1+1 Magazine by Eunice Neo

ALSO FEATURING JULIEN DE SMEDT MAASKANT PRIZE FOR YOUNG ARCHITECTS TOSHIBA MILANO SALONE

01 DECEMBER 2011

EPIC ARCHITECTURE A NEW SPACE FOR MUSIC

PAIRING

PERFECT

EDITOR’S NOTE

RETREAT “If we were to look among the wealth of our vocabulary for verbs that express the dynamics of retreat, we should find images based on animal movements of withdrawal, movements that are engraved in our muscles.”

Dear Readers, “If we were to look among the wealth of our vocabulary for verbs that express the dynamics of retreat, we should find images based on animal movements of withdrawal, movements that are engraved in our muscles.” - Gaston Bachelard, The Poetics of Space I tend to agree with this idea. There is such animal instinct to the act of finding or creating a retreat. These ‘movements’ are a part of our human experience, and often it’s this instinct that draws us to the most interesting places. ‘Engraved’, as Gaston Bachelard once put it, is our propensity to react against the routime of a daily life. The retreat, be it seasonal or life changing, calls us to roam freely and discover new pastures. We do this, as animals do, to find or create a new form of comfort and wellbeing. A holiday house is simply the built manufestation of that urge. It’s a place where we can rest and indulge in the sensory experience of being surrounded by nature. Bachelard quotes a favourite artist of his, Maurice de Vlaminck, in his classic text: “The well-being feel, seated in front of my fire, while bad weather rages out-of-doors, is entirely animal. A rat in its hole, a rabbit in its burrow, cows in the stable, must all feel the same contentment that i feel...”

1+1, 01 takes a look at the design aspects that go into making the ‘alternative’ home of the retreat a reality. Be it a small shack, dusty as a nest, or a holiday house as opulent as the Ritz, the most important thing is that it is a place of escape. Inevitably then, the nation of the retreat also carries with it a connotation of remoteness. As retreating relates to the idea of being detached, being in a remote location is often the whole point. Running with this concept, this edition of 1+1 explores a contemporary definition of retreat in Australian, Japan and a few other countries, both country and distant. On a completely different note, this issue of 1+1 also features the shortlist for our 2011 Interior Design Excellence Awards, which can be found as a supplement on the reverse of this issue. let your nose lead you where you like. Philippe Starck, Editor

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EDITORIAL editor in chief Melvin Ward mel.warc@acp.com.au editor Philippe Starck philippe.starck@acp.com.au sydney editor Gillian Serisier gillian.serisier@acp.com.au singapore editor Issac Chan issac.chan@acp.com.sg online editor Alexa Kempton alexa.kempton@acp.com.au contributors Iwan Baan, Danilo Capasso, Jackie Meiring, Ben Hosking,Trevor Mein, Patrick Reynolds, Anson Smart ART DIRECTOR art director Sabine Selbach sabine.selbach@acp.com.au designer Lisa Starkey lisa.starkey@acp.com.au ADVERTISING & MARKETING national advertising manager Angela Washington angela.washington@acp.com.au DID +61 3 9948 4975 account executive Jarrold Tham jarrold.tham@acp.com.au DID +61 3 9967 5678 PUBLISHING publisher Acp Magazine Ltd chairman Aiffel Dower

1+1 is a publication of ACP Magazine Ltd 317 Outram Rd, #03-01a Holiday Inn Atrium Sâ&#x20AC;&#x2122;pore Hotel, Shopping Centre, Singapore 169075 T: +(65) 6227 7900 Fax: +(65) 6227 7002 Architecture PLUS Interior

1+1 ISSN 1326 9631 @ 2011 ACP Magazine Ltd. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, internet, or otherwise, without the prior written permission of the publishers. While every effort has been made to ensure the accuracy of the information in this publication, the publishers accept no responsibility or liability for any errors, omissions or resultant consequences including any loss or damage arising from reliance on information in this publication, the views expressed in this publication are not neccessarily by the editor, publisher or acp magazine ltd.

