Escape to a Country Refuge by Flack Studio · Inside a Belgian Architect’s Modernist Villa
A New Lens on Mexican Architect Luis Barragán · Mesura Designs an Urban Sanctuary in Barcelona
50 Australian Architects and Interior Designers Vote for Their Definitive List of Products
Natural limewash paints made by utilising the elemental cycle of earth, fire, water, and air. Suitable for interior and exterior, available in 400 natural colours.
bauwerkcolour.com
Bauwerk Imagined by Christoph Neumann
– RHO
Where Architects Live Frederic Hooft P 20
House on the Hill P 36
Wild Horses P 56
The Library
162
An Artful Folly P 110
My Space
Derek Castiglioni P 132
Frameworks P 186
The Greats
Casa Pedregal by Luis Barragán P 148
Second Coming P 164
Richards Stanisich Podcast P 126
Common Ground P 174
Editor's Letter
No matter where we are, we crave a fundamental connection to nature. This issue explores how architecture and design foster this relationship across diverse locations and scales.
Speaking with architect Frederic Hooft from his modernist Belgian villa, it’s clear how much his garden shapes his daily life—particularly the Gleditsia Sunburst Triacanthos tree he looks out to. “Everybody said I was crazy spending so much on a tree, but I look at it daily.”
Flack Studio welcomes us to the Victorian countryside, where the architecture and design studio has created a refuge “that’s all about the landscape,” while Melbourne architects ADDARC cultivate a sense of seclusion in an inner-city home through a distinct rammed earth form.
In Legnano, Italy, outdoor space designer Derek Castiglioni reflects on a family legacy of garden and green roof design, expressing that “green is more than just a colour” through his home. In Barcelona, multidisciplinary practice Mesura channels a relaxed Mediterranean way of living through a sun-drenched apartment.
Our new series, The Greats, features Australian photographer Jack Lovel’s lens on Casa Pedregal by Luis Barragán, highlighting the Mexican modernist’s mastery of space, colour, and light. We also celebrate the launch of Grazia & Co’s Meadmore collection, reviving early designs by Australian-American sculptor Clement Meadmore.
Finally, I’m excited to unveil the results of our recent product survey—a definitive selection of furniture, lighting, and rugs—as nominated by 50 of Australia’s most prominent architects and interior designers.
– Sophie Lewis, editor
A look inside Belgian architect Frederic Hooft’s modernist villa, featuring vintage pieces like the S35 Solid Elm chair by Pierre Chapo.
Contributors
Senne Van der Ven and Eefje De Coninck
Photographers Senne Van der Ven and Eefje De Coninck are partners in life and work, based in Antwerp, Belgium. Choosing to blend analog and digital techniques, their work is characterised by a distinctive softness, creating visuals that elicit emotions and a sense of ethereal beauty. In this issue, their collaborative approach captures Belgian architect Frederic Hooft’s modernist villa as part of our Where Architects Live series.
@sennevanderven @eefjedeconinck
Alexia Petsinis
Alexia Petsinis is a journalist and features writer from Melbourne, now based in Milan. Her career in the design, arts, culture, and fashion sectors spans over a decade and includes special editorial projects such as monographs, exhibition catalogues, and curatorial content. In this issue, Petsinis writes on a Belgian home with interiors by Arjaan de Feyter that redefines the idea of living with art.
@alexiapetsinis
Jack Lovel
Jack Lovel is an Australian architectural photographer specialising in residential projects. Through his lens, he sensitively captures the designer's intent, providing an honest and authentic representation of their work. In addition to his commissioned projects, he is working on a project documenting modernist homes around New York. Lovel’s photography of Casa Pedregal by Mexican modernist architect Luis Barragán launches The Greats in this issue, a new editorial series on iconic residential architecture.
Aleesha Callahan, Alexandra Gordon, Alexia Petsinis, Cardia Speziale, David Harrison, Holly Beadle, Megan Rawson, Sophie Lewis, Yvette Caprioglio
Photography
Playlist
Matthieu Salvaing
House on the Hill
Anson Smart
Where Architects Live: Frederic Hooft
Senne Van der Ven and Eefje De Coninck
Wild Horses
Matthieu Salvaing
Resonant Tranquility
Timothy Kaye
Preferential Voting
Sean Fennessy, Timothy Kaye, Shannon McGrath, Anson Smart, courtesy of Cassina, Derek Swalwell, courtesy of The Noguchi Museum Archives, Pier Carthew, courtesy of Viabizzuno, courtesy of Flos, courtesy of Armadillo
An Artful Folly
Tijs Vervecken
Podcast
Lillie Thompson, Tim Robinson
My Space: Derek Castiglioni
Helenio Barbetta
The Greats: Luis Barragán
Jack Lovel
Second Coming
Danny Smith
Common Ground
Salva López
Frameworks
Prue Ruscoe
est living acknowledges the Traditional Owners of the land on which we work, the Wurundjeri Woi Wurrung of the East Kulin Nation. We pay respect to their Elders past, present and emerging.
LOCATION Sint-Martens-Latem, Belgium ARCHITECTURE Jean Van den Bogaerde DESIGN Frederic Hooft PHOTOGRAPHY Senne Van der Ven and Eefje De Coninck WORDS Sophie Lewis
An architect reveals his longstanding fascination with a modernist Belgian villa and its garden, now his idyllic live-work space away from the city.
This page: Architect Frederic Hooft. Opposite page: Exposed plywood ceilings and solid end-grain oak flooring define the groundfloor interiors. Pictured: a Flag Halyard chair by Hans J. Wegner for PP Møbler and a PK80 daybed by Poul Kjærholm. Previous page: Daphine Terra LED lamp by Tommaso Cimini for Lumina, Utrecht armchair 637 by Gerrit Thomas Rietveld, MVS S88 by Maarten Van Severen, Eames House Bird by Charles and Ray Eames for Vitra, and the Sella 1001 armchair by Joe Colombo for Comfort.
This page: Frederic Hooft’s bedroom, located on the upper floor, features the Chair 65 by Alvar Aalto for Artek. Opposite page: Hooft had always dreamed of owning the Carlo Scarpa sofa in his upper-level living and dining area, knowing it was the perfect fit for Villa Arca. The space also features a vintage mid-century flatweave rug, a T21 D Solid Elm table and S31 Solid Elm stool, both by Pierre Chapo, and an Aluminum Cn°ii chair by Maarten Van Severen for Top Mouton.
Nearly two decades ago, architect Frederic Hooft was invited inside Villa Arca, a modernist home designed by Jean Van den Bogaerde in 1962, in Sint-Martens-Latem, Belgium. Born and raised in the area, Hooft had been fascinated by the home since he was a child. “I fell in love with the house,” he says. “I never really envisaged living in Sint-Martens-Latem, but I wanted to live in Villa Arca—I knew there was something special about it.”
Purchasing Villa Arca was far from straightforward. Hooft first approached the owners when they were looking for a larger home and came close to an agreement before it was off the table. He remained in contact. “It took seven years and a lot of conversations,” the architect recalls. “People often tell me, ‘this house was meant for you because the process took so long’.”
Villa Arca was considered highly experimental when it was first built. Named after its distinctive arched roofline, the home was constructed in just six months using a timber framework, corrugated exterior, and a simple yet symmetrical rectangular plan. “Jean Van den Bogaerde had the vision to create a home for his family that would impress his Italian wife, who wasn’t keen on living in the Flanders countryside,” Frederic Hooft explains. “It feels like a case study house from LA.”
The home and its garden have been a protected monument since the mid-2000s. When Hooft moved in, he attained approval to make small updates to the home’s functionality. “I didn’t want to change the house, but I wanted to ensure it had the modern comforts—that aren’t visible,” he says. Hooft introduced carpet into the primary ensuite and selected handmade tiles for the shower, speaking to the home’s tactile palette. “You must respect and understand the original design intent when updating a home like this.”
Unfolding across two levels, Villa Arca was designed with an open-plan first floor, encompassing the kitchen, living area, bedrooms and bathroom, while the ground floor was conceived as a workspace. “I was drawn to the house because it’s not your typical Belgian home. I’ve adapted to this way of living and enjoy being elevated above it all,” Hooft reflects. The interiors feature fabricated wooden building elements such as the plywood ceiling, which are deliberately exposed. The ground floor is lined with solid end-grain oak flooring, and the first floor is solid beech—with plaster walls and Japanese-inspired panels that segment the space.
Large floor-to-ceiling windows on the first floor allow a unique perspective of the garden, notably the 14-metre tall, 35-year-old Gleditsia Sunburst Triacanthos tree Hooft purchased from Holland. “Everybody said I was crazy spending so much on a tree, but I look at it daily. I’m not interested in big new cars; I want big trees and beautiful furniture,” he laughs.
Curating vintage and contemporary design is central to the architect’s practice, so he embraced the opportunity to completely rethink his furniture collection to suit Villa Arca. “An interior becomes interesting when you blend different eras and price points,” he reflects. His collection spans iconic pieces such as a Carlo Scarpa sofa, a Poul Kjærholm daybed, and a Pierre Chapo solid elm table, juxtaposed with contemporary Belgian designs, including the Pillow modular sofa by Muller Van Severen.
Hooft didn’t initially plan to base his practice from home, but soon realised he no longer wanted to go to Ghent every morning. “I thought, ‘What am I doing? I’m driving from my beautiful house and garden to work in a dirty city’.” When clients visit Villa Arca, he hopes they not only appreciate his way of living but also gain a deeper understanding of his approach to residential design—one that is inherently personal. “If I create something, it’s made to measure,” he says. “I will never repeat the same design twice.”
