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    Danielle Brustman designs Harbour Early Learning facility to “inspire delight and joy”

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    Bold colours and graphic elements that represent the sea and sky add personality and context to the interiors of this Sydney children’s centre by Australian designer Danielle Brustman.

    Brustman was responsible for the interior package of the Harbour Early Learning educational facility, which is situated in the city’s Vaucluse suburb and aims to connect children with educators, nature and the broader community.
    The brief for the project called for a high-quality facility arranged over three levels with a focus on design integrity and the well-being of both the children and staff.
    Danielle Brustman has designed the interiors of Sydney’s Harbour Early Learning facilityBrustman employed oversized graphic elements throughout the spaces to help stimulate the imaginations of the children and create thematic experiences that respond to the building’s harbourside setting.
    “I wanted the design to inspire delight and joy for the people occupying the spaces,” the designer told Dezeen.

    “I also wanted to create a healthy space using environmentally sustainable and quality materials that would stand the test of time and toddlers!”
    The educational children’s centre responds to the building’s harbourside settingBrustman worked closely with architects SJB and Supercontext, as well as with landscape designer Fiona Robbe and signage experts Citizen to deliver a range of bespoke indoor and outdoor play and learning spaces that reflect the client’s educational philosophy.
    The building’s external and internal spaces were designed to reference the surrounding nature, with large openings framing views of the neighbouring mature fig trees.
    The interior was heavily influenced by the building’s seaside context, with each room given a specific theme including the Sky room, Sunset room, Rainbow room, Under the Sea room and Boat room.
    Oversized graphic elements and large openings frame neighbouring mature fig treesThe themes lend the rooms a unique character whilst reinforcing the thoughtful layout of spaces, with water-based elements on the ground floor and sky references on the upper floor.
    Graphic details were used throughout the interior to complement architectural features, including the arched windows and circular skylights.

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    Marmoleum flooring and carpet inlaid with geometric shapes also feature alongside bespoke murals depicting simplified elements like waves and clouds.
    The raw materials and neutral tones used for the exterior give way to more vibrant hues inside the building.
    Murals, marmoleum flooring and carpet inlaid with geometric shapes depict seaside waves and cloudsBrustman selected colours that she said have “a slightly muddied feel to them” to maintain consistency and a connection to nature.
    “It was important that the colour and materials palette was unique in each room but there was also a cohesive thread throughout,” she added. “The palette was designed to be enjoyed by both children and teaching teams.”
    Materials that appear on the building’s exterior, such as raw concrete and pale wood, recur in the reception area where they contrast with colourful elements that help with wayfinding and circulation.
    Primary colours, including a vibrant blue staircase, inform a palette enjoyable to children and teaching teamsThe primary hues in this space reference the work of Dutch abstract painter Piet Mondrian, while the blue staircase in particular evokes the colours of Sydney Harbour.
    Wherever possible, Brustman chose furniture that was designed and made in Australia, focusing on pieces that are robust enough to handle being used by children.
    Many of the furnishings have a graphic quality to them, including the Love benches by designer Daniel Emma, the stacked-cone pendant light by designer Edward Linacre and the Big Friendly sofa designed by CJ Anderson for Dowel Jones.
    Graphic furnishings are featured throughout the interior design, including the Love benches by Daniel EmmaBrustman is based in Melbourne and specialises in residential interior design and commercial design for the education, hospitality and retail sectors.
    The designer’s previous projects include a children’s centre in Melbourne featuring similar graphic elements in various pastel hues and a hair salon decorated using the client’s signature yellow colour.
    The photography is courtesy of Harbour Early Learning.

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      Delve Architects designs “nurturing but playful” nursery in east London

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      English practice Delve Architects has used joyful colours and natural, tactile materials to outfit a newly established kindergarten by the River Thames in east London that can be accessed via boat.

      The Nest daycare centre is part of a wider housing development in the Royal Wharf area, occupying a commercial unit at the base of a 19-storey housing block.
      The Nest nursery was designed by Delve ArchitectsAs a result, the primary challenge was to bring the towering newbuild space down to child scale and make it feel more homely while forging a greater connection to the riverfront.
      “We wanted to create a calm, nurturing but playful space that reflected the values of the nursery,” Delve Architects co-founder Alex Raher told Dezeen.
      “Their ethos is for children to have a positive learning experience through a healthy relationship with the environment around them and a connection to the outdoors.”

      The studio used timber arches to define the space and envelop the new staircaseTo boost the internal floor are, the studio installed a new mezzanine with a bespoke, powder-coated metal staircase that rises through a double-height space defined by a series of arched timber fins.
      These maple-veneered arches – each around 4.5 metres tall – were conceived by Delve Architects to subdivide the space, creating zones without physical barriers.
      The timber fins taper off into low benches for the children”We wanted to connect the spaces visually and physically between the mezzanine and lower level, and to soften the hardened edges of the space,” said Raher.
      The arches are formed from a series of fins that merge into benches and individual seating as they approach the ground.
      The stairs lead up to a new mezzanine level”The grand scale of the arches for a small child could feel overwhelming, so we brought this down into child-height seating, benches and joinery to play with the scale and make it more familiar to them,” said Raher.
      “The material flows seamlessly between the two levels and creates a natural material palette that the children could recognise and read through different heights and spaces.”
      The arches also span over the main staircase, where Raher says they suggest a canopy of trees.

