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CO N T E N TS

IS S UE 105

12- Editorial NEWS 18202226283234-

Contributors IDEA2018 Wrap-up IDEA2019 Jury Read: 4 Books In Review: Nick Cave Dateline Designwall

INSIDE ADVISER 38-

Zenith

PEOPLE 40444750-

55-

Australian Furniture Profile: Armadillo & Co Practice: Studio Tate At Home: Jeff Copolov, Bates Smart and Kendra Pinkus, Robert Mills Architecture & Interiors Discourse: Reflecting on a PhD

PROJECTS

S/LAB 10 JA house 72- Nina Maya Design Studio Rose Bay house 78- Mim Design e&s showroom, Preston 86- k20 Architecture k20 studio 92- Pascale Gomes-McNabb Design Sydney warehouse 100- Jackson Teece Castle Hill Chapel 64-

INSIDE ADVISERS

PRODUCTS

An inside adviser is a partner organisation that collaborates with inside on content for the magazine. This issue’s thought leader is Bob Stewart, Head of Research and Development at Zenith.

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Insight: Workplace 108- Folio: Show 110- Spotlight: Haymes 112- Spotlight: Stylecraft 114- Last word: Haruki Murakami 104-

INSID E

image—Dapper lounge chair, Doshi Levien for HAY, CULT. See Insight p.104

ED I TO R I A L

Welcome to the first issue of inside for 2019. We ended last year on a high with the amazing gala party for IDEA 2018 (p20) and what a night! Many thanks to our fabulous sponsors, who made it all possible, and to the more than 600 designers and architects who attended. We hope you enjoyed it as much as we did! This year the event will be held in Melbourne and we look forward to another incredible evening; however, there is much happening in Australia before the culmination of IDEA 2019 in November.

We review the astounding installation Until by Nick Cave at Carriageworks (p28) and have scoured the country to bring you the best in Australian furniture (p40). Profiles in this issue include Armadillo & Co (p44) where we discover the practice behind the making of beautiful rugs and Studio Tate (p47), a young design studio making its mark on the industry. While At Home (p50) features a sensational beachside residence where Jeff Copolov and Kendra Pinkus can relax.

In Discourse this issue (p55) we investigate the latest offering from RMIT, a reflective industry practice PhD in interior design, and discuss the effect this will have on the participating practitioners and the interior design industry at large. We also include a new feature entitled Last Word (p114), beginning the series with the words of brilliant writer Haruki Murakami.

Our projects are an eclectic group, which range from intimate to luxurious residential projects, workplace space, a large retail extravaganza and a divine chapel in suburban Sydney. Nina Maya’s Rose Bay house (p72) speaks of the role of rooms within homes, while Sydney warehouse

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by Pascale Gomes-McNabb (p92) presents an inner city oasis nestled comfortably within the urban environment. S/LAB 10 has created a residence in Malaysia (p64) that is all luxury and comfort, k20 Architecture’s new Melbourne office (p86) incorporates the idea of the campfire in its design, while the Jackson Teece design for the Castle Hill chapel (p100) is as much about community as it is a place in which to contemplate and feel at peace.

Finally, Mim Design has completed a vast project for e&s in the inner northern Melbourne suburb of Preston (p78) that heralds a new era for the business and retailing.

In all it’s exciting reading to begin the year and here’s to a great 2019.

Jan and Gillian

PUBLISHER

DESIGN

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+61 416 025 195 Sub-Editor Madeleine Swain Correspondents Queensland Michelle Bailey Asia-Pacific Sarah Hetherington North America David Sokol Europe Joy Weideman

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NICHE MEDIA PRIVACY POLICY This issue of inside Interior Design Review may contain offers, competitions, surveys, subscription of fers and premiums that, if you choose to participate, require you to provide information about yourself. if you provide information about yourself to Niche Media, Niche Media will use the information to provide you with the products or services you have requested (such as subscriptions).

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IDEA 19 TERMS AND CONDITIONS 1. Niche Media and its partners will not be held responsible for any loss, damage or non-receipt of entries however so caused. 2. Entries will not be returned. 3. Each category has specific criteria for entry with which you must comply.

Items deemed by the shortlisting judges not to meet these criteria will be deemed invalid. 4.

Submissions in all categories must be projects completed between January 2018 and June 2019.

5. All entries must be completed works at the point of entry. They must not be items created specifically for the awards, speculative works, client pitches, mock-ups or other works not taken to final execution for whatever reason. 6. By

signing the entry form all entrants warrant that they have permission from all parties including clients, copyright holders and collaborators allowing inside and its par tners to publish their work in the shortlist categories, the inside IDEA 2019 Special Edition and any associated promotional material, posters etc. including the IDEA 2019 website, without limitation. 7.

By signing the entry form you indemnify Niche Media, inside IDEA 2019, its employees and ag e nt s a nd s up p or ting p a r tne r s from a ny liability for wrongful use or misrepresentation of the works submitted. You assert that you are the author of the work and own the intellectual and moral rights to the work under the Copyright Act. Wrongful assertion of such rights will render the entry invalid and the entrant accepts all liability for any claim for damages or loss resulting from such wrongful assertion. 8. By signing the entry you assert the truthfulness of this information and assign copyright in this text to Niche Media, further authorising the editing and publication of this synopsis by inside and its partners in the shortlist categories, the inside IDEA 2019 Special Edition and any associated promotional material, posters etc. including the inside IDEA 2019 website, without limitation. 9. All entrants must provide details of the commissioning client

and obtain their permission to enter the project into the awards. 10. In the event that an entry is subsequently found to breach any of the terms and conditions of entry it will be ruled invalid and withdrawn from consideration for an award. 11. In the event that an award winner is subsequently found to breach the terms and conditions of entry their work may be ruled invalid and the award deemed null and void. The entrant will be liable for any costs incurred and must return the prize(s) received. 12. Judges reserve the right at all times to determine whether an entry qualifies as an acceptable work within the category for which it is submitted. Works the judges deem not acceptable will be ruled invalid. 13. Terms and conditions may be amended, deleted or added from time to time at our discretion and we will publish the revised terms and conditions on the website. By checking the box on the entry form you agree to the full terms and conditions so read them carefully. 14. All judges’ decisions are final and no correspondence will be entered into relating to the judging process or the outcome.

15. Privacy Information. inside , Niche & IDEA 2019 maintain a database of registered details.

We may send you promotional material or pass your information to other companies that support inside IDEA 2019.

MELBOURNE / SYDNEY 1300 785 199 INFO@INTERSTUDIO.COM.AU INTERSTUDIO.COM.AU

Contributors 1

1–Murray

Fredericks

Murray Fredericks is an artist and photographer who works with the urban and natural environments. Whether commissioned as an architectural photographer or working on his own landscape projects, Fredericks’ interest lies in the way space, and its representation, affects the human experience. Represented by Robert Mann Gallery New York, Hamiltons Gallery London and Arc One Melbourne, his work is held in major public and private collections worldwide. Commercially, he works for leading architects and clients in associated industries.

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2–Peter Clarke

Peter Clarke is a photographer with over 20 years’ experience in his field.

His collaborative approach and strong vision have seen his unique graphic style applied to a wide range of industries, including architecture, construction, mining and aviation.

3–Dianna

3

With a passion for the built environment, Dianna Snape has been documenting Melbourne’s urban landscape for over 16 years through her exemplary photographic practice. She works closely with architects, interior designers, landscape architects and property developers to establish a visual dialogue that records and promotes their buildings, interiors and vision.

4–Sarah

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Snape

Hetherington

Sarah Hetherington moonlights as an arts writer based in Sydney. She has contributed to a range of arts magazines including Vault, Art World, The Art Market Report, Eyeline and Artlink, as well as museum publications including Heide Museum of Modern Art’s Cubism and Australian Art. Having previously held roles as a curator and then commercial art gallery manager, she now works in private philanthropy for the Biennale of Sydney.

She is also a member of the International Association of Art Critics (AICA).

I NS IDE

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Photograph by Andrew Worssam

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IDEA 2018 wrap-up

On Friday 23 November last year the IDEA 2018 gala party was held at the beautiful Centennial Homestead in Sydney’s Centennial Park. The 16th iteration of IDEA was an outstanding success with more than 600 of Australia’s foremost designers and architects in attendance.

On arrival, drinks and canapés were provided to the assembled crowd who mingled on the terrace outside the main venue while enjoying the mellow music of Tom’s Jazz Fest.

Soon it was time for the proceedings to begin and managing director of Niche, Paul Lidgerwood, welcomed the guests to the seated area under the large marquee and then introduced the host for the evening, Peter Colquhoun.

The event was fast-paced with 14 categories and five special awards to announce. The 2018 awards

NEWS

was the largest in the history of IDEA and as the sponsors took to the stage to announce the category winners it was evident that each of the practices and projects was a worthy and fitting recipient of the Axolotl designed trophies.

The Gold medal winners, Peter and Sandy Geyer, received a standing ovation and their acceptance speech was a glorious reminder that from humble beginnings Australian design is now at the forefront of the world.

Designer of the Year for 2018, DesignOffice, was a crowd favourite as was design studio Luchetti Krelle, whose project Longrain Tokyo was recognised as the Overall winner for the awards this year.

After an hour, the awards ceremony component of the evening was over and then the partying began. Delicious seafood, meats and salads, paella

and hot dishes and desserts were in abundance and fine wines from Rob Dolan Wines were served. To complement the occasion pop-up installations from Balvenie and Archie Rose supplied special whisky and gin cocktails to the guests and music from DJ Mickey Kojac had the crowd dancing the night away.

Again IDEA was recognised as the pre-eminent awards program in Australia today and the major supporter of the outstanding talent within our design and architecture communities.

We thank our sponsors for their most valuable contributions to IDEA and applaud their support of our awards, which is central to the ongoing success of the Australian design and architecture industry.

This year IDEA 2019 will be held in Melbourne and we look forward to seeing everyone at the gala party to celebrate the winners and their projects.

opposite—The assembled crowd at the gala event top—Gold medal winners Peter and Sandy Geyer with Gareth Krost. above left—The guests mingle pre-awards. above right— Delicous food was served throughout the evening

I N S I DE

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It is with pleasure that we present the jury for IDEA 2019.

Each juror brings their own particular expertise, experience and knowledge to the group and together they are a formidable force.

We thank our jury for agreeing to participate and look forward to meeting in Sydney later in the year when the winners of IDEA 2019 will be decided.

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01- Jeff Copolov

Director, Bates Smart Jeff brings his classically modern, timeless approach to design, with a reputation for producing highly refined, carefully targeted design solutions. He regularly works with architectural colleagues from the outset and oversees the entire design process to craft buildings from the inside out. Jeff is known for his closeknit relationships with clients and his commitment to a highly collaborative and holistic design approach that he applies consistently to create benchmark projects. Jeff has been awarded a number of prestigious accolades throughout his career and received the IDEA Gold Medal in 2013.

02- Dan Cox

Director, Carr Dan leads the design team at Carr, driving growth across its workplace and hospitality sectors. He has forged an enviable reputation for creating clever, considered and, sometimes, provocative spaces, which reflect identity and achieve success. Dan’s creative vision and strategic thinking has resulted in relationships with the Boston Consulting Group, Norton Rose Fulbright and Hilton Worldwide. Most recently Dan led the interiors for the highly awarded Jackalope Hotel situated on Victoria’s Mornington Peninsula.

03- Tina Engelen,

Joint-principal, CO-AP Tina studied interior design at Sydney College of the Arts before becoming features editor at Interior Design & Architecture. She interned with Arclinea and Burley Katon Halliday

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and formed Daffodil with Danny Venlet and Marc Newson. In 1995 Tina co-founded Engelen Moore where she realised projects including the Price O’Reilly house and worked with many property development companies receiving accolades and awards for her work. In 2007, Tina joined CO-AP and continues to produce exceptional projects across multiple design sectors.

04- Byron George

Director, Russell & George Russell & George is an awardwinning and experimental design and architecture practice with completed projects on four continents.

The practice aims to challenge conventional notions of what design is and how it can make an impact on or celebrate the culture of a society. Byron is an architect and his experience spans from small object design to large-scale architecture. He approaches every client and project with a mix of curiosity, energy and a fundamental belief that good design can change a person’s day for the better. Image Sean Fennessy.

05- Yasmine Ghoniem

Director of Interior Architecture + Design, Amber Road Raised across four continents, Yasmine creates interiors that are birthed from her vast childhood memories abroad, hailing inspiration from Kuwait to Sydney, Savannah to Saudi Arabia.

Her goals always remain the same: to reconnect people with the spaces they inhabit through highly considered layering illustrated through a strong sense of storytelling. Amber Road was established in 2013 and has delivered a range of award-winning interiors

IDEA 2019 Jury

projects across multiple sectors with customisation at the core of every brief. Yasmine is also a sessional design tutor for Interior Architecture at the University of NSW. 06- Nicholas Karlovasitis

Co-founder and designer, DesignByThem Nick Karlovasitis is an industrial designer designing furniture, lighting and accessories, as well as collaborating with designers for the curated DesignByThem collection.

Nick strongly believes in education, collaboration and sustainability, and is a frequent speaker at universities and design events around Australia.

His passion for good design has led him to create a design focused platform where Australian designers can showcase their work in Australia and abroad.

07- Jeremy McLeod

Co-founder and director, Breathe Architecture Jeremy is the founding director of Breathe Architecture, a team of architects that has built a reputation for delivering high-quality design and sustainable architecture for all scale projects. The practice focuses on sustainable urbanisation and has been investigating how to deliver more affordable urban housing to Melburnians and collaborating with other Melbourne architects to deliver the Nightingale Model, an open source housing model led by architects.

Jeremy believes that architects, through collaboration, can drive real positive change in the city he calls home.

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BOO KS

Read

Studio Joy Works: Rick Joy

Australian Dreamscapes

Nothing is ever compromised in a Rick Joy design; everything, absolutely everything is perfect. Although he is known for his rammed earth houses predominantly in Arizona, this collection includes work more broadly spread and realised. Characterised by a unique grasp on scale, view and the human experience, the shifts in material and utility simply serve to show Joy as a true master of form.

Where the amount of view Joy brings into a home would overwhelm most interiors, the Joy scale is exceptional and, in being so, it allows vast vistas to be balanced by a low pair of chairs, a stone banquette running the room’s parameter or enormous timber clad apertures. Position in the landscape is of particular importance with Sun Valley house, for example, enjoying the way a hillock of fluffy grasses makes one room sing, while mountains and an autumnal forest provide the hero views of the main pavilion.

