I like to create spaces that have an inherent warmth and sense of ease. I think the goal is always to create highly livable rooms where people feel relaxed and comfortable. I really like using natural, tactile materials and take inspiration from the environment around me. I like a mix of classic and contemporary furniture so that you can't necessarily date a space.

The Pacific Northwest has a profound influence on our work. There is a quietness and restraint to this part of the world that naturally and unwittingly finds its way into our interiors: the soft light, muted colours, expansive landscapes and the constant grounding presence of water, forest and mountains. There is also an informality to West Coast living that we value. Even in our most refined projects, we want rooms to feel comfortable, approachable and genuinely lived in.

I wanted to create a line of furniture that feels quietly well-designed, functional and timeless. I wanted pieces that can work in lots of different types of spaces, understated classics was the goal. There's a consistent voice throughout the collection. I started with the idea of a frame and used that as the basis to build from. The furniture is defined by its simplicity and thoughtful details, there isn't a lot of extra ornamentation. I wanted it to feel approachable and comfortable, not precious and formal.

With the nightstands, I wanted to design something that could be a go-to when we're sourcing furniture, something functional that still looks great. I wanted something that isn't too high, since a lot of the beds we specify are fairly low, so we worked hard to get the proportions right: the size of the exposed gables, the depth, the height of the drawer in relation to the open space. I really didn't want to use hardware, because hardware can look dated and skew a piece traditional or contemporary, that's why I chose an integrated pull instead.

I really love the bookshelf. Functionally, I think every bookshelf needs some closed storage to tuck away the things you don't want to look at. And then, by dividing the open shelving above into framed sections, each one becomes a little composition of its own, giving space and importance to the objects we collect over time: books, a vase, something found in nature, a lamp, a favourite photograph.

Noah, one of the owners, and I have offices across the street from each other, and we were chatting one day about life, business, furniture, our design worlds, and the conversation just led its way into the idea that I could design a few pieces for Sundays. It just sort of grew from there. I've wanted to design a furniture line for a few years now, and Sundays felt like a great fit. I like how they've built their brand, and their design ethos aligns really well with mine, warm, relaxed, edited and livable. It works in a lot of the spaces we design.

We were very aligned from the beginning on materials. White oak was the starting point for the collection, and finding the right stain for it was something we worked closely together on. We wanted the oak to feel very natural, and to fit into spaces that already have a light oak aesthetic, so we worked closely with Sundays to find the right, light whitewash. It was really important to me that it didn't look too dark, too orange or too pink.

I've never really subscribed to the idea of trendy design. I like spaces that feel as though they can be around for ages, that get better with time. I don't love walking into a space and thinking, “oh, this was 2012.” Furniture should be able to move between eras, and ideally feel like it could fit into any space. It's not about creating a room that never changes, it's about creating a foundation that can evolve. We favour natural materials, thoughtful proportions, classic forms, and layer these with contemporary pieces and objects that tell the story of the people who live there. The result should feel considered but never precious, sophisticated but comfortable, and deeply connected to its place.