April 4, 2026 • 41 mins
Have you ever walked into a home and thought - there was so much potential and it's all been lost.
A room with limited natural light, painted in dark shades and made to look smaller than it is. A poorly shaped couch that throws off the whole room. Or one that we see all too often - old, outdated lighting that can make a gorgeous home immediately look neglected.
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Speaker 1 (00:05):
You're listening to the Weekend Collective podcast from News Talk SEDB.
Speaker 2 (00:10):
He's from Texas. Second Tell baw Away, he's too stamping
railroom and.
Speaker 3 (00:18):
Judge and Bond smile try all his face.
Speaker 2 (00:23):
There's nothing I can do.
Speaker 3 (00:27):
It doesn't take a Christal bar to see a cowboy.
Speaker 2 (00:32):
Iyes bar Away drinking jack Obo myself. He's choosing taxas Icond.
Speaker 3 (00:41):
Tell and welcome back to the Weekend Collective. I'm Tim
Beveridge and this is the one roof radio show where
we love your input. We'd love you to join us
on one hundred eighty ten eighty and you can text
on nine two, nine to two. Now we're actually taking
a slightly well it's not totally totally brand new to
(01:06):
the hour, but we have a new guest on the show.
I'll introducing in just a moment. But it's around the
question of interior design and have you I mean, we've
all walked into a home, haven't we. Maybe we even
do it when we walk into our own home and thought, gosh,
there's a lot of potential but it's all been lost,
or you think gosh, there's a lot of potential and
I have no idea how to make the most of
(01:27):
that potential. You know, you might have a room with
limited natural light and maybe dark walls. It's been painted
and it looks smaller than it is, a bad couch,
poorly positioned, what's that bean bag doing there? Coffee tables all,
there's a but that's something I want to dig into
with my guest as well. Anyway, today we're going to
look at some of the most common mistakes people make
when it comes to interior design or simply just you know,
(01:50):
how you fit out your home and make it sort
of a mixture between looking great and also being something
where you can actually enjoy living in that space. So
there absolutely must have and must have knots. Perhaps if
there's such a thing that people are missing on the walls,
decor on the shelves or the rug. Anyway, what interior
designs mistakes do you see all the time that bug you?
(02:12):
But also if you've got any questions around something in
your home. And I think we are where we are
clever enough with the way we can describe things, because
this is radio obviously, and we're talking about something which
is essentially also visual. But we want your calls on
eight hundred and eighty ten eighty text nine two nine
two and joining joining me today. She is the creative
director at Rare Birds and Terriers. Her name is Kelly
(02:35):
Gammy and she's with us right now. Kelly. Gooday, how
are you hi, Tim?
Speaker 2 (02:40):
I'm very well. Thanks for having me in today. Happy Easter.
Speaker 3 (02:43):
Yes, happy Easter.
Speaker 2 (02:44):
Either two of us are here rather than being away
on the long weekend.
Speaker 3 (02:48):
Does that turn us with regret for you?
Speaker 2 (02:50):
No, not at all, not at all.
Speaker 3 (02:51):
Hey tell us about a little bit about you and
your business. But how did you get involved in interior design?
Speaker 2 (02:59):
As you mentioned, Tim, I'm the creative director of Rare
Birds and it's a newish company. I guess in the
scheme of things, it's only five years old. But I've
been interiors in New Zealand for nineteen years. I came
here from Italy and I have been in artistic endeavors
all my life. My father was an art director in
(03:22):
the film industry. My mother was a draftsman. So wow,
I guess that's I'm kind of the franks sign of
the two of them. Really, I don't know.
Speaker 3 (03:29):
If Frankenstein's the word. I think that sounds like the
perfect love child in a way. You know of a
what did you say, film from the film industry, and
a drafts person.
Speaker 2 (03:38):
Yes, so, an art director so designing sets and the gosh,
yeah so's. I tried to avoid it for most of
my life. I went and did fashion, travel the world,
went into cheffing. But I just it pulled me back
to it. I was obviously meant to do it with
those genetics.
Speaker 3 (03:55):
So from Italy. Hang on from Italy. I mean, we
can hear.
Speaker 2 (03:59):
It to have a story about me about it, but
we need.
Speaker 3 (04:03):
People to be, you know, to get to know you
a little bit. Hang on. You've got an Aussie twang
of an accent. Do you spend much time there?
Speaker 2 (04:08):
Because have you came Australia?
Speaker 3 (04:09):
Yeah, because you came from Italy.
Speaker 2 (04:11):
You said, yeah, I'm getting bread and then left in
my only twenties and then traveled and lived in Italy
for about ten years, meant an Italian and stayed as
you do, I guess yes, and decided that I wanted
to follow on with the interiors. Being in Italy, it
really influenced me, obviously, because you're surrounded by beautiful design,
(04:32):
whether it be present design or architectural that's certainly not present.
Speaker 3 (04:38):
No, I mean that's actually raised a couple of questions
from me already around because just the esthetic of Italy
and the you know, the historic architecture. I mean, I
couldn't even begin to try and describe it. You do
a better job at that. But so how does that
influence your tastes when you are looking at it when
you were in a country who's I'm guessing the design
(05:00):
environment is heavily classically influenced or is it as a
lot more also art modern.
Speaker 2 (05:07):
Yeah, it's a real mixed him because obviously they have
that architectural heritage that goes back thousands of years and
that can often not only be on the exterior but
also the interiors of a building. But it's an amazing
design hub for modern design. You'll get a lot of
modern furniture designers and obviously fashion designers coming out of Italy,
(05:30):
especially the North of Italy around Milan, and that influences
how an everyday Italian lives. It's a real amalgamation. And
that's how I think I'm directed in my interiors, is
that I'm influenced by what is happening at the moment
in you know, for want of better word, trends and
(05:51):
also being really observant of what came beforehand. So if
I'm dealing with a client, what their heritage is, what
pieces they have that they love, what they're bringing in,
So telling a story through the heritage and the vintage
of a family or a building with modern takes.
Speaker 3 (06:15):
Actually that's an interesting question as to how the design
choices people make, you know, reflect their personalities, which would
be sounds like sort of a tricky question for one.
But then actually, just before we do, I was thinking
when people think of, you know, classic European architecture, And
of course as I was speaking, I found myself a
little voice inside my head just realizing that maybe I
(06:38):
was heading down a path where you're making generalizations, so
people would assume that if you're doing something that's influenced
by European architecture or Italy or France. I also remember
that outside the Louver, the French went and plant that
giant glass pyramid. So they don't let themselves get stuck
in any particular era, which is I mean, isn't that
an amazing piece of It's not an interior, it's exterior,
(07:01):
But there is something about the Europeans they're not afraid
to go, Okay, here's the beautiful statue of such and such,
and now we're going to plump this completely juxtaposed, sort
of weirdly, I mean the French. I mean, that's probably
the most outrageous example I can think. Actually.
Speaker 2 (07:16):
Yeah, so even in very old villas, you'll see furniture
that's been passed on down the generations, beautiful, a lot
of timber and marble. But then you'll see modern pieces
with metallics and modern uses of stone, an interpretation that
honors the material, but it's a really modern take on things,
(07:38):
and that just looks so beautiful. Blending the two of
those stars together, it gives it more, gives it more
soul in my opinion.
Speaker 3 (07:47):
Yeah, So how does that translate in New Zealand to
where people have been going with modern interior design? Because
I mean, there are some beautiful homes these days, and
the new home is being built, and I mean, I'm
a bit of a I'm a bit jealous of every
kit Isn't it funny when I go and look for
something interior design wise, my first thing? Or how for instance,
we have a property of the week, what's the kitchen
(08:08):
look like? And it's always.
Speaker 2 (08:11):
Well, I think we spend so much time in the kitchen,
you know that, you know, there's that you know old
saying that the heart is the heart of the house
is the kitchen. I think it's pretty true. And we're
understanding that kitchens just aren't for cooking there for you know, entertaining.
They're for gathering. Now therefore plugging your laptop into the
kitchen island and doing your you know, work from home
(08:34):
or your homework if you're a child in part of
a family. So it's a space that the kitchen has.
Speaker 3 (08:40):
Changed now, isn't it. Because in nineteen fifties, I guess
New Zealand there was a kitchen you locked away, the
dining room was separate, whereas now the role of the
kitchen has changed a lot. It's almost the living room
of the of the family if you've.
Speaker 2 (08:53):
For most Yeah, yeah, I think there was a period
of time when I first came to New Zealand, which
is just on kind of twenty years ago, that there
was this real trend to open absolutely everything up. So
the whole living space, cooking space, dining space was one
open plan area. And I think what happened during COVID
(09:14):
when we're all locked away in our homes, is that
we realized we did need little breakaway areas that you
could get away from the rest of the people in
your home. So we're still seeing, as you were saying,
those areas where you've got a kitchen in a dining
room perhaps and maybe a little seating off to the side,
that a lot can happen in that kitchen area. But
we are seeing the resurgence of a separate formal dining
(09:38):
room or an area where really yeah, or or a
special media room or a more formal living room that
if you've got a family, the kids can be in
one space, the adults can be in the other space,
and you're not all in on top of one another.
Speaker 3 (09:53):
Or is that something that I mean? I guess it's
all everything. Everything in the world costs money of different
sort of at different levels, doesn't it. Sure, But if
you're in a more modest time, I would imagine the
first space it gets sacrific, it's a separate dining room.
Imagine a lot of people would walk into the standard
three bedroom house, old state house. What's the first thing
that goes Actually a little bit like our place. I
(10:14):
think we knocked out. We knocked out a couple of walls. Yeah, yeah,
of course, job done.