Claire Takacs identifies an emerging garden genre uniquely suited to Australia. Not cottage, architectural, Japanese or native, the dreamscape is a combined garden that has elements of all. Tulips are lovely, but for a bulb garden to sing there needs to be at least four layers to give interest all year around. Translate this theory to large sweeping gardens of bulbs, perennials, shrubs, trees, topiary and grasses that constantly shift and change through the seasons and the contemporary garden takes form.

At Frogmore cubes of hedge create a formal rhythm between masses of spilling flowers, divine! At Hillandale large swathes of flowers are carefully curated for effortless perfection in one of the world’s best perennial borders.

The dry garden at Lambley is fabulously varied while clipped conifers at Niwajiri rise like pods from a sea of foliage. The Greek Mullein at Highfields returns this neglected perennial to centre stage.

Publisher—Princeton Architectural Press Distributor—Books@Manic RRP—$75

Author—Claire Takacs Photography—Claire Takacs Publisher—Hardie Grant Books Distributor—Hardie Grant Books RRP—$70

Homes For Our Time: Contemporary Houses around the World

Isay Weinfeld: An Architect from Brazil

Showcasing a great diversity of homes, the collection is very much a snapshot of the contemporary architecture and interior design of today. Philip Jodidio is, as always, consummate in his selection and analysis of the projects both individually and as a collective with enough scope to include a postmodern steel tube house along with a restored stone cottage. In keeping with Australian trends there is a propensity of natural materials, with stone, timber and concrete sharing the stage equally as primary materials.

Nature is increasingly dominant in all but a few of the projects with internal courtyards and hero trees more prolific than the green walls of a few years ago. Furniture continues to be a good mix with textures varying from giant knit to velvet and leather. Glass technology has made a significant leap and architects are exploiting the new insulation properties with picture windows for sun and snow.

While tangential elements of light, nature, contrasting materials and the way a building breath serve as commonalities, there is never a repeated move in Weinfeld’s oeuvre.

His buildings are extraordinary.

Every interior is designed for living comfortably, aesthetically and with an assumption that tastes and nature will change. The interiors are never static and have not been designed to be so. Instead, Weinfeld works with his clients’ tastes to create contrasts, balance and the energy of the individual. The equestrian centre clubhouse at Fazenda Boa Vista (a collection of residential and hospitality architecture noted as a theme park for leisure seekers) pairs the low slung white pavilion style of mid-century architecture with natural curves to accommodate the mature trees on the site. Blueprints and site maps accompany the major projects in this exceptional tribute to a great architect.

Author—Philip Jodidio Publisher—Taschen Distributor—Books@Manic RRP—$125

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Text—Shonquis Moreno Publisher—Gestalten Distributor—Books@Manic RRP—$115

IN REVIEW

above—Nick Cave, Crystal Cloudscape. opposite—Nick Cave Carriageworks.

Images James Prinz

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— Until Carriageworks Sydney 23 November 2018 – 3 March 2019

There is a fearlessness to Cave’s work that allows the audience a certain liberation, an ability or invitation to gaze on what we perceive as other.

The Soundsuits, for example, hiding gender, politics, colour or any of a number or other excluding or defining parameters, are beautifully compelling in movement, energy and engagement. That the works were initially a response to the beating of African American Rodney King in 1991 by the Los Angeles police, and the 1992 riots that followed when the police were acquitted, is only understood with research. And it is here that Cave is at his best, providing those in the audience with a means to pose their own questions and realise their own answers.

Until, a play on the expression, ‘innocent until proven guilty’ and its flip ‘guilty until proven innocent,’ asks Cave’s own question, ‘is there racism in heaven?’ The immersive installation Crystal Cloudscape, forming the heart of the exhibition, then, is both gobsmackingly beautiful and painfully fuelled. Here, the 12-metre cloud formed from thousands of crystal beads and found objects contains 17 cast iron ‘Jocko’ lawn jockeys. Dating from the Jim Crow era of segregation in much of the US (1877-1965), the figures are abhorred by many African Americans as the depiction of servitude and oppression. A push to see the figures as a positive through having been used surreptitiously to show the way to freedom or safe houses tends to forget that the need existed. In Cave’s work the figures hold dreamcatchers made from vintage tennis rackets as a hint that these figures graced the lawns of the white upper middle classes where segregation continued long after 1965, and in many cases continues as an inherent racism today.

Cave’s work, however, is far less blunt than these statements. Rather, he invites the audience to climb a ladder into the installation where they are immersed in the spectacle of the giant tightlypacked chandelier of glittering crystal, tiny bead flowers, birds, butterflies and the entire contents of a great many wunderkammern. It is indeed terribly terribly beautiful.

Nick Cave —Until I N S I DE

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William.

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DAT E L I N E

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March–June 2019 1. White Rabbit, Hot Blood. Peng Yun, Miss Melissa and Mr Fish, Video Still.

2. 2018 Melbourne International Flower and Garden Show 3. Salone del Mobile 2018

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2- 2019 Melbourne International

1- Hot Blood White Rabbit, Sydney 15 March – 4 August

Flower and Garden Show

Continuing to surprise and delight with the no-holds-barred approach to curation, the White Rabbit Gallery is once again host to art of an extraordinary nature. Where past shows have pondered body politics, suppression, repression and diabolical torment, this latest exhibition, Hot Blood, effectively casts these themes within the contemporary parlance of a post-internet generation. Very much of the moment, the irreverent and downright subversive work shuttles from sexual desire to spiritual ecstasy and our need for human connection. The video work of Peng Yun, for example, explores the artist’s experience of the world as a woman and the earthly pleasures of the flesh.

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Royal Exhibition Building and Carlton Gardens, Melbourne 27 – 31 March 2019 A gardenista and biophiliac’s paradise of flowers, plants and the accoutrement of inviting all things green into the home and garden, the MIFG is the largest of its kind in the southern hemisphere. Landscape design plays a major role with a solid line-up from Australia and New Zealand to include TRACT and Musa Landscapes. Floral displays are abundant with Melbourne’s florists putting their best foot forward in the Great Hall of Flowers. Additionally, Naohiro of the Tokyo Ichiyo Ikebana Floristry School will be creating a spectacular installation. And while these components are largely inspirational, the retail section delivers sound advice and access to much coveted plants.

3- Salone del Mobile Milano Milan, Italy 9 – 14 April The Grande Dame of fairs and loved by all, there is very little to be added to what we already know about the Salone. That said, it is interesting to look over the figures from last year. Attendance was up with 435,065 attendees from 188 countries including 2915 trade operators from Oceania, with the lion’s share of 2440 from Australia. China was the highest number of visitors with 34,286 attendees. There were also 5054 journalists (1999 from Italy, 3055 from elsewhere) plus 492 photojournalists.

This year’s biennial program presents Euroluce, with an estimated 480 of the world’s best lighting specialists exhibiting their wares.

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4- 100 years of Bauhaus: Two

5- Big Gold Monochrome:

Cologne-born Artists at the Bauhaus

David Serisier

Tokyo 2019

Makk, Kunst und Design, Cologne, Germany 12 April – 11 August

22 March – 10 April Liverpool Street Gallery, Sydney

26-28 June Tokyo Big Sight, Japan

Continuing his exploration of colour, Serisier’s latest exhibition is very much about painting. Using a palette of golds, silvers, black and pink, the metal rich paints deliver an effect that is both concrete and ephemeral, object and void. The large format remains at heart of any Serisier exhibition, as the title attests, with fields of colour broken as the layers of paint are built to create a shifting surface of light and texture. Returning to his earlier heavily textured approach, a series of smaller works rich with thick layers of dense colour are invested with inscripted staccato gestural marks.

There is never any need for an excuse to visit Tokyo, but Design Tokyo and Interior Tokyo 2019 are really a very good reason. Part of the much larger Lifestyle Expo, these two events are distinguished by Design Tokyo being curated and Interior Tokyo being strictly business to business. The first is well-curated, with 2019 having all offerings screened by a panel of five that includes Paul Galloway of MoMA (Museum of Modern Art), Dr Kazuo Kawasaki, Fumio Takashima, Yasumichi Morita and Tomomi Nagayama (Elle Deco stylist).

The second delivers a good mix of Japanese and international furniture, lighting and so forth, with this year’s special exhibit zone dedicated to stylish home appliances.

Celebrating 100 years of the Bauhaus the sheer number of events throughout 2019 is extraordinary and devotees should check the very good lineup offered at veranstaltungen. bauhaus100.de/en/widget/calendar.

The joy of such a vast offering is the attention given to artists who perhaps have missed the limelight of the movement’s superstars. The Makk, for example, has chosen to exhibit the work of two female artists of Cologne: Margarete HeymannLoebenstein, a ceramicist; and her cousin, the stage designer Marianne Heymann. Each worked in the Bauhaus style with influences, with HeymannLoebenstein’s disc handled ceramics an instantly recognisable geometric tribute to the school.

6- Design Tokyo and Interior

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4. Margarete Heymann-Loebenstein, mocha service, designed before 1926, Haël-Werkstätten, Marwitz, around 1930, © Estate of Margarete Marks. All rights reserved/VG Bild-Kunst, Bonn 2019.

Photo, Jan Rothstein.

5. Gold Painting 1, 2003-18, oil and wax on linen, 31 x 25.5 cm. Image Silversalt Photography.

6. Apato, Korento

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D ES IG N WA L L

The BLOW Tecture

Located on Little Collins Street in Melbourne’s CBD, The BLOW is a boutique hairdressing salon, designed to capture attention. The design is the physical embodiment of The BLOW brand and personality, encapsulating a fresh, fast, feminine, bold and modern interior. Colour blocked in pink and white, the salon is punctuated by accents of red and there are moments of humour combined with screening elements to define the compact floor plan.

When The BLOW’s founder, Phoebe Simmonds, commissioned Tecture, it was clear that the brand’s first boutique needed to make a statement with a clear visual and spatial identity. The floor space of only 50 square metres required clever planning and it was crucial to allow for ease of flow through the interior while maximising the number of workstations. Colour blocking gives the boutique the illusion of greater space and defines the floor plan into three distinct zones – reception, workstations and wash stations.

Upon entry, the signature colour of Ammo pink envelops the visitor. There are pink concrete floors, pink textured walls, a pink ceiling and a monolithic pink marble reception desk, while the rear of the premises is swathed in flowing pink velvet to bring drama to the wash station area.

Through the heart of the space individual mirrors accented in frames of the colour Power red help to focus the attention on the client and there are key neon slogans on the walls such as ‘get it girl’ and ‘femme and fierce’ adding a touch of personality and humour.

Vertical slatted screens and a feature mosaic wall with a Power red neon that reads ‘good hustle’ further zones the space, but also allow glimpses through to the magic of the ‘mane event’ while creating privacy for clients.

Working within a tight budget and narrow fitout timeline, Tecture focused the design intent on key touch points and high-value items – for example, the pink marble reception desk – with more economic material choices elsewhere.

Where cost-effective materials were used, the focus turned to unexpected details to elevate these elements, such as the two-tone, two-pac workstation ledges and the curved corners to the white mosaic dividing wall. tecture.com.au photography—Damien Kook

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Optique Barangaroo Smart Design Studio (SDS)

Smart Design Studio (SDS) has designed a fresh new space for Optique, an optometrist and eyewear retailer. Located within the dynamic Barangaroo precinct, this was the third store commissioned by owner Susan Green.

Light continues to be the central idea, building on the already established visual identity.

Colourful mirrored boxes bounced light around the two earlier spaces, whereas here, light emanates from the Barrisol ceiling.

A pair of illuminated coloured sails hover above the crisp white shell and the effect is captivating, conceptually referencing what eyewear does – tint, alter or enhance the image.

The ceiling adds warmth and drama to the otherwise white space and washes the customer in soft complementary light. By night, the LED lights can be adjusted to a more dramatic combination to attract passers-by.

With glazing on two sides of a sharp corner site, the shell determined the look and layout of the space. SDS devised the sculptural light box as an elegant and arresting way to maximise the strangely shaped ceiling, a byproduct of the building’s structure. While the display needed to be optimised, it was limited to the two solid walls that also conceal essential back of house spaces.

Positioned in front of a long window, the custom designed Corian counter looks beautiful from all sides. It presents as a sculptural element that relates to the ceiling above.

In addition to the grand gesture overhead, the interior features highly resolved detailing.

Clean white panelling allows the optical frames and sunglasses to take centre stage.

These upholstered display panels encourage interaction with the product and double as joinery doors housing additional stock and cases. This means that the sales area is also the stockroom, creating a retail space where the limited footprint is incredibly practical and efficient, and the customer is not left unattended. Luxurious materials were chosen to suit but not detract from the high-end eyewear lining two of the shop’s walls and the mainly matte finishes leave the reflective glasses to shine. smartdesignstudio.com photography—Ross Honeysett

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D ES IG N WA L L

400 Gradi Dean Dyson Architects

400 Gradi is a modern Italian restaurant and bar, situated on a leafy parade in Norwood, a suburb of Adelaide, South Australia.

At the very heart of the 400 Gradi design concept for Dean Dyson Architects was the creation and exploration of spatial drama and illusions, inspired by the idea of theatrical experience.

A large sculptural void has been carved out of a monolithic concrete façade to form a narrowing entry approach. The curved vaulted ceiling begins high and tapers down towards the Gradi door.

This is a purpose-designed experience that builds the sense of suspense and surprise to create a portal-like journey into another world.

A carefully and spatially broken down interior provides a series of dynamic and unique sensory dining experiences within the restaurant.

Each space is created with absolute purpose – designed to provide a relaxed, intimate, formal or playful dining experience. At the heart of the restaurant is, of course, the food with a stunning brass salumi cabinet as the centrepiece and visual focal point to display fresh produce upon arrival.

The theatrical nature and activity of the bar and salumi station are designed to encourage visual interaction with the theatre of food from all areas of the restaurant. A blanket-like ceiling drapes across the central dining space providing a spatially intimate and formal feel.

The use of mirror expands the visual length and depth of the space, creating visual illusion and intrigue within the restaurant. Brass detailing and stunning terrazzo surfaces create an elegant yet playfully dynamic interior that’s paired with a natural concrete wall finish to add an industrious feel. Sculptural handmade glass light fittings waterfall over fixed booth seating from the high ceiling above to form a weightless experience.

The restaurant brings together both a design and dining experience that transcends from the exterior to the interior. deandysonarchitects.com.au photography—Dianna Snape

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inside adviser

How IoT is shaping the office of the future The Internet of Things (IoT) is set to radically change office life. With cloudconnected furniture beginning to penetrate the workplace, architects and designers are now starting to recognise the possibilities of a workplace where everything from a desk to a chair can gather data and intelligence that improves our working lives.

