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The guest bathroom features bright turquoise Arcilla Field tiles by Ann Sacks and brass fixtures and fittings that will develop a patina over time. A skylight above the shower provides natural light and brightens the room.

Handmade, matte Spanish tiles supplied by the client line the bathroom walls and complement the Brodware tapware for a clean and minimalist look.

The bathtub in the master en suite sits beside the shower, which is separated from the hallway by frosted glass, allowing natural light to enter the space.

The en suite bathroom features a soaking tub and large windows overlooking the marshy waters.

The new custom teak vanity and tub surround were designed by Jocie and fabricated by O’Brien Wood & Iron. At the vanity, Kohler sinks are joined with California faucets and medicine cabinets by Urban Outfitters. The vase is from Summer School.

Quarry Pavers from Seneca Tiles cover the bathroom. All of the fixtures are from Sigma, and they were originally chrome before Grey stripped and refinished them.

In the powder room on the main floor, &Tradition's Verner Panton-designed Flowerpot VP1 pendant pops against crisp, white subway tiles.

A clerestory window lets sunlight into the primary bath without compromising privacy. The water closet and pivoting shower doors are fabricated from frosted glass. Large format porcelain slab walls mitigates the need for distracting grout lines.

The shower.

The multidisciplinary team at State of Kin, a Perth-based design studio, wanted to create a uniquely Australian home, one that incorporated a variety of both multicultural and local sources. The idea of such a mix, says director Ari Salomone, "is quite true to the Australian vernacular." <span style="font-family: Theinhardt, -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">When choosing what shades would go into the home's color palette, the design team drew heavily on the Western Australian landscape. "We looked to the Pindan red dirt of the Northwest, the luminous white beaches, the dusty eucalyptus greens,

The tub sold the downstairs tenants on the unit.

A long, linear window brings light into the Heath Ceramics tile-covered shower, which is curbless, so as to accommodate aging-in-place.

Even from the bathtub there are unobstructed views and connection to the lake right outside the windows.

The bathroom mirrors the same materials, colors, and design principles as the rest of the building.

Renovating the old mill was a family effort, and Blee called on his sister Kate, a textile designer based in London, to lend a helping hand with the tile work. Kate's repertoire also extends to building installations, including a ceramic wall in the City and Islington Center for Lifelong Learning in North London. "She had several boxes left over," Blee recalls, "which meant another opportunity to use something that was lying around." The tiles, with finishes ranging from heavy glazes to matte coats, offered textural variety, which brother and sister used to "play around with the idea of reflection from the roof light."

Bathroom

In the bathroom, the architects mounted a Kohler sink on a sloped, custom-slate countertop. Since the stone doesn’t hold up well in water, the architect switched to black mosaic tile in the shower. The faucets are from Cabano’s Century series.

Ann Sacks and American Olean porcelain tile cover every square inch of the master bathroom. Narrow, unevenly spaced rectangular windows are a calling card of the addition and Ronan’s most assertive move. Here the window is a horizontal clerestory, but others are low and vertical.