Simple (but not simplistic), and explicit in form and function, The Barn House by Garth Architecture is a worthy addition to the oeuvre of Australian barn houses. The property was designed for a young professional couple living in Ballarat, Victoria who desired a sustainable home that could grow with their family.
“It was important that the house wasn't a McMansion but was consistent with the family’s requirements at the time, so it was designed as two halves (a future extension is in the works), with the focus on the quality of the spaces rather than the footprint of the home,” shares Anita Garth, principal of Garth Architecture. “It was also important for the spaces to overlook the land and the horse paddocks, which was a driver for the family’s move back to the country.”
The house is sited on a 4.5-acre corner allotment, bounded by larger farm holdings, a neighbour to the north, a vacant block to the west, unscreened road frontage to the south and east, with existing neighbours and farmland across the road. “The house was designed to turn its back on the road frontage and prevailing freezing winter winds, to create privacy and a sense of sanctuary from the weather,” explains Anita.
As expected, the house has been designed with a focus on exposure to the unfiltered, open expanse of the countryside. With the practical and strategic emphasis on northerly orientation, the house also leverages passive solar design. The only spaces to face south – namely the bathroom, laundry and spare bedroom – collectively act as a buffer to shelving spaces from the cold.
The architectural form of The Barn House was inspired by the simple, robust architecture of old, local rural sheds and with a minimalist approach to form and proportion. The current design consists of three bedrooms, a large living space designed as a collective family gathering space, and a bathroom, laundry and garage.
As per the future addition and alterations, the current living space will ultimately form a master suite with a larger open plan living space extending towards the east, with a garden wall extending from within the house out into the landscape, forming a north-facing outdoor private living zone. “This will reinforce the layers of privacy, with the entry and living spaces providing a buffer between the road and the more private zones of the home,” explains Anita. The second galvanised barn is the horse's barn, designed to complement the house.
The client's desire for a naturally heated and cooled house with minimal supplementary air conditioning has been achieved with 400-millimetre-thick walls which create deep reveals for the timber-framed, double glazed argon filled windows. This reveal allows low winter sun in and keeps summer sun out, their depth allowing for extra insulation.
Additional sustainability credentials include (but are definitely not limited to), a polished concrete slab that works as thermal mass and a heat sink to even out the dwelling temperature fluctuations, windows with operable full height casements that are used as doors enabling cross ventilation and cool airflow in summer, a 40,000-litre rainwater tank and a wastewater treatment plant that includes watering the north lawn via sub soil drippers.
There has been an extensive consideration of detail on The Barn House, some of which is not immediately evident or even visible to the eye. For example, the locally sourced sugar gum timber cladding has been milled to a custom profile to make the reveal in the profile “crisper and more minimal”.
“The boards were coated on all sides prior to installation with Cutek, a low VOC oil, to allow them to grey naturally while minimising mould growth, shrinkage, cracking and cupping,” explains Anita. “All joints were mitred and angled for longevity to minimise any areas where water could sit, which would lead to movement of the board.”
Internally, the space has been designed to be a calming influence with a focus on a clutter-free aesthetic. “The key interior elements are really the white walls, the polished concrete slab, and light; everything else was secondary to these primary space creating elements,” explains Anita.
“For these elements to read clearly, the detailing had to be uncluttered, so the door jambs were profiled timber with single reveals, flush with the wall so the opening looked like a clean cut. The window frames were flush with the cladding and the frames concealed so the white of the internal space was a distinct plane meeting the external timber.” The result is an authentic feeling of seamlessness between the interior spaces and the landscape.
“Ultimately I think it's important for any house project for the client to have a real connection to the design and the process and love it if they want to and can become involved in some way during the construction,” adds Anita.
“My dad, partner and I clad the Barn House. The boards were provided as random lengths to maximise the timber used from the trees and every board was measured, numbered and sorted by hand. The cladding layout was then worked out to minimise wastage. At the end of the process, there was only one wheelie bin of offcuts left. I loved those boards and would often hug them, they had my own blood sweat and tears on them which was very fulfilling.”
