Indesign Issue 82 - Preview

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Issue #82 / Australia $16.50 / New Zealand $17.50 / Singapore $12.95 / U.S. $21.99

A professional resource for the design curious.

INDE.Awards Official Winners 2020 INDESIGN Luminary Penelope Forlano Winning Appliances Richmond Showroom, Cera Stribley The Lounge, University of New South Wales, Bates Smart Ocean Grove Surf Life Saving Club, Wood Marsh Indesign’s ‘Hospitable Design’ Issue

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I N D E S I G N I S B R O U G H T T O YO U B Y

CEO and Founder Raj Nandan raj@indesign.com.au

Lead Designer Louise Gault louise@indesign.com.au

Managing Director Kavita Lala kavita@indesign.com.au

Online Manager Radu Enache radu@indesign.com.au

Editor Alice Blackwood alice@indesign.com.au

Web Developer Ryan Sumners ryan@indesign.com.au

Acting Editor Jan Henderson jan@indesign.com.au

Indesign Correspondents Stephen Crafti (Melbourne) Mandi Keighran (London) Andrea Stevens (New Zealand)

Consulting Editor Paul McGillick Indesignlive Editor Vicki Wilson vicki@indesign.com.au Brand Director Colleen Black colleen@indesign.com.au Brand Director Dana Ciaccia dana@indesign.com.au Business Development Manager Brunetta Stocco brunetta@indesign.com.au Production and Projects Manager Brydie Shephard brydie@indesign.com.au Production Assistant Becca Knight becca@indesign.com.au

Contributing Writers & Sub-Editors Michelle Cavicchiolo Jeff Copolov Stephen Crafti Carmen Jackson Bronwyn McColl Paul McGillick Gillian Seriser Kirsty Sier Emily Sutton Featured Photographers & Illustrators Peter Bennetts Douglas Mark Black Thomas Brooke Photography Haydn Cattach Peter Clarke Eva Fernandez James Geer Mengzhu Jiang Carolyn Kennedy Anson Smart Dianna Snape Bo Wong

Head Office Sydney, Australia (61 2) 9368 0150 indesignlive.com Melbourne 1/200 Smith Street, Collingwood VIC 3066 Singapore 4 Leng Kee Road, #06–08,SIS Building, Singapore 159088 (65) 6475 5228, (65) 6475 5238 (fax) indesignlive.sg Hong Kong Unit 12, 21st Floor Wayson Commercial Building, 28 Connaught Road West, Sheung Wan, Hong Kong indesignlive.hk

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All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted in any form or by any other means, electronic, mechanical, photocopying, recording or otherwise. While every effort has been made to ensure the accuracy of the information in this publication, the publishers assume no responsibility for errors or omissions or any consequences of reliance on this publication. The opinions expressed in this publication do not necessarily represent the views of the editor, the publisher or the publication. Contributions are submitted at the sender’s risk, and Indesign Publishing cannot accept any loss or damage. Please retain duplicates of text and images. Indesign magazine is a wholly owned Australian publication, which is designed and published in Australia. Indesign is published quarterly and is available through subscription, at major newsagencies and bookshops throughout Australia, New Zealand, South East Asia and the United States of America. This issue of Indesign magazine may contain offers or surveys which may require you to provide information about yourself. If you provide such information to us we may use the information to provide you with products or services you have. We may also provide this information to parties who provide the products or services on our behalf (such as fulfillment organisations). We do not sell your information to third parties under any circumstances, however these parties may retain the information we provide for future activities of their own, including direct marketing. We may retain your information and use it to inform you of other promotions and publications from time to time. If you would like to know what information Indesign Media Asia Pacific holds about you please contact Nilesh Nandan (61 2) 9368 0150, (61 2) 9368 0289 (fax), subscriptions@indesign.com.au, indesignlive.com

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FROM THE EDITOR & PUBLISHER

Jan Henderson Acting Editor, Indesign

Raj Nandan CEO and Founder, Indesign Media Asia Pacific

On The Cover NAB 700 Bourke Street

by Woods Bagot, Australia.

INDE.Awards 2020 Honourable Mention for Best of the Decade | The Work Space. Photo: Shannon McGrath

Erratum Apologies for an incorrect attribution of photography for the article, Collaboration for the Future, MLC Senior School by BVN in issue #81.

Photography was by Ben Guthrie.

250,950+ readers engaged across print, digital and social... indesignlive.com /indesignlive @indesignlive @indesignlive

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Well the last months have been a roller coaster ride haven’t they? We have been finding our way forward, adapting as we go and Indesign has been powering ahead and making its presence felt. As a media company it’s heartening to see just how Indesign has adroitly made virtual it’s own, successfully re-imagining and re-inventing all manner of media to engage with our community. The team has worked overtime to ensure success, as this is a defining time for our industry, but Indesign has risen to the challenge and is continuing, dare I say, to shine.

Since March we have had to do everything differently creating new platforms and formats in which to engage. We have presented a plethora of digital offerings such as the Design after Distancing webinar series, CPD Live, The Edits, The Collections and the INDES.Awards, as well as this magazine becoming a fully digital online publication. The year has all been about communicating and interacting and the upshot of this is being a part of a supported network.

While we all face changes to our lives and work, it is apparent through the pandemic that we crave human connectivity. Being social is a part of our DNA and so it is fitting that Indesign 82 is the Hospitable Design issue.

Within our projects and thought leadership articles we investigate the way hospitality design has organically morphed into ‘hospitable design’; how traditional ideas have changed and what this means to every sector of the industry. We see the hospitality paradigm influencing commercial, workplace, education, retail and healthcare projects to create environments that re-calibrate the way we experience life and engage. The projects featured are disparate, however each is an exemplar in its field, and together they represent the diverse ways in which we connect these days.

And talking of outstanding projects, this year the digital INDES.Awards gala evening was presented as a spectacular video showcase of the best projects from the Indo-Pacific region. We all came together to enjoy an evening that was very different to the norm and it was wonderful to see all those faces on the screen, have a chance to say hello and to be able to celebrate the shortlisted and winners – albeit not in person but still together.

In the following pages we present the winning projects, practices and objects and I’m sure you will agree they are a remarkable display of exceptional talent.

Congratulations to the winners, shortlisted and to everyone who entered and a special thank you to our supporters who make the awards possible each year.

As we move towards the end of 2020 there is another event on the horizon.

The usual format of Saturday Indesign has been rethought and details will be released shortly.

At this time one can’t help but reflect on the year to date. So much has happened but what is crystal clear is that design is at the forefront of the challenges we face. There is a unique opportunity to shape the future and the results are certain to be surprising, however architecture and design can and will lead the way.

Take care, keep well and I hope you enjoy Indesign issue 82.

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CONTENTS

I N D E . AWA R D S

2020 Winners.

27 – 46

IN SHORT

The ultimate industry cheat sheet.

49 – 71

I N FA M O U S

Big thinkers and creative gurus.

FAMOUS FACE Ross Didier 76 – 81

COMMENT Stephen Crafti 82 – 83

INDESIGN Luminary, Penelope Forlano 84 – 90

IN SITU

Provocative, innovative and inspiring design.

Ocean Grove Surf Life Saving Club by Wood Marsh 96 – 102

Eva Tilley Memorial Home by Studio Tate 104 – 111

Mastani by DesignOffice 112 – 118

Café Lafayette by Hassell 120 – 126

IN DEPTH

Hospitable design.

Special Editor Jan Henderson Winning Appliances Richmond Showroom by Cera Stribley 134 – 140

Thought Leader, Woods Bagot 142 – 143

The Lounge, University New South Wales by Bates Smart 144 – 149

Thought Leader, ClarkeHopkinsClarke 150 – 151

Botanicca 3 by Gray Puksand 152 – 159

Thought Leader, Bates Smart 160 – 161

DISSECTIONS

162 – 163

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INDE.Awards Winners 2020

The most progressive architecture and design in the Indo-Pacific.

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Celebrating INDE.Awards 2020 On Thursday 13 August the winners of the 2020 INDE.Awards were announced in a special virtual gala event. With a record-breaking 473 submissions received from 14 locations from around the Indo-Pacific, the INDE.Awards this year has been an outstanding showcase for innovative and creative architecture and design that articulates the breadth and diversity of our Region. Congratulations to all our winners, your extraordinary projects and achievements have set design precedents this year.

INDE.Awards 2020 Jury Andrea Trimarchi and Simone Farresin, Formafantasma (Netherlands) Budiman Hendropurnomo, Denton Corker Marshall (Indonesia) Chan Ee Mun, WOHA (Singapore) Eleena Jamil, Eleena Jamil Architect (Malaysia) James Calder, ERA-co (Australia) Jan Utzon, Utzon Architects (Denmark) Joshua Comaroff, Lekker Architects (Singapore) Koichi Takada, Koichi Takada Architects (Australia) Leone Lorrimer, GHDWoodhead (Australia) Luke Yeung, Architectkidd (Thailand) Paul McGillick, McGillick Consulting (Australia) Praveen Nahar, India National Institute of Design (India) Raj Nandan, Indesign Media Asia Pacific (Australia/Singapore) Shashi Caan, SC COLLECTIVE (USA/UK) Sue Carr, Carr (Australia)

INDE.Awards Proudly Partnered by Platinum Partner

Best of the Decade | The Work Space

Best of the Decade | The Living Space

The Object Partner

The Work Space Partner

The Wellness Space Partner

The Design Studio Partner

The Building Partner

The Social Space Partner

The Influencer Partner

The Luminary Partner

The Multi-Residential BuildingPartner

The Prodigy Partner

The Shopping Space Partner

The Learning Space Partner

The Living Space Partner

Trophy Partner

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Wine Partner

I N D E AWA R D S . C O M

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Winner

Best of the Best Proudly partnered by

Sukasantai Farmstay Goy Architects, INDONESIA

“A singular understanding of a sustainable environment.”

INDE.Awards 2020 Jury Photography page 27 and above Fabian Ong

I N D E . AWA R D S S H O R T L I S T

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Winner

Best of the Decade | The Living Space Proudly partnered by

Studio Dwelling Palinda Kannangara Architects, SRI LANKA

“Embracing its unique setting while championing sustainable initiatives.”

INDE.Awards 2020 Jury Photography Sebastian Posingis, Mahesh Mendis

Honourable Mention: Planter Box House, Formzero, Malaysia

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I N D E AWA R D S . C O M

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Winner

Best of the Decade | The Work Space Proudly partnered by

CBA Axle, South Eveleigh Woods Bagot, AUSTRALIA

“A fitting exclamation mark to the large scale workplaces admired the world over.”

INDE.Awards 2020 Jury Photography Nicole England

Honourable Mention: NAB 700 Bourke Street, Woods Bagot, Australia

I N D E . AWA R D S S H O R T L I S T

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People’s Choice Winner

Best of the Decade | The Living Space Proudly partnered by

House68 Design Collective Architects (DCA) with Essential Design Integrated (EDI), MALAYSIA

Photography Creative Clicks

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People’s Choice Winner

Best of the Decade | The Work Space Proudly partnered by

Carpe Diem Community, International Towers, Tower Two Geyer with International Towers, AUSTRALIA

Photography Richard Glover

I N D E . AWA R D S S H O R T L I S T

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Winner

The Building Proudly partnered by

Samsen STREET Hotel CHAT Architects, THAILAND

“Transformation of an ‘unspoken’ building typology into something entirely new.”

INDE.Awards 2020 Jury Photography W Workspace

Honourable Mention: Burwood Brickworks, NH Architecture with Russell & George, Australia

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I N D E AWA R D S . C O M

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Winner

The Multi-Residential Building Proudly partnered by

Mermaid Multihouse Partners Hill with Hogg & Lamb, AUSTRALIA

“Spatial planning and a sustainability response re-defining multi-generation family living.”

INDE.Awards 2020 Jury Photography Shantanu Starick

Honourable Mention: Scarborough and Welkin, Justin Mallia Architecture, Australia

I N D E . AWA R D S S H O R T L I S T

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Winner

The Social Space Proudly partnered by

Sukasantai Farmstay Goy Architects, INDONESIA

“Epitomising a ‘back to basics’ experience for today’s world.”

INDE.Awards 2020 Jury Photography Fabian Ong

Honourable Mention: For Our Country, Edition Office and Daniel Boyd, Australia

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I N D E AWA R D S . C O M

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Winner

The Living Space Proudly partnered by

Expandable House Urban Rural Systems (Future Cities Laboratory, Singapore-ETH Centre), INDONESIA

“A sustainable response for flexible, real-time, dynamic living.”

INDE.Awards 2020 Jury Photography Carlina Teteris, Dio Guna Putra

Honourable Mention: Up Side Down Akubra House, Alexander Symes Architect, Australia

I N D E . AWA R D S S H O R T L I S T

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Winner

The Shopping Space Proudly partnered by

Salon X Papas Hogg & Lamb, AUSTRALIA

“An exemplar of spatial planning and design to create a new retail environment.”

INDE.Awards 2020 Jury Photography Christopher Frederick Jones

Honourable Mention: AESOP 1 UTAMA, FARM, Malaysia

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I N D E AWA R D S . C O M

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Winner

The Learning Space Proudly partnered by

The Ian Potter Southbank Centre, University of Melbourne John Wardle Architects, AUSTRALIA

“A tour de force from an architect at the height of his powers.”

INDE.Awards 2020 Jury Photography Trevor Mein

Honourable Mention: The Wallflower Music Hall – Alliance Primary School Extension, Groundwork Architects & Associates, Hong Kong

I N D E . AWA R D S S H O R T L I S T

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Winner

The Wellness Space Proudly partnered by

Gandel Wing, Cabrini Malvern Bates Smart, AUSTRALIA

“Every detail considers the patient in an elegant and functional environment.”

INDE.Awards 2020 Jury Photography Peter Clarke

Honourable Mention: Wellness Retreat at Habarana, Palinda Kannangara Architects, Sri Lanka

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I N D E AWA R D S . C O M

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Winner

The Work Space Proudly partnered by

CBA Axle, South Eveleigh Woods Bagot, AUSTRALIA

“With a highly evolved palette, warmth and humanity are added with stunning success.”

INDE.Awards 2020 Jury Photography Nicole England

Honourable Mention: IDIN Architects Office, IDIN Architects, Thailand

I N D E . AWA R D S S H O R T L I S T

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Winner

The Object

Proudly partnered by

Stack Zachary Hanna for nau, AUSTRALIA

“Stack presents an authentic response to the ultimate multiple use home object.”

INDE.Awards 2020 Jury Photography Mike Baker

Honourable Mention: Triplex Stool, Studio RYTE, Hong Kong

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I N D E AWA R D S . C O M

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Winner

The Design Studio Proudly partnered by

LAAB Architects HONG KONG

“LAAB Architects has developed a multi-disciplinarian paradigm for the future” INDE.Awards 2020 Jury Photography HENRY T.C., Otto Ng

Honourable Mention: Taylor Cullity Lethlean, Australia

I N D E . AWA R D S S H O R T L I S T

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Winner

The Luminary Proudly partnered by

Andra Matin andramatin, INDONESIA

“Establishing principles and creating built projects that are appropriately inspirational internationally.”

INDE.Awards 2020 Jury Portrait Photography Putu Adi Widiantara

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I N D E AWA R D S . C O M

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Winner

The Prodigy Proudly partnered by

David Flack & Mark Robinson Flack Studio, AUSTRALIA

“Through talent, determination and community engagement Flack Studio is a leader in design.”

INDE.Awards 2020 Jury Portrait Photography Maegan Brown

I N D E . AWA R D S S H O R T L I S T

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Winner

The Influencer Proudly partnered by

Riverbend, Bambu Indah IBUKU, INDONESIA

“A building that becomes one with nature – design to influence life.”

INDE.Awards 2020 Jury Photography Stefano Scata

Honourable Mention: KOODAARAM: The Kochi-Muziris Biennale Pavilion 2018-19, Anagram Architects with B L Manjunath and Studio Wood, India

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I N D E AWA R D S . C O M

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IN SHORT

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THE ULTIMATE INDUSTRY CHEAT SHEET

SHORT INDESIGN

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IN SHORT

Blue Boy, Billie Buoy Billie Buoy is a new community- and family-friendly eatery located in Essendon, a suburb in the north-west of Melbourne.