Opposite page: Since the mid-2000s, the home and its garden have been recognised as a protected monument. When Hooft took residence, he gained approval for minor updates to enhance the home’s functionality, including upgrades to the electrical and plumbing systems. The original kitchen now features a new Arwa Twin Kitchen Single-Lever tap. Previous spread: Hooft has assembled the S35 Solid Elm chair by Pierre Chapo, PK1 chair by Poul Kjærholm for Carl Hansen & Søn, and Table Emaille #3 by Muller Van Severen to create an informal dining setting. Also pictured are the Lampadaire Droit by Serge Mouille and the MVS S88 by Maarten Van Severen.
This page: There is minimal art in Hooft’s home, with just a few small paintings and drawings. “Fifteen years ago, I chose between collecting art and furniture—furniture won,” he says. A lounge chair by Lucy Engels, a Snoopy lamp by Achille and Pier Giacomo Castiglioni for Flos, and a Pillow Modular sofa by Muller Van Severen for Kassl reflect his eye for curating both vintage and contemporary pieces. Opposite page: Villa Arca, built in 1962, was ahead of its time in both design and construction. Named for its arched roofline, the home was completed in just six months, using a timber framework, corrugated cladding, and a clean, symmetrical rectangular plan.
Clockwise from top left: Francois Halard: A Visual Diary by Francois Halard, Flag Halyard chair for PP Møbler by Hans J. Wegner, LC14 Tabouret Cabanon Roquebrune-Cap-Martin 1952 by Le Corbusier, Lampadaire Droit by Serge Mouille, Snoopy lamp for Flos by Achille and Pier Giacomo Castiglioni, Shiva Flower vase for BD Barcelona Design by Ettore Sottsass, Daphinette Portable lamp from Lumina by Tommaso Cimini, PK33 stool for Fritz Hansen by Poul Kjærholm, Vintage Mid-Century Persian Flatweave rug, Peter Lewis Paints Dancing In the Dark, Kustom Timber Copenhagen cork, Artesan Sistina tiles from Artedomus, Utrecht armchair 637 for Cassina by Gerrit Thomas Rietveld, Chair 65 for Artek by Alvar Aalto, Eames House Bird for Vitra by Charles and Ray Eames, Pillow modular sofa for BD Barcelona Design by Muller Van Severen.
House on the Hill
LOCATION Daung wurrung Country/Victoria, Australia INTERIOR DESIGN
Flack Studio PHOTOGRAPHY Anson Smart WORDS Alexandra Gordon
A layered and moody framework provides the backdrop to a vintage furniture collection, creating a bespoke refuge from city life.
Set on a hill overlooking an olive grove and the Goulburn River in country Victoria, the views alone could have been enough to bring this country weekender to life. “If you tip it upside down and forget all of the loose furniture, it’s all about the landscape,” Flack Studio founder David Flack says.
Built in the nineties, the single-story modernist home was spread across two simple structures, one with the master bedroom and main living spaces, and the other a guest house with three bedrooms, two bathrooms, a kitchenette and living space. “While the view was amazing, it was so clinical and cold with no personality or texture before,” the designer recalls.
Flack has taken a characteristically unexpected approach to the interiors, creating a layered and moody framework that’s as captivating as the surrounding countryside. “The windows are so vast; they were almost luminous inside,” he says, adding, “I thought a darker and more textural interior would make the windows pop.”
The clients, avid collectors of vintage furniture, were willing accomplices. Having recently sold a large Victorian house in Melbourne, they had engaged Flack to work on their country weekender and a new penthouse in the city. “It’s their second home, but it doesn’t feel like a holiday home where you have dumped your leftover furniture,” Flack says. Here art, furniture and objects have been expertly curated to suit the reimagined spaces.
An overhaul of the plan was part of the two-and-a-half-year process. A powder room was added, the laundry became a stand-alone space, and the living-dining room was reoriented to the repositioned fireplace. “The kitchen was in the same spot, but it became bigger, and off it, we created this beautiful little providore, a humidified room where they store the olive oil they make,” Flack adds.
Opposite page: The providore is rich in colour with Vermello T1 tiles from Viúva Lamego and Rosso Levanto marble, from Artedomus. Previous spread: The kitchen combines Zellige tiles in Chocolate, a Predia marble island benchtop and American oak joinery. Above the Antique Brown granite benchtop, a collection of sculptures are arranged on the shelf, from left to right, ‘Weeping Woman (kneeling)’ by Sanné Mestrom, ‘Shell teapot’ and ‘Green bottle with shell handles’, both by Glenn Barkley. On the floor are Antico Toscano tiles from Artedomus.
The rugged setting informed the choice of finishes. “It all had to be robust because you are on the land, straight out into the wind and dust,” Flack explains. Solid European oak chevron floors are combined with handmade Moroccan tiles, marbles and terracotta. Light bounces off the rich Venetian plaster walls and ceilings, creating a sense of spaciousness despite the low ceilings. The cabinetry, a kaleidoscope of different finishes, sizes and grain directions in American oak, aged brass and blacksealed zinc adds another layer of interest. “Everything has a tactility; it all feels Australian without being overtly so,” he says.
Vintage furniture features heavily in the eclectic interior. “It’s a mishmash of genres, which is fun. They are like this little family together,” Flack says, citing the Sheriff’s armchair from Brazil and the Scarpa dining chairs as favourites. The spaces are not necessarily ruled by style over substance. A green velvet sofa designed by Vico Magistretti for De Padova is one of the few new acquisitions in the house, chosen for its inviting feather-top pillow cushions.
Since completion, the focus has shifted to the client’s city abode. However, the décor is still evolving. “With all our clients, we keep going; we are always collecting with them. It becomes more than just that one project. They become a part of the studio's life,” Flack says. The dynamic approach has led to a house of artful contradictions—international yet Australian, rustic yet glamorous, and comfortable, offering sanctuary and respite from everyday life.
The panoramic views in the dining room are grounded by the Porro table, vintage Monk chairs by Afra and Tobia Scarpa from Castorina & Co, and a mid-20th-century Berber rug from Loom. Atmospheric lighting is provided by the Akari UF4-LA floor lamp, vintage French pendant from Geoffrey Hatty, and La Falene floor lamp by Piero de Martini from Nicholas & Alistair.
This page: Knoll Bertoia counter stools provide seating at the well-appointed kitchen illuminated by a pair of Piero de Martini perforated wall sconces from Nicholas & Alistair. ‘Art Untitled Moment (Cadmium Orange, Scarlet Lake) diptych’ by Yvette Coppersmith brings colour and texture to the airy combined living space. At the same time, ‘Canker sore (detritus)’ by Isadora Vaughan makes an interesting centrepiece. A vintage Gervasoni bamboo daybed is in the foreground.
This page: The living room features a vintage rug from Halcyon Lake, vintage Stillo Novo floor lamp from Nicholas & Alistair and a vintage Fred Wall side table from Geoffrey Hatty. ‘Weeping Woman (Kneeling)’ by Sanné Mestrom and the Attico Murano glass wall lamp add interest to the space. Opposite page: A Raffles sofa by Vico Magistretti for De Padova and Sheriff lounge chair in leather by Sergio Rodrigues for ISA provide a comfortable seating area in the living room. On the coffee table is ‘Gold Figure with Elephant Legs’ (2017) by Ramesh Mario Nithiyendran and a ‘Sky piece (sample)’ by Teelah George above the fireplace. On display on the inbuilt joinery are a collection of sculptural pieces from left to right, ‘Happy Bucket’ (2017) by Nell, ‘The Unsubstantial can easily bump the ordered world into very different registers’ by Isadora Vaughan, ‘A.C.A.B’ by Kait James and ‘Third hand: ‘Austrostipa Elegantissima’ by Isadora Vaughan.
This page: The ensuite has an earthy combination of finishes including Zellige tiles in Salmon, Calacatta Viola and terrazzo tiles. The vintage Barovier&Toso wall light from Geoffrey Hatty and Astra Walker Olde English tapware complete the picture. Previous spread: The main bedroom is softened by carefully curated furniture including the vintage Bonking Bunnys armchair from Geoffrey Hatty, Cassina Civil bench and Bio-Mbo bed. By the expansive window is one of an indigenous set of dogs from Short St Gallery.
Wild Horses
LOCATION Saintes-Maries-de-la-Mer, France DESIGN Hauvette & Madani
PHOTOGRAPHY Matthieu Salvaing WORDS Megan Rawson
Set across a four-hectare estate just a moment's walk from the Mediterranean coastline, this sensory-driven retreat reimagines French luxury as a return to spirited authenticity.
Les Bains Gardians, owned by French film director Jean-Pierre Marois, offers an escape to a place where nature, wellness, and spirit meet against the untamed backdrop of the Provence-Alpes-Côte d'Azur. Located between the Mediterranean Sea and the Rhône River, the Parc Régional Naturel de Camargue is renowned for its untouched beauty, rich biodiversity and distinctive culture. Reimagined by French interior design studio Hauvette & Madani, the estate's transformation honours its storied narrative while retaining the raw beauty of the Camargue.
Since 2010, Paris-based duo Samantha Hauvette and Lucas Madani have been crafting high-end projects, using their signature design language of 'patinated modernism’—combining the past with the present. At Les Bains Gardians, their design vision unfolds across sixty-seven guest rooms, forty-eight traditional cottages, a spa, a kidney-shaped pool and the famed Le Pont Des Bannes Restaurant; serving a farm-to-table Mediterranean menu.
Hauvette & Madani’s approach centred on ‘re-authenticating’ the estate and softening the lines between old and new. “The general idea behind the renovation of Les Bains Gardians was to restore the original soul of this place, which successive renovations had denatured,” Hauvette says.
This page: Grounded in the existing farmhouse aesthetic, the communal spaces exude warmth and comfort, with rustic textures and timeworn materials creating an inviting sense of home. The wild horses of Camargue roam the region’s vast wetlands, and free-spirited nature embodying the raw beauty of this unique French landscape. Previous spread: Co-founders Samantha Hauvette and Lucas Madani of Hauvette & Madani.