Speaker 2 (10:18):
Yeah, that would be the last thing to remain in
tat would be a formal dining room. But you do
see them happening again and people wanting them, wanting to
have a casual area where the family will eat. But
if they're a family that entertain a lot, and they've
got families where there's kids and adults, I am seeing
that adults want to have a dining room where they
can sit and talk and have a glass of wine
(10:40):
and the kids aren't on top of them.
Speaker 3 (10:42):
Are there ways of actually having do people actually create?
For instance, I'm thinking of a big open space where
you might decide, look, we still want to keep it open,
but you might stick a tiny sort of petition wall
which suggests that there's a different space. Is that a
go or not?
Speaker 2 (10:55):
That's happening a bit, And sometimes there might be some
within that kind of separation, perhaps sliding doors that can
open up the space and make it almost one space,
but then close up a little bit if they're wanting
that separation of function.
Speaker 3 (11:11):
Well, I love your cause. If you've got any questions
for Kelly, she'd be happy to answer them on one
hundred eighty ten and eighty. Are there rules to this?
Sounds like a dumb question, but I'm the reason I asking.
I'm almost wondering if you're going to tell me that
there aren't any? But are there rules to interior design?
Which are always starting points for anyone?
Speaker 2 (11:31):
I think there are rules for interior design because it's
a creative practice and there's a process to creating, whether
it be interiors or painting a canvas or doing graphic design.
There's rules, but as many are to say, rules are
meant to be broken. But there's certain rules that as
(11:54):
a designer I do practice, and I think the most
prominent rule is proportion. So if you don't get your
proportions correct in an interior space, okay, and it will
never look great. Doesn't matter what beautiful fabrics or colors
or whatever you add to that. If you haven't got
your proportions correct, it'll never look quite right. You always
come into that space and go, oh, this feels a
(12:15):
bit strange, and it's usually down to the proportions.
Speaker 4 (12:18):
Well, okay, EG ask me really technically, no, no, I
don't mean this to be Look, if you're welcome to
call otherwise I'm going to run a couple of things
about our place past, Kelly.
Speaker 3 (12:29):
So, for instance, as you say that, I'm thinking I've
suddenly worked out something that we can improve. In our house.
We have an open living room sort of it's I
won't go into it, but we've got an open living
room kitchen, but we don't. We've got a large rug
three by four meters and a couch and a couple
of chairs in front of the TV. So there's quite
(12:49):
a space because I've got daughters who like to you know,
I don't want to bug a coffee table there. But
as I look at it, I wonder if you might
say your couch needs to be bigger because it feels
that everything's been squashed into the sides. Would that be
something you look at?
Speaker 2 (13:05):
Exactly what I was going to say to you, Tim,
is that one mistake, if we're talking about design mistakes
you mentioned earlier, is that I find here in New
Zealand is that people do push all their furniture to
the outside and create almost like a dance floor in
the center, and that in itself gives you a more
vacuous feeling in that space and takes away a sense
(13:28):
of coziness and purpose for that furniture. Oh so, and
if we I mean, I think there's a feng SHUEI
aspect to it as well, so we need and.
Speaker 3 (13:42):
No, no, no, I'm just glad you mentioned feng shui
before I did, because I thought that would be the
question from it. Oh gosh, he's mentioned feng shue. You've
done it?
Speaker 2 (13:51):
Is that for me when I'm organizing a room, unless
it's a bed, of course, that you need the BedHead
put against the wall. That we try to move furniture
away from the sides of the wall so you can
get a sense. I feel it's the energy can move
around the space. And also if you're bringing things into
(14:11):
the center of a room, it actually makes it feel
bigger because your eye can travel around the furniture rather
than it hitting the wall.
Speaker 3 (14:19):
So okay, so should a couch can a couch ever
be against the wall? I'm having an existential crisis.
Speaker 2 (14:30):
Rules are made to be broken, and it depends on
the space and it depends how you use that room.
But I always try to pull sofas off off the walls.
Speaker 3 (14:39):
Okay, Look, we're going to take a break. If you've
got any questions or comments for Kelly. Kelly Gammy is
our guest. She's interior designer at Rare Birds and Terriers.
And we're talking about and are there rules that you
would apply to your own home when you're looking at
doing something with your place? And what are the rules
do you think you would always adhere to, because there's
a new one for me about the furniture against the walls.
(15:02):
Eight hundred and eighty ten eighty. Any questions you've got,
of course as well, we'd love to hear from you.
We'll be back in just a moment. This is we
can collect of the one Roof radio show. The number
is eight hundred eighty ten eighty. It's twenty one past four.
It's news Talk set be with Tim Beverage. My guest
is Kelly Gammy. She's an interior designer at Rare Birds Interiors.
Any of questions you've got eight hundred and eighty ten eighty.
I've got truckloads for Kelly myself which might ask answer
(15:25):
a few questions for you out there as well. Here's
one text here. What are the current trends Kelly? That
will be very telling of the Okay, what are the
trends that you've got to avoid can you can you
ever future proof or is it just a fact of
life that trends come and go.
Speaker 2 (15:45):
I think trends do come and go.
Speaker 3 (15:47):
And terracotta kitchens in the two.
Speaker 2 (15:49):
Thousands, lass splashbacks in the early two thousands.
Speaker 3 (15:55):
A last. Splashbacks no longer the thing.
Speaker 2 (15:57):
No, take yours off, tim No, I.
Speaker 3 (15:58):
Haven't got one. Actually, funny enough, we've got the kitchen bench,
the tile. They've just got another kitchen bench at the back.
Speaker 2 (16:05):
With continuation Kevin.
Speaker 3 (16:10):
But so what happened with glass splashbacks? I thought that
they were just thought.
Speaker 2 (16:15):
I think people realized how impractical they were because you
have to constantly clean them.
Speaker 3 (16:22):
Okay, so you're better to have it.
Speaker 2 (16:24):
Something's being cooked against them.
Speaker 3 (16:26):
What's the latest in kitchens? Is it to tile the
back or something?
Speaker 2 (16:29):
Tiling? Yes, tiling is one of the main design directions.
I like to use design directions instead of trends.
Speaker 3 (16:38):
That's a trend in itself. You'll be using trend again
in five years time. I don't like to say design directions,
I say trends.
Speaker 2 (16:48):
And also, as we're talking about with your kitchen, that
to continue the bench top surface up into the splash back.
What we do a lot, and often you try to
pick out little details that distinguish your design studio that
you might see not repeated again, but there are details
(17:09):
that associate with you with your style. Would be what
we call as an upstand, and that in itself is
HARKing back to earlier times as well, where you continue
the bench top up maybe between one hundred and three
hundred mills off your bench or thirty centimeters, and then
tile it if you're trying to get more texture and
(17:30):
interest in your kitchen. And for me, I'm a really
functional person. I'm aesthetic obviously, but if something isn't designed
well and doesn't function well, then I don't think it's
the design will make up for that. So it enables
if you do have those upstands. It gives you a
connection to the bench stop without being just all the
one material. But it makes it cleaning a lot lot easier.
Speaker 3 (17:54):
Actually, now I'm realizing that the guy who did our
kitchen for us, I mean it was yeah, I mean
he said, I don't explicitly remember it exactly what he said,
but he's like, no, no, you don't. On a last
splash back, and he basically just got another bit of
bench top and slapped it against the back wall.
Speaker 2 (18:10):
I'm sure I thought about it. I don't think he
slapped it there. He considered it well.
Speaker 3 (18:16):
He didn't slap it there at all. So I mean,
are there things that people can so glass splashback? I
guess you would avoid it feeling dated. Do you think
doing the utilitarian thing? In other words, thinking about if
it's useful, it's never really going to date if it
or is that knoxy min?
Speaker 2 (18:33):
Well, yeah, anything can date. And if you look back
through interior architecture, fashion art, everything has a period that
it gets associated with, you know, whether it's Victorian or
Georgian or into mid century or Deco. So there'll be
detailing and styling that will always, let's say, date it
(18:55):
or put it in a period. But there's the For me,
it's embracing your own personality and going with that because
if you love it now, you're more than likely to
love it in ten years time.
Speaker 3 (19:07):
So don't follow a trend in other words, no, just.
Speaker 2 (19:10):
Kind of be aware of it, but go with what
you really like, Like if you like certain colors or
certain materials, or certain shapes of furniture or certain floor
plans of how you would use your house. You've got
to go with what's.
Speaker 3 (19:25):
You so for instances. In fact, I'm even looking at
the I'm careful to say what I say, but I'm
looking at the cover of your website as well. But
it just reminds me, not necessarily the image, but there's
a rich there seems to be a modern Retroy sort
of vibe to a lot of things we're seeing now
where we're looking back towards. For me, the seventies pops
(19:47):
out on the sixties, and is that a thing right now?
Speaker 2 (19:50):
There's kind of a mix of seventies and Art Deco
at the moment that's really influencing interiors and architecture and
the deco. You'll see the curves. You'll see a lot
of curves influencing things seventies. You'll see the color palette
and textures. And I am so happy that brown is back,
which is a very seventies color, because I love brown.
(20:11):
It's very warm and inviting and you feel comfortable around
those natural tones.
Speaker 3 (20:17):
I'm coveting the kitchen that's on your cover there. Apart
from the alliteration I just employed. Hey, okay, I wait,
one hundred and eighty ten A we love your cause
on this colors, yes, now black white.
Speaker 2 (20:30):
You used to get it, don't do it.
Speaker 3 (20:34):
I think this is because it's one of the simplest
things that people can do to completely transform your house.
Would be my lay person's take on it. And when
we did ours as a sort of white, but I
deliberately didn't want to do black white because everyone was
doing black white, black white, black white, black white. But
(20:55):
now it seems that colors back with it. Colors are back,
but they are, they are, But are they always going
to be back? We're going to suddenly end up going
whites again again.
