Incongruous and ingenious, the work of this designer has influenced interiors all over the country. Here, he takes a humble den and makes it a haven.
burst onto the scene a decade ago, he made a splash with bijoux-rich interiors that shone beyond their oftentimes tiny floor surfaces. His idiosyncratic mix of materials and colours granted him a presence on the radars of the design cognoscenti. And as his projects have become bigger, his clients wealthier and risk-aversion attenuated, Flack is now at the top of his game.A designer haven in a Sydney beachside suburb.
Placed along the bespoke walnut bookcases are works by various artists. On the left is a painting by Stephen Ormandy and, to the right, sculptures by Ramesh Mario Nithiyendran , Nabilah Nordin , andA curvaceous circa-1935 timber-framed armchair by Czech industrial designer and educator Jindřich Halabala marks a moment in time when European furniture production shifted from small, atelier-based output to mass industrial capability.
The Utrecht armchair, created by Gerrit Rietveld in 1935, is an emblem of his constructivist-influenced aesthetic with which he broke down buildings and furniture into components, highlighting the beauty of their parts. Hand-made in rich velour, its prominent saddle-stitching adds a touch of luxe. A one-off Xenolith coffee table by Blue Mountains-based artist Sanné Mestrom is created from sections of onyx and bronze stencilled along the lines of her own body, including hips, breasts and derrière. The table also manifests Flack’s commitment to commissioning local artists to create unique pieces that personify a particular interior.
A wet bar features in almost every Flack-designed home; their variously reflective or opaque surfaces bounce light around the room while the labels of their contents add a frisson of temptation at any hour. The tech is important, too; here the designer has installed an undercounter wine fridge by Sub-Zero.
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