It goes without saying that offices have rapidly evolved over the last few decades. With developments in technology moving at a faster rate than ever before, the power of a collaborative, smart environment – where many aspects of an office space are data-enabled and driven – can help businesses to drive efficiency, cut costs and boost employee effectiveness and productivity.

What is the Internet of Things?

Simply put, IoT is the connectivity of any smart device to another smart device when connected to the internet. In an office setting, this includes everything from mobile phones to desks, thermostats, white boards, meeting rooms, lounges, photocopiers and almost anything else you can think of.

The data collected from these devices can be used in myriad ways and empower employees to have greater control over their workspace. For example, IoT can detect whether employees are more productive and engaged when working in teams or individually and can track space utilisation at desk level, as well as occupancy and utilisation of meeting rooms and collaborative spaces.

In short, it can help businesses glean information like never before.

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What an IoT-powered office looks like According to one workplace study, 70 percent of employees waste 15 minutes per day trying to find a work area. With more and more companies utilising hot-desking, that’s a lot of minutes wasted annually as a nation.

But imagine if you could walk into an office, power up an app on your phone and easily find not only an available workstation from which to work, but also gain advice on the most appropriate building to work from based on your work task, personal access to colleagues, need for meeting rooms and integrated technologies.

Well, that’s just one of the functionalities that Zenith is working on to improve today’s workplace.

All our electric workstations nurture personal wellbeing via our Bluetooth enabled technology. This offering will be further extended in the near future with the addition of features such as wayfinding across the office ground plane to encourage a more empowered workforce. Smart desk booking is another area we are exploring. Many people want to work with colleagues in their team, but in a hot-desking environment that can often be a challenge.

Bob Stewart — Head of research and development at Zenith

To solve this, Zenith is working on the ability to book a cluster of desks so that you and your colleagues can work together for a day, a week or longer depending on your needs.

The benefits of IoT While we are just seeing the start of the benefits IoT can bring to the workplace, it is already allowing workers more mobility and freedom. For example, you can control our electric workstations via a mobile phone, laptop or tablet via an app in order to move the worksurface up or down.

They also prompt you to stand if youâ&#x20AC;&#x2122;ve been sitting down for too long and give you feedback at the end of the day and week on how active you have been, allowing you to adjust your habits accordingly.

Architects and interior designers are increasingly requesting IoT technology to help better design working environments, know employee preferences, behaviours and other useful statistics. Itâ&#x20AC;&#x2122;s an area where Zenith is making investments in research and development with market-leading innovations to come.

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AU ST R A L I A N F U R NI TU RE

The turn of the century has very much seen Australian furniture come into its own. Where once the options for high-end interior design were European/Scandinavian contemporary or European/Scandinavian iconic with a smattering of Australian vintage (Parker or Featherstone), the current movement is underpinned by a style that suits our lifestyle and has an honest understanding of our climatic conditions. Interior designers, design houses, design media and the furniture designers and makers have all played a role in this paradigm shift that positions Australian furniture on the global stage.

The influencers â&#x20AC;&#x201D; Part one of a four-part inside series

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textâ&#x20AC;&#x201D;Gillian Serisier

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While the underlying change has been concurrently driven by a great and complex range of influencers, it is the Australian interior designers that have increasingly demanded better and more appropriate furniture. Effectively, furnishing solutions are required to meet the clients’ needs, and herein lies the rub.

Australians have increasingly come to understand that we have a unique lifestyle with unique needs that cannot be pigeonholed. Current interior design thinking has shifted us well beyond these limitations, with the client brief now all about a process of discovery driven by the reality (as opposed to the fantasy) of how the client actually lives. As such, the whole of an interior is considered – from storage to lounging to formal and family needs. Where this has played a role in our furniture revolution comes down to our inherent need for flexibility. A dining suite, for example, is going to have to cope with a family’s onthe-fly barbecue lunch being driven inside by a squall,

as well as formal dinners and everything in between.

Structurally, it will need the lightness of form we have come to appreciate, while, similarly, a lounge needs to be warm and cosy in winter, light in summer and of a sculptural aesthetic commensurate to the whole.

Within this changing psyche, the Australian aesthetic has become a sophisticated stand-alone style that, while drawing on a world of influences, has developed its own particular flavour. To some extent it is eclectic, with elements from Asia, the UK, the Americas, Europe and Scandinavia brought together, as opposed to the once singular cultural reference. So too has our delivery of luxury, which until the early 2000s was characterised by a sort of state room aesthetic of pale gold brocaded lounges, cream carpet and solid antiquity. What we are now seeing is beautifully worked colour and texture within a pairing of the physically light, with moments of gravitas, and has far more to do with

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above—Brodie Neill, Cowrie chair 2013. opposite—Marc Newson, Newson Aluminium chair for Knoll 2018

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“I’d like, for instance, to see Australian designers embrace more of an Antipodean idiosyncrasy – whatever that might prove to be.”

DAV ID CL ARK

how we actually live than how many large objects we can stuff into a room.

The showrooms have had an immeasurable impact on the evolution of Australian furniture.

Providing the context of the world stage, each has, while providing designers with access and range, shaped how they think and then, as they have developed, favourably showcased their work.

Cult, Spence & Lyda, Living Edge, Stylecraft, Krost, Design Nation (formerly Café Culture + Insitu), King Living and Zenith have led the movement with the introduction of Australian furniture into the context of very fine international product lines.

Cult, for example, has the calibre of Fritz Hansen, Cappellini, Poltrona Frau and Serge Mouille behind its name, yet it is with absolute confidence that pieces from Coco Flip, Adam Cornish and Adam Goodrum are displayed alongside these premier brands.

Importantly, these Australian designers are holding their own, with no sense of being the little brother or sister brand. “I have been increasingly impressed by the quality and character of Australian furniture and lighting design,” says Richard Munao, Cult’s founder and director. “The designers are creating work that speaks to a real appreciation of quality design, and with influences that are unique from the rest of the world, have a resourceful, hands-on and open-minded approach to working. The outcome of this are pieces that are uniquely Australian.” At Spence & Lyda, similarly lauded for its exceptional international brands such as Pinch, Studioilse, Artifort, Eilersen and Missoni, the inclusion of Jon Goulder, the

JamFactory and its own Spence & Lyda brand feels like a natural expansion with each commensurate in quality of design, execution and material. “It was important to us that we showcase Australian design as well as international. The problem, until quite recently, had been sourcing said design. That is why we turned to our own designs and the collaboration with Jon Goulder,” says Fiona Lyda of Spence & Lyda. For Lyda, the Australian design sensibility has matured to become a unique proposition with unique requirements. “The great possibility is, of course, that design generated in Australia is of ourselves, it echoes our values both aesthetically and in response to our lifestyle,” she adds. “No longer do we need to be beholden to the visual cues and colours of a continent with a light and lifestyle that is not our own.”

The architectural and design media has also played a significant role, with publications such as Vogue Living, inside, Belle, Artichoke, Monument (1997-2002) and Habitus contributing to a better understanding of what makes an interior exceptional. Granted, different editors have been more successful than others. David Clark, while editor of Vogue Living from 2003 to 2012, unabashedly championed Australian furniture design and has continued to do so with monographs, exhibitions and advocacy. “A substantial culture makes its own things. It’s important for our sense of ourselves. I think consumers want that too. So it’s very gratifying to see this swelling of Australian design happening in retail showrooms and with design suppliers. It supports the entire tapestry of the design industry here, which

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no doubt has plenty of room to develop still. I’d like, for instance, to see Australian designers embrace more of an Antipodean idiosyncrasy – whatever that might prove to be. And, there is an ingenuity and inventiveness in Australian identity, which could achieve much in the current conversation about design as a problem solver of critical socio-economic and political issues,” says Clark.

The designers themselves are at the heart of the evolution and, to some extent, it is the ones who have made a name for themselves on the world stage that have given a general confidence to the whole. Marc Newson is the most obvious of the superstars, yet, there are many more with significant international clout. Alexander Lotersztain, for example, is an exemplar designer, whose work has been included in museum collections, fabulous interiors and every magazine in the world. Pairing rigorous design with a charming insouciance, his design acumen and aesthetic is very much of the international zeitgeist.

Brodie Neill, now based in London, is similarly gaining accolades with celebrated collaborations, custom work and ranges. In 2016, Neill represented Australia at the inaugural London Design Biennale. inside has similarly been at the forefront, with Australian design and designers critically reviewed and appraised as second to none. Indeed, the list of Australian furniture designers currently making exceptional work is extensive. Moreover, the work is beautiful, varied and of exceptional quality. Over the next three issues inside will take a closer look at their work and the evolution that is taking place.

opposite—Jon Goulder, Innate lounge chair night, Spence & Lyda 2018. Image Andres Ripamonti. above left—Alexander Lotersztain, QTZ in 100 percent recycled plastic. Image Florian Groehn. above right— Alexander Lotersztain with Alexander Lotersztain QTZ limited metal. Image Florian Groehn

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PRO FI L E

Armadillo & Co from floor to foundation textâ&#x20AC;&#x201D;Gillian Serisier Sally Pottharst, from Zimbabwe, studied as an accountant before immigrating to Australia where she became a charted accountant and enjoyed a career with KPMG before shifting focus to her familyâ&#x20AC;&#x2122;s floor covering company based in Adelaide.

Conversely, Jodie Fried studied costume design with NIDA (National Institute of Dramatic Arts) followed by a career in costuming and production in the film industry. In 2001 she was filming in India when earthquakes hit and made the decision to stay and help rebuild villages. She is recognised by Time magazine as being among the top 100 most influential green designers.

Having stopped work to start her family in 1999, when Pottharst rejoined KPMG part-time her sense was that she could instead add value to the family business while spending more time with her daughter, leading to an eventual decision to shift careers. It also opened possibilities for a huge range of creative outlets and reignited the passion for textiles she had fostered in her early twenties, when, as an art teacher, textiles and graphics had been a particular passion. Concurrently, Fried had started a homewares brand that was driven by ethical trade

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While the initial hallmarks of their backgrounds are poles apart, the commonalities of aesthetics and philanthropy are so very aligned that their partnership has a naturalness few could match.

and, in particular, being a means to provide viable employment to women in India. She had also started a not-for-profit that funded preschools in the poorer areas of India. She met Pottharst at a trade fair and the initial relationship, while instantly one of personal connection, was also one of commerce with each supplying and supporting the other’s business.

The connection between the two, however, was a kind of crazy unstoppable force that kept coming back to the same proposition that they should do something together. “We connected on a really deep level, and then we have an aesthetic that is complementary, so designing ranges is a pleasure.

We work from different angles, but we can get to a point where it becomes a symbiosis of strengths,” says Pottharst. “Jodie had the strength of understanding gained from working in India, while I had only worked from afar. The way we both wanted to work, in a way that gave back, was what really spurred us to grow the business,” she adds.

Their initial foray into the market as Armadillo & Co was via the Melbourne Décor and Design fair. The entry point was aimed at small boutique homewares stores. “It was achievable, it was a product that

above—Sally Pottharst and Jodie Fried. left— Hand woven jute rug from the Egyptian Collection

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people could identify with – simple understated rugs that were well made with natural fibres. The ethical side of our practice has been there from the start,” says Fried. By starting in this way the production was also achievable and allowed a pace they could honour, even as their popularity grew. “There were crazy times. Once there was the uptake, we were busy… really busy! It was exciting and we were passionate about what we were doing, so it fuelled that energy and we made it work,” says Pottharst.

Having an ethical foundation was and remains the heart of the business with sponsorship and support given to schools local to the weavers. By 2014 the company (now styled as A&Co.) was fully funding the Kantilal Vidya Mandir School. In 2017 this was formalised as a foundation.

“The foundation gives clarity, structure and governance to propel the school forward rather than just letting it tick over. Social responsibility is close to our hearts and this gives back and improves the lives of children. Education allows the children to flourish and have a childhood,” says Fried. Importantly, there is nothing of the token about their commitment with a significant board overseeing the endeavour, which

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currently provides school to grade five for 240 children across six classes of around 35 per class. Already paying for teachers, principal, books and all running costs, they have developed a further nine-year scholarship to support four girls annually into senior school. Initially established in 1994 via Care and Fair – a non-profit organisation looking after the weaving community – the school was funded by a German group for some years before a Canadian company stepped up to take stewardship. “We were working with people in India and a board member introduced us to the school as the Canadians had gone into receivership. We don’t like to see any company have financial troubles, but we didn’t hesitate. We said ‘yes’ straightaway – for us it was a gift to be given this school to take care of and really make a difference,” says Pottharst.

As the company has flourished, the A&Co. direction has had to alter. Creating pieces for interior designers was a key driver from inception, but they were also aware of the fiscal realities of growing a business and the need to start by supplying at volume to boutique homeware stores. By 2011, the brand had started to appear on specifier sheets with designers giving feedback and suggestions. “We were small and agile, and could respond to those requests to deliver a bespoke product,” says Fried. Defining the product further was a range that offered more than what was then available in terms of aesthetic, size, variety and so forth. This has now been streamlined to a selective and saleable offering.

The growth of the business had in some ways to be tempered. With an entirely handmade product, there is a procurement process to consider rather than a factory of machines pumping out a product. As such, being specified for a boutique hotel was a solid win that could be achieved. They have also had to consider the competition moving into the space they once occupied exclusively and have made a conscious decision to reduce what was initially their bread and butter lines, while concentrating on high-end bespoke rugs. “The new territory for us was to elevate the brand and product to grow smarter rather than faster.

We made the decision to move towards a higher end, understanding that it would be slower but better,” says Fried. To achieve this the firm has reduced its network while pursuing a more exclusive approach through consolidating, strengthening and increasing innovation.

Developing several lines a year, with overlap as ranges organically expand, means cost has always been a consideration. To this end, the rugs, while all of an exemplar quality, explore different knot numbers and levels of refinement of weaving. A basic rug for example may have 32 knots per square inch, while an heirloom range rug will have 100-plus knots per square inch. The Egyptian range, for example, has a high knot count in richly toned jute that will age beautifully.

