Melbourne-based Koos is a graduate of Eindhoven University of Technology in the Netherlands, a Fellow of the Australian Institute of Architects and the founder and principal of DKO Architecture. During the past 25 years, Koos has led the expansion of DKO across seven studios in Australia, New Zealand, Vietnam and Indonesia, to a team of more than 300 employees. An award-winning architect and urban designer, Koos is known for his innovative design approach and research into housing typologies. His work champions architectural integrity and the development of sustainable communities.

Do you have a favourite interior?

Eileen Gray’s Villa E‑1027. It perches on the edge of the sea and feels effortlessly connected to the land. It reminds me of the homes that cling to the hills around Christchurch’s Port Hills like Mount Pleasant and Sumner. What I love is how every space is curated with intent. I believe Eileen Gray is one of the most underrated designers of the 20th century, and here she has created a home where form follows function. It’s an incredibly functional piece of design, yet undeniably pretty. That clarity, restraint and sense of purpose is inspiring. 

Is there a studio whose work you admire?

Herzog & de Meuron. I once stayed at the Elbphilharmonie in Hamburg and was struck by the sheer presence of the building. How it sits on the harbour, how tactile its surfaces are, and the level of detail considered at every scale. Their architecture manages to be monumental yet sensitive, and I find that profoundly admirable.

What would be your dream interior project?

It’s actually one I’m living in. My wife and I have spent the last five years tinkering with the interior of our farmhouse in country Victoria. The result is a mid‑century, Italian‑inspired space overlooking the valley and ranges. I’m drawn to simplicity, authenticity and volumetric expression, and our home has become a canvas for exploring those ideas. I can imagine continuing to refine it (and enjoy it) for many years to come.

Is there any new thinking you’re hoping to see in the future?

I’m increasingly driven by the possibilities within the reuse economy. I’m particularly interested in how material circularity can become a creative driver rather than a constraint. Recycled materials carry stories, patina and texture that contribute to atmosphere in a way new materials sometimes cannot. Our Arkadia project in Sydney, is Australia’s largest recycled‑brick building, and taught me that sustainability and beauty can be completely intertwined when material reuse is intentional and celebrated. Another example is one of our major projects in New Zealand, which involves converting the former council building in Hamilton into a hotel while preserving the essence of its brutalist DNA. What excites me about this work is the opportunity to approach the building not as a blank slate, but as a partner with its own history, temperament and integrity. To me, this kind of work represents the future: designers acting as caretakers and interpreters, giving buildings the opportunity to evolve without erasing their history.

What is it you’re most looking forward to in judging the Interior Awards 2026?

What I love about judging the Interior Awards is meeting a diverse group of talented, often younger, practitioners working in contexts I haven’t worked in myself. Their passion, curiosity, and ability to navigate the design process to create genuine beauty is incredibly energising. It’s a privilege to engage with that level of creativity.

Is there any advice you’d give to designers thinking of entering the awards?

One of my favourite words, and one I use often, is ‘indefatigability’, which is essentially the quality of being determined to do or achieve something; firmness on purpose. 

Click here for more on the Interior Awards and here to submit your projects to the 2026 Interior Awards before Wednesday 29 April.