Speaker 2 (21:06):
I think that you still see houses and if you
look at the Architecture Awards from this year, you'll still
see homes that have a lot of white space in them.
It might be used differently, it might be put against
a different color. You might have so much of the
black and white that we saw, so you might see
a warmer white with as I mentioned before, Brown's and
(21:28):
those kinds of times.
Speaker 3 (21:29):
There was a razine thing, wasn't it black white? It
was just like an off white.
Speaker 2 (21:32):
I think the developers and the house flickers embraced it
because because no I'm saying that it positively because it
created a blank canvas for the people that they were
doing it for. And black white is a great color
to cover what's underneath it, as if we're talking about
(21:53):
Razine's Razine paints. If you go to an Alabasta, it
takes a lot more paint to cover what's underneath it.
So I think that's why black white was so popular.
Speaker 3 (22:02):
What so, okay, here's a question and feature walls. I
heard one stage feature walls. I heard at one stage
feature walls were a bad thing. But then I see
on interior design sites a mixture of different colors on walls,
and I'm thinking, what's the difference between that and the
feature walk because they've got different colors. But how do you, okay,
(22:27):
help me out here.
Speaker 2 (22:27):
Yeah, I think feature wars are a little bit dated now.
And if you aren't brave enough to saturate a room
in color, and I think that is one of the
design directions we're seeing at the moment.
Speaker 3 (22:39):
So go for the color and either.
Speaker 2 (22:42):
They call it color drenching or color blocking where you
put everything in a color. But obviously you have to
be a lot braver to do that.
Speaker 3 (22:51):
What do you mean everything in a color, send your.
Speaker 2 (22:53):
Doors and your ceiling and all your trims the same color.
Speaker 3 (22:57):
Wow.
Speaker 2 (22:58):
Yeah, So if you're going to pick a strong color,
then that obviously takes a brave person to make that choice.
So often people will do a gentler tone to do
a color drenching.
Speaker 3 (23:14):
Because colors always color drenching.
Speaker 2 (23:17):
I like color blocking myself than drenching it. Just you know,
we're in the land of sheep and drenching.
Speaker 3 (23:23):
Just oh yeah, So would that have to because it
sounds that you for dark colors, for instance, I mean,
how if you're if you're doing a bedroom, I would
imagine that you can imagine doing a nice, warmer, darker color,
you know, warm. I don't know if you can have
(23:43):
such a thing as a warm blue or you know,
that sort of navy with a warmth to it. But
the idea of doing the walls and everything, sorry not
the walls, the idea of doing the doors in that
color would feel positively bizarre. Is it as bizarre as
I fear it would be.
Speaker 2 (24:03):
I think you're maybe viewing it from a New Zealand context.
Speaker 3 (24:08):
Yeah.
Speaker 2 (24:10):
And you know, when we talked earlier about Europe, to
go into European home you will often see that color
blocking happening, and that they don't need to have their
doors picked out white and their trims picked out white.
They will do different tones for those areas.
Speaker 3 (24:29):
But you would, so you would actually do a different
tones you.
Speaker 2 (24:31):
Could or you could color block. I mean that color
blocking is quite a new thing. You'll see it a
lot in older English homes.
Speaker 3 (24:39):
Actually, Okay, which would I would look at it and
just assume that was a bit sort of quirky in English?
You know, oh, look they've painted the whole shebang. Did
they only have one color?
Speaker 2 (24:49):
But maybe they did, Maybe that's all they could afford.
Speaker 3 (24:52):
What about ceilings then.
Speaker 2 (24:53):
Yeah, sometimes you do the ceiling the same color. It
looks fantastic.
Speaker 3 (24:57):
Don't you have to have a huge house where huge
huge rooms thoroughly.
Speaker 2 (25:00):
Not necessarily And that's another I know, another kind of
point where we're going to talk about was making small areas.
Speaker 3 (25:08):
Look bigger, which is exactly what it is leading to.
Speaker 2 (25:11):
Yeah, and I don't know why we're all obsessed with
everything has to look enormous. You know, there's something there's
something quite nice about and that obviously that depends about
the room we're talking about. But there's something nice that
smallness can feel cozy and inviting and not vacuous and limitless.
Speaker 5 (25:34):
You know.
Speaker 3 (25:34):
Funny, you know, the funny thing is, as you say that,
it almost sounds like such an easy cell just to
tell people you don't need to make it feel big.
I mean, what are you trying to Who are you
trying to impress? If it's your bedroom, then who cares?
As long as it's the color you want.
Speaker 2 (25:49):
Yeah, I like to say that I rather beautiful than big,
because if it's interesting and there's layering of what you're
using in that space, it's a lot more interesting than
just making it feel or big.
Speaker 3 (26:06):
Okay, we're gonna have to take another break in a moment,
but you're welcome to text us with your questions or
give us a call on eight hundred and eighty ten eighty.
Someone has I don't know if we should read this
one out. It says, of course you need a separate
dining room. You don't want kitchen stuff viewing those activities,
implying that maybe if you've got a separate dining room,
it's because you're wealthy, not necessarily.
Speaker 2 (26:25):
Not necessarily no um.
Speaker 3 (26:27):
And another one here, which this person says absolutely hate brown,
any shade awful, love black white grays, set with warm
carpets and loads of beautiful wood furniture and trim, and
then color added in. I'm going to jump in there
and say she does like browns because she likes wood.
Speaker 2 (26:48):
But you would say it is a tone. It is
a tone of brown. And I think it's hard for
us in New Zealand to get away from brown because Okay,
now brown we're seeing in fabrications and paint colors, but
we've always seen brown here in New Zealand architecture with
timber because if I open a magazine and look at
certain plate certain homes, I know they're from New Zealand
(27:11):
because there's a lot of timber in them, which basically
is brown.
Speaker 3 (27:14):
I love this text. It says, no, I just painted
my one hundred and eighty three square meter home and
half black white.
Speaker 4 (27:22):
Tell me tell me half as good.
Speaker 2 (27:26):
Well, half's great.
Speaker 3 (27:27):
Yeah, Actually on that look not everyone's going to no.
I'll come back, And it.
Speaker 2 (27:32):
Kind of means back into do what you like, you know,
do what suits you don't do. What I say is
the color of choice at the moment being brown. But
I like it.
Speaker 3 (27:44):
Do you ever have clients who go, I really want
to do this, and you're like, oh my goodness, how
do I tell them this is a really bad idea
or do you have to skirt around it and say,
have you thought maybe that you could just make a
small change from you know, yellow to blue.
Speaker 2 (28:00):
I do find that a little bit challenging because in
the end of Australian and we do tend to be
a bit direct. So but I mean, for me, it's
to get the best for the client for their project.
So there's three kind of ways I deal with that.
One is I'll say, if I feel it's not going
to compromise the outcome of their design is that, I'll say,
that's your choice and we'll go with that. That's fine.
(28:22):
I don't mind. The second path I would take. Look,
it wouldn't be what I would choose, but in the
end it's your choice, you go. And the third one
is like, we're not doing it, okay really, so it
all depends on how much I'm.
Speaker 3 (28:32):
Going to be attached to this project. We're not doing that.
Speaker 2 (28:35):
Yeah, it depends on if I really think that at
the end of it they're going to be happy that
I push back with them.
Speaker 3 (28:42):
I think it's powerful enough that you just say that's
your choice. If you said that to me, you go, well,
that's your choice to might'd be like, okay, she doesn't
like it, and then I'd be I think I imagine
that does the trick most of the time.
Speaker 2 (28:52):
Look, I'd show them the alternative that I think will
be better and they go, oh yeah, okay, that's that's
a good choice.
Speaker 3 (28:59):
Okay, Okay, we'll be back in just a moment. We're
Kelly Gammy. She's in terior designer at Rearbirds in Terriors.
I've got a few more texts to get onto in
terms of the questions as well, but you're welcome to
jump the queue and give us a call on eight
hundred eighteen eighty. We'll be back in just a moment.
News Talk said b. This is the one roof radio show.
My guest is Kelly Gamey. She's an interior designer at
(29:19):
Rare Birds and Terriers. You check out their webs up
by the way. It's pretty easy to find them because
there's some very pretty stuff, and as you know, I
love looking at pretty houses and design. Mary. Hello, how
are you?
Speaker 5 (29:31):
I'm fine. I was just wanting to ask Kelly her
thoughts on integrated fridges and dishwashers and things to make
the kitchen look a lot larger and tidier. They're still
in fashion and they still accept it everywhere. I'm just
interested to know, Pops.
Speaker 3 (29:51):
Hang on, I'll just switched the microphone on there.
Speaker 2 (29:52):
Sorry, Kelly, Hi Mary, that's a really relevant question. I think. Yes,
Integrated appliances in the kitchen are definitely something that I
think we're seeing more and more of. So for the
reason as you mean that it gives you a more
streamlined look. Your guests might get a bit confused about
where to stack the dishes when they're for dinner.
Speaker 4 (30:13):
But.
Speaker 2 (30:15):
They yeah, exactly, but they do. That's always what we say.
The sword will die or the mountain will die on
is not doing an integrated dishwasher. We can often use
a fridge and frame it in and make it look
nice in a kitchen, but we always do an integrated dishwasher.
Speaker 5 (30:35):
Just give I there agree. I agree, because you walk
into the kitchen and it starts as smooth as suddenly
you see a big stainless steel fridge and a stain dishwasher.
But the problem is sometimes the dishwasher is already in
and you have to work out how to get an
integrat piece on it, which I have done and it's worked.
(30:56):
But it certainly made a big difference to our kitchen
lovely open space and no really knows where. It doesn't
really matter, but I was just one if that was
still a bit of a trend.
