About Habitusliving


Habitus is a movement for living in design. We’re an intelligent community of original thinkers in constant search of native uniqueness in our region.


From our base in Australia, we strive to capture the best edit, curating the stories behind the stories for authentic and expressive living.


Habitusliving.com explores the best residential architecture and design in Australia and Asia Pacific.


Learn more

Design Hunters

Design Hunter Q+A with Emma Young

Your name: Emma Young

What you do: I live & work in Melbourne and am happily married with two cheeky kids, Maxwell (aged 6) & Olive (aged 4). I work alongside my husband & co-director, Peter Ho and together we have headed PHOOEY Architects Pty Ltd since 2002.

Your latest project: Our latest project (to be completed this month) is the Cubo House, located in Alfred Cres, Fitzroy North. This project applies the surrealist technique of Cubomania to catalogue, re-use and re-invent the demolished building materials.

 Who are three people that inspire/excite you:

     1)  Peter Ho

     2)  George R Martin

     3)  Marion Mahony Griffin

What is your favourite…

Car/bike/plane/boat model: Porsche 356 (car)

Chair model: Grant Featherstone Contour

Residential space: The Cubo House by PHOOEY Architects,  Fitzroy North

Commercial space: Our office

Decorative product: Cocoflip pendant

Functional product: Dench bread

Handmade good: My bag – A Ron Swan satchel

Mass-produced good: Lego

Meal: Fish Stew 

Restaurant: Tiamo’s in Carlton

Drink: Currently Rose

Bar: Meyers Place by Six Degrees

Item in your studio: A teapot which is shaped like a pear

Piece of technology: iPhone

Historical figure: Leonardo da Vinci

Fictional character: Maxwell Smart

Vice: I read alot of Fantasy Fiction

Virtue: I work hard (& am fortunate enough to love my job!)

What does ‘sustainability’ mean to you? Acting as a custodian of this planet & respecting it/ taking responsibility, rather than just using up its resources & being oblivious to the leftovers/ waste.

What is your favourite aspect of the Mullum Creek development? The strong connections between inside & outside & with the environment beyond.

What type of community do you think Mullum Creek will attract? Families who care about our environment.

What does the term ‘Design Hunter’ mean to you? Someone who tends to look out for inspiringly designed objects/ spaces.

Mullum Creek

What's On

’13 Rooms’ by Kaldor Public Arts Projects

13 Rooms is a landmark project curated by two of the world’s most respected museum directors Hans Ulrich Obrist and Klaus Biesenbach. It features some of the most iconic artists of our time and more than 140 trained performers in a radical presentation of ‘living sculpture’ within 13 rooms purpose-designed by Seidler Architects. Presented for 11 days only at Pier 2/3 in Sydney’s Walsh Bay, it presents the work of: Marina Abramović, John Baldessari, Joan Jonas, Damien Hirst; Tino Sehgal; artist duo Allora and Calzadilla; Simon Fujiwara; Xavier Le Roy; Laura Lima; Roman Ondák; Santiago Sierra; and Xu Zhen, as well as Australian artist duo Clark Beaumont.

Coexisting by Clarke Beaumont

“The public programs for 13 Rooms are designed to enrich the audience experience of this groundbreaking exhibition, encouraging debate and dialogue about the genre of performance art and its importance both historically and today,” said John Kaldor, Director of Kaldor Public Art Projects.

Free art talks, conversations and panel discussions involving some of the most respected figures in the arts community will be offered, including behind­‐the­‐scenes insights into the development of this landmark exhibition.

In Just a Blink of an Eye by Xu Zhen

Audiences will also be offered a unique opportunity to explore 13 Rooms after dark, alongside music, a pop-­‐up bar and specially‐commissioned performances with the return of the popular Parlour night-­time events on Friday 12 and 19 April. Curated by local duo SuperKaleidoscope and presented in association with UTS, Parlour Nights will see a host of young artists, musicians, speakers and theorists take over Pier 2/3 with a program of events to complement and respond to the exhibition. The nights will feature live music from FBi DJs and drinks from a pop-­up bar by Grasshopper on site at the Pier.

