One thing I’ve realised lately is that we don’t take enough time to truly connect We rush through our days ticking off tasks, sending quick texts, and having surface-level chats. But when was the last time you sat down with someone, free from distractions, and really listened to their story?
Putting this journal together has reminded me just how powerful a real conversation can be I’ve had the privilege of sitting with some of Australia’s most talented creatives, hearing not just about their work, but about what drives them, what challenges them, and what gives their life meaning
These pages aren’t just about architecture and design. They’re about people - about their hearts, their minds, and the small moments that shape the big ideas.
My hope is that as you read, you’ll feel inspired Inspired by the brilliance of Australian design, but also inspired to have deeper conversations in your own life To sit with someone you care about and ask them a question you ’ ve never asked before To listen without rushing To connect in a way that makes you both walk away feeling seen
Enjoy the journal.
Ben
MCK ARCHITECTS
GETTING TO KNOW STEVE KOOLLOOS
Growing up building cubby houses on Sydney’s Northern Beaches, Steve Koolloos’ path to architecture was forged long before he knew what the profession even was. Inspired by his builder dad’s drawings and fuelled by a love for hands-on problem solving, Steve has built a career designing homes that balance bold vision with practical function. In this conversation, he shares how midnight dreams still spark his creative solutions, why imperfection gives spaces their soul, and how collaboration, humility, and emotional insight shape the MCK approach to creating homes that are beautiful, functional, and intimately connected to people’s lives.
Where'd you grow up and how did that place influence you?
Good question. I grew up on the Northern Beaches and I spent the first eighteen years in Mona Vale It was a great upbringing actually It was a very relaxed place to grow up with lots of adventures, mischief, and getting my hands dirty My dad was a builder, so I spent time on his building sites, but when I look back, I used to build lots of cubbies I would just find random stuff and build cubbies and that was probably the starting point of a bridge or a pathway to architecture I remember one time we built a cubby and it was like a big helix, and we pinched a bunch of sheets of tin I don't know what they were used for, but there was a farm in Mona Vale and these farmers had piles of tin next to their house - so we just took it and we built this cubby which we had to crawl into We just covered the whole thing in foliage - it was so cool It was probably a bit dangerous actually, but we ’ re still alive!
I have two sisters, one older and one younger. My older sister and I were always pretty tight, and we were always out on the street mucking around. You know the rule, once the street light comes on, you ' ve got to come home. When I look back to what we did, I wonder how I would respond now if my kids did it, but that’s what it was like back then - nobody stopped us from doing the stuff we wanted.
So at that young age, building cubby houses, did you know about architecture at all?
Not really All I knew was what I saw My dad was a pretty basic builder, but he did a good job of it His specialty was doing alterations and add-ons to existing houses He would do them in a way that the
alteration would look like it had always been there, and it would just form part of the fabric of the house He did his own drawings as well, so I fell in love with the idea of drawing From watching him draw a lot I fell in love with the idea of the architecture
Can you remember a building or a space that first made you feel something?
I've had buildings in my time that have literally taken my breath away, but these came later in my career. That's what I love about architecture. Early on, nothing specific comes mind. I find that at a young age, you know what's in front of you and not much more. I didn't have this inclination to get out and explore architecture earlier on. I think at that age, I was a bit behind where I should have been. I know it's cliche, but I was always fascinated with the [Sydney] Opera House. It’s this remarkable structure, I just keep going back there and every time I go back, I find something that I haven't seen before Even at a young age that was a building that was always kind of iconic, like I said, a cliche, but I was always blown away by it and inspired by it
How has travel shaped who you are now and how you now look at architecture after seeing other cultures?
I think architects that don't travel are holding themselves back Travelling opens up new ideas and as a person, it creates cultural awareness and a tolerance One of the nicest people I've ever met was on a trip in Greece I met this guy, he was Italian, he didn't speak any English I'm an Aussie, I didn't speak any Italian, yet we somehow talked for three hours His life philosophy was to see more countries than his age, and I just remember once I worked out what he was saying and understanding what he was about, thinking ‘that's just such a beautiful philosophy.’ He was very down to earth, easy to talk to, easy going, and I thought that I wouldn't mind stealing that from him, imposing that on my kids and trying to do the same thing.
Architecturally though, when you travel abroad, you see that everything's done differently. Different ideas, different materials, different textures, different approaches. They're climatic, they're responsive to topography, they're responsive to urban conditions and it's a wonderful thing Coming back to Australia is easy because it's such a wonderful place, but we are a very conservative country and seeing the free kind of design in other countries is probably the most rewarding
If you get stuck creatively, is there a place that you go, or is there a process that you go through?
