Nina Maya – Residence R
AD Middle East March 2022
Overlooking Sydney’s Sugarloaf Bay, this five-floor villa was once home to an Australian Prime Minister. Now, thanks to interior designer Nina Maya, it’s a serenely stylish family retreat.
Words: Amy Bradford
Photography: Felix Forest
On the Waterfront
A painting by Marisa Purcell creates a bold focal point in the living room. The lounge chairs, sofa and coffee table are all bespoke, the blue and bronze table is by Draga & Aurel.
Interior designers usually like to cultivate a close relationship with their clients before embarking on a big project: it helps things go so much more smoothly if everyone can work together on friendly terms. But Nina Maya had to think outside the box when she was commissioned, “out of the blue,” to revamp this five-storey, glass-and-steel home overlooking Sydney’s Sugarloaf Bay. Built in 1995 for former Australian Prime Minister Bob Hawke—a man famous for his larger-than-life personality as well as his taste in contemporary architecture—the house had recently been acquired by a globetrotting couple who wanted to update the property to reflect their minimalist style. But when Maya got a call from architect Ian Traill, who had also been enlisted for the project, to ask whether she would be interested in working with the new owners, the couple were abroad sailing on their yacht. “I didn’t meet with them in person before starting the job; we spoke with them via Facetime throughout the design process and by telephone,” explains Maya. “It was a challenge, but one that I embraced wholeheartedly.”
The hands-off brief gave Maya a very open remit, while also being clear about their key requirements. “They have immaculate taste, a background of good design,” she explains. “They wanted a very understated, chic look for the house—no strong colours or patterns, no fussy details, no clutter.” That said, the couple were keen to make the most of the five floors’ worth of rooms (including a built-in gentlemen’s club, five palatial bedrooms and six bathrooms) were something of a “rabbit warren” according to Maya; the building also had numerous outdoor spaces to contend with, hanging from rooftop terraces to a large pool, private jetty, and boat shed, and even a timber-boarded area at the front that serves as a driveway but is surrounded by flower beds. “There was a lot of potential there, and a clear need for a refresh, but it was also a dream challenge for Maya, who understood her vacuous style’s influence by French architect Joseph Dirand. “I always start with the architecture and proportion; I want the tones and light I like to add interest through texture, and the feature lighting, which I see as the jewelry in a room,” she says. For this project, that approach translated to layers of design cues. Maya’s considered placement of tactile materials, from honed limestone to velvet upholstery, is evident throughout the house. Mixed with soft, warm lighting, and her selection of artwork—including some pieces she had custom-commissioned from Australian talents—these touches imbue each room with a serene, welcoming ambiance.
The original plan for the furniture and lighting was to source pieces from European designers, but costs associated with the pandemic almost doubled the budget. Instead, Maya opted to have most things custom-designed and made in Australia, with just a few select items from further afield. “We embraced working with local artisans, which means that the furnishings are entirely unique,” she says. Among her favorite pieces are the original forms that shape the living room. Holland Europe chairs with brass and timber frames, a softly curved, layered coffee table in bronze and glass, which were designed by Sydney creatives Oliver Tanner and Ashley Botter Smith. They are complemented by jewel-like lighting by Christopher Boots, whose pieces are made using brass, bronze, and Murano glass.
Situated in the heart of the house is the formal dining area, anchored by another signature piece of Maya’s projects: a custom-built table with cross-framed legs and hand-rubbed oiled brass, set atop a plinth-like base. Above it, a mid-century inspired pendant by Coombes Coombes hovers like a sculptural piece. “I wanted to keep it all clean and simple, but with a sense of warmth,” Maya explains.