Revolving Door by Allora & Calzadilla

Visitors will also be able to delve behind the scenes of the development of the exhibition, guided by exclusive reflections from international and local choreographers, curators and performers; and view highly­‐regarded documentaries and historical films.

 A series of playful holiday workshops offer children and families the opportunity to explore drawing, sculpture, drama and movement inspired by 13 Rooms. Presented in partnership with the Australian Theatre for Young People and Sydney Dance Company, as well as local artists David Capra and Greedy Hen, each workshop includes a guided tour and hands-­‐on responses to this landmark Project.

Man=flesh/Woman=flesh - FLAT  by Laura Lima

The exhibition runs from 11 until 21 April 2013 at Pier 2/3, Walsh Bay, Sydney. 

For a full program of events and information on 13 Rooms, please see below or visit: kaldorartprojects.org.au/13rooms

Hero image: Future/Perfect by Simon Fujiwara.

What's On

Habitus at Milan Design Fair

Gessi's New Showroom

The three-week-old showroom is, in a word, amazing. Through a tunneled walkway and down a flight of stairs, a journey through the bathroom brand’s labyrinth takes you around the latest products, their functions and new interpretations for bathroom styling. Plus a smaller, but still impressive, section on their kitchen products. A lot of love and investment has gone into this project and we seriously urge everyone to check it out.

Tom Dixon at Museum of Science and Technology

Tom Dixon instigated an impressive line-up of exhibits at the Museum of Science and Technology in Milan, returning for the second year running to present products both new and old under his eponymous brand. He has also invited other designers and design outfits to occupy the Olivetan-monastery-turned-museum amidst ship relics and retired steam trains.

Dixon takes visitors on a journey through the production process with new products displayed within a warehouse set-up – wooden crates, conveyor belts and forklifts included – before finally entering a slick, shiny showroom. It all points to the contrasting ideas of roughness and smoothness that the brand explored this year.

The Capsule, designed by Tom Dixon for Adidas, takes packing to extremes with its everything-you-can-pack-neatly-in-a-bag-for-a-week-away concept. The collection was aptly shown within the train depot, replete with intermittently released steam and the sound of chugging train engines.

Melbourne Movement at Rio Fiera

Continuing to carry the torch each year, Melbourne Movement – led by the inimitable Kjell Grant – proudly shows at Milan as one of the only Australian exhibitors. The group of RMIT students takes part in SaloneSatellite, the section of the fair that promotes emerging design. It’s one of the most interesting parts of the fair as it shows purely creative works, and brands such as Moooi cast a keen eye over the designs to scout for new talent. Good luck to Ed Lineacre and Jiyoon Kim for their entries into the annual competition, which are judged by a panel of industry leaders

The Nest – Ed Linacre, The Melbourne Movement

Blossom – Jiyoon Kim, The Melbourne Movement

Some Favourites So Far...

Marcel Wanders for Moooi - Cloud Sofa

Tutto Bene – My Couch My Canvas by  Annebet Philips

If you’re in Milan, keep an eye out for the Habitus team – Raj Nandan, Rachel Lee-Leong, Nicky Lobo, Marie Jakubowicz, Leanne Chin and Laura Garro. For personal impressions, live from the Fair, follow us on Facebook and Twitter @habitusliving, and @nicky_lobo.


Quiet Treasure

Wooden houses are beautiful. The warmth of the material, the variation in its hue and grain across different varieties, even the way it settles – creaking and grumbling as it adjusts itself – allow wood to imbue a home with a particular character absent in its inorganic counterparts.


The house at the eastern tip of the extended grove that makes up the iconic Angophora Reserve in Avalon is a rare and delightful example of just how beautiful wooden houses can be. Born of the collaboration between owner and builder Andy Campbell and architect Richard Leplastrier, the building was designed to resonate with its forest context and access ocean views.