For the design, interior designer and Biasol Principal, Jean-Pierre Biasol, has drawn on the feel-good vibes of the 1980s and channelled Billie Buoy, a made-up character of his time who was radical, hip and a little offbeat.

The building occupies a corner location with glazing at the front and a graffiti-like slogan splashed on the side that says ‘Wake Me Up When I’m Famous’! While the internal floor plate is just 60 square metres, every centimetre has been fully utilised. Banquette seating has been included near the front entrance and in the rear dining room. A counter area with stools allows free-flowing circulation between areas. An arch motif has been employed throughout and creates interest while delineating spaces and softening the juncture between ceiling and wall.

The colour palette is bold and eyecatching with hot pink highlights and cobalt blue in abundance. Materials are textured with a combination of terrazzo, mosaic tiles, rendered walls and felt upholstery that creates depth and variation within the blue hue. An authentic brick floor unifies the interior while a stainless steel bar and arched shelving adds a touch of pizzazz.

Hot pink neon weaves its way throughout wall artwork to create Instagram opportunities for customers.

The interiors and branding were developed simultaneously so that they complement one another and combine to form a strong and definitive design. Signage and coffee cups, packaging and apparel all have the signature appeal; Rick Astley’s lyrics are printed on the takeaway bags.

Every detail has been attended to and the total design is an homage to the 1980s in a way that is young, fresh and unforgettable.

Billy Buoy is the place to be and is the design statement that makes retro cool again. biasol.com.au, photo: Timothy Kaye

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IN SHORT

INDESIGN

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IN SHORT

30 Years Young Indesign

Material Masterpiece Indesign

Anibou

This year Anibou celebrates a milestone: its 30th birthday. As a distributor of fine designer furniture and products, Anibou has stood the test of time and is now embracing the next 30 years of business with vigour. With select brand partners that include Artek, ClassiCon, Gervasoni, Isokon Plus, Röthlisberger, Thonet GmbH, USM Modular Furniture and Woodnotes, Anibou has an offering that differentiates itself in the marketplace and makes a unique statement in the world of design. Anibou was founded in 1989, based on an idea that founder Neil Burley had to offer Sydney a fresh element to the accepted furniture design scene. Burley wisely enticed the inimitable Ute Rose to help bring his idea to fruition and a city location, in a former Rolls Royce Motors mechanic workshop in Redfern, was secured for the business. This location and flagship showroom remains the heart and soul of the business, while a Victorian counterpart situated in Collingwood, Melbourne has been established to service Anibou’s southern customers. Congratulations to Anibou for achieving success over the past decades. We look forward to what the years ahead have in store. anibou.com.au

Cattelan Italia

The Ribot Keramik Bistrot table, designed by Giorgio Cattelan, is a sleek and sophisticated addition to any setting.

The design possibilities are endless, with bases available in titanium, graphite, blackembossed lacquered steel or brushed bronze, and a choice of tops that include Marmi Calacatta, Alabastro, Ardesia, Portoro (matt or glossy), Emperador, Makalu and even Arenal ceramic. No matter which material combination you choose, the result will be a perfect table for every occasion. cattelanitalia.com

Kaldewei Collaboration Indesign

Bathe

Time and again, German manufacturer Kaldewei demonstrates its competence as a partner of the international hotel industry with long-lasting, functional product solutions that meet the highest standards of design. Shower surfaces, washbasins and the outstanding Meisterstuck Centro Duo –a seamless, freestanding bath made of unique Kaldewei steel enamel – allow bathroom designers to create perfectly coordinated bathrooms of outstanding quality for all hotel categories. bathe.net.au

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Classics newly interpreted: KALDEWEI MEISTERSTÜCK CLASSIC DUO OVAL

@BATHEA USTRALIA

3.5MM ENAMELLED STEEL | 30 YEAR GUARANTEE | MADE IN GERMANY

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DeLuxx Motif Indesign

Luxxbox

Adding a new dimension to interior lighting, Luxxbox has launched Motif, a pendant light that brings pattern to the forefront of design.

Luxxbox’s already comprehensive acoustic range of lighting addresses light and sound, to which Motif adds a certain level of playfulness and personality. Perfect for inclusion in hospitality and retail spaces, Motif brings a softness to the aesthetic of pendant lighting through the use of pattern. Along with a standard range, there are endless opportunities to customise this innovative and creative product. luxxbox.com

Roca Baby Ximo Roca Diseño studio has created Cocoto, a mini cradle inspired by the ancient art of origami. The cradle base is made from timber, with a carrycot that comes flatpacked and can be folded into shape when required. The multi-use object is not just a cradle; rather, it is four products in one, able to be shaped into a toy, a bench and, when flat, a carpet. Designed for Micuna, the product utilises a new, soft felt material that is made from recycled plastic bottles and is completely recyclable. While Cocoto embraces the ideas of sustainability, it also provides a perfect cocoon with acoustic insulation and the ultimate protection for baby.

The Aula Experience

ximoroca.net/el-estudio

Indesign

Wilkhahn

Aula is a multipurpose chair – equally at home in a restaurant, office or café – that is elegant in form and adaptable in function. Aula is made from plastic and can be stacked free-standing up to 16 chairs high. The smooth lines of Aula make it a practical inclusion for any indoor or outdoor furniture grouping. With six colours and four types of upholstery, there is a range of options for projects as diverse as seminar rooms, conference areas, co-working spaces, canteens and multifunction facilities.

The style and ergonomic design of Aula’s seat shell provides excellent support and comfort; the precise lines of the leg frame, armrests and seat fuse with the remaining structure to suggest an organic sculpture.

Is it any wonder that Aula in pale blue is the chair of choice at top Sydney restaurant OTTO, where it delivers on quality and comfort to become an integral part of the dining experience? wilkhahn.com, photo: Nikki To

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Caroma Charisma Indesign

Caroma

Luna by Caroma is the epitome of modern, functional and seamless design for today’s contemporary bathrooms. The extensive range consists of multiple basins, showers, baths, mixers, toilet suites and accessories – all with a choice of colour finishes. Each product group affords myriad choice, allowing for bespoke bathroom design that perfectly suits lifestyle, taste and requirement. Luna is a collection like no other, offering timeless and enduring bathroom essentials that feature soft curves and sleek and streamlined forms.

In the words of Luke Di Michiel, Caroma industrial designer, “The Luna collection is the practical choice to create your bathroom sanctuary”. Indeed!

Simple And Chic

caroma.com.au

Albus Lumen Société opened in Bondi, Sydney in June and the minimalist design of the new store perfectly encapsulates the Albus Lumen brand. Known for elegant and desirable products gathered from around the globe, Albus Lumen presents a cornucopia of fashion, jewellery and lifestyle ranges that portray the sophistication that has made the business such a success. The interior of the Société showroom — or residence, as it is known — was designed by Albus Lumen founder and creative director Marina Afonina and her team. It features a neutral colour palette with clean lines and refined textures that form a considered accompaniment to the fine curation of objects and fashion. Unexpected details have been included within the design, such as the arch that frames an alcove or the floating fabric curtain that adds softness to a rendered wall. Every expression contributes to a beautifully resolved interior for those who love art, design, culture and fashion. The pared back and polished interior of Albus Lumen Société becomes a new and exciting shopping experience for a discerning clientele, which appreciates and enjoys the brand’s international style. albuslumen.com, photo: Holly Gibson

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Specifier Spotlight A Surface for Every Occasion Indesign

Alternative Surfaces

Design Notes Whether it’s a small renovation of a residence or a large commercial new build, including products that are innovative, adaptable and versatile makes a project unique. With multiple ranges of floor, wall and joinery surfaces, Alternative Surfaces meets the challenge to aid creativity by offering solutions for every design idea. Each collection of surfaces has been carefully curated for style and texture, and with the three ranges showcased here, possibilities are endless to individualise and transform an interior to satisfy even the most demanding of clients. There are opportunities to add a concrete aesthetic with X-Bond; include a textural dimension to a surface with Quartz carpet and create a three dimensional wall with 3D Plaster Wall Panels – and it’s all about ease of installation and versatility of use with all of the materials. Today’s interiors are required to add warmth and patina, speak of character and design and there is no doubt that Alternative Surfaces have the products that encapsulate all this and more.

Quartz Carpet is a seamless overlay system that consists of quartz stones and a binder. Quartz Carpet is hand trowelled over an existing substrate to create a durable and hardwearing floor. The end result is a seamless, textured surface perfect for commercial, retail, hospitality projects as well as residential homes. The Quartz stone are available in various colours and sizes.

X-Bond is a microcement overlay system that’s hand trowelled over an existing substrate at a minimal depth to achieve a concrete aesthetic.

Designers around Australia love to use X-Bond because of its versatility and ability to be applied to floors, walls and joinery.

3D Plaster Wall Tiles Made in Russia, the 100% gypsum plaster tiles allow you to create your own art feature.

Mix and match the plaster tiles to create your own pattern.

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Elegant And Slim The latest release from lighting design studio Articolo is Slim. The collection was inspired by the sophisticated high life depicted in Slim Aaron’s famed Palm Springs photography and reinterprets mid-century Californian modernism in architectural form and refined simplicity. The Slim collection comprises a Double Pendant and Wall Sconce and features mouth-blown glass and hand-finished metal work. In Slim, the Articolo artisans have created an elegant and pared back aesthetic that brings a touch of glamour to every room. articololighting.com

Lean and Clean And Space Between Indesign

Blu Dot

Over the past months life has changed as a result of the pandemic. While new habits will continue to be shaped – even as a slow and responsible re-entry into a new normal takes place – it is inevitable that spaces will need to be tweaked to facilitate social distancing, increased flexibility, and more rigorous cleaning. With this in mind, Blu Dot has created seating options for these already cognitively tasking times, of which the Cache Lounge chair is a supreme example. To complement the generous space of Cache’s design, the chair can be covered in SunbrellaTM. This amazing fabric is not only resistant to fading and easy to clean (yes, with bleach!) but perfect for inside the home as well as outside.

Cache is also available as a two-seat sofa, meaning the possibilities are endless for a new furniture grouping that will enhance every situation. bludot.com.au

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Visit: 27/69 O’Riordan Street Alexandria NSW 2015 | Call: (02) 9313 5400 | Web: bludot.com.au

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Added Boost Indesign

Rocks On

Italian-made Boost is simplicity at its finest. Surpassing the minimalism of industrial style Boost is available in five colours – white, pearl, grey, smoke and tarmac. Boost is suitable for internal and external, commercial and residential applications and for floor and wall. Boost is ideal for wet areas with a P5 grip finish and tile size 1200 x 1200 millimetres. Boost can be utilised for countertops, is available in a matt finish with two slab tile sizes: 1200 x 2780 x 6 millimetres and 1620 x 3240 x 6 millimetres. rockson.com.au

Winning At Chadstone Indesign

Full Steam Ahead Indesign

Gaggenau

Winning Appliances

Family-owned Australian kitchen and laundry specialist Winning Appliances opened its third Victorian showroom at Chadstone Shopping Centre in February this year. Designed by Cera Stribley, the showroom offers customers a unique, multi-sensory customer experience within a sophisticated and elegant setting.

The interior showcases the Winning Appliances’ rich family history within a finely curated display of premium appliances and state-of-the-art displays. These crafted displays are set throughout the showroom with exclusive ranges from The Gallery, Kalamazoo, Fhiaba and La Marzocco plus leading appliance brands that include Gaggenau, Miele, V-ZUG, Smeg, Neff, Siemens, Fisher & Paykel and BORA. Three lifestyle kitchens together form a special feature for the showroom. There is Winning Memories, an inspirational kitchen for collaborative cooks; Winning Entertainer, for those who are passionate and experimental with their cooking; and Winning Classic, for design-forward cooks who see the kitchen as the centerpiece of the home.

In keeping with the Winning style, the showroom embraces a residential feel, incorporating furnishings, fittings and fixtures that would be found in a contemporary home. winningappliances.com.au, photo: James Geer

Having introduced the steam oven to private kitchens some 21 years ago, Gaggenau has continued to refine and innovate, cementing its place as market leader in the professional kitchen.

With the new 400 and 200 series of combi-steam ovens there is the opportunity to create perfect meals time after time. The two series are the only domestic combisteam ovens to include a fully automatic self-cleaning system and among other features there is also a fixed water supply to ensure optimal steam cooking results. gaggenau.com.au

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Light Carving From Jaipur, India comes a new collection of lighting entitled Marble Lights from ROOSHADSHROFF. Each product is hand-carved from a single block of white Makrana marble and hollowed out to a six-millimetre thickness. The exterior of each light is carved with a different pattern and, as the marble is thin enough to allow light to pass through, the form is illuminated.

ROOSHADSHROFF is renowned for its many collaborations with Indian artisans, such as marble inlay specialists in the city of Agra; embroidery sourced from Mumbai and Lucknow; and, for this collection, marble carvers in Jaipur. rooshadshroff.com

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It’s Magic!

The Magic Box is a transformative, pop-up whisky-tasting installation, celebrating Tasmanian design, craft and whisky. Designed by Liminal Objects with Hobart-based design studio Van Tuil, The Magic Box has a charred exterior with a Tasmanian oak-lined interior. It presents as an openable ‘barrel’, with interior shelves that pivot outwards and emulate petals, providing multiple configurations depending on the size of the gathering.

To further infuse the landscape of the region into the design, the Tasmanian Fagus leaf has been engraved on the two presentation trays within. The Magic Box holds multiple bottles and glasses and can be made to order.

The client, the Department of Foreign Affairs and Trade, commissioned the product to showcase the very best of Tasmania. The final result provides an unusual and interesting talking point when presented at embassy, consular and tourism events around the globe.

Innovation ON Indesign

liminalstudio.com.au, photo: Peter Whyte

Wilkhahn

As restaurants go they don’t come more unusual than Ultraviolet by Paul Pairet Shanghai. Located in a bunker on the outskirts of central Shanghai, Ultraviolet offers a fine-dining experience that eclipses its peers for creativity. With a 20-course menu for just 10 diners each night, the mood is set for something different. The environment of Ultraviolet is a cornucopia of light, scent, sound, temperature and culinary delight that translates into an experiential and theatrical occasion.

The restaurant is simply furnished, but the inclusion of Wilkhahn’s ON chair is an innovative design twist. Five ON chairs are placed at each side of a communal dining table. With each course, an accompanying video projection and bespoke soundtrack play to complement the cuisine.

The ON chair provides the very latest in ergonomic luxury, ensuring guests enjoy their night with optimum comfort. Wilkhahn developed Trimension® for the ON chair, a unique feature that allows for threedimensional, synchro-adjusted dynamic seating. Trimension® enables forward, backward and sideways movements as well as the ability for the pelvis to rotate.

As a result, the body’s equilibrium remains in absolute balance, no matter what posture it adopts or the way it moves.

Ingenuity in a restaurant deserves innovation in the chair in which we sit. The ON chair, while consummate for an all-night stay at Ultraviolet, is perfectly tuned for use both at the office and at home. wilkhahn.com photo: Scott Wright of Limelight Studio

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Retreat Lounge Privacy Pod

by Vidak, New Zealand

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SYDNEY 5/50 Stanley Street Darlinghurst

MELBOURNE 11 Stanley Street Collingwood

+61 2 9358 1155

+61 3 9416 4822

23/7/20 11:58 am

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Specifier Spotlight Elegant Aesthetics Indesign

Apato

Design Notes Through the skill of outstanding craftsmen and the refinement of the Japanese aesthetic, Apato presents a diverse range of furniture and accessories to excite designers and architects alike.

With three beautifully resolved products presented here, there is a chair for every occasion that will provide unparalleled comfort coupled with sophisticated style. Products are hand crafted to an exacting level and the detail of each form presents more as a work of art than a functional structure. From the clean and simple lines of Outline, the elegance of Kyobashi and the luxury of the Wing Lux armchair, each will enhance a design and complete every residential, hospitality and commercial project. Along with these featured products, Apato presents an extensive range of tables, sofas, dining and armchairs, occasional furniture and accessories that together showcase the very best of contemporary Japanese design for today’s modern lifestyle.

Outline Designed by NORM Architects for Ariake Collection, Outline chairs and barstools reference both a Japanese and Scandinavian aesthetic. With a delicate form that has clean, sharp lines Outline is ideal for home and all hospitality projects.