In April 2018 A&Co. opened its first showroom in Los Angeles, where Fried is now based. This has since been augmented by a small showroom in New York, with both aligned to the new strategy of working directly with interior designers to create bespoke rugs of exceptional quality. Both outlets are, perhaps more importantly, supporting the children of Kantilal Vidya Mandir and helping to make the selection of a beautiful rug an ethical choice.

above—Hand woven jute rug from the Egyptian Collection

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P R AC TI C E

Studio Tate is a collaborative interior design practice that is steadily climbing the ladder of success. Led by two talented women, it is a practice that knows what it wants and has a plan to realise every ambition.

text—Jan Henderson

Tête-à-tête with Studio Tate These days all good design practices understand that as much as exceptional creativity is paramount to success, so too is the smooth running of the business to keep the artistry on track. There are many examples of practices that incorporate a lead designer together with a business partner, both working in tandem with the other and each bringing their strength to the collective table. One such example of this is the interior design practice Studio Tate located in Melbourne.

Established in 2014, Studio Tate is celebrating five years of producing fine projects that exceed client briefs and push the boundaries of interior design.

From humble beginnings, the practice now has a swag of commissions in its portfolio that encompass a variety of genre from residential, hospitality and workplace projects. Diversity is a key driver to the

success of Studio Tate and this multiplicity of project types helps keep its offering fresh and individual.

There are two solid foundations that unify Studio Tate. The creative design process of the practice is led by Alex Hopkins, who studied at Monash University then honed her craft at many of Australia’s leading design studios such as Carr, HASSELL, JCB and Elenberg Fraser. The business is run by Carley Nicholls, whose background includes project and business management coupled with strategic management and consulting. As a partnership Hopkins and Nicholls work hand-in-glove, each with their own areas of expertise, but what makes the relationship gel is an integral understanding of the other’s responsibilities. Not so unusual you may say; however, the two women are also related by marriage, with Nicholls mentoring Hopkins through

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above left—MaxCap Group.

Image Sean Fennessy above right—Toby’s Estate, Darling Square. Image Felix Forest

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university and her early career, leading to this unique partnership. It is testament to the relationship between the two women that together they are a powerful and dynamic team propelling Studio Tate to great success.

Nicholls admits that the practice is “as much about business as it is design” and to reflect this an advisory board (to the practice) was established from day one of business.

On the creative side of things Hopkins states that Studio Tate is about “creating intelligent interior architecture that inspires”, but also about “constructing an environment where young designers can grow”. To this end Hopkins mentors young designers through work experience programs and engages with her community providing pro bono expertise for such organisations as the renowned women’s clinic, Jean Hailes.

Understanding the value of working closely with each other Hopkins and Nicholls embrace collaboration whether that be with clients, architects, contractors or staff. Professional integrity is intrinsic to their design process and the foundation of the practice is based on respect, care, collaboration and creativity.

At any one time there are 30 projects on the books, with a staff of 12 that includes Hopkins and Nicholls. There are a constant stream of

commissions and a large majority of repeat clients.

No project is the same and there is no ‘template’ design – which is as it should be. Each commission is assessed and designed to be site and client specific. Each narrative is unique and Hopkins reveals that it is more about how a project feels, as opposed to how it looks. Perhaps the only continuum throughout Studio Tate’s designs is a sense of warmth, materiality and detail within each commission, but there is also a certain touch of femininity, not overt, but enough to add a special generosity within a design.

Last year Studio Tate moved into new premises in the inner Melbourne suburb of Richmond, and the interior is textbook Studio Tate of course. There are expansive interiors with room to move, pastel colours to relax and inspire, and a spatial floor plan that promotes an easy flow. In fact this is an interior that not only looks good, but makes you feel good too.

Studio Tate is moving onward and upward as Hopkins and Nicholls carve out their place within the design community. This is an interior design practice that is making a name for itself through creative expertise and strategic planning coupled with a driving passion to succeed. Hopkins and Nicholls are without a doubt a dynamic duo and Studio Tate is indeed a force within the world of Australian design.

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above—The Melburnian.

Image Sharyn Cairns opposite—PDG head office.

Image Peter Clarke

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interview—Jan Henderson photography— Dianna Snape

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At Home

— Jeff Copolov, director, Bates Smart and Kendra Pinkus, director of interior design, Robert Mills Architecture & Interiors

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INSID E

Jeff Copolov and Kendra Pinkus are a formidable design duo, having worked together at Bates Smart for 23 years. This year marks a change with Pinkus moving to Robert Mills Architecture & Interiors; however, this beach house is a place for them to come together and relax in beautiful surroundings. inside co-editor Jan Henderson dusts the sand from her feet and steps inside a cherished home to meet two of Australiaâ&#x20AC;&#x2122;s foremost talents and finds interior design at its very best.

inside: How long have you lived here and what drew you to the property?

Jeff Copolov: For seven years my family rented the house for three idyllic weeks over the summer holidays. We grew to love its relaxed, light-filled interior style and distinct personality. Located down a dirt track, surrounded by coastal tea tree with a straggly brushwood fence, it is a little 1950s oasis. I often said to the owner that if he ever thought of selling, Iâ&#x20AC;&#x2122;d be interested â&#x20AC;&#x201C; which he did in 2012.

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When did you produce this design?

The original weatherboard cottage dates from the 1920s, but extensive renovations in the late 1950s give it its classic mid-century modern beach house character. Further renovations followed in the early 2000s and I’ve mainly repainted, gardened and maintained the integrity of the house, adding further personality through furniture, artwork and objects.

What was the thinking behind the design?

Being born in the late 1950s, I’ve always had an affinity with mid-century modern design. My grandfather, an architect and modernist, and my mother, a textile designer, produced their most exemplary work in that period and my own practice Bates Smart created some of its most celebrated buildings in that era. So this place just seemed right.

Are you a good client?

I am quite decisive when it comes to the work of my clients, but I’m not so good for myself. With this house life was made so much easier as, when the property was offered for sale, it was on the proviso that I bought all the contents – beach towels, teacups and all! The only thing to go was a great collection of the owner’s art. This definitely removed the pressure to ‘get it right’ from the start, so gradually over time

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Kendra and I have worked around the main original pieces, replacing some furniture and concentrating on adding lots of personal objets, such as artwork, ceramics, cushions and lamps, as well as adding many items from our travels.

Which is your favourite room and what makes it special?

The living room, for the calm mood that it always evokes – for its scale, proportion and seamless connection on two sides to the garden. I love the profiled timber wall panelling and original Beco spun brass wall lights, as well the expansive painted rafters that spread out to the coffered ceiling of the deck and the suspended George Nelson Bubble pendant over the dining table.

There’s nothing more delicious, particularly in winter, than stealing an afternoon catnap on Hans Wegner’s daybed as the warming sun streams through the full-height classic 50s windows.

Tell us a bit about working with your art collection.

It’s quite diverse really, from an original Charles Blackman Baby that my mother picked up at a garage sale, to lithographs by my son Max. My first serious purchase was The Industrialist by John Coburn, a 1957 oil painting that fits perfectly with the era of the house.

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More recently I added photographer Polly Borland’s tapestry Rabbit. Not only am I intrigued by her art, but the deliberate reversible framing adds another layer of fascination, as you witness the craft of the commissioned prison inmate’s weaving style on the back of the work.

Which is your favourite piece of furniture and why?

It’s probably a floor lamp designed by Italian, Angelo Lelli in 1955 for Arredoluce. I love the unique brass counterweight construction, Carrara stone base and perforated metal shade that was bought in 2011 from Nicholas & Alistair. The lamp sits beside the fireplace and is the perfect accompaniment to the Eames lounge chair and George Tjungurrayi Western Desert painting.

Does being in the design industry, where you’re constantly looking at new design, make it difficult to choose products for your own home?

I’ve always thought the perfect creative team is two, and I’ve always valued the second opinion of colleagues. Having worked with Kendra for 23 years, we obviously know each other’s style well and are generally on the same page aesthetically, so the difficulty of choice is eased by each other’s positive affirmation.

Are there any loose elements that you change frequently and, if so, what are they?

Kendra and I most recently returned from a trip to Botswana, and brought back handwoven baskets as well as Kuba cloth cushions that now add graphic drama to a sofa.

We both have a particular love for collecting ceramics and are constantly adding to and rearranging these small items to create new vignettes. Among the mainly Danish and Japanese pottery we even have a few of our own beginner pieces made with a group from the Bates Smart studio in after-work classes.

INSIDE

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THINK BETTER. WORK BETTER.

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D I S C O UR SE

RMIT has again pushed the boundaries in Australian design education offering a new program, a reflective industry practice PhD in Interior Design. Understanding the importance of interior design and the designer, this program gives substance and standing to the profession and allows talented designers to explore, interpret and experience their craft. inside speaks to Associate Professor Suzie Attiwill, Associate Dean Interior Design, RMIT University and Anthony Fryatt, program manager, Bachelor or Interior Design (Honours), RMIT University about the program.

Reflecting on a PhD Associate Professor Suzie Attiwill recently took up the role of Associate Dean Interior Design at RMIT – a new role in the university, established as part of an overall strategy that gives prominence to disciplines. Interior Design is clustered with Architecture and Landscape Architecture in the School of Architecture and Urban Design. One of Attiwill’s first initiatives was to instigate a reflective industry practice PhD in Interior Design.

inside: Why did you want to establish this program?

Suzie Attiwill: The reflective industry practice PhD is a flagship program in our school. It has been offered in Melbourne since the early 1990s and more recently in Barcelona and Ho Chi Minh City, attracting practitioners from Europe, the UK, the US and Asia. To date there have been architects and landscape architects who have done this PhD, but no interior designers. This mode of PhD contributes to the individual practitioner’s practice, enabling an opportunity to pause and reflect on the nature of what they do and how they do, which also makes apparent and positions the contribution of the profession to a broader social and cultural context.

I am a keen advocate for the value of interior design as a critical 21st century practice and the reflective industry practice PhD is one way of positioning and manifesting this contribution.

top—Sue Fenton, review-in-progress October 2018 Practice Research.

Symposium. Image Suzie Attiwill above—Angela Ferguson, review-inprogress October 2018 Practice Research Symposium. Image Suzie Attiwill

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right—Robert Backhouse, review-in-progress with Sue Carr and Professor Gini Lee, October 2018 Practice Research Symposium. Image Suzie Attiwill

What is a reflective industry practice PhD in interior design and can you give a broad outline of the program and criteria?

What is the process of the PhD and how are the candidates chosen? Are they invited or can any designer apply?

Practising designers are invited to reflect on their practice through the medium of design and in the place where they practice. Key threads and concerns are drawn out; a community of practice within which their practice makes its distinguished contribution is located; tacit understandings are interrogated and assumptions questioned; transformative moments are experienced; new insights and ways of working are tested.

Twice a year, work-in-progress is presented to a panel of peers, who give feedback and critique.

These happen over five days and are called Practice Research Symposiums (PRS). It is also when examinations are held – these are by public exhibition and presentation – as well as lots of social opportunities, drinks and a dinner. These are held in Barcelona and Ho Chi Minh City as well as Melbourne.

The length of the program is four years full-time and involves regular meetings with supervisors. The only course they need to take is a research strategies course and this is usually offered as an intensive over a couple of days.

Candidates are chosen on the basis of their practice.

There needs to be a substantial and criticallyengaged practice. The first cohort of reflective industry practice PhDs in interior design – Robert Backhouse (HASSELL), Sue Fenton (Woods Bagot) and Angela Ferguson (Futurespace) – were invited. I was actively encouraging them for quite a while and finally they agreed! We plan to grow the program through invitation and it is also open to applications.

We recommend coming along to one of the Practice Research Symposiums to the PhD process in practice.

Information is available at practice-research.com.

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PEOPLE

Architecture has had such a PhD program for more than 30 years, which was initiated by Professor Leon van Schaik. How does your program differ or not – accepting that the participants are from different but related disciplines?

We have had a strong PhD program in interior design over the past 20 years with emerging practitioners who are keen to generate new modes of practice.

The reflective industry practice PhD in interior design

What are the challenges involved with the program?

Preconceptions of what a PhD is and the kind of research required. A sense of not having enough time is another challenge. However, practice research as research through the medium of design is what designers are doing and therefore the PhD should not take them away from this, but provide an opportunity to reflect on what they do and how they do it. Leon makes the point that “if a practice research PhD takes you away from your practice, it is not a practice PhD”. One way to recalibrate is to approach the PhD like another project in the office and give it a project number.

Do you have future plans for the program – expansion here or overseas? Do you envisage any other changes, if so, what might they be?

I am involved in PRS EU (Barcelona) and PRS Asia (Ho Chi Minh City) and actively courting practitioners there!

Anthony Fryatt is program manager, Bachelor or Interior Design (Honours) at RMIT and is also an associate supervisor working with the designers during the process.

inside: How did you come to be involved?

Anthony Fryatt: Before RMIT I practised in commercial interior design and have many close links to the industry. For me, there is an abiding interest in the motivations and actualities of commercial practice. The complexity of contemporary projects demands continual speculation and testing. It produces a very particular currency and interior knowledge. When Suzie invited me to join the reflective industry cohort it was a fantastic opportunity to explore this interest and engage with leading practitioners. It excites me that as a program manager I can also connect this industry knowledge to our undergraduate teaching. is modelled on the one that Leon initiated and he has been an important reference point for me while setting it up. While this first cohort will follow a similar program in terms of reflecting, positioning and projecting, I am curious to see if there will be differences that emerge due to the nature of interior design practice.

above—Professor Leon van Schaik, Emeritus Professorial Lecture, ‘Building a Culture: Reflections on three decades of design practice at RMIT’, 19 October 2018, Practice Research Symposium, School of Architecture and Urban Design. Image courtesy RMIT, School of Architecture and Urban Design

This PhD program raises the bar for interior design and designers. How do you see the benefits of such a program for the interior design community as a whole? And how do you foresee the individual candidates benefiting?

This kind of PhD enables the articulation of the contribution of interior design through the actual practice of design – both for the individual practitioner and for the profession more broadly.

The benefits include a contribution to the discipline, for practitioners, academics and students, and the emergence of the profession as a critically engaged profession at a broader social and cultural level.

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How do you interact with the participants and what are their expectations?

Suzie and I generally meet the candidates together or individually. In essence, we discuss their work and the process of the PhD, and plan the next moves. At times the candidates hold on to a lingering sense that they must become ever more academic; in these moments we remind them that the knowledge is produced through their work and that as design practitioners they are experts in their own right.

In turn, how are the candidates reacting to the dynamics of the process?

They have all been very open to the process and there has been an evident generosity towards each other’s work. The process has triggered a fresh curiosity about their ongoing practice and the particular value they have as interior designers.

In this phase of the process the candidates seem poised, the challenge and value of a PhD being that it rarely ends up as expected at the outset.

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DE S I G N N ATI O N — SPO NS O RED CON T ENT

Coming of age: Design Nation As the recently rebranded Cafe Culture + Insitu celebrates 20 years, director and founder Marine Hammond takes us down memory lane… and into the future.

