The 5 Worst Interior Design Mistakes, According To An Expert
Interior designer Thomas Hamel on where it goes wrong in so many homes.
3 min
Specialising in residential design, Thomas Hamel and his eponymous design firm, Thomas Hamel & Associates, has built a heady reputation for blending elements of design to create timeless interiors for modern living.
We recently asked Hamel, what are the biggest design mistakes that you want to avoid when decorating or updating interiors.
Here – 5 mistakes to avoid and rules to live by:
1. Don’t ignore the interior architecture
Some houses or rooms have what we call “good bones”. Others, however, do not, and that is when it is important, rather than diving straight in to the fabrics and furnishings, for the interior architecture to be considered as a priority, to give a room a better sense of presence. Heights of door frames can be “tweaked” through window treatments and mouldings/panelling to add scale and “wow” factor to a room. Rooms can be opened up to adjoining rooms or to an outdoor area, doorways enlarged for greater flow, and mouldings and panelling incorporated to give a room more presence. These fairly easy design touches can give a room “good bones” and often without a huge cost outlay. It is a good idea to have your interior designer work in tandem with the architect, as well as the landscape designer in advance of embarking on the more decorative aspect of the project.
2. Never overlook the importance of area rugs
At Thomas Hamel & Associates, we prioritise a room’s rugs before moving on to select the fabrics, lighting or decorative pieces. A rug truly anchors a room and informs the overall feel and aesthetic. This important starting point leads to our choices of fabrics, furnishings, and paint colours. The rug is the first port of call. It is essential to choose the correct rug sizing, as this is closely linked to the proportions of the furniture pieces and light fixtures. We often custom design rugs for our clients, with the help of specialist rug dealers like Behruz in Melbourne.
3. Don’t Match Everything
It is important to avoid the ‘everything has to match’ syndrome. No great room ever felt or looked ‘cookie cutter’! We prefer to combine a variety of different styles. Clients may live in a contemporary house, but if they fall in love with an antique piece of furniture or traditional work of art, we say “go for it”. Integrating a range of periods and styles tells the story of who lives there and adds personality to a house. No one wants to live in a design showroom, and nor should they.
4. Not considering your location
The best homes/rooms have a true “ sense of place”, so consider your location before embarking on a design scheme. While Tuscan houses look great in the Italian countryside, they are not so appropriate in Queensland. Likewise, it’s best to leave the “ Hamptons style” in Long Island, rather than trying to recreate it in urban Melbourne, A home should be true to its setting. In Australia, that may mean making the most of our warm climate by incorporating opportunities for indoor/outdoor living. Or in Sydney, playing to the view if you are lucky enough to live on the harbour. In Melbourne, it may be a garden that forms the focus of a room’s outlook.
5. Always allow space for art and objects
Memorable rooms are often filled with an owner’s favourite objects, collected over time from travels, a gallery visit, or perhaps passed down through families over generations. Avoid the notion and temptation that everything for your interior should be bought at once, or feel that the house is “done” when the interior design scheme is completed. Collecting is fun and the stories that objects and art tell about the owner are what makes a house truly special.
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4 min
There was a time, not too long ago, when the most important must-have for would-be renovators was space. It was all about space to be together and space to be apart.
But as house prices increase across the country, the conversation has started to shift from size for the sake of it towards more flexible, well-designed spaces better suited to contemporary living.
For the owners of this 1920s weatherboard workers’ cottage in Fremantle, the emphasis was less on having an abundance of room and more about creating cohesive environments that could still maintain their own distinct moods. Key to achieving this was manipulating the floorplan in such a way that it could draw in light, giving the impression at least of a larger footprint.
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Positioned on a site that fell three metres from street level, the humble four-room residence had been added to over the years. First order of business for local architect Philip Stejskal was to strip the house back to its original state.
“In this case, they were not quality additions,” Stejskal says. “Sometimes it is important to make sure later additions are not lean-tos.”
The decision to demolish was not taken lightly.
“Sometimes they can be as historically significant as the original building and need to be considered — I wouldn’t want people to demolish our addition in 50 years’ time.”
Northern light hits the site diagonally, so the design solution was to open up the side of the house via a spacious courtyard to maximise opportunities to draw natural light in. However, this had a knock-on effect.
“We had to make space in the middle of the site to get light in,” Stejskal says. “That was one of the first moves, but that created another issue because we would be looking onto the back of the neighbouring building at less appealing things, like their aircon unit.”
To draw attention away from the undesirable view, Stejskal designed a modern-day ‘folly’.
“It’s a chimney and lookout and it was created to give us something nice to look at in the living space and in the kitchen,” Stejskal says.
“With a growing family, the idea was to create a space where people could find a bit of solitude. It does have views to the wider locality but you can also see the port and you can connect to the street as well.”
A garden tap has also been installed to allow for a herb garden at the top of the steps.
“That’s the plan anyway,” he says.
Conjuring up space has been at the core of this project, from the basement-style garaging to the use of the central courtyard to create a pavilion-like addition.
The original cottage now consists of two bedrooms, with a central hallway leading onto a spacious reception and living area. Here, the large kitchen and dining spaces wrap around the courtyard, offering easy access to outdoor spaces via large sliding doors.
Moments of solitude and privacy have been secreted throughout the floorplan, with clever placement of built-in window seats and the crow’s nest lookout on the roof, ideal for morning coffee and sunset drinks.
The house has three bedrooms, including a spacious master suite with walk-in robe and ensuite overlooking the back garden. Adjustable blades on the bedroom windows allow for the control of light, as well as privacy. Although the house was designed pre COVID, it offers the sensibility so many sought through that time — sanctuary, comfort and retreat.
“When the clients came to us, they wanted a house that was flexible enough to cater for the unknown and changes in the family into the future,” Stejskal says. “We gave the owners a series of spaces and a certain variety or moods, regardless of the occasion. We wanted it to be a space that would support that.”
Mood has also been manipulated through the choice of materials. Stejskal has used common materials such as timber and brick, but in unexpected ways to create spaces that are at once sumptuous but also in keeping with the origins of the existing building.
Externally, the brickwork has been finished in beaded pointing, a style of bricklaying that has a softening effect on the varied colours of bricks. For the flooring, crazy paving in the courtyard contrasts with the controlled lines of tiles laid in a stack bond pattern. Close attention has also been paid to the use of veneer on select joinery in the house, championing the beauty of Australian timbers with a lustrous finish.
“The joinery is finished in spotted gum veneer that has been rotary cut,” says Stejskal. “It is peeled off the log like you peel an apple to give you this different grain.”
Even the laundry has been carefully considered.
“The laundry is like a zen space with bare stone,” he says. “We wanted these different moods and the landscape of rooms. We wanted to create a rich tapestry in this house.”
The owners now each experience the house differently, highlighting separate aspects of the building as their favourite parts. It’s quite an achievement when the site is not enormous. Maybe it’s not size that matters so much after all.
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