Indesign Issue 80 - Preview by Indesign Media Asia Pacific

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Issue #80 / Australia $16.50 / New Zealand $17.50 / Singapore $12.95 / U.S. $21.99

A professional resource for the design curious.

Davina Rooney, GBCA INDESIGN Luminary Ross Gardam Mercury, Warren and Mahoney Carpe Diem, Geyer with International Towers B:Hive Smales Farm, BVN with Jasmax The ‘Workplace 20/20 Foresight’ Issue.

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Atlas Office Landscape

Challenge Your Space

Designed by Tim Wallace Atlas Office Landscape is a work system which brings together height-adjustability and collaborative working in one elegant solution. Combine desks, screens, tables and stowage elements to create spaces that invite collaboration, zones for focused activity or impromptu meetings.

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5/11/2019 7:53 PM

Your design statement...

... lies within.

The difference is Gaggenau. Grand architecture demands grand interior pieces. Refrigeration is one such design element and should speak to who you are. Every Gaggenau piece is distinctively designed, crafted from exceptional materials, offers professional performance, and has done so since 1683. Make a statement: gaggenau.com.au

It’s time to meet Jac. Design by Schamburg + Alvisse

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Bika Designed by Ramos + Bassols Developed by Forma 5 Exclusive to Workspace

The Bika chair is a minimal slim line stackable seating option that is a game changer for the multi-purpose chair market. It’s seemingly simple structure and soft aesthetic disguises a great innovation in design. Bika boasts a sleek monocoque frame that is strong, flexible and stylish. The slim design, smooth finish and defined lines give it a modern yet inconspicuous aesthetic. This frame accommodates interchangeable seat shells in a range of colours and materials making it extremely customisable for the end user allowing them to exercise their creative needs. The versatile Bika chair is sure to be a favourite across a wide range of sectors.

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Have more with less

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Architecture of the Air elica.com.au

IntroducIng

NikolaTesla Switch by Elica award winning induction cooktop with integrated extraction

Designed by Fabrizio Crisà, the NikolaTesla Switch was created by Elica to revolutionise your daily cooking experience — giving you more with less.

The combination of induction and extraction in a single product where the search for harmony, innovative functions and unique performance, has resulted in an award winning piece. Elica is available at Winning Appliances, selected kitchen stockists and online at: shop.elica.com.au

MAde in itAly & distributed in AustrAliA by residentiA group www.elica.com.au | www.residentia.group | 1300 11 4357

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T H E W O R L D ’ S M O S T A D VA N C E D D R I N K I N G W AT E R S Y S T E M

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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

Designers Harry O’Donnell harry@indesign.com.au Julia Gee

Editor Alice Blackwood alice@indesign.com.au Consulting Editor Paul McGillick Indesignlive Editor Neal Downward neal@indesign.com.au Brand Director Colleen Black colleen@indesign.com.au Brand Director Dana Ciaccia dana@indesign.com.au Business Development Manager Brunett a Stocco brunett a@indesign.com.au Production and Projects Manager Brydie Shephard brydie@indesign.com.au Production Assistant Becca Knight becca@indesign.com.au Accounts Cassie Zeng cassie@indesign.com.au

Head Office Level 1, 50 Marshall Street Surry Hills NSW 2010 (61 2) 9368 0150, (61 2) 9368 0289 (fax) indesignlive.com Melbourne 1/200 Smith Street, Collingwood VIC 3066

Online Manager Radu Enache radu@indesign.com.au Web Developer Ryan Sumners ryan@indesign.com.au Indesign Correspondents Stephen Crafti (Melbourne) Mandi Keighran (London) Andrea Stevens (New Zealand) Contributing Writers & Sub-Editors Leanne Amodeo, Aleesha Callahan, David Congram, Stephen Crafti, Rebecca Gross, Mandi Keighran, Graham Lauren, Andrew McDonald, Paul McGillick, Tracey Ingram, Tess Ritchie, Emily Sutt on, Pia Sinha, Andrea Stevens Featured Photographers & Illustrators Michele Aboud, Elizabeth Bull, Michelle Byrnes, Earl Carter, Haydn Catt ach, Peter Clarke, Carletto Ferrari, Rory Gardiner, Richard Glover, John Gollings, Sam Hartnett , Christopher Frederick Jones, Dave Kulesza, Katherine Lu, Shannon McGrath, Chris Moore, Tatjana Plitt , Cathy Schusler, Nicholas Watt

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Hong Kong Unit 12, 21st Floor Wayson Commercial Building, 28 Connaught Road West, Sheung Wan, Hong Kong indesignlive.hk Join our global design community, become an Indesign subscriber! To subscribe (61 2) 9368 0150 subscriptions@indesign.com.au indesignlive.com/subscriptions Yearly subscription: Australia $55 (incl. GST) International AUD $110 Printed in Singapore Indesign is printed with ENVIRO Soy-Based Process Black ink, UV Solventless Varnish and on paper which is awarded an Environmental Management Certificate to the level ISO14001:2004 GBT24001-2004 and Eskaboard and Eskapuzzle produced from 100 per cent recycled fibres (post consumer).

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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

Alice Blackwood Editor, Indesign magazine

Raj Nandan CEO and Founder, Indesign Media Asia Pacific

On The Cover B:Hive – Smales Farm, Takapuna, Auckland by BVN in association with Jasmax. Photo: John Gollings

Correction The article The Place-Makers in Indesign #79, pages 76-80, references One Circular Quay Hotel. The design is a collaboration between Crone Architects and Kengo Kuma and Associates who won the design excellence competition. Furtado Sullivan was engaged as subconsultants to collaborate with the design team during June-October 2018.