Photo: Jonas Bjerre-Poulsen

Wing Lux Arm Chair The Wing Lux arm chair designed by Kiyoshi Sadogawa for Conde House was inspired by birds in flight. Using advanced techniques, the solid timber arms and legs have been moulded and handcrafted detail is showcased in the joint detail.

Kyobashi Chair Recently launched, the Kyobashi chair is simple and elegant with a timeless appeal. Designed by Hiroshi Yoineya of Tonerico for Conde House. With a generous seat and refined aesthetic Kyobashi is perfectly at home in a café or workplace.

Photo: Satoshi Asakawa

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– Through excellent spatial planning and the use of fine materiality Q Dermatology offers a unique sensory experience that is both comfortable and relaxing.

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Skin Deep Q Dermatology is the way of the future, re-interpreting the design of a doctor’s suite of rooms to encourage wellbeing and relaxation for patients and staff alike.

Outline Design Office has designed a light, bright and energising destination that focuses on restfulness and incorporates the latest technology in a crisp contemporary design.

Light was of great importance to promote the idea of relaxation within the design. To this end, expansive views of the outside have been integrated into the design, which simultaneously assure an abundance of natural light flows into the interior.

The spatial layout ensures patients have a sense of privacy, while visual cues help patients interact with the space. Through the use of timber and colour, there is a certain warmth and softness; the colour palette of soft grey and white is soothing, while the material palette was chosen to be durable and long-lasting. The inclusion of cabinetry and a bespoke reception desk speak more of a residential interior than a commercial premise, adding to the overall feeling of an informal but efficient working environment.

On their arrival, patients can relax in the comfortable seating that has been provided within the generously sized waiting area.

To enhance the idea of wellbeing and tranquility, greenery has been used consistently throughout the space.

Q Dermatology presents a new way of greeting and treating patients, all within an environment that focuses on the comfort and wellbeing of the individual. outlinedesignoffice.com.au photo: Mindi Cooke

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Fabolous Foldi!

Renowned for manufacturing quality steel lockers and cabinets, Planex has launched something a bit different: Foldi, a range of designer accessories for the desk. Designed by Planex MD Jean-Pierre Jardel during lockdown 1.0, the Foldi collection consists of a folder file, mini organiser, pen/pencil holder, paper tray and document/device stand. Foldi arrives flatpacked, easily folded into shape and is fun. The products are finished in a range of powder coat colours such as black, white, red, orange, yellow, eucalypt and sage. planex.com.au

Flower In Blume Indesign

Pedrali

Designed by Sebastian Herkner, Blume for Pedrali draws inspiration from the concepts of elegance and sophistication. The Blume collection consists of a chair and lounge armchair, complemented by a set of coffee tables, that were conceived in 2020 through a collaboration with the German designer and Pedrali. The collection – aptly named Blume, meaning ‘flower’ in German – has a distinctive, flower-shaped profile. This soft, rounded form has been achieved through the use of extruded aluminium, incorporating a slender frame and polyurethane foam. Exemplifying meticulous attention to detail, the design of these chairs is refined and utterly comfortable. designnation.com.au

Visualising The Future Indesign

Polyflor

Polyflor is looking to the future with its new floor, Visualiser, which has been created with an intention to help inform the way customers discover, shop and buy floor coverings. Visualiser works directly from the Polyflor website on a desktop, phone or tablet, making it easier than ever to see the possibilities within a design. Now there is an opportunity to instantly see Polyflor featured products in a room, and the options are endless! polyflor.com.au

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PICTURE IT INSTANTLY on our NEW Visualiser For more inspiration visit polyflor.com.au

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The Defining Seam Indesign

Made by Tait

As the first range designed by Adam Cornish for Tait, The Seam collection – comprised of chair, dining tables and bench seat – is a refined and elegant offering from the renowned outdoor furniture supplier. The idea behind Seam is that the products’ design emulates a series of cuts and folds. The detail along the spine of the chair becomes the signature design aesthetic of the collection.

Along with a bench seat and dining tables that would suit any location, the Seam collection of products is the perfect accompaniment to commercial, residential and hospitality projects. Although designed for outdoor use, Seam is equally at home indoors. Its earthy colour palette makes it ideal for every occasion. All Tait pieces are made locally and come with a five-year warranty. madebytait.com.au

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Fulsome Bowlsome The premise for the design of Bowlsome Henley Beach is the concept of wholesomeness and wellbeing translated through the design elements of the vessel and the well. Whereas the well is the source of water, the vessel is the bowl that provides food and sustenance. In this sense, the name Bowlsome is multi-layered.

The eatery, designed by Williams Burton Leopardi, was developed to fit a narrow, 50-square-metre footprint. There was a limited budget and a tight two-month timeframe for completion, yet the end result is a textured and layered interior that celebrates simplicity. The material palette was informed by the hand-made quality associated with traditional ceramics and pottery, combined with influences drawn from the nearby beach. Layered concrete surfaces and finished forms bring a softness to the pared back and functional design.

Bowlsome celebrates practical simplicity. It demonstrates the value of poise and consideration when designing and delivering a purposeful and mindful space – a philosophy that weaves seamlessly from built form into the spatial experience. designbywbl.com.au, photo: Christopher Morrison

Relax And Design Unwind Three leading Australian interior companies joined forces to create Design Unwind for Melbourne Design Week (MDW) 2020.

Design Unwind was formed as a humancentred space, intended to engage and excite through the materiality of a range of products. Applying mood-enhancing design principles, Byzantine Design, TSAR Carpets and Arthur G created an installation that encapsulated how design can shape and improve life – the theme for MDW this year. The exhibition employed four principals: biophilic design, which focuses on the connection of people with nature in our built environments; neotenic design, which relates to our subconscious affinity with simple shapes, soft edges and thickened forms; tactility and wellbeing, expressed through textures and patterns; and personalised and supportive design, epitomised by custom, multi-functional furniture pieces. Incorporating a range of rugs, tiles and furniture and colour, Design Unwind was created to be a place to relax, re-connect and improve general wellbeing during a busy time in Melbourne. tsarcarpets.com arthurg.com.au byzantinedesign.com.au

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The Vikasa Evolution The latest commission from Enter Projects Asia has recently been completed in the bustling metropolis of Bangkok, Thailand.

The project is the headquarters of international yoga brand Vikasa and the design has become the flagship premises of the business.

Enter Projects Asia sought to materialise the ideals of Vikasa (meaning ‘evolution’ in the Thai language) and the yoga studio emulates the ideals of health, wellness and evolution.

The space comprises a series of four free-form yoga pods, two public and two private. Within the 450-square-metre space there is also a lobby and luxury bathroom. The entire front façade has been designed with floor-to-ceiling windows, allowing for ample natural light in all areas while retaining privacy in the pods.

The project has been realised through a geometric design that incorporates 3D technologies coupled with local Thai craftsmanship. Natural local materials such as Thai hardwood, rattan, palm leaves and local black slate have been utilised and blended within the contemporary design.

The finished project is an oasis of style and peace within one of the world’s busiest cities. enterprojects.net photo: Edmund Sumner

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Get ready for design without limits.

Coming soon.

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Specifier Spotlight Motif Magic Indesign

Luxxbox

Design Notes

Product Motif adds interest and depth to a pendant light, allowing for customisation that completes a design intention within a project.

Just when you thought there could be no more design elements included in a pendant light Luxxbox launches Motif.

Motif introduces a whole new dimension in lighting design pattern. With Luxxbox’s acoustic range already addressing light and sound, now you can add playfulness and personality to a space through pattern as well. Jason Bird, Founder and Creative Director of Luxxbox says the Australian design studio is excited to introduce a solution for adding pattern to their entire acoustic lighting product range. “The benefits of acoustic lighting has long been recognised in workspaces, hospitality or learning environments where hard, often industrial spaces can make conversations difficult. This is a great way to benefit from the noise acoustic lighting in a more relaxed way.” The initial release includes a selection of exclusive designs, with further releases planned that will form a collection of patterns to complement every interior.

Product Whether the pendant light is round or rectangular, Motif brings a unique aspect to the design through pattern. With the ability to individualise, Motif can help make every project unique.

Product Motif can add pizzazz through a variety of patterns and coupled with acoustic properties, Luxxbox has the ideal product for every project whether it is a restaurant, a home or an office.

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OWNWORLD

Ownworld And The Vidak Vision Ownworld is a highly respected and experienced contract furniture consultancy, a leader in the supply of outstanding products to architects and designers. With showrooms in Melbourne and Sydney and a network of agents around the country the ownworld offering is vast and products encompass the workplace, hospitality, senior living and education sectors. However with the launch of Vidak, ownworld has taken its workplace furniture offering to the next level with fresh designs and creative solutions for the workplace of today.

The expansive Vidak collection includes ergonomic workstations, privacy pods, collaborative booths and seating that are all fully customisable to address the imperative of ‘function first’. The Vidak design vision encapsulates the ideas that product should perform according to its intended use, be user friendly and relate to the surrounding environment to further enhance the human experience.

Ownworld understands that the current times present challenges for collaborating as workers have been in isolation however the future of the collective work space will reflect the experiences we have all shared. As we return to our workplaces the tools we use are more important than ever before and Vidak has the solution to adapting, changing and re-organising the workplace.

Social distancing and privacy, hygiene requirements and flexible furnishings are all of paramount concern now and ownworld is here to help. ownworld with Vidak, can offer support at this time, advising clients and end users how best to find personalised solutions for their specific needs and requirements. As ownworld has complete access to the Vidak team there can be expert assistance and service with regard to spatial planning and technical advise to collectively problem solve. And then there is the choice of product.

With signature furniture pieces such as the Aerial workstation there

is the opportunity to experience the versatility and multi-functional aspects of a Vidak design. Aerial has a contemporary aesthetic, an effortless sit-to-stand mechanism and there are endless configuration possibilities and limitless customisation that can ensure Aerial is at home in every workplace.

The Vidak range also includes collaborative booths and privacy pods such as the Huddle, Retreat and Chat collections that present the opportunity for interaction or individual use where and when required. As innovation and technology are imperatives within Vidak products, these practicalities are cleverly concealed within products (such as modular pieces) and allow for change and future re-configuration. There are also technical components, monitors and power and data are integrated for intuitive use. With slim profiling and quality upholstery detailing, Vidak presents a more youthful interpretation of functional, activity-based furnishings for todays workplace.

Of course ergonomic benefits are integral to every Vidak product and with pivoting or retractable tables there is ease of seating with correct heights and distancing between seating, table surfaces and people but also genuine comfort for the user.

At this time, with chain of supply and delivery of products presenting another challenge, Vidak has circumvented these problems and will be manufacturing the majority of product in Australia. This will allow for lead times to be dramatically slashed to four to six weeks delivery time from receipt of fabric.

Ownworld with Vidak offers a new perspective for the design of our workplace. Adaptability and flexibility are necessary for our changing environment but comfort and health are an imperative and ownworld and Vidak have all the answers.

Words: Jan Henderson Above left : The Aerial workstation from Vidak provides versatility and multi-functionality for today’s ever changing workplace.

Above right: Vidak’s Retreat lounge is perfect for individuals who prefer to work in a quiet and calm environment.

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12/8/20 6:05 pm

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IN

BIG THINKERS AND CREATIVE GURUS

FAMOUS INDESIGN

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Evolution Revolution Words Gillian Serisier Portrait Photography Dianna Snape

Ross Didier has carved out a path in the Australian product landscape and continues to succeed doing things his way.

Defined by a subtly interwoven backstory — or “narrative”, as the designer calls it — there isn’t so much a signature as a sense of character to the designs of Ross Didier. Whether that character is the functional companion of a Tiller or the hedonism of a Puffalo, each object has a raw and singular energy that reads as a continuum.

Initially, it was through undertaking the Tertiary Orientation Program at RMIT that Didier’s interest in industrial design was sparked. This quickly gave way to a passion for fine art sculpture and a fusion of focus: the blurring of installation art into interiors.

At some point, Didier became a self-confessed student workaholic applying industrial design to art-making. (For context, this was the late 1980s and early 1990s when the art/design conflation was at its peak, with Jeff Koons and Marc Newson ascribing the ‘product as art/art as product’ perspective within their practices.)

Following graduation, Didier found himself working in backof-house theatre in London where he built sets and constructed props, and an array of objects including luggage, furniture and chandeliers. “It was the dumping ground for artists; everyone was working in the theatre,” says Didier. “This was the time of Cool

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Britannia [including the emergence of YBA: Young British Artists].

It felt like the centre of the universe.” Yet, while in the middle of the action, Didier was also bearing witness to its fade. “I started to get a twang of what was happening in Southeast Asia and a sense of very exciting things happening closer to home.”

Returning home to Melbourne as a furniture designer at the start of the century, however, was challenging in ways he hadn’t anticipated. Didier’s talent as a designer has never been questioned with commissions and accolades pouring in from the start. For example Nintendo, which commissioned the then-burgeoning practice to design furniture for its Australian presence and a project in Hong Kong for Microsoft through Mima Design.

While designs may have gone into production, receiving press and awards on the world stage, Didier saw very little return.

“I was working bars, doing odd jobs, intermittently doing small furniture/lighting jobs, and struggling to pay the bills.”

Fast forward and Didier having commenced his own practice was gaining recognition. A highlight was a commission to create furniture for Melbourne’s Vue de Monde restaurant by chef Shannon Bennett and project architect Elenberg Fraser.

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Just Relax The Puffalo Lounging Collection consists of twenty individual modules that offer a high level of flexibility and individual customisation. With so much comfort provided by the Puffalo lounge, who would ever want to leave the couch?

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“It gave me my first insight that things could happen locally with global significance and really changed my attitude to how I wanted to work,” says Didier. “I had been so focused on looking for the golden opportunity with big overseas companies that I hadn’t realised I’d become very good at self-producing — and really loved it.”

Although Didier had been designing pieces and arranging production, he had never considered it a best-case scenario.

“The idea of designing, managing and manufacturing the products that I could then take to market in Australia and overseas worked really well, but it was a slow process figuring out what I was good at,” says Didier.

To some extent the idea had remained remote, as part of a deliberate strategy to avoid structure in favour of an organic working methodology. What followed was a series of successive commissions, each of which further enforced Didier’s realisation that self-managing and self-producing was not only possible but fiscally viable.

Ranging from accessible and affordable utilitarian products to high-end luxury, Didier’s design language is very much about

storytelling: “What I really enjoy is a strong, authentic narrative.

From 100 design ideas, I will cull it back to ten and maybe, just maybe, go with one. But it will always be the one with the strongest story that goes forward,” explains Didier.

A catwalk piece that has recently proved itself viable is the Puffalo, an example of modular lounging. Designed as the show piece to introduce an extended commercial range, Puffalo has been an immediate success receiving kudos and sales in equal measure.

The range that has followed embodies the Didier philosophy of universality of design.

Although the core studio comprises just five team members and three essential offsiders, the true picture of Didier is that of a global design and production house of hundreds. In a world that currently calls for local manufacturing while celebrating Scandinavian and European imports, Didier sees local from a different global perspective; one that returns the focus to boundless ideas, expertise, and the making of good design. didier.com.au

Page 78-79: Puffalo Modular Lounging.

Page 80: Fable Oak chair.

Page 81: Vue de Monde arm chair edition, TILLER chairs.

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The Source Words Stephen Crafti

Stephen Crafti explores the idea that to understand the past is to inform the present.

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The history of architecture and design gives us a perspective on what’s truly new — and more importantly, of what came before. It is the past that creatives draw from for inspiration, whether it’s architecture, furniture or fashion. Rather than simply reproducing the past, the best of them take ideas forward in order to give people a new insight: a different way of dressing, living, seeing or working.

Unfortunately, in our current design world, the past is often ignored; wherein schemes that are heralded as groundbreaking are simply re-worked ideas that offer very little true innovation. This may not be intentional, given the flood of images one receives on a daily basis via the internet. But how can one design anything without knowing history, whether it’s in the field of architecture or the broader design sphere?

As a writer in this field, history is paramount.

Certain periods, such as Le Corbusier’s architectural modernism from the early twentieth century or the Bauhaus movement that started in Wiemar in Germany, are regarded as major paradigm shifts worldwide. But too often I encounter a lack of knowledge, or even worse, a lack of interest in the past. I still recall sitting in an architect’s office looking at the plans for the refurbishment of a 1960s house in Melbourne. Original elements had already been removed to create a contemporary abode. When I enquired as to the provenance of the house, given I could sense there was something special, the architect went to retrieve the original plans. In one corner, the name of the original architects read Chancellor & Patrick. Surely this should have been known from the outset! Does one really think that a few glam finishes and fittings can improve on a Chancellor & Patrick design? Even if the clients were uninformed, surely the architect should have explained the home’s provenance.