Speaker 2 (31:07):
Absolutely, and I think it's something that I don't think
it will go out of trend because it just makes
a space look so much more cohesive when you don't
see the dish wision.
Speaker 3 (31:22):
Mary, just between the two of you, when you say integrated,
you mean something that has been paneled or something so
it's invisible.
Speaker 5 (31:28):
Yes, yes, it's attached to the door. They're very very
nice in front of them in both places. And I
just had those. You hadn't said that, and I thought, oh,
as I'm thinking of doing another kitchen, I was thinking, well,
I still would like to do it.
Speaker 2 (31:42):
Absolutely.
Speaker 5 (31:42):
Thank you very much, very well, Thanks Mary, Thank you.
Speaker 3 (31:46):
Actually the integrated applants thing, so is there a halfway
house for that that for instance, you might have white
well actually I described mind kitchen white, but it's nice white,
glossy sort of paneling, and we've got black ovens. Yes,
and if we had to replace it, there's a hole
big enough to you know, we choose another brand and
(32:06):
it would slot into place.
Speaker 2 (32:07):
Yes, you could.
Speaker 3 (32:08):
I guess that's generally integrated.
Speaker 2 (32:10):
Is it you're talking about your oven, dish washer, the
dish No, you can't really integrate your oven because that
means you'd have a panel on the front of your and.
Speaker 3 (32:20):
You have to see you Yeah. Is it just doing
the dishwasher and making sure.
Speaker 2 (32:25):
Generally the dishwasher and the fridges that that have panels
on the front of them. And now, as Mary said,
integration has been a thing for quite a while, especially overseas.
It's becoming more prevalent in New Zealand kitchens and it
just enables you to put whatever surface you have on
your your cupboards and your drawers and your end panels
(32:47):
on the front of your door and the front of
your dishwasher.
Speaker 3 (32:52):
Okay.
Speaker 2 (32:53):
Something that's become a little bit newer now is using
what they call as a servo drive. So it's it's
a mechanical thing, so you just touch it with your
fingers and it opens. You don't have to have a handle,
and so do.
Speaker 3 (33:06):
You generally try and hide the fact that there's a
fridge somewhere. I'm just looking at I'm ob someone, I'm
just looking at one picture of a very well integrated, looking,
beautiful kitchen. But it's obvious where the fridge is because
it's different.
Speaker 2 (33:17):
Yes, yes, and if you're talking about the one yes,
And sometimes, like I said when you asked before, if
a client asks says I want to use something in particular,
that particular client really wanted to use a particular fridge,
And so I personally think that kitchen would have looked
nicer if everything was integrated. But it's balanced because we've
(33:41):
got a wine fridge and oven tower on the other side,
and then and the main fridge on the other side
of the kitchen. So it's got a sense of symmetry.
But in that kitchen, we built it up on a
plinth and we framed it so it actually looked like
it was considered. We just hadn't pushed it into a hole.
Speaker 3 (33:56):
Okay, Yeah. One rule I've heard with the paint thing
is you go, you know the color you want, then
have it for the doors, then have it again for
the ceilings.
Speaker 5 (34:04):
Yeah.
Speaker 3 (34:05):
Is that because I would imagine, you know, here we
were talking about colors and you just have one solid
color all over. A lot of people would I think
a lot of Keywis would instinctively struggling against that. For
the ceiling, you sort of want to feel everything there's
a different shade. Are there rules for changing the color
of your bedroom or any room for that matter, But
when it comes to the ceiling and the.
Speaker 2 (34:26):
Doors, I mean, that's that's kind of an old rule
that you can use, and that does give you a nice,
a nicer, softer contrast rather than doing your wall and
then a bright white trim and door. So that is
a rule that you can do if you like, but
(34:47):
it's not one that I would stick to.
Speaker 3 (34:49):
If you like, if you like. In other words, don't
do it to know, No.
Speaker 2 (34:53):
You can do it. I didn't mean I wasn't kind.
Speaker 3 (34:55):
Of being like that, that's your choice, but.
Speaker 2 (34:59):
You know, you go with that beautiful Hey what.
Speaker 3 (35:02):
About okay, the color swatches you get from company?
Speaker 1 (35:09):
You know?
Speaker 3 (35:09):
But yeah, but a lot of New Zealanders, you know,
some people can afford an interior designer to consult on
all these things. Other people are doing it themselves. I've
got to say, when I look at the different swatches
that the companies come up with. Are they quite a
useful starting and maybe an endpoint for you when you go, well,
here's what they've gotten their picture there that looks good.
That's for me.
Speaker 2 (35:28):
Yeah, they are a great starting point obviously because it
can and often when we're working with clients, I push
out a color fan deck and say, okay, what colors
appeal to you. But it's quite difficult if you haven't
used color a lot, and if you're doing it yourself,
to know what one little swatch will look like a
(35:51):
four walls of a home. So then you go to
a brush out that you can order, which is a
bigger piece of the color, or test pots and painted
out on either a big piece of paper into the wall,
or actually paint the wall because often and color is
quite a cameleic type. The thing is that it looks
(36:12):
a certain way painted, but it'll look different on a wall,
to look different in different lights. It'll look different in
a dark corner than it will on a wall that
is full of sunshine. So a color, even within a
room will change.
Speaker 3 (36:25):
Do you mix and match colors on walls within the
same room Sometimes yes, the way that I Sometimes you
can have a wall where it looks like it's a
different color simply because the light's catching it in a
different way.
Speaker 2 (36:35):
So job done, absolutely, and I have I've done it
before in homes that were open plan and had halls
coming off them, where the clients wanted the one color
being a white. And if we're done it the one color,
it would have looked very different in different areas. So
we used a half shade of it, or a double
shade of it, or a full shade of it in
(36:56):
different areas, so it almost had the illusion of looking
like the same color throughout the whole space.
Speaker 3 (37:01):
Yeah, okay, look we need to take a break. We'll
come back with one roof Property of the weeks. Are
We're with Kelly Gammy, she's an interior designer at Rare
Birds Interiors. Will be back in just to take news
talks'd be.
Speaker 1 (37:12):
The one roof property of the week on the Weekend Collective.
Speaker 3 (37:16):
Now, yes, we're back with Kelly Gammy, our interior designer
at Rare Birds in terior is now the property of
the week. I think I'd like to say my producer,
I think deliberately chose this property because it's a blank
canvas as well. But she also loves the entrance way
for it because the first photo on it's interesting how
you market a property. But on the one roof site
this is two dash fifteen Saltburn Road, Milford, so it's
(37:38):
not too far from the beach as well. But the
opening photo for it makes you go, oh, that's worth
another look, and the rest of it's fairly well. It's
it's pleasant. I'm not sure if it's has it been
staged You've had a look at it and you Kelly.
Speaker 2 (37:51):
Yeah, it's definitely been staged.
Speaker 3 (37:52):
Has it been staged well, I thought.
Speaker 2 (37:54):
It'd been staged quite well for home staging, for for
selling a property.
Speaker 3 (38:00):
Yeah, I see the countess against the wall.
Speaker 2 (38:02):
Though they could have pulled those off the wall.
Speaker 3 (38:05):
And there's lots of looks like it's definitely got the
black white rot rocking and rolling everywhere, but with a
little bit of brown on the floor. But any comments
on it because it's a nice pleasant looks like it
would be an affordable home, but it's in Melford, so.
Speaker 2 (38:20):
Yeah, I think the biggest take off of that for
me was the lack of window dressings. Yeah, and that's
one of the areas and you know, as an interior designer.
You do do curtains and cushions, but you're also you know,
the main thing that you're adding value to people is
understanding their spatial awareness and how to design the spaces
(38:43):
to function well. But that one did stand out to
me because there were no drapes on the on the
windows and it makes it feel Actually, that's interesting. You
mentioned that soulless once you put fabric hanging on your walls.
And another big tip when you talk about making things
look a little bit bigger, is that you take your
drapes right to the ceiling and it gives you a
(39:04):
sense of heights. So if you're dealing with seven four
I mean seven four two four ceilings, taking your drapes
right to the ceiling to the floor makes the place
look to.
Speaker 3 (39:13):
Actually that's interesting because in our place, we've just in
a couple of our rooms downstairs, we did some window coverings,
sliding doors and all that, and they did We've got
blockouts with the sort of white lacey sort of drape
in front of it, and it completely relaxes and changes
the room the vibe is Isn't it amazing what you
can do with just such a simple step.
Speaker 2 (39:35):
Absolutely, And if you want a house to feel like
a home. That's one of the one of the aspects
that you can't not do is not put drapes on
you but nervous.
Speaker 3 (39:47):
If you ever came around to our.
Speaker 2 (39:48):
Place, well, you've already got some of the already.
Speaker 3 (39:53):
Very nervous about you popping around and be like Kelly
came around and our mortgage went up. Actually there is
There are some interesting homelande mortgages you can get for
renovation these days. The banks are throwing out there. But
you know what you're going to do.
Speaker 2 (40:07):
I think that's a really important thing if you are getting,
you know, a home loan and you are renovating, is
to be really thorough in how you approaching a renovation.
And that's right from the beginning about doing a spreadsheet
and a cost sheet, because we have clients come to
us who said, oh, we want to spend this much money,
and often now go to the build and tell the
(40:29):
build of the same amount, but they haven't taken into
account that then you've got to do your flooring and
your furniture and your kitchen finishes.
Speaker 3 (40:36):
And they just think, oh, I've got a few other
details and that's.
Speaker 2 (40:41):
It's it's not only a major spend in a renovation,
but it's also what will make your home different and
make it yours.
Speaker 3 (40:48):
Hey, Kelly, thanks so much for coming in today. That
tower flew by anyway, Hey, look rare birds. Go and
check out rebirds and terriers. We'll be back with Sarah
chat when it's next for the Parents Squad, Newstalks it be.
