Silpu · Interior Direction — Client Simulation
A light-filled open-plan living, dining and kitchen that leans into its outlook — grounded in warm oak and eucalyptus, opened to the sea through sheer linen, and layered so it feels lived-in, not styled. Restrained by day; warm and dimmable by night for the fixtures to sing.
Drawn from the view itself — sea, sky, lawn — warmed by natural timber and a single brass note.
Matte, tactile and honest — nothing high-gloss to fight the daylight.
Wide brushed boards, natural oil finish. Warmth underfoot and a continuous surface that reads as one relaxed volume across living, dining and kitchen.
Pale honed quartz/marble-look benchtop, mitred waterfall to the floor. Anchors the plan without shining. Charcoal joinery below to tie into the window frames.
A soft, faintly warm white so the oak and greenery read true and the evening light pools gently rather than glaring.
Woven baskets, artisan stoneware and a boucle accent chair add texture the camera loves — the layered, unstyled feel.
Two soft zones inside one open volume — a rug and the fandelier do the dividing, not walls.
A ~2.2 m oak table on a pedestal or slim tapered legs, centred beneath the fan-chandelier. Upholstered oatmeal-linen chairs with a fine timber leg — soft enough to sit long, quiet enough to disappear.
A three-seat feather-and-down sofa in oatmeal linen, loose covers, generous seat. One curved boucle accent chair in eucalyptus to hold the ocean-teal note company.
A soft round centre table (travertine or oak-veneer) so circulation flows toward the glass; a small nesting oak side table by the sofa arm.
Defines the living zone within the open plan and warms the oak. Textured, low-pile, edges tucked under the sofa front feet.
The hero of the whole exercise — three real photometric layers, each dimmable, each true to its measured beam.
The centrepiece. Warm, gentle spread over the table — and real airflow for a WA summer. Set low and dim in the evening scene so it glows without blowing out.
Real IES file. A medium beam with a sharp full cutoff — crisp scallops grazing the joinery and stone, not a flat wash.
Real IES file. An asymmetric batwing that lifts the sheer curtains with an even, gallery-cool glow — the "curtains from spotlights" look.
The glazing is the best thing in the room — dress it lightly and bring the outside in.
Left open — simple, flat panels that stack neatly to the reveals and frame the sea, never gathered or tied back. Wall-washed from below by the 4000K uplights for that soft evening luminosity.
A tall olive or fiddle-leaf fig in the corner beside the glass — height, softness, and a native-leaning nod to the WA setting.
Trailing pothos at the island end; a low bowl of eucalyptus / native foliage as the dining centrepiece; potted herbs on the bench.
The board as a production spec — each element mapped to a product pin + comment, ready to author and simulate.
| Element | Pin comment (paste into the mark-up) | Where |
|---|---|---|
| Fan-chandelier | Brass + timber-blade fan-chandelier, warm 3000K, centred over the dining table | Over dining |
| Dining table | Solid oak 2.2m dining table, matte oil finish, on slim tapered legs | Dining zone |
| Dining chairs | 6–8 upholstered oatmeal-linen dining chairs, fine timber legs | Around table |
| Sofa | 3-seat oatmeal linen sofa, loose covers, feather seat, generous depth | Living zone |
| Accent chair | Curved boucle accent chair in eucalyptus green | Living, angled to view |
| Coffee table | Round travertine coffee table, low | Living centre |
| Rug | Handwoven wool/jute rug, warm ivory, low pile, under the living zone | Under living |
| Throw pillows | Layered linen + boucle cushions, one eucalyptus + one ocean-teal accent | Sofa + chair |
| Sheer curtains | Floor-to-ceiling sheer linen S-fold curtains, OPEN, flat panels framing the glazing | All glazing |
| Olive tree | Tall olive tree in a woven basket | Corner by glass |
| Greenery | Trailing pothos on island; eucalyptus foliage bowl on dining table | Island + dining |
Curtains open, low furniture, sight-line to the glazing kept clear. Everything else is supporting cast.
For the IES demo, use an evening interior scene so the fixtures are actually glowing — that's what Bake detects and splits into layers.
Linen + boucle + oak + jute + ceramic. The camera reads texture as "designed"; flat surfaces read as empty.
Ocean teal appears once or twice — a cushion, maybe a vase. Restraint is what makes it look considered.