It appears to be a world where the ‘me’ generation

thinks design starts with them and what they decide to create. A more informed architect may have made changes to the Chancellor & Patrick house, but would have done so knowing the history of the place. Those that were uninformed could have easily made a call to a heritage architectural practice at the very least.

Sometimes, when interviewing architects, I may suggest there’s a familiarity with another project from either the past or the present. It could be a curvaceous staircase with detailing that evokes the work of the late architect Harry Seidler or a contemporary. This practice of ‘adopting’ or ‘being inspired by’ isn’t unusual. However, these features should be pointed out in an interview. I prefer to hear from the outset a conversation something to the effect of, “I visited Rose Seidler House (designed by Seidler and completed in 1950) and this inspired the floor plan.” If I have to mention the source, this already sets up an awkward moment. One needs to be transparent!

This writer is not a designer, nor pretends to be. But I do find that too often history is ignored and sometimes blatantly dismissed. If one took the time to delve into design history, one would be surprised to find how fruitful this is to one’s own practice, irrespective of the field. The 1970s has made a strong return and it’s clear that ‘velvet is the new black’. But why not look further than this material? Pick up a book on the work of Marion Hall Best, a legend of Australian interior design in the late 1960s and ‘70s. She was known for her highly vibrant interiors, many of which included lacquered ceilings and mirrored walls. Knowing her work will make the discussion with the client that much richer and the result more impressive.

When information is now so accessible, at the touch of a button, why is there still a resistance to look to the past — not with the idea of replicating, but with the intention of learning, renewing and moving forward?

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Stephen Crafti is a prominent Australian architecture and design writer.

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INDESIGN Luminary Be it furniture design or public art, Penelope Forlano’s career has combined material innovation with a gift for telling stories.

Making Meaning Words Paul McGillick Portrait Photography Carolyn Karnovsky

A couple of years ago I saw a wonderful exhibition in Munich

by Hella Jongerius and Louise Schouten Schouwenberg entitled ‘Beyond the New’. It included this powerful quote: “True innovation is enabled through entertaining a vivid dialogue with the past and linking the stories to the here and now.”

This quote was in my head when I caught up with Perth-based design practitioner Penelope Forlano, as it resonates with her credo as a designer.

She grew up in Perth with a love of arthouse films (especially those made by British director Peter Greenaway), theatre, and television shows such as Melrose Place (which used sets with subversive interventions by a group called GALA). These influences fuelled an interest in set design, which she noticed was often done by architects.

“That’s when I started looking at architecture and interior design,” she explains, “thinking that was what I was really interested in.

When I look back now it was always that hybrid of art and design, how a space could totally transform a person’s mood or emotions.”

Her degree was in interior design with a strong architectural component, along with some town planning and visual arts.

Graduating in 1997, she worked for prominent interior design company, Blake Thornton-Smith, before heading off to London.

Here she worked in hospitality and retail design “doing a lot of detailing of furniture and custom components – all very highly customised design”.

An economic downturn in 2001 — and the fact that her partner, Glen Oldfield, did not have a European visa — sent her back to Perth.

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“I am trying to create works that say: here is your tribe already, your community.

I want to create something that has longevity of meaning.”

Penelope Forlano

Oldfield had worked in Formula 1 in Europe. Once back in Perth, he established a composites manufacturing business. He and Penelope starting working together and eventually produced the Lux table, which they exhibited at Salone del Mobile in Milan in 2004.

“With Lux,” Forlano explains, “we were experimenting to see how far we could push the material and fabrication techniques from Formula 1 and apply that to the fabrication of furniture. We were able to get something that’s extremely slim-lined, but also extremely strong and lightweight.”

The collaboration continued with the Terrain table in 2010 (acquired by the Art Gallery of Western Australia), which confirmed for Forlano that she could combine craft, design, technology, traditional materials, aesthetics, meaning and function – “giving an object multiple ways of being appreciated”. The Terrain project encouraged her to keep going down that path and to create other works in collaboration with Oldfield – for instance, a 250-squaremetre reflective soffit for a school (2015). Comprising two wave-like structures, the complex, folded, laser-cut shape of this project was developed using CAD and 3-D scanners.

A new direction then began to emerge in her work. “I started looking at the person-to-object relationship because I wasn’t finding what I wanted in design theory. I started looking at things like social and cultural anthropology, consumer behaviour,

consumer psychology ¬— things that delved deeply into people’s relationship with objects.”

One result was a PhD from Curtin University (2018) with the title, “Making Custodians: A Design Anthropology Approach to Designing Emotionally Enduring Built Environment Artefacts”.

Another more immediate result was the ‘The Unforgotten’ (2013), a piece of furniture design that utilised heirlooms of her grandmother. For this, letters and fabrics were scanned and photographed then etched into a timber hallway cabinet “so that it could be touched and present in the space”.

“As you come home, you open the front door, you see this object (saying) ‘you are home’, [and] it links to your inter-generational history,” explains Forlano.

During and after the PhD, Forlano completed four public art projects and produced four pieces of furniture. Her practice has evolved into a sustainable one in all senses: environmental, social, cultural and personal.

“I think all objects carry a meaning,” she says. “If we can make our objects — especially furniture, which we normally keep for a long time — (and) imbue them with a deeper meaning, then it’s going to encourage people to store them and repair them. The more stories we can embed within that object, the more likely it is that people are going to keep it.”

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Hear Me Created while Forlano was artist-in-residence at the Parliament of Western Australia, Shield of Voices (2018) is both delicate and strong and celebrates the female voice.

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‘From the Skies’ (2015), an acoustic wall and sculpture at Perth Airport, not only tells a number of stories, but draws out their inter-connectedness and relates them to the present-day community. For this, Forlano began with the constellations Orion and Pleiades, which have engendered very similar stories “across many cultures and across millennia”. At the same time, the piece references rare fauna from the area, the immediate landscape and how the local Whadjuk people see their relationship to the stars.

‘Mutualities’ (2019) was commissioned for a residential and commercial development on the site of the old Shenton Park Rehabilitation Hospital, a place redolent with stories, especially of the polio epidemic of the early 1950s. It acts as a barrier to prevent children running on to the road. But it is also an artwork.

Forlano describes the series of alternating posts as “reflecting our anticipated linear life path. Every alternate post is reflecting the actual lived experience of an accident or the unexpected nature of a disease and how that takes you off your anticipated path.”

As artist-in-residence at the Parliament of Western Australia (2018) Forlano produced ‘Shield of Voices’, which creates a matrix of stories and personalities over time. “When I experienced the space it was evocative of a Victorian gentlemen’s club,” she recalls.

“I wanted to celebrate the female parliamentarians and their

influence on West Australian politics, but also make a statement about bringing femininity into that space. It’s quite a delicate work, but still quite strong, being in stainless steel.”

‘Shield of Voices’ is a hybrid of interiors and art. It’s like a mirror on the wall, but it’s also an artwork. “I drew inspiration from the fact that in Victorian times they had calling card trays,” Forlano says. “What I wanted to do was to turn that on its head [by creating] an enormous tray and [filling] it with all the women who have been members of parliament. Then, around the perimeter it talks about some of the most influential acts by female parliamentarians. It also speculates on the next big change I think is relevant: the rights of nature and future generations.”

Forlano’s practice embodies a holistic type of sustainability. But as a designer, she is aware that you can’t ask people to stop consuming.

Even so, through her multi-faceted artworks, Forlano asks people to look past the marketing that tells them how they can fit in. Instead, she wants to show them that they already fit in. “I am trying to create works that say: here is your tribe already, your community. I want to create something that has longevity of meaning.” forlanodesign.com

Page 86: Kaleidoscopic Wave (2015). Photography Bo Wong.

Page 87: The Unforgotten (2013). Image courtesy of FORM, photography Eva Fernandez. Page 88-89: Shield of Voices (2018). Photography Douglas Mark Black.

Page 90: Mutualities (2019). Photography Douglas Mark Black.

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American Hardwoods The Longlasting Beauty Of Sustainability Words Ola Moszumanska Photography Trevor Mein and Gray Puksand

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Sustainability is paramount in modern design. One could argue that if a design isn’t sustainable, it isn’t truly modern. With a clear understanding of the negative implications of climate change, selecting sustainable materials isn’t a choice - it’s a long-term commitment. American hardwoods, with their extensive sustainability credentials, should be top of mind for any architect and designer who looks to minimise the negative impact on the environment through their practice - and create stunning visual outcomes along the way.

With a plethora of benefits including durability, versatility, and even positive effects on human wellbeing, American hardwoods come from an abundant sustainable and natural resource. Trees are allowed to grow to size before being selectively felled. Each year, growth far exceeds harvest and for every tree felled, more than 2 take its place through natural regeneration. As a result, the American hardwood forest is increasing in volume at a rate of 124 million m3 a year. American hardwoods are, in fact, one of the most sustainable and low environmental impact materials available.

The benefit of selecting a sustainable, quality material in design was recognised at a 2019 London Design Festival project called ‘Legacy’. The design undertaking saw some of Europe’s most prominent artists use American red oak to design everyday objects they’d like to pass onto a family member or an institution. With a variety of exquisite pieces of furniture, a post box - and even a beehive - celebrating this versatile natural resource, ‘Legacy’

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highlighted not only timber’s potential in furniture manufacturing but its ability to last.

However, American hardwoods don’t just last – they age gracefully as well. American cherry’s ability to embrace the passing of time was one of the main reasons why this particular timber was chosen for Woods Bagot’s project: Sydney’s iconic Paramount House.

The all-American cherry fit-out elevates the interior’s sustainability profile and makes the evolving visual of the wood one of the main features of the design. In fact, the luxurious look achieved through the natural darkening of timber with time encouraged the design team to refrain from applying UV coating to embrace the timber’s longlasting, maturing aesthetic.

The life-like quality to American hardwoods was also at the forefront of Gray Puksand’s design for 101 Collins Street, an end-oftrip and wellness facility in Melbourne. In line with the principles of biophilic and cradle-to-cradle design, Gray Puksand incorporated natural and sustainably sourced materials - in this case American walnut and white oak. The result is a space that not only imitates nature through visual and tactile cues but also through sustainable production processes that allow the materials to be recycled at the end of their life, embodying the ethos of the space.

Sustainable, versatile and durable, American hardwoods offer a unique opportunity to create modern designs that are not only built to last - but get better with time.

Above: 101 Collins Street, ‘ONE’ and ‘RISE’ in American walnut and American white oak, photo: Gray Puksand.

Opposite: Paramount by The Office Space in American cherry, photo: Trevor Mein.

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Innovative, Iconic and Italian Arflex Finds its Antipodean Forever Home With product innovation and adaptability at its heart, Arflex is an undeniable icon of the Italian furniture industry. As sought after as it was at its inception in 1947, the brand finds its Antipodean forever home with its long-term collaborator and one of the country’s most recognised furniture, lighting and accessories distributors, Space Furniture.

Started by a group of Pirelli-based technicians, Arflex’s journey to become a widely recognised furniture design and manufacturing company was born from the need to experiment with new materials and technologies.

Anchored in the promise of research, adaptability and constant improvement, Arflex introduced post-war Italy to furniture through a combination of a modern design aesthetic and cutting edge technologies, blurring the borders between beauty, comfort and advanced functionality. The CEO of Space, Christina Owyong, explains: “Arflex is a furniture company that is constantly focused on cultural experimentation. Its avant-garde status is based on imposing new technological products that make an ongoing contribution to both design culture and comfort.”

Arflex’s agility and ability to embrace change has found its expression not only in its commitment to technological advancement. Numerous collaborations and partnerships with renowned designers have presented opportunities for ongoing development and resulted in a series of globally recognised iconic

designs, such as the recently re-released classic triangle structure of the Cradle sofa by Neri&Hu, the modularity of the puff y pillowshaped Marenco seating from the 70s, to the revolutionary Strips sofa designed by Cini Boeri in the 60s, and the true classic of the 50s office - the Elettra chair.

The latter – as with many of Arflex’s seminal pieces encapsulates the timeless character of the innovation-driven manufacturer. Elettra was designed by masters of Italian design, the renowned architecture, urban planning and design studio B.B.P.R. Created in 1954, the iconic chair has more than stood the test of time, with its universal and elegant form that continues to elevate contemporary interiors around the world. Timeless in its classic design and functional in its adaptability, the seating’s unpretentious metal frame is as current as it was over half a decade ago, and will remain so for years to come - another testament to the brand’s ability to stay relevant for future decades.

The new normal demands more flexibility than ever before, and Arflex adaptable from its beginning, continues to push the boundaries of design and materiality, now in their new Australian home. “Space is proud to continue to represent Arflex’s iconic stable of designers, whose incredible products have made a significant contribution to the design lexicon. In Asia, Arflex has always been part of the Space stable, and we are happy to align our Australian showrooms in 2020,” concludes Owyong.

Words: Ola Moszumanska Above: Elettra chair by Arlex is both comfortable and contemporary and at home in any environment.

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Born of love and respect for both the geographical region and the Surf Life Saving community, the architecture of Ocean Grove Surf Life Saving Club answers far more than the aesthetic demands of contemporary architecture.

Beautifully Recessive Ocean Grove Surf Life Saving Club, Ocean Grove, Victoria, Australia by Wood Marsh Words Gillian Serisier Photography Mengzhu Jiang

Designed to be contiguous with the surrounding landscape, the Wood Marsh design of Ocean Grove Surf Life Saving Club posits a continuation of the undulating form of the sand dunes.

Moreover, each element exists in reciprocity with the location via the natural being woven throughout. A case in point: the control tower physically denotes the Victorian coastline. As Wood Marsh principal Roger Wood explains: “It makes reference to the rocky sandstone outcrop below the Point Lonsdale Lighthouse. It has to do with the age of the Victorian coastline and erosion so that little pinnacle of a control tower is meant to be looking like one of those defiant pieces of sandstone rock along the coastline that hasn’t washed away.”

For Wood, the project was in many ways preordained.

“Having grown-up on that coastline my entire life, it resonated in a particular way,” he says. “I was in the inaugural year of Nippers (the junior life savers) in 1964, and I still surf, so there is something about the ocean and that coastline that affects me deeply. Also the compassion of a voluntary organisation that saves lives.”

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That being said, there was a tender process, at the end of which Wood Marsh was delighted to secure the project. The requirements called for a hospitable community facility that would provide both utility and capital-raising potential on a lean budget.

“The whole project was done out of love and respect for the organisation and I’m very proud that our practice won the job, out of passion,” says Wood. “And, I’m thrilled with the result.”

A location on Crown land allows ways of building without a permit. Even so, Wood Marsh argued to take the project design to the community and use no tactics to avoid scrutiny. What was presented and then achieved is a subtle and contemporary piece of architecture that is functioning very well for the club.

Effectively, the building reads as single storey, with the lower level partially buried. “From the community aspect you have that long horizontal timber and charcoal cladding; from the beach you see above the vegetation a single storey building,” says Wood. The building is exceptionally well-embedded into the landscape, with cypress used to mitigate the hostile environment.

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Architectural drawing of the area off the surf club’s storage of vessels.

Materially beautiful, this material choice will not only last untreated for fifty years, thanks to its high resin content, but has already lost its cream tone to deliver a silvery grey expanse. “There are the silver tones in the saltbush along that coast and native grasses,” says Wood. “We thought it would be beautifully recessive to use the silvery cypress, on that primary sand dune, which has the undulating form. The rounded corners and the smoothness of the shape complement that landform.” Additionally, the long horizontal glazing line and horizontal slot of the control tower reference the horizon of Bass Strait, while the glazing itself reflects the landscape as the softly curved corners and native vegetation are amplified.

Intrinsic to the project was a comprehensive understanding of the functional, fiscal and environmental needs of the club. To these ends, the project was staged with the small control tower built first, to allow patrols to continue through summer. Next, the existing building was demolished and new facilities built in time to open for the following summer. As no part of the surrounding natural landscape could be disturbed, the whole of the new facility was designed to sit on the existing footprint.