Speaker 1 (41:02):
For more from the weekend collective, listen Lived and Youth
Talk ZB weekends from three pm, or follow the podcast
on iHeartRadio.
You're listening to the Weekend Collective podcast from News Talk SEDB.
Speaker 2 (00:10):
He's from Texas. Second Tell baw Away, he's too stamping
railroom and.
Speaker 3 (00:18):
Judge and Bond smile try all his face.
Speaker 2 (00:23):
There's nothing I can do.
Speaker 3 (00:27):
It doesn't take a Christal bar to see a cowboy.
Speaker 2 (00:32):
Iyes bar Away drinking jack Obo myself. He's choosing taxas Icond.
Speaker 3 (00:41):
Tell and welcome back to the Weekend Collective. I'm Tim
Beveridge and this is the one roof radio show where
we love your input. We'd love you to join us
on one hundred eighty ten eighty and you can text
on nine two, nine to two. Now we're actually taking
a slightly well it's not totally totally brand new to
(01:06):
the hour, but we have a new guest on the show.
I'll introducing in just a moment. But it's around the
question of interior design and have you I mean, we've
all walked into a home, haven't we. Maybe we even
do it when we walk into our own home and thought, gosh,
there's a lot of potential but it's all been lost,
or you think gosh, there's a lot of potential and
I have no idea how to make the most of
(01:27):
that potential. You know, you might have a room with
limited natural light and maybe dark walls. It's been painted
and it looks smaller than it is, a bad couch,
poorly positioned, what's that bean bag doing there? Coffee tables all,
there's a but that's something I want to dig into
with my guest as well. Anyway, today we're going to
look at some of the most common mistakes people make
when it comes to interior design or simply just you know,
(01:50):
how you fit out your home and make it sort
of a mixture between looking great and also being something
where you can actually enjoy living in that space. So
there absolutely must have and must have knots. Perhaps if
there's such a thing that people are missing on the walls,
decor on the shelves or the rug. Anyway, what interior
designs mistakes do you see all the time that bug you?
(02:12):
But also if you've got any questions around something in
your home. And I think we are where we are
clever enough with the way we can describe things, because
this is radio obviously, and we're talking about something which
is essentially also visual. But we want your calls on
eight hundred and eighty ten eighty text nine two nine
two and joining joining me today. She is the creative
director at Rare Birds and Terriers. Her name is Kelly
(02:35):
Gammy and she's with us right now. Kelly. Gooday, how
are you hi, Tim?
Speaker 2 (02:40):
I'm very well. Thanks for having me in today. Happy Easter.
Speaker 3 (02:43):
Yes, happy Easter.
Speaker 2 (02:44):
Either two of us are here rather than being away
on the long weekend.
Speaker 3 (02:48):
Does that turn us with regret for you?
Speaker 2 (02:50):
No, not at all, not at all.
Speaker 3 (02:51):
Hey tell us about a little bit about you and
your business. But how did you get involved in interior design?
Speaker 2 (02:59):
As you mentioned, Tim, I'm the creative director of Rare
Birds and it's a newish company. I guess in the
scheme of things, it's only five years old. But I've
been interiors in New Zealand for nineteen years. I came
here from Italy and I have been in artistic endeavors
all my life. My father was an art director in
(03:22):
the film industry. My mother was a draftsman. So wow,
I guess that's I'm kind of the franks sign of
the two of them. Really, I don't know.
Speaker 3 (03:29):
If Frankenstein's the word. I think that sounds like the
perfect love child in a way. You know of a
what did you say, film from the film industry, and
a drafts person.
Speaker 2 (03:38):
Yes, so, an art director so designing sets and the gosh,
yeah so's. I tried to avoid it for most of
my life. I went and did fashion, travel the world,
went into cheffing. But I just it pulled me back
to it. I was obviously meant to do it with
those genetics.
Speaker 3 (03:55):
So from Italy. Hang on from Italy. I mean, we
can hear.
Speaker 2 (03:59):
It to have a story about me about it, but
we need.
Speaker 3 (04:03):
People to be, you know, to get to know you
a little bit. Hang on. You've got an Aussie twang
of an accent. Do you spend much time there?
Speaker 2 (04:08):
Because have you came Australia?
Speaker 3 (04:09):
Yeah, because you came from Italy.
Speaker 2 (04:11):
You said, yeah, I'm getting bread and then left in
my only twenties and then traveled and lived in Italy
for about ten years, meant an Italian and stayed as
you do, I guess yes, and decided that I wanted
to follow on with the interiors. Being in Italy, it
really influenced me, obviously, because you're surrounded by beautiful design,
(04:32):
whether it be present design or architectural that's certainly not present.
Speaker 3 (04:38):
No, I mean that's actually raised a couple of questions
from me already around because just the esthetic of Italy
and the you know, the historic architecture. I mean, I
couldn't even begin to try and describe it. You do
a better job at that. But so how does that
influence your tastes when you are looking at it when
you were in a country who's I'm guessing the design
(05:00):
environment is heavily classically influenced or is it as a
lot more also art modern.
Speaker 2 (05:07):
Yeah, it's a real mixed him because obviously they have
that architectural heritage that goes back thousands of years and
that can often not only be on the exterior but
also the interiors of a building. But it's an amazing
design hub for modern design. You'll get a lot of
modern furniture designers and obviously fashion designers coming out of Italy,
(05:30):
especially the North of Italy around Milan, and that influences
how an everyday Italian lives. It's a real amalgamation. And
that's how I think I'm directed in my interiors, is
that I'm influenced by what is happening at the moment
in you know, for want of better word, trends and
(05:51):
also being really observant of what came beforehand. So if
I'm dealing with a client, what their heritage is, what
pieces they have that they love, what they're bringing in,
So telling a story through the heritage and the vintage
of a family or a building with modern takes.
Speaker 3 (06:15):
Actually that's an interesting question as to how the design
choices people make, you know, reflect their personalities, which would
be sounds like sort of a tricky question for one.
But then actually, just before we do, I was thinking
when people think of, you know, classic European architecture, And
of course as I was speaking, I found myself a
little voice inside my head just realizing that maybe I
(06:38):
was heading down a path where you're making generalizations, so
people would assume that if you're doing something that's influenced
by European architecture or Italy or France. I also remember
that outside the Louver, the French went and plant that
giant glass pyramid. So they don't let themselves get stuck
in any particular era, which is I mean, isn't that
an amazing piece of It's not an interior, it's exterior,
(07:01):
But there is something about the Europeans they're not afraid
to go, Okay, here's the beautiful statue of such and such,
and now we're going to plump this completely juxtaposed, sort
of weirdly, I mean the French. I mean, that's probably
the most outrageous example I can think. Actually.
Speaker 2 (07:16):
Yeah, so even in very old villas, you'll see furniture
that's been passed on down the generations, beautiful, a lot
of timber and marble. But then you'll see modern pieces
with metallics and modern uses of stone, an interpretation that
honors the material, but it's a really modern take on things,
(07:38):
and that just looks so beautiful. Blending the two of
those stars together, it gives it more, gives it more
soul in my opinion.
Speaker 3 (07:47):
Yeah, So how does that translate in New Zealand to
where people have been going with modern interior design? Because
I mean, there are some beautiful homes these days, and
the new home is being built, and I mean, I'm
a bit of a I'm a bit jealous of every
kit Isn't it funny when I go and look for
something interior design wise, my first thing? Or how for instance,
we have a property of the week, what's the kitchen
(08:08):
look like? And it's always.
Speaker 2 (08:11):
Well, I think we spend so much time in the kitchen,
you know that, you know, there's that you know old
saying that the heart is the heart of the house
is the kitchen. I think it's pretty true. And we're
understanding that kitchens just aren't for cooking there for you know, entertaining.
They're for gathering. Now therefore plugging your laptop into the
kitchen island and doing your you know, work from home
(08:34):
or your homework if you're a child in part of
a family. So it's a space that the kitchen has.
Speaker 3 (08:40):
Changed now, isn't it. Because in nineteen fifties, I guess
New Zealand there was a kitchen you locked away, the
dining room was separate, whereas now the role of the
kitchen has changed a lot. It's almost the living room
of the of the family if you've.
Speaker 2 (08:53):
For most Yeah, yeah, I think there was a period
of time when I first came to New Zealand, which
is just on kind of twenty years ago, that there
was this real trend to open absolutely everything up. So
the whole living space, cooking space, dining space was one
open plan area. And I think what happened during COVID
(09:14):
when we're all locked away in our homes, is that
we realized we did need little breakaway areas that you
could get away from the rest of the people in
your home. So we're still seeing, as you were saying,
those areas where you've got a kitchen in a dining
room perhaps and maybe a little seating off to the side,
that a lot can happen in that kitchen area. But
we are seeing the resurgence of a separate formal dining
(09:38):
room or an area where really yeah, or or a
special media room or a more formal living room that
if you've got a family, the kids can be in
one space, the adults can be in the other space,
and you're not all in on top of one another.
Speaker 3 (09:53):
Or is that something that I mean? I guess it's
all everything. Everything in the world costs money of different
sort of at different levels, doesn't it. Sure, But if
you're in a more modest time, I would imagine the
first space it gets sacrific, it's a separate dining room.
Imagine a lot of people would walk into the standard
three bedroom house, old state house. What's the first thing
that goes Actually a little bit like our place. I
(10:14):
think we knocked out. We knocked out a couple of walls. Yeah, yeah,
of course, job done.
Speaker 2 (10:18):
Yeah, that would be the last thing to remain in
tat would be a formal dining room. But you do
see them happening again and people wanting them, wanting to
have a casual area where the family will eat. But
if they're a family that entertain a lot, and they've
got families where there's kids and adults, I am seeing
that adults want to have a dining room where they
can sit and talk and have a glass of wine
(10:40):
and the kids aren't on top of them.
