The kitchen is anchored by an L-shaped marble island, serving as both a gathering point and sculptural centrepiece, alongside a green Lacanche oven and Design Studio pendant that references heritage glazing. Art pieces include ‘Topographic Form 2’ (2024) by Steph Wallace from Stockroom Kyneton Gallery and a sculpture by Scott McNeill from Fletcher Arts.
A modern reimagining of an Edwardian residence, Stellar House in Melbourne weaves together art, heritage, and comfort with a refined sense of drama.
At first glance, Stellar House presents as classically Edwardian, complete with bay windows, a front-facing gable, and leadlight glazing. But once inside, the home reveals a unique spatial narrative and artistic expression that unites heritage with contemporary family living.
Previously restrained by a formal Edwardian layout, the home’s redesign was led by “a playful balancing of history with bold gestural planning to achieve a dramatic and welcoming atmosphere,” says Robson Rak principal architect, Kathryn Robson and principal interior architect, Chris Rak.
The new spatial plan embraces ‘suggestions of movement’ to effortlessly connect each zone across the two-storey residence. This sense of motion and flow is best expressed in the central staircase beyond the entrance hall. Here, the walls and ceiling curve into a spiralling structure, an architectural focal point and sculptural statement that invites movement into the home.
The dynamic use of form continues in the dining and living areas, where curves dictate the spatial flow beneath a starburst canopy—a modern reference to Edwardian decoration.
“Carving out space to connect the first floor to the ground, the folding forms guide you through to the heart of the home, where the negative space of the staircase defines the dining space flowing into the living,” Robson says. “The pushing and pulling of space extends into the design from large gestural elements to small, precision details.”
Materiality, colour, and light are strategically layered to create a dialogue between the past and present. Soft shades of blue and pink are paired with natural stone and timber in a tonal and textural interplay that enriches each space with ‘moments of surprise’. These include the marble fireplace and kitchen island, soft furnishings such as the drapery, and the flooring, which transitions between timber, marble, and herringbone stone tiles.
Within these moments, finely crafted details—leadlight window glazing, bespoke joinery and nuanced fireplace detailing—further pay homage to the home’s historical legacy. However, the home’s character is defined by the client’s art collection, driven by a passion for Australian artists. These include sculptural works and paintings, with a focus on colour, form, texture, and light, that reflect themes of joy and connectivity.
Most notably, a spherical work by Ryan Hoffman, ‘The Tongue is Powerful, Be Careful it Doesn’t Speak Something into Existence’ (2024), makes an impactful first impression in the entrance hall, softly diffusing light to create an otherworldly atmosphere. Elsewhere in the living area, a Martine Emdur painting, ‘Entwined 2’ (2017), captures two figures underwater in a scene of romantic movement that resonates with the home’s broader design ethos and visual language. Throughout the home, ceramic sculptures punctuate surfaces as modestly scaled focal points, drawing the eye with playful and unexpected details.
Reinterpreting Edwardian design through a modern artistic lens, Stellar House embodies what Robson and Rak describe as “a romanticised vision of family life, balanced with practical liveability.”
“Central curved walls serve as sculptural focal points for showcasing objects and artworks, while also framing the bespoke, locally handcrafted dining table informed by these curvaceous lines,” Rak says. Feature artworks include ‘Falling Branches’ (2022) by Rebecca Selleck and ‘Untitled’ (2018) by Natalie Ryan, both from Stockroom Kyneton Gallery, and ‘In Canaanite Land’ (2024) by Lilach Mileikowski from Craft Victoria.
Furnishings follow the home’s interior curves, with soft silhouettes balanced by robust materials, such as the fireplace, which is surrounded by veined marble that rises effortlessly from floor to ceiling.
In the living and dining area, the “theatricality is heightened by the starburst ceiling patterns, framed by sculptural curves, which integrates both an aesthetic and functional lighting strategy,” Robson says. The space features a painting ‘Entwined 2’ (2017) by Martine Emdur from Scott Livesey Galleries, as well as ceramic sculptures by Ella Reweti, Fernando Salas, Stephanie Philips, Raphy, Georgia Harvey, and Lilach Mileikowski. The space also features the Cassina Moncloud sofa, Halcyon Lake rug, and Cassina Back Wing armchairs.
Pictured: The Moroso Pipe armchair and Henry Wilson Brodzki mirror.
The entry sequence is defined by gentle, rounded forms—an art piece, ‘The Tongue is Powerful, Be Careful it Doesn’t Speak Something into Existence’ (2024) by Ryan Hoffman from Sophie Gannon Gallery, a Vistosi Puppet Ring pendant, and the cc-tapis Bliss rug.
A mixed media piece, ‘Where Have All the Flowers Gone’ (2024) by Scotty Bemelen from Bieëmele complements the entry’s art-led composition.
Ceramic works by Melbourne-based artist Lilach Mileikowski are thoughtfully displayed throughout the home with their layered, multifaceted forms drawing inspiration from ancient artefacts. Ceramic vessels by Emily Ellis and Theodosius Ng, both from Pepite accompany the Siri Vase from Origine. Also pictured is a tan leather Cassina Cab chair.
Other featured works include the painting ‘Architect’ (2024) by Kez Hughes from Nicholas Thompson Gallery and the sculpture ‘Rain Baby’ (2024) by Georgia Harvey from Craft Victoria. The study also features the Pierre Paulin Groovy chair.
A herringbone stone floor and travertine-clad walls embody Robson and Rak’s layered approach to materiality. Above, a green ceiling with strapping offers a modern take on Edwardian detailing. The portrait ‘Girl’ (2021) by Deborah Walker from Fletcher Arts introduces a warm counterpoint to the room’s palette through muted blush tones. Baina towels, Astier de Villatte jewellery box, Dinosaur Designs shell vessel and an Anna Parsons sculpture.
Colour and texture establish a quiet, tactile warmth in the bedroom featuring Hale Mercantile Co. bedding, a still-life ‘Peony Arrangement, Grapes and Stripes’ (2024) by Sam Michelle from Fletcher Arts and a ceramic piece ‘In Caananite Land II’ (2024) by Lilach Mileikowski from Craft Victoria.
Traditional details are subtly expressed in the walk-in robe through bespoke joinery, geometric motifs, and heritage-inspired lighting. Vessels from Dinosaur Designs.
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