A moving and fitting narrative that defines a house with innate character and legitimate integrity.
Project Details
Architecture – Garth Architecture
Photography – Nicole England
We think you might like this project in Queensland by Room by Room and Bones Studioabc
“It was important that the house wasn't a McMansion but was consistent with the family’s requirements at the time, so it was designed as two halves (a future extension is in the works), with the focus on the quality of the spaces rather than the footprint of the home,” shares Anita Garth, principal of Garth Architecture. “It was also important for the spaces to overlook the land and the horse paddocks, which was a driver for the family’s move back to the country.”
The house is sited on a 4.5-acre corner allotment, bounded by larger farm holdings, a neighbour to the north, a vacant block to the west, unscreened road frontage to the south and east, with existing neighbours and farmland across the road. “The house was designed to turn its back on the road frontage and prevailing freezing winter winds, to create privacy and a sense of sanctuary from the weather,” explains Anita.
As expected, the house has been designed with a focus on exposure to the unfiltered, open expanse of the countryside. With the practical and strategic emphasis on northerly orientation, the house also leverages passive solar design. The only spaces to face south – namely the bathroom, laundry and spare bedroom – collectively act as a buffer to shelving spaces from the cold.
The architectural form of The Barn House was inspired by the simple, robust architecture of old, local rural sheds and with a minimalist approach to form and proportion. The current design consists of three bedrooms, a large living space designed as a collective family gathering space, and a bathroom, laundry and garage.
As per the future addition and alterations, the current living space will ultimately form a master suite with a larger open plan living space extending towards the east, with a garden wall extending from within the house out into the landscape, forming a north-facing outdoor private living zone. “This will reinforce the layers of privacy, with the entry and living spaces providing a buffer between the road and the more private zones of the home,” explains Anita. The second galvanised barn is the horse's barn, designed to complement the house.
The client's desire for a naturally heated and cooled house with minimal supplementary air conditioning has been achieved with 400-millimetre-thick walls which create deep reveals for the timber-framed, double glazed argon filled windows. This reveal allows low winter sun in and keeps summer sun out, their depth allowing for extra insulation.
Additional sustainability credentials include (but are definitely not limited to), a polished concrete slab that works as thermal mass and a heat sink to even out the dwelling temperature fluctuations, windows with operable full height casements that are used as doors enabling cross ventilation and cool airflow in summer, a 40,000-litre rainwater tank and a wastewater treatment plant that includes watering the north lawn via sub soil drippers.
There has been an extensive consideration of detail on The Barn House, some of which is not immediately evident or even visible to the eye. For example, the locally sourced sugar gum timber cladding has been milled to a custom profile to make the reveal in the profile “crisper and more minimal”.
“The boards were coated on all sides prior to installation with Cutek, a low VOC oil, to allow them to grey naturally while minimising mould growth, shrinkage, cracking and cupping,” explains Anita. “All joints were mitred and angled for longevity to minimise any areas where water could sit, which would lead to movement of the board.”
Internally, the space has been designed to be a calming influence with a focus on a clutter-free aesthetic. “The key interior elements are really the white walls, the polished concrete slab, and light; everything else was secondary to these primary space creating elements,” explains Anita.
“For these elements to read clearly, the detailing had to be uncluttered, so the door jambs were profiled timber with single reveals, flush with the wall so the opening looked like a clean cut. The window frames were flush with the cladding and the frames concealed so the white of the internal space was a distinct plane meeting the external timber.” The result is an authentic feeling of seamlessness between the interior spaces and the landscape.
“Ultimately I think it's important for any house project for the client to have a real connection to the design and the process and love it if they want to and can become involved in some way during the construction,” adds Anita.
“My dad, partner and I clad the Barn House. The boards were provided as random lengths to maximise the timber used from the trees and every board was measured, numbered and sorted by hand. The cladding layout was then worked out to minimise wastage. At the end of the process, there was only one wheelie bin of offcuts left. I loved those boards and would often hug them, they had my own blood sweat and tears on them which was very fulfilling.”