The duo selected materials that echo the surrounding beauty of the location. “The materials we used include rough travertine, lime-painted walls, and the extraordinary landscape as the highlight of this meditative retreat.” Hauvette explains. Tamarisk shrubs, feather reeds, olive and cypress trees, and umbrella pines have all reclaimed their rightful place around the retreat while pink flamingoes and herons have returned to fish in the ponds under the gaze of the region’s iconic Camargue horses. “Our main desire was to respect the landscape by making it the main feature,” Madani explains. “The architecture fades away in favour of nature; it becomes its showcase. The rusticity of the Camargue, a true territory of nature, is sublimated,” he adds.
This philosophy is also reflected in the interiors, where organic textures and a muted, earthy palette ground the hotel among its natural surroundings. Selected vintage furniture and lighting pieces from the 1950s, 1960s, and 1970s instill the space with a sense of nostalgia. Notable pieces include the HAY Crate dining chairs in white, used outdoors, a 1970s modular sofa by Peter Ghyczy for Herman Miller, and a checkered Moooi chess table designed by the Swedish design group Front.
Designed to set itself apart from the traditional markers of luxury, Les Bains Gardians is an immersive retreat where architecture surrenders to the gentle rhythms of nature. "We hope that this immersive experience in the great outdoors and the timelessness of the decor will bring visitors serenity and peace, far from today's luxury standards.”
This page: In the Camargue region, the traditional ‘cabane de gardian’—with its distinctive thatched roof and whitewashed walls—stands as a testament to the region’s pastoral heritage. Opposite page: A 1970s space-age modular sofa by Peter Ghyczy for Herman Miller introduces a futuristic contrast to the raw, earthy interior, defined by exposed timber beams and a paved floor.
This page: Furnished with simplicity, each of the cabanes draws its organic, natural palette from the surrounding native landscape. Previous spread: A striking balance of past and present, the checkered Moooi Chess table brings a contemporary edge to the restaurant and bar space, seamlessly paired with vintage pieces that add depth and character. Following spread: Designed by Gerrit Rietveld in 1934, the utilitarian-like Crate dining chairs bring a relaxed, charm to the poolside dining space.
kitchen of the year design contest 2025
Celebrating excellence in kitchen design
Open to professional kitchen designers, architects, interior designers, builders and developers from Australia and New Zealand, the contest acknowledges kitchens that speak to the pursuit of excellence and set a new precedent for design.
All entries will be judged by a distinguished panel and the grand prize for the Best of the Best is an exclusive trip for two to Europe.
Entries now open
Scan the QR code to submit your project or to find out more information.
Be our guest, experience our statement pieces: Gaggenau Melbourne | Gaggenau Sydney
Resonant Tranquility
ARCHITECTURE ADDARC BUILD LBA Construction Group
LOCATION Wurundjeri Woi Wurrung and Bunurong Country/Melbourne, Australia
LANDSCAPING Vogue Grange PHOTOGRAPHY Timothy Kaye WORDS Cardia Speziale
Through its distinct rammed earth form, an inner-city Melbourne home mediates a considered balance between presence and privacy, cultivating nurturing moments within.
Located on a north-facing corner allotment with a design brief requiring conceptual and built-form balance, St Kilda Residence by ADDARC sits easily at the juncture of a primary road and a quiet cul-de-sac.
Working closely with the homeowners who had lived in the adjoining property for more than forty years, the ADDARC design team sought to create a home that would comfortably allow for ‘ageing in place’—a space that would accommodate a peaceful lifestyle for two, punctuated often and joyfully by playful grandchildren, long Friday dinners, and a steady flow of classical music.
“What excited us about the concept of designing a new home for this particular site was the juxtaposition and challenge of the corner presentation and context,” ADDARC director Rohan Appel says. “The balance of architecture being introverted and extroverted at the same time, and the ability to create space and design on a highly prominent corner that would create interest and shadow play, yet strategically balance privacy and seclusion,” he adds.
This page: Archibald chairs by Jean-Marie Massaud for Poltrona Frau and a Sengu low table by Patricia Urquiola for Cassina sit alongside the client’s own grand piano in the study. Opening spread: The inner southeastern site required a balance between creating street presence and privacy. The front entrance features a Fermat entrance handle in bronze by Barbera Design, and a pair of DGA Kumi wall lights that tonally blend with the rammed earth.
Imbued with the warmth of materials and light, the home is organised around a series of enclosed courtyards that each offer aspect and integral amenity. “An underlying tranquillity resonates,” Appel continues. Robust materials are incorporated throughout, but the hero and focal element is undeniably rammed earth—chosen for both its thermal performance and striking aesthetic value. “Rammed earth is one of the most beautiful building materials; we refer to it as being perfectly imperfect,” Appel shares. “Once you embrace the imperfections, you begin to appreciate them and the material's natural beauty.”
The internal program offers an open-plan living, dining, and kitchen area that enjoys the movements of natural light throughout the day, and the adjacent study is a music conservatory “for when the clients host musical soirees.” A primary bedroom and additional guest bedroom offer aspect and connection while also being separate enough for moments of respite, and outside, a communal veggie garden and fruit orchard is shared with neighbours.
Beyond the passive qualities that optimise thermal performance, sustainable construction methodologies were employed to ensure an environmentally sustainable outcome. This included the implementation of dual heat pumps, thermal mass, enhanced insulation, automation control, an extensive solar array with battery storage provision, rainwater reuse, thermally improved glazing and car charging facilities. “Our clients were strongly committed to building a home that was both architecturally beautiful, to be enjoyed by passers-by, but also good for the environment,” Appel reflects. “An energy-efficient home for both personal wellness and for the environment.”
This
page: The open-plan living, dining and kitchen features a custom dining table and 412 Cab chairs in Russian red by Mario Bellini for Cassina, complementing the Signorino Rossi Alicante fireplace surround. Opposite page: In the living space, a Poltrona Frau Let it Be sofa by Ludovica+Roberto Palomba and Times lounge chair by Spalvieri & Del Ciotto, and a Mex-Hi Tavolino coffee table by Piero Lissoni for Cassina.
The kitchen is designed for a serious cook, with a Taj Mahal kitchen island, a Wolf Built-In M series Professional oven, a Wolf Professional Speed oven, and a Wolf Contemporary induction cooktop. Also pictured: 410 Cab bar stools in Russian Red by Mario Bellini for Cassina, John Pawson Limestone bowl for When Objects Work and Soffi pendant light by GamFratesi for Poltrona Frau.
This page: The primary bedroom features the Brera bench by Guglielmo Ulrich and the Roy Tavolo table lamp by Mario Nanni for Viabizzuno. Opposite page: Signorino Fior di Pesco Carnico marble and Travertine Roman Classico combine for a serene secondary bathroom.
SLIPWAY HOUSE
BY ARENT & PYKE
SYDNEY SHOWROOM NOW OPEN
Definitive Design Products for 2025
We asked 50 notable Australian architects and interior designers to vote for their definitive list of products for 2025. This first instalment reveals the pieces that resonate across furniture, lighting and rugs, and why.
Standard
Francesco Binfaré
Edra, 2016
“The Edra Standard sofa is flexible, sophisticated, and comfy as hell. I haven't met a room it doesn't suit.”
— Georgina Jeffries
Extrasoft
Piero Lissoni
Living Divani, 2008
“The Living Divani Extrasoft sofa is unparalleled in quality construction and comfort—no copy comes close.”
– Ingrid Richards, Richards and Spence
Vincent Van Duysen
Arflex, 2006
“Timeless, elegant and comfortable. This piece sits outside trends.”
– Kirsten, Richards Stanisich
This page: Grey House by Adam Kane Architects, photography by Timothy Kaye. Opposite page: Park House by Pleysier Perkins and Mim Design, photography by Sean Fennessy.
Cousy
Prime Time
Tom Steppe
MAKE Nordic, 2009
“The Prime Time chair by Tom Steppe is like a modern twist on the Eames classic, just beautifully pared-back (and more comfortable).”
– Ramon Pleysier, Pleysier Perkins
Up 50 Armchair
Gaetano Pesce
B&B Italia, 2000
“I love the form of the Up 50 armchair by Gaetano Pesce. It commands a room and helps hold a space. I'm a sucker for the original stripped fabric; honestly it’s one of the favourite things I own!”
–
Eames Lounge Chair & Ottoman
Charles & Ray Eames
Herman Miller, 1950
“There is simply no contest; it has always been and will always be the Eames lounge chair and ottoman.”
– Eva-Marie Prineas, Studio Prineas
Adam Haddow, SJB
Utrecht
Gerrit Thomas Rietveld
Cassina, 1988
“The Utrecht armchair by Gerrit Thomas Rietveld is known for its unique proportions, ergonomics, and longevity, ensuring its versatility for a variety of settings.”
This page: Queens Park House by Ben Vitale Design and Arent&Pyke, styling by Studio CD, photography by Anson Smart. Opposite page: Carlton North by Brayshaw Architects and Hecker Guthrie, photography by Shannon McGrath.
– Sue Carr, Carr
699 Superleggera Cassina, 1957 Gio Ponti
This page: Cassina 699 Superleggera chair, image courtesy of Cassina. Opposite page: Six-Ways House by Kennedy Nolan, photography by Derek Swalwell. Bay House by Arent&Pyke, photography by Anson Smart.
Cab 412
Mario Bellini
Cassina, 1977
“The Superleggera chair by Gio Ponti. I love the combination of high gloss lacquer and Indian cane. Its proportions are pure elegance.”
– Jo Lawless, Lawless & Meyerson
“I particularly love these classic leather dining chairs as they age, revealing a beautiful patina from dinners past.”
– Susi Leeton, Susi Leeton Architects + Designers
No.B9 Le Corbusier
Le Corbusier
Thonet, 1920s
“The B9 by Le Corbusier for Thonet is elegant and comfortable with beautifully integrated arms; it is also infinitely adaptable with colour, finish, and seat types.”