Yeah - I think this spawns from my university days We used to get up in the morning, go to uni, go to our classes, and then we'd just hang around Everyone had a desk in the studio and we would design - we would be there till 4:00 a m The daytime part was just classes and it's kind of a bit more social From about 6 p m till midnight, you ’ re in a group, you all go out and have dinner and whatnot, and you get a bit of work done. Then from midnight till 4a.m, I reckon I would get 10 hours worth of work done. I just found this zone where I get absolute clarity. Now what I find is if I get stuck on something, I'm happy to walk away from it, and invariably it'll come to me between midnight and 4 a.m in a dream. I'll just know when I wake up what to do and what the answer is. It's not a formula that I can write down or rely on, it just kind of happens.
Are you spiritual or does that come from a spiritual background?
I don't think so, no I'm a pretty simple guy and my belief is pretty simple I'm into karma You know, if I'm good to the next person, then life will be good back to me it's that simple I don't believe in a God, I don't disbelieve in a God I haven't reached a point where I've got fixed conclusions on it I know I'm sceptical of some religious aspects, but I'm also tolerant
If a challenge or a block is happening on a project, is it normally at the initial stages where you ' re trying to be creative, or could it be further along on the project?
It can happen any time, depending on the complexity of the job at hand and the complexity of the construction side of it. I enjoy being on a building site, and I enjoy solving problems there. I think I've got a knack for that. It's quite funny: when a client talks to the builder, and the client is freaking out, you turn up and five minutes later it's sorted. That has a kind of calming effect on everyone. There's a nice moment when your clients learn to appreciate that what they're building isn’t a project home - it’s completely bespoke
There's no answer on what’s the best way to do that, it's just ‘how do we think is the best way to do that?' If we think we have the answer we simply ask,
'what do you think?' If the builder is happy, and the client is happy, then let's do it that way During the design process, there's definitely stumbling blocks A lot of them come from a balance between our clients’ needs and our own needs as architects, plus council, neighbours, and everything that’s constantly pulling at the design
Do you have any rituals or routines that keep you grounded?
I think the ability to be patient, to take a deep breath and not to pretend that you ' re going to solve everything on the spot. Sometimes that's hard to impress upon clients, but good design should be considered. That takes time. My rituals at the moment I guess is that I have three worlds. One is my architecture world, which is long days and intense meetings with clients, councils, and builders. Then I have my home life, which also can be demanding. With a young family, trying to help out with all the domestic things that go on, or running the kids around or whatnot, there's a lot to do My wife does a hell of a lot more than I do in that space And then I have a tennis world It could have been surfing, it could have been swimming or whatever, but for me, it's tennis
I've always played tennis and I'm able to switch off from everything else, and all that matters is what's happening with the tennis ball I'm kind of my own coach It's a bit like architecture where you ' re always learning, the same with tennis If I'm doing something that's not working, I try and be practical about how I can make it work better and I just start focusing on that I can see it's a bit like those dreams I have, where I can see a tennis ball moving really slowly and I can see the response of what I need to do to get to the outcome I want It’s just a different world and it helps me detach from everything else I guess.
MCK are very well-known architects, known for bold designs, that don’t ignore their surroundings. As a team, how do you approach each project?
Well, each project is distinctly unique. Each project has its own set of parameters, and the forces that shape each design are your client's needs, your own vision, and contextual constraints We've long held the belief that any constraint that affects a design can be turned into an opportunity, and that's what we do Somebody might see something as a constraint, we'll try and turn that into an opportunity and create something better out of it Once you do
YOU'RE TAKING THE HOUSE AND HANDING IT OVER AND IT BECOMES [YOUR CLIENTS’] HOME. IT'S A WONDERFUL MOMENT.
PhotographybyMichaelNicholson
I also use more tracing paper than anything I have a nice, big black texta and tracing paper and cardboard models When your brain conceives an idea, the way it transfers to your hand is immediate When you ' re clicking on a mouse, which is a line on a computer, it loses that - it sort of becomes watered down, I think You're never going to be able to create the exact line or moment with the mouse on a computer than you can using your hands
Within your day-to-day role, are you just being creative, or are you actually on the computer bringing that design to life?
Both Once I've done enough scratching around and I've run out of tracing paper, I have to move the design over to CAD It's also the next step in the evolution of a design because there’s lots of consideration that goes into those moments and getting those right. I can't just hand it over because it's not ready at that point. I need to make sure it's working on paper and proportionally everything's in the right spot, everything's flowing, and lining up as it should be. Then I hand it over to someone to turn into a beautiful 3D model on the computer so that our client’s can view it and kind of walk through it.
What’s a defining moment for you or for the studio?