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

Here we are: 2020. The year Indesign celebrates 20 years of publishing industry-leading projects and championing great design to a global audience. When the magazine was first started, produced out of a two-bedroom apartment in the Sydney suburb of Woollahra, print was considered gospel. Back then we couldn’t have foreseen how the information age would force such a drastic evolution in the way we publish, consume and share information. In the year 2020 we find ourselves at an exciting turning-point in what is a rapidly spinning world of progress and innovation. It’s thanks to the boundless energy of our publisher and immense faith of our supporters and audiences that we today bring you Indesign magazine – just as beautiful, strong, insightful and refreshing as it always was. Still the heartland for commercial design in Australia, with a particular emphasis on the workplace – something for which we hold a special passion. Twenty years on, Indesign the magazine now operates at the helm of a highly interactive stable of brands. From our events – like Saturday Indesign – to our region-leading awards program, the INDE.Awards, and our ever-expanding digital platforms, Indesignlive Australia, Singapore and Hong Kong: we bring your personal stories, creative endeavours and business initiatives to the world in a richly layered, highly experiential format. This year, we invite you to join us for a year of celebrations, because we’re rolling them out across our entire Indesign Media program. Start by saving the date for Saturday Indesign, 20 June in Melbourne, themed Back To The Future. Need I say more?! Go to melbourne.saturdayindesign.com. Also lock in the INDE.Awards Gala event, 14 August in Sydney – where we will pay homage to the Best of the Decade Work Space and Living Space, alongside all our core industry-leading categories. It’s particularly fitting that we mark our 80th edition with The ‘Workplace 20/20 Foresight’ Issue. We’ve gathered the forces across architecture, interior and furniture design, property and sustainability to bring you all the insights you need to move forward with expertise and vision.

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contributors

Introducing the

Voices of Indesign – The ‘Workplace 20/20 Foresight’ Issue

Neil Christopher Design Director Gensler

Dan Cox Director, Interior Design Carr

Graham Lauren Director Shiro Architects

Neil Christopher is design director at Gensler in Sydney and is the Asia Pacific and Middle East practice area leader for financial services firms. His focus is on design, client management and project leadership with clients from a wide range of industries throughout Australia, Asia, the US, Europe and New Zealand. Neil regularly collaborates with the consulting practice in Gensler, delivering on experience-led design strategies.

Dan Cox’s experience and skill are in the delivery of efficient and intelligent design solutions for Carr’s clients. Working across workplace, hospitality and building renewal projects, Dan leads the design team in the translation of the brief into design outcomes that support overarching spatial and project objectives. Dan and his team have been responsible for many award-winning interior environments. He has also forged a reputation for creating clever, considered and provocative spaces which reflect a brand’s identity while driving profitability and business success.

Graham Lauren is a director of the award-winning Shiro Architects and a former journalist and editor on the pages of the Australian Financial Review newspaper group. He holds an MBA (Technology) from the University of New South Wales in Sydney. His experience, study and personal research have given him a fascination for workplace strategy, and for documenting and transforming workplace knowledge to drive organisational and workplace learning, for its many applications, using the best technologies ever invented for the purpose.

Paul McGillick’s career as a writer and curator has extended from architecture and design to the visual and performing arts. His 18 books include five on the architecture of South-East Asia. For more than 12 years he was editorial director at Indesign Media where he edited Indesign magazine and was founding editor of Habitus magazine. He has contributed essays on industrial design, urban design and Australian architecture to many books; and has edited a monograph on the architecture of the National Gallery of Australia. Paul is currently a consulting editor on Indesign magazine.

Rosie Morley brings a wealth of specialist hospitality experience to her role at Carr. After completing a Bachelor of Interior Design at RMIT, Rosie’s career has been largely focused on hotel and hospitality design, both locally and internationally. Rosie’s portfolio is abundant with high-end hotel projects, particularly from her years spent in London. These projects range from new-build to heritage refurbishment, from branded hotels to new-concept boutique offers. Her breadth of specialist experience and knowledge in hotels and hospitality is highly regarded.

–

Getting Into The Millennial Mindset Page 140

A Matter Of Intelligence Page 122

Creating Carpe Diem Page 92

Getting Into The Millennial Mindset Page 140

– Micro-Tenancies Will Breed Mega-Cities Page 132

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Paul McGillick Writer, Editor, Public Speaker McGillick Consulting

Rosie Morley Associate Director Carr

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CONTENTS

In Short

The ultimate industry cheat sheet. 29-44

I n fa m o u s

Big thinkers and creative gurus. 49-67

INDESIGN Luminary Ross Gardam, Stephen Crafti, Elisa and Grazia Manerba, Davina Rooney I n S I TU

Provocative, innovative and inspiring design. 75-117

QUT Peter Coaldrake Education Precinct Building, Brisbane by Wilson Architects and Henning Larsen Mercury, Auckland by Warren and Mahoney Carpe Diem at Barangaroo Tower 2, Sydney by International Towers with Geyer Melbourne Airport Headquarters, Melbourne by Foolscap Studio Modus Head Office, Cronulla by Vitale Design Australian Unity, Melbourne by Bates Smart in Depth

Indesign’s 20/20 Foresight Workplace Design Report. 121-146

Featuring B:Hive – Smales Farm, Auckland by BVN in association with Jasmax Mapien, Brisbane by COMUNiTI Beach Energy, Adelaide by Unispace PSLab, London by JamesPlumb With special comment from Graham Lauren of Shiro Architects Neil Christopher of Gensler Rosie Morley with Dan Cox of Carr

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IN SHORT

the ultimate industry cheat sheet

SHORT INDESIGN

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Wellness For One Wellness really dominates the conversation in workplace design. We see this very human value commoditised into design tools, clever interior inclusions, rating systems and more. It’s gratifying to see the take-up – from thoughtful colour schemes to connections to nature, high quality amenities that address ‘me’ time and ‘we’ time, and even environmental monitoring systems. Wellness is a community health program. But what of that more introspective aspect of wellness? Reconnective disconnection, isolated re-energising? Taking time to contemplate the dark side of happiness... that is, sorrow? Shanghai-based Hip-pop Design Team’s Jiyu Spa in China’s coastal Jiangsu province challenges the idea of wellness in a very private and moody experience. It’s one of glassy boundless spaces, of carefully curated light and shadow. “Visitors are immersed in the large-scale peaceful picture, where the senses are awakened by the visible world, and the feelings and images once ignored in life are represented here,” says Hip-pop Design Team. The team uses transparency, reflective glass and falling water to dramatic effect. Moments become freeze-framed, your three-dimensional depth-sense falls away to leave you alone with your raw emotions in a four-dimensional sphere. The secret is in the glass boxes and waterfall: layers of glasses form a dreamy visual effect. As the individual moves through this space they encounter the waterfall which, thanks to the reflective glass, surrounds the individual. “In such a mysterious and profound place, people who are increasingly restless… will be slowly melted by the gentle water,” the design team comments. A whole-self antidote to the more mainstream measures of wellness at work.