The house occupies a small envelope within a roughly 800 square metre parcel of land, and is laid out according to a pavilion plan. The six pavilions are arranged for practicality, with a detached master bedroom, guest room and combined living and dining area semi-enclosing a central courtyard. A three-storey tower with external spiral staircase houses a study and further bedrooms, rising through the canopy to glimpse the distant Bangally Headland.

As pleasing as this layout is however, it is the detail of the carpentry that truly sets the home apart. Marrying the rich auburn of Jarrah and red Mahogany, the more honeyed tones of Teak and the clean pallor of Hoop Pine ply, the palette of timbers is luxurious and varied. The massive, 75 millimetre thick slabs of Jarrah are particularly noteworthy; recycled from the Fremantle Wool Store, they were originally harvested from forests whose licenses have now been revoked, rendering them irreplaceable.

This enviable array of woods was prepared and assembled with expert care – Campbell sites an occasion when upon arriving at the site Leplaster was greeted with the sight of more than 20 structural timbers laid out, all having individually crafted mortice and tenon joints, as the design requiring each to be custom made.

The components were connected through joinery and fixed either with marine epoxy (of which 60 kg was used) and/or hidden stainless steel screws. All timber was oiled with organ oil, except in wet areas where marine finishes were used. Details such as handmade copper sinks, light fittings and whipped leather door handle covers further sustain the bespoke tone, rendering the home uniquely lovely.


Unsurprisingly, the finished result has evoked significant commentary from those who have witnessed it, perhaps most tellingly from Leplaster himself, who called it a “quiet building”. Further praise has come from Philip Drew, architectural historian, who described the house as “a national treasure”.


Angophora House is currently for sale from Modern House.

Photography: Michael Nicholson Photography

What's On

‘New Edition’ at Gallery Funaki

Edition, limited edition, multiple, mass-manufactured… there is a broad spectrum of production available to artists. Katie Scott has gathered together leading contemporary jewellers for New Edition that represent many making perspectives.

Ribbonesia, Gold Lion brooch - 2012, Coated satin ribbon, fake fur, silver

“We’re not seeking a definitive statement: this is an exhibition that doesn’t dictate a position or attempt a cohesive theme. It’s an acknowledgement of the importance of this kind of making; conceptually for the artist, as a way of exploring ideas that may shift from piece to piece within an edition; financially for both the artist and their gallery; and at its most basic level, because it allows more people to wear something wonderful.” says Scott.

Lousje Skala, Link bracelet - 2012, 3D printed nylon, aluminium

David Bielander makes exactly 12 editions of each major work, with smaller works often designated ‘unlimited’ editions (well, as far as 99 copies, by which time Bielander says he is too bored to make any more). Renee Bevan’s ‘Lighthearted’ pendants are slow and intensive to make, each one a precious investment of time and material that belies their throwaway appearance.

Lucy Sarneel, Loop Wearing Twirls brooch - 2012, Acid etched zinc, paint

Technology, as a way of disseminating works more widely and reducing their cost, is not necessarily a factor in the pieces in New Edition. Though it plays a key role in the jewellery of Lousje Skala, Bin Dixon-Ward, Svenja John and Maureen Faye-Chauhan, its purpose in the practice of these artists is simply to make possible what would not otherwise be. Their investigations into subjects such as reflectivity, connectivity, colour, repetition and pattern are entirely dependent on recent manufacturing processes combined with hand construction. In these cases, costs dictate the sense in producing more than one.

Thanh-Truc Nguyen, Neon brooch - 2011, Blackened silver, steel, paint

Thanh-Truc Nguyen uses commercial stainless steel mesh to make elegant, refined pieces that, in their precision, seem machine made but are not. Nel Linssen famously does the same thing with laminated paper. Blanche Tilden uses factory cut glass but hand finishes every piece and hand-makes every link in every chain of her architecture-inspired neckpieces. Then there are brooches by Lucy Sarneel and Manon van Kouswijk, whose connection to the hand of their maker is direct, joyful and obvious.