– Patrick Kennedy, Kennedy Nolan
Akari 15a Pendant
Isamu Noguchi
Vitra, 1951
“The Akari 15A pendant light by Isamu Noguchi is an intricately crafted piece that acts as a halo above a dining table with a beautiful soft and warm light output diffused through the Japanese washi paper."
– Sarah Cosentino, Studio Esteta
“Me,
Myself and I by Volker Haug and David Flack; the simplicity, size and cast brass add a pared-back, yet strong definition to an interior.”
– Miriam Fanning, Mim Design
Me, Myself and I
Flack Studio & Volker Haug
Uchiwa
Ingo Maurer
Design M, 1970s
“The Uchiwa wall lamp by Ingo Maurer is a classic piece, and we love the way it emits a beautiful ambient glow. It also serves as a piece of art on the wall.”
– Sally Cook, Pasquale Cook
Peter Zumthor
Viabizzuno, 1996
“The Candela di Vals designed by Peter Zumthor for Viabizzuno and used in his thermal baths is simultaneously delicate and robust.”
– Welsh + Major
This page: Photography by Pier Carthew. Image courtesy of Viabizzuno Opposite page: Image courtesy of The Noguchi Museum Archives, 07282.
Volker Haug, 2024
Candela di Vals
Toio LED
Achille & Pier Giacomo
Castiglioni
Flos, 1962
"I love that the Toio has taken an everyday, utilitarian element from the automotive industry and turned it into a beautiful piece of lighting design."
– Kelvin Ho, Akin Atelier
Daphine Terra LED
Tommaso Cimini
Lumina, 1975
“The Daphine Terra LED floor lamp has a refined nature. It’s a classic design piece that is both functional and beautiful and suits any space.”
– Cassie James-Herrick, CJH Studio
Royal Parete
David Chipperfield
“A perfect balance of classic and contemporary.”
– Rob Mills, Rob Mills Architects
Viabizzuno
This Image
Parentesi
Achille Castiglioni & Pio Manzu
Flos, 1971
“I
love the Parentesi’s flexibility and directional ability to illuminate walls.”
This page: Image courtesy of Flos. Opposite page: Journey House by CJH Studio and Davidov Architects, photography by Timothy Kaye. Image courtesy of Viabizzuno.
B&B Italia, 1981
“I love how the simple form sits comfortably with various scenes but the subtle curve takes it somewhere else.”
“Paola Piva’s iconic Alanda coffee table engages our imagination by placing an idealised industrial architectural relic of the space frame in a domestic setting.”
– Adrian Spence, Richards and Spence
“The Ivy coffee table by Grazia & Co is such an interesting piece that can be customised to its own character within a space.”
– Felicity Slattery, Studio Esteta
Alanda
Paolo Piva
Plana
Cassina, 1969
Charlotte Perriand
Ivy Grazia & Co, 2014
Clare Cousins
Alvar Aalto Stool 60
Artek, 1933
“The Artek Stool 60 by Alvar Aalto is both timeless and versatile.”
– Hannah Tribe, Tribe Studio Architects
Chromatic
“We've designed custom rugs with Halcyon Lake in their Chromatic range using high-low textures, adding another interesting element to a room, making it feel gorgeous underfoot.”
– Kathryn Robson, Robson Rak
Halcyon Lake
“The workhorse in so many of our projects.”
“Atelier Février rugs are statement pieces, beautifully handcrafted, with an extensive catalogue of fully customisable designs. It’s all about their bold use of colour, organic shapes and playful design.”
This page: Image courtesy of Armadillo. Opposite page: Stone Soul House by Robson Rak, photography by Shannon McGrath.
Atelier Février
Olivia Cognet Fresque
Agra Armadillo
– Sophia Leopardi, Williams Burton Leopardi
– Nick Tobias, Tobias Partners
A NEW
DIMENSION
In her latest Sydney project, architect Madeleine Blanchfield, of Madeleine Blanchfield Architects blends the heritage charm of a Victorian terrace with a fresh take on reinventing the home for the clients’ evolving lifestyle. The renovation maintains the essence of the original structure while introducing a bold, modern rear addition, marked by a double skylit void bathing the space in natural light.
In this interview, Blanchfield reveals the vision behind the project, the defining design elements, and how a considered selection of appliance and furniture pieces from Winnings elevate this urban refuge.
PROJECT Vessel ARCHITECTURE Madeleine Blanchfield Architects STYLING Jack Milenkovic PHOTOGRAPHY Tom Ferguson INTERVIEW Megan Rawson
Previous spread: The sculptural Cursa armchair from De La Espada brings an elegant touch, complementing the state-of-the-art Miele ovens, induction cooktop, and integrated Gaggenau fridge/ freezer—each sourced from Winnings to elevate both form and function within the kitchen. Following spread: The timber TwentyFive dining chairs and classic Shaker chair from De La Espada add refined craftsmanship to this classically inspired dining space.
How did the Victorian terrace home's heritage overlay shape your architectural approach to balancing tradition with contemporary design?
The house strikes a wonderful balance of serenity and expectation, with the brief for an urban oasis fully realised. Highlights include seeing the house evolve through various phases, especially during parties, and observing how people relax and move through the spaces. The fusion of Victorian detail, Australian landscape, and contemporary architecture creates a truly unique home.
The original house remains intact, complemented by a new, contemporary rear addition. In response to early heritage advice suggesting a pitched roof for the new section, we expanded on this idea, creating a double skylit void with a folded roof form. The rear pavilion, which houses the new kitchen, bar, and study, is defined by this distinctive roof. The addition is further enriched by pocket tropical gardens that flood the space with natural light, transforming what was once a dark, uninviting area.
How does the kitchen serve as the central hub of the home, both functionally and aesthetically?
The extension houses a large kitchen island and a study behind pocket doors. At times, it’s a quiet workspace; at others, it’s a haven for the couple to prepare meals and spend time together. It can also be opened up for parties, with a concealed bar and ample space for guests. The voluminous, unadorned space invites multiple uses.
The kitchen area appears simple but features intricate detailing; the joinery houses and conceals many functions, and the bespoke brickwork required custom fixing details. Achieving a calm, refined appearance required hard work to make it feel effortless.
What role did integrated appliances play in achieving a streamlined and efficient kitchen?
Key considerations included the client’s specific requirements, family size, entertainment needs, and budget. Additionally, the layout, aesthetic, and palette of each project guided the selection process. The Miele ovens were chosen for their all-black appearance and ability to be fully integrated. The Gaggenau fridge and freezer’s motorised push-to-open function allowed them to be incorporated without handles, contributing to the sleek, calm aesthetic.
The interiors feel both contemporary and enduring. What was your guiding philosophy when selecting materials and finishes?
I love author Peter Brook's quote in his book The Empty Space: “A stage space has two rules: (1) Anything can happen and (2) Something must happen.” The project’s philosophy was to design a bare stage for life’s theatre to fill and empty. The palette is innovative in its constraint—carefully selected materials used sparingly to bring a monastic quality to the house, asserting a calm presence in the inner-city block.
The design process involved exceptional collaborative planning, considering every functional or personal element early on to ensure it had its own, often concealed, place. The focus was on creating an atmosphere rather than over-embellishing spaces. Every selection earned its place on Vessel's stage.
De La Espada’s designs bring a refined yet functional sensibility to the home. What drew you to these pieces, and how do they contribute to the overall aesthetic?
The Twenty-Five dining chair, Cursa armchair and Shaker chair all punctuate the space with timber and sheepskin, adding warmth, human touch, and craftsmanship. De La Espada’s design philosophy for the Cursa chair resonates with our approach to Vessel: ‘Cursa was designed with an emphasis on the overall volume and negative space; its solid timber interior structure creates a dynamic interplay of thicknesses around its curves’. The Shaker chair from De La Espada references the narrow, climbing form typical of heritage terrace architecture, particularly around the central staircase.
Explore furniture lighting and appliances at Winnings >
An Artful Folly
LOCATION Knokke, Belgium
ARCHITECTURE Hans Christian
Demyttenaere INTERIOR DESIGN Arjaan De Feyter LANDSCAPE DESIGN
Dominique Eeman PHOTOGRAPHY Tijs Vervecken WORDS Alexia Petsinis
A home on the Belgian
coast conceptualised around a modern art collection unites interior, exterior and landscape design to inspire a sense of artistic intrigue from the outside in.
“Atypical” is how architect Hans Christian Demyttenaere describes this home in the Belgian coastal municipality of Knokke. Designed in collaboration with interior architect Arjaan De Feyter and landscape architect Dominique Eeman, ‘Art Residence‘ responds to an art collector client’s brief for a private gallery that felt like an intimate refuge.
As the trio reflects, the residence, completed in 2024, exemplifies experiential or even “entertainment” architecture, facilitating artistic discoveries throughout its interior spaces and exterior surrounds. Yet, despite this approach, the home and its gardens maintain a sense of modest refinement, ensuring the art is always the focal point.
Art Residence was certainly not the average brief for Demyttenaere, De Feyter, and Eeman. The trio embraced the project enthusiastically, seeking a balance between visually enticing interior, exterior, and landscape designs, and an overall concept that ensured sizeable works of art would be seamlessly integrated into the living environment with maximum impact. The art is part of daily life; be it exchanging a morning glance with Gustave de Smet's Self Portrait, chatting around the dinner table with Constant Permeke’s expressionist landscape as a talking point or encountering sculptures by Jan Fabre and Rik Poot while strolling around the gardens.
With a thatched roof and crossed awnings, the new pavilion has an unusual exterior form that Demyttenaere describes as an “iconic, expansive construction.” Made entirely from sand-coloured Pietra Bicci natural stone, the structure reflects a sense of refined contemporary minimalism, with a nod to the site’s heritage and cultural context. Transposing this idea of undefined forms into his interior scheme, de Feyter explored a series of round and curved elements that seamlessly divide the residence’s spaces; a central feature bar of monumental proportions, curtain-like natural stone walls, and a custom-made blue steel staircase that spirals upwards like a sculpture in its own right. Known for his architectural approach to interiors inspired by a “fondness for purity,” de Feyter’s interior design for Art Residence focused on the quality of the human experience inside the pavilion.
