inside: 107

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107

2019 shortlisted ISSUE #107 | CELEBRATING 22 YEARS OF REVIEWING INTERIOR DESIGN

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CON TENTS

IS S UE 107

PROJECTS 61667278-

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Biasol Casa Chiaroscuro Woods Bagot KPMG, Perth Smart Design Studio Alexander at Barangaroo Travis Walton Architecture & Interior Design Armadale residence March Studio Oxford Scholar Powell and Glenn Inner City villa

PRODUCTS

Insight: Education Folio show 106- Spotlight: Krost 108- Spotlight: Design Nation 99-

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IDEA 2019 IDEA 2019 Jury 114- Hospitality 120- Residential Single 130- Residential Multi 132- Residential Decoration 138- Colour 142- Workplace over 1000sqm 148- Workplace under 1000sqm 152- Public space 156- Retail 160- Institutional 164- Object, furniture & lighting: Professional 168- Object, furniture & lighting: Rising 172- International 174- Event 176- Sustainability 178- Emerging 180- Designer of the Year 182 Gold Medal 110112-

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Editorial

NEWS 14161832-

Contributors Dateline Designwall In Review: Janet Laurence and The Johnston Collection

PEOPLE 37-

Practice: BarberOsgerby ProďŹ le: Nani Marquina At Home: Fiona Dunin, FMD Architects

Oak house by Kennedy Nolan from p.125 IDEA shortlist, Residential Single. Image Derek Swalwell

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E DITORIAL

Welcome to inside 107, and to the issue that showcases the very best in Australian design through the IDEA 2019 shortlisted projects and products.

Every year the talent and expertise of Australian practitioners raises the bar in creativity, innovation and style; however, this year there was exceptional design in every category that will indeed make the judging process a challenging one for our illustrious jury. I know that we say this every year, but truly the sophistication and design prowess of our designers defies our expectations and places Australian practitioners among the world’s best (p110).

To everyone who entered IDEA 2019 congratulations, and to the shortlisted, well done, you are in fine company. All that remains is to announce the winners at the gala party and enjoy ourselves in the process.

As well as the IDEA 2019 shortlist we have a variety of reviews, profiles and projects to inform and tempt the design taste buds. We journey to East Melbourne and view the wonderful exhibition at The Johnston Collection curated by Janet Laurence (p32) and we talk with international superstars Edward Barber and Jay Osgerby about their singular and never-ending design accomplishments (p37). Nani Marquina, the queen of all things rugs (p41), shares her vision and passion for textiles while Fiona Dunin of FMD Architects invites us inside to explore her fabulous house in At Home (p46).

Our projects are, as ever, diverse and of course each is an exemplar. March Studio has earned its plaid with its retake on the much loved Oxford Scholar (p86).

We feature four residences each with their own particular character and charm with a continuum of fine design that is integral to all.

Inner City villa by Powell and Glenn is a masterful design for space, flow and outstanding liveability

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(p92), while Travis Walton’s Armadale residence (p78) is perfectly in balance through imaginative architecture and decoration, the whole finessed through art and colour. Once again Smart Design Studio presents a project that is a breathtaking response to apartment living and amplifies verticality with materiality and form (p72). Casa Chiaroscuro by Biasol is beautifully paced, elegant and serene (p61) while, finally, a sensitive renovation of KPMG’s workplace in Perth by Woods Bagot (p66) pays homage to contemporary design infused with Indigenous culture.

Within the pages of this bumper issue there is so much to see and read we hope that you finish by the time we announce the winners of IDEA 2019 in Melbourne at the Timber Yard. Mark the date, it’s 22 November and we look forward to seeing you all again when we celebrate the winners of IDEA 2019 at the best party of the year.

Jan and Gillian

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The latest colour release from Haymes Paint, Volume 13 – Calibrate explores the continual need to find balance in an ever changing world.

For more colour inspriation visit haymespaint.com.au/explore-colours/colour-library/

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PUBLISHER

DESIGN

Joanne Davies

Editorial Design Hannah Lawless

joanne.davies@niche.com.au

+61 3 9948 4929 PRODUCTION ASSOCIATE PUBLISHER

Lachlan Oakley

Production Manager Stephanie Yang

lachlan.oakley@niche.com.au

+61 3 9948 4952

Design & Digital Pre-Press Karl Dyer

EDITORIAL

Co-Editors

Printing Southern Colour

Jan Henderson

PUBLISHING

jan.henderson@niche.com.au

+61 412 198 156 Gillian Serisier gillian.serisier@niche.com.au

+61 416 025 195

cover—KPMG, Perth designed by Woods Bagot. Image Dion Robeson

Chairman Nicholas Dower Managing Director Paul Lidgerwood

Correspondents Queensland Michelle Bailey Asia-Pacific Sarah Hetherington North America David Sokol Europe Joy Weideman

Publisher & Commercial Director Joanne Davies

ADVERTISING

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Notice: Statements and opinions expressed are not necessarily those of the publisher. All material is copyright. No responsibility is accepted by the publishers for the accuracy of the information contained in the text, illustrations or advertisements.

inside ISSN 1326 9631 © 2019 Niche Media PTY LTD. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, internet, or otherwise, without the prior written permission of the publishers. While every effort has been made to ensure the accuracy of the information in this publication, the publishers accept no responsibility or liability for any errors, omissions or resultant consequences including any loss or damage arising from reliance on information in this publication. the views expressed in this publication are not necessarily endorsed by the editor, publisher or Niche Media PTY LTD.

Architecture and Design Division: Linking Design and Business inside Interior Design Review is a publication of Niche Media Pty Ltd ABN 13 064 613 529 Suite 2.02, 3 Bowen Crescent, Melbourne, VIC 3004, Tel 03 9948 4900 Fax 03 9948 4999

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

We m ay a l s o p r ov i d e t h i s i nfo r m at i o n to contractors who provide the products and services on our behalf (such as mail houses and suppliers of

subscriber premiums and promotional prizes). We do not sell your information to third parties under any circumstances, however the suppliers of some of these products and services may retain the information we provide for future activities of their own, including direct marketing. Niche Media will also retain your information and use it to inform you of other Niche Media promotions and publications from time to time. If you would like to know what information niche media holds about you please contact the privacy officer, Niche Media PTY LTD, 3 Bowen Crescent Melbourne VIC 3004.

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

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

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

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

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

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

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

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

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

5/09/19 3:22 PM

Lana Collection designed by Yonoh Made in Spain

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1300 785 199

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Contributors 1

1–Dion

Robeson

Perth-based architectural and interior photographer, Dion Robeson continues to work with award-winning clients from large multinationals to leading edge architectural and interior design practices. He has a great appreciation for natural light and the way it moves through well-designed spaces.

3– Dianna

Snape

2 2– Ross Honeysett Ross Honeysett’s career began in London and Paris.

Returning to Australia he worked with Vogue; however, his architectural photography stands alone with a campaign for Marc Newson’s G Star collection, NSW Tourism, LG and Grazia magazine. The National Portrait Gallery recently acquired his work and he was the winner of the Sydney Life Photography Prize.

With a passion for the built environment, Dianna Snape has been documenting Melbourne’s urban landscape for over 18 years through her exemplary photographic practice. She works closely with architects, interior designers, landscape architects and property developers to establish a visual dialogue that records and promotes their buildings, interiors and vision.

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4–Sarah

Hetherington

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

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

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DATELINE

Sep–Nov 2019

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1. Installation view, Bauhaus Now! Image, Christian Capurro 2. Dubai Design Week.

Image, Junhan Foong 3. Omer Fast, Der oylem iz a goylem, 2019, singlechannel film in Pro Res 4K with surround sound. © Omer Fast 2019. Image courtesy of the artist and James Cohan, New York

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[1] Bauhaus Now!

[2] Dubai Design Week

Buxton Contemporary, University of Melbourne, Southbank, Melbourne 26 July – 20 October

Dubai design district, Dubai 11 – 16 November

As the Bauhaus diaspora continues to influence artists, designers, architects and theorists, the Australian legacy has been rich. Highlighting the movement’s visionary, collectivist ideals and radical practices, the exhibition, curated by Ann Stephen, looks at current art experiments with Bauhaus origins. Artists, including Elizabeth Pulie, Mikala Dwyer, Justene Williams, Rose Nolan, Shane Haseman and Jacky Redgate, have made new works for the exhibition, while a group of six has created a series of woven wall hangings. Video works, installations and performance pieces round out the offering as does a significant archive. Wonderfully, the downstairs section will house a thistle garden. buxtoncontemporary.com

Now in its fifth year, the DDW has hit its stride as the region’s leading design fair and umbrella event for both Downtown Design and the Global Grad Show (projects from 100 innovative global universities).

What makes this fair exceptional is the incredible combination of a wide diversity of refined handcrafts and the wealth of the UAE. Effectively, the handcrafts have been supported financially to allow culturally unique crafts to survive and become refined. The wealth also attracts the very best designers and architects, with last year’s fair featuring an open exhibition from Zaha Hadid. This year’s pavilions will be from Saudi Arabia by Azaz Architects (Shahad Alazzaz), India by Busride Design Studio and Lebanon by T Sakhi Architects. dubaidesignweek.ae

[3] Omer Fast: Der oylem iz a goylem Salzburger Kunstverein, Salzburg, Austria 26 July – 6 October Expanding his cinematic practice to include architectural interventions that explore contemporary sociopolitical concern, Fast’s latest work will be shown simultaneously with two other films from Fast in a theatrical mise-en-scène, designed by the artist and despite the three different languages. The major piece, Der oylem iz a goylem, translates from the Yiddish to ‘the crowd is a fool’, a term used to challenge accepted or popular decisions in politics, art and other areas of public approval. Here it underpins a lone skier’s uncanny encounter in the Austrian Alps. The Invisible Hand explores a family’s encounter with a ghost, while August loosely recounts the life of German photographer, August Sander. salzburgerkunstverein.at/en

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[4] Robin Boyd: Design Legend

[5] SCCI Architecture Hub

[6] Then

Heide Museum of Modern Art, Bulleen, Victoria 3 August – 27 October

SCCI, Paddington, and other Sydney locations 10 – 19 October

White Rabbit Gallery, Chippendale, Sydney 11 September – 26 January 2020

Heralded as one of Australia’s first public intellectuals and media celebrities, Boyd’s fame as an architect and designer is richly deserved. With some of the most influential designs to his name, the exhibition is purposefully intimate. Of the 300 designs across residential and civic, the exhibition’s focus is 10 key houses. These include the influential House of Tomorrow (1949), Boyd’s own house in Walsh Street, South Yarra (1958), the renowned Featherston house, Ivanhoe (1967-9) and several houses local to Heide. A program of public talks and a morning tea are supported by open house tours, including King House, Warrandyte on 13 October and Richard Haughton James House, Kew on 27 October. heide.com.au

Continuing to impress with local and international talent at the vanguard of architecture, design, placemaking, art, literature, politics, law, economics and education, the second iteration of the SCCI Architecture Hub comprises a 10-day program, which dives deep into conversations surrounding (but not limited to): architecture and the justice system, architecture and children’s formative years, architecture and education, architecture and literature, architecture and fine art, and the role architecture and design can play in the betterment of individual and community health, happiness and dignity.