Jewellers include David Bielander, Gijs Bakker, Jiro Kamata, Lousje Skala, Lucy Sarneel, Manon van Kouswijk, Marc Monzo, Nel Linssen, Renee Bevan, Ribbonesia, and Thanh-Truc Nguyen.

New Edition runs 23 April – 11 May 2013 at Gallery Funaki, 4 Crossley St  Melbourne VIC.

Gallery Funaki

Hero image: David Bielander, Koi bracelet - 2012, Leather, drawing pins, silver

Design Stories
Design Hunters

Designing for High Density Buildings

Habitusliving: How should a designer prioritise what (with regards to non-essential spaces) to include in the design?

Jonathan Poh: To be clear of the design intent which is usually an intuitive decision taking cue from the site or the client’s brief.  From there the hierarchy of spaces could be easily defined.

HL: Are there any particular tools or methods that can assist a designer when designing in small spaces?

JP:  It is important to understand the client’s spatial need, and even if some come with very long wishlists, you take them on with a positive attitude and let your creative juices do the work.

HL: Considering most residences in HDB have only one side accessing natural light, how can a designer ensure sufficient penetration of that light while retaining privacy?

JP: HDB apartments are usually not very deep, which makes the problem of natural lighting less severe.

HL: What are the best methods for maximising usable floor space?

JP: I don’t think there is a fixed formula for maximizing usable floor space per se, but designers should understand how spaces could be optimized (as opposed to maximized) to be more usable. The word maximize is a bad word to designers.

HL: How can a designer increase the sense of space under low ceilings? (i.e.. what strategies can be used to create an illusion of more space?)

JP: The usual ceiling height for HDB apartments is usually 2.6-2.7m and is usually proportional to the space before and after reconfiguring. Areas where lowered ceilings are absolutely necessary to conceal services are usually minimized and located above circulation spaces.

HL: What are the best methods for increasing natural ventilation?

JP: You normally have to study the plan and air flow. But newer HDBs apartments are not adequately designed to facilitate that and can be restrictive to your intent to naturally ventilate, which is why many clients insist on ceiling fans to cool each space.

HL: How can a designer incorporate vegetation into the design?

JP: It's a matter of appropriateness. Some owners prefer not to have them because they feel that they rob them of oxygen at night. Some feel it is a hassle to maintain. So we have to ask whether it is really necessary even though it is rather fashionable to do so these days.

HL: What was the most successful element in the design of your own apartment?

JP: The oddity of how each design component fall into place naturally by respecting the architectural grid of the building.

HL: What is the most commonly made mistake in the design of residences in HDB?

JP: Pursuing trends and fashion without filtering.

HL: How can a designer design for flexibility? (i.e. multi-purpose spaces - sliding doors, fold-away beds, etc.)

JP: I believe the more important question is to what degree the space needs to be flexible and multi-functional. Most HDB apartments are usually adequately sized for a traditional nucleus family, unlike shoe-box units in commercial developments. It is pointless to make a space flexible when the client doesn’t need it to be so. It all boils down to how the client intends to use the space. 

Jonathan Poh

Photography: Kenerf Sim (Interiors), Jonathan Poh (Exteriors)

For an in-depth look at Jonathan's apartment pick up a copy of Habitus 19, on sale now. 


Family Business

The land around Finnon Glen is an idyllic microcosm of everything that’s wonderful about the Victorian bush. A narrow unsealed road winds its way up a hill; magpies warble and gargle from branches and fence posts; car tyres crunch over the yellow, sandy gravel, and an occasional low, languorous moo drifts on the breeze, offering a timely reminder to close the livestock gates after you pass through. As the road climbs, paddocks, barns and distant peaks disappear and re-appear between stands of eucalypts. Some of the trees are blackened and lifeless, but many more are vibrant and verdant, their trunks coiffured in dense new growth. Slowly, the views open up and the full majesty of the setting is revealed. To the north and south, the lands drops away into shallow valleys, and then, on all sides, it rises up again into an almost continuous ridgeline; a glorious 360-degree panorama of forest and farms sparsely dotted with sheds and houses.