THE INCEPTION OF DESIGN NATION

residential, education, healthcare and aged care.

When Marnie Hammond founded Cafe Culture in December 1998, the Australian furniture industry was markedly different to today. Drawn to a career in commercial furniture and the

To better communicate this, Cafe Culture + Insitu recently rebranded to Design Nation, a name that “encapsulates the breadth of what we do and also works

ability to work on diverse projects, Hammond started out in

with us into the future of what we could possibly do,”

Canterbury, Sydney, with a trade showroom supplying café furniture direct to hospitality owners.

explains Hammond.

“At the time there was an opportunity in the hospitality side of furniture and the market in Sydney and Australia was starting to lift its game,” explains Hammond.

“Back in the day, only basic types of items were being used, but the market was beginning to evolve and people were starting to work with designers and place more importance on good interiors and good quality furniture. We started at that time to fulfil that need.”

Always ahead of the curve, Hammond began to recognise that commodity furniture had a tenuous future and that, where designer furniture was concerned, relationships counted for everything.

She began to source and import European furniture that felt warm and inviting to the user, moving and flexing with trends over the years.

The business bloomed. It expanded into Brisbane in 2008 and in 2013 acquired Insitu Furniture, leading to a rebrand as Cafe Culture + Insitu.

It was an exciting period for the company, with new brands such as Hussl, Plank, Zilio and Zeitraum joining the product range, and the opening of a new showroom space in Melbourne.

REACHING MATURITY Over the last 20 years, the business has evolved from specialising in design solutions for café environments, to a design destination and community with knowledge and capabilities that reach right across workplace, hospitality,

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The team embarked on a rebranding journey to create a name that would become synonymous with the brands the company represents and the types of projects it works on across Australia and beyond.

Hammond and the team collaborated with a branding expert and held a workshop with clients, key industry professionals, media, internal stakeholders and a handful of people from corporate Australia outside of the industry.

“The workshop looked at who we were and really delved into the DNA of us as a company and our culture,” says Hammond. “I was a little bit nervous going into the workshop because rebranding is a big thing to do, but everybody was so open and it was such a great experience talking about the company.

“It was actually quite nostalgic – a lot of the stories from many years ago and the experiences we went through came to the fore, so it was a fantastic experience,” she says.

Following the workshop, a session with the branding and creative team took place, which looked at the company’s archetypes, how it appears visually and how that was going to be represented in a brand name or a logo.

“What came out in the creative session was that the [current] logo is very identifiable to who we [are] and we needed to continue with that. That’s also why it’s at the front of the new name – because it represents where we’ve come from in the past and how we start to move forward to the future.”

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Photography by Julie Crespel

S U B ZE RO — S P ONS ORE D CO NT E NT

The design possibilities of Sub-Zero integrated refrigeration Today’s line of integrated refrigerators reflects the innovative thinking that has made Sub-Zero an icon of design for almost seven decades.

Sub-Zero has perfected the concept of luxury integrated refrigeration. Its range of integrated refrigerators, freezers and wine storage units virtually disappear into any kitchen cabinetry, with neither hinges nor grilles visible.

Available in various widths and configurations, integrated units can be customised to fit seamlessly into any kitchen, meaning there are endless design possibilities.

With the abvility to fit with custom panels, you can choose from the new press-to-open accessory to create a sleek handle-free look or the optional stainless steel panels and handles to make a design statement.

Constructed using premium-grade material, all products are tested to exceed Sub-Zero’s standards for reliability and performance. Integrated refrigeration utilises Sub-Zero’s

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pioneering freshness technology, so food stays as fresh as the day it was picked or caught.

The integrated refrigeration line includes additional features that provide simple and sophisticated functionality, including a digital touch screen to set the temperature with precision, LED lighting, a soft close to soften the closing of internal and external drawers and professional or tubular handle options to coordinate with Wolf products in the kitchen.

A patented three-axis door panel alignment system ensures a flawless fit with adjacent cabinetry.

Whichever design you choose, you’ll enjoy the delicious benefits of the finest food preservation system you can own.

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KI N G L I VI N G — SPO NSO RE D CO NT E NT

The King Living Difference With over 40 years of home-grown experience in the furniture industry, King Living’s focus on quality, durability and comfort sets it apart.

THE KING DIFFERENCE Car engineering and design-driven, comfortable sofas may seem to have little in common, but it was the former that inspired the engineered steel frame that still acts as the foundation of King Living’s sofa ranges some 42 years after the company began.

DESIGNING FOR SUSTAINABILITY Sustainably designed products are extremely important to King Living, and have been since the brand’s inception. In addition to using recyclable and biodegradable materials, King Living is constantly looking for new ways to improve environmental sustainability.

The company’s success lies in its ability to respond to a need in the market for Australian designed, customisable furniture, with an emphasis on longevity. The brand is backed by a unique operation that is family owned and operated, driven by its own in-house design team based in Sydney.

“The best thing you can do for sustainability is to make a product that lasts,” says Hardwick. “All of our designers are tasked with designing out any obsolescence, so if there is anything we feel will degrade or wear out more quickly than other parts, then it has to be very easily serviced so that we can replace it.

“We operate in a way that it is all about design for our product and our offer,” explains David Hardwick, head of product at King Living.

“It’s not just the steel frame that we know will last a long time, it’s also all of those other components that can be fixed or replaced, so that the whole sofa can keep lasting.”

“We have a design department consisting of six designers and three engineers, and we manufacture all of our own products, meaning we are completely integrated – from design and manufacturing through to retailing the product, which gives us a really great insight across the whole journey.”

EXTENDING INTO TRADE One of King Living’s most recent endeavours was to open up a trade and commercial arm of the business, which has grown exponentially over the last few years. It’s a new area of focus and the business is investing effort into getting industry body approvals and certifications so it can look to work on larger projects.

Compared to its competitors, King Living has a smaller range of products, which has proved to be a highly successful business model. This is because the company identifies different ‘customer segments’ and through the design, manufacture and sale each product, this has to be best in class to meet the requirements of those particular segments.

“As the business has matured we’ve employed more designers and become more serious about it”, says Hardwick.

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“Our main focus is still on the retail market, but we have always had interest on the trade and commercial side,” adds Hardwick “There is a part of that market that really suits our product because we over-engineer our product in a lot of ways for the domestic market, so it actually is suitable for a lot of commercial applications too.” kingliving.com

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P ROJ EC T

practice—S/LAB10 | project—JA house | location—Ledang Heights, Nusajaya, Johor, Malaysia | text—Jan Henderson | photography—David Yeow

JA house is the latest project from S/LAB 10, and the design for this residential oasis in Malaysia is both refined and expansive. The interior is a polished gem, inside and out, and complements family life in every aspect.

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previous—An overview of the living area where the outside merges with the inside. left—The dry kitchen is spectacular clad in burnished brass sheet metal. below—A private lounge area attached to the junior suite features a rich blue velvet modular sofa positioned to view the internal courtyard

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left—One of the many staircases that leads from the entrance to the lower ground floor

The brief from the discerning client was to design a family home that was to speak of place but incorporate the best of international style.

Luxurious living in the tropics doesn’t come much better than the JA house from S/LAB10. Large to the point of palatial with lavish furniture and fittings, this three-level residence located in the upmarket suburb of Ledang Heights, Nusajaya in Johor, Malaysia, epitomises a lifestyle that has comfort at its core.

The brief from the discerning client was to design a family home that was to speak of place but incorporate the best of international style. The project was awarded to architecture and design practice S/LAB10, the three partners of which – Jason Sim, Fion Hsu and Hao Wang – each studied in Australia, then honed their craft working at HASSELL, FJMT and Marchese Partners. Establishing S/LAB10 in 2012, the practice now has offices in Australia and Malaysia and has extended its reach across the Asia Pacific region. Working primarily in the residential and hospitality sectors, S/LAB10 brings an individual style to its designs and this is exemplified in JA house.

The property is accessed through a gated enclosure that opens to reveal a sweeping driveway and garage to the side. On the lower ground level there is a guest bedroom and bathroom flanked by a foyer and veranda. With the room buffered from the driveway, visitors are assured of privacy and acoustic calm. Adjoining the guest rooms is a landscaped lawn with tropical plants that provide a visual feast of green for the eye, and at the end of the property is the utility area with a workshop, storage area and bathroom.

Multiple stairways lead to the ground level of the home where the rooms have been positioned in a large U around the perimeter of the building. This house is all about the merging of the outside with the inside and the rooms each have sliding glass walls and doors that can be opened for easy access to the outdoors, but quickly closed when the weather is inclement.

An infinity pool has been strategically placed at the very nucleus of the house and this ensures that every space looks into the central courtyard and on to the water and internal landscape. To complement the pool, there is a pavilion with barbecue area that incorporates a custom-made sofa (Toolbox, Malaysia), black stools (Earl Grey Home, Singapore), white chairs and Emu basket table. Surrounding

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this is an expanse of lawn with lush greenery and the whole comes together to create a practical and glamorous outside entertaining experience.

Two spectacular internal spiral staircases have been included in the floor plan; one is positioned at the main entry, and the other is located between the staff quarters and junior suite. These custom-made swirls of steel are, of course, functional as they lead to the bedrooms above, but they are in themselves beautiful and become major art installations within the form of the interior.

With every amenity provided, this home also boasts two kitchens. The wet kitchen is a common inclusion in the tropics where curries and fish are best prepared with ample ventilation; however, it is the dry kitchen that is one of the major focal points of the interior. It is a picture of elegance, but oh so dramatic, with surfaces clad in burnished brass sheet metal. There is also a countertop bench where the family can sit on stainless steel Bertoia stools for informal meals.

Adjoining the kitchens is the main living space that is ultimate comfort itself. Black tufted lounge chairs (Baxter), green textured chairs (The

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oppositeâ&#x20AC;&#x201D;The large void in the living area showcases the solid Nyatoh timber screening on a section of the wall and ceiling. aboveâ&#x20AC;&#x201D;The eclectic furnishings in the living room feature a contemporary mirror-backed sofa that sits comfortably aside a diamond buttoned leather sofa

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Within this house materiality is a constant and there is lavish use of cool hard surfaces with onyx and marble used extensively in bathrooms, and stone and granite on floors and walls.

Shophouse, Singapore), a diamond buttoned leather sofa (Timothy Oulton, London) and a contemporary black leather sofa (Andrew Martin, London) surround a bespoke petrified timber coffee table (Asiatique, Singapore). The furniture sits on top of a geometric rug of green, white and black, and the space is sophisticated and relaxing. There is an immense void in this area, but the use of solid Nyatoh timber screening (Ese Wood Sdn Bhd) on a section of ceiling and wall ensures that the space has a certain intimacy with a human dimension. This screening has also been utilised in the gates and entrance foyer and as decoration in other areas of the interior.

As well as the public entertaining areas on this floor there is a staff bedroom and en suite and a dry deck for access to the outside. Further along, and virtually within a wing of its own, is the junior suite consisting of bedroom, en suite and walk-in robe.

Standout features in the bedroom include a black Barcelona daybed (Knoll), chandelier lights on the side tables (Timothy Oulton) and an intricately carved decorative screen (British India), but the suite itself is pure luxury, tucked away from the hustle and bustle of the public areas.

On the first floor are the main sleeping quarters and the opulent master bedroom suite with gallery, walk-in robe and bathroom. This is a group of rooms that offers sanctuary within a fine design that is considered and very sophisticated. An expansive playroom creates an open space to separate the master suite from two more bedrooms and bathrooms, but each room has facility, detailing and design resolution at its core. This level been pared

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back in size from the spatial footprint of the ground floor; however, the arrangement of the rooms is in sync with the idea of rest and relaxation and there are those fabulous views of the pool and tropical greenery below.

Within this house materiality is a constant and there is lavish use of cool hard surfaces with onyx and marble featured extensively in bathrooms, and stone and granite on floors and walls. It is, however, the use of timber that is a triumph. The screening and wide boards in the flooring have been used to great effect, adding the hues of honey, browns and reds to the colour palette, but also highlighting, showcasing and shaping the interior architecture.

JA house is exactly what everyone thinks a fabulous house in the tropics should be, but this is a step up. Refined and cool, the interior is elegant with not a hint of pomposity. The interior architecture is creative and interesting yet able to sustain the rigours of a real life family. S/LAB10 has created a home that is designed living at its best.

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opposite—One of two internal custom-made spiral staircases that present as an art installation within the interior. above— The pavilion features a barbecue area with bespoke sofa and polished timber flooring. right—A Knoll Barcelona daybed complements the leather diamond buttoned bed head in the junior suite

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practice—Nina Maya Interiors | project—Rose Bay residence | location—Rose Bay, Sydney, NSW, Australia | text—Gillian Serisier | photography—Felix Forest

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Rose Bay elan Allowing time to ensure the level of comfort and elegance this suite of formal living and dining room required has allowed the design to grow with the designer and delivered an extraordinary result.

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There is an exceptionally high level of sophistication to this interior that only a year of thinking could ensure. With Nina Maya Interiors principal, Nina Maya, having worked on the build with architect Bevon Boss a year previously, the initial scope was the interiors and renovation of the art deco home.

During the renovation only the façade was retained with a wholly contemporary extension providing large living spaces, utilities and four bedrooms. At this point the foundational elements were laid, as were the interiors for family living. The decoration of the formal areas, however, was postponed until funds could be raised to ensure the degree of opulence required.

“For me it was a really lovely moment when you have this couple coming to you and putting that trust in you to be open to pushing the boundaries,” says Maya. Moreover, the foundational layer she had created a year previously was perfectly ready

for her aesthetic expansion. The bones, as they say, were good: stone floors, louvres, marble fireplace and built-in cabinetry, including a three-metre buffet with the same marble top as used for the fireplace. In addition, occupying the retained art deco portion of the home, the ceilings are close to three metres with the dining room characterised by a curved bay window.

The aim of the project was to create two rooms, a lounge and dining room, for the express purpose of formal entertaining, which would be frequent and of scale. The dining room to this end boasts a bespoke dining table for 18 guests. At four metres in length the Nina Maya designed table was custom made, as were the chairs, which have been upholstered in a richly textured Italian grey silk.