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Previous to this design the route from carpark to beach was upstairs, across a landing then downstairs and out. Wood Marsh lifted the base to allow direct access from arrival to tower. In doing so, the design considered the myriad utility needs of a working Life Saving Club, the whole of which is a hose-down interior. Access to surf-ski storage is directly across from the beach, while racks are diagonal (rather than the usual angled configuration) for lessdumped skis. From there, access to the male and female facilities is via a sand-trap so that most of the sand is gone prior to showering.

Board and buggy type storage is also located on this floor.

Importantly, the control room and first aid room, with direct access for ambulances, are also located in this ground-floor area. “If there is a major event, such as a plane crash, the control tower and control room coordinate emergency services for rescue,” says Wood.

Being a Crown land project, the City of Greater Geelong utilises a committee of management to oversee assets along the coast. This includes Ocean Grove Surf Life Saving Club, where the Dune café — occupying one third of the glass line facing the ocean — is a realised source of revenue.

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Page 97: Comfortably settled in the surrounding landscape the deck offers outstanding views as the sun sets.

Above: Below the control tower the surf-ski storage area can be accessed directly from the beach.

Page 102: The facade of the club is both sophisticated and location appropriate.

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Elegant And Elongated The Ocean Grove Surf Life Saving Club is beautifully installed into its surrounds and reads as a single storey from the beach.

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“As with all the Victorian coastline, if you have a view you are facing the prevailing weather and south-facing.” Roger Wood

The remaining two thirds are a direct club asset, complete with commercial kitchen. “This gives capacity for members to have a nice time after a day of patrolling,” says Wood. “There is a bar and a kitchen for a drink or some fish and chips and a look out at the ocean.”

The Wood Marsh design addresses the very real concerns of a club that needs to apply for government funding while going out into the community shaking cans for donations — not to mention saving lives. To this end, the entire area is visually continuous with the same polished concrete floors and acoustic timber-batten-clad walls throughout. Two operable walls allow the space to be occupied in parts. Either the club can rent the café space to accommodate a wedding or large party, or the café can rent space from the club when required. In fact, so popular are these social areas that the club has introduced a social membership that welcomes all and has doubled its membership. “I’m really proud,” says Wood, “Not only is that an annual income for the club, but it means the community have responded to the architecture and said, ‘Yes, we would like to be involved with this’.”

While the deck offers an unbeatable view as the sun sets, it also contends with an extremely hostile environment. “As with all the Victorian coastline, if you have a view you are facing the prevailing

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weather and south-facing,” says Wood. To resolve this issue, the floor-to-ceiling windows that face the ocean are double-glazed and have a performance film, which has additionally helped with the building’s sustainability. With a budget mandate that will always choose a piece of life-saving equipment over an architectural folly, every element of the design was rationalised. That said, sustainability was embedded to the full extent of the budget with solar augmenting the natural weather mitigation of sliding windows and doors. While there was great initial concern about running costs, these have been reduced with the new build.

Subtle, elegant and beautifully installed into its surrounds, the real beauty of the project lies in its thoughtful delivery of actual life-saving needs. There would be little to write about if Wood Marsh had delivered the functional square block of so many Surf Life Saving Clubs — but then, they never would. Instead, they have created an extraordinary building with genuine understanding of the club’s multi-layered needs as well as those of the greater community. Bravo! woodmarsh.com.au

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SYDNEY 5/50 Stanley Street Darlinghurst +61 2 9358 1155 MELBOURNE 11 Stanley Street Collingwood +61 3 9416 4822 ownworld.com.au/senior-living

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Studio Tate’s makeover of the Eva Tilley Memorial Home presents a sophisticated and desirable response to residential aged care.

A Sophisticated Old Age Eva Tilley Memorial Home Balwyn North, Victoria, Australia by Studio Tate Words Paul McGillick Photography Thomas Brooke Photography

Opposite: Colour palette and textural materials are a Studio Tate design signature and each has been used to highlight the contemporary interior of Eva Tilley. Page 106: The dining room is relaxed with a spacious layout and soft palette. Page 107: As many residents are single the seating preference is for lounge chairs for individual comfort. Page 110: Along with comfort every amenity has been provided and the hairdressing area is brightly coloured to help energise the patrons. Page 111: Casual seating in red complements the subdued white and light grey colour base.

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Colour palette and textural materials are always important for Studio Tate in how they inject personality into spaces, but it was especially important in this project.

For a long time, health facilities such as hospitals and aged care homes were anything but hospitable. They were not welcoming and not places where anyone wanted to be. But things have been changing in recent years. Hospitals have led the way with a new emphasis on wellness, in recognition that life-affirming contexts – warm internal finishes and external connections to sunshine, natural light and nature – help drive faster recovery rates.

Traditionally, aged care homes, with their drab internal palettes, crusty furnishings and inward-focused planning, sent a message that life was in the past but this model is now being challenged.

An excellent example is the newly refurbished Eva Tilley Memorial Home in Melbourne’s Balwyn North, where designers Studio Tate and Eva Tilley CEO Sharelle Rowe set out to offer something different by “contemporising” aged residential living.

“We at Tate are particularly passionate about re-imagining what aged care could look like,” says project leader, Alex Hopkins. “People are exposed to fabulous design all the time. So why should an aged care facility be any different? Why shouldn’t an aged care facility be

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a fabulous place to go and have your hair done? Why can’t it be like what you’d find on the High Street? Something fun and fabulous.”

Given that Studio Tate works across a number of sectors, from retail to hospitality to residential design (expressed by them as Live, Work and Play) they were well-placed to “cross-pollinate” and drive a new vision for residential aged care.

The project was initiated as far back as 2016, when Rowe decided the facility had seen better days. In Hopkins’ words: “It wasn’t hitting the mark in terms of its look or feel or its offer in terms of quality.” Rowe encouraged the designers to think outside the box and come up with something “truly unique”, especially in regard to the colour palette. Philosophically, the project was based on three principles: dignity, community and independence.

To serve these three principles, residents needed to feel as though they were living in the real, contemporary world. According to Hopkins, there needed to be “the sense of an outing” every time they left their room. “The guys and gals who are living at Eva Tilley could be down at the local shopping village,” she muses.

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Presentation Perfect Eva Tilley presents more as a sophisticated residence than an aged care home, with lush furnishings and a refined palette tailored to the comfort and desires of the residents.

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Whether they are off to the dining room, or to the kiosk to buy a card, or to the bar to have a coffee, or making a visit to the hair and nail salon, there is the sense that they are participating in the contemporary, everyday world.

The strategy was to work against any sense that the residents were locked away from the broader community and to establish a feeling of ownership, as though it were really their own home, furnished and finished with the quality they would invest in their own personal space.

The designers consulted closely with the staff – many of whom have been at Eva Tilley for a long time – and the residents. One important result was a re-think of the loose furnishings, which had previously been dominated by sofas. As many residents are single and prefer arm chairs, there was a shift from sofa seating to more individual seating.

Colour palette and textural materials are always important for Studio Tate for how they inject personality into spaces, but it was especially important in this project.

“We were conscious,” says Hopkins, “to make sure we selected colours that felt contemporary but were ultimately calming.

Also energising, which may sound contradictory. But some spaces

are more energising. The warmer tones of the nail bath, for instance.

Whereas in the dining room there’s a soft palette because you’re there for a longer period of time.”

On the upper level — the ‘memory support wing’ for residents with dementia issues — colour is also used as a form of wayfinding, such as with the beautiful, blue fish tank. This is a calming element, but also a point of orientation. “It is about giving personality to areas, which helps people orient themselves.”

Far from the utilitarian experience we are used to in residential aged care, the finishes, loose furnishings and bespoke shelving at Eva Tilley have a deliberate sophistication. “In re-imagining aged care we didn’t want it to feel like a playground,” explains Hopkins.

“We wanted it to feel sophisticated; we wanted it to feel like your home – it’s your pride and joy. People should feel a sense of pride and ownership over their space and want to be there and enjoy it.”

Eva Tilley brings a mood of hospitality to residential aged care, its amenity and presentation offering a sophisticated experience of living in the design-conscious contemporary world. studiotate.com.au

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DesignOffice’s latest project, Mastani, is a retail experience that creates the perfect environment for the serious shopper.

Mastani: Feminine, Strong and Confident Mastini, Melbourne, Victoria, Australia by DesignOffice Words Stephen Crafti Photography Haydn Cattach

Mastani, on High Street, Armadale offers a discreet view of the fashion label from the street. Perspex sheets with a burnished edge frame the garments that hang in the window. Inspired by the fabrics represented in the store — sourced from Italy and India, and many of which are from handlooms — there’s a strong, confident and feminine sense to both the clothing and the fit out. “There’s a play of both strength and beauty,” says designer Mark Simpson, co-director of DesignOffice, who collaborated with Mastani owner and designer, Kudrat Makkar, and creative agency Ortolon.

Creating an experience for those who enter the narrow-fronted store was at the forefront of the minds of all those who contributed to creating this understated fit out. “It’s a relatively long and narrow store (4 x 25 metres), so we treated the spaces as a series of

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‘capsules’ by controlling the sight lines,” says Simpson, who worked closely with co-director Damien Mulvihill. “It’s more akin to an enfilade with four salons, each one having its own function.”

Named after an Indian princess, Mastani showcases slow, handcrafted fashion with limited sizes in store, as well as a made-tomeasure service. “We aim to avoid wastage and make only what’s required,” says Suzi Kyriakidis, retail operations and marketing manager, wearing an intricate woven silk jacquard jacket created from a handloom. “It can take months to weave, and generally the fabrics act as a starting point for Kudrat.”

The interpretation of the fashion, as well as the spaces, is clearly evident once past the front door. As with the fabrics, the materials and hues selected for this fit out are elegant and understated.

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Oak parquetry appears on the floors and a series of pale pink beams loosely defines each salon or capsule. Although appearing as structural, these beams were added to create the required spaces.

In the first two areas, a scalloped and acoustically treated ceiling forms an extended ‘welcome mat’. There’s a sense of calm, assisted by the carefully mixed fragrances that emanate throughout.

Unlike most retail fit outs, which have a clear point-of-sale, at Mastani it’s partially concealed to one side of the second salon.

A cantilevered concrete wall beautifully wraps around the till and small office, creating more of a boudoir effect than a store. “We saw each space being more about creating a mood. We will often display five to 10 garments at any one time. Each piece needs to ‘breathe’,” says Kyriakidis.

As one moves to the rear of Mastani, there’s a subtle shift to a more domestic environment, with customised credenzas made from oak and marble (also created by DesignOffice). At the end of the ‘journey’ is an almost private lounge, with a sofa designed

by Ross Gardam and a Scape chair by Grant Featherston from the early 1960s. A singular steel rack is continually changing as Kyriakidis and the staff select suitable pieces for clients to try on.

“We inherited the building’s relatively low ceilings, which in some ways provided a constraint, but in other ways delivered a sense of intimacy by the time you reach the end of the store,” says Simpson.

Although the width of the store is only four metres, the wall treatments and displays suggest something more generous.

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Clothes are carefully displayed against either polished plastered walls or pale pink curtains. The colour scheme is recessive, including pale lilac and soft muddy greens.

In spite of its size, there’s a generosity in the store, with a lounge large enough to entertain — or, in this case, make clients comfortable — and change rooms that are much larger than expected. These include mirrors, shelves and even a comfortable armchair. “People who come into this place don’t want to feel restrained. Trying on these garments needs to have that space to enjoy on their own,” says Kyriakidis.

Just when you think the ‘journey’ is complete, Kyriakidis opens a door between the two dressing areas to revel an office, kitchen and storeroom. “It’s not just about what the customers experience, but also how staff operate,” she adds.

DesignOffice could have punctuated the spaces with considerably more fixtures and fittings. Instead, as with their other retail and commercial fit outs, there’s a sense of order and purpose at every turn, whether it’s an angled mirror to accentuate certain areas or to draw one’s attention to the most important feature, the Mastani clothes and accessories. “Kudrat studied architecture before entering fashion. That synergy between architecture and fashion was always going to be there,” adds Simpson. designoffice.com.au

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Page 113: Mastani showcases slow, hand-crafted fashion with a limited display to allow to each piece of clothing to ‘breathe’. Opposite: At the rear of the store is a private lounge area that includes a Scape armchair by Grant Featherston. Above: The footprint of the store is both long and narrow and spaces have been treated as a series of four salons or ‘capsules’ each having its own function. Page 118: The street view of Mastani is both contemporary and architectural to complement the elegant fashion within.

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Strength And Beauty Both the colour palette and materiality of Mastani have been curated to present an architectural interpretation of this elegant fashion brand.

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Named after an Indian princess, Mastani showcases slow, hand-crafted fashion with limited sizes in store, as well as a made-to-measure service.

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ALL YOU NEED TO KNOW ABOUT THE BRANDS YOU NEED TO KNOW

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Identified by a neon glow behind a brick façade is the unassuming space of Café Lafayette, an eatery that captures the magical spell of a multi-sensory dining experience.

Theatre on a Plate Café Lafayette, Melbourne, Victoria, Australia by Hassell Words Emily Sutton Photography Peter Bennetts

Opposite: The entrance to Café Lafayette, where theatre meets restaurant. Page 122: The internal and external brickwork was retained and adds gravitas to the contemporary design.

Page 124-125: The interior features a cantilevered dining counter covered in dichroic film and a custom hand-shaped neon light that amplifies the vibrant youthful tone of the cafe.

Page 126: Both the Artek chair 66 and Sanaa Rabbit chair are utilised within Café Lafayette and provide refinement to the interior design and comfort for diners.

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A historic 150-year-old converted townhouse sits in Niagara Lane, one of the oldest laneways in Melbourne’s city centre. This heritagelisted site has been transformed into a feat of innovative and daring design, blending theatre, creativity and contemporary flavours.

Run by co-owners Solar Liang and Monique Wu, Café Lafayette is not your typical café. When the world shut its doors earlier this year, we never expected the simple joys of celebrating and eating out to disappear so quickly. It is in these last few months that we have recognised that a restaurant is much more than its food offering; it is the culinary spectacle of intoxicating aromas, plated artistry and an energy in the atmosphere that delves deep into all five senses. The result is an experience far more memorable than anything we can take home.

Melbourne’s crowded café scene demanded something that would shake it up. Influenced by the presence of the ‘Instagram Generation’, Liang and Wu engaged architecture firm Hassell to create a space that provided an entirely unexpected café experience, unlike anything else in the city. “Through working so closely with the owners, we’ve come to know and understand their

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experimental Japanese-inspired menu and the creative thinking behind it,” co-lead designer Prue Pascoe says. “The Melbourne food scene is very established and there are a lot of spaces occupying that ‘white and light’ aesthetic, so it was very exciting to see them be so brave and determined to challenge that.”

This prompted the design team to strip out the idea of a conventional café. However, the historic significance of the site meant that the original structural features and internal and external brickwork had to remain untouched. Additionally, the compact rectilinear space did not allow for much natural light aside from mere glimpses through a small, street-facing window.

At the start of the process, this was a challenge that the designers identified.

In collaboration with Melbourne-based Studio Round, an authentic brand experience was established through an experiential, sensory narrative that surpassed any restrictions within the site.

The revitalised space pays homage to its past while remaining an evolving destination that ties together its heritage and an exciting, future-forward design story.

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Theatre Plus At the heart of Café Lafayette is the Japanese-style sushi bar formed as a stainless steel box that is both unexpected and unique.

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A dichroic glass tunnel leads the experience. As the only feature visible to the street, it creates a sense of intrigue for the visitor from the point of arrival. “The way you enter is the start of the whole experience,” adds co-lead designer, Di Ritter. “You go through this psychedelic structure that changes colour as you move through and it catches you off-guard, momentarily displacing you in this transitional point between the street and café. Then you arrive at Café Lafayette and you’re transported to this whole new world.”

Reminiscent more of a nightclub than your typical urban café, Hassell inserted a black vessel into the site, concealing the existing brickwork underneath and providing a backdrop for an immersive journey of artful food. At the heart of the restaurant sits the Japanese-style sushi bar that takes the form of a striking, stainless steel box. Evocative of a theatrical show, it offers a communal dining space that immerses the diner in a gustatory experience that feeds the eyes and the stomach at the same time. The cantilevered dining counter is covered in dichroic film, reflecting hues of purple, pink, blue and green, splashed across the countertop as you eat.