CONTENTS

ON THE COVER

EDITOR’S NOTE

001 Retreat by Philippe Starck

LATEST NEWS

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San Diego Planning Commission has approved Zaha Hadid’s La Jolla Residence. Along with the San Diego firm Public, Hadid will demolish an existing house on a half-acre site at 8490 Whale Watch Way, replacing it with a 12,700 square foot home comprised of four bedrooms, six bathrooms, and an indoor pool. The firm has described the home as an “introverted sculptural structure.”

NEW ARCHITECTURE : Zaha Hadid is Coming to San Diego

The La Jolla Community Planning Association responded to unsupportive neighbors by appealing the owners’ application for a Coastal Development permit. Residents were concerned by the radical appearance in comparison to the rest of the neighborhood homes. Association member Dale Naegle stated, “If we approve this we might as well abandon our La Jolla Shores Planned District Ordinance…It is a beautiful house, but it doesn’t fit.”

PRODUCT NEWS : Living Edges’s Windows to Christmas

Living Edge are getting into the Christmas spirit with a fun and festive window display. It’s beginning to look a lot like Christmas at Living Edge’s residential studio in Sydney’s Surry Hills and new Richmond showroom in Melbourne. Visual merchandiser and installation artist Missy Gilbert has teamed up with Living Edge’s senior graphic artist Kate Lochrin to create playful window displays, inspired by the fun and joy of wrapped gifts under the Christmas tree.

Tribal DDB Amsterdam is a highly ranked digital marketing agency and part of DDB international, worldwide one of the largest advertising offices. i29 interior architects designed their new offices for about 80 people. The goal was to create an environment where creative interaction was supported and to achieve as much workplaces as possible in a new structure with flexible desks and a large open space. The design had to reflect an identity that is friendly and playful but also professional and serious. The contradictions within these questions, asked for choices that allow great flexibility in the design. Situated in a building where some structural parts could not be changed it was a challenge to integrate these elements in the design and become an addition to the whole. The architects searched for solutions to various problems which could be addressed by one grand gesture. At first a material which could be an alternative to the ceiling system, but also to cover and integrate structural parts like a big round staircase.

Architecture PLUS Interior

Can you guess what’s under the Living Edge tree? The installations coincide with Living Edge’s Eames Rocker promotion, with customers given the opportunity to purchase a white Eames Rocker for $650, from 1 December until stocks last.

INTERIOR : Tribal DDB office

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DESIGNER CIRCLE

JULIEN DE SMEDT AWARDED THE SKANT PRIZE FOR YOUNG ARCHITECTS Architecture PLUS Interior

DESIGNER CIRCLE

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The Belgian architect Julien De Smedt (b. 1975) of JDS Architects has been awarded the Rotterdam-Maaskant Prize for Young Architects.

Architecture PLUS Interior

he prize goes to De Smedt because he combines typological innovation and largeness of scale with an eye for detail and special attention for the user in a natural way. De Smedt’s work covers a remarkable range of programs and scales: from interiors to large housing projects, from architecture to urban design. His qualities as an architect have been amply demonstrated in a considerable number of designs. This outcome, at this age, means that De Smedt clearly stands out from his peers in the view of the jury. De Smedt was born on December 3rd 1975 in brussels, belgium to french art enthusiast jacques léobold and belgian artist claude de smedt. After attending schools in Brussels (St. Luc, Camnre, Sint Lukas), Paris (Belleville) and Los Angeles (SCI-Arc), he received his diploma from the Bartlett school of architecture, London, in 2000. During 1997-1998 and 2000-2001, he worked at Oma, Rotterdam. In 2001 he co-founded the office plot. Among other awards and recognition titile, he received the Henning Larsen Prize in 2003 and an Eckersberg medal in 2005. In 2004, the Stavanger Concert Hall was appointed world’s best concert hall at the Venice Biennale and The Maritime Youth House was nominated for the Mies Van Der Rohe award and won the AR+D award in London. In 2006 Julien De Smedt founded his current office, JDS, in Copenhagen. In 2007, he won the international competiiton for the new Holmenkollen Skijump in Oslo, Norway. Currently under completion for the world championships 2011. In 2008, JDS opened offices in Brussels and Oslo. In 2009 the mountain dwelling project received the price of the best resident building at the world architecture festival in Bercelona and at MIPIM in Cannes. JDS is the laureate of the Dutch Maaskant Prize 2009. Julien De Smedt taught as guest professor at Rice University, Houston, Texas and at the University of Kentucky. He lectured among other places at Harvard University; Sendai mediatheque, Japan; Architectural Assocaiation of Ireland; Tate modern, London; Mies Van Der Rohe Pavilion, Barcelona; Pavillon De L’arsenal, Paris; Yale University and etc.