International guests hail from France, Israel, Japan, Italy, the US and Iceland with keynote speakers including: architects Sou Fujimoto, Junya Ishigami and curator Professor Ido Bruno. scci.org.au

It seems extraordinary to think of White Rabbit as only 10 years old given the quality, quantity and calibre of this gallery’s exceptional exhibitions. Housed in a sublime space designed by William Smart, the White Rabbit has and will continue to be a feast, an assault and always a surprise. Showing only work from the 21st century and predominantly from China, the collection of Judith Neilson has the hallmark of a single vision and is exceptional for being so. The current exhibition, Then, takes a chronological meander through some of the highlights of the past decade, while introducing new works. jnprojects.net/white-rabbit-gallery

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4. Robin Boyd: Design Legend 2019, Heide Museum of Modern Art, Melbourne. Image Earl Carter 5. SCCI – Anish Kapoor, Turning the World Upside Down (Jerusalem, 2010).

Image, courtesy of The Israel Museum 6. Chen Fei, Beyond Satisfaction, 2006, oil on canvas. White Rabbit

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DESIGNWALL

Est Lighting Showroom

Christopher Elliott Design photography—Jack Lovel Est Lighting was founded by three people, who, together with a passion for lighting, bring more than 15 years’ experience to the market. The brand Est Lighting was established in 2016, and the business is fast becoming a dominant player in the lighting sector, offering a curated mix of both architectural and decorative lighting products. We had previously collaborated with Est Lighting on other projects for our residential clients and so it felt natural to be given the task of designing the brand’s Melbourne showroom.

It took some time to find the correct site for this project, as this was to be a destination trade showroom; however, the final location was serendipitously perfect, conveniently situated in Richmond, next door to one of Est Lighting’s represented brands, Articolo. The site presented many design challenges, as the premises comprised a vacant, sawtooth roof warehouse; however, this afforded us more freedom to push our creative thinking.

A major source of inspiration was the passage of natural light and the way that this light interacted with the interior curved surfaces over the passage of the day. This became the foundation for the design with the formation of curved walls and partitioning, and everything else flowed from there.

We utilised materials that would interplay with light, such as the slatted timber of the island bench and the s-fold curtain that flanks the entrance, and these elements highlight the way light and shadow react beautifully with uneven surfaces. The warm colour palette was conceived to offset the austerity of the building and juxtapose with the industrial elements. We wanted a tonal colour story and, although we chose bold colours, overall they would act as neutrals.

The success of any interior design lies in the experience that you bring to a project and this space showcases that beautifully. It is more than a showroom and office; walking into Est Lighting is a journey, a surprise wonderland filled with delights. christopherelliottdesign.com.au

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DESIGNWALL

George Place

Fender Katsalidis photography—Anthony Fretwell & Rohan Venn Seamlessly blending three flagship buildings, George Place by Fender Katsalidis is a sophisticated project featuring an expansive atrium space that is one of the largest in Sydney. Combining elements of urban design, commercial architecture and interior design, Fender Katsalidis has made a major contribution to the renaissance taking place around George Street in Sydney’s CBD by utilising architectural detailing and materiality. George Place reinvigorates a precinct of existing commercial buildings, marrying three separate buildings at the ground plane to create a cohesive outcome in a Heritage precinct.

Rob Mirams, director at Fender Katsalidis, describes the new urban room for Sydney and its striking coffered timber ceiling. “The ceiling was designed specifically to combat heat gain and solar glare and also to improve the acoustics of the space,” says Mirams. “It’s a crafted and sculptural ceiling that took inspiration from precedents like the Pantheon in Rome and Leonard French’s ceiling at the National Gallery of Victoria, where the ceiling becomes one of the elevations of the space internally.”

The project enhances connectivity for the precinct by joining George and York Streets through a pedestrian link and the addition of a new atrium lobby. The dynamic space features concierge services, collaborative seating, work and meeting spaces, all of which are removable to transform the space for exhibitions and events. The space is a highly crafted volume featuring sculptural textured stonewalls, integrated artworks and themed, dynamic lighting. A subtle palette of materials is used throughout, including bronze, textured volcanic stone and natural timbers.

“We are proud of this project and the role it is playing in the reinvention of the George Street and Martin Place vicinity as a pedestrian-friendly, high-end retail and commercial precinct,” adds Mirams. fkaustralia.com

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DESIGNWALL

A Perfect Storm

Matt Woods Design photography—Katherine Lu styling—Madeline McFarlane Dubbed ‘the concrete bunker’ for its deliberate use of rendered finishes and rejection of ornamentation, this project’s brief called for the redesign of an inner-city warehouse conversion in Camperdown, for a couple seeking a minimalist lifestyle and an interior to match.

The clients, who work in design-related disciplines, sought to shed from their home unimportant items and create a space free of clutter. The shell of the apartment has been informed by Woods’ penchant for Brutalist architecture, with the principal intent to create a pared back, geometric interior and a celebration of the neighbourhood’s industrial heritage.

The west-facing open plan apartment features a custom kitchen and a mezzanine bedroom that overlooks the living room space and small terrace. The loft is flooded with light from a full-height glazed wall, counterbalancing the interior mood, which is intentionally dark and brooding. All interior elements have been created as ‘raw and extruded concrete monoliths’, as seen in the fluted kitchen joinery, curved ceiling forms and the cement-rendered bathroom. A homely midcentury touch has been introduced in the form of filmfaced plywood and American oak joinery, brass accents and statement lighting. The furniture selection features geometric forms and a muted palette, underscoring the overall concept.

Given the project context of a residential warehouse conversion, it would have been natural to emulate any of the well-articulated examples of the genre; however, Woods chose to ignore the whims of trend, opting for a unique approach that perfectly underscores the clients’ vision. His design offers a probing look at the level of creativity and execution that can be achieved within a particularly restrained and pragmatic approach. killingmattwoods.com

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THE BUSINESS OF ARCHITECTURE AND DESIGN DISRUPTION AND THE FUTURE When: 11 November 2019 Where: Parliament of NSW EARN 8 CPD POINTS

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“UTS IS PROUD TO SUPPORT NEW FORMS OF CREATIVITY AND INNOVATION IN PRACTICE WITH NICHE MEDIA AT THE BUSINESS OF ARCHITECTURE AND DESIGN CONFERENCE.”

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B OAD

6/09/19 3:35 PM

This inaugural event is all about looking to the future. The A&D industry is evolving quickly and this conference has been designed to provide attendees with an agenda that will inform them of the changes that are taking place within the built environment – changes in technology, new business models and where investment is coming from and going to.

It will provide business and practice leaders with key take-outs that can be applied to their planning whether they are leading a multinational or small local practice.

It’s an extremely exciting time for the industry and the conference will unveil the opportunities that abound for those who are willing and able to embrace this change.

PROGRAM: Our program is continuing to grow; below is an overview of confirmed speakers and session details.

Early Bird tickets are now on sale through to the end of September, register at boad19.australiandesignreview.com. We will update you with conference developments regularly.

OVERVIEW OF SESSIONS: 7:30 AM

Registration

8:15 AM

Welcome and Introduction

8:25 AM

Keynote – covering digital disruption and transformation, new business models, plus the intersection of new technology (robotics, machine learning AI, 3D printing) and design.

Ninotschka Titchkosky – co-CEO, BVN Balder Tol – General Manager, WeWork

10:30 AM

Break

11:20 AM

Panel discussion – Disruption With morning session speakers and Kaare Krokene, Australian MD Snøhetta.

12:00 PM

Seminars

1:00 PM

Lunch

2:00 PM

Peter Verwer (AO) The next three years – opportunities for achitects and designers from a supercharged Asia.

3:00 PM

Panel discussion chaired by Peter Verwer.

3:20 PM

Break

3:45 PM

Seminars

4:40 PM

The Great Debate in the Legislative Chamber.

Includes – five-minute overview of The Architectural History of the Chamber from Prof Anthony Burke UTS.

5:30 PM

Networking Drinks

7:30 PM

Conclusion

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CONFIRMED SPEAKERS: While the final agenda for the day will be finalised shortly, some of the presenters already appearing include:

PETER VERWER AO EXECUTIVE CHAIRMAN OF FRACTAL IQ ADJUNCT SENIOR RESEARCH FELLOW AT IREUS NATIONAL UNIVERSITY OF SINGAPORE

Hear Peter Verwer at BoAD19 speak on: • • • •

strategic feng shui – currents of Asian growth and how they are reshaping demand ˇshow me the moneyˇ - what will your international clients look like (and what do they expect)? sense in the city – technological disruption and your business model seven predictions for domestic and outbound business opportunities

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Peter is a former CEO of the Asia Pacific Real Estate Association and the Property Council of Australia. He also chaired many Australian public policy initiatives in areas such as counter-terrorism, liveable housing, universal design and development assessment reform.

Pete was a co-founder, mentor or foundation supporter of the Green Building Council of Australia, Australian Sustainable Built Environment Council and CareerTrackers, Australia’s leading Indigenous internship program.

During the past five years, Peter has worked with Asian governments, particularly in India and China, to help open up capital markets platforms that drive urban and nation-building programs. His current priorities are artificial intelligence and cities, African-Asian development and alternative asset classes.

Peter is a Life Fellow of the Green Building Council of Australia, Life Fellow of the Australian Sustainable Built Environment Council, Honorary Fellow of the Australian Institute of Quantity Surveyors, Honorary Life Member of the Property Council of Australia and Member of the Australian Institute of Company Directors.

The Australian Government appointed Peter one of six Disability Community Ambassadors in 2011. Peter was invested as an Officer of the Order of Australia in January 2019 for “distinguished service to the property sector, to sustainable development and construction and to professional bodies”.

B OAD

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CONFIRMED SPEAKERS AND PANELLISTS:

NINOTSCHKA TITCHKOSKY

BALDER TOL

DR KIRSTEN ORR

CO-CEO – BVN AUSTRALIA STRATEGIC CHAMPION DIGITAL INNOVATION AND ROBOTICS

MANAGING DIRECTOR, WEWORK AUSTRALIA

REGISTRAR AT NSW ARCHITECTS REGISTRATION BOARD

Ninotschka is interested in future scenarios and possibilities that can emerge through a project, and which have global currency. She is passionate about the role architects play in shaping our interactions, communities and cities, and continually seeks to effect change through projects. Ninotschka is interested in the changing nature of architectural practice and the potential for new ways of engaging in the design and construction process. She is leading BVN’s research into robotics, which explores live site collaborations with the robot using woven carbon fibre systems. Her most recent projects are the rebuilding of the heart of the campus at ANU, Canberra with six new buildings, two of which are timber buildings under construction with fully pre-fabricated façades and a new STEM school for 2000 students. Her work has been recognised through numerous awards nationally and internationally including a RIBA International Award and a World Architecture Award commendation.

General manager Australia of WeWork, Balder is of Dutch origin. Joining Airbnb Australia as its first employee in 2012, he established a strong Airbnb presence in key cities and made the Australian market contribute significantly to the company’s global revenue. Following his passion for building communities, he became general manager of technology-focused co-working space, Tank Stream Labs, before joining WeWork in 2016.