But here, as in most parts of Australia, the bucolic idyll can never be taken for granted. Overlaying the names of towns onto the undulating topography of the surounding district casts the place in a new light: to the south is Healesville; to the east, Narbethong; to the west, Kinglake, St Andrews and Strathewen. For many, these names still resonate with memories of the Black Saturday bushfires. Three years on, most of those who chose to stay and re-build now have new homes. The MacKinnon family country house – Finnon Glen – is one such building, risen from the ashes.

In the aftermath of Black Saturday, the architecture fraternity contributed in many ways, but perhaps most notably with the establishment of the Bushfire Homes Service (BHS). Through the BHS, people who had lost their homes were given access to architectural services and could choose from nineteen architect-designed house models. The MacKinnon family – guided by one of their own, interior designer, Fiona Lynch of Doherty Lynch – chose a strongly rectilinear design by Jackson Clements Burrows Architects (JCB).


JCB’s original model was generic, in the sense that it met a broad brief, but could be easily adapted to meet the specific requirements of site, of fire resistance and of individual clients, and architect Tim Jackson – the “J” in JCB – was instrumental in creating a plan that met the family’s needs. Thanks largely to his design tweaks – perhaps most obviously, the transformation of an undercover carport into a combined rumpus and kids bedroom – Finnon Glen can accommodate, in myriad configurations, three different generations, four separate family groups and seventeen grandkids.

The house as it has been built is long and skinny, and, clad in metal sheet roofing, sits unobtrusively in the landscape like some sophisticated farm shed. The long sides open up to the north and south, giving almost every internal space access to incredible views and northern sun, and, despite the narrow footprint, the interior doesn’t feel at all constrained. The views help with this, by drawing attention beyond the physical boundaries of each room. But the feeling of openness is also a result of a cleverly compact program. Every space seems to have a function, and some have several – for example, part of the built-in storage along the wide hallway is given over to a hidden laundry; the space inside the front door doubles as a study; and the large kids’ rumpus/bedroom opens up to timber decks on both sides to become an indoor-outdoor play zone (a large acoustic sliding door affords privacy and preserves parental sanity).


While Jackson refined the plan, Lynch and design partner, Mardi Doherty, focused on the interior. In keeping with the brief for a family holiday house in the country, the feeling is relaxed, natural and warm. Timbers, tiles and finishes have been specified for honesty of expression and, of course, given the rotating population of little people, for durability. These qualities are established upon first entry, where Spotted Gum (which has been used to clad the external entry nook) flows into the interior as both floor covering and cladding for the front of the kitchen bench. Tiles are used to great effect, but again without disrupting the overarching fuss-free vibe – in the bathrooms, a subtly tactile hexagonal, parchment-coloured mosaic recalls the patterns of bees wax or reptile skin; in the kitchen, a feature tile to the splashback echoes the peeling bark of a gum tree.

Unsurprisingly, given Lynch’s past history working with John Wardle, joinery is the knockout feature of the interior. The selection of materials and finishes here, particularly the exquisitely grained Japanese Sen Ash panels and moleskin-coloured laminate, are consistent with the broader palette within the house; and black laminate kitchen cabinetry, deftly crafted with exposed ply edges, positions the kitchen as the visual anchor for the open-plan living space. But it is the treatment of handles as simple ply extrusions rather than off-the-shelf stainless steel fittings – a seemingly minor decision – that makes the joinery so important to the character of the interior, creating the feeling of a single, cohesive, hand-built space (the tactic of avoiding downlights and using only one light fitting, in pendant and wall-mounted versions, plays to the same strategy). Down the hallway, the joinery adds a sense of fun too, as the combination of off-white cabinetry and black-laminate-clad ply handles re-casts one wall as a super-sized piano keyboard.

The interior is minimal, to be sure, but, where many designers might have plumped for well-worn tropes like The Resort or The Art Gallery, Doherty Lynch has taken a much more honest approach. Their dexterity with custom detailing and intuitive feel for texture give the house a warm, human feeling – it is a place to be lived in, not just looked at.

