What are the opening hours?

Monday 9am - 5:30pm Tuesday 9am - 5:30pm Wednesday 9am - 5:30pm Thursday 9am - 5:30pm Friday 9am - 5:30pm

Chelsea Hing

A home that's unmistakably yours. Integrated residential design from concept to construction. Maker of homes that resist the ordinary.
📍Australia

03/11/2026

The bathroom is often where the day truly begins and ends. It’s one of the few rooms we move through entirely alone, and so we design it as a sequence rather than a single space.

In this home, the path runs from the dressing room through to the bath. Oak joinery gives way to soft textured walls. A skylight and slatted light trace across the travertine as the hours change. The bath sits where the light falls, not where the plumbing was easiest.

Materials were chosen for touch as much as for sight: the texture of hand-applied microcement, the cool weight of stone, and brushed brass that will soften with use. Lighting is woven into the walnut towel ladders, so the evening ritual never needs a harsh overhead switch.

Rituals are rarely grand. They are small acts repeated daily, and a home designed with care can make each one feel considered.

Designing for Daily Ritual — a series on how design shapes the way we live.

28/10/2026

A renovation isn’t always about changing more. Sometimes it’s about knowing what deserves to stay.

Elsternwick House began as a request for a modest kitchen upgrade. But the kitchen sat where two houses met: an Edwardian front and a contemporary rear, each with its own proportions and logic. So we began with the plan, not the finishes.

Rather than force one half to imitate the other, we let each keep its nature and designed the journey between them. The original arch already framed a line from the front door to the curved window at the back, so we made that axis the organising idea. The front rooms stay quiet and enclosed, while the rear holds daily life. The empty corner by the curved window became a place to sit, echoed by a rounded island, and continuous oak now runs from entry to garden.

Finishes are what the camera sees. The plan is what you live in.

Photography: Sean Fennessy

InteriorDesignSydneyp

21/10/2026

I’ve never believed a home should be designed to impress. It should be designed to be felt.

The rooms that stay with me are rarely the most perfect ones. They’re the ones with a point of view. A colour someone was brave enough to choose. A chair that doesn’t quite match, and is better for it. A piece of art that asks something of you every time you walk past.

Trends will tell you what a home should look like this year. I’m far more interested in how it will feel in twenty — a home that holds your history, makes room for who you’re becoming, and offers, on an ordinary day, a quiet sense of hope.

After many years of doing this work, I’ve learned that the most important part of it is often invisible. It’s listening. It’s noticing what a client lights up about before they’ve found the words for it. The design follows from there.

A home that’s unmistakably yours. That’s the whole point.

— Chelsea

15/10/2026

Every room is a record of decisions you’ll never see.

This living room began as a board on a table: a floor plan, a handful of materials, and one question — how do you make a room feel both calm and alive?

The answer was a kind of quiet tension. Polished plaster and sheer linen hold the room still, letting the light move softly through the day. Against them, the warmth: a long, low fire, a wall of smoked timber, and a deep teal leather chair that pulls you towards both.

The green marble does the connecting. It appears in the side table, then again beneath the low tables — never all at once, so the eye travels the room rather than stopping in one place. The curve of the sofa softens the long horizontal line of the fireplace. A single dark artwork holds the far wall, so nothing else has to.

Each of these decisions was made on that table, long before the room existed.

Photography: Rhiannon Taylor

06/10/2026

Orchard House sits in the kind of landscape that could have asked for something quiet. We gave it something considered instead.

The brief was a contemporary facelift — materials that echo the land it sits on, a palette kept deliberately restrained, so that everything layered on top could hold more weight. Avant-garde furniture, art and object, set against that calm, created the tension that makes the home feel alive rather than staged.

In the main bedroom, that same thinking shows up in colour rather than material. The blue wasn’t chosen for how it looks so much as for what it does — this room takes some of the harshest light in the house, and the depth of colour was a way of dialling that intensity back, turning it into a genuine retreat rather than just another room with a view.

To us the design feels contemporary, uncomplicated, but with details and finishes that balance the overall effect — allowing it to sit easily in the landscape.
�
�

02/10/2026

Every room starts on a table like this one.

Long before Orchard House became the calm, considered space it is now, it was a handful of materials laid out side by side — a stone, a timber tone, a fabric — tested against each other until the palette held together on its own.