A moving and fitting narrative that defines a house with innate character and legitimate integrity.
Project Details
Architecture – Garth Architecture
Photography – Nicole England
We think you might like this project in Queensland by Room by Room and Bones Studioabc 
Casa Villa by Studio iF[/caption]
Understanding that tropical architecture comes with many recognisable features, Gwen often looks for ways to design that embrace passive cooling. It’s a sustainable approach that ensures a comfortable microclimate because “Relying on air conditioning as the sole means to cool the house is something I don’t advocate,” says Gwen.
Ramp House by Formwerkz exemplifies this thinking. While carefully considering the tropical climate, the design language speaks in a more refined manner. “The gesture of a single ramp that wraps around the house linking the external spaces together (the lower garden with the rooftop pool) allows for the much-needed shade typically provided by roof eaves.
[caption id="attachment_115630" align="alignnone" width="2560"]
Ramp House[/caption]
“The outer skin parapet and downhang walls of the ramp feature carefully calibrated openings that provide a modulated climatic and privacy control for the glass openings on the inner layer. Indirect light is brought into the house through glass slits on the ramp itself and the ramp also creates a wind channelling effect into the house. The pool on the flat roof together with the equipment deck’s air space provides the necessary insulation for the spaces below from the overhead sun.”
[caption id="attachment_115974" align="alignnone" width="1170"]
Ramp House, photo by Fabian Ong[/caption]
Gwen approaches architecture as an art form, but one that is “not as finished as other art forms”. For her what makes architecture challenging is also what makes it interesting – the idea that the building evolves over time, changing based on the inhabitants. “I feel that it’s worth spending a lifetime searching for a better answer and devoting time to developing my craft.”
With a deep passion for continually exploring architecture, Gwen took this thinking further when designing her own home, 
Open House is Gwen Tan's own home, photo by Fabian Ong[/caption]
The ground floor offers protection and security with a thick timber wall. A pool hovers on the first floor where the façade is the most open as a way to maximise passive cooling. “Air is blown across the pool before it reaches the depth of the house,” Gwen says. The openness connects the house to the external environment, with the sound and even the smell of rain permeating throughout.
[caption id="attachment_115637" align="alignnone" width="1170"]
Open House, photo by Marc Tan[/caption]
[caption id="attachment_115975" align="alignnone" width="1170"]
Open House, photo by Fabian Ong[/caption]
Gwen comments that it was nice to see similar ideas in many of the projects in Habitus House of the Year, where they found ways to “inject daylight into the house through glass skylights, which often lead to delightfully lit interiors”.
Formwerkz
Conceived as a “Japanese inspired fuzzy white cocoon”, the calm and private residence is designed to suit both the client as a single person looking for a tranquil getaway, and their extended family of children and grandchildren expected to “overtake” the home during school holidays.
Franklin responds to the beach surroundings with Australian grown pine and beachside calm. “The intent in responding to these elements is to establish a sense of belonging to the natural environment rather than the built, and in turn establish an architectural language of tranquillity,” says Snowdon.
The exterior, which is enveloped by Iron Ash cladding and battens, is purposefully humble, appearing to be just a single storey from the street. Yet internally the project is lofty, hosting a double-height living area and a second storey for the master bedroom.
“Varying volumes provide a sense of discovery for its occupants,” says Snowden. “The scale of the house is revealed as you traverse the driveway and descend some garden steps to the front door where you are greeted with a simple timber wall and screened fenestration hinting at what is beyond.”
Wide doors open entirely to connect to the pool deck, making for a seamless and vast indoor-outdoor summer entertaining area. The spacious open-plan living room and kitchen interiors reflect the serenity of the external wood panelling and cement pool surrounds. A palette of grey and beige is prevalent, with light grey NavUrban cabinetry and a speckled white and ash terrazzo island by Signorino, while subtle hints of pale blue in ceramics and art mirror the pristine pool.
A predominantly blue photograph, Amoeba Phase II, by Prue Stent and Honey Long sits at the end of one corridor off the living room, bringing a pop of colour to the otherwise neutral side of the room.