This human feeling is fitting given the collaborative spirit with which the house was designed and built: various members of the extended MacKinnon family played important roles throughout the process; JCB gave their design, via the BHS program, and Tim Jackson gave his time generously; and Healesville-based builders Overend Constructions provided high-quality services as professionals but also as members of the local community. It was a wonderful team effort. Indeed, we rightly marvel at the speed with which flora and fauna regenerate after bushfire, but the rise of Finnon Glen proves that humans deserve our admiration too.

Text: Mark Scruby
Photography: Sonia Mangiapane, Gorta Yuuki

What's On

Grey Eye Society

Hero Image by Louise Klerks

Andrzej Nowicki is a full time painter committed to representing his visions in two dimensions. Originally from Cape Town, Nowicki is serving up African-vibes to the lively Melbourne art scene, and began the ‘Grey Eye Society’ with loosely planned al fresco drawing classes aimed at nurturing perception and building drawing confidence. The idea was such a success he decided to formalize it and marry it with his passion for good wine.


“The classes have a little bit of a kink in that they teach drawing through teaching different dead famous artists approach to art making. Also my pal Pete, whose family own a wine farm curate a selection of wines for wine tastings for every class and his choices for wine will be based on the chosen artists history, location and temperament.” says Nowicki.


Only three weeks into the program, students have already channelled their inner Paul Cezanne, Pablo Picasso and Brett Whiteley – suggesting Nowicki’s formula is a good one. The classes offer a background on each artist as well as a stylistic focus, encouraging students to identify with the feelings and concepts informing the great artists produced when they created their masterpieces.

The classes are held weekly in Melbourne’s Foolscap Studio, an excellent open-air environment.


Grey Eye Society

Foolscap Studio

Design Products

The X Module System from Carpet Republic

The X module system is created with the discerning custom residential, contract and hospitality designer in mind. Work with us to design a unique environment that matches your space and style. The process is easy: Choose from our selection of X modules or pick your favourite Henzel rug design and have our team transfer it into an individual X shape module. Combine as many modules as you wish to create your own design landscape. Arrange and rearrange the modules as you like to create a unique and ever changing environment. With our X module system nothing is static. 

As one of the leading manufacturers of contemporary area rugs, Henzel Studio from Sweden aim at the high-end segment of the market. Since its formation, Henzel has continually fascinated the discerning custom residential, contract and hospitality designer with its groundbreaking designs. Today, Henzel is among the most treasured rug brands in the world. The design studio is located in Gothenburg on the southwest coast of Sweden - an area rich in textile design and manufacturing history. The studio is a part of Henzel Art & Design Group, a family business.

Each individual order is carefully studied to create a unique rug that combines a client’s specifications and the distinctive aesthetic of Henzel Studio.

Carpet Republic


Cottage Pub

Compact, single story homes constrcuted on a shoestring are an integral part of Queensland’s built environment, evoking the tropical state’s history of attracting tough, resourceful settlers. Whilst their appeal as residences has faded as modern replacements became available, they nonetheless retain abundant aesthetic potential, lending their particular flavour to future adaptations.


Blueprint Architect’s fit out of one such structure into a pub in Brisbane’s Fortitude Valley is an excellent example of just how effective the pairing of original elements with modern highlights can be.

The site housed a cottage that was occupied by numerous families over the past century and had had a store front added to it in the ‘50s. The cottage, shopfront and street awning could not be altered due to heritage constraints, but a number of large apertures were created to reveal and connect the interior to the exterior.

Internally the plan was to open and connect the rooms, however to achieve this the architects had to navigate a series of level differences throughout the structure, and the bar itself needed to straddle two. Despite this challenge, the brief of creating “a variety of intimate and nostalgic social spaces centered on an elongated main bar” has been satisfied, and the indoor spaces flow comfortably.


