What led you to a career in spatial design?

Lorraine O’Rourke (LO): The seed was always there. I grew up in Dublin, where streets of identical exteriors pushed my folks to be creative with the interiors. It instilled the sense that a home is something that is made and crafted, and I loved nothing more than rearranging my childhood home, despite the ’70s’ Axminister carpet. Attending a convent school, I had to choose between Art and Science, so I studied Art History outside of school; this ultimately led to my career in design. After completing a four-year course that spanned spatial design, furnituremaking and business studies, I was fortunate to graduate at a time when construction in Ireland was at an all-time high. I walked straight into a dream job in Dublin, designing for high-end hotel and workplace projects in both Ireland and the United States. I often think of that first job and the opportunities that I was given – they sent me to the US for site visits and to the Milan Fair for inspiration – and I’m eternally grateful.

Are you influenced by any designers or movements?

LO: Mid-century modernism is a key influence. There is a seamless synergy between the building envelope and the interior; it’s my experience that the most successful projects are those that take this holistic approach from the start. I’ve long admired the works of Lina Bo Bardi, Oscar Niemeyer, Alberto Giacometti and Barbara Hepworth, to name a few; visiting the Maeght Foundation in Provence was a highlight. With time as our new luxury, I’m certainly drawn to the more human-centric interiors and the ideals of Ilse Crawford and Patricia Urquiola. In my own work, narrative and sense of place are key influences.

How does colour factor into your projects?

LO: Colour is an integral part of my work. I generally start with a neutral base and layer in colour and handcrafted texture, and, lately, I’ve been experimenting more with soft-toned, saturated schemes. Spaces give energy and colour can direct how that will feel. In one of our current projects, a heritage villa, we are colour-drenching the teens’ bedrooms in Resene Quarter Malta and Resene Quarter Cashmere, respectively. We removed the lowered ’90s’ ceilings and reinstated the 3.5m-high ones with imperial mouldings and bespoke plaster detailing. We’ve played with the matt and gloss levels, creating a beautifully calm and contemporary leaning to a traditional home.

How did you arrive at the design of this collab?

LO: Sculpture embodies art so beautifully. Inspired by English artist Barbara Hepworth’s figurative, sinuous sculptures, we looked at the concept of stacking forms, negative and positive space, shadow play, texture and the overlay of its narrative.

Tell us about your colour choices.

LO: I always start with building an inspiration board – it encourages me to flesh out the narrative and also to experiment with different colour combinations and textures. It creates the backbone of the space and something to refer back to as the project develops. The initial inspiration came from a landscape image with a painterly quality that was at once invigorating and calming. I drew out the colours from this, creating a sculpture with Resene Hinau and Resene Wavelength on the sinuous top piece, and Resene Raptor and Resene Half Raven on the base block. Resene Raptor also brought a warm, soft tone to the backdrop, using a dry brush application technique.

See more from the Resene Colour Collab series here.

ArchitectureNow works with a range of partners in the A&D supply sector to source appropriate content for the site. This article has been supported by Resene.