The brief called for something organic, reflective of the landscape the house sits in. So the palette stayed restrained, almost to the point of monochrome, which meant every material chosen had to earn its place twice: once on the table, and once in the room.

It’s the kind of decision-making that’s slow, and mostly invisible once a project is finished. Orchard House was later shortlisted by the Dulux Colour Awards — proof, if nothing else, that the slow way is usually worth it.

16/09/2026

OUT OF THE STUDIO, INTO THE ART WORLD.

A quick trip to Sydney — taking in Sydney Contemporary, visiting Tom Polo’s studio and spending time Flack Studio’s private collector tour.

We’re endlessly curious about the people, ideas and work shaping the creative world around us. Art has a way of opening up new possibilities — challenging what we expect, introducing unexpected connections and sometimes leading us somewhere we didn’t know we were going.

That curiosity finds its way into our work. A painting, an object, a material, a colour combination can become the beginning of an idea, a shift in direction or the detail that brings a space together.

For us, art is woven into the process of creating a home with character, spirit and a sense of its own story.

A few days in Sydney. Plenty to take home.

Artist: Darren Sylvester
Gallery: Neon Parc

Artist: Rick Carlino Art
Gallery: .M Contemporary | Sydney Art Gallery

Artist: benmazey
Gallery: cgallerycontemporary

Artist: Sid Pattni
Gallery: Michael Reid Sydney

Artist: Sam Cranstoun
Gallery: Sullivan+Strumpf

Artist: Alex Seton
Gallery: Sullivan+Strumpf

Artist: Petrina Hicks
Gallery: Michael Reid Sydney

Artist: Peter Robinson
Gallery: Sutton Gallery

Artist: Lynda Draper
Gallery: Sullivan+Strumpf

Artist: Andrew Sibley
Gallery: Jacob Hoerner

Tom Polo’s studio visit
Gallery: STATION

Flack Studio’s private collector tour

10/09/2026

The best homes were never really about the finishes.

They start earlier than that — with a conversation. About how you move through your days. What a home needs to hold, and for how long. What you want to feel, walking back through the door at the end of one.

Everything else — the palette, the materials, the plan — follows from there.

Swipe through for what we ask before we ever open a mood board.

04/09/2026

There are projects that stay with you long after the final walkthrough.

Yarra Valley House is one of them.

We first worked on this home ten years ago — a family finding its footing beside vineyards, with the mountains beyond. This year, we returned. Not to start again, but to listen to what the house had become: three boys grown taller, a family that had quietly outgrown its own footprint, a need for space that felt private and self-contained.

We stayed within the existing footprint wherever we could. Extended the first floor for a guest suite. Enclosed a garden to double the rumpus room. Turned the master suite toward the view it deserved all along.

The palette came from what was already outside the window — saddle-tan leather, plaster, slate, cedar, sandblasted timber. Louvred robes and meat-safe mesh sit beside graphic tile and a terracotta brick screen. Nothing loud. Everything considered.

Some homes ask to be revisited. This was one of them.

Photography: Sean Fennessy

01/09/2026

THE ART IN THE ROOM

On art curation at Chelsea Hing Studio.

A painting is never the last decision. It's one of the first.

Before a single artwork enters a home, we've already asked what a room is trying to say — what mood should collect in its corners, where the eye should be allowed to rest. The art doesn't fill a wall. It answers a question the architecture asked.

At Quarry Hill House, we built niches before we knew what would live in them — dark, considered pockets, waiting for colour, waiting for something worth holding.

A tangled, citrus-toned canvas brings warmth against timber that could otherwise read as sombre. A round, golden disc interrupts a wall of dark oak like a held breath. Each piece was chosen the way a sentence is chosen — for what it says, and for what it leaves unsaid.

This is what we mean by art curation. Not the finishing touch. The beginning of the feeling.

Address

South Melbourne, VIC
3205

Opening Hours

Monday	9am - 5:30pm
Tuesday	9am - 5:30pm
Wednesday	9am - 5:30pm
Thursday	9am - 5:30pm
Friday	9am - 5:30pm

Website

http://www.chelseahing.com.au/

Alerts

Be the first to know and let us send you an email when Chelsea Hing posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.