Sitting on the wall above is a custom hand-shaped neon light, which forms the letters letters C and L and further amplifies the vibrant, youthful tone. This is one of the perfect, Instagrammable moments that Liang and Wu envisioned.

The clean, futuristic elements of dichroic surfaces and steel create a kaleidoscopic wonderland in the ‘black bowl’ of Café Lafayette. To soften the space, furnishings such as the Artek Chair 66, the Artek Stool from Artek and the iconic Sanaa Rabbit chair bring a sense of

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comfort and warmth for the diners. Café Lafayette required a specific atmosphere and a material palette that broke down the stereotype and familiarity of a light-filled eatery. The end result is a colourful, textural concept that was surprising and unpredictable; one that championed the culinary brilliance of the menu.

“You look at the menu of Café Lafayette and you instantly become engrossed with these explosive Australian-Japanese flavour combinations. You just have to free yourself of anything you thought you knew about café dining,” says Ritter. “Solar and Monique inspired us to reimagine the way we dine.”

Café Lafayette is the antithesis of a conventional Melbourne eatery. Hassell and Studio Round look to challenge the architectural landscape of trendy café dining with an experience that is dramatic, disruptive and wholeheartedly embraces the leap into the digital generation. The experience at Café Lafayette pushes visitors out of their comfort zone while slowly inviting them to uncover its culinary layers and discover the magic within the walls.

Liang and Wu wanted to create a new narrative of theatrics in café hospitality; an experience that you need and want to be immersed in,” expresses Pascoe. “Hospitality will always weave itself into everyday life because people crave the whole experience of a restaurant. And here, you’re getting all that plus a sense of dichroic magic.” hassellstudio.com

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Indesign AD_Print w233mm x h297mm_001.pdf

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EVERY WEDNESDAY

8:30am and 12:30pm ZOOM WITH US.

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Delicious little morsels designed to nourish and revive the mind and body, {small} bytes of happiness is our Covid – friendly spin off from the Market Day + Haworth / Wellness event.

Every Wednesday, we host delectable little events that you can pop into for 30 minutes to engage + connect and then get back to your work day feeling refreshed and re – energised.

We have gathered an amazing mix of companies and people to help us with this and we are so excited about what is coming, tribal dancing, meditation, healthy cooking segments and designer hosted segments to name a few.

Brought to you by Haworth, Indesign and STUDIO Z – watch this space for updates.

Instagram: @marketdayhaworth Facebook: @MarketDayandSmallBytes

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Hometown Hospitality Words Brydie Shephard Photography Jeremy Wright

Creating the restaurant experience at home.

In January, we had whipped coffee; in March, frantically hoarded spaghetti; April was sourdough starters which eased into focaccias; and in July some of us realised we’d been cooking rice the wrong way all along. In a year that has seen time lose any sense of definition, it has been food which has reenergised our living spaces and punctuated months of home schooling, Zoom calls and life spent indoors.

This fixation on home cooking reflects the filling of a hospitality void, a migration from metropolitan bars and suburban diners to the comfort of lounge rooms and island benches. With social distancing the mantra of 2020, our homes have presented an alternative to going out: a place to gather, to connect and to host our nearest and dearest.

In this pursuit of homeward hospitality, not all spaces are created equal. With connectivity the name of the game, openplan living has become the peak of desirability. Here, the art of cooking becomes a hospitable thing, an experience shared with kids, parents and friends.

Nowhere is this more apparent than in a recently completed multi-residential development in the leafy Melbourne suburb of Toorak. While conceived long before our current global situation,

The Springfield provides an architectural antidote to lockdowns and our “new normal”. Designed by K2LD Architects for Chapter Group, this boutique apartment block heroes home-style hospitality, with a design that puts the kitchen, and its Zip HydroTap, in the spotlight.

Inspired by Frank Lloyd Wright’s Falling Water, The Springfield’s appeal starts from the street. Sheathed in vertical foliage, the building appears to float above a garden of lush greenery, an ode to biophilic modernism that hints at the kind of apartments that lie inside.

For K2LD, it was the plot that inspired the build, with their first site visit immediately conjuring visions of expansive apartments that would be quiet, peaceful and drenched in natural light. As the building evolved, so did the design itself, with commercial and design narratives intertwining to create a space that is – at its core – utterly liveable. Imagining themselves and their personal networks as potential clients, K2LD pushed the boundaries of apartment life, with careful consideration going into each decision.

The end result is a selection of expansive, private apartments that are welcoming and warm. Varying in footprint from two to three bedrooms (and two penthouses), each individual space is luxuriously oversized, offering open plan living in a palette that speaks to the

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natural Australian landscape. Natural wooden floorboards and bespoke joinery bring the spaces together, offering a sense of refinement that match the execution of the façade.

Key to The Springfield’s success is a floorplan that unfolds itself around a centralised kitchen hub. Providing an anchor point for each apartment, the kitchens lay the foundation of the overall design ethos, creating an architectural dialogue that builds intimacy amongst generous spaces.

Designed by Vincent Van Duysen for Molteni Dada, the kitchen was handpicked by K2LD on a trip to Salone del Mobile in Milan. On completion, The Springfield was the first development to feature the kitchen outside of its home country of Italy. Finished in deep natural timbers with a five-metre marble bench top and breakfast bar, this is a kitchen with hospitality at its core, seamlessly combining food preparation and entertaining areas into a single, communal zone.

More than just a space to look at, it’s the kitchen’s technology that positions it as a true alternative to going out. Designed to facilitate

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a hybrid of cooking, conversation and entertaining, the space features a full butler’s pantry, five-metre marble bench top and state of the art appliances, including a Zip HydroTap Elite. Offering instant boiling, chilled and sparkling filtered water, the HydroTap echoes the apartment’s commitment to quality and design-led products, all while ensuring convenience, sustainability and hydration are within arm’s reach of current and future residents.

For The Springfield, the kitchen speaks to a model of living that facilitates connection. Keeping the kitchen as the anchor point for the apartment ensures a lifestyle that can provide for people, whether they be residents or visitors. In a year that has brought challenges to our lives and our architecture, this model has never been more important: allowing us to find solitude in our private spaces but community and conversation in our shared ones. It is in spaces like these that our path forward becomes tangible, where ways to pass the time evolve from mere cooking fads to a new vision of hospitality in the home.

A Zip HydroTap epitomises effortless entertaining in The Springfield’s apartments

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CAROMA

A Design Evolution

If the kitchen is the heart of the home, then the bathroom is its soul.

Where kitchens spill into living rooms and out onto backyards, bathrooms retreat in – a sanctuary for solitude, privacy and rituals of self-care. Because of this, the bathroom is an expression of self, a narrative of shape, texture and materiality that speaks to who we are when there’s no one watching.

Despite this, the everyday bathroom is one that has largely been governed by practicality. We choose toilets that save water and fittings that are steam resistant, selecting function over form and dressing up our pragmatisms with French candles and hand loomed towels. Now, form and function can finally co-exist, with the release of a new collection from one of Australia’s most iconic bathroom brands. Building on over 75 years of excellence, Caroma has brought Urbane II and new Liano II Tapware to the market, ranges that combine innovation and design to create bathrooms that look as good as they work.

Infusing contemporary Australian aesthetics with pioneering technology and sustainable excellence, the Urbane II and Liano II ranges have raised the bar in luxury bathroom offerings. Perfect for energizing mornings and relaxing nights, this curated range of products make aspirational bathrooms achievable, encouraging true creative expression by way of an inspired colour palette. For the first time, each of the collections offerings are available in five luxe finishes, starting from timeless chrome and evolving to the more modern tones of matte black and brushed brass.

When it comes to the ranges themselves, think sleek mixer taps and oversized rain showers, sophisticated shapes in rich hues.

As always, Caroma offers a collection of products and finishes that look beyond statement pieces, creating a holistic design narrative with coordinating flush plates, robe hooks and towel rails. What’s more, PVD finishes, common in-wall bodies, uniorbital technology and adjustable flush pipes ensure installation is kept simple and that products and fittings can be interchanged later without changing plumbing.

Investigate further and it’s evident this is a collection that is just as much about performance as it is about design. Showers are revolutionised with V-Jet Technology, giving an unprecedented level of control over water pressure, while toilets feature GermGard® and Cleanflush® – patented innovations that help protect against harmful bacteria and create a cleaner, more hygienic and water efficient toilet.

In a space that can be difficult to fit out, this range breaks the mold. It provides the products, finishes and vision we need to create bathrooms that are driven by design, all while maintaining the outstanding performance and function that is at the core of the wider Caroma brand.

Indeed, with a focus on personalisation and creative selfexpression, the Urbane II and Liano II ranges bring bespoke Australian styling to the Vogue range, allowing for wet spaces that are not just bathrooms but sanctuaries.

Words: Brydie Shephard Above: The Caroma Vogue Urbane II Range

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THE WINNING TOUCH

A new showroom for Winning Appliances in Richmond Victoria presents hospitality at the heart of this retail experience.

Words Jan Henderson Photography James Geer

As design ideas from residential projects have been incorporated into our workplaces, so too has the essence of hospitality joined forces with retail to create a more hospitable offering. With coffee carts now commonly positioned within commercial buildings, pop-up cafés adjoining lobbies in public spaces and retail shops offering coffee, water and wine to VIP customers, hospitality abounds — something that is evident in the Winning Appliances Richmond Showroom.

The commission from Winning, a Sydney-based kitchen and laundry market leader, was awarded to Cera Stribley after a rigorous interview and presentation process. As this was the company’s first venture into Victoria, Winning wished to express their brand in a way that was place-specific and would speak to a Victorian clientele.

The core of the brief was to showcase the multitude of kitchen and laundry brands that are distributed by Winning in a complementary display. Each brand was to have its own ‘tenancy’, with brand and design individually interpreted. Shoppers were to enjoy a sensory experience – to see, touch and feel products – and then be able to literally taste food from ovens or drink coffee from coffee machines to better help in the selection and buying process.

The flagship showroom is located on busy Swan Street in Richmond and has been re-developed from an aged showroom in the front section with a warehouse in the back. Overall, the site is extensive, with a ground-floor area of 1200 square metres and a mezzanine of 400 square metres. The new ground floorplate is

loosely divided into two. The various brands have been positioned around the periphery of the floor; in the middle is a large, elliptically shaped hospitality area known as the Culinary Theatre.

The entrance and lobby are generous and welcoming spaces, with an upmarket residential feel that is beautifully resolved in its detail. Columns have been placed within this threshold and their inclusion creates a feeling of gravitas that extends to the premium brands area where Miele, Smeg, Gaggenau, V-Zug and other highend kitchen appliance brands are located. Throughout, each brand represents their range of products in-situ, built into cabinetry as a working home kitchen or laundry that also showcases the breadth of product available.

Cera Stribley Managing Principal, Dom Cerantonio and Senior Interior Designer, Jessica Coulter have injected a Melbourne vibe into the new showroom through the architecture and interior palettes, concurrently expressing the Winning brand and style of business where the experiential element is key.

The space is vast, with a high ceiling and polished concrete floors that adjoin an engineered timber floor at the rear of the premise.

Black powder-coated steel doors and windows complement the tactility of the raw, red-brick walls; a dramatic, black-painted steel staircase leads to the mezzanine. At the side of the stair, a grouping of sofa, chairs and coffee table has been positioned with a sweeping sixmetre curtain, dark and dramatic, as a backdrop. This is a delightful inclusion and certainly engenders a residential feel to the space.

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Showroom Showtime The centrally placed Culinary Theatre is a stand out feature within the 1200 square metre interior and becomes a place where customers can gather to experience the Winning hospitality.

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In this upper level, brands with smaller ranges and specialty items are showcased along with three separate and distinct kitchens that sit beneath three coffered ceilings. This is a hospitable area par excellence with a green wall and plants that almost cascade to the ground floor below to add a softness to the space. Each of the three working kitchens demonstrate creativity through design with styles that vary from traditional to contemporary and innovative. There is also an area called Winning Home that features a surroundsound system and a home cinema.

Arguably the most significant inclusion in this showroom is the centrally placed Culinary Theatre. Designed rather like a racetrack with services in the middle encircled by a walkway, there is seating for some 25 people at the counter. This becomes the place where clients and employees can meet, relax and enjoy a meal straight from the demonstration ovens. With various cooktops and ovens installed there is an opportunity to try before you buy — something that is central to the Winning client experience. A café sits to the side and, as this area is flexible, the space and those adjoining can be re-configured for sit-down dinners of up to 20 or stand-up cocktail events for 500 guests.

The Winning store in Richmond is certainly a winner, if you’ll excuse the pun. It has it all: a showroom designed for its location and a fine addition to the many other retailers of home product, furniture and lighting that are situated in this suburb. Best of all it is a destination, designed to create an exciting experience that in turn facilitates the buying process. A visit to Winning Appliances Richmond becomes an occasion and a time to take an hour or two to view, compare and test a multitude of products.

Winning has extended the idea of hospitality by welcoming clients into their ‘family home’, inviting them to the kitchen to partake of a meal in a relaxed environment. When designing the Winning Richmond showroom, Cera Stribley has achieved all that was required and then some. Adding a social and hospitality aspect to the retail experience is perhaps not so new however the Winning Richmond showroom is a refined design that sets a sophisticated and elegant precedent.

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Page 134: At the side of the stair that leads to the mezzanine floor is a grouping of sofa, chairs and table that present a residential feel to the interior.

Page 138: Each brand has their own ‘tenancy’ that allows customers to try before they buy. Page 139: The interior boasts black powder-coated steel windows that complement the tactility of the raw red-brick walls. Page 140: Sleek stainless steel is a contemporary inclusion that frames and showcases the very best kitchen products available at Winning Appliances Richmond showroom.

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Winning has extended the idea of hospitality by welcoming their clients into their ‘family home’ and inviting them to the kitchen to partake of a meal in a relaxed environment.

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HERMAN MILLER

Herman Miller’s Ergonomic Seating Chairs That Will Do The Work For You

Moving between a kitchen stool, a sofa, a dining room chair, and an office setup-up has become a reality for many employees affected by the current events - making ergonomic seating in the workplace all the more important. As modern businesses learn to embrace the realities of a more dynamic workplace, equipping staff with the right seating solutions is now more essential than ever.

With natural balanced movement, total spinal support and dynamic fit at the heart of its collection’s performance DNA, Herman Miller offers a range of ergonomic seating for any workspace.

Natural balanced movement is the design for motion at its best.

As a person moves, the chair moves with them - while keeping the body stress-free. Total spinal support starts with aligning the sacral region of the spine to promote a natural, healthful posture through a full range of motions, while dynamic fit allows the chairs to support users of all shapes and sizes, through a smart selection of breathable materials that make it easy to move with comfort.

When combined with a variety of distinct work needs, these strands of performance DNA form a spectacular base for a diverse range of task chairs - with varying degrees of technological and material advancements.

Designed with a long day of intense focus in mind, Embody is an excellent choice for individuals who spend a lot of time at their desk.

With the most comprehensive ergonomic support available, it’s an excellent option for those who need to fine tune their back support.

Cosm is another fine Herman Miller design that is a true asset within the workplace. Fully loaded with ergonomic support and only one manual adjustment, Cosm provides a personalised ergonomic experience with absolute comfort. Combining simplicity and pleasure, Cosm is easily transformed into a statement piece thanks to its cohesive colour palette and a refined design.

Sayl is a high-performing task chair - and a real design statement all at once. In a perfect combination of ergonomic support and distinct style, Sayl’s frameless suspension back offers a balance between support, freedom of movement - and visual expression.

Aeron is the most recognised task chair in the world and not only due to its iconic design. An industry benchmark for ergonomics since 1994, Aeron can be equipped with data gathering sensing capabilities that provide insights on well-being and utilisation.

Making ergonomic seating accessible to all, Verus is a new addition to the collection. Thanks to its lower price-point, this task chair reinvents the idea of an affordable work chair, combining a budget-friendly price-tag, versatile design and outstanding performance.

With unparalleled ergonomic seating credentials and a variety of models to suit any need or budget, Herman Miller has a task chair to elevate any modern workplace’s ergonomic credentials and visual appeal.

Words: Ola Moszumanska Above: The Verus chair is both elegant and versatile and perfect in every environment whether the workplace or home office.