Kirsten is also a director of the Architects Accreditation Council of Australia. She was previously Professor of Architecture and Dean of the School of Technology, Environments and Design at the University of Tasmania (2016-18) and Associate Professor at the University of Technology Sydney (1999-2015). She is a NSW registered architect (non-practising #6236), with a sustained academic background.

Integrating her deep knowledge of professional issues with her significant academic background, Kirsten has made leadership contributions to all of the major Australian government and professional bodies regulating the practice of architecture, education of architecture students and accreditation of Australian architecture programs.

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ADAM HADDOW

ANTHONY BURKE

KAARE KROKENE

DIRECTOR ARCHITECTURE, SJB SYDNEY

DEAN, FACULTY OF DESIGN ARCHITECTURE AND BUILDING, UNIVERSITY OF TECHNOLOGY SYDNEY

MANAGING DIRECTOR, SNØHETTA AUSTRALASIA

Adam Haddow is an award-winning Sydneybased architect and director at leading multidisciplinary design studio, SJB. A specialist in the built environment, Adam is interested in what makes cities vibrant, connected and civic with particular expertise in urban density, multiresidential design and the intersection of public and private space.

Adam’s design excellence has been recognised with numerous awards including the AIA National and NSW Chapter Architecture Awards, the Urban Taskforce Awards, and the UDIA NSW Awards for Excellence. He is a Churchill Fellow who investigated alternatives to conventional models of urban design, resulting in a research project entitled ‘Shall We Dense,’ an examination into the state of modern density living in Australia that led to successful collaborations within the professional and architectural realms. As a studio, SJB is acclaimed nationally and internationally for their work in architecture, interiors, planning and urban design. Adam joined SJB in 1994 and has been a director since 2004.

Anthony Burke is a Professor of Architecture and Associate Dean of International and Engagement in the Faculty of Design Architecture and Building at the University of Technology Sydney. A graduate of Columbia University GSAPP, Anthony is recognised internationally for his work in architectural design, curation and commentary, specialising in contemporary design theory at the intersection of technology, urbanism and practice.

Anthony combines scholarly research with design practice and curation. He has published several books and many articles on architecture, and was a director of Offshore Studio from 2000 to 2016. In 2010, he founded Open Agenda, an annual speculative design research competition, exhibition and publication for emerging Australian architects.

Kaare is an architect at Snøhetta, a Norwegian integrated design practice of architecture, landscape, interiors, product, graphic and brand design, with offices in Oslo and New York and studios in Los Angeles, Innsbruck and Adelaide.

Snøhetta thrives on rich collaborations to push their thinking. A continuous state of reinvention, driven by their partners in the process, is essential to their work.

Kaare worked on a variety of projects in his native Norway before moving to Australia where he is the managing director for the Australasian studio.

Snøhetta Studio Adelaide is currently involved in numerous projects both in and outside the Australasian region.

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MC

DR JESS MURPHY

CAROLYN BREEZE

STRATEGIC ALLIANCE PARTNER MERCER & ADJUNCT PROFESSOR TORRENS UNIVERSITY

GENERAL MANAGER AUSTRALIA AND NEW ZEALAND, GOCARDLESS

Dr Jess Murphy is in the business of disrupting traditional corporate structures to move them into the 21st Century mindset. She has over 20 years experience in Corporate Australia and blends her practical experience with theory in her role as an Adjunct Professor in Business Leadership.

Jess’ lens of gender, culture and inclusive leadership is shaped by rigorous academic research and support. She holds a Doctorate in Business Leadership from the Australian Graduate School of Leadership and is also a Life Fellow. One of her ventures, Pathway to Your Potential which focuses on leadership effectiveness experiences, is quantitatively verified by research conducted by the Cairnmillar Institute in conjunction with Deakin University in terms of sustained impact. Jess currently holds an Adjunct Professorship at Torrens University, part of the Laureate International network of universities.

A seat at the table with Male Champions of Change since its inception and convening the Australian Institute of Architects’ group since 2015, ensures the complexities of leadership and gender equity are front of mind. From guest speaker & facilitator for Melbourne’s School of Government ‘Pathway to Politics Program for Women’ to working with at-risk youth, she does her best to cut across the fabric of society, always listening and learning.

In 2017, Dr Jess Murphy formed a strategic alliance with Mercer to facilitate a global leadership, talent and diversity consultancy delivering transformational change to organisations and individuals via deeply experiential and practical solutions.

Jess grew up on a remote mining town in central Qld, she loves travelling and is avid people-watcher. With her husband and 3 kids, they carve out 5 weeks each year to explore the globe, with Borneo and Sri Lanka being destinations for 2020.

Carolyn is an experienced business leader with more than 15 years in the technology sector, including extensive international experience within the fintech, e-commerce and telecommunications sectors.

For more than 20 years she has been actively supporting brands to amplify their presence in relevant markets, elevate their customer experience and form long-term partnerships. Carolyn’s work within Braintree (a PayPal service), eBay, Vodafone and Telstra has seen her sharpen her sales, marketing and leadership expertise, as well as her knowledge in digital transformation.

Carolyn is passionate about creating opportunities for local businesses in the region. She’s an advocate for workplace diversity and is focused on creating an inclusive working environment. Her primary goal is to empower organisations to drive inclusion and equality through technology, environment and choice.

Her astute leadership and professionalism has resulted in Carolyn being named one of CEO Magazine’s IT and Telecommunications Executives of the Year in 2018, and recognised as one of the top 20 Women in Fintech.

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PRESENTATIONS PETER VERWER AO – THE NEXT THREE YEARS ALL SILK ROADS LEAD TO AUSTRALIA – OPPORTUNITIES FOR ARCHITECTS FROM A SUPERCHARGED ASIA

The executive chairman at fractal IQ, Adjunct Senior Research Fellow, IREUS, National University of Singapore, former CEO of the Asia Pacific Real Estate Association and the Property Council of Australia, Peter will speak on the opportunities and realities for practices looking to Asia to grow their businesses.

• strategic feng shui – currents of Asian growth and how they are reshaping demand • ‘show me the money’ – what will your international clients look like (and what do they expect)?

• sense in the city – technological disruption and your business model, and • seven predictions for domestic and outbound business opportunities.

BOOK NOW NINOTSCHKA TITCHKOSKY – DISRUPTION AND THE FUTURE SINGLE TICKET Drawing on her expertise in robotics and 3D printed design Ninotschka will speak about the Fourth Industrial Revolution, and include discussion of: • mitigating the forces that attempt to derail transformation • driving a vision of the future that maximises human well-being, strengthens identity and protects the planet • the importance and place of digital fabrication and machine learning • materials as the precursors to advanced robotic and 3D printed fabrication • BVN’s robotic research and capabilities • how to focus attention in times of rapid change, and • fostering innovation through a three-tiered approach and BVN’s DIG (Digital Innovation Ground) initiative.

BALDER TOL – WEWORK

THE GREAT DEBATE

A significant disruption in the global working landscape is the proliferation of co-working spaces, as start-ups, SMEs and multinationals across the world shift towards working models more conducive to the practical realities of business today.

WeWork is one of the leading innovators in this space – changing the way people and companies work. It has proven that a collaborative culture and flexibility can benefit the workplace needs of everyone from local citizens to global enterprises.

Balder will discuss how to: • build community • deliver an exceptional peoplefocused workplace, and • use human-centred, evidencebased insights.

An unmissable component of the conference, the Great Debate will be held in the Parliament of NSW’s historic Legislative Assembly Chamber, Australia’s oldest legislative chamber.

Designed in 1843 by the Colonial Architect, it was initially used as the meeting place of the Legislative Council. Following the establishment of a bicameral Parliament in 1856, the room then housed the state’s Legislative Assembly and has done so ever since.

Prior to the Great Debate, the Associate Dean of the Faculty of Design Architecture and Building at the University of Technology Sydney, Anthony Burke, will present a historical overview of the building and explain the reasoning behind the colour codes of both Legislative Chambers – Council and Assembly.

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$670 6 OR MORE

$500 THIS INCLUDES: — EVENT ATTENDANCE — COFFEE/TEA REFRESHMENTS — LUNCH — SUPPORTING EVENT MATERIALS — 2X SEMINAR SESSIONS — ACCESS TO THE GREAT DEBATE IN THE PARLIAMENT OF NSW LEGISLATIVE CHAMBER — NETWORKING DRINKS REGISTER AT boad19.australiandesignreview.com

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INTRODUCING

The first chair made with recycled fishing nets. Each Smart Ocean incorporates almost 2 pounds of recycled fishing net material.

To order or find out more call 1300 HUMANSCALE or visit www.humanscale.com

from ocean to office

humanscale.com/smartocean

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IN REVIEW

— 8 July to 17 September 2019

— The Johnston Collection Fairhall East Melbourne, Victoria, Australia

Janet Laurence— The Palm at the End of the Mind As an exhibition The Palm at the End of the Mind is an experience par excellence.

The multifaceted installations created by Janet Laurence within Fairhall, presents The Johnston Collection (TJC) through the perspective of the artist and brings a new dimension to the interior of this grand home.

Janet Laurence is well-known for her artistic prowess and adventurous spirit. Her exploration and use of mixed media and seminal installation works afford her a place as one of Australia’s finest talents and in The Palm at the End of the Mind Laurence brings an original and contemporary focus to the outstanding period furniture and objets that define TJC. The collection was established by William Robert Johnston, a prominent 20th century Melbourne antiques dealer, collector and property investor. His passion for beautiful objects began at the age of eight when he received a Minton teacup (circa 1815) from his grandmother.

From small beginnings Johnston’s collection grew to an astounding 1400 pieces, including English Georgian and Regency and Louis XV furniture, paintings, ceramics and objets d’art, and today the collection is regarded as one of the best of its kind in Australasia.

Upon Johnston’s death, provision was left for Fairhall, his Melbourne home and the collections to become a showcase for all to see and, after suitable renovation, the house was opened to the public in November 1990 as a gallery. One of the interesting aspects of this curated home/gallery is the instruction left by Johnston that the atmosphere of Fairhall was to remain as a home, not as a typical gallery and, to this end, there are no museum labels or item texts to be found.

TJC is a hidden treasure tucked away in leafy East Melbourne, although exhibitions such as The Palm at the End of the Mind bring a wider audience to Fairhall. Director and passionate curator of TJC, Louis Le Vaillant has instigated a revitalisation of the gallery through a program of events that includes lectures, tours and collaborations with artists.

text—Jan Henderson photography—Luts Photography

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opposite—Janet Laurence in the garden of Fairhall, home of The Johnston Collection. below top and bottom—Some of the small objects included in the exhibition that reference landscape detail

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IN REVIEW

above—The quilt in the Yellow Bedroom spread with dried ginko leaves. left—beautiful images of flowers and leaves have been placed in unexpected places adding richness to the visual experience

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With an eclectic mix of speakers and interesting occasions on the program, Le Vaillant is providing the opportunity to enhance and complement the idea and history of Fairhall.