For the studio, in 2011, we won the Wilkinson Award, which is the highest accolade you can get in New South Wales for residential design That was a pretty big moment It was a turning point in terms of our self-belief It was a good turning point because I've always said that I feel like we ' re on the right path, but I don't know where we ' re heading You believe in what you do and how you do it, and that reward and accolade reaffirms that you ' re doing something right
I've had some jobs that we ' ve finished that were really challenging, but we got there There's probably two or three that stand out, and I look back and think, ‘ wow, I don't even know how we did that and how we got there, but we did it.’ They are the ones that are a bit more rewarding. Every job has rewards. I don't want to dismiss some of our smaller jobs, because every job that we finish and get an outcome, walk away with a happy client and a happy builder, is a good outcome and good reward.
How do you make your designs beautiful, yet liveable and functional?
I’m trying to resolve in my mind whether it's a deliberate thing or whether it's an intuitive thing. I guess at the end of the day, we ' re responsible for the architecture and how all the materials come together, the space, the proportion, and the natural light that we create. In many ways we ' ve always been more willing to accept imperfection, but the idea that something is completely perfect is almost a bit too commercial or too pristine to actually call a home - or even feel like a home. We hope that our projects tell the story of people's lifestyles We can set up the bones for it and then in time it'll start to show the wear of how they use it and their movements through the space
Every job is a reflection or a mirror to those personalities’ lifestyles I always encourage our clients to be less pragmatic and more emotional in a brief, because it’s the emotional clues within a brief that create the best outcome A good example would be every morning we wake up at 6 o 'clock, we make a coffee, and we go and sit in this little sunny corner and that's how we start our daythat's a great design clue If I know that that is a special moment in their day, then I need to design that into our outcome Ignoring that is kind of at the peril of the success of the outcome
Are you seeing trends or demands from clients that are the shaping residential architecture right now?
Yeah, I think it's actually quite a confusing phase at the moment. We're getting some clients that expect, want, and feel that they need more space. This is a challenge that we face - trying to reconcile why we ' re actually designing things big, adding things that you have an instinct may never be used. There's this kind of resale tagline that comes with those kind of projects, which is hard to avoid sometimes I guess Australia, and Sydney specifically, is a bit hung up on real estate If they are going to go through the process of taking on a construction project, then they want to future proof it and add space that they probably don't need At the other end, seeing people being really clever with this idea of smallness and homes built around exactly what they need and not more than that - with an understanding that that sort of modesty and approach to design and construction also brings with it economical benefits
In regard to sustainability, how does that play into your design process now compared to perhaps 10 years ago, or even when you started?
It's certainly something that is a lot more popular now People want to feel like they're doing the right thing for the environment From a design level, I think a lot of it is still intuitive The first thing we do is try and work out where the natural light is coming from, and bringing sunlight in in the winter and closing it out in the summer is a fundamental design tool Whether that is what we ' re thinking about now or 10 or 20 years ago, that's always been our approach to designing a home.
With respect to the implementation of environmental and sustainable principles, there's a lot of things that people can latch onto these days. I think once upon a time, solar panels were a bit of a mystery, and now it is something that most people want to try and build into their home. The sad thing about the environmental approach to design, is
WE THRIVE ON THE COLLABORATION... EVERYONE CAN ACTUALLY ENHANCE OUR DESIGN. HAVING AN OPENNESS, OR THE ABILITY TO EMBRACE THAT, IS SOMETHING WE’RE HOPEFULLY QUITE GOOD AT.
quite often that the sustainable elements that we ’ re installing or proposing in a design would often get cut from a budget before the beautiful slab of marble in the kitchen That is a challenge as well Getting the design right fundamentally is more important now because if you don't have all the other environmental instruments, and they do get cut, then you ’ ve got bad bones basically.
When coming together on a project with a builder and other consultants, what do you think are the key elements that make for successful collaboration on your projects?
The number one thing that we all have to have is an open mind. We have a good gauge on what we do and how we do it A good example is if I sit in an
office and draw a building on paper, before it's built, remembering that this is the first time and the only time that that particular home will ever be built, I'd be foolish if I thought I knew exactly the best way to do that. So when it goes on site, if a builder approaches me and says, ‘look, we can see what you ' re trying to do, but this is a better way to do it, easier and more economical,’ then of course, we have to be open minded about that. That kind of feedback and collaborative approach to building is really good.
The same thing with clients. With clients it’s about choosing your battles We have some clients that completely respect the process They are very good at what they do, and they don't pretend to be good at design and architecture They will take on board our design approach and our feedback, and obviously with where they do have a voice, they will bring it to the table Then we have other clients that believe that they are architects - it's a challenge I’ve actually had to say to a client once before ‘ you ' re paying us to advise you how to do this Now you ' re telling me how to do it, and I think the way you ' re doing it you ' re going to regret ’
We thrive on the collaboration - it’s not just client and architect, or builder and architect It's landscape architects and everyone else that brings something different to the table Everyone can actually enhance our design, and I think having an openness or the ability to embrace that is something hopefully that we ' re quite good at. If a client brings a really good idea to the table, and I think it's a good idea, then I'll tell them and then we'll do our best to implement it and make it work.