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DESIGNER CIRCLE What is the best moment of the day? Lunch break with friends or collaborators…

What kind of music do you listen to at the moment? Jazz, electronic, hip-hop… it’s all black.

Do you listen to the radio? No.

What books do you have on your bedside table? I don’t read in bed… I read in cabs, trains, planes… whenever I’m on the move… right now i’m reading the new german gestaltung edited by max borka.

Do you read design / architecture / fashion magazines? Not really… it’s always the same: the first 5 minutes you’re excited by seeing ‘new’ things and the next 5 minutes you get an indigestion…

Do you have any pets? Not anymore… as a kid I had cats, squirrels and even a snake!

When you were a child, did you wantto become an architect ? As a kid I don’t remember. as a teenager I was too busy skateboarding… which in a way put me constantly in an urban context and initiated my interest in urban conditions. I decided to be an architect at 16.

Where do you work on your designs and projects? Everywhere… i’m forced to because I travel constantly… this is something I’d like to change. I miss staying at the office.

Describe your style, like a good friend of yours would describe it. Architecture PLUS Interior

I work on social issues… all my projects aim at activating social interactions and urban contexts… I don’t have a style per say… let’s say it’s contemporary and challenging.

Please describe an evolution in your work, from your first projects to the present day.

“ I WORK ON SOCIAL ISSUES... ALL MY PROJECTS AIM AT ACTIVATING SOCIAL INTERACTIONS AND URBAN CONTEXTS... I DONT’T HAVE A STYLE PER SAY... LET’S SAY IT’S CONTEMPORARY AND CHALLENGING.”

that’s a rather demanding question… I’d like to think that we’re constantly evolving but I can also find continuity within our work… mostly I would say that I’m a little too young to have to consider the issue of evolution within my work. I have been working for only 10 years. What has evolved is our efficiency and our capacity at deciding what to do and what not to do…

In your opinion how has the perception of architecture changed in the last decade? Obviously it has changed massively…now people actually care about architecture. Architects are voted the sexiest professionals by vanity readers and brad pitt makes architecture. It’s great but also generates confusion…I think the state of crisis we’re in will somehow cure that problem. the positive aspect of that new power of architects is that it will make us more instrumental in dealing with the crisis… architects are problem solvers and that capacity can now be used to its full extend.

Did it happen that you modify your buildings during development because the client wanted something different? Of course it happens all the time… I believe in the client’s opinion as a positive input. the creative process shouldn’t be a lonely path… the more friction there is the better the project becomes.

What project has given you the most satisfaction? I designed a large urban waterfront for the city of rimini... it was a competition that we lost to jean nouvel and even though the project is probably not going to move on due to that I’m still really convinced that we made the right proposal for the conditions given,

DESIGNER CIRCLE past and future and that we would have modified it according to the citizens input... it’s a project for them and that was the most satisfying outcome of our design: to lay out a system able to mutate according to external inputs.

rocha, corbu (le corbusier), mies (mies van der rohe)… the list goes on

And those still working / contemporary? Nishizawa and sejima (SANAA)…

What advice would you give to the young? Who would you like to design something for? Bjork, gondry, jay-z, rodney mullen… people whose personality and production amaze me…

Is there any designer and/or architect from the past, you appreciate a lot?

Work with and against preconceived borders, with and against history, be critical and knowlegeable and HAVE FUN!