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Flying High Benjamin Hubert is at his most exciting when he’s blending typologies. The industrial designer and founder of LAYER has partnered with fashion designer Christopher Raeburn on Canopy, a collection of furniture made from upcycled parachutes. The duo explores the shared design process of furniture design (Hubert) and Raeburn’s evocative use of parachutes in his brand’s fashion collections. Surplus ‘drogue’ parachutes – used to slow an aircraft’s landing – have been transformed into rocking chair seats, with the existing construction of the parachute giving the chairs a distinctive, highly-tactile quality. Ex-military parachutes have been used to create a matching rocking chair and room-dividing screen. “Together we have translated [RAEBURN’s] iconic use of parachute material in the fashion world into an exciting exploration of form and materiality in furniture,” says Hubert.

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Art Over Design: Prospero Rasuli To create functional objects for people in their most intimate spaces requires a very visceral and expressive touch. From Prospero Rasuli’s earliest years of creating for the bathroom “it was never about design or an object, it was always about art”. Perhaps the biggest turning point in Rasuli’s practice was when he met the inimitable Alessandro Mendini, with whom he began designing objects “which were sculptural but more of practical use”. In order to design for the bathroom – and the likes of Valdama with whom Rasuli has a close and long-lasting relationship, the blending of disciplinary boundaries has been the key to their shared success. Rasuli’s fine orchestrations of colour, form and material become “symbolic” forms of communication. A sense of “harmony and softness” for example, “communicate that there is more to an object than just being functional”. Because while the bathroom might operate as a fitfor-purpose space, it’s also an area of great influence in our lives. Valdama is available in Australia through Parisi.

Everyone Loves A Hug Indesign

Blu Dot

When it comes to furniture design, timber continues to commandeer the top spot for popular material choice. Through the Buddy Collection, Blu Dot raises the material’s appeal even further, with a fresh-yet-familiar chair design that is appealing for its timeless versatility and hug-like form. Aptly named for its ability to ‘befriend’ many contexts, Buddy’s design is effortlessly au courant with a gentle nod to the past. Its moulded plywood back is like a little hug, gently wrapping around the curved timber seat. The use of bent plywood is an unconventional juxtaposition against the solid timber base. The intention is that it sits just as comfortably in a commercial setting as it will in a residential space. The design team started by building a full-scale prototype as a way of working through visual detailing and important comfort adjustments. The team then refined the base to its simplest form while retaining the rigidity and strength necessary to withstand the rigours of commercial use. If Buddy isn’t the ultimate all-rounder, we don’t know what is!

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INDESIGN

ACCENT FURNITURE

Modern Solutions For A Dynamic Workplace Words Tess Ritchie Photography Courtesy of Accent Furniture

In an ideal workplace, staff are engaged, productivity is high, the place feels good and it is fit-for-purpose. What this looks like, of course, is constantly in flux. As ideas around work and life change, technology advances, where and how a team functions comes up for discussion, so too do work environments – and workplace furniture. One brand that has acute knowledge of this is Accent Furniture, which is celebrating 50 years in the business. Founded in 1969 by Neil Kennard on the Central Coast of New South Wales, three generations later the family business is still actively servicing the corporate, education and healthcare sectors with quality modern furniture. As head of business development, Alby Kennard, explains: “Neil’s same passion for design lives on and we now service both corporate and government sectors across Australia with a complete range of collaborative, educational and workplace furniture solutions, that enhance team engagement and increase productivity.” In a small and competitive market, this is no small feat. It reflects a company that has paid attention to the needs, issues and challenges of corporate environments, and who have drawn on their experience to find solutions that not only work but better our environments. This is noticed too, and Accent have “established a reputation for manufacturing innovative and high-quality modern furniture solutions”.

Accent isn’t just celebrating 50 years though; it’s celebrating the future. “We have worked with the design market for a long time now and we will continue to showcase our products to the industry. We have a number of exciting new partnerships in 2020 which we can’t wait to show you, bringing you the best in European design with the flexibility and quality of Australian manufacturing,” says Kennard. This year they have launched two new products. A prime example of Accent’s commitment to dynamic design is the Aira chair range. Designed by Giovanni Baccolini, Aira is a comprehensive collection of breakout and visitor chairs to suit any commercial, public, educational or home environment. And ‘any’ really means ‘any’. This eclectic range comes with endless options – from sled and pyramidal bases to denim upholstery or wood, varnished steel to bi-colour options, arms, no arms, or just a stool. The second range is the Copenhagen Workstation. With solid natural ash legs in a splayed triangular profile, it is an elegant desk system that offers a fresh and sleek structure to any workspace. And with frames designed and manufactured in Italy, and worktops and accessories manufactured in Australia, it’s another hybrid of highend design, quality and flexibility. If these are the offerings for 2020, it is exciting to think what the next 50 years holds. Because workplaces – all places – are only going to continue to change.

In close collaboration with DEM Architects and Morling College, Accent was engaged to manufacture and supply workstations, tables, storage, and seating for Morling College’s new state-of-the-art learning centre. Covering 4 floors, Accent provided all furniture including custom made pieces to ensure a high level of flexibility in all learning and breakout spaces.

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Rare Species Indesign

Cult

Today’s workplace product designer is faced with a high-stakes challenge. It’s no longer enough to design with aesthetic charisma. A product must perform with a versatility that brings new meaning to the word functionality. When faced with complex challenges, the extraordinary simplicity of nature provides plentiful inspiration. As is the case with Chameleon, a table system designed by Adam Goodrum which adapts to its environment with seamless speed and ease. Chameleon’s uniquely engineered design allows users to work with multiple size and shape formations. Central to this is a structurally refined axis-joint that enables 15-degree frame and leg articulations. This single mechanical solution is the key to Chameleon’s modular adaptability, making it configurable in multiple formations. Its shape-shifting abilities also extend into two height variations – allowing for sitting and standing scenarios. A truly evolved product to combat today’s agile work environment.

It’s Hard To Say No Indesign

Planex

When you’re dealing with open plan office environments, zoning is everything. There are plenty of clever design tools for achieving this, but we’ve been pretty impressed by the quadruple-capacity of Planex’s Linea range. It’s a freestanding storage solution (below, in Group GSA’s Ausgrid fit-out in Sydney), that not only defines spatial parameters but also delivers on sustainability with an AFRDI Green Tick Platinum A-level certification. On top of that, it’s fitted with six millimetrethick Acupanel®, an acoustic-rated soundabsorbing material. Pretty impressive for a Melbourne-made solution, produced using locally sourced materials.