HERMANMILLER .COM

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The Changing Face of Hospitality Words Bronwyn McColl

Bronwyn McColl looks at the hospitality industry during lockdown 1.0 of the COVID-19 pandemic and shares her reflections of this challenging time.

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As I write this piece, we are approaching week six of working from home. Notwithstanding the COVID-19 pandemic arriving and fundamentally changing the way we live, even fleetingly, the evolution of hospitality spaces in recent years tells a story of a discipline disrupted. Shifts in how we travel, dine and entertain have thrust the sector forward, reflecting changes in how we work, consume and communicate. In short, the changing face of hospitality is a friendly one – one that has willingly learnt from its peers in workplace and retail in order to make people comfortable.

The increased popularity of co-working in nontraditional spaces is fascinating. The ground plane of public buildings — which not long ago mostly featured grand marble lobbies with a single purpose as a transition zone — has become a space fit for many, welcoming travellers, food-lovers, shoppers and workers. Hotels — the successes of which rely on an instant sense of welcome and, by extension, belonging — have had to consider their local relevance like never before. It’s not enough to be an insular, standalone destination; now a hotel must connect with its surroundings and welcome locals as well as visitors.

For me, the most fascinating part of this evolution has been how hoteliers and commercial landlords have learnt from each other to create spaces that respond to what consumers want in order to place them at the forefront of the market. This nuanced process involves the deeply complicated task of making an idea financially viable; of taking brand aspirations such as Next Hotels’ promise of “making your time count” or The Westin’s “for a better you” and delivering in a manner that equally makes a viable business case.

These increasingly hybrid spaces – such as the street-side jazz bar of the new Westin Brisbane or the lobby upgrades of landmark buildings (the Rialto and 80 Collins Street in Melbourne and the MLC Centre in Sydney) which dramatically change the streetscape and how people move in and around the site – deliver strong returns without sacrificing their goal of being unequivocally great spaces. Landowners are wiser to the business value in creating spaces that attract and retain great tenants, and which also create an identity for the buildings as an integral part of the cultures and communities of our cities.

How? As you know, all projects start with a site and precinct analysis that seeks to understand the context of a building’s location in order to discern how a new design might be used and experienced. In past decades, the ground plane and foyers of buildings were designed as status symbols. In more recent times, the ground plane’s ‘dressing for success’ has evolved from the opulent and frankly intimidating foyers of old to a sensitive consideration of how a design might contribute to its broader context and local community.

Unlike their austere predecessors, these spaces deliberately blur the lines between public and private,

outside and in. For example, it’s entirely possible that you’ll already have a coffee in your hand before you realise the shady spot you’ve settled in to respond to an email is actually a hotel lobby.

The disruption in the hospitality industry can be boiled down to the fact that it’s no longer enough to simply look the part; meaningful experiences are demanded. The contemporary ground plane is critical in securing commercial tenants, and the right mix of commercial tenants creates the right environment for a thriving business. Spaces have to facilitate the crosspollination of a range of activities and allow developers to curate strategic F&B, retail, and tenant offerings, underpinned by placemaking and the ingredients that make great experiences.

Lobbies and foyers are the new business lounges, offering conveniences that range from areas to meet and spaces to book, to exclusive memberships that allow tenants to expand their business offer to their own clients in an integrated way, simulating airline lounges, exclusive membership clubs, and hotel business lounges. Pairing these spaces with F&B strengthens the offer. Coffee orders for meetings are taken care of as well as appealing to the unscheduled, impromptu business meeting.

For these spaces to truly succeed we must consider the wants and needs of the modern worker. Talking to clients and colleagues during our COVID-19 isolation, I’ve found that what we miss from our regular lives is this: social interaction and human connection; the ease of face-to-face networking; sharing great food; amazing coffee (in Australian cities we’re spoilt for choice); and a change of scenery for the range of meetings each day holds. In short, the things we miss are the essential ingredients in these activated ground plane / foyers of modern public buildings.

Design is informed by people’s desire to belong in meaningful ways. In a time where we have multiple generations in the workforce, a share economy on the rise, and growing evidence that Millennials, who are now coming into their own professionally, value experience over things. It’s exciting to consider the future of commercial developments.

The way hospitality and commercial places have evolved to influence each other will be reinforced post-Covid. In the process of adapting, the operators of hotels, business lounges, and co-working spaces are likely to partner with others, innovating to meet changing consumer needs (as we have seen the food and beverage sector do so well during isolation). The metamorphosis of our hospitality spaces and what they bring to the fabric of a city will continue, and I hope that recent challenges bring back to us the essentials of good, activated space: experience and sensory engagement. woodsbagot.com

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Bronwyn McColl, Principal & Regional Hotel Sector Leader (Australia), Woods Bagot

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LOUNGE ENVY

Words Jan Henderson Photography Anson Smart

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At the vanguard of design, The Lounge by Bates Smart is sophisticated and stylish. However, it offers so much more than just aesthetic benefit to the staff of the University of New South Wales.

As our workplaces evolve, whether we reside at the office or at home, one thing has become obvious in 2020: we all need personal encounters. We benefit in so many ways from simply being with our peers and colleagues, and this collegiality helps fuel collaboration on so many levels. It seems that we can live without the office but we can’t live without meeting for a coffee, a meal or a drink; something to sate the human need to connect and socialise.

It’s almost as if Kellie Payne, Director at Bates Smart and project lead, had consulted a crystal ball before commencing design for The Lounge at the University of New South Wales (UNSW). The concept and resolution of the project exemplifies the idea of a specific place for UNSW staff to gather that facilitates both social connectivity and intellectual learning.

As the brief stipulated, the project would be a meeting place with a club-like atmosphere, where staff and colleagues could meet and discuss work, debate and mingle in relaxed surroundings while enjoying a quality food and beverage offering.

The Lounge is located on the eleventh floor of the UNSW library building — a space that was in major need of repair. The first step for Payne and her team was to open up the area to create a connection to the outside. This was done through the installation of larger windows that capitalise on stunning city vistas. The second step was to design an interior that is both sophisticated and welcoming. This education site doubles as a high-end food and

beverage hospitality venue; within the 700-square-metre floor plate there is a café, bar and lounge, a restaurant, private dining/ meeting room and a rooftop terrace. While students have their places to gather, The Lounge is intended as the staff equivalent, complete with an excellent interior design that complements the original interior architecture.

On arrival at The Lounge visitors are met by the concierge and first encounter the bar area. There is an easy flow to the floorplan: the lounge meets the restaurant and other dining areas, which in turn adjoin the rooftop terrace. This latter outdoor space features glazed doors that open up to create one continuous area during fine weather. A refined design inclusion is the floor-to-ceiling louvered timber doors, which sit to the side of the glass doors. When required, these can be pulled across to provide privacy and warmth and are in themselves a singular decorative feature.

The outside terrace or cabana is something to rival the rooftop of any six-star hotel. With a pared back design that includes smart easy chairs, low tables, a comfortable banquette around the perimeter, cushions and an overhead pergola, this space is a consummate gathering place and even more so with the panoramic views of the city below.

Within the interior of The Lounge the material and colour palettes are co-joined; timber and brown hues marry with the forest and emerald green tones of the glass tiles and patterned carpet.

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Shaken And Stirred A martini tastes so much better when served from the bar at The Lounge. With a marble-clad facade and green-glass faceted back wall the materiality is bold and exciting and certainly makes a statement.

This is the place to sit back and just relax!

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Page 144: Timber floor-to-ceiling louvered doors become a decorative feature within the restaurant providing warmth and privacy when required.

Page 148: Within The Lounge there are diverse forms of seating that include banquettes and leather chairs that sit well on the green and brown grid patterned carpet.

Page 149: The pared back and sophisticated design of the deck is the place to be on a warm summer evening.

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There is a timber floor throughout save for the cream, green and brown grid patterned carpet in the restaurant. The overhead ceiling finish is concrete and there is subdued lighting and elegant wall sconces in the restaurant that provide ambience and decorative interest. There are ample and diverse forms of seating scattered throughout The Lounge, from banquettes to leather chairs. While high stools have been positioned in front of the leathered and marbleclad Black Forest bar and green-glass faceted back wall that features shelving for bottles and glasses.

Long gone are the days of the musty staff room where teachers and staff gathered, this project offers the modern alternative. As a mixture of upmarket hospitality venue and luxurious residential living room, The Lounge is a splendid venue for the individual, a few or a group to gather. Payne was aware when creating the interior that many academics and researchers work alone, and

that their colleagues can be spread far and wide. The Lounge was designed to provide a place for social interaction, helping to alleviate some of the aloneness that comes with such positions.

Payne and her team have interpreted the brief and realised the vision with clarity. The Lounge has achieved all that was intended and more, promoting connectivity between people, departments and to the wider university population. The various areas are booked out months in advance and staff members have taken to this new style of working life with gusto. With such an interior, and the best of hospitable intentions, this project has achieved outstanding success. It has enriched the working and social life of the staff at UNSW, but more than that, it feeds the collective soul on every level. batessmart.com

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Our Roadmap For Sustainable Change Words Michelle Cavicchiolo and Carmen Jackson

Now more than ever we crave interiors that connect us to nature and each other and tackle the climate emergency in meaningful ways.

ClarkeHopkinsClarke Interiors Associate Michelle Cavicchiolo and Senior Interior Designer Carmen Jackson share three simple steps they’ve found amplify designers’ impact and help clients and suppliers work together to do the same.

For designers serious about addressing the climate emergency there’s no shortage of detailed information, good advice or, more recently, thoughtful commentary about how coronavirus recovery can help the cause. What’s hard is sifting through it all and identifying a few key steps that’ll have most impact for your particular practice and clients.

COVID-19 makes this harder in some ways, easier in others.

Harder because lockdown has hit industries such as hospitality and development hard and changed clients’ priorities, project schedules and budgets overnight. Clients struggling to retain staff and re-build markets may not prioritise going carbon neutral as highly as they would have just a few months back amid global climate strikes, bushfire devastation and Architects Declare’s Carbon Neutral Pledge.

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Easier because lockdown has amplified demand for cities and spaces designed for sustainability and resilience; in the local design industry, it has widened the market for Australian-made products, materials and finishes. Images of skies and waterways clearing of pollution and animals returning to empty streets are hard to ignore. Prolonged time at home has us all craving better connection to nature, questioning our consumption and doing more with less. That’s good news for biophilic design and products designed with people and planet in mind – for instance, those produced using closed-loop and cradle-to-cradle processes that embed recycling into the lifespan of materials and products. It’s also a huge opportunity for designers who consider environmental, social and financial sustainability in every project they design and every product they specify. Clients need evidence

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of cost savings and positive impacts, and committed designers have it.

For those of us in sustainability for the long haul, a roadmap has always been essential. Every practice needs a different itinerary and timeframe. As designers, if we can reach our destination we’ll collectively tackle our industry’s massive 40% contribution to global energy-related carbon dioxide emissions and the mountains of waste we contribute to landfill. (Carpet alone accounts for 3.5% of US landfill annually). Over a span of 60 years our practice has found it easiest to stay the course with a clear plan that shows clients and collaborators who we are, what we value, and the steps we take to design and specify for people and planet.

Three guiding principles inform that: 1. Support the best suppliers Interior design studios such as ours have hundreds of suppliers and products in their libraries. Green specifiers are great sources of general information, but with suppliers becoming savvier at marketing their green credentials, it can be difficult to know which products really deliver on claims without examining the evidence yourself.

We are now contacting every supplier, asking a series of questions that drill down into useful detail and evidence, and rating each supplier with a traffic light system. Our goal is to create a list of preferred suppliers for go-to products we can specify on our interiors with absolute confidence.

2. Get your own house in order As designers we have more credibility asking clients to embrace steps we’ve taken ourselves. No one has all the answers, but showing that you’re on the journey makes you more likely to attract like-minded clients and collaborators. This means less time selling ESD and more time doing it. It also builds your expertise and evidence of savings, learnings and impact, which can help persuade clients concerned most about cost.

We are a large multi-sector practice these days but we started small with partners who prioritised holistic sustainability. Co-founder Jack Clarke was a director of the iconic Robin Boyd/AIA Small Homes Service and

we began with a similar social mission: to transform Australia’s suburbs with high-quality contemporary design that’s sustainable and affordable. To keep our own house in order we have joined BCorp, a global movement of 3,000+ businesses in 170 countries and 150 industries certified to meet the highest verified standards of social and environmental performance, legal accountability and public transparency. We became carbon neutral in 2018 and intend to embrace further initiatives in the next few years, such as switching to 100 per cent green power, introducing a green travel plan for staff and to increasingly participate in teleconferencing that embraces the idea of a War on Waste.

3. Get better at selling ESD to clients Success with the first two initiatives helps here, as does seeking out clients who share your values. We find they tend to become repeat clients.

As hospitality and other industries recover from lockdown, building trust and selling ESD with the evidence about savings and positive impacts will be especially important. Leaders in the hospitality industry have longstanding commitments to green design and efficiencies. Take Joost Bakker’s zero-waste restaurants. Hotel groups’ performance management systems — such as Hilton’s LightStay, InterContinental’s Green Engage and Marriott’s Serve360 — have helped slash energy and water useage across hundreds of properties by up to 25 per cent.

Holistic frameworks such as One Planet Living are offering new solutions for interiors teams, architects and urban planners designing eco-communities, products and services. One Planet Living considers 10 diverse measures: health and happiness, equity and local economy, land and nature, travel and transport, and local and sustainable food. We’re currently exploring these on ambitious adaptive reuse projects in Melbourne and Sydney. The results are interiors that touch existing buildings lightly and create considered spaces with abundant natural light, ventilation and planting, simple materials honestly expressed, and minimal waste.

Economical and efficient. What’s not to buy? chc.com.au

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Michelle Cavicchiolo (top), Interiors Associate and Carmen Jackson (above), Senior Interior Designer ClarkeHopkinsClarke

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SHADES OF BOTANICCA Words Jan Henderson Photography Peter Clarke

Gray Puksand’s Botanicca 3 project takes inspiration from the surrounding landscape with a palette and a form that speak of place in a most generous and hospitable fashion.

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The idea of hospitality design is generally realised in the realm of the service industry; cafés, restaurants, bars and hotels are, of course, the mainstays of the sector. But think for a moment about hospitality design as hospitable design; the places and spaces that offer generous amenity, public access, flexible usage, connection to nature and respect for place. Almost every project these days offers a certain amount of generosity or a hospitable inclusion.

It may be extrapolating the idea to claim that a large commercial building within a Business Park can be hospitable – but think again.

Botanicca 3, located in Burnley and just seven kilometres from Melbourne’s CBD, is Gray Puksand’s latest commission and is every centimetre a hospitable project, built for people to inhabit with ease.

The project, designed for client Growthpoint, consists of two towers situated on a landmass of 6,000 square metres within the Botanicca Business Park. Kelly Wellington, a senior associate at

Gray Puksand and lead on the project, accepted the challenge to design a project that would maximise the yield of the site while providing the best user experience for those who would work within.

To achieve these imperatives, the idea of a single landmass was discounted. Instead, the design team opted for two structures that enjoin at a central point while peeling away from each other visually. A passageway has been included between the two towers to allow light to penetrate through the middle, delivering natural light to the interior of the structures.

The two towers bookend the site and there is gradual rise in the forms from east to west. The east tower stands five floors high, with the fifth level set back to create a terrace; the West tower steps up to six floors and gently raises the exterior profile of that building.

The colour palette of Botanicca 3 takes its cue from the surrounding park and landscape, in particular an Aboriginal Scar tree (a type of river red gum) to the south of the site.

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Light And Shade Custom-made sunshades have been fixed to the facade of the building and the angles can be changed to suit orientation. The palette reflects the surrounding landscape and the colours merge and change as the sunshades alter orientation. Brilliant!

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As a species native to the area, this was an appropriate starting point for a palette intended to bring an idea of place to the built form. The process began with a photograph of the tree that was digitally pixelated so that five block colours could be identified and Botanicca Building 3 selected. This selection was then matched to anodised aluminium colours for use on the exterior louvres that dominate the façade.

The merging of grey and brown, green and ochre has been artfully achieved through these custom-made and fixed sunshades, the angles of which can be changed to suit orientation. These shades are horizontal to the north, incrementally transitioning to vertical on the west. The changing and merging colours become something of a moving art installation, establishing Botanicca 3 as a dominant and visually exciting landmark in the area.