What are you afraid of regarding the future? I’m not afraid of the future…

There’s mostly people from the past that I appreciate… john lautner, verner panton, the eames, lina bo bardi, jean prouvé, mendes da

“AS A KID, I DON’T REMEMBER. AS A TEENAGER SKATEBORDING...WHICH IN A WAY PUT ME CONSTANTLY IN AN URBAN CONTEXT AND INITIATED MY INTEREST IN URBAN CONDITIONS. I DECIDED TO BE AN ARCHITECT AT 16.”

DESIGNER CIRCLE

PORTFOLIO : The Norwegian Steel Construction Prize 2011; Holmenkollen Ski Jump, Oslo, Norway,2011.

Rather than having a series of dispersed pavilions on szcommentators, the trainers, the Royal family, the VIPs, the wind screens, the circulations, the lobby, the entrance to the arena and the arena itself, the lounge for the skiers, the souvenir shop, the access to the existing museum, the viewing public square at the very top, everything, is contained into the shape of the jump. The resulting simplicity of the solution improves the experience of the spectators and brings clear focus to the skiers jumping. The ski jump is clad with a mesh of stainless steel and rises 58 meters in the air. Its 69m cantilever makes it the longest of its kind. On the first day of jumping tests, the record of the longest jump made at Holmenkollen was broken. Atop the ski jump is a platform where visitors can take in some of the most breathtaking views of Oslo, the fjord and the region beyond. Itâ&#x20AC;&#x2122;s a new form of public space, using an unlikely architectural form as its host, affording the same spectacular vantage point for everyone who comes to Holmenkollen.

ARTSCIENCE MUSEUM ----THE SHAPE OF THINGS TO COME ----08|01|12----20|01|12

Tonkin Liu London

Siba Sahabi Amsterdam

Nikolas Kerl Z端rich

Eva Beresin Wien

Ian Moore Surry Hills

COVER STORY

EPIC ARCHITE CTURE

A NEW SPACE FO

COVER STORY

R MUSIC How a once-stalled Frank Gehry project became one of his triumphs.

ith its exuberant, swooping facade, Frank Gehry’s newest building, the Walt Disney Concert Hall in downtown Los Angeles, looks anything but old-fashioned. And yet in at least one way, it’s an architectural throwback. In an era when office parks, suburban developments, and even skyscrapers seem to zoom to completion in a matter of months, the $274 million hall, which opens Oct. 23 with three nights of inaugural performances by the L.A. Philharmonic, recalls the days when significant public buildings sometimes took decades to finish. It wasn’t planned that way, of course. The project had its start back in 1987, with a $50 million gift from Walt Disney’s widow, Lillian. Working with a Japanese acoustician named Yasuhisa Toyota, Gehry quickly produced some very promising preliminary designs. The building seemed destined to be not just Gehry’s most important in Southern California, where he’s lived for nearly 60 of his 74 years, but among the most important of his career.

COVER STORY

The exterior of the Concert Hall will be clad in a flower-like wrapper of Italian limestone and stainless steel.

Then, in the mid-1990s, a ballooning budget, fund-raising troubles, and other problems stalled the project. It wasn’t revived until 1997, when it received a new infusion of cash from the Disney family and others. That year saw the opening of Gehry’s Guggenheim Museum in Bilbao, Spain, which turned Gehry into a world-famous “starchitect,” doing exactly for his reputation what Disney Hall was supposed to. And indeed the two buildings have a lot in common: Both are composed of a jumble of organic forms sheathed in gleaming, windowless metal panels. Is the long-delayed Disney Hall, then, just a consolation prize for Los Angeles? Does one of the biggest cities in the world find itself in the odd position of playing second fiddle to a Basque regional capital with a population under 400,000? Not exactly. The building is a fantastic piece of architecture—assured and vibrant and worth waiting for. It has its own personality, instead of being anything close to a Bilbao rehash. And surprisingly enough, it turns out that all of those postponements and budget battles have been a boon for the hall’s design. What the finished product makes most clear is that