Inviting Laurence to contribute her vision was a masterstroke, as each room has been infused with the artist’s imagination and the interior has been brought to life in a fresh and sometimes unexpected way. New sits beside and within the old and there is texture and layering as is the inimitable style of Laurence. The artist’s hand is both subtle and overt, depending on the situation and surroundings; however, every vignette is a pure delight.

Laurence brought many of her personal objets to TJC and these are interspersed throughout the exhibition.

They bring additional meaning and depth to the in-house curated collection, but also convey an intimate message from the artist.

As nature and landscape are integral to Laurence’s work they were also important to Johnston and so these themes have been woven into the fabric of the installations, but are most dominant in the room that adjoins the charming terrace garden on ground level. Laurence has populated the interior with lush greenery; plants and foliage are placed

beside heavily ornate consoles, aged paintings and period chairs, and an immense table in the middle of the room features a plethora of various leaves seemingly randomly arranged but, of course, intricately placed for visual effect.

Upstairs in the Yellow Bedroom, through the simple addition of dried ginkgo leaves scattered on the bed cover, Laurence has created a scene of great beauty that stirs the imagination. The scene is captured in a small cheval mirror that then reflects the vision back into the room. The display is perfect, so simple but oh so beautiful.

The title of the exhibition is from a poem by the US poet Wallace Stevens. Laurence admits that writers of art and landscape have had a profound impact on her over time and so with The Palm at the End of the Mind the idea was to provoke and evoke thinking about ‘disappearing’ especially in relation to nature and the current Anthropocene epoch.

The Palm at the End of the Mind is an exquisite exhibition and food for the soul for anyone who appreciates beautiful objets and perfect curation underpinned with history and thought.

Janet Laurence is represented by ARC ONE Gallery, Melbourne. johnstoncollection.org

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above—Overview of the Garden Room at Fairhall that Laurence has curated as a celebration of landscape and objet

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PRACTICE

Getting on and on with business text—Jan Henderson

As designers Jay Osgerby and Edward Barber are in a league of their own. They have laid foundations as champions of British design, but keep pushing the boundaries for design through every endeavour.

Jay Barber and Edward Osgerby met in their very first week at the Royal College of Art, London where they had both enrolled to study architecture. Immediately in sync with each other, they began to design together and after attaining their respective Master’s degrees in 1996 they established their now acclaimed studio BarberOsgerby. The Loop table produced by Isokon in 1997 was the first product from the practice and since then there have been a plethora of completed commissions, projects and products from the busy studio. The pair is renowned for their inventiveness and individual perspective to reinterpret design – the forwardtilting, Tip Ton chair for Vitra designed in 2011 is a fine example of this.

The practice of 10 located in Shoreditch, London is divided into three separate but complementary areas. First, there is BarberOsgerby, the studio that produces product in collaboration with companies and businesses. Universal Design Studio followed in 2001 and was conceived as a design consultancy that engages with architecture, interior and exhibition design, while MAP was created in 2012 as a strategy-based industrial design studio. It is through these three entities that all manner of projects can be undertaken and allows for a varied and multifaceted creative offering.

There have been designs for a coin, an Olympic torch, of course furniture and lighting, and installations as well as signature gallery pieces.

above—Portrait of Edward Barber (left) and Jay Osgerby (right).

Image by Dan Wilton.

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P RACTICE

top—Loop table designed for Isokon. bottom left—The Tip Ton chair for Vitra. bottom right— The Olympic torch design designed for the 2012 London Olympics

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left—The On & On chair for Emeco

The way that the duo works is distinctive – both draw and appreciate the immediacy and freedom that the hand and pencil provide. They commence a project with a conversation and from this an idea will be distilled to become the starting point. Barber and Osgerby agree that the first idea that gels between them is generally the best and they endeavour not to overwork an idea in order to keep the premise authentic.

As Osgerby succinctly encapsulates, “[If you overthink an idea] it’s rather like a pencil that is continually sharpened and then it is gone.”

Barber and Osgerby have worked with many manufacturers to design excellent products; however, their latest collaboration with Emeco, the On and On chair, which launched at Salone del Mobile in Milan this year, is another stellar product to add to their already burgeoning portfolio.

Following in the footsteps of the iconic Navy chair, BarberOsgerby has created a product that sits well within the Emeco collections and is a celebration of design in 2019 that also happens to coincide with Emeco’s 75th year in business.

With the designers ever mindful of touching the earth lightly, the product can be constantly recycled and the material is the very latest development in the world of plastics. The On and On chair while in keeping with the idea and style of Emeco’s products, has enough design gravitas to stand alone. It is breathtakingly slim, very comfortable,

yet extremely robust. It also uses little material and, when stacked, spirals in a circular fashion to become sculptural in form.

Osgerby says of the chair, “[It] makes me happy how well it works. It was one of the projects that right at the beginning we had real clarity about what it should be and it’s incredibly satisfying that it’s happened. The purity of the initial idea is manifest in the final product. It’s very rare that there is such a beautiful line and it works.”

There is much happening for Barber and Osgerby in the future with a gallery showing at Galerie kreo in Paris in September and a new product range for Axor. The pair is also looking forward to developing more installation design in the future. It seems that Barber and Osgerby can reinvent and develop new initiatives and ideas for any product.

Perhaps it is the continuum of a simple geometry that is embedded in every design and, as we all know, simplicity in form is the most challenging to achieve.

For the moment, however, the spotlight is on Emeco and the On and On chair and another classic in the making.

As designers Barber and Osgerby are a talented force, but also extremely nice people with a passion to create and achieve that sees them at the top of their profession. They are a complementary team that has stood the test of time and they embody a design DNA that creates for today, but also looks to a future that will go on and on….

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Velour Modular Lounge by laCividina 190827110554_1_Own World.indd 2

SYDNEY 5/50 Stanley Street Darlinghurst

MELBOURNE 11 Stanley Street Collingwood

+61 2 9358 1155

+61 3 9416 4822

29/08/19 9:54 AM

PROFILE

Underfoot From Spain come the contemporary products of Nanimarquina and the vision of founder, Nani Marquina, a woman who understands creative design for an everevolving modern world.

As a celebration of design and creativity, Nani Marquina established a business that showcases beauty and inventiveness through the most important of interior design accoutrements, the rug.

Nanimarquina, the business, was founded in 1987 in Barcelona, Spain and is today still family-owned and operated with Marquina, her sister, daughter and son-in-law all contributing to the successful organisation she established.

Marquina was born into a creative family. Her father Rafael Marquina, a celebrated pioneer of contemporary Spanish design, created the iconic and much-awarded Marquina oil cruet. With design in her blood and following in her father’s footsteps, she explored her talent, studying industrial design at the Escola Massana in Barcelona. Upon graduation, she began working with textiles; however, her fine eye realised that there was another opportunity, a gap for modern product within the floor covering market, and so she extrapolated her love of textiles to creating rugs.

above left—Portrait of Nani Marquina. above right—Detail image of Mathias Hahn’s design for the Capas range

text—Jan Henderson photography—Courtesy of Nanimarquina

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P ROFILE

The Nanimarquina collections are primarily textural and multilayered through fibre and colour. Palettes are subdued or strong, saturated or washed, with patterns that can be block or loose

above—Rug designed by Ilse Crawford from the Wellbeing collection. right— From the Hayon + Nani collection, a collaboration with Jaime Hayon and Nani Marquina

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PROFILE

Back in the late 80s rugs were generally tufted, made from wool and silk, with lush pile and traditional designs – a luxurious inclusion to a project. Marquina, with a different perspective, was determined to create something new.

She established a studio that reinterpreted the idea of a rug through its material, pattern and construction, and developed a product that sat well within modern interiors of the day and into the future. Her vision was for a rug that would celebrate the handmade, utilise traditional weaving processes and enhance interiors using more appropriate colour palettes and styles.

It was rare for a woman to own and operate her own business in the late 1980s and all credit to Marquina for her continued fortitude and passion to succeed, traits that have stood her in good stead over the past 30 years. Marquina believes that when a woman is in charge there is no need for hierarchy and there is less friction. She admits a family business can be a complicated entity, but believes that it also affords opportunity through a shared vision.

The initial idea of a Nanimarquina product is the focus on the raw materials and manufacturing processes.

Sourcing fibres is the beginning of the quest to design and these raw ingredients include New Zealand and Afghan wool, silk, jute, mohair, rubber, nettle and recycled polyester.

As making is paramount, in 1993 Marquina took the unusual step (at the time) of relocating manufacturing to northern India. Moving to a country such as India ensured a

certain authenticity of process, but there was a tangible byproduct for the local workers – Marquina’s business brought prosperity through paid employment.

To this day, she is passionate about supporting those in developing countries, learning from them, teaching in return and offering a supportive environment for the local populace in which to work and live.

At the beginning of her journey Marquina was the sole designer of her products; however, she soon realised that collections by others would enhance her offering. Today the Nanimarquina ranges feature a who’s who in the world of design, with such talents as Ronan and Erwan Bouroullec, Tord Boontje, Ron Arad, Jaime Hayon, Nipa Doshi + Jonathan Levien and, latterly, Ilse Crawford and Mathias Hahn, contributing their own special designs within warp and weft.

The Nanimarquina collections are primarily textural and multilayered through fibre and colour. Palettes are subdued or strong, saturated or washed, with patterns that can be block or loose; however, the essence that links each product is design that is sophisticated in its simplicity.

As a creative instigator Nani Marquina has pioneered a new way of design for a product that is underfoot, but never far from sight. Throughout the decades she has sought to present new and inspired product that is always at the forefront of style and trend and, best of all, they can be enjoyed with or without shoes…

below—From the Capas range rug design by Mathias Hahn

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P EOPLE

At Home — Fiona Dunin, director FMD Architects

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inside co-editor Jan Henderson steps inside the beautiful and eclectic home of Fiona Dunin and takes the opportunity to admire the perfect architectural and decorative marriage between old and new.

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

Fiona Dunin: We have lived here for six years. It was severely deteriorated when we purchased it. Everything needed doing, but there were all the original details still intact, which is what I fell in love with. The beautiful interior timberwork and leadlighting, as well as all the original ceilings, were crying out to be loved and restored. It was these features that were the driver to the new design.

When did you produce this design?

It was a gradual process. We started with the restoration to the original in 2013; then we built the attic in 2014.

The new extension to the rear was also designed at this time and documented in 2015, and we finished the extension in 2017.

interview—Jan Henderson photography—Dianna Snape

What was the thinking behind the design?

A key feature of the existing house was the unique period details, which the design sought to reinterpret and connect with in the new extension. The original house extensively features a pentagonal motif throughout the decorative timberwork. This two-dimensional

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decorative shape is extruded into a three-dimensional form, embedding the old within the new. The shape is then reinforced through the large day bed window symmetrically placed on the rear wall of the new family room framing a portal view to the garden.

The dark timber-clad exterior is an inversion of the original dark timber interior and is used as a device to stand in contrast, subservient to the class and beauty of the brickwork and render of the original house, creating a balanced dialogue between new and old. A rich moody palette of dark timbers, truffle coloured walls, natural stone and mirror extends through the home and delightfully complements and reflects the original period detailing and warmth.