On a daily basis most of these chairs are stored in the garage, but when in use and pulled back from the table they fit with ease. The table itself

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previous—The commissioned artwork by Oliver Tanner and Arthur Seigneur subtly forms a connection between the brass elements woven throughout. above left—Patricia Urquiola’s Redondo lounge chair (Hub) and ClassiCon Pli side table (Anibou) bring depth and colour. above right—A bespoke ottoman of ruched black leather sits above a large pale handwoven carpet (Designer Rugs) for an unexpected textural harmony. opposite—A bespoke feature lighting piece by Henry Wilson anchors the room and balances the four-metre long dining table

is extraordinary with the great length of the curved and inlaid timber top beautifully balanced by robust semi-circular Memphis-esque legs of splayed and floating vertical slats.

The focus of the room is the bespoke feature light, the result of a collaboration. “I wanted a really spectacular light and there was nothing remotely to scale so I brought in Henry Wilson. There is a great deal of trust involved when the cost value of custom lighting is at the level of a piece of art, but my clients loved it,” says Maya. Artworks here continue the grey brown shades of the furniture while a group of ceramic pieces add a vertical thrust. Softening the whole and emphasising the curve of the bay window are soft white linen curtains with a double layered base in grey to add weight and texture. The lightness of the main portion of fabric allows ample light to enter the room when the curtains are closed, while simultaneously drawing back entirely when the view outwards is preferred.

The living room beautifully continues the established palette with furniture, objets and art added for form, colour and a subtle infusion of glamour. The main artwork is a bespoke collaboration between artists Oliver Tanner and Arthur Seigneur. Comprising the straw marquetry of Seigneur, overlain by a brass sculptural piece

by Tanner, the work has a dynamic strength that anchors the room. Sculptural form, and particularly the curve, is continued with a Vladimir Kagan Serpentine sofa upholstered in snow white boucle.

Bespoke round cushions add a touch of insouciance and additional form.

Glamour continues to be subtly interwoven with the brass of the artwork echoed in the brass sofa foot and the riser of the bespoke coffee table. Here a black glass top sits above a vertical podium of brass, which in turn sits above a pedestal of black glass to create a stack of off-kilter discs. Continuing this theme, the ruched leather ottoman, also bespoke, sits atop outwardly splayed sculptural feet of brass. Colour has been introduced via a pair of Patricia Urquiola for Moroso Redondo lounge chairs in rich teal velvet (Hub), a ClassiCon Bell table in olive and the reflective surface of the faceted leg of a ClassiCon Pli side table (both Anibou). A large pale handwoven carpet from Designer Rugs anchors and contains the whole, while adding textural depth and warmth.

For a young family with three young children, the white couch and rug seem a defiant proposition; however, the rooms are very specifically usedesignated and have remained pristine. Maya attributes this to the aspect of theatre. “The rooms have been designed to be viewed constantly as a source of visual joy, with the family room adjacent through the large arched entrance,” says Maya.

Her design has in fact that feeling of joy to it. The low furniture and high ceilings add, rather than detract, from the formality, while the abundance of curves gives the whole an undercurrent of comfort. There is also the sense that Maya has revelled in the opportunity to push boundaries, which she has done splendidly in this beautiful and highly bespoke interior.

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aboveâ&#x20AC;&#x201D;The curves of the Vladimir Kagan lounge are balanced by the bespoke coffee table of black glass and brass

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practice—Mim Design | project—e&s | location—Preston, Victoria, Australia | text—Jan Henderson | photography—Peter Clarke

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In Melbourneâ&#x20AC;&#x2122;s north there is a fabulous new retail destination designed by Mim Design that is a standout in every respect. Itâ&#x20AC;&#x2122;s a place that treats its customers with respect by providing a refined buying experience that is bound to become a design template for the future.

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Retail is dying – haven’t you heard? We are told this constantly with facts and figures announcing that online purchasing is king, while the local high street is a mere shadow of its former self and shop sales are plummeting. Well, someone forgot to tell the bad news to Rob and Mike Sinclair, joint managing directors of e&s. With a grand new store in Preston, nine kilometres north of Melbourne, this retail phoenix has risen, showcasing an astounding array of kitchen, bathroom and laundry products spread over a mind boggling spatial footprint of 3000 square metres.

As an investment, it speaks volumes for e&s and the team’s belief in shopfront retailing in Australia, but as a design statement, it is unsurpassed in both form and function, thanks to the design prowess of Mim Design and project lead Emma Mahlook. e&s saw a gap in the market of the underserved northern suburbs and so has filled the void with a store that is not only a destination par excellence for white goods shopping, but also a lifestyle enhancer and an extension of ‘home’ on an imposing scale. Rob Sinclair believes that online selling has succeeded because retailing has failed its customers, and so, putting both money and the e&s brand on the line, he is inspirational in his offering that showcases some 50 brands with literally tens of thousands of products to see and touch.

With such an enormous project at hand, Mim Design’s challenge was to present both the e&s brand and its partners in an aspirational light, inject the enormous space with a human dimension and display the multiplicity of products in a more homogenous distinctive design.

As a former Masters store, the building was just another large warehouse with an eight-metre high ceiling and pitched roof; however, Mahlook has taken the concrete floor back to expose the aggregate and there are lovely highlights of black, tan and grey. The colour palette is white, grey and black with copper, silver and gold accents and the touch of blue in the soft furniture adds a restrained residential touch.

On arrival there is a reception desk clad with Arabesco Grigio marble. To the left is the kitchen area, to the right the bathroom and laundry products and at the very rear refrigeration. Throughout the floor plan major brands have been positioned around the perimeter of the store with a large square-shaped promenade that enables the visitor

previous left—A Rosso Alicante marbletopped bench is a feature of the cafe. previous right—The reception desk is clad with Arabesco Grigio marble and is opulent and eye-catching. opposite—An amazing installation of ‘bubble’ shaped acrylic and LED lighting floats above the laundry space. above—The graphics complement the wine refrigeration area that can also become a space for tastings and entertaining

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The design of the interior is both relaxed and sophisticated and not only does it highlight the many brands to their best advantage, but it allows the client to make informed choices within a beautifully curated environment.

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oppositeâ&#x20AC;&#x201D;Clients can sit at the Super Silver honed marble topped bench of the working kitchen and sample food cooked in the 12 premium ovens on display. aboveâ&#x20AC;&#x201D;Seven enormous upside down copper coloured planter pot pendant lights are a feature within the premium barbecue products area

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belowâ&#x20AC;&#x201D;Another aerial installation, this time pendant bath-shaped lights that float above the Gessi display. oppositeâ&#x20AC;&#x201D;One of many spectacular marble baths and vanities that can be viewed by clients wandering through the designated bathroom area

palettes and a large variety of natural and reconstituted stone, veneers, wallpapers, laminates and paints as the base for each brand to choose a design direction. Of course, each installation features something a little different to complement a particular colour and materiality; for example, Sub-Zero Wolf has included a fabulous striated copper and brown glass splashback behind ovens and cooktops and V-Zug features a cooktop encased within a curved white-tiled back and benchtop.

Giant-sized graphics have been used to great effect within the interior to denote the key product areas, with outlines of glasses above the wine refrigeration section, enormous spoons, cutting boards and other implements in the kitchen area, as well as a variety of faucets and taps in the laundry space. These hand painted white on grey stencilled artworks (Strini Industries) have been placed on every wall and serve as an easy wayfinding device, while also providing a sense of proportion to the building. Directly above the graphic decorations, the pitch of the roof and the exposed beams and steel have been painted black and there is a large network of slim pendant strip LED lighting that overhangs the entire footprint of the floor space.

to traverse through all areas. Multiple products have also been positioned within the central area contained by the corridor and there is ample opportunity to look through, around and over areas to tantalise the experiential shopping tastebuds.

At the rear of the store is the wine refrigeration area, refrigerators are in front of this and to the side is the laundry area moving into the bathroom accessories, taps, basins, baths and wet shower area. Again every product is displayed within its own family and although this all sounds overwhelming, the truth is it is an outstanding showcase that allows encompassing views of all ranges and easy product comparison at a glance. Suites of products are displayed in uniform custom-built display units and overt branding is kept to a minimum allowing the objects to do the talking.

The genius of this project is that the entirety of the showroom is within the parameters of a uniform display style â&#x20AC;&#x201C; a challenge with so many brands, each with its own historical branding and display styles, logos and colours.

To keep a more contained visual style for the interior, Mahlook supplied three separate colour

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This wouldn’t be a Mim Design project without standout lighting features and there are several throughout the store. The custom-designed pendants (Mim Design, Random Spaces) add a touch of whimsy and humour, but also help to spotlight particular areas. There is the amazing installation of ‘bubble’ shaped acrylic and LED lighting that overhangs the laundry space, seven enormous upside down copper coloured planter pots above the premium barbecue display and several real size, bath-shaped horizontal pendants in copper that float above the Gessi display, as well as feature pendant lighting in the wine ‘room’ (Articolo Lighting).

Products are, of course, the main attraction; however, Mahlook has incorporated many relaxing spaces into the floor plan such as the barista bar with its La Marzocco coffee machine to provide coffee to clients who can rest their weary legs at tables and chairs (Seam range, Tait) or in comfortable lounge chairs (Wing, Zuster) and sofa (Sabrina, Zuster).

There is also a café with a Rosso Alicante marble-clad facade and working kitchen with an elongated curved bench clad in Super Silver honed

marble, where clients can sample cuisine cooked in one of 12 premium ovens while, positioned at the side, there is a dining table with 14 chairs (Contour table and Embellish chairs, Zuster) for more intimate gatherings. There is room enough to hold events in every area, such as wine tastings at the rear of the premises, small functions at the Kohler installation or gatherings in the large Miele kitchen.

With some 20 staff on hand, each with a small individual service hub, visitors can wander through aisles of products, and explore the different areas but always find an e&s member to help with an enquiry.

This store is an homage to retailing, a reminder that to see, touch and experience an object is worth more than an online homepage visit. The design of the interior is both relaxed and sophisticated and not only does it highlight the many brands to their best advantage, but it allows the client to make informed choices within a beautifully curated environment. Mim Design has delivered so much more than a new retail experience; it has stamped this destination with innovative and refined design and is a triumph for both e&s and its clients.

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practice—k20 Architecture | project—k20 Studio | location—South Melbourne, Victoria, Australia | text—Gillian Serisier | photography—Peter Bennetts

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Conceptually framed around the idea of a campfire, the new Melbourne office for k20 Architecture is very much about the collective intelligence.

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“Our clients are not separated from our team and our team is not separated from our clients.”

TH EO DOR E KE R LI D IS

Ostensibly at its design end, the building was cold in winter, hot in summer and while “cool with really good bones” as k20 principal Theodore Kerlidis states, generally feeling its age. That said, this is the sort of challenge that places k20 at its best, with a driving belief that the life of a building can be extended through the re-forming of architecture.

It is important to make the distinction between re-forming and reusing in that re-forming allows a higher degree of selectivity, while the legacy of reuse can create areas of compromise. Reuse of windows, for example, can allow air leakage, while re-forming the architecture itself posits a better version of the same thing.

In this case the building was taken back to the shell to expose bricks, concrete and staircase. “We like to identify what will allow us to re-form the building: strip it back to reveal its surface, its feel, its honesty; take away the layers of plaster, paint,

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lino and whatever separates us from the core,” says Kerlidis. Effectively, this allows for a low-tech incursion, where the potential and problems of the building can be squarely addressed. To this end, the idea of ‘person’ is placed at the centre of the building experience, as the embodiment of ecology and sustainability. Thermal mass, for example, was existent, but so removed from the interior through layers of plasterboards and planning that it had ceased to function. By removing the egregious layers, the thermal mass was effectively unlocked in that the limitations could be properly addressed and countered. “The previous cellular planning was bad (plasterboard and carpet – hot and cold).

It didn’t function to give any sense of comfort.

We owned the building, so we had heard all the complaints of tenants and knew that the building didn’t function. It’s the same building, but now it functions,” says Kerlidis.

From an interiors perspective the office takes shape without visible architectural incursion. Instead, it reads as a flowing singular whole. This is effectively an illusion with areas of opacity and materiality shaping the experience into a series of, in the parlance of Kerlidis, campfires. Stating that “it’s really painful to design for yourself” Kerlidis has addressed the design as a physical embodiment of how he designs, which is largely on the lounge. “As architects our creative work doesn’t happen at the desk. That is simply a data entry point; the creativity happens around you as it does in a home.” As such, considerations for sit/stand workstations and the like were rejected in favour of a variety of communal tables, an open kitchen, lounge and an ersatz campfire for sitting around thinking, talking and spending the time needed to develop ideas. “We are all part of a collective intelligence; it is the conversations that happen around you that prompt the team to activate,” says Kerlidis.

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previous—Large expanses of reclaimed timber and a green wall create a relaxed area for open communication. opposite top—The large expanses of internal glass walls provide transparency and privacy at once. opposite bottom— Offecct Netframe sofa, Cate & Nelson with Waves rug

by Tammy Kanat, Cadrys. above—Large working desks

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Outlined by a locally made bespoke steel-framed glass door, the entrance is commensurate with the robust nature of the building. Similarly, the narrow entrance corridor has an honest appeal of raw materiality made warm by the inclusion of a wall of recycled messmate timber (Eucalyptus obliqua, Timber Revival). Having used the timber in his own home, Kerlidis was pleased to see another application. Reclaimed from the demolition of the South Melbourne arts precinct theatre, this piece of history needed to be returned to South Melbourne.

The below stair recess further recedes through being painted black, while a suspension system keeps bikes out of the way and largely out of sight. It is a neat and well-considered trick and very nicely done. The original staircase has been refinished and restored without flourish and this makes Kerlidis’ point of the architectural hand being unseen, in that, where nothing extra is needed, nothing has been added.

The office proper spans out as an open plan expanse of recycled jarrah, finished with a waterbased sealer that will require no maintenance. Large X-shaped ceiling lights (Linear LED Profiles, Laser Lighting) project light upwards and are typically Australian made. Kerlidis aims to achieve a minimum of eighty percent Australian content for his projects.

The two main meeting points are, on the one hand, a rustic timber bench or recycled hardwood (Timber Revival) with Georg stools (Skagerak, Interstudio) somewhat like a large kitchen bench and, on the other, the formal slim black expanse of Arki (Pedrali) paired with Erik Magnussen designed Charik chairs (Engelbrechts).

“The majority of our meetings happen in a camp style or informal manner that allows connectivity.

But there also needs to be some sense of formality to not lose sight of the importance of the work being done,” says Kerlidis. As the office was merging a practice that had grown to occupy two separate spaces, the aim was to create a home for the entire staff and clients with comfort options for all. “The concept of place is a first home. There is a lot of change when moving an office from two locations to one, and I wanted to create a culture of connectivity instigated by the change,” he says. As such, glass walls have been used to be simultaneously transparent and opaque. “Our clients are not separated from our team and our team is not separated from our clients,” adds Kerlidis.