Speaker 3 (10:42):
Are there ways of actually having do people actually create?
For instance, I'm thinking of a big open space where
you might decide, look, we still want to keep it open,
but you might stick a tiny sort of petition wall
which suggests that there's a different space. Is that a
go or not?
Speaker 2 (10:55):
That's happening a bit, And sometimes there might be some
within that kind of separation, perhaps sliding doors that can
open up the space and make it almost one space,
but then close up a little bit if they're wanting
that separation of function.
Speaker 3 (11:11):
Well, I love your cause. If you've got any questions
for Kelly, she'd be happy to answer them on one
hundred eighty ten and eighty. Are there rules to this?
Sounds like a dumb question, but I'm the reason I asking.
I'm almost wondering if you're going to tell me that
there aren't any? But are there rules to interior design?
Which are always starting points for anyone?
Speaker 2 (11:31):
I think there are rules for interior design because it's
a creative practice and there's a process to creating, whether
it be interiors or painting a canvas or doing graphic design.
There's rules, but as many are to say, rules are
meant to be broken. But there's certain rules that as
(11:54):
a designer I do practice, and I think the most
prominent rule is proportion. So if you don't get your
proportions correct in an interior space, okay, and it will
never look great. Doesn't matter what beautiful fabrics or colors
or whatever you add to that. If you haven't got
your proportions correct, it'll never look quite right. You always
come into that space and go, oh, this feels a
(12:15):
bit strange, and it's usually down to the proportions.
Speaker 4 (12:18):
Well, okay, EG ask me really technically, no, no, I
don't mean this to be Look, if you're welcome to
call otherwise I'm going to run a couple of things
about our place past, Kelly.
Speaker 3 (12:29):
So, for instance, as you say that, I'm thinking I've
suddenly worked out something that we can improve. In our house.
We have an open living room sort of it's I
won't go into it, but we've got an open living
room kitchen, but we don't. We've got a large rug
three by four meters and a couch and a couple
of chairs in front of the TV. So there's quite
(12:49):
a space because I've got daughters who like to you know,
I don't want to bug a coffee table there. But
as I look at it, I wonder if you might
say your couch needs to be bigger because it feels
that everything's been squashed into the sides. Would that be
something you look at?
Speaker 2 (13:05):
Exactly what I was going to say to you, Tim,
is that one mistake, if we're talking about design mistakes
you mentioned earlier, is that I find here in New
Zealand is that people do push all their furniture to
the outside and create almost like a dance floor in
the center, and that in itself gives you a more
vacuous feeling in that space and takes away a sense
(13:28):
of coziness and purpose for that furniture. Oh so, and
if we I mean, I think there's a feng SHUEI
aspect to it as well, so we need and.
Speaker 3 (13:42):
No, no, no, I'm just glad you mentioned feng shui
before I did, because I thought that would be the
question from it. Oh gosh, he's mentioned feng shue. You've
done it?
Speaker 2 (13:51):
Is that for me when I'm organizing a room, unless
it's a bed, of course, that you need the BedHead
put against the wall. That we try to move furniture
away from the sides of the wall so you can
get a sense. I feel it's the energy can move
around the space. And also if you're bringing things into
(14:11):
the center of a room, it actually makes it feel
bigger because your eye can travel around the furniture rather
than it hitting the wall.
Speaker 3 (14:19):
So okay, so should a couch can a couch ever
be against the wall? I'm having an existential crisis.
Speaker 2 (14:30):
Rules are made to be broken, and it depends on
the space and it depends how you use that room.
But I always try to pull sofas off off the walls.
Speaker 3 (14:39):
Okay, Look, we're going to take a break. If you've
got any questions or comments for Kelly. Kelly Gammy is
our guest. She's interior designer at Rare Birds and Terriers.
And we're talking about and are there rules that you
would apply to your own home when you're looking at
doing something with your place? And what are the rules
do you think you would always adhere to, because there's
a new one for me about the furniture against the walls.
(15:02):
Eight hundred and eighty ten eighty. Any questions you've got,
of course as well, we'd love to hear from you.
We'll be back in just a moment. This is we
can collect of the one Roof radio show. The number
is eight hundred eighty ten eighty. It's twenty one past four.
It's news Talk set be with Tim Beverage. My guest
is Kelly Gammy. She's an interior designer at Rare Birds Interiors.
Any of questions you've got eight hundred and eighty ten eighty.
I've got truckloads for Kelly myself which might ask answer
(15:25):
a few questions for you out there as well. Here's
one text here. What are the current trends Kelly? That
will be very telling of the Okay, what are the
trends that you've got to avoid can you can you
ever future proof or is it just a fact of
life that trends come and go.
Speaker 2 (15:45):
I think trends do come and go.
Speaker 3 (15:47):
And terracotta kitchens in the two.
Speaker 2 (15:49):
Thousands, lass splashbacks in the early two thousands.
Speaker 3 (15:55):
A last. Splashbacks no longer the thing.
Speaker 2 (15:57):
No, take yours off, tim No, I.
Speaker 3 (15:58):
Haven't got one. Actually, funny enough, we've got the kitchen bench,
the tile. They've just got another kitchen bench at the back.
Speaker 2 (16:05):
With continuation Kevin.
Speaker 3 (16:10):
But so what happened with glass splashbacks? I thought that
they were just thought.
Speaker 2 (16:15):
I think people realized how impractical they were because you
have to constantly clean them.
Speaker 3 (16:22):
Okay, so you're better to have it.
Speaker 2 (16:24):
Something's being cooked against them.
Speaker 3 (16:26):
What's the latest in kitchens? Is it to tile the
back or something?
Speaker 2 (16:29):
Tiling? Yes, tiling is one of the main design directions.
I like to use design directions instead of trends.
Speaker 3 (16:38):
That's a trend in itself. You'll be using trend again
in five years time. I don't like to say design directions,
I say trends.
Speaker 2 (16:48):
And also, as we're talking about with your kitchen, that
to continue the bench top surface up into the splash back.
What we do a lot, and often you try to
pick out little details that distinguish your design studio that
you might see not repeated again, but there are details
(17:09):
that associate with you with your style. Would be what
we call as an upstand, and that in itself is
HARKing back to earlier times as well, where you continue
the bench top up maybe between one hundred and three
hundred mills off your bench or thirty centimeters, and then
tile it if you're trying to get more texture and
(17:30):
interest in your kitchen. And for me, I'm a really
functional person. I'm aesthetic obviously, but if something isn't designed
well and doesn't function well, then I don't think it's
the design will make up for that. So it enables
if you do have those upstands. It gives you a
connection to the bench stop without being just all the
one material. But it makes it cleaning a lot lot easier.
Speaker 3 (17:54):
Actually, now I'm realizing that the guy who did our
kitchen for us, I mean it was yeah, I mean
he said, I don't explicitly remember it exactly what he said,
but he's like, no, no, you don't. On a last
splash back, and he basically just got another bit of
bench top and slapped it against the back wall.
Speaker 2 (18:10):
I'm sure I thought about it. I don't think he
slapped it there. He considered it well.
Speaker 3 (18:16):
He didn't slap it there at all. So I mean,
are there things that people can so glass splashback? I
guess you would avoid it feeling dated. Do you think
doing the utilitarian thing? In other words, thinking about if
it's useful, it's never really going to date if it
or is that knoxy min?
Speaker 2 (18:33):
Well, yeah, anything can date. And if you look back
through interior architecture, fashion art, everything has a period that
it gets associated with, you know, whether it's Victorian or
Georgian or into mid century or Deco. So there'll be
detailing and styling that will always, let's say, date it
(18:55):
or put it in a period. But there's the For me,
it's embracing your own personality and going with that because
if you love it now, you're more than likely to
love it in ten years time.
Speaker 3 (19:07):
So don't follow a trend in other words, no, just.
Speaker 2 (19:10):
Kind of be aware of it, but go with what
you really like, Like if you like certain colors or
certain materials, or certain shapes of furniture or certain floor
plans of how you would use your house. You've got
to go with what's.
Speaker 3 (19:25):
You so for instances. In fact, I'm even looking at
the I'm careful to say what I say, but I'm
looking at the cover of your website as well. But
it just reminds me, not necessarily the image, but there's
a rich there seems to be a modern Retroy sort
of vibe to a lot of things we're seeing now
where we're looking back towards. For me, the seventies pops
(19:47):
out on the sixties, and is that a thing right now?
Speaker 2 (19:50):
There's kind of a mix of seventies and Art Deco
at the moment that's really influencing interiors and architecture and
the deco. You'll see the curves. You'll see a lot
of curves influencing things seventies. You'll see the color palette
and textures. And I am so happy that brown is back,
which is a very seventies color, because I love brown.
(20:11):
It's very warm and inviting and you feel comfortable around
those natural tones.
Speaker 3 (20:17):
I'm coveting the kitchen that's on your cover there. Apart
from the alliteration I just employed. Hey, okay, I wait,
one hundred and eighty ten A we love your cause
on this colors, yes, now black white.
Speaker 2 (20:30):
You used to get it, don't do it.
Speaker 3 (20:34):
I think this is because it's one of the simplest
things that people can do to completely transform your house.
Would be my lay person's take on it. And when
we did ours as a sort of white, but I
deliberately didn't want to do black white because everyone was
doing black white, black white, black white, black white. But
(20:55):
now it seems that colors back with it. Colors are back,
but they are, they are, But are they always going
to be back? We're going to suddenly end up going
whites again again.
Speaker 2 (21:06):
I think that you still see houses and if you
look at the Architecture Awards from this year, you'll still
see homes that have a lot of white space in them.