The abstract reinterpretation and celebration of design elements from the original house creates a balanced visual cohesion and initiates a new dialogue between past and present.

Are you a good client?

I actually let my staff develop the design and liaise with my husband who was doing a lot of the building work and coordination along with Jon, our builder. I am happy to experiment with new ideas and techniques on my own

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home, so I wasn’t particularly rigid in the design and documentation for the project.

Which is your favourite room and what makes it special?

I oscillate between the original front loungeroom with the original bar and the new rear lounge room. The new lounge is used more during the day as it is so light and bright, and the window seat is a great spot to sit and read, whereas the original lounge is dark and moody, so a lovely cosy space at night.

Tell us a bit about working with your art collection.

A lot of the artwork is photographic and quite dark and moody, so sits well in the original house against the dark timber details and low-level lighting.

I did purchase a new Petrina Hicks piece for the new lounge; its pale pastel and whites tones sit well against the new white walls and contrast with the dark timbers.

Which is your favourite piece of furniture and why?

That is always difficult for an interior architect to answer.

It constantly changes as I add new pieces. But the Moroso Bohemian chair is a current favourite.

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

I struggled to make decisions for myself. I did have my friends (Michelle Skinner and Pascale Gomes McNabb) come in and workshop paint colours with me, as I simply could not decide! Alice and Andrew in my office made a lot of design decisions with me too. But I always see my house as a place to experiment with new details, products and materials, so we did test out quite a few things here before applying them to other projects in the office.

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

The art and accessories often rotate, but the furniture is settled in its current location. There is definitely room for more objects and art in the future though, which always triggers some spatial adjustments.

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LIVING EDGE — SPONSORED CONTENT

Celebrating 15 years of excellence As Derlot Group celebrates its 15-year anniversary of exceptional designs with Living Edge, the furniture supplier introduces a new collection – Derlot Editions.

A leading Australian creative powerhouse, Derlot Group elevates the education and workplace landscape with worldleading environments for universities, schools and offices across the globe.

With a culture focused on creating dynamic, diverse and vibrant interiors, the group specialises in loose furniture and design schemes for human-centric, agile and active workspaces.

To mark its 15 years within the architecture and design industry, Living Edge is now welcoming a new collection – Derlot Editions.

Defined by the approach of ‘thinking global, acting local’, the creative collection unites Derlot Editions and Les Basic under one umbrella with Living Edge.

“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

complement to Living Edge’s portfolio of brands,” says Alexander Lotersztain, director at Derlot Group.

As locally sourced, custom and bespoke furniture solutions, Derlot Editions pieces are adaptable, versatile and uniquely Australian. Well-loved and celebrated designs grace the Living Edge brand with top 10 furniture products such as Prisma; an all-encompassing modern solution for the working environment. It is compact and functionally adaptable, yet possesses a bold geometric form that thinks outside of the box. The roster also includes products such as Twig, Stump, Tetromino, Autobahn, Bolet, Iceberg, Seed and Guell.

In collaboration with Les Basic, Derlot Editions welcomes four new products into the Living Edge family with the Strap Seating Collection. A series of seats, stools, armchairs and lounge systems, this is design flexibility finessed and thoughtfully crafted. Other products joining the Living Edge range include the Caterpillar modular sofa system, Strap seating collection, Tonne and Yeti tables.

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STYLECRAFT — SP ONS OR ED CONT ENT

Fine lines: the Avion collection Designed by Keith Melbourne and available exclusively through Stylecraft, Avion is an intelligent new modular furniture collection that puts the user first.

Elegant lines and spacious functionality are the qualities that have driven the development and execution of Keith Melbourne’s latest collection, highlighting his ability to create a striking piece while simultaneously solving design problems.

Avion is a soft architectural system of modular wall, seating and table elements that provide for a variety of functions. With user experience and considerations for day-to-day essentials a driving force of the design, the collection’s stand-out features include coat hooks, custom lighting, charging points and optional side tables to accommodate your bags/water.

Its limitless flexibility provides a capacity to embrace and respond to the experimentation and evolution occurring in flexible workplaces today.

Aero invites a new approach to designing commercial environments, creating holistic contemporary workplaces by reducing the scale of spatial design to that of furniture.

The upholstered walls that act as the spine of Aero’s modular system create the opportunity for contrasting functions to co-exist in close proximity.

With a background in the aerospace and automotive industries, the manufacturing processes behind Melbourne’s work are invisible in the pure, sculpted forms of Avion.

The highly considered proportions, functional details and ergonomic forms culminate in a luxurious collection supporting both focus and collaboration.

The highly modular nature of Avion allows designers to create custom configurations, combining a number of functions.

The collection comprises desking, individual work pods, integrated lounging, two-, four- and six-person meeting rooms and integrated lighting, power, charging and TV mounting capabilities. www.stylecraft.com.au

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CULT — SPON SORED CONT ENT

It began with a chair The About A Chair Collection by Hee Welling for HAY began with a single chair and blossomed into a collection of virtually unlimited potential.

As the old adage goes, mighty oaks from little acorns grow.

And the same can be said for HAY’s About A Collection (AAC), the furniture design company’s most versatile furniture series to date.

Born out of collaboration with celebrated Danish designer Hee Welling, About A has grown from a single chair to a complete series comprising: About A Chair, About A Stool, About A Table and About A Lounge.

“The About A Collection began when Rolf [Hay, co-founder of HAY] called me and said, ‘I want to do a project that celebrates everything that’s wonderful about a chair’,” explains Welling.

“That is how we settled on the name, too, which is really important. The About A Chair series tells the story of the chair. It embodies chair-ness, if you could say that. And each About A series does that – for a table, for a lounge.”

dining table as around a conference table, in a canteen, or at the office.”

INTRODUCING THE AAC100 Recently revealed at 3 Days of Design in Copenhagen, Denmark, the 100 series retains the fundamental idea shared by the AAC family, but is actually very different to its predecessors.

It was developed to accommodate the changing landscape of the work environment, and to meet a growing need for greater comfort in the workspace, where there is a visible shift from traditional desk seating to welcoming and flexible seating solutions.

“What’s really interesting today, when we meet with architects and designers who are working on creating the office space of tomorrow, is that it’s a lot less about our personal desk; it’s more about creating rooms for important conversations,” says Hay.

The AAC collection is a true pragmatist – able to blend in or stand out, depending on the setting. You can dramatise its silhouette with heavier upholstery, or opt for more subtle materials and colours.

Explaining the design, Welling says he “took all the best references” from both the About A Chair and the About A Lounge and combined them.

“The idea with About A was to achieve a simple balance between form, function, comfort, details and aesthetics,” says Rolf Hay.

“That means the 100 series has a little bit of a higher back, a little more width and, of course, more comfort. It is a chair for long, comfortable rest.”

“All the items in the About A Collection are incredibly versatile, and can really be used by anyone in any context for any purpose. These products work just as well around the

The entire About A Chair collection is exclusively available from Cult. www.cultdesign.com.au

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ZEN ITH — SPONSO R ED CONT ENT

Championing Australian design Australian designers’ abilities and creativity are world-leading. inside speaks to Zenith about the importance of embracing our local talent.

Australian-designed furniture has never been more in demand.

With a unique aesthetic, the country’s designers are known for imbuing their creations with all the qualities of our great nation: creativity, humility and a healthy dose of playfulness.

While some of these designers have collections that are solely made in Australia, Zenith has been working on manufacturing in Shanghai and New Zealand for some ranges, to better service these local market.

And as the popularity and appreciation for Australian design continues to climb, Zenith’s design and product manager, Matt Vescovo, says it is extremely important to support home-grown design talent.

“We understand to do this properly when it comes to price and lead time, the products need to be made there. This is a lengthy process as we want all the materials and quality to match what we do here in Australia,” explains Vescovo.

“With world-leading talent here in Australia, we should embrace our local talent as much as we embrace international talent,” he says. “Our design community is pretty patriotic when it comes to supporting Australian designers – it’s our livelihood so it goes without saying it’s at the forefront of what we do.

“As a business, we need to keep working with and supporting local designers. Zenith now has six international showrooms and they all have access to products that would likely not be sold outside of Australia if we didn’t have a presence in these locations.”Those locations include Shanghai, Singapore, Hong Kong, Wellington, Christchurch and Auckland.

“With 12 showrooms in Asia Pacific, Zenith’s Australian presence is being felt far and wide. And with stocking programs running in Asia and New Zealand, we have made it accessible for Australian products to be available to the design community globally,” says Vescovo.

Currently, Zenith is working with design heavyweights Tom Fereday, Brad Nicholls, Nathan Day, Frag Woodall, Yellow Diva and Keith Melbourne on new and existing collections, and has been partnered with Schamburg + Alvisse for just over seven years.

MATT VESCOVO design and product manager

A GROWING APPRECIATION It’s not just outside of Australia that our country’s furniture designers are making waves; their prowess is spreading across domestic shores.

“There was a long time when international product was heavily specified,” says Vescovo. “With such distance between Australian and Europe the long lead times aren’t very well-suited to the short turnaround time of most projects.

“There will always be a mixture of both, but there is definitely a strong focus on what can be made here and supplied from Australian designers.”

A frequent visitor at the major design fairs around the world such as Salone del Mobile and Orgatec, Vescovo says that he returns home “with the reassurance of what we are doing here in Australia stands up strong against the big international players”.

“It’s a pretty proud feeling to know you’re involved in something that is so special and unique.”

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KING LIVING — SPONSORED CONTENT

Pushing the boundaries King Living introduces the ETO range by Tom Fereday – a sophisticated collection that stretches the imagination of furniture design.

Hot on the heels of the award-winning ETO desk come the ETO dining table and coffee tables – a natural progression that creates a slender and elegant range for working, dining and living.

ETO DINING AND COFFEE TABLES Designer Tom Fereday’s pared-back dining table design flawlessly embodies the notion of ‘new classic’. The richness of a dark marble finish with subtle white veining complements the table’s dark legs.

Speaking about the design process, Fereday says that using the unique components of the ETO desk – including oval extruded legs and cast hub system – he was able to work with King Living to experiment with different shapes and sizes, finally settling on the resulting collection.

“The ETO range allowed us to explore new materials and profiles for the collection, in particular, natural stones Marquina and Carrara along with new timber finish American walnut,” he says.

“This allowed us to then offer these to the desk informing the entire collection.”

ETO DESK The award-winning ETO desk is constructed around an aluminium frame and finished with natural timber tops,

which complement existing collections in the King Living product range.

Effortlessly imbuing intelligent technology within the system, the ETO desk integrates power, wireless charging and lighting into one sophisticated minimal design, allowing people to truly customise it to suit their needs.

The desk recently received a prestigious Good Design Award accolade in the Product Design category in recognition for outstanding design and innovation.

The jury praised the desk, commenting: “The base desk design is very nicely resolved with a premium look and feel. The circular pad for charging is a nice additional element. The table design is coherent, the charging pad integrates nicely and adaptability to left or right-handedness is well-considered.