With a 120-metre north-facing frontage, there was an opportunity for activation to busy Swan Street, where trains, trams and cars converge and create a new urban edge to the site. Wellington decided on one central entrance to service both buildings as it would allow for more connectivity. However, it is the public amenity areas that become the social and geographical glue, joining the buildings and creating dialogue with the surrounding landscape.

There is a café in the lobby near the west tower and an end-of-trip facility located at the entrance with a fitness studio above. On the

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podium level there is a generous public landscaped space with GROUND FLOOR PLAN comfortable seating, a barbecue area and a half-size basketball court. These outside facilities (and indeed the offices within the towers) enjoy near 360-degree views that stretch across the A0001 DWG # parkland towards the city, with aspects of the Burnley 116250 Golf Course and Park and the trails that follow the flow of the Yarra River. In fact, the curves of the river trails have been amplified by Wellington through reflections on the exterior perforated panels of the central ground-level carpark.

Botanicca 3 inhabits the surrounding landscape with a certain majesty. The thoughtful design, reference to place and best-practice inclusions make this a project that is both hospitable and desirable.

As a commercial development, Botanicca 3 provides a bounty of amenity all wrapped up in the colours of the landscape. Its design is a beacon of architectural light for both the client and the urban worker. At its philosophical core, this project becomes about providing thoughtful and considered design that fosters connection, both to others and to nature. In doing so, it proves just how much hospitable design can enrich our lives.

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Page 152: The design of Botanicca 3 is informed by the surrounding landscape and a green wall helps to bring the outside in to encourage an atmosphere of well being and relaxation. Page 154: The ground floor entrance is spacious with a colour palette that is fresh and materiality that is textured and authentic. Page 155: On the podium level there is public landscaped space with comfortable seating and expansive views across the adjoining landscape. Page 158: Plan of Botanicca 3. Page 159: Botanicca 3 has become a landmark in the area through the inclusion of the striking decorative exterior sunshades.

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The Future of Hospitality Words Jeff Copolov

For architects of hospitality spaces, the big question is how will our restaurants and hotels change after COVID-19? What would these changes look like? What will designers bring to the table?

Change We have witnessed change through all periods in history. 2020 is, unquestionably, no exception.

The human spirit is inherently creative, allowing us to address change, to evolve and adapt to new challenges. Designers are at the forefront of this creative thinking, innovation and problem solving.

Hospitality Hospitality, at its heart, is about forging connections between human beings. We thrive on shared experiences and the stimulation of the new. Our enforced isolation during the COVID-19 pandemic has brought into sharp focus the vital, life-affirming role that social connection and immersive experience plays in our lives. While the online world is our lifeline and companion, it simply doesn’t provide the pulse or joy of genuine human connection. Restaurants and hotels are the theatrical stages on which these interactions take place; contexts in which unique experiences unfurl and go beyond the pragmatic necessities of food and rest.

What Clients Are Telling Us Our role as designers is, foremost, to listen to our clients. From Bates Smart’s experience and diverse folio of hospitality projects, we know that all clients’ briefs are different.

Over these past several months we have sought the considerable knowledge of clients who, as industry leaders, are charged with operations ranging from 6-star resorts to boutique hotels and restaurants. We asked them about the future of hospitality, how their food and beverage and accommodation offers have changed in 2020, and which of these changes are here to stay.

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Hoteliers and restaurateurs are using this time to develop new business models, test new curated experiences to engage with their patrons, and attract new audiences. They are reframing their operations with the vision, resilience and adaptability needed to ensure their future success. Overwhelmingly, excellence of service is at the forefront; cleanliness and hygiene are paramount. Patrons are eager to return to hotels and restaurants and brand trust is now more important than ever.

Many years of creative thinking have enhanced guest experiences with service models evolving front and centre. Hotel room service has been reimagined to create restaurant-quality in-room dining experiences. The hotel buffet has become more refined, with artfully presented single serves replacing the communal bowl — as aesthetic as it is hygienic. Chef stations position the theatre and activation of show cooking in the heart of the dining room and provide affirmation that cleanliness is at the forefront.

Restaurant operators increasingly looking to expand commercial opportunities through retail offerings with beautifully packaged, artisan produce transporting the brand experience to our home pantries. Fine-dining restaurant take-out windows, a survival lifeline during legislated lockdowns, will continue their rise and allow us to experience quality culinary creations in our homes. The explosion in demand for online delivery services such as Deliveroo and Uber Eats, combined with enticing new menu offers, will require kitchen and pick-up facilities to be modified.

Interestingly, an acceleration of these trends under development for some time has been well-received by the market and are here to stay.

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Why Does Design Matter?

Designers craft interiors to address pragmatic issues, focusing on their client’s brief and a user’s experience.

Our designs have always satisfied the technical parameters of codes and regulations while creating uplifting, enduring spaces. Our role is to preserve the spirit that is central to hospitality while providing a safe and effective working environment and a commercially sound and brand-specific product.

While not new to our modus operandi, these design principles will be more sharply honed as we create the new hospitality landscape. We will integrate touchless technologies and collaborate with specialist consultants to provide superior air quality and acoustics. We will give considerable attention to the specification of sustainable materials with fit-for-purpose properties essential to maintenance, sanitation and longevity. Some of the performance lessons gained through our design for hospitals and the aged care sector will inform our approach to hospitality design.

Playing an essential role in the creation of comfortable, hospitable spaces, acoustics will also come into greater focus. The possible continuation of social distancing laws may require patrons to be spaced further apart; the ability to communicate may render live echoing spaces a thing of the past.

Budgets, Operating Costs and Design Strategies At this time of great financial impact to the hospitality operator, now more than ever a cautious and considered spend of constrained budgets is imperative. Effective and pragmatic refinements and reinventions with minimal cost will be called on to maximise positive outcomes.

Bates Smart will continue to employ a timeless approach to the selection of materials which form part of the fit out shell. Floor stone and wall linings are investments which are expensive to replace and must provide longevity. Soft furnishings such as carpets and fabrics provide fashionable accents and tone which inherently have a short life cycle and require replacement in time. This strategy achieves a balanced approach to aesthetics, performance, longevity and cost. The designer’s responsibility is to be a practical problem-solver providing holistic, considered advice to clients. Our designs are a product of these informed decisions, wrapped in a compelling aesthetic.

Operating costs and efficiencies have always been key drivers of design. Typically, a hotel room must be serviced and turned in an average of 20 minutes. The

guest perception of the cleanliness of a room is vital, with attention to detail now more important than ever. Hotel room décor is likely to see change with soft furnishings such as throws and cushions being questioned and superfluous decorative objects minimised.

Conclusion The thrilling, all-embracing stimulus of new experiences, new cultures and new environments has been lost to us during this time. Diversity of experience is vital to enjoyment of life. We have perhaps developed a renewed appreciation for what our cities and communities, both at home and abroad, give to us. That experience may be a memorable culinary adventure, an exciting live performance, a thought-provoking sensory experience of the visual arts or simply the extravagant feeling of being well taken care of at a wonderful hotel or resort.

I am certain that there will be change; there has been so much already. While it is too early to judge the full implications, this disruptor will provoke innovation.

As innovators, designers will be ready to take up the challenges that lie ahead.

The Designer’s Checklist: Some hot issues for designers’ consideration: • Planning – flexible planning responsive to social distancing • Traffic flow – new focus on circulation and vertical transportation • Safe workplaces – impact on back-of-house footprints • Contactless technology – integration of hardware • Air handling – integration of new mechanical systems • Material selections and specifications – careful consideration of performance • Conferences and events – the impact of remote working and virtual meetings • Evolving customer profile – re-evaluation of patron profiles and target markets • New business models – design response to commercial & operational changes • Hospitality operations – design response to modified operations e.g. mini bar, buffet offer, room service, private dining, cleaning

batessmart.com

INDESIGN

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Jeff Copolov Director, Bates Smart

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DISECTIONS

The List Your comprehensive guide to the specification schedules for our featured projects.

Ocean Grove Surf Life Saving Club Page 96 – Architect Wood Marsh

Eva Tilley Memorial Home Page 104 – Interior Designer Studio Tate

Interior Designer ZWEI Interiors Architecture (The Dunes Café)

Architect McMahon and Nerlich

Construction/Builder Ireland Brown Construction

Project Manager Volo Projects Construction/Builder Shape

Structural Engineer Webb Consult

Structural Engineer Coulthard Shim

Services Engineer Wood & Grieve

Services Engineer Rudds

Landscape Designer TNLA

Budget $3.8m

Duration 11 months

Duration 7 months

Wood Marsh woodmarsh.com.au

Studio Tate studiotate.com.au

Finishes Glass throughout, Viridian.

Metal roof and wall cladding, Colourbond. ‘Natural White’ and ‘Helsinki Flame’ paint, Dulux. ‘DesignAclad batten 55’ exterior timber cladding, Frencham Cypress. ‘Vogal Joint System’ perforated plasterboard ceiling, Atkar.

Bathroom ceramic tiles and reception area bluestone tiles, Signorino. ‘Granite Safe. T Grey’ locker room slip resistant vinyl flooring, Tarkett. Villaboard locker room wall lining. Exposed insitu concrete flooring ground and honed with Bluestone aggregate.

Victorian Ash Crown Cut interior timber cladding with matte black stain.

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Furniture ‘Origins 1971’ furniture throughout, ‘Torre’ furniture throughout, Own World.

Miscellaneous furniture, Platform Furniture, Comfortel. Vintage accessories, ‘Muuto’ accessories, In Good Company.

Finishes Paint throughout, Dulux.

Tiles, Academy Tiles, National Tiles. Flooring throughout, Godfrey Hirst.

Laminate joinery, Laminex.

Joinery throughout, Benchtop City, G-Lux. Textile finishes, Woven Image, Instyle, Woven Fabrics. Stone finishes, Fibonacci Stone, Caesar Stone. Ceramic finishes, Classic Ceramics. Flooring, Armstrong Flooring. Alison Percy art, Vernissage Gallery.

Luxury towels, Loom Towels.

Lighting ‘Flos’ lighting, Living Edge.

Reception ‘&Tradition’ lighting, Cult Design. Lighting generally, Dowell Jones.

Dining room lighting, Beacon Lighting.

Mastani Melbourne Page 112 – Architect DesignOffice Construction/Builder Twig & Co Branding & Graphic Design Ortolan Duration 6 months DesignOffice designoffice.com.au Furniture Ross Gardam ‘Adapt’ Sofa, Stylecraft. Featherston ‘Scot Scape’ Chair, Grazia and Co. Conde House ‘Ten Side’ Chair, Apato. Menu ‘Nono’ Table, DMI. Finishes Bentley ‘Kings Road’ carpet, Whitecliffe Imports.

‘Liam’ curtains, Warwick Fabrics. ‘Ginger 2’ and ‘Melange Nap’ curtains, Kvadrat. Waterstone ‘Velvet Plaster’ polished plaster, Bishop Decor. ‘Ecoustic’ felt ceiling lining, Instyle.

‘Bedonia’ honed stone, Artedomus. ‘Abruzzo Gold’ and ‘Juprana Granite’ honed stone, ‘Lorunda Travertine’ acid washed stone, Attila.

Engineered ‘HW16002 Italian Oak Pallido Select Grade Block’ floorboard, Haywoods.

Lighting Flos ‘Mini Glo-Ball’ Wall Light, Euroluce. ‘Wall Step’ Light, ‘Sole Step’ Pendant Light, Volker Haug. Terence Woodgate ‘Solid table lamp’, Temperature Design.

INDESIGNLIVE .COM

20/8/20 4:54 pm

DISSECTIONS

Café Lafayette Melbourne Page 120 – Interior Designer Hassell

Winning Appliances Richmond Showroom Page 134 – Architect Cera Stribley

UNSW Kensington Campus Hospitality Lounge Page 144 – Interior Designer Bates Smart

Botanicca 3 Richmond Page 152 – Architect Gray Puksand

Construction/Builder Indetail

Construction/Builder Storepro

Architect Tommy Sutanto

Interior Designer Gray Puksand

Branding + Graphics Studio Round

Structural Engineer Bland Connard Menzies

Project Manager Robin Merrick from UNSW Estate Management

Project Manager SEMZ

Budget $250k

Services Engineer Fire Concepts

Duration 3 months

Cera Stribley cs-a.com.au

Hassell hassellstudio.com

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Furniture Sanaa Rabbit’ bar chair, SeehoSu. Chair 66, Stool, Artek.

Finishes Concrete paint finish, Dulux.

Black Laminate on walls and benchtops, Laminex. Glass with DiChroic Film backing for bar ledge and entry portal, 3M. Existing black timber floorboards, brickwork walls, stainless steel bar.

Lighting Lighting throughout, Light Projects.

Fixed & Fitted Red bathroom sink tap, Astra Walker.

Furniture Ground and first floor furniture generally throughout, MCM House. ‘Revolver’ stool, Cult.

Finishes Cera Stibley designed brand stands and tenancy bay joinery finishes and wall panelling, Moorabbin Cabinets. Timber flooring, Made by Storey.

‘Xbond’ concrete look flooring and walls, Alternative Surfaces. Plastered paint finish, Dulux. Culinary Experience Centre: Brushed stainless steel benchtops, black powder coated metal joinery, AAW Cabinet Maker.

‘Lovelight’ upholstery, wall fabric, Kvadrat. Copper entrance reveals, Aurubis.

Timber batten ceiling, Sculptform. ‘Dekton’ benchtops, Cosentino. Signage throughout, Sunset Signs.

Steel tenancy signage panels, Fabrilab.

Construction/Builder Hacer

Construction/Builder Growth Built Structural Engineer / Façade Engineer Taylor Thomson Whitting (NSW) Pty Ltd (TTW) Services Engineer JHA Consulting Engineers

Structural Engineer WSP Services Engineer AHW Waterman Landscape Designer Site Image

Certifier/DDA Consultant Group DLA

ESD Aurecon

Kitchen Consultant The Mack Group

Building Surveyor PLP

Bates Smart batessmart.com

Fire Engineer Red Fire

Furniture KETT ‘Johanna Side chair’, ‘Wye Armchair’ outdoor dining chair, Cosh Living.

Muuto ‘Nerd’ bar stool, Living Edge. ‘Egg Cup’ side table, Mark Tuckey. Standard column base dining table, Own World. Andreu World reverse conference meeting table, Kezu.

Budget $80m Duration 2.5 years (Design Docs) 19 months (Construction) Gray Puksand graypuksand.com.au

Furniture ‘On’ Office Chair, Wilkhahn.

‘Loop’ Lounge, ‘Pix’ Ottoman, Stylecraft. ‘D.154.2’ Chair, Hub. ‘Beetle’ Chair, Cult.

‘Trace’ Armchair, Tait Outdoor. ‘1.3’ Stool, ‘Plato’ Table, Design Nation.

USB Taskchair, Baseline Commercial Furniture.

‘Bella’ Side Table, Hub. ‘Buzzi’ Picnic Table, Zenith.

Finishes Powdercoat throughout, Paint throughout, Dulux.

Anodised Aluminium, Sapphire Aluminium.

Metal Screen, Locker Group. Glass throughout, Viridian. Feature Rendering, Alternative Surfaces. Timber Battens, WoodForm. Corian surfaces, Corian. Floor Tiles, Signorino. Feature Tiles, Artedomus. Carpet throughout, Shaw Contract.

Vinyl finishes, Armstrong.

Laminate throughout, Laminex. Various materials, Kvadrat, InStyle.

Lighting Mesh Wall Light, District.

Candle Silvia Poma 2006, Light Culture. ‘Equilibre Halo’ F3 lighting, Inlite.

Fixed & Fitted Sanitary fixtures, Caroma.

Tapware, Astrawalker, Brodware, Britex, Bathe.

Bike Racks, Secura Bike, Five at Health. Handles, Index + Co, Metlam.

Lighting Lighting generally throughout, LPA Lighting. ‘Flos’ camouflage wall light, Euroluce.

Fixed & Fitted Gessi 316 ‘Rettangolo’ basin mixer, Abey. Cera Stribley designed custom rangehoods, Qasair.

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We like to symbolise our through the magazine and online, to acknowledge the valued partners with whom we work closely, every day. We thank you for your support and sharing in our passion for architecture and design in the Indo-Pacific region.

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