Looking towards the future, what excites you? Do you think architecture in Australia is heading in a good direction?
I think Australian architecture is very strong. I think we have so many brilliant minds and we probably underestimate how good we are in comparison to the international stage So I don't think that's an issue I think we have a very clever and innovative approach to our work I guess there are challenges around the environmental side of it and where we ' re heading with that
I think that there's a lot of science around it, a lot of naysayers; a lot of people that believe and a lot of people who don't I think we ’ re only seeing the tip of the iceberg with respect to sustainability Then the
other side of it is technology Is AI going to take over the world? People like to joke that architects will become redundant because you ' re just going to jump online and ask AI to design your home and it'll happen. But I always argue, who's going to have the fight with council? Surely not a computer.
So, yeah, there are challenges but I think Australia is in a good spot. We actually should probably be punching over our weight and doing better than what we do. I always admire the way New Zealand always seems to be one step ahead of the curve and I think Australia is in a unique position to try and think more like that, but we always seem to be super behind Quite often at a government level, but overall I think we ' re in a good spot I think it could be better, but I'm optimistic I'm not too scared about the future, but I do think it'll bring challenges that we ' re not quite ready for yet
What would be a project that you ' ve worked on that's really close to your heart and why?
This is probably a bit cliché, but I renovated my own home, and I faced a number of challenges The first one was financial and running out of money But I had other problems at the same time, and so everything kind of just went on pause and into meltdown a bit Eventually, I got the energy to pick up my nail bag and get stuck into it again I think there were some great challenges for my family in there as well We had big ideas, we had a young family, trying to turn what was a pretty humble home into a really nice outcome. I can't remember what year it was - about 2014, I think.
We were meant to be in there for Christmas, and I was walking through the house on the 23rd of December and there's no plaster on the walls. I think we had a kitchen sink and maybe a cooktop, one kind of half working bathroom. It just looked like a dump. I remember thinking, ‘what have I done?’
We’re two days out from Christmas and what have I done? There's nothing here, we have young kids, Christmas is everything So, I did what any average Australian would do, and I went to the bottle shop around the corner to try and drown my sorrows
Anyway, in the window of the bottle shop there was this magnificent Christmas tree I went in there and I said A I need a drink, and B what are the chances I can borrow your Christmas tree tomorrow I knew the owner quite well - he looked me in the eye and he said, ‘it’s all yours ’
I went back at 6 o 'clock the next day, took it home, dressed it up, and it was probably the best looking Christmas tree I've ever had The rest of the house didn't matter then It just had this one little iconic thing in there that made Christmas pretty special
That gave me a bit more momentum, I got stuck into it again, and eventually we finished it There was a moment where it was all finished and I remember thinking, ‘ wow, I'm pretty proud of this in the sense that I'm an architect, but I'm pretty hands on, and I've managed to build something fairly economically and get a really good outcome and we ' ve turned what was a really ugly duckling into something quite beautiful and we'll have a bit more time here and then we'll be able to pass it on to the next family, and that was pretty special. I think it had my own blood, sweat and tears built into it so it's a lot more rewarding. It's hard sometimes when you ' re building a home for somebody else and when you finish it, you take your photos and you spend a day or two there appreciating it, but you never really get to experience it
What advice do you have for young architects entering the industry today?.
Young architects need to be passionate, have a goal, and understand why are they choosing architecture Architecture is a noble profession, but it's hard work and it'll gobble people up and spit them out You've got to have passion You've got to know what you ' re about and you ' ve got to try and work that out earlier in your career - what type of architecture and what style you ' re about and set a goal and make it happen
Quickfire questions....
Favourite building in the world.
A wonderful cathedral in Rio, called the Cathedral Metropolitan.
Most underrated material. CLT
Coffee or wine. That's not fair. Both.
What word would your friends use to describe you?
Funny
PhotographybySimonWhitbread
ALEXANDRA KIDD
BEAUTYANDGLAMOUR, DESIGNEDWITHAKINDHEART.
From spending her childhood rearranging furniture in her mum ’ s home to leading one of Australia’s most respected design studios, Alexandra Kidd’s journey has always been guided by feeling. Her approach is deeply emotive, yet grounded in practicality; shaped by a lifelong fascination with beauty, detail, and how spaces make us feel. In this conversation, Alexandra shares how growing up around house-proud women and creative dinner parties ignited her passion, how travel and nature continue to inspire her, why kindness underpins her leadership, and why she believes Australian design is finally being recognised for its honest, uncomplicated elegance.