A restrained palate of materials clearly defines old and new areas while capitalizing on the contrast between them for aesthetic effect. The old cottage retains the weathered timber and tin vernacular, whereas new materials such as pressed bricks, raw off form concrete, frameless glass and black steel are strong and sharp. Decorative elements such as the palm frond wallpaper, green carpet, hand-pressed glazed tiles and collection of old photos, toys, bottles, letters, tram timetables and other bric-a-brac unearthed during the works animate the space with a warm, vintage mood. The open void over the bar area is particularly striking, populated by a suspended constellation of assorted bulbs.

To connect the cottage to the adjoining retail site a contemporary outdoor side terrace area was added, providing outdoor seating with a distinctively household yard-like flavour. At the rear of the site, a completely new structure was added to house facilities, allowing the cottage to be a pure patron space.

The resulting pub - ‘at Sixes and Sevens’ – presents visitors with the pleasant surprise of finding a modern layout inside a familiar shell, enriched by a distinctive and inviting design.


At Sixes and Sevens

Blueprint Architects

Photography: Angus Martin Photography

Design Hunters

Design Hunter™ Q+A with Property Lipstick

Your name:  Alex Bain and Natalie Manning from Property Lipstick

What you do: Residential & Commercial Interior Design

Your latest project:

  • Kitsa’s Kitchen organic food & lifestyle store
  • Concept for a boutique craft beer bar
  • Developing our range of bespoke homewares for our New Beach Road online store – coming mid 2013. 

Who are three people that inspire/excite you:

1)  Our mothers for their style & tenacity
2)  Ralph Lauren
3)  Diana Vreeland


What is your favourite:

Car: Vintage Mercedes SL280

Bike: Vespa

Boat: Riviera or Halvorsen boat

Chair model: Thonet No. 18 Bentwood chair – originally designed in 1800s, the timeless style is elegant, understated and versatile. Interestingly, the name ‘bentwood’ is a description of the technique used to create the chair - bending rods of beech to create a seamless, organic shape. We love the modern interpretation of this iconic chair with endless colour selections and cute contrast ‘socks’ on the base of the legs and its translation into other objects like rocking chairs and cradles.

Residential space: Carolina Herrera Baez’s home in Madrid - we love the pink hallway and braid trimmed walls, punctuated with large studs.

Commercial space:

 Decorative product: Greenery & flowers as well as moss & verdigris are effective natural elements we use to soften interior spaces. Accessorizing with masses of coffee table books, personal objects & ambient lamp lighting can make all the difference in transforming an ordinary room into one that is layered, rich and interesting.

Functional product: Our custom linen pinboards – they are beautifully framed in a custom ash stained Tasmanian oak moulding & Belgian linen interior. They are versatile for use in a range of spaces – from the kitchen to the study to the living room.

Handmade good: Heirloom pieces like embroidered samplers & linen; taxidermy; an artwork; a flower arrangement; freshly baked goodies; a hand written note and homemade sweets displayed in a glass compote.

Mass-produced good: Ikea striped rugs

MealWe love the clean taste of sashimi tacos, betel leaves and oysters!   

Restaurant:  Apollo / Sake / The European and Huxtaburger in Melbourne

DrinkCome Friday, we love to reward ourselves with a Martini with extra olives

BarOur fail-safe is the Wine Library, Woollahra for its moody lighting, attentive service and the amazing food and wine list. 

Items in your studioA selection of textiles, timber, stone and marble samples; paint colours; international design books; inspirational images & photographs; concept boards & sketches. 

Piece of technologyOur iPads and Dropbox software are invaluable to our business efficiency!

Historical figure: Would have to be the iconic fashion designer, Coco Chanel.

Fictional character: James Bond – for his international travel; charm; immaculate grooming; knowledge, insight and versatility; & his penchant for glamour, cars and martinis. Most importantly, he never gets any older!!

Vice: Central Baking Depot’s chocolate & pear tart or Sprinkles’ cupcakes (fortunately only available in the USA)

Virtue: Sensitivity, empathy & intuition allow us to better understand our clients.

What does the term ‘Design Hunter™’ mean to you? Foraging, researching and collaborating to find an inspirational, challenging design solution.