with a plan and a pencil resolves most of it, well before the arrangement is locked at granny flat floor plans. The fix costs nothing at drawing stage and cannot be achieved at any price once the frame is standing. Photograph the outlook from each proposed window position.

Neighbouring properties deserve the same treatment and it is partly self interest. A window looking into next door invites an objection where the proposal goes to council, and it produces a permanently awkward relationship where it does not. Offsetting windows so they do not align, raising sill heights, or using obscured glass to a bathroom or hallway all resolve this without losing light. Objections about privacy are among the most common raised against these proposals. Offsetting windows or raising sills resolves it without losing any light. An objection costs months and a small change costs nothing.

Sill height is an underused tool for exactly this purpose. A window with its sill at eye level lets light and sky into a room while removing the direct view in and out at standing height, which suits bedrooms and bathrooms particularly well. It costs the same as any other window and it solves privacy without curtains, blinds or apology. Standing in a room with a high sill window feels quite different from looking at one on a drawing. It also frees the wall below for furniture.

High windows under a raked ceiling do something no standard window can. Set above head height along the tall wall of a skillion, they bring daylight deep into a plan, give a sense of height and volume, and cannot be overlooked from anywhere. On a compact dwelling with privacy pressure on every boundary, this is frequently the most valuable glazing in the building. They also spread light more evenly than a large window in one wall does. They cannot be overlooked from any direction, which makes them the most valuable glazing on a tightly bounded block. They also let warm air out at the top of the room in summer.

Think about the view from inside rather than only the elevation from outside. An occupant will spend years looking out of these windows, and a living area facing a paling fence two metres away is a different proposition from one facing down the length of the yard or into planting. Where the outlook is poor, a screen with a climbing plant costs very little and changes the room entirely. Stand in the proposed position and look in each direction before the plan is fixed. Planting something in front of a poor view is the cheapest fix available to you. Stand in the position and look before the window is fixed on paper.

The Path to the Front Door

How somebody reaches their own front door shapes the relationship between the two households more than any other design decision. A path running past the main house's kitchen window means every arrival and departure is observed, which wears on both parties over years even where everybody gets on. A route down the side of the property to a door facing away from the house gives each household its own front door in a meaningful sense. This is the design decision households thank their designer for years afterwards. Being observed every time you leave the house wears on both parties over years, even where everybody gets on well. Allow for somebody arriving with wet hands and shopping.

Where the entry sits determines whether the two dwellings feel separate or attached. A door on the side or rear elevation, approached from a path that does not cross the main outdoor living area, reads as a separate address. A door facing the back of the house across a shared lawn reads as an annexe, which suits some families and not others, so decide which you are building. A family housing a parent may want the annexe reading, while a landlord almost never does. An entry facing the main house windows feels supervised.

The path itself needs to work at night and in the rain, and it is routinely left out of the design. A firm even surface, a light at the door and preferably one along the route, and a covered landing large enough to stand under while finding keys are all modest items that get noticed daily. Path and paving work sits at driveways and paving. Sensor lighting along the route costs very little and gets used every evening.

Where the occupant is older or may become less mobile, the approach carries more weight again. Step free access from the parking area to the door, a surface that does not become slippery, adequate width for a walker or a wheelchair, and lighting that removes shadows all belong in the design rather than in a later modification. Done at the outset, none of it reads as an accessibility feature to anybody. Doing it at the outset costs a fraction of retrofitting later. None of it looks like an accessibility feature when it is done at the outset. Steps added later are far harder to avoid than steps never built.

Screening and planting complete the arrangement and are worth designing rather than adding. A hedge, a slatted screen or a raised planter defining where one household's space ends and the other's begins does more for daily privacy than any window decision, and it softens a new building in a way materials cannot. A screening plan at $600 to $2,000 is a reasonable spend on a project of this size. Established screening takes a few seasons, so planting early is worth the effort. Planting softens a new building in a way no cladding choice manages, and it improves with every season rather than weathering. Plants take years, so choose sizes that work on the day they go in.

Ceiling Height and Volume

Volume is the one dimension that does not count against a capped floor area, which makes it the most efficient thing a designer can give you. A raked ceiling over the living area, a higher flat ceiling throughout, or a section lifted above the rest all make a compact dwelling feel considerably larger without adding a square metre to the measured total. The relationship between area and the cap sits at 60 sqm granny flats. It is also the change visitors comment on without being able to say why. It is also among the cheapest improvements available.

A raked ceiling to the living area costs $2,500 to $7,000 depending on the span and the roof form, and it is the single change most likely to alter how the finished building feels. The effect is strongest where the rake runs toward glazing, so the eye is drawn up and out rather than up and into a blank wall. Pairing the rake with high windows compounds both effects. Ask for a section drawing rather than judging the effect from a plan. Run the rise toward the windows and the eye follows it outside rather than stopping at plaster. Ask what the ceiling does at its lowest point as well as its highest.