Form-Led Meditation What really defines a space and how we might use it? We asked this question when we came across the Kinuta collection by Karimoku Case Study. The story of this collection is told through its setting – the Kinuta Terrace apartment project in Tokyo. Completed by Keiji Ashizawa and Norm Architects, the apartment features this first collection which draws heavily on the natural references of the apartment’s connected courtyard. It’s an attempt to invite nature in, through both design language and materiality. Detailing is reminiscent of the structures seen in Japanese temples and gardens. It’s a gentle and enquiring approach, a rethink on the significance of furniture in defining space. It also puts the emphasis on the fact that a space is what you make of it, and furniture can really set the tone for how we choose to move through our spaces and our days.

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Office All Stars Indesign

Own World

With flexibility, movement and autonomy built into the very fabric of the officeplace, we can now individualise our workstations while also operating within more informal and collaborative settings. Flexibility is a key theme for Inclass – a rising star in the contemporary contract-grade workplace furniture solutions space. With chairs like the ultimately ‘multi’ ALTEA collection (left) by Jorge Pensi Design Studio. Mix and match base types, backrest heights, upholstery options. Other collections include the Simon Pengelly-designed VARYA on castors and with storage baskets – ideal for freeformat training environments; Jonathan Prestwich’s rounded ESSENS table with power, data and wireless charging facilities; and Studio Inclass’ ESCALAS modular lounge series with a high-back version for privacy and softened acoustics with charging requirements.

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Rei Kawakubo’s Offbeat Beauty Comme des Garçons may not be your style, but its radical beauty holds a hidden message for anyone working within a creative paradigm. It was in the mid-to-late 1970s that Rei Kawakubo was starting to create ripples in fashion in Japan. A few years later, in 1982, her designs presented in Paris polarised the audience. Heading Comme des Garçons for almost four decades, her unique vision has inspired the retrospective of her work, Collecting Comme, at National Gallery of Victoria (NGV). “You could say that a large percentage of the fashion press were affronted, while others recognised Rei’s ‘radical beauty’ in [her] designs,” says Danielle Whitfield, NGV curator of fashion and textiles. “It was certainly a strong shift from the folkloric styles shown at that time.” Her ‘lumps and bumps’ collection for SS97 saw removable padding inserted to create an entirely new silhouette for women, with a shift away from the hourglass model to one that was distorted. “Rei presented a completely different relationship between clothing and the body, questioning the notion of the traditional female beauty and form,” says Whitfield. Alongside show-stoppers like this ‘Coat and trousers’ from the 2 Dimensions collection (Runway RTW, Fall 2012, Paris Fashion Week), are Rei’s ‘Sheik Punk’ designs, including a red PVC skirt, worn with fishnet stockings and a tuxedo-style jacket adorned with shiny PVC lapels. “You could easily say that Rei Kawakubo is one of the most visionary fashion designers of the 20th century, shaping the way we look at fashion, both then and now,” says Whitfield. “This show is really exploring how a vision can impact on so many, whether you’re a designer or simply one who appreciates new and innovative ideas.” Photo: Chris Moore/Catwalking

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Europe’s Largest Food Court? Indesign

Billiani

A combination of function and stylistic appeal are the utmost requisites for restaurant furniture design. Keeping this and Billiani’s experience in large installations in mind, Eurest Austria chose the brand as the main supplier of chairs and tables for Quartier Sechs, the food zone in the new business district, Austria Campus in Vienna. The Quartier Sechs features chunky blue and green chairs designed by Francesco Faccin; Doll and Hippy chairs with steel legs by Emilio Nanni; wooden doll bar stools together with high Puccio tables; new Layer armchairs by Michael Geldmacher and upholstered lounge chairs from the Croissant and Spy collections. By no means a small footprint to furnish, Quartier Sechs boasts a surface area of over 10,000 square metres with 1800 seats, making it one of the main food courts in Europe. Photo: Carletto Ferrari Photography

– The ability for flooring to navigate you through different spatial zones finds its foothold with the likes of Expona Superplank. –

In The Zone Indesign

Polyflor

There’s something to be said for subtle zoning devices that allow you to move seamlessly between spaces while still feeling ‘in place’. Supporting that shift in physicality and mindset is Expona Superplank, a conceptually developed collection of Luxury Vinyl Tiles. It’s distinctive for its beautifully authentic wood planks and abstract geometric tile designs which can be laid solo for simplicity or in conjunction with one another. Curated by a team of Australian interior design experts, the range speaks to the aesthetic refinement in both patterning and colour choice. From a practical pointof-view, an innovative two-millimetre gauge allows Expona Superplank to be installed alongside two-millimetre sheet flooring, providing seamless flooring solutions which have the ability to bridge zones without compromising on style and durability.

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IN SHORT

Rock-Solid Luxury: InterContinental Shanghai Wonderland

From an abandoned quarry to a high-polish hotel experience, the InterContinental Shanghai Wonderland Hotel by Chinese design studio, Cheng Chung Design (CCD), is a medley of mining cues mixed with 21st century luxury hotel culture. The hotel has been constructed inside an abandoned quarry, and ambitiously built beneath ground-level with part of it submerged beneath water, too. With an interior design experience that references everything from wild rocks to vertical cliffs, visitors might mistake themselves for being on a luxurious cave adventure. Dedicated to “reshaping the relationship between architecture and the natural environment through hospitality design”, CCD has used this project to comment on the changing relationship between humans and nature – and where better than in the remnants of a quarry? The experience starts in the lobby where a series of towering cliff faces emulate the natural appearance of bed-rocks at different heights. “The design inspiration is from the horizontal and vertical

textures formed by the flooding of magma due to crustal movement,” notes CCD. The raw and the precious come into play with a bronze wall referencing the colour of miners’ tools – an evocative melding of humanity with nature. Other zones in the hotel include the cave-like ballroom where shadow and LED light interplay to create a dreamy starlight effect. At the base of the site is an indoor pool area, where stalactitelike feature ceilings and pillars give the effect of a Biquan cave. Submerging visitors into a watery wonderland is the undersea restaurant as well as select guest rooms. Immersed in crystalline, watery hues and surrounded by flickering fish, CCD intended the effect to be otherworldly. By virtue of its ambitious subterranean design, the project was “confronted with numerous challenges and difficulties in landscape planning, material usage, and mechanical engineering”, notes CCD. The outcome, nevertheless, evokes a memorable combination of the raw and rocky, with an elaborate douse of high glam.

