ORSINI - BESPOKE LIGHTING

Our Orsini interior took away the 2023 RED Award for the Fashion and Accessories category. An achievement we are very proud of especially considering the big names we were up against.

Here we share insight into the process of the custom wall light featured in the space. We enjoy the process of creation. It allows for exploration and the opportunity to engage local craftsmen in special design. 

THE INFLUENCE
The client’s love for and history with Italy is the origin of the design concept so a strong Italian influence was the natural direction, with references to Murano glass and sunlight refractions on the water’s surface.

THEDESIGN
We wanted an undulating surface and texture within the glass itself to look organic and irregular.

This piece is a focal point in the space defined by its large scale. Because of this scale it softness and refined detailing were important to prevent it from feeling too weighty.

The Murano glass reference is made obvious but also respects that this is a piece made locally in New Zealand so does not try to replicate Italian design. 

THE GLASS PROCESS
Isaac of Monmouth Glass was key in developing the glass panes.   A significant amount of time went into prototyping the panes to ensure the right balance of texture, colour and form was achieved. 

Simplified, each pane fuses two sheets of glass in a mould.  The moulds were hand formed to create the surface ripples.

Bubbles within the fused glass were created using baking soda and gold dust lent their reflective shimmer.

THE FRAME PROCESS
We understood the final form we wanted the viewer to see but then had to resolve how this could be manufactured.  From a number of options we landed on a wall plate fitting that would be able to support the weight of the glass.  Flat bars are nested on the large plate so panes could be layered to create a cascading chandelier form. 

A steel prototype was made to ensure design would work structurally and functionally and to confirm the best proportions for panes and layering. 

From here the final piece was fabricated in brass.  The light source is a single diffused LED light strip integrated into the wall plate that provides a linear wash of light through the layers. 

THE RESULT
We are in love with this piece and the way it’s story is translated into its form. The light gradation and shadow play through undulating gold flecked glass sits gently on its monochrome canvas. 

VISITING A RYOKAN IN JAPAN

My recent family trip to Japan was very inspiring, even though it was way too short to really explore what the culture and craftsmanship in Japan has to offer, especially trying to keep two teens excited and engaged in things design that I wanted to see.

However, one of the experiences we all enjoyed and gave us a glimpse into traditional Japanese culture and living was during our stay in an over 100 year old Ryokan (which is a traditional guesthouse), and I share this experience with you here.

We stayed at Ryokan Fukuzumiro (est.1910) in Hakone, Yomoto Town. It is an old heritage building with traditional Japanese construction methods and architecture, that I was really interested in seeing.

Getting there was the first adventure, the travel on the train into the mountain range already makes you slow down and see the landscape change from the big city and faster paced energy of Tokyo to a greener, less populated and smaller type of housing.

The scale and scenery changed and so did my mood. 

It is interesting to see that some of the landscape looks very similar to New Zealand, yet the buildings and light set a different mood and the feeling of unfamiliarity, which drives curiosity and keeps you engaged.

There is something to be said for really creating an environment. There is more to it than just how it looks.

I am always inspired by spaces that evoke a real sense of place. They don’t always have to look the best, but they have something indescribable, that makes you feel something and influences your behavior to look at something from a different perspective, consciously or unconsciously. And if this is sitting in response to its environment and context it is especially powerful and engaging.

When we arrived at the Ryokan, the building from the outside had definitely aged and looked rather humble. Yet you can see it was once very grand. Set on the banks of the Hayakawa River with a mountain backdrop. The sound of running water making its presence known on arrival.

Once you entered however, you felt like you were back in time and entered a different realm. An entry with shoe storage and slippers for all guests to change into, a long corridor with an internal garden and pond area you can see carp swimming in, to all these weird and wonderful textures and materials on every surface. 

This is where the change of culture truly became apparent. You feel foreign and the unfamiliarity and intrigue sets in. Even the kids were amazed and loved it.