As a residential project, Franklin is an early adopter of 
“We worked closely with the structural engineer and CLT fabricator to find a bracing solution that could be seamlessly worked in with the kitchen joinery and other internal elements of the design,” says Snowden.
“The CLT allowed elevated construction with reduced foundations, minimising excavation and site and flora disturbance,” Snowden adds.
PEFC certified and locally grown Iron Ash reduce the home’s carbon footprint, while effective cross ventilation, non-toxic construction materials and low VOC paints “look after the earth and the inhabitants of the house,” says Snowden.
True to the client’s brief, Ola Studio has delivered an organic, private, peaceful and fresh home that integrates harmoniously with its coastal surrounds.
Project details
Design and Architecture – 
The Seed House. Photography by John Gollings.[/caption]
Cross laminated timber detail in The Seed House. Photography by John Gollings.[/caption]
Paperclip, Seaton McKeon x Stylecraft[/caption]
Seaton McKeon was the inaugural award winner in 2015, with his design of The Sun The Moon and Me, a free-standing light and mirror that portrays a map of stars in the night sky. The moon is represented by a mirror reflecting the viewer’s image within the scene. The industrial designer and founder of studio.mckeon & Neatt, McKeon went on to launch the outdoor seating collection, Paperclip, in conjunction with Stylecraft in 2017.
[caption id="attachment_115613" align="alignnone" width="1100"]
The Sun The Moon and Me, Seaton McKeon[/caption]
The sculptural vanity unit titled Place was the AFDA winner in 2017. Designed by Alice Springs-based designer Elliat Rich, the unit possesses a neatly concealed drawer constructed from stacked and coloured dowel, a removable storage container and a velvet-covered pivoting mirror, which sit upon a grouping of timber legs.
The colours, textures and sense of foreground, middle ground and background of the piece reference Rich’s travels through the Central Australian landscape. Rich’s subsequent collection, Different Thoughts, studies the “boundaries of time and matter, and what connects one being to another.”
[caption id="attachment_115614" align="alignnone" width="1100"]
Elliat Rich’s Different Thoughts collection for Stylecraft[/caption]
The title of the most recent award winner of AFDA belongs to James Walsh, with his submission Anthropic Beach. The Hugh Williamson Curator, Contemporary Design and Architecture, NGV, Simone LeAmon, says, “The AFDA jury was unanimous in their applause of Walsh’s furniture design, recognising the designer’s ambition to investigate meaningful and practical uses for glass that would otherwise end up in landfill, while delivering a new and novel aesthetic experience for furniture design that successfully merges the past with present.”
[caption id="attachment_115615" align="alignnone" width="1100"]
James Walsh’s Anthropic Beach, AFDA 2020 Winner.[/caption]
Walsh’s debut collection with Stylecraft remains in the design phase, with the range to be announced in the coming months before its release in 2022.
[caption id="attachment_115616" align="alignnone" width="1100"]
James Walsh’s Anthropic Beach, AFDA 2020 Winner.[/caption]
The AFDA is a two-stage competition, with the first stage being an open call for new and original furniture or lighting design concepts. Entrants are required to give information on their professional practice.
In order to be eligible for the award, all competitors must register to enter. Registration period closes on the 15th October 2021.
Register your designs for the 
Not simply enlarged versions of the coffee table, instead, the dining tables have been redesigned to consider comfort, stability, transport and assembly. Consequently, they have larger bases and are designed so that the legs and tops can be transported separately and easily assembled.
Launched in 2019, Sequence was named after a boardgame of the same moniker. Coco Flip’s Sequence dining tables, in the same way as their namesake, aim to encourage families and friends to gather, create memories and share experiences. The repetitive nature of mathematical sequences is also felt in the collection’s simple yet boldly curved table legs that recur in each piece.
Coco Flip’s founders Kate Stokes and Haslett Grounds have worked closely with Melbourne craftspeople and manufacturers to develop sustainable, authentic furniture and 
Each piece from the Sequence collection begins in Lilydale where metal workers who have maintained ties with Coco Flip for 11 years go through the dedicated and intricate process of rolling steel drums, spinning the curved bases on a lathe, laser cutting, welding and sanding. The tables are then sent to Preston for powder-coating and finishing touches.