“The fact that other lamp styles could be created and available over time opens up interesting potential. It could easily function as a small dining table or a dressing table. The capacity to sit charging plates and lamps on any leg point is nice for user customisation.”

The ETO range is available exclusively from King Living. www.kingliving.com.au

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A CONCEPTUALLY DEVELOPED COLLECTION OF LUXURY VINYL TILES, DESIGNED TO INSPIRE ENGAGING AND STYLISH INTERIOR SPACES. FOR MORE INSPIRATION VISIT POLYFLOR.COM.AU Inside Magazine Full Page indd 1 190826014357_Polyflor FP.indd 2

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practice—Biasol | project—Casa Chiaroscuro | location—Melbourne, Australia | text—Gillian Serisier photography—Derek Swalwell

PROJECT

In a project fused with light that seems to pour into the home from all angles, the combined elements of architecture and interior design coalesce with beautiful intimacy, writes inside co-editor Gillian Serisier.

Light play

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With a design strategy to play with ideas of chiaroscuro, the effect is just that. Rather than pose contrasts of shadow and light, the contrast is derived through black detailing and a super abundance of light. It is a small but neat distinction, as it allows all space to be fully and beautifully realised.

The main living area is a large oblong with floor-toceiling glass on both sides, north and south. Here, light fills the space constantly with no need for artificial lighting until well into the early evening. A polished cement floor gives subtle reflections, while the fine linen drapes in pale grey with a black fleck give vertical shadows. The room itself reads as a series of broad horizontal strokes of grey and black, in stone, timber, lounge and cabinetry. The last of these horizontals is further broken at a lower level with a textural interplay of rug (Halcyon Lake), stone detail (Stonemason MCM Tile and Stone), and the introduction of a circular form via the low black timber coffee table. And while the dining table (Prostoria) and cabinetry (AD Cabinets) are black at each end, the effect of the light renders angles within the surface as slightly reflective and shape defining for being so.

The black slats of the full end-wall of cabinetry, for example, change the way it is read, as diurnal shifts transpose the dense black to a shimmering screen of vertical slats broken only by the surface distinctions of the also black television and fireplace.

The overall aesthetic is minimal, with a highly contemporary materiality and, while the black and white predominance is bold, there is nothing loud about the design. Instead, a natural graininess informs the whole with nuanced tonal and textural shifts. The kitchen stone (White Fantasy, CDK Stone), is a sublime piece of marble in soft figured grey that, while used extensively, doesn’t override the room. Instead the combination of dark timber and vertical/horizontal use of the stone disallows all parts to be seen at once. Moreover, in incorporating all tones of the surrounding palette, the stone holds the room.

This language of connection is also explored spatially.

The stairwell, as a case in point, is a magnificent void of light due to a well-placed skylight. Here a trio of Flos sphere pendants (Euroluce) with a matt black arm detail (a new iteration for the light) are elegantly sculptural and delightfully asymmetric. Black detailing on the stair connects the light timber and glass to the whole, while the absolute lightness of the stairwell provides a transition point between work and family or entertainment portions of the home – from study to entertainment or living, for example. And, on ascending to the intimate family portion, there is the delight of a reading nook and truly magnificent three-square metre picture window looking out to trees and a lake from the landing.

As Biasol was responsible for both architecture and interior, the exterior speaks to the interior without dominance. Finished in a matt grey concrete with a handcrafted tactility (Alternative Surfaces) the tone softens the modernist lines. Similarly, a slatted garage door gives

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previous—Spherical pendant lamps with a matt back detail become a repeating geometry throughout the interior. above—Textural nuance within large areas of black are activated by light

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A polished cement floor gives subtle reflections, while the fine linen drapes in pale grey with a black fleck give vertical shadows

opposite—The sculptural form of a black bathtub (Arper) is softened by the dark flecked tiles. below—The elegant line of a cantilevered desk reinforces the minimalist aesthetic

the house a slightly concealed manner. Cutting through both of these elements are corners of butt joined glazing for an upstairs bedroom and the study. From the inside the minimal corner treatment allows an uninterrupted view, and this approach suits the office in particular. Perhaps the most minimal office that could be designed, its slim and elegant desk is cantilevered from a built element to appear beguilingly elongated. The slightly rounded chair breaks the angularity, while a long black piece of cabinetry, open at one end, emphasises the rhythm of line established by the desk.

The use of the Flos light throughout the project creates another rhythm, this time playful, as the form shifts from pendant to desk lamps to standing lamp. Similarly, black framing is used throughout on mirrors, windows and within cabinetry. In particular, the bathrooms are extraordinary with large swathes of terrazzo and stone (Fibonacci, Flannel Flower and Eventide) and jet black bathtub (Apaiser): “There needed to be a sharpness of detailing that was bold enough to contrast the use of terrazzo, additionally the black accents allow for a sense of drama between the contrasts,” says Jean-Pierre Biasol.

Central to the home is an expansive entertainment area – comprising an outdoor kitchen, entertainment room, pool and furnished patio (Tait). Ostensibly one large indoor/ outdoor room, there is a connectedness to the elements seldom seen. The entertainment room, for example, is effectively a large room with a wall of cabinetry to house the accoutrements of a drinks cabinet, bottles, glasses and so forth. It opens entirely to the deck and pool, and an overhanging eave with three large sunlights blends the spaces while offering both shelter and additional light. Within this scenario, the outdoor kitchen reads as continuous to the internal space. Tait furniture lends a contemporary elegance, while a high window above the kitchen frames the space and brings additional light.

Beautifully resolved, there is a quality to the craftsmanship, particularly of the stonework that underlies the project. Sharp crisp edges and rich materiality give the contrasts and light play a surface to perform the essence of chiaroscuro without the moodiness of deep shadow. Moreover, the design balances, and uses to its best advantage, the abundance of light.

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P ROJECT

Fire of the future

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T H E P R OJ E C TS

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practice—Woods Bagot | project—KPMG, Perth | location—Perth, Western Australia | text— Jan Henderson | photography—Dion Robeson

inside co-editor Jan Henderson visits the KPMG workplace in Perth created by Woods Bagot which, although new, is rich with deference to history, place and landscape. This brilliant interior references our Indigenous past, infusing detail into a striking modern environment that combines the best of both worlds.

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“We know we cannot live in the past, but the past lives in us.” – Charles Perkins.

This quote from Perkins, the inspiring civil rights activist and champion of Aboriginal and Torres Strait Islander people, is of course a truism, but how often we forget that the process of life is informed from history. We can embrace our past in many ways; however, incorporating the ideals into our everyday working world is surely a way to keep memory close, and there is no better example of this than the interior design of the new offices of KPMG in Perth.

What began as a refit for an established and successful global firm has manifested as a sensitive interior design that speaks of Indigenous history and connection to land and people that ultimately enhances a contemporary environment.

The brief to Woods Bagot, Perth was to unify separate offices over three levels and update an outmoded working environment. Working with the KPMG local and national property teams, Woods Bagot project lead, Stirling Fletcher, design lead Tenille Teakle, interior designer Kaila Cicchini and Emily Verheggen assisting with documentation have delivered a fabulous workplace that is both individual, filled with detail and storytelling and more than fit-for-purpose.

The embrace and incorporation of history into a modern design was, in no small measure, due to the collaboration between Fletcher and Dr Richard Walley, a Nyoongar man of deep understanding and insight. His invaluable input to the creative process helped to inform everything from the ubiquitous necessities to the special inclusions, instigating ideas and ideals that speak of his culture and the local Nyoongar history.

The central interior concept is one of replenishment, referencing fire within the landscape that destroys then facilitates regrowth – the idea of clearing the land to provide a canvas for regeneration that grows back stronger than before. Think of this in the context of the working environment with the idea to keep reinventing and reconstructing to always become better and stronger.

Through Walley, Fletcher also embraced the idea of sixseason thinking (instead of the common four seasons) where subtle changes in weather, not dates, explain the seasonal movements and, so simply put, incremental changes and shifts for a smooth progression have been applied to the design thinking, layout and use of space to achieve a better interior design and enhanced connectivity.

With a 10-year-old base building, levels six and seven required a full refit with a two-third refurbishment on level eight. Working within the boundaries of the architecture, Fletcher and his team have primarily created agile working spaces on the first two floors with ‘pop in and out’ meeting rooms around the perimeter and a large open plan work

previous left—The undulating walnut timber installation at the reception and arrivals area on level eight was designed and made

by Jack Flanagan. previous right—Large images of lush foliage and smoke can be found within the interior and evoke ideas of fire and regeneration. this page—The colour palette includes strong accents of red and orange as seen here in one of the meeting rooms

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area in the middle; while the uppermost level has become a shared destination with casual groupings of furniture, a café and relaxed meeting spaces.

The colour palette is representative of the landscape with strong red and orange accents, shades of green and deep blue. There is also an idea of place through materiality; for example, the notion of Karla (or fire) is expressed in the use of terracotta tones within the café area, there are large evocative images of smoke and lush foliage, while the reflective metal ceilings on levels six and seven represent the natural spring on which the building stands.

The Indigenous references throughout the interior are more ambiguous than overt, but they provide a point of discussion, should this be desired, and the décor strives to reinterpret the beauty that abounds within Western Australia.

The reception and arrival area located on level eight showcases a remarkable feature designed and made by local artisan Jack Flanagan. Here an undulating timber

installation has been created to resemble a Wave Rock wall, inspired by formations that can be found in the surrounds of Perth. Each baton was individually designed and installed by hand, and this extraordinary wall art with circular waiting seat offers a place to meet, symbolising the idea of coming together. There is also a series of Bird’s Nest lighting pieces suspended throughout reception, also created by Flanagan, who has contributed many of the special details that make this project unique.

From reception the visitor moves through to the other shared facilities, such as the staff breakout area, all reds referencing Karla, through to the client connect area, a contemporary club environment. Of particular note are small details such as a timber countertop on a tech support bench that features a feathered edge inspired by a bird’s wing. There are dining chairs and tables (District) and lounges (Stylecraft and Living Edge) and everyone who utilises this area can access a place appropriate to need for formal or informal gatherings.

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There is the Black Swan studio, for example, used for workshops that features a dark blue colour palette with a subtle thread of grey and orange for accent. The ceiling is painted a deep navy with exposed soffit and services and a modular lounge system (COR) sits on navy carpet tiles (Reveal, Desso).

Floors six and seven feature small and medium meeting rooms, some enclosed by undulating walls, groupings of furniture, open plan work areas, a hydration point, bathrooms and lockers, mothers’ room and first aid area, plus wayfinding points with the latest in high tech interaction.