“The residence reflects the power of detail and application of refined craftsmanship, a strong extension of materials and use of colour, and an uncompromising design concept. It has a very strong sense of space and experience. It reflects the purity in human living,” de Feyter says.
A dark interior palette featuring deep browns and blue offset the residence’s artworks, creating an ambience tinged with drama. de Feyter’s focus on materiality enhances this atmosphere, with stripe Pietra Bicci stone walls, the bar’s brushed stainless-steel countertop, and custom oak veneer millwork. The colours, forms, and textures of modern and contemporary furniture punctuate the pavilion’s living and dining spaces, including an aluminium foam dining table by Stijn Dhondt, Cassina Dudet dining chairs by Patricia Urquiola, a red Tacchini Costela lounge chair, and GUBI Beetle bar stools by GamFratesi.
Outside, Dominique Eeman’s garden and landscape design contrasts with the residence’s architecture and material character, with basalt cobblestone walking paths, and grasses and hedges Eemaan describes as a “discreet, green cloth around the works of the pavilion.” The subtle modesty of the design also ensures the art is as much of a focus outdoors as it is inside the pavilion. Paths meander around life-sized sculptures by artists such as Henk Visch and Jean-Michel Folon; their metallic materials gleaming against the garden’s neutral stone and green palette.
Whether perceived as an architectural folly or an unconventional example of contemporary experiential design, Art Residence blurs the lines between aesthetics and functionality, and art and architecture, redefining not only how humans experience art, but how one can live with art in the most intimate of contexts.
This page: De Feyter’s material-driven approach is expressed through striped Pietra Bicci stone walls and custom oak veneer millwork. Tacchini Costela armchairs and 524 Tabouret Berger stools by Charlotte Perriand are featured beside a Jean-Michel Folon sculpture, with a Henk Visch sculpture visible in the garden. A piece by Bram Bogart is pictured in the foreground. Opposite page: Dudet dining chairs by Patricia Urquiola for Cassina, an aluminium foam dining table by Stijn Dhondt and Difféo Gold artwork by Bernar Venet on the wall. Opening spread: With its thatched roof and crossed awnings, the pavilion’s form is crafted entirely from sand-hued Pietra Bicci stone. The outdoor living area features a Palinfrasca outdoor love seat by Vincent Van Duysen for Molteni & C.
This page: A custom-made blue steel staircase spirals upwards in a sculptural form. Opposite page: A dark interior palette tinged with drama emphasises a collection of modern and contemporary artworks. The project's trio of architects achieved a unified concept from interior to exterior; an intimate sanctuary that redefines the concept of living with art.
This page: Crafted from natural stone, the bar is central to the main dining space, complete with a brushed stainless steel countertop, VOLA tapware and GUBI Beetle stools by GamFratesi. Artwork by Constant Permeke is featured on the far wall. Opposite page: A Gubi Basket lounge chair by Joe Colombo, Cassina 524 Tabouret Méribel stools by Charlotte Perriand and a coffee table by Stijn Dhondt create an intimate setting around the fireplace. Artwork from left to right by Karel Appel, Gustave de Smet and Albert Servaes.
This page: The
and
and
garden
landscape design is deliberately discreet, with basalt cobblestone walking paths
a refined selection of plants, ensuring the art is also the focus outside. Opposite page: Sculptures found in the residence's garden include Jan Fabre's 'The Man Who Measures the Clouds' (1998).
RICHARDS STANISICH PODCAST
THIS MUCH I KNOW A DESIGN CONVERSATION WITH KAREN M C CARTNEY BROUGHT TO YOU BY
Richards Stanisich founders and architects Jonathan Richards and Kirsten Stanisich sit down with Karen McCartney in Stanisich’s home to discuss designing emotionally resonant spaces, resisting trends while evolving aesthetically, and the role of adaptive reuse in their work.
Pictured Jonathan Richards and Kirsten Stanisich Portrait Tim Robinson Photography Lillie Thompson for Sarah & Sebastian
Sarah & Sebastian in Melbourne’s Armadale is one of Richards Stanisich’s most recent projects. As Kirsten Stanisich explains in the podcast, the design draws inspiration from oceanography, kelp, and the reflection of water—evident in the phosphorescent green flooring. Metallic accents nod to the brand’s identity in unexpected ways, including a metallic leaf ceiling finished with a Japanese black covering.
A Sculptural Kitchen Defined by Stone and Serenity
Project Concrete Curtain Design FGR Architects
Photography Timothy Kaye Words Megan Rawson
In Concrete Curtain, FGR Architects have crafted a home of quiet strength and enduring elegance—where architecture unfolds in a series of reveals.
Defined by a refined material palette of concrete, glass, and stone, the home is both a private retreat and a space for connection. “In this captivating kitchen, characterised by striking Aquarzo Quartzite, the Sub-Zero, and Wolf appliances command equal attention,” says principal architect Feras Raffoul. “Their sleek and sophisticated appearance complements the kitchen’s refined aesthetic and enhances its visual appeal.”
The Design
Designed as the centrepiece of family life, the kitchen balances bold aesthetics with everyday practicality. The homeowners envisioned a space that captured simplicity and quality, where every element serves a purpose. Positioned to foster connection, the primary workspace maintains clear sightlines to the living areas, entryway, and outdoors, ensuring a seamless flow between cooking, dining, and socialising. A well-integrated scullery enhances functionality, offering efficiency without compromising cohesion.
Underpinning these kitchen elements is Aquarzo Quartzite; its fluid, seafoam-like veining envelops every surface. Marking its first application in Australia, this exceptional stone is meticulously crafted— seamless mitred corners, subtle lighting, and an absence of visible joinery distill the kitchen to its purest architectural form.
The Details
Selected for both performance and design synergy, Sub-Zero and Wolf appliances introduce a precision-engineered counterpoint to the monolithic stone. Their sleek presence enhances the kitchen’s refined aesthetic, ensuring food preservation and culinary excellence align with the home’s architectural vision. A space where form and function converge, this kitchen is a testament to innovation, material mastery, and the art of restraint.
Explore the Sub-Zero and Wolf range of kitchen appliances >
This page: A cement Nudo table by Derek Castiglioni, painted zinc metal, and a polished chair from the Supernova collection by Derek Castiglioni for Nilufar. A soft-coloured sculpture in a botanical-inspired form with wedges in gres handmade by Alissa Coe and a blue sculpture in polyurethane-coated foam sit on the table. A Pleeease basket by Michela Alquati and purple Indagare la Luce wall lamps by Derek Castiglioni are also pictured. Previous spread: In the living area, Lava by Michela Alquati for Carpet Edition, a furry pouf Wikatoria stool by Martino Gamper x Nilufar, and a Clouds sofa by IAMMI Studio.
Designer Derek Castiglioni’s experience spans outdoor space design, collectable design pieces and now, architecture.
Inside his own home, he talks to us about the language of materials, the legacy of Italian design masters and his commitment to crafting spaces that are aesthetically compelling and serve as a platform for creative exchange and personal expression.
Where is your home located?
The apartment is in Legnano, a town near Milan, offering the perfect balance of easy access to Milan and Malpensa airport and a tranquil escape from the city's fast pace.
What did you set out to create in the interior spaces?
My design philosophy centres on creating deeply personal and inherently collaborative spaces. In this apartment, my first 360-degree architectural project, I aimed to craft an environment expressing my unique identity while engaging in a meaningful dialogue with the language of other designers.
Although more akin to a suite than an apartment, I sought to cultivate a dynamic and engaging space. This was achieved through the deliberate and varied application of materials, fostering a rich sensory experience. The design also reflects a reinterpretation of historical influences, particularly the 1960s. I aimed to bridge the past and present by translating these elements into a contemporary context, creating a nostalgic and forward-thinking space. This project is a testament to my commitment to crafting aesthetically compelling spaces that serve as a platform for creative exchange and personal expression.
What were your main reference points?
When designing my house, my main reference points were undoubtedly Gio Ponti's Villa Planchart and Carlo Scarpa's private villa. From Ponti's masterpiece in Caracas, I drew significant inspiration from the striking bas-relief lines on the ceilings. I've incorporated this architectural detail into my space, adding sophisticated drama and visual interest, subtly defining areas and creating a dynamic interplay of light and shadow, much like Ponti achieved.
The carefully curated colour palette based on Scarpa’s villa complements this architectural element. A palette of green and yellow, combined with bold details like purple, evokes depth and tranquility, creating a timeless, sophisticated, and grounded atmosphere.
The palette of green and yellow is distinctive yet soft. How does colour inform your work?
As anticipated, I was inspired by Carlo Scarpa's beautiful Casa Tabarelli when choosing the colours for this project. I was particularly drawn to the peach ceiling and incorporated it with complementary yellow and green tones. I aimed to create a vibrant contrast with the industrial, steel-coloured materials, striving for balance between seemingly disparate elements.
This inclination stems from my multifaceted personality and wide range of creative and daily interests. I enjoy the challenge of synthesising diverse ideas and influences into something new and exciting. Colour is a powerful tool in my work, which I use to shape the human experience of space, evoke emotions, and communicate messages.
There is a verdant element in this apartment. How is this reflective of your work as an outdoor space designer?
Green is more than just a colour to me—it's deeply connected to my family and upbringing. After graduating, I joined our family business, which designs gardens and green roofs, focusing on outdoor space design. This experience instilled a profound appreciation for incorporating green elements into my work. When I design furnishings or architectural projects, I often draw inspiration from nature, using green both aesthetically and symbolically. It's a way for me to honour my family's legacy and bring a piece of my past into my work.
What are the inherently Italian design elements and influences in this space?
