Every project is specified on its own terms, but a studio has a language. These are the materials we find ourselves reaching for — honest, enduring, and considered for how they will read in five years, not on the first day.

Volume I

Timber & Joinery

Photography: Tim Meyer I — Timber

Hoop Pine Plywood

Australian plantation

A workhorse of considered joinery — pale, consistent, and honest. We leave edges exposed where the ply layers become part of the composition. Finished clear or hardwax oiled.

Used in Elm Grove, Kew East
Photography: Darren Richardson II — Timber

American White Oak

FSC-certified, USA

Rift-sawn for directional grain consistency, quartersawn where dimensional movement matters. The studio default for wide-plank floors and benchtops where timber is asked to hold its own.

Joinery, flooring, benchtops
Photography: Rachel Claire III — Timber

Victorian Blackbutt

Local hardwood

A Victorian native we return to for its tonal range — honey through to deep caramel — and its durability underfoot. Fire-resistant, wear-resistant, and beautifully grown.

Flooring, structural exposure
Volume II

Stone & Composite

Photography: Peter Muniz IV — Stone

Honed Travertine

Italian, cross-cut

Naturally filled, honed to a soft matte. Warm in cool light, patient with time. We specify travertine for vertical surfaces where its softness and striation can read without being trafficked.

Wet walls, splashbacks
Photography: Edward Jenner V — Stone

Calacatta Marble

Carrara, Italy

Reserved for single, considered moments — a vanity top, a splashback, a bath surround. Sealed on installation and maintained thereafter. The veining is the point.

Vanity, splashback
Photography: Jojo Yuen VI — Composite

Polished Concrete

Cast in-situ

Cast on site where the slab allows, troweled and sealed. A continuous, monolithic surface that registers the life of the room — scuffs, patinas, water marks, all of it.

Draft House, Fitzroy
Volume III

Metal & Hardware

Photography: Zain Khan VII — Metal

Unlacquered Brass

Solid, not plated

Tapware, handles, hooks, edge details. Ages honestly with use — the patina is the point. We specify solid brass as standard; electroplated finishes will not outlive the warranty of the joinery they sit on.

The Luxe Retreat, Clayton
Photography: Serenakoi VIII — Metal

Brushed Stainless Steel

Marine grade

Cold, clean, and resolutely modern. Used for kitchen benches, joinery junctions, and rangehoods where we want the metal to recede rather than declare itself.

Elm Grove, Kew East
Photography: Mikhail Nilov IX — Metal

Blackened Steel

Hot-dipped, waxed

Used sparingly — shelf brackets, window mullions, fireplace details. Heat-patinated rather than painted, so the finish is an integral layer rather than a coating waiting to chip.

Structural details, fireplaces
Volume IV

Tile & Ceramic

Photography: Joachim Lesne X — Tile

Handmade Terracotta

European kiln-made

Kiln-made with natural variation — no two tiles alike, which is the character we specify them for. Used underfoot, on splashbacks, and increasingly as a feature in considered bathrooms.

Elm Grove bathroom, Kew East
Photography: Aleksandra Dementeva XI — Tile

Square Glazed Tile

Traditional, reinterpreted

A reference to tradition, done with intention. The coloured grout transforms the surface more than the tile itself — a small decision that changes the feel of the whole room.

Bathrooms, laundries
Photography: localize XII — Tile

Zellige

Handmade, Morocco

Handmade, hand-glazed, set loose rather than machine-precise. Light catches each tile differently — which is why they cannot be photographed well, only experienced in the room.

Feature walls, splashbacks
Volume V

Wall & Joinery Finishes

Photography: Pavel Morillo XIII — Finish

Lime Wash

Three-coat application

Applied in three coats by hand. Matte, porous, and alive — it shifts with light and humidity in a way paint cannot. We specify it for bedrooms and living spaces where the wall is part of the atmosphere.

Interior walls
Photography: Polina Tankilevitch XIV — Finish

Hardwax Oil

Penetrating oil + wax

Our default finish for timber joinery and flooring. Protects while allowing the grain to breathe, and — unlike polyurethane — repairable in place when the surface needs refreshing.

Timber joinery, flooring
Photography: Curtis Adams XV — Finish

Shellac (French Polish)

Applied by hand

Reserved for heritage restoration where the piece calls for it. Built up in successive coats, rubbed back between, and finished by hand — a slow process we don't shortcut.

Heritage joinery, cabinetry

Every project shapes its own brief — these are the materials we return to, not a prescription. If you are considering a build and would like to talk material, we would be glad to.

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