Alexandra tell me, where did you grow up and how did that environment shape your sense of space and beauty?
I grew up in the suburbs of Sydney My mother was very house proud, and our house had to be perfect at all times She was very concerned with the decoration and the styling of the house It’s not like we had a palace by any stretch, but she was just very proud of our environment I guess that's where it started - the idea of being conscious of what's around us and how it makes us feel It was sort of instilled from a very early age from my mum
Did your mum inspire you to get into design or do you have any other people in your life that inspired you?
I always knew it would be design, I don't know why. Literally, most weekends, either my mum and I, or just myself, would be rearranging furniture. I'd be dressing up in her high heel shoes and pointing and saying, 'No, move that over there,' and 'just move that a little bit over there', and, 'how about we put some fresh flowers in this vase, Mum?' You know, things like that. In my early tweens my father married a lady who was a lighting designer She had lots of friends who were designers and architects and so we'd be at dinner parties and design parties, meeting all of these people, and I just thought they were fabulous
That was in the early or mid-80s It was fun and wild and very different to the southern suburbs of Sydney Meeting quite flamboyant and interesting people - I knew that I wanted to be part of that world
When you ' re not designing, how do you recharge or how do you stay inspired?
Well recharge is a hard one… I don't know that I've completely mastered that. For me, recharge is a bit of a discipline as well, right? I'd like to think that it's just literally pull the plug out and everything calms down. Like there's some magic switch and everything's sort of okay and you feel amazing and recharged. I have learnt that it actually is a discipline and it requires a little bit more work than that. Intellectually, I know all the things that work, like getting into nature, turning the devices off, meditating, getting down to the beach, putting your feet in the sand or on the grass and things like that
Time with my family is obviously very important, and travel for me is that instant inspiration as different cultures, architectural styles, colours, and environments - things like that - is my constant inspiration But for a true recharge, I find that time has to be carved out, thought about, and almost planned
I LOVE TO
TRAVEL BECAUSE TRAVELLING
IS ONE OF OUR GREATEST EDUCATORS
Do you intentionally travel for inspiration or do you just like travelling to amazing destinations and whilst there, your eye will be drawn to all sorts of architecture and design and fashion to use somewhere down the track?
It depends. I mean, I love to travel because travelling is one of our greatest educators. I love being exposed to things that are different. It's that old cliché and sounds really ridiculous, but design is everywhere. It’s in nature, it's in the formation of patterns that occur naturally or otherwise It's colours and textures I remember I was on an architectural tour of Gaudi, the famous Spanish architect They were talking about his philosophy, which is 100-plus years old, about that true beauty and wellness can only come from architecture and design that is set within nature; where it becomes one with nature I was like, we know this, we practice this every day, but the fact that it was said back to me about someone who was practising 150 years ago - it was lovely to have that confirmation
It is interesting because you hear these extraordinary stories, and you go and see his buildings and you think someone had to trust him implicitly and give him free rein to create something so extraordinary. Obviously he was an extraordinary mind and brain, so when you look at his work and the idea of that connection between architecture and nature, and the whole idea about wellness and our environment and things, it makes complete sense that he was friends with Rudolf Steiner and that he believed in that natural world.
When you ' re on a project though, when you ' re fighting for a detail or trying to resolve a detail, trying to create something truly unique and truly special - sometimes it does get very easy to walk away from It's either too hard, or it can't be done, or the client doesn't want us to spend any more time on it, or the builder is saying ‘I don't know if we ' re going achieve it exactly that way, ’ or it's about budget or constraints But it does sort of revalidate how important it is for us to continue to push the boundaries and for us to continue to challenge and try harder and go above and beyond, because that's really where those special things come about, and that's where the beauty comes
Why open up your own design studio? Tell me about the beginnings of Alexandra Kidd Design.
So, I'd been working for a company in high-end residential in Sydney and we were contracted to a hotel chain throughout Southeast Asia. There I was, doing lots of travel, lots of amazing projects and having a nice time, but the gentleman who owned that business was going through some personal challenges, and after 12 years, decided that he was going to take the business in another direction. I found that I was out of a job and had absolutely no idea what to do. I knew that I had been running his business for a long time and had those skills, but I'd never thought that I would start my own business. I just assumed I'd go and work for somebody else
Then just a number of serendipitous moments, where old clients and contacts came forward when they knew that I was out of a job, and even before I'd had time to put a resume together and have a look to see if there's any jobs out there, I had three private projects to start work on It was quite unexpected I certainly didn't start with a dream and a business plan
I started off on an old Ikea table in my share house, that expanded into my lounge room, and then realised that it was probably going to grow bigger than that and I needed to do something about it. So, it was quite organic and wonderful.