The dining variants join a collection of tables in varying heights, shapes and sizes. Each allows a fair amount of customisation, which lets them suit different spaces – including both indoor and out. They’re also available in a range of colours, including Deep Ocean (a steely grey-blue), Paperbark (a subtle beige), Pale Eucalypt (a sage-like rendition) and Headland Red (a deep red).
Stokes and Grounds create from a place of curiosity – whether it’s working with an interesting material for the first time, or imbuing a unique personality into their furniture. Sturdy and simple, yet packed with playful energy and idiosyncratic style, it’s this personality that shines through in the Sequence collection.
“We believe a considered purchase is a purchase for life, and we hope our designs will make you smile for decades to come,” say Stokes and Grounds.
Coco Flip
Purchased by a young family who needed the space to grow into, the charming character of the home had its drawbacks. The traditional typology of the Queenslander meant the home originally didn’t have a grounded connection to the backyard. Instead, it had a large, north-facing and uncovered balcony that was unbearably hot in the summer. For the family – who wanted to spend more time in the backyard – better accessibility and usability was crucial.
The clients contacted Jessica White from Room by Room to help with their interior design needs, however as White realised their needs would include adding significant architectural demands, she suggested they bring on Bones Studio to help with the extension of the home.
“It needed careful and functional consideration to ensure the new extension complemented the beautiful character elements of the existing home’s architecture,” says White.
Once Bones Studio’s Chris Brandon was on board, the project took off.
“The brief was very open for interpretation, but included an additional living wing including an open plan kitchen, living and dining room,” says Brandon. “The clients requested the inclusion of a large pool and pool house, a new master bedroom wing and also a library slash entertainment room for the children.”
Mainly, Brandon and White tell me, the clients were looking for a comfortable and private residence that had the space to entertain regularly.
“Our proposal included raising and shifting the existing house to allow for an additional level on the ground floor,” White and Brandon share. “Utilising the block's natural fall from front to back was key to the initial master planning of the site.”
“This strategy also minimised the need for, and expense of, excessive earthworks and retaining,” they add.
The original street level was maintained, but by following the site’s contours, a split-level ground floor was conceived. Polished concrete floors flow throughout and steps lead down into an open-plan living area at the back of the house, which reveals a dramatic double-height space. The concrete also forms the kitchen bench, where it contributes an organic, curved shape. Large doors open into the garden, where the concrete surface continues, creating a far more seamless indoor-outdoor living area than the original home allowed for.
The distinction between the old and new sections of the house have been deliberately contrasted with materiality and scale. The new section places emphasis on plywood, walnut timber, tile and cement, and the transition between the two spaces is defined by a perforated metal bridge that connects the rear façade to the original dwelling.
Playful notes have been made throughout, including the incorporation of the client’s own art and furniture pieces like the striking church pews in the living area. Paying homage to the original design features, the pale pink bathroom highlights a typical Queenslander archway that has been repurposed to frame the vast mirror, while the laundry is freshened with a contrasting pale green.
“The residents have now been in the space for a little over a year, they absolutely love the new environment and the vast space both inside and out,” White and Brandon tell me.
Project Details
Architecture – 
The studio’s cross-disciplinary approach sees a project portfolio spanning architecture, interior design, graphic design, placemaking and public art. “I am constantly moving across quite different projects, all connected through a similar veined thought,” Antonia adds, “The (studio) space allows me the autonomy to test out ideas and be more experimental, while bringing influences together instead of keeping them separate.”
While the aim of the new studio was to be a place of stimulation, having a connection to natural light and allowing said experiments to cohabitate the studio environment further allows for cross-pollination of creative insight.
