Banner photography by SKN Studios.
from auckland, nathan swaney and ella lilley-gasteiger of gestalt studios navigate the intersection of architecture, interiors, and object design with a studied precision.
Their practice is one of restraint and refinement—where each choice is deliberate. Whether designing a singular object or an entire environment, their work speaks to a distinctly New Zealand sensibility: a quiet confidence in form, a sensitivity to space, and an understanding that the smallest elements often hold the most weight.
Understandably, we’re big admirers. We sat down with Ella and Nathan to explore their approach. How do they think about the details that quietly shape the way we live?
Image by Grace Gasteiger.
the studio
q. what inspired the creation of gestalt studios in 2021, and how has your vision evolved since those early days?
N: We originally met as colleagues and have always enjoyed working together. As our collaborations grew; we became both work and life partners, and the projects we took on grew with us. We needed an identity to really capture all of the ideas we had in various states of completion and so Gestalt Studios was born.
We think about our practice as just another (somewhat larger) project; it's the container in which all of our collaborative efforts now sit. It has morphed from being weekend and after-hours work to a business that works across multiple disciplines.
q. with work spanning both architecture and product design, how do these disciplines spark and challenge each other in your creative process?
N: The two feed into each other well. We love the idea that a concept for an architectural project can be expressed by designing all of its parts, both inside and out and we tend to work at quite a detailed level from the outset.
Furniture and product collections are often inspired by our architectural work as well. Working through the details for a beautiful renovation in Westmere has recently given rise to a new furniture collection and there is a lot of satisfaction when unexpected things emerge out of this process.
E: There are no defined roles other than Nathan generally manages the architecture side of things. I jump in wherever possible with design input on the furniture and products which is a great counterpoint as I also work full time at Monk Mackenzie on some amazing architectural projects of a very different scale.
q. the name ‘gestalt’ speaks to the idea of the whole being greater than the sum of its parts. can you share a project where this philosophy feels most alive in your work?
E: The word ‘Gestalt’ is so interesting—the phrase above is one meaning, but it also means ‘shape or form’ in German (my mother tongue) and ‘chair therapy’ in the psychology world—which feels very apt at times!
The Kit collection is a great example of this: the development of those pieces was all about how individual components can come together to form a single object, and how the connections between elements could be then translated into a family of furniture.
auckland & local influence
q. how does auckland’s design landscape shape the way you approach your work, from materials to mindset?
N: The more people we’ve built connections with, the more inspired we’ve become. To realise a product, we're constantly talking to manufacturers, fabricators and even fellow architects and designers. Being surrounded by these like-minded people and their complementary disciplines makes right now an exciting moment to be a part of.
E: We keep it fresh by seeking out local work across many disciplines, talking to designers of all ages (especially those with many years of experience) about their creative process, working towards exhibitions and seeking inspiration overseas when we need to shake things up.
q. if you had an afternoon to wander and soak up inspiration in Auckland, what neighbourhood would you head to—and why?
E: We were both raised out west and regularly head there to re-charge with family and nature. A great day would include time in Titirangi village before heading out to the coastlines of Piha or Anawhata. The birds, trees and vast horizons always refresh our vision when we’ve zoomed in too much.
q. for someone new to auckland, what’s a must-try experience that captures the city’s creative essence?
N: We are very lucky to live in a city of two harbours and it means you're never far from a good swim in summer (or winter). If we could put it into an itinerary: a morning walk up Mt Eden, coffee at Holiday after the descent, a swim at Pt Chev in the afternoon followed by dinner at Ragtag.
You can’t experience what Tamaki Makaurau is about without some great food and coffee and we're always marveling at all the great work by others that goes into realising the eateries and cafes that make our city. We spend a lot of time checking out the creative fitouts of these spaces that are all about efficient use of materials on smaller budgets.
design philosophy & industry
q. what’s the moment in your process where an idea feels ready to step off the page and into reality?
E: It's very hard to put into words.. but there's a moment when we both feel that zing of ‘yes’ and it's clear that there's nothing more to be added. If only one of us is sold however... it’s back to the drawing board.
q. what’s a design trend you’re currently drawn to, and one you wish would quietly disappear?
E: You can’t go wrong with letting the materials you’re working with guide you, and the desire to create a calm cohesive space, repeating motifs throughout a project (down to the furniture) and striving to make a space feel good without the user necessarily knowing why…
… less Pinterest.
N: I personally can't stand things being done for resale value alone. The best projects are always the ones where clients are ready to enjoy their homes, want to do unique things that celebrate their own lives and envisage living in the spaces we design for a long period of time.
q. last year you attended the stockholm furniture fair. what were the most memorable conversations or insights you took away from presenting?
N: The most memorable part of the fair were the conversations and connections we made. We arrived in Stockholm from the furthest place—and were welcomed into a city that truly celebrates the potential of design.
E: As part of the Greenhouse exhibition for emerging designers, we were lucky enough to meet Viktor and Carl of Swedish design office Fakt. Stockholm locals, they are both Graphic and Product designers but over a week they quickly became our friends. They are now designing our website due for update later this year—it’s been amazing doing a world-traversing collaboration with them—many online talks at odd hours!
We were also so inspired by Andrea Trimarchi of FormaFantasma and their research-based approach to design, innovation and celebrating natural materials in unexpected ways. The work for Cambio (2020) and Oltre Terra (2023) had particular relevance to us, as proof that research can lead design and we could see how this research could help reshape our own resource use here in New Zealand.
Taking your work overseas and seeing that you are one of many doing the same thing is so humbling and galvanising, we brought so much of that energy back with us on our return.
Image by Liam McRoberts.
on the horizon
q. amid today’s challenges, what’s bringing you joy or optimism in your creative world right now?
N: Optimism for us comes from asking, “How can we do more with less? How can we make things work harder for their purpose?”
In product design, this means using less material to do more—being more efficient, using less energy, and giving more meaning to a product’s life. Creating something within these limits is truly satisfying.
E: While many global challenges feel overwhelming right now, working closely with clients and customers brings a lot of optimism. By understanding the details of their lives and seeing how our designs impact them, we focus on what we can control and the small moments of joy that good design creates.
q. are there any exciting projects or directions you’re looking forward to exploring in the coming months?
E: We have several product ideas under testing and exploration at the moment and will be exhibiting the result of this later in the year.
N: On the architecture side, our 3rd and 4th built works are due to be completed by mid-2026 and we’re currently working on the drawings for a cabin project on Northland’s East Coast.