Effectually realising the conceptual frame of the practice, the space is very much about allowing conversations to happen. That is, the open plan nature of the design does not create the architectural output, but rather it is the program and practice that is activated by the safe environment of the thinking space. More simply, it is the dream woven from a conversation around a campfire.

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aboveâ&#x20AC;&#x201D;The subtle drama of linear LED profiles from Laser Lighting adds rhythm and flow through cohesion

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practice- Pascale Gomes-McNabb Design | project- Sydney warehouse | location- Sydney, Australia | text- Jan Henderson | photography- Murray Fredericks

City

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Renowned for her hospitality projects, Pascale Gomes-McNabb is also an expert designer of residential interiors. In this Sydney warehouse, Gomes-McNabb has created a beautifully resolved interior design that is both elegant and practical.

elegance

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Inner city living can sometimes present challenges.

Generally, there are smaller interior spaces to inhabit and this requires the designer to work hard to enhance place and provide comfort. From restriction can come creative solutions, however, and some of the most beautiful interiors have been born from the need to be imaginative, resourceful and inventive.

With Sydney warehouse, the spatial footprint was challenging; however, the design Pascale Gomes-McNabb, principal of Pascale GomesMcNabb Design, has achieved is a resounding success, utilising every space and creating a light-filled environment with all details perfectly in keeping with the ideas of fine design.

This residence is one of three homes positioned side-by-side within a large inner city Sydney warehouse. The floor area is a long narrow rectangle, barely five metres wide and 26 metres long, with public and entertaining areas on the ground floor and bedrooms and study on the level above.

Gomes-McNabb has maintained an urban warehouse feel by retaining the raw brick walls throughout and leaving service pipes exposed, affixed to the sealed concrete ceiling on the ground floor. There is a light grey polished concrete floor with white aggregate and this utilitarian material complements the mortar within the brick walls.

The interior has been designed to complement the sophisticated lifestyle of the client and every utility has been incorporated through careful planning and spatial management. For example, instead of the usual long side corridor from front to back, Gomes-McNabb has designed a vestibule that separates the entry from the house proper.

This is a small design inclusion, but one that breaks up the length of the space, offers privacy and also excites the imagination as to what lies ahead. And then there is the placement of the floating folded steel staircase to the level above. Located in the middle and to the side of the floor plan, the stair is

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previousâ&#x20AC;&#x201D;View through the living area to the courtyard and kitchen beyond aboveâ&#x20AC;&#x201D;The powder room is situated beneath the stair that leads to the first floor

below—Bright yellow glass mosaic tiles add a splash of colour to the powder room interior. right—A bird’s-eye view of the void between the ground and first floor

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‘contained’ by perforated metal walls. Using this material allows light to penetrate but also affords glimpses through and beyond the stair to the rear of the house. There is also a powder room tiled in glass mosaic tiles in a startling bright yellow (the client’s favourite colour) incorporated beneath the stairwell.

Opposite is a large courtyard that brings the outside in and separates the living areas at the front of the residence from the kitchen and dining areas at the rear. This becomes a void and, cleverly, GomesMcNabb has mirrored the walls of this space so that maximum light is reflected to the upstairs.

The first level and sleeping quarters are designed with pared back luxury in mind. Engineered oak timber flooring, soft drapery and smoky dark timber veneer within the master suite define good taste and afford tranquility within this urban oasis. Fine brass fixtures and fittings have been specified and the burnished gold adds pizzazz to the general colour palette of white, honey, soft grey and dark chocolate brown with splashes of black.

Perferated steel walls have been positioned around the void to separate the various rooms and the inclusion of this material adds gravitas to the interior design.

below—The master suite dressing room is suitably glamorous with rich dark timber veneer that complements the earthy tones of the exposed brick and flooring

Although the width of the house is modest, there is a generosity within the design that creates a spaciousness and easy flow.

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There are two bedrooms on either side of a bathroom at one end, a study in the middle and the master suite beyond. Gomes-McNabb has again used mirror in the bathrooms to increase volume and light, and the addition of brass taps and showerhead complements the white bright interior.

As an inner city apartment this is one of the best and would not be out of place in New York, London or Paris. Every amenity is included and there is even a two-car garage at the very rear of the property.

Although the width of the house is modest, there is a generosity within the design that creates a spaciousness and easy flow. The interior style is minimal; however, large striking art installations have been strategically placed to complement the four-metre ceiling height and augment the colour palette. Gomes-McNabb brings restraint and finesse to this project and the outcome is perfect inner city living.

oppositeâ&#x20AC;&#x201D;A privacy vestibule separates the entrance from the house proper. aboveâ&#x20AC;&#x201D; The palette of the contemporary kitchen is soft grey in keeping with the polished concrete floor and white painted walls in this area. leftâ&#x20AC;&#x201D;Looking back to the kitchen from the outdoor courtyard

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practice—Jackson Teece | project—St James Chapel, Anglicare | location—Castle Hill, Sydney, NSW, Australia | text—Gillian Serisier | photography—Michael Nicholson

Redefining the role of a place of worship within a community, the team at Jackson Teece draws on their experience of public buildings to create a village centre of consummate relevance.

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previous left—Recessed apertures of coloured glass bring glowing colour to the chapel where it plays across the faceted ceiling. previous right—A perforated aluminium shell brings dappled light into the interstitial spaces where community members meet

After securing the masterplan for Anglicare’s hospitality and wellness precinct, Heritage building Lober House, and additional retirement living accommodation at Anglicare’s Castle Hill site in 2014, Jackson Teece also undertook the redevelopment of St James’ Chapel.

Initially, the St James’ chapel redevelopment was not part of the masterplan; however, it was soon revealed that the chapel no longer met functional requirements and had no Heritage value. Anglicare then briefed a purpose-built chapel/multifunctional space that could hold up to 400 people. Effectively, a lack of flexibility stymied its use as a community resource beyond ceremonial gatherings. As such, this building was also put to tender with Jackson Teece engaged to produce a concept and develop and then fulfil a brief with Anglicare that would truly reflect its needs.

Taking up the previous chapel position alongside Lober House, the bowling green and the café around Lober Square, the new chapel is the final piece

forming the heart of the community. The design responds to the way the community comes together, completing the public domain renewal as envisaged by the architects.

From an architectural perspective the building is beautifully layered, with a terracotta clad envelope enclosing the whole with a visual and physical solidity. Covering this shell is a veil of white perforated aluminium. “The idea of a veiled building is something we have been exploring for some time and it is very well-suited to St James’ Chapel where a view is not a primary concern. Instead there is a delicate sense of calm, and a focus on worship,” says Damian Barker, Jackson Teece principal.

Creating both an atmospheric and architectural impact, the veil filters light to a dappled play on the building surface. At night the impact is reversed with a seeming skin of warm twinkling lights covering the whole.

One of the key considerations of the design was the nature of social gatherings and the need

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opposite—The important headlight windows from the previous chapel have been positioned to the side for greater community access. above—A large community square allows for informal meetings and community gatherings

for a relaxed means for interaction. Taking their learnings from work on public and religious buildings, including the Bondi Synagogue, Jackson Teece’s team designed the large forecourt specifically to allow the informal before and after chats inherent to communal gatherings. It additionally lends a more relaxed tone to the function of religious gatherings and is thereby appropriate to the village style of the community. The gathering principle is further augmented by a large interstitial space that affords weather protection and ample opportunity to stand around talking without time constraints. A very large pre-function space is provided by the immediate internal space when entering the building. Hidden from view – but servicing the chapel, pre-function space and courtyard – is a large kitchen that underscores the pervading theme of community and shared meals.

This consideration was significant to the main rooms of the chapel, which uses two automated acoustic sky-fold walls to create a flexible and

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functional space, quickly and easily separating or connecting the chapel and Dover Hall. When both walls are closed, they create a central corridor connecting Lober Square with the lower residential villages. “The operable dividing walls were a very important decision in the design, not only for flexibility; functionality was key to the building’s success. Our objective was to design an easy and elegant transition between two spaces, to encourage and not deter people from rearranging the space, sometimes multiple times throughout the day,” says Barker. When opened entirely, the space reads as one room and a continuation of the chapel, with the focus directed to the communion table.

When closed off, however, the rooms have the feel of a secular function space and can be dressed to suit myriad occasions.

The chapel space is warmly inviting with honeytoned timber used on walls and loose furniture, while ceramic tiles clad the wall behind the cross and communion table. Interestingly, free-standing chairs were selected for their ability to be moved around to accommodate the walkers, wheelchairs and other means of assistance the aged congregation requires. The carpet too takes this into account, being softly forgiving to both falls and scraped chair legs. The option is also favourable to acoustic control, an aspect that is further addressed by the geometric forms of the ceiling. Echoing the fall of the surrounding land, the crisp white ceiling is splashed with a gentle reflection of coloured light emanating from the stained glass and becomes beautifully opalescent at various times of the day.

The original bell, stained glass windows and wooden cross from the 1965 St James’ Chapel, each having its own history, were key considerations in the design. The bell is now housed in a contemporary frame by the front entrance, while the cross retains its place behind the communion table. The stained-glass windows (12 apostle windows and two dedicational scenes) have been placed into the side walls. This allows both a side view from the chairs, but also the opportunity for members to approach the windows for an intimate experience of their beauty and message. New coloured glass has been placed behind the communion table within long thin vertical apertures. “The new windows are atmospheric and don’t compete with the existing windows. The colours are drawn from the original, but we didn’t want to take away from the importance of the existing windows, which mean a lot to many of the residents,” says Barker.

The level of very specific user consideration in this project is to be lauded with room use, accessibility and individual needs all addressed with care. It is, however, the understanding of the community’s needs that has led to a space that is an extension of the residents’ home, a relaxed and welcome environment encouraging social interaction. As a symbol of the Christian faith, it has also delivered gravitas with a building of strength and rigour, elegance and the magnificence of a fine 32-metre spire.

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INSIGHT

Work places

below—BresicWhitney Roseberry, Chenchow Little. Image Ben Hosking. opposite 1— Dapper lounge chair, Doshi Levien for HAY, CULT. 2—ETO desk by Tom Fereday for King Living. 3—Turoa VJet Collection available from Methven. 4—Infiniti Design Pure Loop Binuance Retro chair from Design Nation.

5—Haymes Interior Expressions low sheen acrylic in Streamwood and Ultimate flooring in Chateau, ‘Cohabitate’ palette from Colour Conscience. Styling Ruth Welsby. Image Martina Gemmola

— blurring the line between work and play

Relaxed, formal, theatrical or homelike, the new workplace interior is all about the conceptual element of brand from both the employee and client perspective.

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text—Sarah Hetherington

The new BresicWhitney office, located at The Cannery in the Sydney suburb of Rosebery and designed by the award-winning practice Chenchow Little Architects, epitomises current trends in workplace design. Comprising a thoughtful Heritage renovation, the office was designed as a dynamic theatre set with circular modules for meeting and working spaces that sit within an unfolding series of perimeter curtains, not only operating as a spatial device, but also providing fluidity between public and private interactions. Dramatic, yet wholly restrained and elegant, this adaptable and site-specific workplace won the 2018 IDEA Award for Workplaces Under 1000sqm.

Tony Chenchow of Chenchow Little Architects notes, “BresicWhitney and indeed all clients nowadays are not looking for a generic solution.

Different company structures dictate the design brief. This project had to embody BresicWhitney’s work patterns and culture.” Being the fourth collaboration between client and architect meant a deep understanding of identity and relationship. Chenchow notes, “There were three issues to problem solve – the Heritage nature of both the façade and roof structure of the site, the occurrence of two possible entranceways to the building, and the tight time-frame and budget.”

The project allowed the practice to “conceive of creative architectural solutions to resolve design issues,” says Chenchow.

Highlighting the unique nature of BresicWhitney’s workflow, he adds, “The client works in teams; collaboration is a key element, which meant that through creating circular modules or workstations, the spaces could adapt to teams of different sizes with different needs.”

So, below the Heritage ceiling trusses, hang chic velvet curtains in a range of muted colours – indigo, pink, teal and olive green. These circular curtain configurations create an alwayschanging, adaptable and playful workplace interior. Chenchow reiterates, “Ultimately, we were able to achieve flexibility and acoustic privacy with the curtains, while also reducing the budget and overall time-frame, as there was no need to build walls.” That said, custom wooden furniture and joinery was commissioned adding warmth and luxury. Further, discreet technology systems, no glaring real estate advertising or overt branding also highlights a refreshing approach in BresicWhitney’s ethos.

It is now a given that workplaces must be ergonomically sound, prioritise biophilic design (good air quality, filtered water, indoor greenery and natural lighting), feature up-to-date technology and be adaptive to work patterns.

Co-working spaces are on the rise, fostering collaboration and networking; however, fully open plan is on the decline, with clients opting for a series of zoned areas, now recognising the need for focused and quiet work areas. Workplaces are becoming more and more hotel-like in their relaxed, semi-luxe approach where such added comforts as a gym, café, yoga and meditation room, crèche or bicycle storage mean increased employee retention and the cultivation of a

meaningful workplace experience. For those who are really progressive, employees are consulted on their needs. If you do not have the budget for in-house massage consultation, there are still myriad innovative, design products on offer.

Seating options used to define space and create intimacy in private and public contexts are at hand. From CULT, GamFratesi’s Silhouette sofa series, launched in Milan in 2018, is characterised by the smooth curve of the sofa’s back, which seamlessly combines a strong character with a simple, organic expression. Alternatively, the Dapper lounge chair, designed by Doshi Levien for HAY, has an extra wide backrest for comfort and optimal elbow support for laptop work.

Launching soon from Zenith Interiors comes the Brunner – A-Collection, featuring a leading stacking chair, bench and lounge. Designed by Stuttgart designers Markus Jehs and Jürgen Laub, jehs+laub, the A-Bench has a multitude of uses – from co-working spaces to lounge and entranceway areas. For a seamless aesthetic, it can be paired with the matching A-Table.

Two new release products from Stylecraft have been designed to evolve with the dynamic needs of today’s workplaces by being moveable and reconfigurable. Ideal for lobbies,

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collaborative work zones and public spaces, the Kiik by Arper, designed by Iwasaki Design Studio, is a highly configurable modular collection of seating, triangular, circular, square or rectangular tables and consoles where diverse configurations can be combined to create bespoke spaces to work and meet. On the other hand, designed by Ross Gardam and manufactured in Australia, Adapt offers a diverse range of possible compositions – a curved lounge, ottoman, midback and high-back lounge, as well as connecting side tables and occasional tables to ensure a cohesive design language.