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Specifier Spotlight Compliant Wall And Ceiling Feature Linings Indesign

SUPAWOOD Architectural Lining Systems

Design Notes Whatever the interior fit-out challenge, SUPAWOOD remains flexible and solutionsdriven to meet specific and complex project needs. Its architectural wall and ceiling lining systems are designed to solve tough design problems without increasing cost, complexity or compromising on looks. Manufactured in Australia for 20 years, SUPAWOOD products put safety first while retaining a decorative finish. Its panels, slats and beams are the least combustible timber products on the market today. It can meet all requirements for Fire Group 1, 2 and 3 for any interior area within any class of building. SUPAWOOD’s feature linings can also achieve any project’s acoustic and Green Star environmental performance requirements.

Product SUPASLAT custom curved panels in SUPAVENEER ‘featured grade’ Blackbutt natural timber veneer Project Shopping centre ‘Market Hall’ extension, Robina, by Buchan Brisbane, photo: RixRyan Photography

Product SUPACOUSTIC custom slotted acoustic panels in SUPAFINISH Fusion Maple on ceiling and curved wall, internal panels – fire retardant MDF substrate Project Abbotsleigh School for Girls multi-purpose school hall, New South Wales by AJ+C, photo: Tyrone Branigan

Product Supaslat MAXI BEAM LED-lit beams in SUPALAMI Striped Mahogany, WAVE BLADES ceiling in SUPASURFACE Oak RNO Project IGA Romeo’s Food Hall fit-out, Sydney by Saunders Global, photo: JadaArt

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LIVING EDGE

The Future Is Agile And Active Words Tess Ritchie Photography Florian Groehn

Dynamic and collaborative workplaces, custom solutions and responsible design that thinks global, acts local. These are the values that are increasingly sought after when it comes to commercial design and the context within which Living Edge announces Derlot Group: a new venture with chief designer and founder of the Australian-owned, multi-disciplinary design studio Derlot, Alexander Lotersztain. Building on Lotersztain’s 15 years’ experience in leading the commercial furniture market and his truly collaborative and humancentred approach to design, Derlot Group is a new identity that brings together the best of Derlot’s furniture brands – Derlot Editions and Les Basic – and welcomes new and exciting furniture collections that centre locally sourced, custom and bespoke furniture solutions that are adaptable, versatile and uniquely Australian. And have a global outlook. Exclusive to Living Edge, the exciting new venture was, as Lotersztain puts it, a “natural progression”. It represents two brands that have aligned values and agree on what it means to service an increasingly conscious, global-thinking and dynamic industry. “With a focus on locally made products and a shared commitment to the architecture and design community, I believe Derlot Group and its brands make a timely compliment to Living Edge’s portfolio.” In terms of product offering, Derlot Group is as extensive as it is flexible. Priding itself on authentic, future-forward design, they provide furniture, lighting, and products for the contract, hospitality and education sectors. They also specialise in design schemes for

human-centric, agile and active environments that are uniquely Australian and where, as Lotersztain says, “collaboration is the most important and rewarding part of the process.” As a result, the collection is defined by “a level of modularity and flexibility that has come to be part of Derlot Group signature”. Alongside award-winning collections such as Derlot Editions’ Twig, Prisma and Les Basic homework line, Derlot Group launches with four new products that exemplify the two lines coming together: the Caterpillar Modular Sofa, which comes together in segments to offer complete flexibility for all kinds of meeting places and contexts; Strap Seating Collection, which fits indoor and outdoor hospitality, residential and commercial living spaces; and the extensive range of Tonne and Yeti tables. Derlot Group is also, of course, looking ahead. “I think the future is all about responsibility with a strong focus on sustainability,” says Lotersztain. “At Derlot Group we are making inroads and investing in ways to address our environmental footprint. From our “Thinking Global, Acting Local” agenda, seeking manufacturing partnership across all our markets, our network of manufactures now extends to partners in Australia, New Zealand, USA, Italy, China, servicing each region we operate in.” So, for workplaces that call for dynamism and collaboration, an architecture and design community that wants solution-based design and bespoke capabilities, and as the demand for socially and environmentally responsible design that is global in approach grows, Derlot Group with Living Edge delivers.

The Caterpillar Modular Sofa offers complete flexibility thanks to its ‘segmented’ design.

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9/12/19 8:53 am

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design in motion

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It’s back!

Mark your calendar. Returning to Melbourne on 20 June, 2020. Get your design fix at Saturday Indesign and fuel your creative inspiration.

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Big thinkers and CREATIVE GURUS

FAMOUS INDESIGN

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That Magical Moment Words Paul McGillick Portrait Photography Elizabeth Bull

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INDESIGN Luminary

Why do we do what we do? For Ross Gardam, it’s that moment of intimacy and surprise that drives his work: the magic that comes when you fall in love with a design. Ross Gardam is softly spoken, but with a subtext suggesting he has always known where he’s going, where he’s come from, and why. That’s probably not entirely true, but he certainly gives the impression that every step he has taken in what has been a successful and highly productive career has had its place in the larger scheme, like the pieces of a jigsaw puzzle. But if this is the case, it suggests unusual focus from an early age – a focus which is evident in the beautifully resolved products which come out of the studio. “Like a lot of industrial designers,” he recalls, “I grew up around making objects and building things. My father was an engineer who ran a brick-making factory. So, I was exposed to the manufacturing side of that business. It wasn’t a huge facility, but there was a metalwork workshop and a timber workshop. I spent a lot of time there tinkering.” At high school he took a subject called technology which, he says, he enjoyed and “felt like a good fit”. It seemed logical to move into the industrial design program at Monash University which he found “really interesting because it took you through art history and design and ran across quite technical aspects”. But however clear-eyed he may have been, he didn’t at that time envisage owning his own furniture and lighting business.

In fact, on graduation and for the next seven years he worked in two areas which he has largely left behind: interior retail design and environmental design (outdoor space, wayfinding and signage). This he did first with a couple of companies in Melbourne, then in London for two smaller, but similar companies. “I had spent my adult life in Melbourne, so I wanted to experience being in a different city,” he explains. “I had travelled a lot by that stage. I had travelled to 20 or 30 cities by the time I went to London. It wasn’t a sense of wanting to travel, it was living in a different space.” After two years in London, Gardam decided it was time to do his own thing. He returned to Melbourne in 2007 and started his own practice, which was initially a continuation of the environmental design consultancy, Spaceleft, which he had established in London but with a greater emphasis on product design. The name came from the idea of looking at the space left around a problem, or the space around an object which helps to define that object. For the first two or three years he continued to do interior work, which he enjoyed, but also aimed to develop two or three products a year. These, he explains, were very much experimental pieces, “mainly around material use and single-process manufacturing”.