KPMG Perth can be more than pleased to have such a beautifully crafted workplace, which has not only been tailored to its working needs, but is also true to the history and place of Perth and Western Australia. The interior is distinct, reflecting and embracing the ideas of storytelling through detail, colour and materiality and this interior, through deference to the past, sets a benchmark for the future.

opposite—Relaxing areas have been included in the floorplan to facilitate staff and client interaction. above—Terracotta tones have been used in the café area referencing karla or fire

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P ROJECT

More like the interior of a beautiful timber yacht than any sort of waterside/beachside aesthetic, this project is richly layered with materiality, colour and texture, writes inside co-editor Gillian Serisier

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T H E P R OJ E C TS

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practice—Smart Design Studio | project—Alexander at Barangaroo | location—Sydney, Australia text—Gillian Serisier | photography—Ross Honeysett

Superlative Smart

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Curves and exemplar detailing, perhaps the hallmark of a William Smart design, are paired with the grand gestures of timber and artwork, while a jewellike selection of textiles, objects and furnishings complete the whole. And while no aqua tones or seaside motifs are used, the feeling of being by the waterside is profoundly realised. Moreover, with a due west orientation, the view is to the working ports of the harbour and Anzac Bridge, but also to the blistering western sun. As such, the apartment, while shady through the morning, endures intense light through the afternoon.

Slatted eaves mitigate much of this, but it was also essential that the interiors, while informed by the view, hold their own.

From William Smart’s perspective, the task of decorating this apartment was an invitation to finish a sketch. He was tasked with designing the interiors for the Lendlease development five years ago; each of the apartments has an exceedingly well resolved set of bones including kitchen, bathrooms, timber flooring and some cabinetry. “We wanted to introduce the idea of being by the water through an impression of Danish craftsmanship. The curved corners and splayed angles run throughout and hold each element in place,” says Smart. As such, for this project, very little

needed to be changed for either the kitchen or bathrooms and the oak timber floors (Havwoods) were optimal for the proposed interior.

That said, the clients were a young family moving from a house to the city, with all the accoutrements of family life, and storage was a primary concern. To accommodate a lifetime of collecting objects, television, PlayStation equipment, stereo and such, the main room is lined with storage. Resolved as three layers, the lower and most accessible portion of horizontally slatted timber conceals the et cetera of communications and electronics. The mid portion conceals a television screen and provides additional storage, as does the top portion of curved timber. The three portions, however, read as a continuum of cabinetry.

On realising the need for extensive cabinetry, Smart Design Studio (SDS) engaged artist Camille Hannah to work with the client to create an artwork that could be integrated. “Camille is very good at understanding the need for resolving an architectural problem, while creating an artwork that is unique,” says Smart. These colours informed the textural elements of rugs, furnishings and objects – the Lima armchair (Tacchini, Stylecraft), for example, in rich burgundy, cushions of deep gold, Troll vases in amber

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previous right—The Camille Hannah artwork establishes a colour palette while adding movement and interest. previous left—Cabinetry forms a recessed nook for the bed. above—The burnt terracotta leather of Tacchini Mayfair chairs (Stylecraft) expands the palette, while Moooi’s Heracleum Endless pendant adds a playful mood. opposite—The room is held by a large silk rug in terracotta (Manhattan, Whitecliffe Imports) while rich tones of burgundy and gold continue the engagement of the artwork

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(Menu, Top3 By Design) and the exceptional silk rug in burnt terracotta (Manhattan, Whitecliffe Imports). “We worked with the colours established by Camille and the client (and I really must attribute the colour to Victoria Judge’s work on the project) to create something that isn’t in fashion, but with added layers and the intrigue of shimmering silk rugs, velvet and leather chairs is a deliberately layered arrangement of different colours and materials,” says Smart.

Importantly, as the sun descends, the diaphanous curtains become glowing swathes of light and infuse the whole with an incredible golden hue that works beautifully with the warm tones.

The autumnal colours are a solid remove from the cement tones of Sydney and, more so, from the tropes of a waterside dwelling. Yet, the feeling of being by the water remains steadfast through Smart’s ability to transcribe the essence of place through detailing. Here, the yachtlike elements are not the seafaring signature of blue and white, and touches of ropework are nowhere to be seen. Instead, the craftsmanship of a luxury yacht is introduced through the soft curve of a bulkhead used in the cabinetry detailing and mosaic tiling of the bathrooms. It is subtle, but pervasive and, in true Smart form, exceedingly elegant.

“The intrigue of shimmering silk rugs, velvet and leather chairs is a deliberately layered arrangement of different colours and materials.”

—— WILLIAM SMART

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The dining room continues the tonal palette with Mayfair armchairs (Tacchini, Stylecraft) in burnt terracotta leather.

And, while colours give continuity, there is an altogether different sense of lightness to this room, and it is this airiness, rather than the shift in furniture type that defines this space. Moooi’s Heracleum Endless pendant (Space) is the primary cause of this mood change. With its elongated and light-hearted buoyancy, the featherlike forms play with the light and shimmering water. Reflected in the kitchen splashback the pendant details give the impression of confetti drifting over the city.

Smart’s penchant for secret rooms and unexpected moments is played out in the master bedroom, as this room was not originally designed as a bedroom, but as an open study and extension of the upstairs landing. In a room taller than it is wide, Smart has exaggerated the height further with a complete timber cabinetry lining (Even Walnut veneer, Eveneer). An angled nook contains the bedhead and a petrol blue velvet curtain (Homelife Furnishings) provides separation and, as Smart puts it, “luxes it up”. Effectively, he has created an extremely rich and layered room with very few elements. Granted those that are used are lavish and

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opposite—The bedroom is “luxed up” with beautiful materiality including Ross Gardam’s Noon side table and Ora lamp. right—Fine curves and craftsmanship instil the whole with the air of a luxury timber yacht

include a Ross Gardam Noon side table and Ora desk lamp, a Hana (Night) rug from Tibet Sydney and Society bedlinen (Ondene). The bathrooms are similarly material rich with a bronze on bronze layering of bronze mirrors set at an angle within curved mosaic walls… of bronze.

There is always an abundance of superlatives in a Smart Design Studio review and beautiful seems chief among them. Resolved, elegant and detailed are similarly repeat offenders. Yet, there is no other way to describe these gorgeously formidable explorations of form materiality, texture and light.

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P ROJECT

Personality plus inside co-editor Jan Henderson experiences Travis Walton’s grand renovation for Armadale residence that incorpores seamless architecture with interior design to produce excellent style and form.

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practice—Travis Walton Architecture & Interior Design | project—Armadale residence | location— Melbourne, Australia | text—Jan Henderson | photography—Elisa Watson

Travis Walton’s grand renovation for Armadale residence incorporates seamless architecture and interior design and the result is the very best in style and form that is both inspiring and creative.

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previous left—Vignette of the large entertaining area with a view to the terrazzo bar. previous right—The entrance to Armadale residence and the gallery beyond. right— The dining nook with curved banquette, custom-designed table and two Platner chairs. opposite—Fabulous views of landscape and pool can be seen from the dining area

These days substantial homes situated in the suburbs are often sprawling monolithic creations that are well-designed and bang on trend, but lack a distinct personality. Nothing could be further from the truth, however, when talking of Armadale residence. The project, designed by Travis Walton, principal of Travis Walton Architecture & Interior Design, is a spectacular homage of style and panache, and one that is unique to its interior core.

The original house, built in the Deco style, required updating and extending to accommodate busy family life.

The brief to Walton was to renovate the existing front section of the house and incorporate a substantial extension for entertaining, with sleeping quarters on a level above. To this end he has devised a floor plan that fulfils requirements, but also incorporates the outside ‘in’ with seamless unification.

The retained section of the original house has generous ceiling heights and these extend through to the new addition. As for the floor plan, formal areas connect to intimate spaces that then lead to larger areas and afford an opportunity for a delightful journey through the rooms. For example, the entrance sits between the formal sitting room and an intimate gallery, which then leads to a dining room and kitchen that are enjoined, but not fully open plan, thus creating a sense of intimacy for diners. In keeping with the grandeur of the house, Walton has also removed the old bannister stair, widening the void to include a fully enclosed curved timber staircase that is now in harmony with its architectural surrounds.

The colour palette of the interior is black and white and Walton’s use of the yin and yang of the colour world is executed with precision. Black skirting boards act as a defining line to white walls and ceilings above, just as black steel-framed internal doors and windows frame the glass and walls. The base palette becomes a mere backdrop, however, to the rainbow of colour presented in the décor, accessories and artwork, which gives the interior its particular character.

In the gallery a large artwork by Dale Frank is breathtaking in its size and vivid emerald greenness, while opposite, photography by Bill Henson sets a moody scene through muted colours and cloudy forms. It seems that every corner of the interior is touched by art, such as the plinth topped by a head with gold helmet, ceramics or statuary dotted throughout the house. It is an understatement to say that the artwork injects pizzazz and a dash of eccentricity into the decoration of this interior.

For sheer opulence the kitchen is outstanding.

Set against a Matrix granite splashback and counters, the imposing island bench is clad with hand-polished aged brass and inset with mirror, while the underside supports have been designed to follow the diagonal of the herringbone American oak floor.

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below—The hallway to guest bedrooms features a bold red carpet and magnificent charred Oregon beams

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below—The magnificent kitchen with Matrix granite splashback and counters and polished brass island bench

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Walton has created an interior that is refined and sophisticated, but doesn’t take itself too seriously.

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Overhead is a geometric brass-edged, glass-sided pendant light (Maxhedron, Bec Brittain) suspended from the ceiling.

It is divine, unexpected and somewhat reminiscent of a meteor suspended in space! It is one of many surprising elements that Walton has included in the décor that gives this home a distinct and delicious flavour. Opposite the kitchen is the dining suite to seat 16 (chairs by Christopher Guy) and this space is enclosed by floor-to-ceiling glass affording unobstructed views of the pool and tennis court beyond.

And the pool… Lined with a custom-designed mosaic pattern of black and white Bisazza tiles, the pool’s design is an outrageous addition to the outside entertaining area. The tile pattern spreads across the pool floor and curves over the edges like a flattened zebra skin, which is then reflected in three mirrored alcoves inserted into the boundary wall. It is masterful in its design and, surprisingly, looks right at home within the landscape.

Looking back into the home from this area, the entertaining spaces are on full display through the many floor-to-ceiling windows and glazed sliding doors. At one end there is a stunning bar that rises up from the black and white terrazzo floor to become a sculpture in itself, and there is another show-stopping pendant light (Strada, Kelly Wearstler) that adds a beautiful soft glow in the evenings.

Bars are back in fashion and it’s easy to understand why as this is the place where everyone gathers.

A large sitting area is spread across the remaining floor area and it is the use of black and white in materiality and furniture that helps lift the design to another level of sophistication and style. The main seating consists of a large low-slung black swirled marble coffee table, white leather chairs and black leather sofa (Tufty-Time, B&B Italia, Space) that all sit upon a black and white hand-stitched animal hide. Behind the furniture grouping there is a black custom-designed shelving unit framed by white walls and, further along, an elongated black fireplace at the end of a curved wall near the bar.

Nestled to the side of this expansive public area is a dining nook located around the corner from the kitchen, and the curved banquette, custom-designed table and two easy chairs (Platner, Knoll) are a standout inclusion.

Moving to the level above, the sleeping quarters span the length of the new extension. There is a magnificent master suite with en suite bathroom and two opulent dressing rooms. ‘His’ wardrobes are clad with an ebonised wood façade and ‘Hers’ feature a Versailles-style length of bevelled mirrors. The hallway leading to the children’s bedrooms has become an intimate retreat with television and library, and beyond this there are two spacious bedrooms each with en suite.

