QUA L I TY cont rol

Belle - - Library Right N Ow -

W HAT HAS IN­FORMED AND IN­SPIRED YOUR DE­SIGN PHI­LOS­O­PHY AND AES­THETIC? I have al­ways been in­spired by beau­ti­ful ar­chi­tec­ture and in­te­ri­ors, and the way they in uence our lives. The beauty of the nat­u­ral world, travel, fash­ion and art are my muses. I’m in­spired by nat­u­ral light, and the colour palettes of land­scape, sky and sea. Travel, and sourc­ing one­off pieces from other cul­tures is a pas­sion too. Fre­quent trips to the US, Asia and Europe keep my de­sign per­spec­tive broad and my projects fresh. The Noguchi Mu­seum in New York, Dries Van Noten’s colour­ways, and Rick Owens’s mono­lithic new ag­ship store in New York are some of my cur­rent favourites. IS THERE A COM­MON EL­E­MENT OR AP­PROACH THAT RUNS THROUGH YOUR WORK? Each build­ing and brief we work on is unique, so my de­signs are in­di­vid­ual, rather than re ect­ing one par­tic­u­lar style. Func­tion­al­ity, qual­ity and beauty are my prin­ci­ples. Well-laid out, gen­er­ous spa­ces and nat­u­ral light are cru­cial. Qual­ity rather than quan­tity guides me in se­lect­ing ma­te­ri­als, ttings, fur­ni­ture and art­work. Beauty is al­ways a goal ... for its abil­ity to ease the mind, lift the spir­its, and for the pure, last­ing plea­sure it brings. WHAT INI­TIALLY AP­PEALED TO YOU ABOUT THE SITE OF YOUR STU­DIO, A ND W HAT D ID THE A LTERATIONS EN­TAIL? Our stu­dio is on the ground oor of a her­itage Vic­to­rian ter­race in Potts Point. I’ve al­ways liked the area, its en­ergy and cre­ative mix of the high and low. We chose this build­ing for its lovely fa­cade and fourme­tre-high ceil­ings. I also liked the idea of be­ing on the ground oor, with park­ing, and the op­tion to have large doors open­ing onto a shel­tered court­yard. Then the work re­ally be­gan. The in­te­ri­ors were close to derelict – dark, damp, full of rub­ble and bro­ken fur­ni­ture. We opened up the her­itage-listed front rooms, and max­imised their view to the street and new court­yard. The back half of the build­ing was re-de­signed and re-built. De­mol­ish­ing a hefty struc­tural wall pro­vided beau­ti­ful light, scale and spa­cious­ness. Over­sized French doors open in front of the gran­ite Ja­panese foun­tain, bring­ing seren­ity to the stu­dio. All ser­vices were re­newed, a new oor slab poured and laid with Span­ish lime­stone. A fully equipped kitchen with stun­ning emer­ald mar­ble bridges the old and new. The glass ‘con­ser­va­tory’ roof and huge steel­framed door bring the small, lush court­yard gar­den into the space vis­ually. We care­fully se­lected fea­ture light­ing, such as the 1970s Stil­novo wall lights in the stu­dio, keep­ing the ceil­ings clean.

HOW WOULD YOU DE­SCRIBE THE COM­PLETED SPACE? Our stu­dio com­bines two types of in­te­ri­ors: the her­itage-listed front re­cep­tion rooms have a rich, bo­hemian feel, with 1920s Chi­nois­erie over­tones. The stu­dio spa­ces and new kitchen and bath­room are zen, and na­ture in­spired – a won­der­ful place to be and work ev­ery day! WHAT ARE SOME FAVOURITE DE­SIGN EL­E­MENTS? The court­yard gar­den with its palms, and an­tique Ja­panese wa­ter fea­ture gives a won­der­ful calm­ness to the stu­dio. The Span­ish lime­stone oor­ing and the over­scaled French doors give a fan­tas­tic sense of space and open­ness. So does the steel-framed glass roof, and huge pivot door which make the kitchen a light- lled con­ser­va­tory. The dra­matic emer­ald mar­ble was love at rst sight for me, and I planned the kitchen and bath­room schemes around it. The rich at­mos­phere of the rooms and the jewel-coloured nishes are a great con­trast to the sim­plic­ity of the stu­dio. El­e­ments from dif­fer­ent times and cul­tures cre­ate an in­spir­ing am­bi­ence. A 1920s Per­sian rug, large Noguchi pen­dant, char­treuse silk cur­tains, 1960s Knoll ta­ble, and Chi­nois­erie el­e­ments are a sur­pris­ingly har­mo­nious mix. Fi­nally, the con­nec­tion to na­ture in such an ur­ban set­ting is in­spir­ing. WHAT IS THE ETHOS BE­HIND YOUR WORK AND HOW IS IT RE­FLECTED IN THE DE­SIGN OF THE SPACE? My ethos is to bring out the best in any build­ing I de­sign, to high­light its as­sets and mit­i­gate its short­com­ings. To cre­ate in­te­ri­ors that func­tion seam­lessly and feel great to be in. IS THERE A PAR­TIC­U­LAR AR­CHI­TEC­TURAL ERA OR STYLE THAT RES­ONATES WITH YOU? My style is very eclec­tic. Many eras and styles res­onate with me, and I com­bine in uences in­stinc­tively to suit each space un­til rooms feel at­mo­spheric and ‘right’. WHICH D ESIGNERS AND ARTISTS DO YOU ADMIRE? Right now, the top of my lists are Isay We­in­feld and Carlo Scarpa for ar­chi­tec­ture; Stu­dio Ko and Joseph Di­rand for in­te­ri­ors; Brân­cusi and Rothko for art; Madeleine Cas­taing, and Yves Saint Lau­rent’s in­te­ri­ors from the 1950s to the 1970s. WHAT PROJECTS ARE YOU LOOK­ING FOR­WARD TO IN THE COM­ING

YEAR? ARE THERE ANY NEW DI­REC­TIONS YOU'D LIKE TO PUR­SUE? We’re work­ing on a water­front house in Point Piper with a very ca­sual, earthy aes­thetic. As far as new di­rec­tions go – I’m in­ter­ested in in­cor­po­rat­ing more Asian pieces into my work. Most ex­cit­ingly, I’m look­ing into small-scale real es­tate de­vel­op­ments with a busi­ness part­ner, fo­cus­ing on ren­o­vat­ing unique, her­itage prop­er­ties.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.