My architectural journey is deeply rooted in the legacy of Italian masters. Gio Ponti and Carlo Scarpa were significant sources of inspiration when approaching this project. I was drawn to their innovative approaches and meticulous attention to detail, which I've subtly integrated into the design. It’s a deliberate act of homage, reinterpreting their genius for contemporary spaces.
Beyond them, the elegance of Carlo Mollino and the bold, sculptural forms of Gae Aulenti have profoundly shaped my understanding of material, light, and the overall experiential quality of architecture. I believe in creating spaces that are functional and evoke a sense of wonder and delight, much like the work of these visionaries. Their influence allows me to approach each project with a blend of reverence for the past and a commitment to pushing the boundaries of contemporary design.
The project has an expressive use of materiality – is this a hallmark of your work?
Certainly, I believe materials are more than just functional components—they're a language, a way to tell a story. I'm drawn to pieces with a strong presence, a certain sculptural quality that adds depth and intrigue to a space. For example, the brutalist cement desk in the living area is a piece I designed myself. I wanted to play with the raw texture and weight of the concrete to create a bold statement, a piece that grounds the space and speaks to a sense of rawness and authenticity. In contrast, the sleek bedside table by Duccio Maria Gambi introduces a touch of understated elegance, adding a layer of refinement and sophistication.
Each piece in the apartment has been carefully chosen to contribute to this ongoing conversation between materiality and form.
This page: A Stool Diskoi by Objects of Common Interest x
and
lights by
feature in the bathroom. The designer on the
leading into the apartment. He cites green as more than just a colour, as it’s deeply connected to his family and upbringing. Opposite page: The bedroom features a one-of-a-kind bed made with a continuous metal tube by Derek Castiglioni, two vintage wall lamps, a large floor vase from the Hourglass collection by Derek Castiglioni, an early 1900s black painting by ITALO MUS, a painter from Valle
and a bedside
by
Nilufar
Fresnel wall
Joe Colombo
marble stairs
d’Aosta,
table
Duccio Maria Gambi. Following spread: Chairs and tables from the Aquiloni collection by Derek Castiglioni for Nilufar.
You’ve previously worked across outdoor space design and furniture design, with notable collections in Nilufar Gallery. Is this your first architectural project?
Yes, as previously mentioned, this was my first 360-degree architectural project, and I was incredibly excited to apply my diverse experiences to this new challenge. I'm a born creative, seeking new challenges that push me beyond familiar boundaries. My background, which spans from outdoor space design to collectable design pieces and now architecture, allows me to keep enriching my professional expertise and inject unique perspectives and knowledge into each new challenge. The beauty of art permeates every aspect and field of life.
Multiple pieces in the home are attributed to your design, including the ‘Nudo’ table, a large floor vase from your ‘Hourglass’ collection and the one-of-a-kind ‘Continuo’ bed, made with a continuous metal tube. As a designer, can you elaborate on the importance of a complete design approach to this space and the pieces within it?
Within my apartment, you'll find a curated mix of items. Some are tangible outputs of my design journey over the past few years, reflecting the evolution of my style and technical exploration. Others, such as the bed, were created specifically for this space.
I deeply value the stimulating nature of mixing and matching, both my work and that of other designers. This dialogue between objects cultivates a sense of discovery and personal expression, transforming the space from a mere container into a vibrant, evolving ecosystem. Above all, I strive for a home's dimension to be unique, moving beyond the standard furniture offerings of brands, which too often leads to a homogenising effect. I prefer each home to be distinct and deeply representative of the person who lives there, a space where memories are made, stories are told, and individual style is celebrated.
There are other unique pieces in your home—are you a long-time collector?
I wouldn't define myself as a collector, but I enjoy seeking out unusual objects, whether contemporary designs or vintage pieces, that resonate with me emotionally. I believe in the power of combining items of different artists and designers to create a personal gallery that reflects my identity. As a travel enthusiast, I love collecting art pieces from my trips. These aren't just unique items rarely found elsewhere; they're tangible memories making a space more intimate and meaningful.
FUTURE CLASSICISM
Australian creative Greg Natale’s signature approach to bold, layered interiors defines this Upper East Side townhouse, where colour, texture, and materiality create a richly immersive home.
Inspired by the Big Apple’s eclectic energy and Art Deco influences, Natale blends classic elegance with a contemporary edge—pairing rich marble, intricate joinery, and sculptural furnishings with a candy-box assortment of soft pastel accents. Timber flooring is a defining design element throughout this home, with the Ada pattern from the Bosco Collection by Tongue & Groove and Greg Natale seamlessly unifying its three storeys.
Born from a vision to revolutionise the flooring industry and celebrate creativity and craftsmanship, Co.Lab by Tongue & Groove brings together esteemed designers to create flooring collections that challenge conventions and set new standards in design. As part of the Bosco Collection, Natale’s first timber flooring collection in collaboration with Tongue & Groove, Ada reinterprets parquetry with a contemporary lens, blending organic warmth with architectural precision to redefine how timber is used in modern interiors.
This page: The Ada timber flooring in a herringbone style pattern casts a welcoming warmth, balancing the drama of the marble and seamlessly uniting the spaces. Previous spread: Pastel and playful, the kitchen is grounded by the warmth of the engineered timber floorboards by Tongue & Groove. Natale designed this unique, rhythmic pattern as part of the newly launched Co.Lab range.
This townhouse showcases your signature approach to bold, layered interiors. What was the overall design vision for the project, and how did the Upper East Side location influence your direction?
New York is eclectic, multicultural, and inherently fashionable—qualities that shaped our approach. We aimed to create a space as richly layered as the city itself, a townhouse that feels both deeply personal and cosmopolitan. The Upper East Side’s historic architecture and innate sophistication inspired us to honour its classic elegance while introducing bold patterns, luxurious textures, and a dynamic interplay of colour and materiality. Drawing from refined traditional New York interiors, we reinterpreted these influences through a contemporary lens. Richly veined marble, intricate custom joinery and decorative elements like cornices and mirrored walls add depth and drama, while soft furnishings and textiles bring warmth and liveability.
The palette feels rich and immersive. What inspired the colour choices, and how did you achieve harmony between deep, moody hues and soft pastel accents?
The client envisioned a predominantly pink and green palette, which we built upon by layering moody hues with softer pastel accents to create depth and contrast. Having previously designed their Brisbane home, we were already familiar with their bold, theatrical sensibility—an openness to colour and texture that allowed us to push the boundaries.
To achieve a ‘jewel-box-like’ quality, we played with tonal variation, balancing saturated greens and pinks with softer, more muted tones. The deeper hues ground the spaces, while pastel accents introduce lightness and refinement. Lacquered, highgloss surfaces and marble finishes further enrich the palette, enhancing the luminous effect of the colours.
Art Deco influences are evident throughout, from geometric motifs to sculptural furniture and lighting. How did you reinterpret this era’s opulence while ensuring a contemporary edge?
It’s a real balancing act that falls into place once you start layering rooms with furniture. Art Deco is all about geometric motifs, luxurious materials, and sculptural forms, and our goal was to reinterpret these elements in a way that felt fresh and contemporary. While the home features a real mix of styles, from vintage collectibles to modern European design, the overarching aesthetic remains contemporary and eclectic, which keeps the interior from feeling heavy and dated.
Your newly launched Bosco collection in collaboration with Tongue & Groove introduces a new perspective on timber flooring. How did the Ada floorboards influence the material palette and overall design language of the townhouse? We were developing the Bosco collection while working on New York House, and the Ada pattern was the perfect addition to the project. The collection’s ethos is to do the unexpected with timber flooring—redefining its use and perception—which aligned perfectly with our vision for the townhouse’s interiors. The subtle wave of Ada offers a fresh take on classic herringbone, and as soon as we introduced it into the design, we knew it was the ideal choice.
To balance the cool marble, we incorporated timber elements that add warmth and grounding. The richness of the timber enhances the home’s materiality, creating a tactile contrast that feels both sophisticated and inviting. The interplay of these textures was thoughtfully considered, with polished surfaces juxtaposed against more natural, organic grains to add depth and dimension. Ultimately, this layering of materials gives the home its distinctive character, celebrating both marble and the warmth of timber in a harmonious way.
The uniquely patterned timber flooring is carried throughout all three levels of the home. How did you approach selecting the finish and tone to complement the richness of the interiors while maintaining a cohesive flow between spaces?
Floors are the foundation of a space, and having a consistent through-line linking each level of the home helps maintain cohesion. The Ada flooring acts like the home’s DNA—a unifying element that ties each space together. This allowed us to express individuality within each room. When selecting the finish and tone, we aimed for something that would enhance the richness of the interiors without overwhelming them. The timber is warm yet light, complementing the deep hues and soft pastel accents throughout the home. The result is a home that feels visually connected, where the flooring provides both structure and fluidity, reinforcing the overall design while allowing each space to maintain its personality.
Explore the Bosco Collection at Tongue & Groove >
The Greats
Casa Pedregal
LOCATION Mexico City, Mexico DESIGN Luis Barragán PHOTOGRAPHY
Jack Lovel WORDS Aleesha Callahan
The Greats is a new series on iconic architecture explored through a photographer’s lens. Casa Pedregal, a masterpiece of Mexican modernism by Luis Barragán, emerges anew through the eye of Australian photographer Jack Lovel, whose rare access captures the house’s interplay of space, colour, and light.
Casa Pedregal is an enigma. Designed in 1947 by Pritzker Prize winning architect Luis Barragán, it is a study in contrasts. Vivid pink walls sit against volcanic stone, expansive volumes lead to intimate enclosures, light shifts as if choreographed through apertures. While the house is widely admired, few have had the chance to document it with the astuteness it deserves. Australian photographer Jack Lovel has captured its rarely seen details in a way that breathes new life into Barragán’s spatial poetry.