Raising a flat ceiling by a few hundred millimetres throughout is the cheaper alternative and it works. It costs less than a rake, applies to every room rather than one, and lifts the proportions of small bedrooms noticeably. Where the budget will not stretch to a raked living area, this is where the money goes instead. It is a decision made once at framing and impossible afterwards.

Roof form and ceiling are the same decision approached from two directions, which is why they belong in one conversation. A skillion gives a rake almost for free, a gable gives a rake to a central ridge, and a hip roof resists raking without significant additional framing. Choosing the roof for its appearance and then asking for a raked ceiling is the sequence that produces an expensive surprise. Have the conversation once rather than twice. Treat the two as one decision made once.

Doors and windows scale with ceiling height and the detail is worth attending to. Standard height doors in a room with a raised ceiling leave a band of blank wall above them that reads oddly, and taller door and window heads resolve it for a modest sum. A designer working at this scale regularly will raise it without being asked. Taller door heads read better in a raised room and cost very little more. Standard height doors under a raised ceiling look stunted.

What Drives the Price

Whether the design is adapted or drawn fresh makes the largest difference to the fee. Adapting a builder's proven plan at $800 to $2,000 borrows thinking that has already been done and tested through the certification process many times over, while a design developed for your block at $4,000 to $12,000 responds to your aspect, your neighbours and your family. Both are legitimate and the choice depends on how unusual your site and your requirements are. Ask to see three examples of the designer's previous work before deciding, and check whether they have adapted plans for modular granny flats as well as site built ones, since the constraints differ.

Site complexity drives the drawing hours more than the building does. A level rectangular block with an obvious aspect and no meaningful constraints on it is quick and inexpensive to design for, while a sloping, irregular or heavily constrained site needs levels resolved, retaining considered, access worked out and several options tested before one holds. The hours go in regardless of how much of it survives onto the final sheet. Complex sites also produce better buildings, since the constraints force real decisions. That work happens whether or not it appears on the final drawing.

Documentation standard determines what the drawings are good for. A concept set is enough to test an idea and price it roughly, while a certification set includes the detail a certifier and a builder both need, and the gap between them is real work. A concept set handed to a certifier will come straight back. Ask what standard the fee covers before setting two quotes beside each other, since a concept set and a certification set are different products.

Three dimensional views at $400 to $1,500 are optional and frequently worth having. Most households read a perspective far more easily than an elevation, and seeing the building against the existing house before committing prevents the most expensive kind of regret. Where a decision between two roof forms or two cladding schemes is genuinely close, this is how it gets resolved. They are also useful for showing a neighbour what is proposed.

Revisions are where design fees run over and the cause is usually process rather than indecision. A fee covering two rounds of amendment and a household that wants five will attract additional charges, so establish how many revisions the fee includes and what further rounds cost. Deciding your priorities before the first meeting reduces the number needed considerably. Bring photographs and a written list of what matters to the first meeting. Settle what matters most to you beforehand and far fewer rounds will be necessary.

Design Costs Across Sydney

Sydney supports designers at every level from draftspeople adapting standard plans to architects working from first principles, and the fee range across the metropolitan area reflects that spread rather than any suburban premium. What lifts a fee is the site and the constraints attaching to it rather than the postcode on the drawing. Ask whether a designer has worked in your council area, since local familiarity speeds the process described at granny flat complying development. Fees scale accordingly, so match the level of service to how much of the design is genuinely bespoke rather than adapted.

Across the inner and eastern suburbs the design problem is almost always overlooking. Blocks are small, neighbours are close on three sides, upper storeys look down into rear yards, and a heritage conservation area frequently governs what the building may look like from any public vantage point. Design fees at the upper end reflect genuine problem solving rather than elaboration. Budget for the upper end of the range on those blocks.

Through the western and north western corridors a builder's standard plan usually suits the block without much adjustment. Level ground, regular block shapes, generous setbacks and very few protected trees together mean the design questions end up being about aspect and finish rather than about fitting a building into an awkward space. Households there can reasonably start with an existing plan and adapt it. Adapting a proven plan is frequently the better value there.

Design Costs in Regional NSW

Regional blocks are generally larger and less constrained, which moves the design conversation from where the building can fit toward where it should sit. Aspect, outlook, the distance from the main house and the relationship to existing trees and outbuildings all become genuine choices to be made deliberately rather than the single option a suburban block allows. Where the building can go anywhere, deciding where it should go becomes the real work. Prevailing wind direction is worth asking about in open country, since an outdoor area on the exposed side goes unused for half the year.

Exposure shapes rural designs in ways suburban ones never face. A dwelling on open ground takes wind from every direction, gets no shelter from neighbouring buildings, and needs its outdoor space placed on the protected side rather than the pretty side. Verandahs, eaves and window placement all do more work here than they do on a suburban block hemmed in by fences. Watch where the wind comes from across a season before fixing the outdoor area. Outdoor space belongs on the sheltered side of the building rather than the side with the better view.