On arrival you get greeted by a very calm, quietly spoken woman dressed in a traditional Kimono, to show you where you stay within the large building complex.

Walking along the corridors and into the rooms with all its textures, details and tones of different woods, along with everything being smaller as it was made to a scale of a smaller human a century ago, you feel very warm, welcome yet slightly uncomfortable but totally engaged and present as you go through the space. 

The large window walls connecting you to the internal gardens, keep bringing in natural light into the corridors and keep you connected to nature all throughout the building.

Our room, Sakura #5, was essentially 2 rooms with a sunroom-like Porch, overlooking the flowing Hayakawa River and bushy Yusaka Mountain across. 

The room was set out with a low table and cushions for an on-arrival afternoon tea in the main room, which later would also become our dinner and then sleeping area with rolled out futon mattresses.

All the rooms have tatami mats, and you take your slippers off outside in the corridor before you go into your rooms and also change over into bathroom slippers when you go to the shared toilet on the corridor.

The rooms are all connected with sliding doors made from rice paper or other alternative paper and wood panel materials

Even separate guest rooms are still often connected to the other rooms by sliders, so you could open them up further and extend the space. This also means you can hear people talk next to you, though fortunately we didn't have anyone staying next to us, so we ended up with the whole floor to ourselves.

The silence makes you conscious to not disturbs others with your own sounds. You also walk more quietly, which plays back into this calm, slower-paced environment where you are very aware of your actions and surrounding, background noise is rushing waters, wind and birds with the odd muffled voices of conversation as you pass through spaces.

I also have to mention the bathrooms with hot tubs, called Onsen. The single person tubs use a continuous flow of fresh hot water and are a cathartic experience. Muted spaces with natural materials and layered textures.

A Ryokan is definitely not like any city hotel experience. The quiet heightens your senses and allows you to be present with tasks of your day and to treat them as rituals.

The experience felt so special to all of us.

APPROACHING INTERIOR DESIGN

“DESIGNING WITH INTENTION ENHANCES ATMOSPHERE AND FUNCTIONALITY.
IT CREATES SPACES WE CAN EXPERIENCE MORE MEANINGFULLY.”

Within the process of developing our brand we spent time considering what design meant to us so we could properly articulate those thoughts and philosophies through the face we presented to the world. These words were helped along by Mark Easterbrook,

“Good design creates a sense of ease, both in the process and the end result. It enhances the experience of space and makes it a joy to inhabit.

Aesthetics, atmosphere and practicalities are considered equally. The influence one has on the next produces a magic. That magic is felt through the memorable moments of simply inhabiting a beautifully designed space. It enhances our clients’ lives both functionally and aesthetically. And it flows from the things they hold close, that we are able to bring out and into the world with them.

We work closely with our clients to develop principles that will guide and inform their design, this process creates spaces that have intention and a true connection between client and design.”

ART IN SPACES

Something that has always inspired us is art in spaces. It’s interesting that we have been attracting more and more clients for who this is also important without intentionally seeking them out. Client’s usually have existing pieces and occasionally are looking for new ones.

Art can say a lot about a person’s personal aesthetic. We take these perceptions and translate them into a colour palette or over arching design concept for their interior. There are times when the art and the client’s collected mood imagery seem to be out of alignment and so the design is manipulated to be able to pull those elements together in a way that feels appropriate and fulfils the desired mood or atmosphere of the space.

Early on we often will determine the best locations for a client’s favourite works and some pieces will be placed lastly once the space is otherwise complete. Sculptural pieces are often lost in the clutter of the things we accumulate. Providing them a space to breathe and be seen elevates their value and encourages conversation and story telling among friends.

Being so personal a purchase should be meaningful to and resonate with it’s owner. We believe every purchase is an investment regardless of it’s monetary value. So much more pleasure is derived when you truly love and value an object.