The opportunity to photograph Casa Pedregal came about with kismet. While presenting his work on Bulgarian-Australian architect Iwan Iwanoff at Modernism Week Palm Springs in 2023, Lovel met Modernism Week Mexico City co-founders Cristina Artigas and Roberto Diaz Gonzalez. Deeply embedded in Mexico’s modernist heritage—Cristina is the granddaughter of renowned architect Francisco Artigas—the duo saw in Lovel’s work a sensibility that resonated with their mission: bringing renewed global attention to Mexico’s rich modernist tradition. Staying in touch, the connection led to an invitation to photograph Casa Pedregal, a rare privilege given the home’s limited accessibility.
Defined by a series of expansions and contractions, the house features a theatrical interplay of scale and light. Lovel has responded instinctively to the architecture, letting first impressions be the guide alongside Barragán’s genius.
The interior of Luis Barragán's Casa Pedregal is soft and muted, with shifting tones of blue and grey. The spaces feel lofty with incredibly high ceilings and simple furnishings.
Barragán’s work is inseparable from its hues. The walls of Casa Pedregal shift with the day’s changing light—one moment saturated, the next softened to an ethereal glow. “Colour is integral here,” Lovel observes. “The way it changes, even within minutes, makes the experience of moving through the space feel cinematic.”
While lesser known than Casa Estudio Luis Barragán (the architect’s own home), Diaz Gonzalez shares that, “Casa Pedregal holds a special place. As a significant piece of Luis Barragán’s legacy, it encapsulates the delicate balance between simplicity and poetic spatial expression that defined his work.”
For Artigas and Diaz Gonzalez, the house is emblematic of their broader vision for Modernism Week Mexico City. “In Mexico, modernism was never a mere imitation—it evolved into a dynamic dialogue between global ideas and regional sensibilities. The bold geometric forms, innovative uses of natural light, and seamless transitions between indoor and outdoor spaces speak to a design ethos that resonates with the country’s vibrant spirit and rich heritage,” Artigas says. Through guided tours, talks and exhibitions, they are reintroducing audiences to structures like Casa Pedregal, not as relics of the past but as living, evolving spaces.
In a house designed to be felt as much as seen, Lovel’s work offers a new way of experiencing Barragán’s legacy, one where architecture, light and colour remain as vital as ever.
This page: Situated atop a volcanic rock, the house emerges from the site, with its modernist lines and playful pink exterior. Colour is a defining feature of Barragán's work. Opposite page: The interior spaces compress and release, coupled with shifting floor levels and a carving of light, creating what photographer Jack Lovel describes as a "cinematic" experience.
BNE MEL PER SYD
THE LIBRARY
LIBRARY
Clockwise from top left: The Photographer in the Garden by Jamie M. Allen and Sarah Anne McNear, Thirty-Six Views of Mount Fuji by Takashi Homma, Jon Rafman: Nine Eyes by Jon Rafman, Sandra Rafman and Joanne McNeil, Joel Sternfeld: Walking the High Line by Adam Gopnik, John Stilgoe and Joel Sternfeld, Anchor in the Landscape by Adam Broomberg and Rafael Gonzalez, Mnemosyne Grove: Georgia Metaxas by Georgia Metaxas and Dan Rule.
Clement Meadmore’s early furniture and lighting designs are about to become well-known again, thanks to a collaboration between Grazia & Co and the Meadmore family.
This page: Meadmore’s Leather Sling chair Model 248 (1963), part of the permanent collection at the Museum of Modern Art, New York, has been reissued by Grazia & Co in polished stainless steel and hand-stitched saddle leather in natural, black and olive. Opposite page: The Calyx lighting range earned Clement Meadmore his second Good Design Award from the Society of Interior Designers of Australia (SIDA) in 1954. The floor and table lamps now feature updated scales to meet Australian safety standards and incorporate energy-efficient low-voltage LEDs. Previous spread: Australian designer Clement Meadmore launched the Corded furniture range in 1951, with the Corded chair winning the Good Design Award in 1953.
One of Australia’s most significant sculptors of the late 20th-century, Clement Meadmore, has massive public sculptures around the globe, including North America, Canada, Japan, Mexico and Taiwan. Yet, despite his success as a sculptor, Meadmore was not an art school graduate. Instead, after a brief stint studying aeronautical engineering, he completed a degree in industrial design at Melbourne Technical College (now RMIT University). His understanding of proportion and balance in complex three-dimensional forms is underpinned by a deep interest in design's intangible and aesthetic aspects— particularly the flow and tension in geometric forms.
While simultaneously creating sculptures—first in wood, later in welded steel—Meadmore quickly demonstrated an ability to design affordable furniture that captured the global zeitgeist. In 1952 and in his early twenties, he released the Corded chair, a fine steel rod frame woven with humble cotton sash cord to form a flexible seat and back, finished with turned wooden balls that terminated the metal structure in a tactile, pleasing way. The chair won a Good Design Award from the Society of Interior Designers (SIDA) in Sydney in 1953, and Meadmore soon expanded the collection to include an armchair, stool, recliner, and a series of dining, coffee, and side tables under the brand Meadmore Originals.
These early, visually light furniture pieces are the mainstay of the designs being reissued by Melbourne furniture company Grazia & Co in a desire to bring Meadmore’s work in furniture and lighting to an entirely new audience. In addition to the skeletal forms of the early 1950s, Grazia & Co have relaunched the Sling chair Model 248—an exceptional chrome and leather design from 1963 that shows Meadmore’s move toward bolder and more solid geometric shapes around the time he moved to the US to pursue a career as a sculptor. The chair is part of the permanent collection of the Museum of Modern Art New York.
Also launched as part of Grazia & Co’s Meadmore collection are the Calyx table and floor lamps from 1954 and 1955, respectively. These simply constructed lights use a swivelling aluminium shade on a slender supporting stem in conjunction with a heavy bent steel base. The clever two-position base allows the lamp to be positioned vertically or lean forward to focus on a task or particular area of a room. Resembling a long-necked bird like a Crane or Flamingo, the strong anthropomorphic nature of the design adds charm to the otherwise industrial form and won Meadmore his second Good Design Award with the Society of Interior Designers (SIDA). Era-appropriate colours—lemon yellow, rust red and pale blue—have been maintained to ensure a genuine 50s feel to the new production pieces. Other interesting designs, like the Meadmore side table, are included in the new collection and show the designer’s ability to create clever contemporary objects using the smallest amount of material possible.
Meadmore’s designs embrace the optimism in post-war era events like the 1951 Festival of Britain while exhibiting a revolutionary approach to materials, much like the welded wire designs of Charles and Ray Eames for Herman Miller and Harry Bertoia for Knoll. Meadmore, like Bertoia, had a deep fascination with contemporary art and sculpture, and he referenced these ideas in his industrial designs. The Dutch De Stijl painter Piet Mondrian and his Composition paintings particularly influenced Meadmore’s early work. The delicate interplay of lines in his Corded seating designs removes the need for conventional upholstery. It predates Verner Panton’s celebrated Panton One and Wire Cone chair designs released in Denmark in the late 50s and early 60s.
While European art and design were Meadmore’s constant inspiration through books and periodicals, Australia’s post-war material shortages meant that enormous ingenuity was required to create a viable furniture collection, and it is these austeritydriven solutions combined with his uncompromising artistic vision that make Meadmore’s industrial design so remarkable.
The involvement of Meadmore’s son, Quentin Meadmore and granddaughter, Jade, along with Meadmore collectors Jeromie Maver and Dean Keep, was essential to faithfully reproducing these iconic designs. Subtle updates to materials have delivered a higher quality product and allowed much of the seating to be used outdoors. "Grazia & Co have faithfully honoured Clem's vision, adapting it for modern living,” Quentin Meadmore says about the new collection.
This page: Pictured: Clement Meadmore, one of Australia’s most significant sculptors and industrial designers of the late 20th-century. Opposite page: The Corded furniture range includes the Corded chair, armchair, stool, and recliner, each reflecting Meadmore's approach to form and function. Following spread: The Meadmore Corded recliner reimagined with a solid stainless steel frame and Australian-made marine-grade cord.
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An architecture studio’s intense creative process with its client has culminated in a home that sits at the intersection of personal identity and design.
The spaces we inhabit are often an amalgamation of the things we love most, with their origins able to be traced back through our past experiences. In the case of VA House, a couple from distinctly different backgrounds—one from New York, the other from Barcelona, where the home is located— has found common ground in a home that is both richly layered and deeply personal.
The couple enlisted the expertise of Barcelona-based design studio Mesura to reimagine the 1970s apartment, whose approach is rooted in maintaining close collaboration with clients. “Every element of this apartment is the result of an intense creative process with the owners,” one of the studio’s five co-founders Carlos Dimas says. “It was vital that they were involved at every stage, ensuring the final outcome reflected their identities, vision and needs.”
Fundamental to the design was the desire to capture the dynamism of New York and project it against the calming backdrop of Barcelona. Incorporating natural, pared-back materials typical of Barcelona interiors was the first step to achieving this. The use of wood, plaster and stone— materials favoured by locals for their warming and grounding properties—beckon the bolder, more playful accents characteristic of New York interiors.
“From the beginning, we aligned with the owner's vision to create a neutral canvas, where colourful pieces would stand out,” Dimas says. For example, in the living area, the bold stripes of Gaetano Pesce’s Up 50 armchair contrast beautifully with the warm oak flooring underneath. Similarly, in a quiet corner of the main bedroom, the vivid colours of ‘Cup Holder’ by Ritsch Sisters, courtesy of VASTO Gallery, can be appreciated against the softness of the lime stucco walls.
The contributions of craftspeople was also integral to the project’s success. “We engaged with many different artisans when working on the interiors, whose knowledge we were constantly drawing on to help refine the design,” Dimas says. Pieces like the hand-carved stone sinks and kitchen island, custom designed by Mesura and made by local artisans, embody the connection between the maker and the user. “Feeling the texture of the stone, knowing the work that went into making it, is a sensory experience that elevates the piece’s everyday use,” Dimas says.