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“It’s the emotional perspective that I am really interested in and the way people interact with it. The small moment of surprise or that intimate moment you have.” Ross Gardam, designer/founder, Ross Gardam studio

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Out of this evolved the rigorous process Gardam now follows, beginning by looking at various aspects including how it is going to be used and how it works in space. “The work is definitely informed by material and process,” he explains. “And I have worked with a number of different processes that are quite old, like glass-blowing and ceramics, more traditional arts and craft.” This has led to an interest in blending traditional craft with contemporary manufacturing, “looking at ways I can bring that to a more contemporary space”. In more recent years the studio has become interested in the user’s emotional connection to the product. This entails analysing how a product can engage with someone at an emotional level – “ideally to create a sense of surprise or wonder and hopefully bring a sense of joy”. Gardam gives an example of the recently re-engineered Ora Desk Lamp which provides a 360-degree orbit rotation of the shade due to a magnetic joint. He concedes that it is not necessarily the most cost-effective strategy and “it probably wouldn’t even register in the top 10 solutions from a pragmatic perspective”. But, he continues, “it’s the emotional perspective that I am really interested in and the way people interact with it. The small moment of surprise or that intimate moment you have with a product is really important”. Eventually, Gardam moved on from being a sole practitioner and there are now eight people working in the studio – five industrial designers, an office manager (with a furniture design background) and two makers. The business changed, he says, when he began employing people; this was followed by another change about four years ago when they set out to create the Ross Gardam brand. Despite this, Gardam feels there is an identifiable aesthetic which is contemporary, but also “an absent marker of time – it could have been made 40 years ago, in the present or 40 years in the future”.

Another part of the aesthetic is what he terms as emotional functionality, or the emotional connection with the user. By way of example he references the Polar Desk Lamp. “It talks to pieces from the 1940s right through to now and, I think, in the future. It is as much about shade as it is light. The arm can be completely removed – a functional aspect of the product that invites interaction.” He also sees the work as being about place. “We have a unique set of resources in Australia,” he says. “We have a unique set of manufacturing processes. That has shaped my work. It is not as simple as selecting a local timber. There is more complexity to it than that. There is the manufacturing base around it and I am committed to local manufacture.” While their international presence grows – for example, in the United States and through trade fairs such as Milan Furniture Fair and ICFF – the studio nonetheless continues to work in a small, local market. “So,” says Gardam, “we are talking about lowervolume runs. We are more interested in making a more precise, lower-volume piece with the manufacturing we have, [rather] than a mass-produced object.” Meanwhile, he enjoys his new role as the coordinator of a creative team, as part of a collaborative process which continues to produce products unique not just for their innovation and imaginative use of materials, but also for the way they seem able to touch the people who use them. Visit Ross Gardam’s first solo show at Drogheria, Via Tortona 19, in Zona Tortona during Milan Design Week, 21-26 April. rossgardam.com.au

Page 50: Ever the quiet achiever, Ross Gardam, photo: Elizabeth Bull. Page 52: “The work is definitely informed by material and process.” – Ross Gardam in his Brunswick, Melbourne studio, photo: Elizabeth Bull. Page 53: Ora Desk Lamp, a study in honesty and purity in materiality and manufacturing, photo: Haydn Cattach. Above: Nebulae Table Light is distinctive for its geometric machined forms and fluid glass discs, photo: Haydn Cattach. Opposite: Edsall Street project by RITZ&GHOUGASSIAN featuring the Polar Desk Lamp, photo: Dave Kulesza, styling: Bea & Co.

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Harmony And Contrast The soft radial curve of the Polar Desk Lamp provides relief to the grid of concrete block-work in RITZ&GHOUGASSIAN’s Edsall Street project. As Jean-Paul Ghougassian says, it both “complements and softens the harshness of the interior spaces”.

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The Problem With Future Proofing Words Stephen Crafti

Ours is a profession that should lead change, not future proof against it, says Stephen Crafti. 56

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Terms such as future proofing have their moments in the sun. For the last couple of years we have regularly used these words, and often in conjunction with sustainability. It’s as though by making architecture and design ‘proofed’ for the future, nothing needs to be done for the foreseeable lifetime of a building. Although the idea seems entirely appropriate, given the concern for the environment, future proofing is extremely difficult to achieve. Let’s face it, architecture and design – as well as fashion and decorative arts – is about change: some voluntary, some due to changes in society, technology or environmental. Because these industries are inherently linked to humans and their interaction with the world, and these things are constantly in flux, change is really inevitable. Yes, people can install a lift in their homes to ensure it remains responsive to their needs as they age, but surely there are few, if any, homes that remain in aspic. The lift may stay (although even this might be upgraded over a lifetime), but the entire décor is likely to change. If it didn’t, we would all be scrambling for work! We also see future proofing thrown around in reference to the workplace. A presentation to the client including these words perhaps puts them at ease that the money spent on the build is a good investment, not just for now, but importantly for the long term. But a static workplace is rarely, if at all, presented to a client. To state the obvious – workplaces have changed significantly over the last few decades, and they’ll continue to evolve in line with changing work practices. The separate enclosed office was the norm at one point. Then we saw a move towards activated breakout spaces that could be used for either informal meetings, or simply areas to chill out with work colleagues. Other workplaces changed more dramatically, with staff persuaded through a design to forgo territorial boundaries. These shifts in workplace design could not have been foreseen a decade-or-so ago.