A recent Here Magazine event hosted at Objectspace saw four well known creatives share their most loved object, that they possessed and one they coveted. It was interesting to note these items were valuable for their deep meaning rather than their price tag. I haven’t yet figured out which of my objects is my most treasured but I encourage you to ask yourself. And consider what you most covet. Your conclusions may surprise you.

Here are a few of our projects that have used art to set the scheme or tie in with it.

FARMHOUSE RETREAT

Recently my mother-in-law very kindly gifted me a stay at a wellness retreat at Cape South in Havelock North, Hawkes Bay.

Hosted by Kate and Cam McLeay, we spent three days and two nights eating vegan, meditating, stretching and taking in the atmosphere. What really had me from the moment we arrived down the tree lined gravel drive was how special this place is.

The main house and cottage is built in a French Colonial style. I shared the cottage with my sister-in-law. The dimly lit dwelling featured slate tiled floors, earthy green lacquered kitchen cabinetry and clay hue walls. High ceilings and curtains framing large picturesque windows. This was a beautiful space that gave a sense of groundedness, comfort and ease. It was Spring time but that wood fire in the lounge would be a delight in Winter. Our lounge also opened onto a private sunny garden. We hardly used the kitchen except to prepare loose leaf herbal teas and graze on home-made dehydrated fruits and nutty granolas between meals.

The two bedrooms each had an ensuite and again were warmly dim due to the wide eaves and orientation of the building. I kept my yellow gingham curtains closed most of the time, enjoying the privacy and the light filtering through them.

The mood of the property was enhanced by the slow pace of restorative yoga, qi gong, reiki and meditation on offer by Kate and her team. All our meals were vegan, prepared by the wildly talented Pia Russell. A family friend I was very lucky to have inherited from my husband. A large proportion of the plant ingredients were sourced from the abundantly overgrown edible gardens. Details such as fresh garden flowers, recipe books and room sprays throughout the accommodation, reinforce the intention of restoring wellness in guests.

My stay here really reinforced how successful an interior is when the intention for the space is determined and how that success translates to a mood or feeling for those inhabiting it and immediately enhances one’s quality of living.

A NEW MOOD - Maison et Objet September 2022

I will not use the “C” word in full. It has had enough air time and frankly I’m happy to never have to hear it again. Being holed up in our homes these past few years our spaces have become meditative. An attempt to keep us sane??
Light, natural palettes with warmth and texture. Curves and minimalism. Slow living. It’s been great! But time to emerge from the depths of mental exhaustion? The recent Maison et Objet fair in Paris seems to think so.

There is a new found optimism in the air. Expressive forms, layered pattern and plenty of flora. A mash up of unexpected colour, saturation-enhancing gloss and dichroic effects. Slow fashion has not been forgotten as we continue to appreciate the artisans who’s work came to light during lockdown Instagram scrolling. Although the finishes appear artificial and enhanced there is still a need to ensure materials and labour are ethically sourced, which a number of manufacturers are delivering.

Overall there is a sense of living for the moment but also creating spaces that reflect individuality. Buying for your individuality is not trend-driven. It tends to support slow fashion as you purchase less, better quality and keep pieces longer. Something we would love all our clients to consider!

Here are some of our favourite moments from the fair . . .

BONGUSTA DELIVER PLAYFULNESS WITH THEIR HAND-TUFTED RUGS.

CRISTINA CELESTINO LAYERS PATTERN JOYFULLY AND UNEXPECTEDLY.

SANNE TERWEIJ SHOWS CRAFTSMANSHIP IN HER ALUMINIUM ARTWORKS. BEAUTIFUL OMBRE COLOUR TRANSITIONS AND IRRIDESCENT FINISHES.

THE MAGICAL MOOD OF SILK-KA FLOWERS. FULL COLOUR, VIBRANCY AND WHIMSY.

COLOUR POWER BY ELIZABETH LERICHE IS DRAMATIC AND EMPOWERING.

POLSPOTTEN ALSO WANT US TO PLAY. DICHROIC GLASS AND A MASH UP OF COLOUR.