Mesura’s intervention also sought to reimagine the spatial experience of the apartment. “The original layout of VA House was defined by compartmentalised rooms and narrow spaces—a structure that felt disconnected and restrictive,” Dimas says. “By removing unnecessary partitions, we revealed the synergy between the living room, kitchen and study, introducing a new sense of openness and continuity.”
In reworking the layout, Mesura also sought to strengthen the home’s connection to nature. Second to the large openings that seek to integrate the skyline and terrace into the interiors, the materials themselves ensure that the transition from indoors to outdoors is an organic, fluid process. The untreated wood of the decking, for example, with its muted honey tones, was chosen specifically to complement the oak flooring inside. The home also possesses what Dimas describes as an "extraordinary" quality, where the trees and tall shrubs planted on the terrace create a green oasis that dampens the noise of the city below, enhancing the sense of tranquility within.
As the things we love most change over time, so too do the spaces we inhabit, emphasising the importance of longevity in design. In the case of VA House, Dimas says, “When new objects are added to the home over the coming years, we are confident they will find their place within the foundation we have created.”
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This page: The kitchen showcases
Jamaica stool by Pepe Cortés for BD Barcelona Design. Mesura has incorporated terracotta tones in the powder room
kitchen—a
“that
inspired by Catalan tradition”, Dimas says. Opposite page: Featured in
powder room is the Roc wall light by Marset. Previous spread: Dining table designed by Mesura, Rey Chairs by HAY and artwork ‘Pepsi Therapie 21st Century Love’ by Max Freund, courtesy of VASTO Gallery. Previous spread: Up Series 2000 armchair by Gaetano Pesce for B&B Italia.
In the main bedroom, ‘Cup Holder’ by Ritsch Sisters, courtesy of VASTO Gallery, stands out against the lime stucco walls, accompanied by the Rubber lounge chair by Paul Coenen, courtesy of VASTO Gallery, and Taccia table lamp by Achille and Pier Giacomo Castiglioni for Flos, courtesy of Punto Luz.
This page: The bathroom also features a bespoke limestone sink by Mesura, elevating the sensory experience of the space. The sculpture by the bath is by Berta-Blanca T. Ivanow, courtesy of VASTO Gallery. Opposite page: The bedroom features a bespoke limestone nightstand by Mesura, as well as an upholstered bedhead. These custom designs are paired with the Roy wall light by Mario Nanni for Viabizzuno and a bamboo tufted rug by Cotlin.
Frameworks
LOCATION Gadigal Country/Sydney, Australia
ARCHITECTURE
Potter&Wilson INTERIOR DESIGN Karen McCartney & Sarah Johnson
Studio BUILD Lawson and Lovell & HR Constructions LANDSCAPE DESIGN
Dangar Barin Smith PHOTOGRAPHY Prue Ruscoe WORDS & STYLING
David Harrison
Emerging from a long, iterative design process, Frame House is a celebration of how, over time, the disciplines of architecture, interior design and landscape can come together in ways that are more than the sum of the parts.
The beauty of this house lies in its sense of arrival. A spreading cedar tree on the eastern corner frames the house and a meandering crazy-paved path, 35 metres long, takes you through a lush garden. The intentionally untamed planting scheme is a counterpoint to the rectilinear nature of the modernist-inspired house of timber, glass and concrete. “The commission was originally for alterations and additions, so the siting was pre-determined by the existing 1950s red brick house,” Potter&Wilson director Simon Wilson says.
While the client brief was prescriptive in terms of rooms and requirements for entertaining space, the architectural opportunity lay in expanding the relationship to its bushland setting and bay views and establishing a sense of theatre in the entry sequence. “This brief allowed us to explore the idea of creating various spaces within the concrete frame which provide different levels of privacy, function and drama. The double-height entry and open, screened dividing wall, allows views through the house to the bay beyond,” Wilson says.
When building was complete, the house was sold and the new owners set about personalising it to their own taste, both inside and out, engaging Dangar Barin Smith to develop the landscaping throughout the site. “Although the clients have a young family, they were happy that the front of the house was filled with plants, then the rear with the pool and entertaining area—which faced the view—became a different type of garden experience,” Will Dangar says. Privacy was an issue both from the street and to the north, and generous planting, including swathes of fast-growing bamboo, solved those concerns.
The owners turned to Karen McCartney and Sarah Johnson Studio for the interior with a brief to draw inside and out together. While function and practicality were considerations, so was their love of Danish furniture, art and ceramics. “They were open to an interesting mix of furniture pieces from brand-new designs—such as Italian designer David Quincoces Lopez’s W dining table for Salvatori, to vintage pieces like the 1960s designed Cleopatra daybed by Dick Cordemeyer for Auping and the iconic Pierre Paulin Pumpkin chair designed in 1971,” McCartney says.
This page: The entry sequence is a signature architectural aspect of the house by Potter&Wilson, creating a sense of arrival after a journey through the lush and generous garden by Dangar Barin Smith. A modernist Willy Guhl-designed chair sits on the veranda while a metal wall sculpture by artist Caroline Duffy casts shadows as light moves through the space.
The upper living space segues directly from the entryway and is essentially a glazed box. This porosity, this very present connection to landscape on both sides, demanded a sympathetic interior response. “We wanted to select fabrics in tones that reflected the landscape beyond—the sky, water and greenery. Hence, the rugs from Halcyon Lake and Cadrys have a light shimmery quality, while the Pumpkin chairs are muted blue and soft mohair velvet,” Sarah Johnson says.
The large ground-level TV room is a more robust space where the colour tones are dialed up, led by a bold wall of cabinetry designed by Johnson and built by Cranbrook Workshop. This is complemented by the generous curve of the Valley sectional sofa by Jardan and two re-covered vintage Alky chairs from Castorina & Co, which were chosen for their simple, gestural form. Confident art selections fill the walls, including four relief wall works by Dutch artist Edith Beurskens in earthy tones sitting above shelving layered with plants, ceramics and books.
One of the most significant interventions in the existing scheme was reworking the main bedroom, ensuite and dressing room. Driven by the desire to inject subtle colour and a richness of materiality and detailing, two key moves underpinned the new scheme. “We removed a fixed joinery piece in the bedroom that created a corridor to the ensuite and reorientated the bed so that you are greeted by the bedhead and the artwork which serves to open up the room,” Johnson says.
The other key decision was to replace a timber veneer wall with a fabric one using Martyn Thomson Studio’s jacquard fabric. “The fabric is so tonally rich and nuanced it is the equivalent of hanging a huge artwork on the wall. It also softens sound and provides the palette for all the other colour choices in the room,” McCartney says.
Soft washed timber tones, seagrass infill panels and rumbled brass handles by Henry Wilson add tactility for new joinery in the ensuite and dressing room. Variegated green Japanese tiles and a linear Blue Moon Granite vanity run the length of the space delivering a calm but sophisticated colour palette. Johnson worked closely with local builder Hamish Roughley to achieve a highly crafted result which reimagines the space while respecting the existing footprint and services. “We started this project in 2017,” Johnson says, “So although it has taken a while it is gratifying to see how everything has come together in such a mutually supportive and satisfying way.”
This page: Sequoia pouf in natural sheepskin by Space Copenhagen for Fredericia, painting by Katrina O’Brien from Curatorial+Co., ceramic sculpture by Jan Vogelpoel and ceramic vessels by Mel Lumb. Right of frame, a Curve bench by Brodie Neill for Riva 1920. Opposite page: A large open-plan living area sits between the garden space and looks at the view over the bay. Retreat sofas by Monica Förster for Fogia, a Carl Hansen OW150 daybed by Ole Wanscher, and Pumpkin swivel chairs by Pierre Paulin form a mix of seating options on soft toned rugs from Halcyon Lake and Cadrys. Artwork by Hannah Nowlan.
This page: Martyn Thompson Studio jacquard fabric lines the wall and informs the room's palette. A bed made by Gary Galego sits under a wall sculpture by Kelly Larkin, with Atollo 237 bedside lamps by Vico Magistretti. Vice Versa linen cushions in Nude and Havane by Maison de Vacances from Montmartre, Sydney. Bedlinen in chestnut and natural from In Bed. Opposite page: The ensuite features a vanity in Blue Moon granite and Chifu ceramic wall tiles from Artedomus with timber joinery by Gigsaw Joinery. X chair HM10 by Hvidt & Mølgaard reissued by &Tradition. Penny vase in mouth blown glass by Martyn Thompson (2024) in collaboration with Tom Rowney.
Knoll ‘Bertoia’ counter stools provide seating at the well-appointed kitchen illuminated by a pair of Piero de Martini perforated wall sconces from Nicholas & Alistair. ‘Art Untitled Moment (Cadmium Orange, Scarlet Lake) diptych’ by Yvette Coppersmith brings colour and texture to the airy combined living space. At the same time, ‘Canker sore (detritus)’ by Isadora Vaughan makes an interesting centre
This page: Vintage 1960s Cleopatra daybed by André Cordemeyer for Auping sits under ‘Junction’ acrylic on linen (2023) by Diana Miller from Curatorial+Co. and adjacent to the UF4-L10 floor lamp by Isamu Noguchi for Ozeki. Washed Linen Gauze Bayadère throw in Terracotta by Maison de Vacances from Montmartre, Sydney. Opposite page: a single palm frames the view to the south.
A relaxed media room that leads to the pool and outdoor entertaining area mixes refurbished vintage Alky chairs by Giancarlo Piretti from Castorina & Co with a Valley sofa from Jardan. An expansive wall of storage was designed by Sarah Johnson and made by Cranbrook Workshop. The client’s existing coffee table sits on an Armadillo Agra rug, while a bold four-piece artwork by Edith Beurskens in deep earth tones leads the eye outside where the Trace setting by Adam Goodrum for Tait sits adjacent to the pool.
