SCIENCE FICTION MEETS MARKET REALITY: ANDERS SÖRMAN-NILSSON ON THE FUTURE OF PROPERTY
Global futurist Anders Sörman-Nilsson says AI, climate change and shifting demographics are rewriting the rules of real estate.
3 min
“Today’s luxury is tomorrow’s expectation.”
It was one of Anders Sörman-Nilsson’s throwaway lines – but the kind that sticks. The Swedish-Australian futurist wasn’t talking about marble benchtops or rooftop pools. He meant robots in the home, AI personal assistants and cities so climate-resilient they could add decades to your life.
For Sörman-Nilsson, science fiction is no longer something you watch. It’s the world you live in, and if you’re in property, you’d better be designing for it now.
Take transport. In Los Angeles recently, he rode in a Waymo self-driving car and “never felt safer”. No human driver, no small talk, no risk of road rage. Just seamless, sensor-driven efficiency. Or healthcare. His GP now uses an AI medical scribe to complete reports and referrals, saving hours of paperwork. For patients, it means more time with the doctor and medical instructions translated into plain English.
These examples aren’t novelties. They’re signals. “AI is taking the robot out of the human,” he told the audience.
“It’s letting us do less of the menial and the mundane, and more of the meaningful and the human.”
Speaking to more than 100 property and investment leaders at the inaugural Kanebridge Quarterly Property Summit in Sydney, Sörman-Nilsson set out a future that is as exhilarating as it is confronting.
The night opened with a data-rich address from expert economist Dr Andrew Wilson, who set the economic scene for the year ahead.
His forecast: a robust housing market through 2025, underpinned by falling interest rates, inflation easing back to the RBA’s target, and a still-strong labour market.
From there, the conversation shifted from the short-term economic outlook to the long-term forces reshaping the industry, as futurist Sörman-Nilsson took the stage.
Over the course of an hour, Sörman-Nilsson unpacked the three significant forces reshaping real estate: AI, demographics and design, and why ignoring them could be fatal for investors, developers and cities alike.
One of his sharpest warnings was about climate change and the emergence of “climate oases” – the select cities and regions that will remain liveable and attractive as others become too hot, flood-prone or costly to protect.
“In Australia, Hobart, Launceston, and Canberra are among the most climate-resilient,” he said.
“People are already moving there for cooler temperatures and security. That’s not a trend you want to ignore if you’re thinking about where value will hold.”
Demographics, too, are shifting in ways the property market can’t afford to overlook. By 2035, Sörman-Nilsson predicts that 40 per cent of households could be single-person households. Fewer children, more solo living and longer lifespans will require housing models that prioritise community, flexibility and wellness over sheer size.
“If you want to live in Sydney in the future,” he quipped, “you might never know your grandkids because they’ll have to move somewhere they can actually afford.”
The implications for design are profound. He points to “Blue Zone” principles – the habits and environments linked to long, healthy lives – as a template for next-generation developments.
Think walkable neighbourhoods, green spaces, social connection and accessible services.
“Singapore has become the first urban Blue Zone by design,” he said. “If they can do in 20 years what took Okinawa hundreds, there’s no excuse for our cities not to aim higher.”
For all the provocation, there was consensus in the room. Panellist Darren Younger, CEO of Assetora, said the opportunity for property to integrate technology at the foundational level has never been greater.
“Technology isn’t just an add-on anymore. It’s becoming the foundation for how we design, transact and manage property,” he said. “From fractional ownership to AI-driven maintenance systems, the innovations are here; we just need to deploy them.”
Want more? Read the full story in the spring issue of Kanebridge Quarterly, here.
For Central Element, the start of work at Pearl represents another step in the company’s growing eastern suburbs pipeline.
All three vehicles will form part of a broader charitable initiative benefiting Big Brothers Big Sisters of America, the American Red Cross and Starlight Children’s Foundation
Jack Freeman believes the most compelling interiors are not decorated, but collected. The FREEMAN & CO founder creates layered, personal spaces shaped by art, travel and craftsmanship.
4 min
For Jack Freeman, a compelling interior should not look as though it was completed in a single shopping trip.
The founder and designer behind FREEMAN & CO prefers rooms that develop through art, travel, commissioned furniture and objects collected over time. It is an approach that treats the home less as a decorative project and more as an evolving portrait of its owner.
“I am a true believer in collecting versus decorating,” Freeman says.
That distinction underpins the international practice he has built across private residences, hotels, property developments, yachts and private aviation. Its projects stretch from Point Piper, Vaucluse, Circular Quay and Toorak to Mayfair, Bel Air and the Caribbean.
Although the locations and architecture vary considerably, the work is connected by a restrained design language. Natural stone, warm timbers and sculptural furniture establish the foundation, while art, bespoke lighting and individual objects give each interior its identity.
The objective is not to overwhelm a room with obvious symbols of expense. It is to create an environment that feels calm, layered and particular to the people living within it.