Rather than using the term future proofing, perhaps the term ‘flexibility’ is better suited to our purposes. It makes more sense to imbue a design with flexibility. So, for example, a child’s bedroom can easily morph into a home office after they fly the coop. Likewise, it makes sense to include retractable acoustic-treated doors between two rooms that can be left open to form one larger space to cater for greater numbers. But to say this feature is future proofed is setting up unrealistic expectations for a client. What seems more realistic is to be able to provide spaces across all design arenas that can easily adapt to change. Any modifications to a design will entail a cost. Replacing finishes and fixtures, as many do over a period of time, is ingrained in design. Very few, if any, expect a design to last for an eternity. Clearly if it did, this would be a miracle – particularly given the rapid evolution of technology and, relative to this, how we live and work. The other concern around future proofing is the move by architects and designers to play it far too safe. Wanting a design to be as relevant in 20 or 30 years’ time is an enormous ask for even the most insightful designer. You may be able to predict certain shifts in the design arena – whether it’s domestic, workplace, hospitality or in the educational sector. But there are changes every day, along with innovative discoveries, that make concepts redundant. Technology is moving at such a rate that it becomes difficult to create a design for the long term. So, let’s stop leaning quite so heavily on the term future proofing and realise that our profession is built upon change – some incremental, others causing a paradigm shift that necessitates a completely different way of thinking. Please contact this writer if something is completely future proofed, whether it’s a home or a workplace. I feel confident in saying that if it’s exactly the same in 50 years’ time, I will eat my words or, more correctly, digest this highly overused phrase.

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Stephen Crafti is a prominent Australian architecture and design writer.

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The Exchange-Makers Words Mandi Keighran Photography Courtesy of Manerba

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In today’s workplace where social spaces take precedence, Elisa and Grazia Manerba are curators of ‘exchange’. On the eve of their launch in Australia, we share their story.

Manerba Spa might be an historical Italian company, founded in 1969 by Sergio and Federica Manerba, but the brand’s focus is firmly on the future – specifically, the future of the workplace. It’s interested in how the company’s traditional values of craftsmanship and Italian style can inform a new vision of the office as an adaptable space that reflects technological, social and cultural evolution. Today, as Manerba enters into its sixth decade, it is lead by sisters Elisa and Grazia Manerba, alongside their parents, who still work in the company. “It was like growing up in a big family,” says Elisa, of her lifelong association with the company. “I have known this world since I was a child, and the history of the company is the history of our family.” Elisa, who studied economics and commerce, is the Italian and foreign sales director, while Grazia, who studied engineering, has dedicated herself to developing and optimising products. “We have

very different roles, but we have a shared vision,” says Elisa. “Together, we take the steps we need to allow the company to grow.” Their shared vision – which they presented at Milan’s Salone del Mobile in 2019 – is of a ‘boutique’ office, with a range of highly customisable products dedicated to enabling the exchange of ideas. In this vision, the workplace is a comfortable and welcoming environment, taking inspiration from domestic design sensibilities. “This is a space that is dreamed of by each of us,” says Elisa. “Thanks to devices, people can now work anywhere. In a workplace, the most important thing is the social spaces where people can meet and discuss.” When Manerba launched in Australia in February 2020 with James Richardson Furniture, they did so with the three product families that most characterise this ideal: Undecided, Apollo and Stem. “These are

Page 58-59: Sisters Elisa and Grazia Manerba are leading the company into its sixth decade. Above: The highly configurable Stem modular bookcase system by Philippe Nigro for Manerba. Opposite: The playfully proportioned Undecided collection by Raffaella Mangiarotti and Ilkka Suppanen for Manerba. Page 62: Apollo, the modular system of scalable desks by Shane Schneck for Manerba.

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Their shared vision is of a “boutique” office, with a range of highly customisable products dedicated to enabling the exchange of ideas. Elisa and Grazia Manerba, Manerba

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products that reflect our philosophy of ‘fluidity’ and personalisation,” says Elisa. “We want to bring that vision to Australia.” Undecided is a playfully proportioned collection of award-winning seating that reflects Manerba’s focus on comfort and a domestic touch in the workplace. The collection’s name comes from its modular pillow structure that can be easily reconfigured to change seat height, privacy and colour to suit an ever-changing environment – whether office, airport lounge or hotel lobby. Apollo is an affordable, modular system of scalable desks inspired by the sisters’ boutique vision. Similarly, Stem is a modular bookcase system that can be configured to meet the exact needs of its users. “Today, working often happens outside of the ‘common’ working space, in areas such as hotels and airports, and so the workplace follows a more dynamic way of working, which changes very quickly,” says Elisa. “So, office furniture has to adapt to the user and create a beautiful and comfortable workplace.” In the coming years, Elisa and Grazia believe that the workplace will be an even more bespoke space – with colour playing a big role in defining and individualising space. “Colour can personalise any environment,” says Elisa. “Our ‘colour project’ is the result of our research into new trends, materials and surfaces. As a result, we have applied colour to all our collections, starting with our Linea partition walls that divide a space with colour. The research

continues with our Stem bookcase system, in which components can be combined to create new, custom chromatic compositions.” Like colour, sustainability is another key concern and, for Manerba, this is an approach driven by longevity. Products are designed to be reused, recycled, and durable where recyclable materials – including timber, fabric, aluminium, glass and cork – are selected over plastics. The company is also ISO 14001 and FSC certified. “Every time we introduce a new collection, we put sustainability first,” says Elisa. “This has always been in our DNA.” One of the company’s most ambitious and experimental sustainable initiatives was Office+Retrofit, in which designers, architects and other creatives were invited to imagine an eco-friendly “second life” for Manerba’s old stock furniture. In doing so, they created new collections using old furniture. Sovrappensiero design studio, for example, transformed old desk caddies into plant trays and turned surplus seats into colourful mismatched benches. “The office is in constant change,” says Elisa. “We don’t work the way we did 50 years ago, but nor do we work the way we worked last year. At Manerba, we know how to transform and evolve – and that is what the future workplace needs.” manerbaspa.com, jamesrichardson.com.au

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human space cube 4.0

RETHINK SPACES

More modern, more flexible, improved acoustics, and nice to look at from all sides. With acoustically effective, electrified, freely configurable panels on the inside and outside. The possibilities for using the Bosse human space cube 4.0 are as varied as your wishes – perfect as a meeting room or individual office, as a quiet area or for teamwork. For further information please write to

Design: Bosse Design-Team, Rüdiger Schaack

asia-pacific@dauphin.com.au

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12.11.2019 08:51:03

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Green Star Shining Words David Congram Portrait Photography Michele Aboud