In its inherited state, the layers of the building’s heritage past lay evident in the roughened stonework and material patina throughout. As a storyteller herself – through words, graphic and spatial design, it felt appropriate to allow the space to denote its own story. “It feels really peaceful and restive, but also quite private,” Antonia describes, “I wanted it to feel quite inspiring and suggestive of the hybrid nature of our practice, while also retaining the lumpy and sculptural stone wall features to maintain the textural quality of the space, instead of cladding over everything.”
A key part of the opening up of the previous rooms to create one uninterrupted volume was to enhance movement and to emphasise the impact of the space. “The studio is a reflection of Fable’s practice,” Antonia says, “it is a real melting pot of ideas where we combine custom plywood joinery with integrated lighting as a counterpoint to the stone walls, allowing for a model-making workshop to be tucked into the rear – it allows us to focus on what we do.”
Colourful insertions of iconic furniture, lighting and artwork don and animate the space, with art and books as a consistent influence for the practice, “Sydney is just a really inspiring place, where I love being able to immerse myself in exhibitions and see how artists solve problems in their own unique ways.”
The French-Australian Antonia Pesenti has a growing list of interesting and equally diverse projects she is currently exploring, and the newly completed studio space is the ideal playground for her to test and interrogate a multitude of ideas.
Project Details
Interior design – 
Bower, Manly, photo by Tom Ferguson[/caption]
Coastal Pavilion, photo by Tom Blachford[/caption]
Bower, Manly, photo by Tom Ferguson[/caption]
NNH Residence, photo by Peter Clarke[/caption]
Coastal Pavilion, photo by Tom Blachford[/caption]
Bower, Manly, photo by Tom Ferguson[/caption]
'Works' is a new book by Mim Design, available now[/caption]
Mim Design
“Robust and functional materials were employed to accommodate the playfulness of young children and for durability. It is the unexpected use of colour and texture that provides a cohesive connection throughout the house, delivering a laid-back and sophisticated refuge, which excites and intrigues while fulfilling the client's brief,” says project lead 
Dark green tiles in the bathroom match the forest green of the kitchen in Wahroonga House, while the dark timber of the dining table is mirrored as the master bedroom’s bedhead, speaking to this cohesive colour and texture. Matte terracotta tiles line the floors throughout the home, including the bedrooms, a durable factor that was chosen to cope with the playfulness of children.
The clever use of colour, materials and repetition allowed for a cost-effective impact that didn’t compromise on design.
Designed to house a growing family, the living, dining and kitchen form the open central area of the home, allowing “the young family to enjoy the space with ease and comfort”. Large sliding doors were incorporated into the living room, allowing the area to connect seamlessly with the external landscaped garden, pool, and bushland surrounds.
Located in Wahroonga, the home responds to the leafy bushland of Sydney’s Upper North Shore. “The use of rich golden brown hues and the deep forest green cabinetry complement the site’s natural bushland of flora and fauna creating a unified space from the inside out,” says McFadden.
The mid-century structure of the home was also referenced in the clean lines of the white-painted timber ceiling and triangular trusses. Details such as the curved shapes in the joinery also act as “a nod to the minimalist yet playful geometry of modernist design,” says McFadden.
“A truly collaborative approach with the home owners from all involved in the design and build has contributed greatly to the successful outcome, delivering the inhabitants a home which is reflective of their personalities and love and respect for quality, timeless design,” says McFadden.
Beautiful yet durable, Wahroonga House delivers a child-friendly and financially sound home, without compromising on its bold and sophisticated aesthetic.
Project Details
Interior design — 
Clear view[/caption]
"These colours are so timely and responsive to the mood and situation we are in right now. As a result of the pandemic each of us is having a different experience – some are showing such resilience and gratitude for their own circumstances, and may be more drawn to the soft warm comforting neutrals and tactility of the 'In the Moment' palette.
"Others are needing something to help break down the feeling of rules and regulations so really fun and unexpected colour palettes from the 'Game Changer' just add some joy and a sense of newness to spaces. While others may be looking for respite and escape, which can be found with calming and reflective hues offered in the 'Clearview' theme.”