“The greatest luxury isn’t about excess,” Freeman says. “It’s about creating an oasis where you come home and feel immediately grounded — effortlessly chic and deeply personal.”
Collecting instead of decorating
Decorating can imply the completion of a room: selecting the required furniture, filling the available walls and producing a coherent finished image.
Collecting is less conclusive.
A collected interior has room to change as its owners travel, discover artists, inherit pieces or reassess how they use their home. Its character comes from the relationship between objects rather than adherence to a single brand or season.
That does not mean placing unrelated pieces together without discipline. The designer must understand scale, proportion, material and provenance well enough to create a dialogue between them.
A contemporary artwork might sit beside a historic piece of furniture. A precisely detailed new interior may be interrupted by an irregular object made by hand. Smooth stone can be balanced by timber, textiles or a patinated metal surface that becomes richer with age.
The tension between those elements is part of the appeal.
For Freeman, art is not an accessory to be added once the furniture plan is complete. It forms part of the architecture and atmosphere of the room from the beginning.
Lighting is considered in the same way. Beyond its practical purpose, a bespoke fitting can operate as a suspended sculpture, changing both the room’s composition and the way its materials are experienced after dark.
A design perspective shaped by travel
International travel plays a significant role in Freeman’s creative process.
Design fairs such as PAD Paris and Salone del Mobile in Milan provide opportunities to encounter emerging designers, established galleries, new materials and collectible furniture away from the filter of social media.
More spontaneous discoveries can prove equally important.
“Sometimes it’s the simple things,” Freeman says. “That piece found on a shopping trip with a client in Paris, stumbling across an artisan’s workshop, or a special memory that forms the narrative of the story.”
Objects selected during travel bring more than visual interest into a home. They carry an association with a place, maker or experience, giving the client a connection that cannot be reproduced by ordering an entire interior from a catalogue.
Freeman’s influences are international, but his projects are not conceived as replicas of Parisian, Milanese or Californian style. Each commission responds to its architecture, setting, natural light and the daily lives of its occupants.
A waterfront Sydney residence demands a different treatment from a Mayfair townhouse. A Caribbean estate shaped by brutalist architecture and reflecting pools calls for another response again.
The designer’s role is to absorb those references without allowing them to overwhelm the individual qualities of the property.
Designing the complete experience
FREEMAN & CO extends beyond conventional interior decoration.
The practice’s stated services include interior design and architecture, project management, property acquisition, development advice, concept design, documentation, furniture and lighting design, procurement and art curation.
That breadth allows the team to become involved before a room’s dimensions and finishes are fixed.
Early participation can be important at the top end of the residential market, where architecture, landscape, interiors, technology and art must operate as one environment. Decisions about ceiling heights, wall dimensions, sightlines and lighting can directly affect where art is installed or how custom furniture is proportioned.
The practice can then carry those decisions through to procurement and final installation, maintaining the design narrative as a project moves between architects, builders, specialist craftspeople, dealers and suppliers.
Its residential portfolio includes a South Coast retreat conceived as an escape from urban life, a Caribbean estate with reflecting pools, an East Coast-inspired Palm Beach residence and a Mayfair townhouse organised around an expressive drawing room.
The studio also says it has worked on highly tailored Sydney residences with values exceeding $100 million, although the private nature of such commissions means individual addresses and clients are not always disclosed.
A home that can keep changing
The risk in creating a perfectly resolved interior is that it can become too static — a composition that looks exceptional in photographs but leaves little room for life.
Freeman sees the home as something that should evolve with its owners.
“I love the evolution of design,” he says. “We are talking about people’s lives, and as they evolve, so too should their private sanctuaries.”
That evolution might involve adding art, reupholstering a significant piece, adapting rooms as a family changes or making space for objects gathered through future travels.
The original design needs to be strong enough to accommodate those layers.
This may be the clearest expression of Freeman’s approach to luxury. It is not simply access to rare stone, collectible furniture or commissioned craftsmanship. It is the creation of a personal environment whose meaning deepens rather than diminishes with time.
Fact box
- Designer: Jack Freeman
- Role: Founder and managing director
- Practice: FREEMAN & CO
- Base: Australia, with international projects
- Project locations named by the practice: Point Piper, Vaucluse, Circular Quay, Toorak, Palm Beach, the NSW South Coast, Mayfair, Bel Air and the Caribbean
- Sectors: Private residences, hotels, residential developments, private aviation and superyachts
- Services: Interior design and architecture, property development, project management, property acquisition, documentation, furniture and lighting design, FF&E procurement, interior dressing and art curation
- Design philosophy: Collected, personal interiors shaped by art, craftsmanship, travel and enduring materials
- Website: free-man.co
From reworked homes to remote retreats, designers are prioritising warmth and a deeper connection to landscape.
Mirzaian is a senior director within CBRE’s Development NSW business, operating across the company’s Western Sydney and North Sydney offices