COVER STORY

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like plenty of artists, Frank Gehry tends to work better with restrictions, whether they’re physical, financial, or spatial. Without them, his work tends to sprawl not just figuratively but literally. Even though it cost more than a quarter of a billion dollars and covers 293,000 square feet, Disney Hall is a tighter, more focused effort than many of those Gehry has produced after Bilbao, when the commissions came rolling in, his budgets suddenly became freer, and he found himself with clients perhaps less likely to challenge his authority. The hall manages to be at once lean and the other aesthetic. Gehry had many years to tweak the project, and he’s managed to polish it without sacrificing any of its vitality. Like a lot of Gehry’s work, the new building relates remarkably well to the city, though the visual fireworks of its facade and its plush interior spaces may well distract a lot of people-ic and the Academy Awards and today hosts neither. That tension continues inside. There is a small performance and lecture space, for example, that Gehry created simply by stretching out one rounded corner of the huge lobby until it was big enough to operate as a quasi-separate room. It’s a setting for chamber music and pre-concert lectures that

Architecture PLUS Interior

“IT IS A BUILDING WHERE THE MEMBERS OF A DEMOCRACY CAN GO TO FEEL REFINED, TO BE LIFTED FROM THE EVERYDAY.”

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COVER STORY

Architecture PLUS Interior

didn’t require any new walls or floors or even a stage. It makes something remarkable out of nothing. Other details in the lobby, from the walls lined in Douglas fir to the remarkable treelike columns promote a dreamlike and otherworldly feel, a detachment from the hustle-bustle and the grime of the city. But the lobby is also open to everybody: You don’t need a ticket to walk through it, as is the case in many concert halls. This is an old-school public space in the tradition of Grand Central Terminal or Bertram Goodhue’s low-slung central branch of the Los Angeles Public Library, which is only a few blocks away from the new hall. There is still more productive tension inside the auditorium itself, which holds about 2,200 people and during daytime performances will be naturally lit by mostly hidden skylights and one tall window. The free-flowing, organic forms that Gehry loves to use are offset by the rigorous acoustic demands that any architect of a concert hall has to contend with. As it turns out, Frank Gehry and concert halls are well-matched. Acousticians have realized over the last few decades that convex or outwardly bulging—curves can be very effective, bouncing and dispersing sound waves produced by an orchestra. And in buildings from Paris to Seattle, Gehry has produced what easily qualifies as architecture’s most varied and complete collection of convex curves. There’s no definitive word yet on whether Disney Hall’s acoustics are indeed good; the orchestra’s first performance is still a few days away. But the early word from the musicians, who began rehearsing in the new auditorium over the summer, has been positive. All of these dualities are fitting for a concert hall. An attraction of going to the symphony is trading in your regular self for a better-dressed, more cultured one.

COVER STORY

Architecture PLUS Interior

Symphony orchestras these days are looking for ways to attract younger, hipper audiences as their core supporters grow older, while at the same time preserving the sense of refuge that will always be classical music’s main drawing card. Gehry’s design cleverly explores both sides of that divide: It is a building where the members of a democracy can go to feel refined, to be lifted from the everyday. Gehry, along with a few of his more admiring critics, likes to define himself as a combination of artist and architect. That job description suggests that he envies the kind of pure creation that painters and sculptors can indulge in, distant from the demands of zoning boards, engineers, and French horn players. But in fact the Disney Concert Hall seems to make the opposite case about his talents. It’s full of evidence that Gehry is an architect in the most public-minded and collaborative senses of the word — that he’s a master at figuring out ways to allow inspiration to serve practicality, and vice versa.

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I DON’T KNOW IF I AM USEFUL FOR THIS.

www.vives.com

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PORTFOLIO OUTSIGHT

Architecture PLUS Interior

Architects: Heatherwick studio Location: Shanghai, China Project Year: 2010 Photographs: I単igo Bujedo Aguirre

PORTFOLIO OUTSIGHT

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UK PAVILION FOR SHANGHAI EXPO

The UK Pavilion has been designed by Heatherwick Studio. Led by the internationally-acclaimed Thomas Heatherwick, his design team won the Foreign & Commonwealth Office (FCO) commission to create the Pavilion following a competition that attracted a shortlist of ambitious architectural proposals.