A savvy and ergonomic desk chair option, available from Design Nation (previously Café Culture + In Situ) is the Pure Loop Binuance desk chair designed by Claus Breinholt. Featuring a single shell piece with reinforced fibreglass construction, the chair comes in a multitude of colours and finishes. Alternatively, the Spy 652 Steel armchair by Billiani, designed by Emilio Nanni, boldly and freshly expresses the classic characteristics of comfort. Carefully modelled on the upholstered spy shell, the Spy 652 Steel is a striking and stylish designed variant of the Spy armchair; however, this time with a metal base.

Tony Chenchow proposes the design challenge for workplaces nowadays is to “balance design for open plan with the need for interpersonal interaction, collaboration and networking versus privacy, focused work time and meetings between staff and clients when required”. One can effectively zone a space, without needing to use physical brick and mortar.

The Cohabitate palette from The Colour Library Volume 11 – Colour Conscience from Haymes uses colour to create spaces that foster conversation and togetherness, while still allowing a space to have a range of multipurpose breakout areas.

This palette posits pastels as neutrals, with light sorbet shades that invigorate and uplift the energy of a space.

For a seamless appearance in flooring, Haven

by Shaw Contract is a carpet tile collection available in six styles and a range of sizes. The product is Cradle to Cradle Silver Certified, Red List Chemical Free and contributes credits toward LEED (Leadership in Energy and Environmental Design), WELL and Green Star Certification.

John Crews, design manager of Shaw Contract’s Lifestyle Studio, notes, “The Haven collection celebrates the increasing fluidity between our work life and our home life, drawing inspiration from qualities including well-being, warmth and a sense of place.”

Fluidity and adaptability from collaborative spaces to private areas for focus may also dictate choices in desk design. From Interstudio comes the Talent 500 table from Actiu, perfect for the agile workplace. If an area needs to be changed from a workplace to a conference area, the tables can be flipped and concertinaed to take up minimal space. Michelle Kearney, managing director at Interstudio, notes, “A healthy work environment is fostered through not only height adjustable modes for the consumer, but also the effortless reconfiguration and adaptability of

the workplace with minimal exertion. People can create fun work zones, adding to wellness and increased interaction.”

For a desk option with discreet integrated technology the ETO desk by Tom Fereday for King Living will launch in 2019. Offering interchangeable lighting and charging accessories, by integrating power, wireless charging and lighting seamlessly into one sophisticated minimal design, the ETO allows people to customise the table to suit their needs.

Further, a slim integrated drawer unit offers storage for everyday desk items such as laptops and stationery – removing any unnecessary clutter.

Wokplace kitchens can unfortunately also feature unsightly clutter. However, the winner of a 2018 Good Design Award, the Miele TwoInOne cooktop provides a new approach to kitchen design. Combining two products (a fully functional advanced induction hob and an integrated downdraught extractor) the Miele TwoInOne is a stylish, easy to use and convenient appliance that can be weaved seamlessly into any office kitchen. The TwoInOne allows for removal of unwanted food odours and for the quick preparation of your lunch during your break. Further, it ensures unobstructed views, making it ideal for office kitchens where overhead cabinets or conventional rangehoods may detract from the design.

With challenges such as noise or water dripping on the bathroom floor, Dyson has re-

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below top—Talent 500 table from Actiu with Interstudio. below bottom—Kiik by Arper, designed by Iwasaki Design Studio available from Stylecraft

engineered the existing Airblade tap hand dryer, to reduce loudness while maintaining a fast dry time. It effectively combines a tap and a hand dryer that dries hands in 14 seconds with HEPA (high-efficiency particulate arrestance)-filtered air in a single touchless unit. The multifunction design not only helps to save space in the washroom, but is also up to 39 percent quieter than its predecessor, with improved sound quality and efficiency. For those who need shower facilities for employees who exercise or cycle to work, Methven’s Turoa VJet Collection, including high-grade stainless steel tapware, showers and matching accessories, provides a modern, minimalist aesthetic with durability at the forefront of its design.

For a classic and organic aesthetic in bathroom basins, the In-Out pedestal basin

by Benedini Associati for Agape, available at Artedomus, is made from white exmar. The InOut washbasin features a wide circular shape surrounded by a slim edge and supported overall by a cylindrical volume. Recently featured in Memocorp’s new Sydney offices designed by The Stella Collective, the In-Out is suited for the design conscious workplace. Additionally, an innovative choice for the bathroom, from Roca comes the In-Wash Inspira smart toilet. Brand manager Dianna Hanna notes, “In the era of smartness, the In-Wash Inspira is an exceptional toilet with technology for personal hygiene that provides total cleaning, comfort and care, and features adjustable water and air pressure,

an LED night light, auto cleaning nozzle, user detection and many other capabilities.”

The inclusion of indoor greenery to create a feeling of nature, enhanced air qualities and strong biophilic design principles is paramount.

At BresicWhitney, Chenchow Little featured a horizontal planter box filled with indoor plants to act as a privacy barrier to the outdoors and soften the industrial interior. Newly launched, the Vessels MS-FX, designed by Vessel Architectural Pottery and available at Design Nation, is a contemporary metal planter stand that can add a striking feature to any interior and exterior spaces in the workplace. Available in black, the stand is suitable for supporting the Vessel FX ceramic planter, perfect for that desirable ficus lyrata or monstera deliciosa.

Tony Chenchow concludes, “There is a move away from commercially oriented palettes and generic open plan spaces. Clients want a specific, tailor made space that suits their culture and workplan – a reflection of more than just an office. It is no longer a one-size-fits-all.” As companies and ways of working evolve, designers are prioritising sustainability and adaptability in design, as well as employee and client wellness and experience, where inclusive elements like collaborative spaces, colours, textures, air quality, thermal comfort and ergonomic furniture can add to happiness and levels of well-being. More and more people are working everywhere, anywhere and at anytime of day; workplaces need to reflect this and blur the lines between work and play.

1. Smart Toilet, In-wash Inspira from Roca.

2. Dyson Airblade Wash+Dry hand dryer.

3. Miele TwoInOne Cooktop.

4. In-Out Pedestal Basin designed by Benedini Associati for Agape at Memocorp in Sydney, Australia designed by The Stella Collective.

Photography: Peter Clarke

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FO L I O S H OW

Folio show

Australian Trellis Doors Co H&M shopfront windows

Ilve Artusi BBQ Italian appliance brand Artusi has crafted a barbecue for the true cooking enthusiast who appreciates sophisticated outdoor design.

Manufactured in Italy, the marine grade stainless steel barbecue features four burners, a cast-iron plate, two ribbed griddle plates and side knob controls.

The built-in feature maximises space and makes the alfresco area appear as a second kitchen space. ilve.com.au

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The Australian Trellis Doors Co (ATDC) has installed retractable security shutters across three adjacent shopfront windows for global retailer H&M in Adelaide. By configuring these doors on a side-by-side parallel set of top tracks, ATDC was able to install them in a way that they all overlapped each other and folded back to a common storage bay.

This was made achievable through the use of multiple up/down locking mechanisms, which created a seamless lock-up situation. For further information on ATDCâ&#x20AC;&#x2122;s full range of commercial security shutters, call 1800 657 435 or visit the website. trellisdoors.com.au

UCI ahead of the game When it comes to sit-to-stand workstations UCI is ahead of the game with Interchange and Paradigm, as both products provide optimum dimensions, safety, stability, durability and strength for sit-to-stand workstations.

Paradigm was the first sit-to-stand workstation to receive full certification and was developed by UCI through extensive research into flexible working environments that improve productivity.

Interchange is founded on principles of flexibility and adaptability and the designer has the opportunity to configure the product in whichever way best suits the setting.

Both Interchange and Paradigm have been certified to the new Australian Standards by Furntech (AFRDI). uci.com.au

Dyson Dyson Airblade Wash+Dry The new Dyson Airblade Wash+Dry hand dryer combines a tap and hand dryer that dries hands in 14 seconds with HEPA filtered air â&#x20AC;&#x201C; all in a single touchless unit. The multifunction design helps to save space in the washroom and reduces water drippage on the floor. The Dyson Airblade Wash+Dry hand dryer costs an average of just $113 per year to run.

That is up to 79 percent less than some other hand dryers and up to 96 percent less than paper towels. It has a lower environmental impact than other hand drying methods, producing only 3.6 grams of carbon dioxide per dry. dyson.com.au/hand-dryers/airblade-wash-and-dry

Halliday + Baillie HB640 series The Halliday + Baillie narrow flush sliding door lock provides a seamless and flush solution for narrow aluminium and steel joinery.

Halliday + Baillie is proud to announce that it has recently collaborated with ALSPEC (aluminium systems specialist) to design and tweak special parts to perfectly fit the HB640 series and to officially launch the Halliday + Baillie sliding lock range as a major part of its offering into its Proglide and Hawkesbury Top Hung and SwanEvo range.

Launching 30 August â&#x20AC;&#x201C; see your Halliday + Baillie or Alspec representative for a manual and further information. hallidaybaillie.com alspec.com.au

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H AY M E S

The Artisan collection Haymes has been an integral member of the Australian product landscape since 1935 when the paint company was established in Ballarat, country Victoria. Haymes is family owned and now, with the fourth generation working in the business, the future is even brighter. The company is forging ahead, breaking new ground with innovative and quality products, and is perfectly placed at the apex of creativity and design in colour.

As a local manufacturer, Haymes is a proud Australian company and brings expertise developed over the last 84 years to the architecture and design community. Its products reflect a world market and every year the ranges are refined, additional colours included and new collections introduced. With the specifier market in mind, texture and finish are incorporated into multiple colour spectrums and the forward planning

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of products incorporates future design trends that enhance requirements for today and forecast tomorrow’s style with substance.

The Artisan collection is just such a comprehensive range, comprising three groups of textural products that stand alone, but also complement each other – Surface, Metallic and Textures.

There is so much more to colouring the interior these days and paint can add the subtlety of texture and warmth, introducing layers of paint styles and colour to increase interest and complexity to a project. Haymes has developed an inspirational range of products with the Artisan collection and the application is only limited by the imagination.

In Surface the colours explore the nuances of concrete, cement, rock and stone through individual groupings that are Industrial, Bloom, Gravity and Brushed.

Metallics presents the variety of metal finishes such as copper and gold, iron and silver with a beautiful addition of Oxidising Patina that adds just that – an oxidised and aged patina to a surface.

Textures has been divided into four areas, Rendercoat, Soft Chalk, Mortar and Sand, and explores the touch of natural finishes.

The Artisan collection is an eclectic and dynamic spectrum of colours and textures that allows for any and every application and style of design to be explored.

With quality, inventive and creative product Haymes’ Artisan collection is an essential tool when designing interiors. It’s a case of allowing the Artisan products to make the difference.

Haymes paints are available from selected stockists around the country.

haymespaint.com.au/artisan-collection

A Czech-style lager, brewed in Tasmania.

Rules are meant to be broken.

Pilsner

S P OTL I G H T

ST Y L EC R A FT

Kiik – Iwasaki Design Studio – Arper Kiik is a modular solution for contemporary communication.

“Designing Kiik really started by observing public spaces like parks, museums, airports – places where people are on the move,” says Kiik designer Ichiro Iwasaki. “Today, public spaces are dynamic and active, and they accommodate a range of needs: stillness and motion, activity and rest, work life and private life, easiness and seriousness.”

Born in Tokyo but with a background in Italian design, Iwasaki’s design practice has ranged from household goods to electronics to furniture, including Arper’s Pix collection, which is also available through Stylecraft.

Iwasaki’s observations of the way people communicate and occupy space, whether alone or in groups, led him to realise there was a need for a

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modular system that would allow a range of contemporary working and collaborating positions within a single unified aesthetic.

Comprising ‘islands for gathering’ and ‘constellations for activity’, Kiik from Arper occupies the zones between entry and departure, between waiting and doing. Highly configurable, the modular collection of seating comprises two, three or four upholstered seat modules on a steel frame (with or without a backrest), plus tables, ottoman and consoles.

Comfortable and gorgeously executed, Kiik draws on Iwasaki’s Japanese heritage. “In Asia, you see people sitting on the floor or on low seats.

Naturally, you are led to take a more relaxed position – like stretching your arms behind you, for example. The ottoman and low table combination encourages a relaxed and highly open

way of sitting… I think of this as a very contemporary style of seating that is in harmony with the needs of today.”

Complementing the range is a series of console tables, available in three heights, as well as a generous Kiik ottoman, which can be used alone or as a continuation of the modular system. Upholstery options include a selection of fabric or leather from Arper’s house range, while the steel is finished in a matt black powder-coat, with aluminium legs offered in the choice of polished or powder-coated black. Consoles and fixed side tables are finished in a natural or black oak laminate. With application across waiting rooms, university lounges, workspaces, meeting areas and mixeduse spaces, its modular nature and material options, Kiik is a beautiful and complementary addition to any context. stylecraft.com.au

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L AST WOR D

Sofa

The great novelist Haruki Murakami, in his novel Hard-boiled Wonderland and the End of the World, makes salient the ubiquitous search for the perfect sofa, or as he puts it “that sofa among sofas”.

Hard Boiled Wonderland and the End of the World (excerpt) Haruki Murakami (translated by Alfred Birnbaum) Doing different tabulation jobs, I’ve slept on a lot of sofas, and let me tell you, the comfortable ones are few and far between. Typically, they’re cheap deadweight. Even the most luxuriouslooking sofas are a disappointment when you actually try to sleep on them. I never understand how people can be lax about choosing sofas.

I always say – a prejudice on my part, I’m sure – you can tell a lot about a person’s character from his choice of sofa. Sofas constitute a realm inviolate unto themselves. This, however, is something that only those who have grown up sitting on good sofas will appreciate. It’s like growing up reading good books or listening to good music.

One good sofa breeds another good sofa; one bad sofa breeds another bad sofa. That’s how it goes.

There are people who drive luxury cars, but have only second- or thirdrate sofas in their homes. I put little trust in such people. An expensive automobile may well be worth its price, but it’s only an expensive automobile. If you have the money, you can buy it, anyone can buy it.

Procuring a good sofa, on the other hand, requires style and experience and philosophy. It takes money, yes, but you also need a vision of the superior sofa. That sofa among sofas.

The sofa I presently stretched out on was first-class, no doubt about it.

Hard-boiled Wonderland and the End of the World, Vintage, 2003, 400 pages, ISBN 0099448785, 9780099448785

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below—Adam Goodrum, Aran sofa, NAU Cult.

Image Brooke Holm

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