I think a lot of small business owners start off in a trade, so to speak, where they're actually doing the task that they're passionate about, but then they become the business owner and all of a sudden they're swept up in admin and payroll and marketing and HR. How did that impact you and at what time did you realise ‘this is much more than what I bargained for?’
You're absolutely right I think that is the challenge for most creatives and most of us who go into small business, because we are not taught how to run a business I think that's why most small businesses fail, because we just don't have the skills I think I'm still fine tuning those skills I am certainly not a business mind - I don't think that way I am a creative, I love beauty, I love design, I love people So I knew that that was not my strength and I identified that pretty early on The first person that I employed was an accounts person, someone who could look after the numbers straight away
Do you feel like there was a time or a project when you actually went, okay, I've arrived and I've made my mark?
No, I don't. I think I'm still learning and evolving and that every interaction, every project, is an an opportunity to do better. To do more, to continue to learn, and to evolve. That's not just design, that goes for everything - as an individual, a mentor, a team member, a designer, a human being. I hope that I never feel like I've arrived and that I will continue to push to do more. I think time and my age have certainly given me greater confidence, and I feel that feels different. Like its been a right of passage if you like, but all the mistakes and all the learnings and all the lessons - just that you get more confident as you get older You worry less about what people think of you and that you just have more confidence in the decisions you ' re making, in the designs you ' re putting forward But as I said, I hope that I don't ever feel like I've arrived
You mentioned that you ' re a mentor and have an incredible team of women that you work with. What values guide the way that you lead them, and how you want them to work with your clients?
Well, firstly, they have to be kind, that's very important to me. I really believe that we receive back what we put out and I think that we have a responsibility to treat everybody with respect and with kindness. So I think that's the the first thing and that's not even about design, that's about interacting with other humans, right?
I think in terms of being a mentor, it's not just about design and the fact that I've been in the industry for a long time, it’s also about how we interact with people, how to be a good teacher, and a good student I feel that I learn something new every day and I hope that my team do as well That we stay open and curious and that we continue to challenge ourselves I think that it’s really important that the team stay curious and are always striving for something that is unique and beautiful Communication is really important - I'm very keen on the team communicating professionally, but also respectfully That's important to me
In terms of design, it's always been about the relationships that we ' re establishing Nurturing those and investing in those relationships is very important Every day I think is a complete honour to be part of people's lives and to be creating spaces that they are going to live in and raise families in, nurture themselves in, or inspire themselves in. We don't take that lightly. It's always about inquiring, communicating, talking, opening up, listening to the clients stories - really trying to get inside their lives, what it is that they need, and how we can improve it for them.
I THINK I'M STILL LEARNING AND EVOLVING AND THAT EVERY INTERACTION, EVERY PROJECT, IS AN AN OPPORTUNITY TO DO BETTER
When you approach a new project, do you tend to go about it emotionally first, or practically?
Briefs come in many forms, and all projects start with a thorough investigation of the site or the project The questionnaires and conversations with
the clients are to really understand their needs and how we might meet them Generally when I meet with a client, it's a feeling straight away
The space will speak to me instantly and I will pick up from the client what I think that they need and what we want to try and create for them. That's from everything - from what they say, what they're wearing, how they currently live, what they aspire to, what their life experiences are. Lots of things give us the information that we need to create something truly special or unique for them. But for me, it's a feeling. Design is very emotive and I think that the measure of a successful project is the feeling when you are in that space
Each client and each individual is going to have their own personal style. How do you interpret that? Do you like to think that you bring the Alexandra Kidd flair?
I think that yes, that's why they've reached out to us - because they're attracted to, or there’s something they've seen of ours, that has resonated with them None of our projects are the same and that really is because the project and the clients speak to us That's that sort of emotive response about what we ' re going to create for them, what's right for them, what's right for the walls that they're living within
Then its about how that relationship is nurtured They have to like me and I have to like them for it to be a successful project. Some clients come with a very distinct view of what they're trying to achieve, and I would hope that we can honour that, but that we can continue to challenge them and elevate that to something that they couldn't have achieved otherwise. Others come to us with no idea of what they're looking for and that's really for us to then work out what their story is and how to tell it. That's the joy of what we do, really.
How do you go about making a very practical and functional living space look so elegant and luxurious?
Well, that's what we ' re striving for We're striving to create an environment for our clients, that they are very comfortable in, are inspired in, are nurtured in, and raising their families within Practicality has to be one of the pillars of the of the design I guess it's one of the things I hope that I've taught is that comfort is important We have to feel comfortable in a space that we live or work in We really put
ourselves in the position of the client, so that means finding out how they relax If they're entertainingwhat does that look like? Who are they entertaining? What food are they serving? How do they serve their food? Things like that that really give us an insight into how the space is going to be used.