Last year while kids rallied against heads of state, Australia’s infrastructure portfolio took top billing in global sustainability audits. Despite the dire outlook, Davina Rooney says we must remain focused on what is important. I was waiting on a phone call. It was a Friday, one of the decade’s last, and everything seemed to have unravelled. Outside, school children were on strike. Their prime minister hectored “more learning [...] less activism [...] go to school.” But it was thin, hot air. Resources Minister Matthew Canavan, meanwhile, flung contempt at some as young as eight. “The best thing you’ll learn going to a protest is how to join the dole queue. Because that’s what your life will look like.” There it was. Again. A future of positive climate transformation apparently thwarting a future of professional self-sufficiency. My inner Greta Thunberg rankled. The receiver clicked. I wanted a hot take. “It’s hard to keep focus on what is really important here,” says a woman’s voice at the end of the line. “Do you mean, intergenerational equity? That fight?” “No. Hope,” says Davina Rooney, CEO of the Green Building Council of Australia (GBCA). I hadn’t expected it. After all, we’re more prone to brooding these days – I guess one of the penalties of an environmental awakening is the feeling of living alone in a world of wounds. “I notice hope more and more, and it brings with it a renewed sense of what it means to be a community,” Rooney continues. “As a driver for action, it has changed a huge amount. Look at where we were on public awareness a year ago.” Her tone is warm – steady, reconciliatory, even buoying. I can hear how such a voice would be useful in driving the sustainable transformation of something as turbulent as the built environment sector.

A month prior, Rooney had confidently put it to use launching Every Building Counts, the latest practical pathway for sustainably transforming Australia’s built environment. The report’s 75 recommendations to federal, state and territory, and local governments strives for net zero emissions by 2050 and has been widely applauded for recognising the role of industry and endusers in meeting Australia’s Paris commitments. “This is a real milestone for the GBCA,” Rooney tells me. “If you look back at the Council’s inception, it was very much an owner-led technical response to the challenges. I find it heartening that, now, there is a real focus on the diversity of views we seek from different partners to steer that change.” Recent partnerships with the Commonwealth Bank of Australia and Woolworths, for instance, not only use the Council’s proprietary Green Star as a benchmark for the design and construction of real estate assets the brands occupy corporately, but also use it to understand the performance of these buildings and the retail fit-outs in their operation. With the commercial design sector moving at breakneck speed to deliver transformation in this space, “it is phenomenal”, says Rooney, “that the consumer-facing brands in the market, and not just the property owners, are now bringing a huge degree of impact, momentum and passion.” It’s self evident this cresting wave gathers force from renewed consumer activities, in addition to the emergence of genuinely new business models, particularly in the circular economy space.

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The rate of amplitude, however, appears to suggest other positive contributing factors at play. “It’s certainly more difficult to measure,” she muses, “but new cultures of leadership in the workplace are making a profound impact. I think the term ‘culture of leadership’ is apt here.” As a term, I didn’t put much stock by it anymore – not easy to turn deaf ears on senators heckling school children away from picket lines. But I ought to have remembered Australia’s nine-year victory lap (and counting) as frontrunners on the Global Real Estate Sustainability Benchmark; the consistently stirring performance on the Dow Jones Sustainability Index; and the daily reports of homegrown AECO talent taking innovative and sustainable strides abroad. “We have the power as well as all the technology needed to rise to the challenge and arrive at that net zero 2050 target. With government and all our partners in industry through the supply chain, we know that our buildings use 50 per cent of the nation’s energy, contributing about a quarter of our emissions. Policy and action are parts of solving this puzzle – but celebrating real leadership is too. It’s why we launched the Net Zero Building Commitment with the World Green Building Council, to partner with and celebrate Australian organisations committed to taking their building stock to net zero for 2030. Groups like Dexus, Multiplex, Monash University and 18 other GBCA members give us reasons to be optimistic. Celebrating leadership is important to maintain the enthusiasm and help scale-up this success.” When asked to describe what this enthusiasm looks like, Rooney’s focus draws inward. I hear of what lies just beyond her window: business start-ups mixing with multinationals on outdoor furniture, co-sharing spaces with generous plantings, big squares with natural light, people abuzz everywhere. “The workplace scene of the future is where all this energy is coming. Dynamic individuals working

differently in spaces. Our own tenancy in the Barangaroo precinct is a really good example of this. We look at it like ‘property-as-service’ – with a much smaller tenancy, we blend easier with other neighbours, sharing spaces and amenities with other innovative organisations from across the precinct.” “A hands-on opportunity to lead by example?” I ask. “And for people power. Precincts like this are very emblematic of the future of the workplace, tapping into not only the desires of individual workers, but also their businesses and tenancies at scale.” Rooney enumerates how the tenancy mix had been able to aim for net zero waste, explains what a bio-digestor is, how various projects have already achieved 90 per cent of their net zero journey. I’m used to coming across terms like this – enhanced transparency framework, low cost abatement strategies, mandatory performance disclosure – in corporate agendas. But often, their missions feel complicated by a tacit suspicion we’re trying to solve problems with the same kind of thinking that created them. In any case, my chariness was thawing listening to Rooney’s clear and fluent delivery, mingling these with other concepts from the lexicon of affective science – cognitive empathy, collaborative intelligence, desire, optimism. “You know, I look at the Youth Climate Strike... and I see it again, hope. Research tells us it’s that emotional engagement underpinning the desire for change. So I think the question for so many of us is, how do we design for hope? Let’s inspire people to design that future – for all of us.” GBCA is located in Carpe Diem at Barangaroo Tower 2, Sydney. Read about this visionary fit-out on page 92. gbca.org.au

Page 65: “Businesses today are leading the sustainable transformation of our cities – building and designing a future giving us every reason to feel optimistic.” – Davina Rooney, photo: Michele Aboud. Above: This collaborative Sydney Workspace designed by Gensler received a 6-Star Green Star rating for its interiors, photo: Katherine Lu. Opposite: Arup Sydney, designed by Hassell, received a 6-Star Green Star rating for its interiors, photo: Earl Carter.

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Top Rated Work Space Among Australia’s more exemplary 6 Green Starrated workplaces is Arup Sydney with temperature comfort control in the form of swirl diffusers, active indoor climate monitoring, materiality savings through an integrated fit-out process.

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STYLECRAFT

A Journey For The Decades Words Tess Ritchie Photography RNDS, Marco Cavi and Claudia Maurino

Page 69: Cila 4 Way Castor, Meety Table, Parentesit Screen, photo: Marco Covi. Page 70: Catifa 46 Sled Chair & Dizzie Table, photo: RNDS & Marco Covi. Pg 71: Arcos Armchair & Lounge, Dizzie Side Table, Parentesit Screen, photo: Marco Covi. Page 72: Kiik Modular System & Paravan Screen, Photo: Marco Covi. Page 73: Cila Go Stool, photo: Claudia Maurino.

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