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      “We wanted it to be a centrepiece that was exciting, functional and exploratory, almost like a meandering joinery up to a treehouse-style level on the mezzanine, through a network of arches and branches on the way,” the architect explained.
      “One of the first concepts we explored was the treehouse idea, developing ideas around the nursery name The Nest and how we could bring a playful part of nature into the design.”
      Given its inner-city location, the nursery is fortunate to have a large garden overlooking the riverfront, which is connected to the nursery via a double set of six bi-folding doors.
      The upper level is finished almost entirely in baby pinkThe external fencing was designed by Delve Architects “to merge with the rhythm of the existing tower’s balconies” and powder-coated in a matching colour.
      “We wanted to celebrate the connection to the outside space, the riverfront location and the child-height views from the mezzanine to the water, as it was unique to the space and to the nursery setting,” said Raher.
      “Children can arrive and parents can commute using the river boat directly outside the nursery. The new pier designed by Nex Architecture is a beautiful backdrop to the site.”
      The mezzanine houses cosy play areasTo cope with the demands of a nursery setting, materials and finishes are resilient as well as being natural and tactile. Among them is recycled and recyclable Marmoleum flooring, maple-veneered joinery and low VOC paint.
      A colour palette of soft muted shades helps to create a homely atmosphere inside The Nest.
      “This palette works better than bolder primary colours, as these create too much visual noise for younger children,” Raher said.
      The Nest’s garden overlooks the riverfrontA panel of dark teal blue creates a datum line around the walls, designed to be “resilient to little fingers” while making the tall spaces feel more relatable to children.
      “We always try to design from a child’s perspective, putting ourselves at that level, quite literally in some cases,” Raher said.
      The soft blue of the flooring gels with the tones of the pale maple veneer and the matt pink that wraps around the ceiling and upper walls, covering almost the entire mezzanine.
      It can be accessed via river boat”It both draws your eye upwards but also manages to change the scale of the space,” said Raher. “In some areas there is a five-metre ceiling height, so we wanted to break this up visually.”
      “The services for heating, cooling and ventilation were also left exposed, giving a little insight for children to explore and imagine what they could be – a network of intriguing forms and geometry running through the nursery.”
      Other kindergartens that hope to forge a greater connection to nature include this English nursery by Feilden Clegg Bradley, which makes use of natural materials to reflect the surrounding woodland, and a timber kindergarten extension in Austria by Bernardo Bader Architekten.
      The photography is by Fred Howarth.

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      Danielle Brustman decorates children's centre in Melbourne with pastel hues and rainbow murals

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      Designer Danielle Brustman used pastel colours, marmoleum flooring and playful hand-painted murals to create the interior of the Brighton Street Early Learning Centre in a brutalist building in Melbourne.Each playroom in the concrete building, which was converted by Perkins Architects into a childcare centre, was allocated its own motif, which includes a river, meadow, star, sun and cloud. Brustman used these themes to come up with a narrative, treatment and palette for each space.
      “The brief and scope for this project was so exciting as the clients were after something bold and unique,” Brustman told Dezeen.
      “I regularly use colour in my interior design work but it’s not often I get the opportunity to be as bold with colours specification.”

      Top image: a rainbow mural decorates a wall. Above: the designer used 47 different colours within the centre

      She used 47 colours in total for the early learning centre, which is located in Richmond, Melbourne, adapting them based on the themes of each room and pushing the colour palette to its limits.
      “I wanted it to be complex and colourful whilst still adhering to a level of sophistication, gentleness and balance,” she said.

      Geometric designs decorate the walls
      Brustman also added several wall murals, hand-painted by Ben Maitland, to the design, which she hopes will be a source of inspiration and creativity for the children.
      The graphic murals feature star bursts, boats made from circles and triangles, rainbows and trees, among other designs.
      The rooms also have a seasonal feel. “The forest and river rooms have an autumnal feel to them, while the sun and cloud rooms have a more summery palette and atmosphere,” Brustman explained.

      Playful motifs decorate the walls
      Within the centre, the ground floor rooms relate conceptually to the earth, while the top floor rooms relate to the sky.
      Some of the original concrete structure of the building was deliberately left exposed when the space was repurposed to become a children’s centre, and has been complemented with natural, durable materials and decorative textiles that soften the space.

      The floors are made from marmoleum
      Marmoleum, which is made of 70 per cent natural fibre and 40 per cent recycled materials, is used on floors throughout the centre.
      Brustman’s studio also designed a number of customised rugs for the rooms, including patterned Tretford rugs made from goat hair.

      Coloured pendants were created by a local designer
      The reception area and stairwell were decorated with coloured pendants made from toughened glass, traditionally used for manufacturing laboratory beakers, by local lighting designer Copper ID.
      All playrooms have floating acoustic ceilings to tamper noise, as well as child-friendly soft wool and vinyl furnishings.

      The studio designed customised rugs for the early learning centre
      Keeping some of the concrete structure visible has created a contrast to the softer interior details, according to Brustman.
      “There’s something lovely and unexpected about the intersection between these original raw building materials and the softer, more colourful material surfaces,” she said.
      Brustman’s background is in set design, and the Brighton Street Early Learning Centre design offered an opportunity to create more dramatic designs than some of her regular interior work.

      Murals add colour and whimsy to the space
      “There is such freedom when you are aiming to please and tend to the imagination of a young child,” she said. “I think my design work is compatible with childcare design in that it’s playful and a little fantastical.”
      “My approach to this project has been different in that the same limitations are not placed on the design in terms of what is considered to be a current or tasteful palette,” she added.

      Even the functional spaces have colourful interiors
      Other colourful interior designs for children include Integrated Field’s design for a hospital in Thailand that features slides and a pool, and Atelier Scale’s playground with bright-yellow details in China.
      Photography is by Sean Fennessey.
      Project credits:
      Interior design: Danielle BrustmanArchitecture: Perkins ArchitectsBuilder: I BUILD MMurals: Painted by Ben Maitland

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