What led you to become an architect and designer?

I was always making stuff and was obsessed with Lego. Spaces and objects, and how things are put together, has always inspired me. I wanted to make furniture, so first I studied industrial design, changing at the last minute from painting at VCA. From there, I moved into architecture. It’s weird when you grow older and think, I’m a product of my parents. Dad’s an engineer and Mum works with flowers and food, so what I do is like a balance of them both.

How would you describe your design approach?

It’s more intuitive than deliberate. I like to explore the immediate context and adjacency, and find what’s authentic. Personally, I prefer to create spaces that make people feel at ease and don’t scream for attention. It all depends on the brief. A showroom needs to be uplifting and inspiring, but with just enough design. Other times, design is the primary focus, and everything will stand out. We just did the full package in Cape Schanck – the house, the light fittings, door handles and furniture. Part of getting a design feeling cohesive is the teamwork. It’s about building relationships with all kinds of makers. You’re constantly problem-solving, but with a good team the process is more seamless, and it’s really fun. I feel lucky to do it.

Do you have any particular influences?
There are so many, but Luis Barragán is a Mexican architect I keep coming back to. His works are very minimalist – block rendered brick walls, but in hot pink and purple and yellow. The spaces are very contemplative, almost spiritual in a sense. I was in Mexico before lockdown and found the place so rich and colourful. I also love Japan, how bold they can be but also sensitive, with a real reverence around craft. And I’d like to spend more time in Sri Lanka. Geoffrey Bawa was an architect there that I’m inspired by. I learnt a lot more by going and being in that environment.

It seems that travel has been a great part of your life.
Travel’s always been there from the start. We spent our first three years in Taipei, then the UK, before coming back for school. The most inspiring trip was to Zimbabwe when I was a teenager, as part of a chamber string orchestra. That was mind-blowing, especially coming from regional Victoria. So again, music – and understanding how things are put together to create a feeling.

How do you unwind after work?
There’s not really an off switch. We’re always analysing and thinking, and taking things in. I’ll get an idea late at night and have to get it down, or you go to bed thinking about it. To relax I’ll run around the river, listening to music. Something I discovered during lockdown was how amazing the river is. It’s so close to home and the studio, yet it feels like you’re in the bush.

What’s next on the horizon for you and Studio Goss?
There are a few larger architectural projects I’d like to start. A hotel would be amazing – to create the full experience and really curate someone’s whole journey through that space. I’m also excited to do more work overseas. There’s a sense of inspiration of just being somewhere else, outside the everyday – though I enjoy the diversity of the neighbourhood around here. At some point, I’d also like to work on my own home and make that a Studio Goss project. In terms of the future, this work doesn’t really have an end date: you’re constantly looking, making and being creative.