It might be used differently, it might be put against
a different color. You might have so much of the
black and white that we saw, so you might see
a warmer white with as I mentioned before, Brown's and
(21:28):
those kinds of times.
Speaker 3 (21:29):
There was a razine thing, wasn't it black white? It
was just like an off white.
Speaker 2 (21:32):
I think the developers and the house flickers embraced it
because because no I'm saying that it positively because it
created a blank canvas for the people that they were
doing it for. And black white is a great color
to cover what's underneath it, as if we're talking about
(21:53):
Razine's Razine paints. If you go to an Alabasta, it
takes a lot more paint to cover what's underneath it.
So I think that's why black white was so popular.
Speaker 3 (22:02):
What so, okay, here's a question and feature walls. I
heard one stage feature walls. I heard at one stage
feature walls were a bad thing. But then I see
on interior design sites a mixture of different colors on walls,
and I'm thinking, what's the difference between that and the
feature walk because they've got different colors. But how do you, okay,
(22:27):
help me out here.
Speaker 2 (22:27):
Yeah, I think feature wars are a little bit dated now.
And if you aren't brave enough to saturate a room
in color, and I think that is one of the
design directions we're seeing at the moment.
Speaker 3 (22:39):
So go for the color and either.
Speaker 2 (22:42):
They call it color drenching or color blocking where you
put everything in a color. But obviously you have to
be a lot braver to do that.
Speaker 3 (22:51):
What do you mean everything in a color, send your.
Speaker 2 (22:53):
Doors and your ceiling and all your trims the same color.
Speaker 3 (22:57):
Wow.
Speaker 2 (22:58):
Yeah, So if you're going to pick a strong color,
then that obviously takes a brave person to make that choice.
So often people will do a gentler tone to do
a color drenching.
Speaker 3 (23:14):
Because colors always color drenching.
Speaker 2 (23:17):
I like color blocking myself than drenching it. Just you know,
we're in the land of sheep and drenching.
Speaker 3 (23:23):
Just oh yeah, So would that have to because it
sounds that you for dark colors, for instance, I mean,
how if you're if you're doing a bedroom, I would
imagine that you can imagine doing a nice, warmer, darker color,
you know, warm. I don't know if you can have
(23:43):
such a thing as a warm blue or you know,
that sort of navy with a warmth to it. But
the idea of doing the walls and everything, sorry not
the walls, the idea of doing the doors in that
color would feel positively bizarre. Is it as bizarre as
I fear it would be.
Speaker 2 (24:03):
I think you're maybe viewing it from a New Zealand context.
Speaker 3 (24:08):
Yeah.
Speaker 2 (24:10):
And you know, when we talked earlier about Europe, to
go into European home you will often see that color
blocking happening, and that they don't need to have their
doors picked out white and their trims picked out white.
They will do different tones for those areas.
Speaker 3 (24:29):
But you would, so you would actually do a different
tones you.
Speaker 2 (24:31):
Could or you could color block. I mean that color
blocking is quite a new thing. You'll see it a
lot in older English homes.
Speaker 3 (24:39):
Actually, Okay, which would I would look at it and
just assume that was a bit sort of quirky in English?
You know, oh, look they've painted the whole shebang. Did
they only have one color?
Speaker 2 (24:49):
But maybe they did, Maybe that's all they could afford.
Speaker 3 (24:52):
What about ceilings then.
Speaker 2 (24:53):
Yeah, sometimes you do the ceiling the same color. It
looks fantastic.
Speaker 3 (24:57):
Don't you have to have a huge house where huge
huge rooms thoroughly.
Speaker 2 (25:00):
Not necessarily And that's another I know, another kind of
point where we're going to talk about was making small areas.
Speaker 3 (25:08):
Look bigger, which is exactly what it is leading to.
Speaker 2 (25:11):
Yeah, and I don't know why we're all obsessed with
everything has to look enormous. You know, there's something there's
something quite nice about and that obviously that depends about
the room we're talking about. But there's something nice that
smallness can feel cozy and inviting and not vacuous and limitless.
Speaker 5 (25:34):
You know.
Speaker 3 (25:34):
Funny, you know, the funny thing is, as you say that,
it almost sounds like such an easy cell just to
tell people you don't need to make it feel big.
I mean, what are you trying to Who are you
trying to impress? If it's your bedroom, then who cares?
As long as it's the color you want.
Speaker 2 (25:49):
Yeah, I like to say that I rather beautiful than big,
because if it's interesting and there's layering of what you're
using in that space, it's a lot more interesting than
just making it feel or big.
Speaker 3 (26:06):
Okay, we're gonna have to take another break in a moment,
but you're welcome to text us with your questions or
give us a call on eight hundred and eighty ten eighty.
Someone has I don't know if we should read this
one out. It says, of course you need a separate
dining room. You don't want kitchen stuff viewing those activities,
implying that maybe if you've got a separate dining room,
it's because you're wealthy, not necessarily.
Speaker 2 (26:25):
Not necessarily no um.
Speaker 3 (26:27):
And another one here, which this person says absolutely hate brown,
any shade awful, love black white grays, set with warm
carpets and loads of beautiful wood furniture and trim, and
then color added in. I'm going to jump in there
and say she does like browns because she likes wood.
Speaker 2 (26:48):
But you would say it is a tone. It is
a tone of brown. And I think it's hard for
us in New Zealand to get away from brown because Okay,
now brown we're seeing in fabrications and paint colors, but
we've always seen brown here in New Zealand architecture with
timber because if I open a magazine and look at
certain plate certain homes, I know they're from New Zealand
(27:11):
because there's a lot of timber in them, which basically
is brown.
Speaker 3 (27:14):
I love this text. It says, no, I just painted
my one hundred and eighty three square meter home and
half black white.
Speaker 4 (27:22):
Tell me tell me half as good.
Speaker 2 (27:26):
Well, half's great.
Speaker 3 (27:27):
Yeah, Actually on that look not everyone's going to no.
I'll come back, And it.
Speaker 2 (27:32):
Kind of means back into do what you like, you know,
do what suits you don't do. What I say is
the color of choice at the moment being brown. But
I like it.
Speaker 3 (27:44):
Do you ever have clients who go, I really want
to do this, and you're like, oh my goodness, how
do I tell them this is a really bad idea
or do you have to skirt around it and say,
have you thought maybe that you could just make a
small change from you know, yellow to blue.
Speaker 2 (28:00):
I do find that a little bit challenging because in
the end of Australian and we do tend to be
a bit direct. So but I mean, for me, it's
to get the best for the client for their project.
So there's three kind of ways I deal with that.
One is I'll say, if I feel it's not going
to compromise the outcome of their design is that, I'll say,
that's your choice and we'll go with that. That's fine.
(28:22):
I don't mind. The second path I would take. Look,
it wouldn't be what I would choose, but in the
end it's your choice, you go. And the third one
is like, we're not doing it, okay really, so it
all depends on how much I'm.
Speaker 3 (28:32):
Going to be attached to this project. We're not doing that.
Speaker 2 (28:35):
Yeah, it depends on if I really think that at
the end of it they're going to be happy that
I push back with them.
Speaker 3 (28:42):
I think it's powerful enough that you just say that's
your choice. If you said that to me, you go, well,
that's your choice to might'd be like, okay, she doesn't
like it, and then I'd be I think I imagine
that does the trick most of the time.
Speaker 2 (28:52):
Look, I'd show them the alternative that I think will
be better and they go, oh yeah, okay, that's that's
a good choice.
Speaker 3 (28:59):
Okay, Okay, we'll be back in just a moment. We're
Kelly Gammy. She's in terior designer at Rearbirds in Terriors.
I've got a few more texts to get onto in
terms of the questions as well, but you're welcome to
jump the queue and give us a call on eight
hundred eighteen eighty. We'll be back in just a moment.
News Talk said b. This is the one roof radio show.
My guest is Kelly Gamey. She's an interior designer at
(29:19):
Rare Birds and Terriers. You check out their webs up
by the way. It's pretty easy to find them because
there's some very pretty stuff, and as you know, I
love looking at pretty houses and design. Mary. Hello, how
are you?
Speaker 5 (29:31):
I'm fine. I was just wanting to ask Kelly her
thoughts on integrated fridges and dishwashers and things to make
the kitchen look a lot larger and tidier. They're still
in fashion and they still accept it everywhere. I'm just
interested to know, Pops.
Speaker 3 (29:51):
Hang on, I'll just switched the microphone on there.
Speaker 2 (29:52):
Sorry, Kelly, Hi Mary, that's a really relevant question. I think. Yes,
Integrated appliances in the kitchen are definitely something that I
think we're seeing more and more of. So for the
reason as you mean that it gives you a more
streamlined look. Your guests might get a bit confused about
where to stack the dishes when they're for dinner.
Speaker 4 (30:13):
But.
Speaker 2 (30:15):
They yeah, exactly, but they do. That's always what we say.
The sword will die or the mountain will die on
is not doing an integrated dishwasher. We can often use
a fridge and frame it in and make it look
nice in a kitchen, but we always do an integrated dishwasher.
Speaker 5 (30:35):
Just give I there agree. I agree, because you walk
into the kitchen and it starts as smooth as suddenly
you see a big stainless steel fridge and a stain dishwasher.
But the problem is sometimes the dishwasher is already in
and you have to work out how to get an
integrat piece on it, which I have done and it's worked.
(30:56):
But it certainly made a big difference to our kitchen
lovely open space and no really knows where. It doesn't
really matter, but I was just one if that was
still a bit of a trend.
Speaker 2 (31:07):
Absolutely, and I think it's something that I don't think
it will go out of trend because it just makes
a space look so much more cohesive when you don't
see the dish wision.
Speaker 3 (31:22):
Mary, just between the two of you, when you say integrated,
you mean something that has been paneled or something so
it's invisible.