Architecture PLUS Interior

PORTFOLIO OUTSIGHT

eatherwick Studio’s initial design strategy for the UK Pavilion established three aims to meet the FCO’s key expectation that the pavilion should become one of the five most popular attractions at the Expo. The first aim was to design a pavilion whose architecture was a direct manifestation of what it was exhibiting. The second idea was to ensure a significant area of open public space around it so visitors could relax and choose either to enter the pavilion building, or see it clearly from a calm, non-queuing vantage point. And thirdly, it would be unique among the hundreds of other competing pavilions, events and programmes. Heatherwick Studio sought an approach that would engage meaningfully with Shanghai Expo’s theme, Better City, Better Life, and stand out from the anticipated trend for technology driven pavilions, filled with audio-visual content on screens, projections and speakers. In collaboration with a wider project team, the studio developed the idea of the UK Pavilion exploring the relationship between nature and cities. Rather than creating a conventional advertisement

for the UK, this was a subject that could make a real contribution to the Expo’s theme; London is the greenest city of its size in the world, the UK pioneered the world’s first ever public park and the world’s first major botanical institution, the Royal Botanic Gardens at Kew The design process evolved to produce two interlinked and experiential elements: an architecturally iconic Seed Cathedral, and a multilayered landscape treatment of the 6,000m2 site. The Seed Cathedral sits in the centre of the UK Pavilion’s site, 20 metres in height, formed from 60,000 slender transparent fibre optic rods, each 7.5 metres long and each encasing one or more seeds at its tip. During the day, they draw daylight inwards to illuminate the interior. At night, light sources inside each rod allow the whole structure to glow. As the wind moves past, the building and its optic “hairs” gently move to create a dynamic effect.

PORTFOLIO OUTSIGHT Heatherwick previously experimented with texture and architecture at a much smaller scale with his Sitooterie projects. The Seed Cathedral is the ultimate development of this. Inside the darkened inner sanctum of the Seed Cathedral, the tips of the fibre optic filaments form an apparently hovering galaxy of slim vitrines containing a vast array of embedded seeds. Among the Expo’s sea of hard surfaces, the Seed Cathedral’s surrounding landscape is conceived to act as a continuation of the building’s texture. A special artificial grass surface has been uniquely developed to act as a welcoming and restful public space for Expo visitors. Beneath the Seed Cathedral and the landscaped surface area is a canopied and naturally ventilated entrance and exit sequence for the Seed Cathedral. This circulation zone, running along three edges of the site, contains a narrative of three innovative environmental installations designed by Londonbased design studio, Troika. They are: Green City, Open City, and Living City. Below the circulation zone is a further layer of spaces which can be used for cultural

and commercial events hosted by the Foreign and Commonwealth Office and is available to hire by other organisations throughout the duration of the Expo. The UK Foreign & Commonwealth Office believe that the Seed Cathedral and UK Pavilion site will prove to be one of the Shanghai Expo’s star attractions. Even before the start of the Shanghai Expo, that belief already has some substance; ever since Heatherwick Studio’s design was first publicised in Shanghai in 2009, along with the scores of other national pavilion designs, it has been consistently ranked in the top five in terms of public popularity, and the Seed Cathedral has already been nick-named Pu Gong Ying, translated as ‘The Dandelion’ by the Chinese public. After the Expo just as dandelion seeds are blown away and disperse on the breeze, the Seed Cathedral’s 60,000 optic hairs, each one containing the huge potential of life, will be distributed across China and the UK to hundreds of schools as a special legacy of the UK Pavilion at the 2010 Shanghai Expo.