I'm preoccupied when we ' re going through the conceptional design about details - where are they going to sit and read their book? Where are the family going to gather if it's the parents and children at home and they want to have a chat? Where are they going to be when the extended family is there, and they've got 12 for dinner on a Friday evening? Then if it's summer, where are they? Are they inside? Are they outside? Are there enough seats? Is there enough lounging to accommodate that many dinner guests? Things like that It's the feeling of what we want to create and then it's the overlay of what is the practicality of that, and how will it be used I think that's what makes our projects successful, dare I say, in that we have really thought through those elements
When it comes to collaborating - whether it be with other consultants, builders, trades - what is it that you value most in those relationships?
I value the learnings, I think In terms of energy, which is also a very important part of what we do and who we are as people, I think that you want to surround yourself with people who give you energy, who are positive to be around, and that it's a happy interaction. I think that when you ' ve got a brilliant project team, the energy is quite infectious. Addictive, almost. When you ' re surrounded by people that you trust when you ' re creating something together, I think that's very special.
It's also the learning that you get from all of those people. From the trades, the contractors, the consultants - it's that idea of staying open and everyone working together for something that's greater than the individual, I guess I love that I'm still learning and getting building tips after all these years I'm still getting bits of advice from the guys on site, or the consultants, or whatever it might be I love the fact that every day there's a new challenge, and if we stay open and communicate, and we respect those around us, then we'll find the perfect solution
How has interior design and architecture changed since you started? How are you seeing them evolve, and what are you enjoying about where it’s heading in the future?
I think Australian architecture and Australian design is very exciting. For a little continent on the other side of the world, we bat well above our weight. I love that Australian design is now being recognised on the world stage and rightly so. I think that we are, by nature, industrious people. We have an incredible lifestyle and are very fortunate to be living in a beautiful country. We have so much going for us as we are safe and happy, for the most part, and prosperous - that’s enviable We’ve got a beautiful climate and I think as a nation, we do pretty well at work/life balance
I think that our homes or our architecture really is inspired or influenced by our lifestyles, which is beautiful I think we continue to push boundaries and continue to find our way Maybe because of our remoteness, we weren’t overly influenced by a lot of what was going on elsewhere Our uncomplicated and honest architecture is very appealing, and our environment and climate allow for beautiful open spaces, beautiful materiality, and that indoor-outdoor living that is so appealing At the start of the conversation, we spoke about the idea of Gaudi’s idea of living at one in nature and that's what creates wellness, and I think that's true I think Australian architecture is the embodiment of that.
Quickfire questions....
When it comes to trends, which one do you wish would disappear?
Trends themselves, anything of the moment.
Favourite room in your own home?
My bedroom
Coffee or wine. Neither, I've gone off both!
Favorite color Green
One item every room should have. Something interesting.
Best piece of advice you ' ve ever received. My husband when I started my own business he said, 'of course you can do this.'
Founded by award-winning interior designer Alexandra Kidd, Atelier is a curated collection of limited-edition handblown glass lamps and vases, meticulously crafted in collaboration with Australia’s most celebrated glass artists, Ben Edols and Kathy Elliott
TOM BLACHFORD TAKINGYOURBREATHAWAY, ANDLEAVINGYOUJUSTA LITTLECONFUSED.
Tom Blachford doesn’t just take photos – he creates worlds that sit somewhere between reality and dream. Best known for his Midnight Modern series, Tom captures architecture under moonlight, transforming familiar structures into cinematic, otherworldly scenes. But despite his global recognition, becoming an artist was never on the cards for him. His journey has been one of intuition, grit, and a willingness to follow what feels true - even when self-doubt lurked close by. Through his lens, ordinary places become portals, and darkness reveals hidden stories. For Tom, photography isn’t about documenting what is – it’s about uncovering what could be, and inviting us to pause in wonder at the spaces in between.
When you look back at your childhood, were there any moments that hinted at the artist you’d become?
I don’t think so, no Becoming an artist was never on the cards for me and it’s been a long and hard journey wading through, and occasionally drowning in, an ocean of self doubt to be able to identify as one I didn’t have any creative pursuits as a teenager, didn’t study any art subjects, and felt like I didn’t really 'get' most modern art.
Can you remember the first moment you realised photography and/or art could give you an emotional or surreal experience?
The first time I saw light painting captured I realised that the camera could capture things right in front of our eyes, but that we were not able to see. It was magic It still blows my mind when I’m shooting something at night
Your work often captures your surroundings in a way that feels cinematic, even unworldly. What draws you to your subject?
My work has traditionally focused on architecture and the general built environment I’m drawn to particular places for their unique urban environment. Sometimes completely man-made, like in Tokyo, and sometimes in harmony with the natural environment, like in Palm Springs
How did the Midnight Modern series come to life? What was the spark that kicked it all off?