Speaker 5 (31:28):
Yes, yes, it's attached to the door. They're very very
nice in front of them in both places. And I
just had those. You hadn't said that, and I thought, oh,
as I'm thinking of doing another kitchen, I was thinking, well,
I still would like to do it.
Speaker 2 (31:42):
Absolutely.
Speaker 5 (31:42):
Thank you very much, very well, Thanks Mary, Thank you.
Speaker 3 (31:46):
Actually the integrated applants thing, so is there a halfway
house for that that for instance, you might have white
well actually I described mind kitchen white, but it's nice white,
glossy sort of paneling, and we've got black ovens. Yes,
and if we had to replace it, there's a hole
big enough to you know, we choose another brand and
(32:06):
it would slot into place.
Speaker 2 (32:07):
Yes, you could.
Speaker 3 (32:08):
I guess that's generally integrated.
Speaker 2 (32:10):
Is it you're talking about your oven, dish washer, the
dish No, you can't really integrate your oven because that
means you'd have a panel on the front of your and.
Speaker 3 (32:20):
You have to see you Yeah. Is it just doing
the dishwasher and making sure.
Speaker 2 (32:25):
Generally the dishwasher and the fridges that that have panels
on the front of them. And now, as Mary said,
integration has been a thing for quite a while, especially overseas.
It's becoming more prevalent in New Zealand kitchens and it
just enables you to put whatever surface you have on
your your cupboards and your drawers and your end panels
(32:47):
on the front of your door and the front of
your dishwasher.
Speaker 3 (32:52):
Okay.
Speaker 2 (32:53):
Something that's become a little bit newer now is using
what they call as a servo drive. So it's it's
a mechanical thing, so you just touch it with your
fingers and it opens. You don't have to have a handle,
and so do.
Speaker 3 (33:06):
You generally try and hide the fact that there's a
fridge somewhere. I'm just looking at I'm ob someone, I'm
just looking at one picture of a very well integrated, looking,
beautiful kitchen. But it's obvious where the fridge is because
it's different.
Speaker 2 (33:17):
Yes, yes, and if you're talking about the one yes,
And sometimes, like I said when you asked before, if
a client asks says I want to use something in particular,
that particular client really wanted to use a particular fridge,
And so I personally think that kitchen would have looked
nicer if everything was integrated. But it's balanced because we've
(33:41):
got a wine fridge and oven tower on the other side,
and then and the main fridge on the other side
of the kitchen. So it's got a sense of symmetry.
But in that kitchen, we built it up on a
plinth and we framed it so it actually looked like
it was considered. We just hadn't pushed it into a hole.
Speaker 3 (33:56):
Okay, Yeah. One rule I've heard with the paint thing
is you go, you know the color you want, then
have it for the doors, then have it again for
the ceilings.
Speaker 5 (34:04):
Yeah.
Speaker 3 (34:05):
Is that because I would imagine, you know, here we
were talking about colors and you just have one solid
color all over. A lot of people would I think
a lot of Keywis would instinctively struggling against that. For
the ceiling, you sort of want to feel everything there's
a different shade. Are there rules for changing the color
of your bedroom or any room for that matter, But
when it comes to the ceiling and the.
Speaker 2 (34:26):
Doors, I mean, that's that's kind of an old rule
that you can use, and that does give you a nice,
a nicer, softer contrast rather than doing your wall and
then a bright white trim and door. So that is
a rule that you can do if you like, but
(34:47):
it's not one that I would stick to.
Speaker 3 (34:49):
If you like, if you like. In other words, don't
do it to know, No.
Speaker 2 (34:53):
You can do it. I didn't mean I wasn't kind.
Speaker 3 (34:55):
Of being like that, that's your choice, but.
Speaker 2 (34:59):
You know, you go with that beautiful Hey what.
Speaker 3 (35:02):
About okay, the color swatches you get from company?
Speaker 1 (35:09):
You know?
Speaker 3 (35:09):
But yeah, but a lot of New Zealanders, you know,
some people can afford an interior designer to consult on
all these things. Other people are doing it themselves. I've
got to say, when I look at the different swatches
that the companies come up with. Are they quite a
useful starting and maybe an endpoint for you when you go, well,
here's what they've gotten their picture there that looks good.
That's for me.
Speaker 2 (35:28):
Yeah, they are a great starting point obviously because it
can and often when we're working with clients, I push
out a color fan deck and say, okay, what colors
appeal to you. But it's quite difficult if you haven't
used color a lot, and if you're doing it yourself,
to know what one little swatch will look like a
(35:51):
four walls of a home. So then you go to
a brush out that you can order, which is a
bigger piece of the color, or test pots and painted
out on either a big piece of paper into the wall,
or actually paint the wall because often and color is
quite a cameleic type. The thing is that it looks
(36:12):
a certain way painted, but it'll look different on a wall,
to look different in different lights. It'll look different in
a dark corner than it will on a wall that
is full of sunshine. So a color, even within a
room will change.
Speaker 3 (36:25):
Do you mix and match colors on walls within the
same room Sometimes yes, the way that I Sometimes you
can have a wall where it looks like it's a
different color simply because the light's catching it in a
different way.
Speaker 2 (36:35):
So job done, absolutely, and I have I've done it
before in homes that were open plan and had halls
coming off them, where the clients wanted the one color
being a white. And if we're done it the one color,
it would have looked very different in different areas. So
we used a half shade of it, or a double
shade of it, or a full shade of it in
(36:56):
different areas, so it almost had the illusion of looking
like the same color throughout the whole space.
Speaker 3 (37:01):
Yeah, okay, look we need to take a break. We'll
come back with one roof Property of the weeks. Are
We're with Kelly Gammy, she's an interior designer at Rare
Birds Interiors. Will be back in just to take news
talks'd be.
Speaker 1 (37:12):
The one roof property of the week on the Weekend Collective.
Speaker 3 (37:16):
Now, yes, we're back with Kelly Gammy, our interior designer
at Rare Birds in terior is now the property of
the week. I think I'd like to say my producer,
I think deliberately chose this property because it's a blank
canvas as well. But she also loves the entrance way
for it because the first photo on it's interesting how
you market a property. But on the one roof site
this is two dash fifteen Saltburn Road, Milford, so it's
(37:38):
not too far from the beach as well. But the
opening photo for it makes you go, oh, that's worth
another look, and the rest of it's fairly well. It's
it's pleasant. I'm not sure if it's has it been
staged You've had a look at it and you Kelly.
Speaker 2 (37:51):
Yeah, it's definitely been staged.
Speaker 3 (37:52):
Has it been staged well, I thought.
Speaker 2 (37:54):
It'd been staged quite well for home staging, for for
selling a property.
Speaker 3 (38:00):
Yeah, I see the countess against the wall.
Speaker 2 (38:02):
Though they could have pulled those off the wall.
Speaker 3 (38:05):
And there's lots of looks like it's definitely got the
black white rot rocking and rolling everywhere, but with a
little bit of brown on the floor. But any comments
on it because it's a nice pleasant looks like it
would be an affordable home, but it's in Melford, so.
Speaker 2 (38:20):
Yeah, I think the biggest take off of that for
me was the lack of window dressings. Yeah, and that's
one of the areas and you know, as an interior designer.
You do do curtains and cushions, but you're also you know,
the main thing that you're adding value to people is
understanding their spatial awareness and how to design the spaces
(38:43):
to function well. But that one did stand out to
me because there were no drapes on the on the
windows and it makes it feel Actually, that's interesting. You
mentioned that soulless once you put fabric hanging on your walls.
And another big tip when you talk about making things
look a little bit bigger, is that you take your
drapes right to the ceiling and it gives you a
(39:04):
sense of heights. So if you're dealing with seven four
I mean seven four two four ceilings, taking your drapes
right to the ceiling to the floor makes the place
look to.
Speaker 3 (39:13):
Actually that's interesting because in our place, we've just in
a couple of our rooms downstairs, we did some window coverings,
sliding doors and all that, and they did We've got
blockouts with the sort of white lacey sort of drape
in front of it, and it completely relaxes and changes
the room the vibe is Isn't it amazing what you
can do with just such a simple step.
Speaker 2 (39:35):
Absolutely, And if you want a house to feel like
a home. That's one of the one of the aspects
that you can't not do is not put drapes on
you but nervous.
Speaker 3 (39:47):
If you ever came around to our.
Speaker 2 (39:48):
Place, well, you've already got some of the already.
Speaker 3 (39:53):
Very nervous about you popping around and be like Kelly
came around and our mortgage went up. Actually there is
There are some interesting homelande mortgages you can get for
renovation these days. The banks are throwing out there. But
you know what you're going to do.
Speaker 2 (40:07):
I think that's a really important thing if you are getting,
you know, a home loan and you are renovating, is
to be really thorough in how you approaching a renovation.
And that's right from the beginning about doing a spreadsheet
and a cost sheet, because we have clients come to
us who said, oh, we want to spend this much money,
and often now go to the build and tell the
(40:29):
build of the same amount, but they haven't taken into
account that then you've got to do your flooring and
your furniture and your kitchen finishes.
Speaker 3 (40:36):
And they just think, oh, I've got a few other
details and that's.
Speaker 2 (40:41):
It's it's not only a major spend in a renovation,
but it's also what will make your home different and
make it yours.
Speaker 3 (40:48):
Hey, Kelly, thanks so much for coming in today. That
tower flew by anyway, Hey, look rare birds. Go and
check out rebirds and terriers. We'll be back with Sarah
chat when it's next for the Parents Squad, Newstalks it be.
Speaker 1 (41:02):
For more from the weekend collective, listen Lived and Youth
Talk ZB weekends from three pm, or follow the podcast
on iHeartRadio.
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