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PORTFOLIO INSIGHT

Architecture PLUS Interior

YARRA LANE PRECINCT HASSELL

PORTFOLIO INSIGHT

Architecture PLUS Interior

Architects: Hassell Location: Melbourne, VIC, Australia Project Year: 2010 Photographs: Courtesy of Hassell

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PORTFOLIO INSIGHT

The design of South Yarra’s vibrant new Yarra Lane Precinct has seen HASSELL win a 2011 Melbourne Design Award. The team won the Interior Design, Hospitality award for their work on the precinct and its three exciting new dining venues: Outpost Dining Room, Mopho Noodle Bar and Deba Sushi Bar. MoPho Noodle Bar

Outpost Dinning Room

Deba Sushi Bar

Architecture PLUS Interior

eveloper Michael Yates wanted the laneway, which runs off Melbourne’s lively Chapel Street, to be characterized by a diverse mix of individual shops – a village high street – that encouraged street activation and vibrancy. With this in mind, our designers created a unique identity for the precinct and each of its new restaurants. In all three instances, the shop fronts are designed to reflect the nature of the dining character inside. They not only hint at the interior experience but also open out, allowing food collaboration to spill into this exciting new commercial precinct.

PORTFOLIO INSIGHT

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MoPho Noodle Bar Mopho Noodle was designed to respond to Executive Chef Benjamin Cooper’s panAsian culinary style. Elements of a hawker’s bazaar are evident at Mopho, which features an exposed dry store and an array of shelves, hangers and pendant lights dappled throughout. The dry store lined walls are screened by a collection of custom patterned bamboo panels, referencing the various regional influences on Cooper’s food. The stitched fabric ceiling, hung loosely, evokes a canopy, depicting abstract images of cheeky Shanghai models from Deba is a sushi bar, located at the the 1950s. Mopho Noodle is a balance of entry of lively Yarra Lane, South Yarra. bold complexities, adhering to a philosophy Shielded by heavy white cyprus battens, that creates a powerful dining experience. the space is quiet and contemplative. The use of gloss white tiling edged in timber emulates the cleanliness of a Japanese bath house, while the Koi fish mosaic and noren curtains evoke the serenity of a Japanese tea garden. Deba, derived from the Japanese carving knife, Deba bocho, is designed for strength and precision. Like exquisitely executed sashimi, Deba is intricate, intimate and crafted beautifully.

Deba Sushi Bar

Outpost Dinning Room

Architecture PLUS Interior

Outpost Dining Room is an unabashed celebration of the food experience driven by the chef and owner’s desire to serve fresh ingredients in a simple way. Designed with a simple aesthetic in mind and leveraging off the neighbouring original Outpost cafe, the restaurant offers authentic, home-style dishes as a communal dining experience. An expressive use of materials and detailing establish a character reflective of the broader food experience. Limed timbers, tessellated tiling and hand crafted seating suggest that the warmth of a lingering communal food experience is as important as the food itself.

PORTFOLIO SHOW

Ligne Roset Bloom Celling Light Hiroshi Kawano, Japan A unique ceiling light from Japanese designer Hiroshi Kawano - a highly graphic creation which was discovered by Ligne Roset at the ‘Young Design Ausstellung’. The shade comprises black or white interlocking rings cut and interwoven polyurethane foam rings.

RED DOT

FOR THE WIN The annual Red Dot Awards honor the best in everyday design. Here are some of the winners.

Ploum Sofa Ronan & Erwan Bouroullec, France

Table B Table Konstantin Grcic, Germany The series of tables with extrudedalumunium tops with a minimal profile and for lengths of up 360 cm. It is offered in various finishes and with three models of legs. This table suitable for indoor and outdoor areas.

The Ploum settees are the result of the designer’ research into comfort, which led them to combine two specific materials : a stretchy covering fabric and an ultra-flexible foam.

Chasis Multi-Purpose Chair Stefan Diez, Germany The chair should form a bridge between working and living environments, it should be able to stand alone or grouped and combine functionality, industrial manufacturing precision and durability with economic advantages.

The Cabinetmakersâ&#x20AC;&#x2122; Autumn Exhibition 2011/2012 Red Dot Design Museum, Singapore. January 12 - March 28 2012