It came about really organically, pretty much by accident My (now) wife Kate wanted to visit Palm Springs after a trip to Mexico in 2013 We drove in from San Diego, through the mountains and instantly fell in love with it I felt like I had fallen through a time warp, back to the 1950’s, into this impossible world of cars, architecture, and mountains I wanted to capture it in a unique way, but wasn’t sure how. I tried a few things, one of which was shooting at night It happened to be a full moon that night and after failing to shoot about 10 homes with lights on, I tried one with the lights off What popped up on the back of the camera totally blew my mind - I’m still chasing that feeling 12 years later
Your use of moonlight and long exposure is both technical and poetic. What does working that way do for you as an artist?
My Midnight Modern series is always an incredible and exhausting adventure that forces me to be completely in the moment, connecting to a flow state, night after night, for a week I usually arrive in Palm Springs without really any idea of what I want to shoot and immediately set about sourcing cars and homes I work from sun down until around 4am every night, usually trying to manage the expectations of about 50 people - car and home owners - who have signed up to be along for the ride It’s amazing to connect with people, share my passion, and get a glimpse into their world It’s addictive, but exhausting. At one point I was going every 3 months, but now it ends up once every 2 years
What’s your relationship with silence, stillness, and open spaces - the elements that appear so powerful in your imagery?
I actually struggle so much with silence. In my own life I always have music on, or fill the silence by chatting incessantly with whoever I’m with But I love my work to create some space for stillness, though I hope it is only momentary I love the idea that people are constantly scripting the events and projecting their world onto my images
You have travelled extensively to create your work. How does a place influence your creative lens?
Place is a huge influence on me Each place not only presents its own unique challenges for lighting, planning and equipment, but I also try to tune into how a place makes me feel and how I can convey that. Palm Springs is charming and looks like a film set without lifting a finger, so I’ve always tried to convey that Los Angeles makes me anxious I feel like an outsider, so my series Noct Angeles tried to convey that sense Tokyo feels like an alternate reality somewhere deep in the future, so my Nihon Noir series tried to capture that.
How do you know when you have captured something that feels true to you? Is it a feeling, a mood, or something else?
It all happens in the moment for me, I try to be completely led by intuition when I’m shooting I let the shoot unfold organically and try to make space and time to capture every option I think might be worthwhile. From there, I think the greatest editor and clarifier is time Ideally I can spend a month, or even better a year, away from the works - enough time to forget some of the feelings of being in that moment and see if those images still bring me back
Has your work ever helped you process something personal or emotional? Can you share a moment where art and life collided?
My work has given me incredible purpose and satisfaction over the years, I feel like I truly found my calling being able to create what I love and have people resonate with it so fully I don’t know where I would be in my life without it.
Who or what inspires you? Are there particular filmmakers, architects, artists that influence your work?
My first and biggest inspirations were the dark and cinematic works of Gregory Crewdson and Bill Henson. I’m inspired by so many photographers, but mostly those whose projects are incredibly ambitious and span many years of dedication I think my ultimate goal is to be prolific For me, that is what success as an artist looks like I also love movies and I’m particularly inspired by the works of Nicholas Winding-Refn As a total dream come true
he actually wrote the foreword for my new Nihon Noir book, which I’m hoping will be out end of this year or early next year
How has your creative process evolved over the years? Do you now approach a shoot differently than when you started?
I’ve learnt so, so much over the years. About photography, about the moon, about myself and about how you don’t get anything if you don’t ask for it. I do envy my younger self, there were a million ways to do things and nothing to lose, Nowadays, I’m much more rigid in my approach and direction I think I need to start a new medium to feel those butterflies and explosions of epiphany again
What motivates you to keep exploring and pushing your creative boundaries?
Fear of being stagnant, of slipping into a life of consuming and not creating Of not wanting to try new things, to take risks
What are you most excited about creatively? A project, a concept, or even just a feeling you ’ re chasing?
I captured a whole new series of Midnight Modern in March that I’m still working my way through I think it is some of my best work ever I’m hoping to have it out some time this year and I’m working towards a brand new publication of all the Midnight Modern series from the last 12 years to be published by 2027.
If no one ever saw your artwork again, would you still make it? Why?
I would like to think so. Getting out and shooting with my camera for personal projects is a deeply meditative practice where I feel totally connected to the source of all creativity - its amazing
If your art had one message to offer the world, what would you hope people feel when they experience it?
I have just always hoped that my art would be accessible to all people, whether they know everything there is to know about photography and architecture, or whether they know nothing at all I just want the images to take their breath away and ideally leave them just a little confused as to what they’re looking at