The continuum between the three palettes of Awakening – 'Game Changer', 'In the Moment' and 'Clear View' – is the depth and cleanness of the colours. As each palette explores an emotional response in the viewer, the diversity between them encompasses all feelings but also allows for a multitude of applications.
[caption id="attachment_115404" align="alignnone" width="810"]
Game changer[/caption]
'Game Changer' encapsulates the idea of newfound freedom that offers the chance to challenge the old with fresh optimism. There are powdered blues, shades of sunset with pinks and aquas, greens and mustard yellow and there is an underlying softness to the palette that gives the creams and white a beautiful resonance.
'In the Moment' celebrates nature in all its glory. Taking cues from the Australian landscape, this palette speaks of our environment with shades of rust, earthy browns, ochre and creamy greys and taupes.
[caption id="attachment_115405" align="alignnone" width="810"]
In the moment[/caption]
'Clear View' on the other hand is a sensational group of mostly blues some greens with a dash of brown. Transparent and pastel blues, opalescent teal, eau de nil and classic grey through to ink blue and forest green all represent a calm and relaxing vibe that contributes to a soothing aesthetic.
[caption id="attachment_115406" align="alignnone" width="810"]
Clear view[/caption]
What defines these palettes is the strength and clarity of the colours. They are not loud but dense shades that are saturated and complex. These are colours that will make a statement on a feature wall or be a sensation painted throughout a room or house.
A favourite for me is the 'Clear View' palette as blue has been a dominant and much-loved colour, however, there is ample choice to find a new ‘go to’ colour with pinks and greens at the top of the list.
As everyone has a favourite colour, or family of colours – here are the choices from Awakening from some of the fabulous editorial team at Indesign.
[caption id="attachment_115407" align="alignnone" width="810"]
Game changer[/caption]
Alice Blackwood, Editor Indesign
“I like the gutsy peacock blue of Haymes Awe Inspired – lots of power but still warm and rich. Also, I like the combination of Faded Blue through to In Bloom, playful, with personality, but not too pretty.”
Jarrod Reedie, Digital Content Writer
“I like the 'Clear View' palette. The Remote Green and Arboretum lay a strong foundation for the lighter tonalities to provide relief, with the blue nuances very much the salient feature.”
[caption id="attachment_115408" align="alignnone" width="1170"]
In the moment[/caption]
Aleesha Callahan, Editor Habitus
“I love the calming and textural palette of 'In the Moment' – all those soothing neutrals are just what we need right now.”
Emily Sutton, Design Product Editor
"Pick of the day: Game Changer. This collection of tones brings a muted vibrancy that instils a refreshed energy to our everyday spaces. With a playful mix of bold and subtle shades, the 'Game Changer' palette paves the way for artistic, colour-led environments.”
[caption id="attachment_115409" align="alignnone" width="810"]
Game changer[/caption]
Laura Box, Digital Editor
“I love how the 'In the Moment' palette transports me to the Catalan countryside with its calm and warming tones, particularly Haymes Sand Haze and Haymes Clay.”
And lastly from Rennie, her pick of the stand out colours from this Forecast.
“Haymes Fuzzy is the new go-to neutral for me, which kind of feels like the best ever bone colour (not grey and not yellow) just somewhere between the two. Haymes Arboretum is a deep rich forest green – while green overall is still having a moment.
"Another colour we have featured but not talked much about yet, which is going to shine through is Haymes Gumleaf Green, a beautiful silvery green, capturing the beauty of the gum leaf with a just a bit more depth to it.”
[caption id="attachment_115410" align="alignnone" width="810"]
Clear view[/caption]
Then colours like Paradise Pools, a soft clear aqua, not blue or green, has some kind of transformative effect in just making a space feel like you are wading through water on a deserted island.
Reviewing the 15th volume of the colour story from Haymes has added a little joy to working from home. It’s inspirational and shows that colour can indeed reflect and enhance our moods and awaken us to the possibilities and that’s just as it should.
[caption id="attachment_115416" align="alignnone" width="810"]
Game changer[/caption]
[caption id="attachment_115417" align="alignnone" width="810"]
In the moment[/caption]
Photography Martina Gemmola
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