Render Direction & Object Studies
Wall-mounted shower, brushed metal
A wall shower cut back to almost nothing. Squared profile, brushed metal, no visible fixings.
Squared geometry in brushed metal, at 202 and 242mm. It does one job and otherwise stays out of the room.
Low raking light across the metal so the finish reads before the silhouette does. Lit as part of the wall, not as a product on a stand.
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Filter and mixer, single spout
One tap doing two jobs. Filtered and mixed water share a single C-shaped spout, so nothing extra lands on the bench.
The swivel sets to 0, 150 or 360 degrees. Filtration sits inside the body with no second outlet.
Diffuse kitchen light across chrome and brushed finishes. The test is whether chrome still reads as chrome with nothing in frame to measure it against.
Linear electric fire, three interiors
One cassette, three rooms. The Galveston holds the same line of flame in a Victorian terrace, a terrazzo loft and a timber shingle snug.
A linear electric fire set flush into three chimney breasts: sculpted stone tile, speckled terrazzo, hand-cut timber shingle.
Each room lit for the hour it would actually be used, so the fire carries the space instead of the space lighting the fire.
Three forms, two colourways
One bench worked into three forms: a folded plate, a fluted volume and a looped bracket, each in two colourways.
Fold, Fluted Volume and Loop draw on the same short list: powder-coated and weathering steel, composite and stained timber, precast concrete.
Each form placed in a real setting of stone paving, poured concrete or open parkland. Weathering steel is the one to watch.
Lounge chair, five colourways
A recliner without the usual recliner cues. The chair moves, but none of the hardware shows.
The seat tips and adjusts with the mechanism buried inside the shell. From across a room it holds one clean profile.
Testing how that profile survives movement, and how far the upholstery shifts the read. The same shell looks generous or lean depending on the light.
Espresso machine, bench object
A machine that has to look right on the bench all day, not only for the ninety seconds it is working.
Compact and tightly detailed, with no surface left spare. Took an iF Design Award and German Design Gold in 2023.
Ambient kitchen light, nothing staged around it. If the geometry does not hold on its own, no amount of props will fix it.
Concept retail, cosmetics tenancy
Retail, treated as an interior rather than a shopfront.
Matte plaster, powder-coated steel, stone counter.
Interior Design & Render Direction
A compact inner-city terrace resolved from within. Curved facade, native palette, marble weight, and light that earns its place in every room.
A narrow two-storey terrace that could have stayed modest, or be asked to exceed itself. The curved facade, a quiet contemporary reading of the suburb’s Art Deco register, signals that restraint and ambition are not in conflict. Two storeys resolved as one interior sequence, each room connected by material logic rather than adjacency.
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Interior Design & Render Direction
Open, airy spaces balanced with a quiet, lived-in warmth. A modern coastal retreat that feels expansive yet deeply comfortable.
A coastal home that resists the conventions of the holiday house. No nautical references, no beach-house clichés. Instead, a residence with genuine material depth: spaces that feel lived-in from the first day and better with each passing season.
Interior Design & Render Direction
Anchored by reclaimed cream brick and raw concrete, opening around an off-centre courtyard that draws light deep into a two-storey, coastal-modern interior.
Introduce the lightness and spatial generosity of coastal architecture into a dense inner-east site, where heritage setbacks and neighbouring brick structures define the perimeter. The response needed to feel deliberate, not defiant. A home that earns its place in the street.
Interior Design & Render Direction
Elwood’s layered streetscape set the terms. Edwardian cottages, Art Deco blocks and interwar bungalows beneath London Plane canopies. The work was to respond, not impose.
Resolve a contemporary interior language within one of Elwood’s most historically layered postcodes, where the Edwardian and interwar grain sets an expectation of warmth and material honesty. The space needed to feel embedded in its bayside context, not imported.