Bushfire prone land changes the material palette rather than the design intent. A dwelling on mapped land must be built to the standard corresponding to its assessed rating, which reaches window systems, wall construction, decking and how openings are protected, and some finishes become unavailable. Establish the rating before settling on materials rather than afterwards, and the assessment sits at granny flat rules. Some cladding and decking products are simply unavailable above certain ratings. Establish the assessed rating before settling on any material, since discovering the constraint after selections is an expensive reversal.

Steel cladding and simple roof forms suit regional properties for practical reasons as much as aesthetic ones. Maintenance access is harder, trades are further away, and a finish needing repainting every eight years is a different commitment two hours from town. Durability earns its place in the material selection well ahead of appearance. Maintenance you cannot easily reach is maintenance that does not happen.

Orientation does more for comfort than any material specified later, and it costs nothing to get right at concept stage. Living areas facing north pick up winter sun and stay usable through the cooler months, west facing glazing needs shading or it will overheat badly through summer afternoons, and a bedroom window facing a neighbour's driveway will be regretted every morning. Walk the site at different times of day before the plan is fixed rather than accepting an orientation chosen to suit the drawing. A designer who raises orientation before you do is thinking about how the dwelling will actually be lived in.

What to Look Out For

Do not spend on matching the house before you have walked to the footpath and looked. Brickwork to blend with an established home adds $8,000 to $18,000 and a thicker wall that eats floor area, and on a building hidden behind the house that money buys more as ceiling height, better glazing or a covered outdoor area. Treat it as an option to be costed rather than an assumption to be inherited. Take the photograph and look at it properly before committing the money, then compare what the same sum would buy elsewhere in the budget set out at granny flat costs. Matching is a choice with a price rather than a default.

Settle the orientation before anything else on the drawing. Living areas and their glazing facing north with a modest eave above is the single most effective comfort decision available, and west facing glass in a living area or bedroom is the one to avoid, since low afternoon sun comes in under any eave. Neither can be corrected once the building exists. North on the plan is the first thing to check on any drawing you are handed. Neither the north facing living area nor the west facing glazing can be fixed later.

Check the sightlines between the two dwellings on the site plan. A living area window looking into the main house kitchen affects both households daily, and offsetting windows, raising sill heights or using obscured glass fixes it for nothing at drawing stage. Do the same exercise for the neighbours, since an aligned window invites an objection as well as an awkward relationship. Do it for the neighbours as well, since their windows exist too.

Decide the roof form and the ceiling together rather than in sequence. A skillion gives a raked ceiling almost for free and a hip roof resists raking without significant extra framing, so choosing the roof for its appearance and then requesting a rake produces an expensive surprise. Ask what the ceiling will be under whichever roof is proposed, and request a section drawing rather than accepting a description of it. A section drawing shows you both at once.

Establish how many revisions the fee includes before you start. Design fees run over on rounds of amendment rather than on the original drawing, so a fee covering two rounds and a household wanting five will attract charges. Design work carries the same consumer guarantees as any other service, administered by the ACCC. Two rounds is common and three is comfortable. Fees run over on rounds of amendment rather than on the original drawing, so the allowance matters more than the headline figure.

What to Look for in a Quote in NSW

A design quote should say what you receive at the end of it. It should list the drawings included, name the standard they are prepared to, state whether the set is suitable for certification or only for concept discussion, confirm how many rounds of amendment are covered and what further rounds cost, say whether engineering, the sustainability certificate and any specialist reports are included or excluded, and identify who liaises with the certifier. The documentation standard and the revision allowance are the items most often left unstated. Ask whether the drawings become yours to take elsewhere if you change designer. Documentation standard and the revision allowance are the two items usually missing.

Show every designer the same photographs. Send images of the existing house from several angles, the rear yard from the back door, the intended position looking back toward the house, the neighbouring boundaries and anything overhead, along with your survey and planning certificate if you have them. A short video walking the yard works even better than stills. Designers respond to what a site actually looks like rather than to a written description, which produces a generic answer every time.

A designer who asks where the sun comes from before asking what you want is worth listening to. Someone who wants to know the aspect of the block, where the neighbours' windows actually sit, how the occupant will approach the front door and what the outlook is from each side of the building is designing for the site rather than placing a building on it. One who opens a catalogue of elevations has skipped the part that matters. Ask what they would change if the block faced the other way.

Settle the orientation, the roof and the entry before documentation begins. Confirm which way the living area faces, agree the roof form and the ceiling that goes with it, mark the sightlines between the two dwellings, decide where the path and the door will be, and check the revision allowance in the fee. Licensing sits with NSW Fair Trading, with national listings on the granny flat builders hub. Keep the marked up site plan with your project file.