Armadale residence is a one-off, something quite rare and bespoke. Walton has created an interior that is refined and sophisticated, but doesn’t take itself too seriously. The interplay between the old and new architecture has been sensitively worked and the eclectic décor is a triumph of design. This is a house with oodles of personality that certainly makes the perfect statement for individualism and is in a league of its own.

opposite—The gallery features a large emerald green artwork

by Dale Franks that is both dramatic and visually exciting. above—The pool features a custom-designed mosaic pattern of Bisazza tiles that are reflected in the mirrored alcoves at the side

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Earn your Tweed 86

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practice—March Studio | project—Oxford Scholar | location—Melbourne, Australia | text—Gillian Serisier photography—Peter Bennetts

Designing the new Oxford Scholar, March Studio brought the personal as well as the expertise learnings of RMIT to the project, writes inside co-editor Gillian Serisier.

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When a student at RMIT, Rodney Eggleston, now director of March Studio, was being critiqued by the much respected professor Peter Corrigan AM (notably the designer of Building 8 at RMIT and Athan House): “My girlfriend at the time, now my wife, had dressed me in a tweed jacket and there was a bit of a joke going around. The concept was fine, but he didn’t appreciate a young student wearing tweed and I was told ‘you have got to earn your tweed’,” says Eggleston.

This memory formed the nexus for March’s design for RMIT’s Oxford Scholar, where the idea of tweed acts as a leitmotif running from the ground floor up. “If you have to earn your tweed: the ground floor is twill, a beginner or student’s tweed, the third level could be herringbone, which is sort of a tutor’s tweed and the top floor is a professor and dean’s and that is the top of the line houndstooth tweed,” says Eggleston.

Unpacking tweed as geometrics and suggestions of shapes drawn from within the various tweeds, the patterns are worked into the design rather than plastered on as an overlay. The material of choice is spotted gum, sustainable and Australian – the solid timber brings a feeling of the local to the space, while allowing a single material to be used to articulate three different tweeds. On the ground floor, the solid timber and Armapanels form neat rhythms, with panels arranged as a repeating pattern of simple geometries. The exterior awning, for example, has the rhythm of twill down pat as a simple zigzag that reads as more or less pronounced depending on the angle of view – just like twill. Within, the rhythm becomes slightly subtler with ceiling batons arranged to read as twill from only the side angle. Otherwise, it is a seemingly simple arrangement of geometrics.

As an RMIT alumnus, Eggleston’s relationship with the Oxford Scholar was typical: “Most students have at some point had a pot of beer or a chardy at the Oxford,” he says. It also meant a first-hand experience of various past iterations.

A 1980s mock seventies treatment in particular stays with him. More recently, the SAB (Swanston Academic Building) had been amalgamated into the Oxford’s Heritage building via a courtyard and the appropriation of several floors. More recently still a giant seven-storey MMRA (Melbourne Metro Rail Authority, now Rail Projects Victoria) building has been erected immediately beside the Oxford. Granted in eight, which probably means 10, years the building will be removed and a park built. In the meantime, the Oxford has for all intents and purposes vanished.

March’s response has addressed all of these concerns at once through an inward looking aesthetic that, while enjoying the English pub sensibilities, has rejected any ‘ye olde English pubbe’ clichés.

“The concept takes a holistic approach to the stuffy English pub, and then there is the name! It felt like it was time to reinvent that, keep it warm and comfortable, and work on the tonal qualities without doing a replica pub,” says Eggleston. Instead, the timber, brass and glass continue the tonal balance while investing the whole with a rich contemporaneity. Moreover, the design further blends the Oxford into the city. “As a student studying there, between the city and the campus it is hard to know where one stops.

RMIT as a city campus has that feeling and that is, I think, unique to the university,” says Eggleston.

The fitout saw the removal of four or five iterations, significant upgrades to floors and structural upgrades to meet code at higher capacity. In doing so the floorplan was readdressed as a means to provide a larger range of usable options. The ground floor remains the pub, with general public access and booths with all the power points needed for casual group collaborations. This includes the former courtyard, which has been glazed in and now performs as

previous left—Spotted gum, brass and golden glass convey the warmth of an English pub. previous right—Brick faces arranged in a herringbone pattern are finesses through the introduction of round backlit mirrors. top—Casual seating provides a new teaching/learning environment in the former courtyard area. bottom—Dowel Jones chairs in herringbone with March Studio custom lighting

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right—Custom herringbone light elements and the deliberate palimpsest of the Oxford’s history

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below—Aesthetically and literally joined to the city, the palette is warm and internally focused

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an open teaching-learning platform while stitching the SAB and Oxford visually as a continuum. Moreover, the glazing mitigates the dust and noise of the MMRA activities.

Fitted out with tiered seating, the space can be booked for presentations, PhD reviews and such. “It extends the university campus and challenges what a teaching and learning space can look like. Obviously, we have all had a drink at the Oxford, so when something goes for three or four hours why can’t you have a pot of beer and something to eat at the same time,” says Eggleston. Experientially, the result is astounding, with a pub atmosphere delivering a new sort of engaged classroom where the general public walk in and around the learning environment. It also makes a lot of sense for design students to learn about design in an architecturally alive environment.

The first and second floors, with herringbone integrated through upholstery and the herringbone arranged brickfaces of the bathrooms, have been reconsidered as a range of different sized rooms that RMIT faculty and staff can book.

The idea is that faculty, which is renowned for doing this well, can host functions and entertain on campus with an end of semester party or such. The upper floor is for deans and professors and here the houndstooth motif is drawn in LED as a single unit of houndstooth lighting. Neat.

Typical of March Studio, the design uses very few materials, but in a seriously interesting way. Spotted gum, brass, electroplated steel, glass and bricks are the main ones. Furniture and lighting are a similarly key element with Eggleston preferring to engage custom solutions from the outset. In this case, all the lighting was designed inhouse, including the OX signature pieces, while furniture is

by Dowel Jones, another RMIT alumnus. The resulting interior is fabulous, with collaborating alumni each earning their tweed.

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P ROJECT

Skilfully designed by principal Ed Glenn, this alteration and addition sets a new benchmark in style and substance as inside co-editor Jan Henderson discovers.

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practice—Powell and Glenn | project—Inner City villa | location—Melbourne, Australia | text— Jan Henderson | photography—Sharyn Cairns

Masterful

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previous left—The dining area with views to the enclosed alcove that features bamboo and statuary. previous right— Looking back from the courtyard into the formal entertaining areas situated at the front of the house. below—With a colour palette of saturated salmon and persimmon, the formal sitting room is both cosy and sophisticated. opposite— An inset smoked grey mirrored bar and gold leaf console becomes a focal point and useful addition to the formal entertaining area

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Over the decades Powell and Glenn has carved out a superior reputation for creating outstanding projects, and with Inner City villa, the continuum of thoughtful design and impeccable resolution shows why the practice is one of the best in Australia.

Inner City villa has been created from Heritage and new elements, with the front faรงade retained and a sensitive addition installed at the rear and above. Of course, there is nothing particularly special about this as single residences go; however, it is the flow of the floor plan, the use of space and the generosity of the interior architecture that has made this home a standout and so utterly desirable.

As a family home it has more than its share of requirement with three bedrooms plus master suite, two studies, den, open plan kitchen, dining and living space, courtyard, rooftop garden and dining, gym and cellar, as well as a laundry and powder room all situated within a square-sided block of 277 square metres.

As project lead, Ed Glenn, director of Powell and Glenn, was faced with a spatial challenge, and he has triumphed, enhancing connectivity and liveability for his clients. His design complements the beauty of the original building and the addition reinvents the whole so that this home becomes a tranquil oasis for contemporary city life within a busy suburb.

From the entrance portico that shields the front door from the pavement through to the charm of the first rooms, the Victorian era architectural detail has been reworked to best advantage. This area is a work/extended entertaining area that adjoins a more formal sitting room complete with a fabulous inset smoked grey mirrored bar and gold leaf console. The colour palette of saturated salmon pink painted walls, persimmon velvet chair and royal blue sofa, with other detailing of black and white, makes this area something special, creating an intimacy for residents and guests alike.

Through a doorway to the new addition and the initial impression is of luminosity and a profound interplay of light and shade. There is an expansive ceiling height, coupled with floor-to-ceiling black steel-rimmed windows and doors, which stream natural light inside, while the front courtyard greenery adds depth and dimension to the vista.

This section of the extension consists of casual lounge, kitchen and dining area with a small glazed void that is open to the elements, but enclosed from the house to become an all-weather real life gallery with tall bamboo and statuary.

By including this transparent alcove outside the dining room, Glenn has created lightness, literally and figuratively, that far surpasses another metre or two of carpet and an additional brick wall. The open plan living area is a generous space boasting a right-angle configuration of sleek sofas and coffee table, a dining table to seat eight and an island kitchen bench, which becomes the obvious meeting place for family and friends.

In keeping with the style of the existing house there is a stair to the bedrooms above and this is the element that straddles the combined architecture in placement and materiality. Designed sympathetic to Heritage, the stair and balustrade have an ebonised finish that pays deference to the Victorian era yet complements the ubiquitous black steel of contemporary living.

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The landing on the first level is pivotal to the success of the floor plan and is encircled by three bedrooms and a bathroom. Again there is no wasted space in Glenn’s design and easy circulation is assured. A hallway leads around the back of the landing, past a study to the master suite of bedroom, en suite with Ottocento free-standing bath and dressing rooms. The design is compact, everything compressed into its own area; however, there is that spatial generosity that only expert design and planning can create.

On the top level of the home is the sensational rooftop kitchen and dining area with wonderful views of the treetops and roofs below. As an extension to the entertainment space there is also an area with raised vegetable plots ensuring the rooftop becomes not only a fabulous social space but also a green landscape with kitchen garden.

From the very top of Inner City villa to the subterranean bottom, we find an under level that comes complete with two-car garage, bespoke glass-walled gym and three large storage areas for bicycles, bags and boxes. Everything in Inner City villa has been considered, and there is not one facility or desirable inclusion left out.

In this house it is the practical touches that make the difference, such as the two-way server-style opening above the bar to the outside corridor for passing through glassware, a small inclusion, but oh so handy. And then there’s the den to the side of the entrance that conceals a below ground cellar. Or the small elevator to the side of the family rooms that truncates the floors from top to bottom.

Or perhaps it is simply standing at the kitchen bench with

a visual sightline of the courtyard and glass alcove, the front rooms and all areas of the public entertaining spaces promoting connectivity to people and the outside.

Inner City villa is quite something. The design showcases a masterful use of space and an understanding of how people actually live. It has been perfectly crafted for the family that resides there and the detailing and finish is second to none. With respect for Heritage, while embracing the modern, Glenn has produced a superb residence, one that does credit to history and the future.

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below—Overview of the contemporary open plan casual living area that includes the entertaining space, glass alcove, dining room and kitchen

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Timber surfaces for creative space making

Eveneer | Alpi Designer Collections | Aged Veneer | WoodWall | Evenex | Eply

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Education Architecture

INSIGHT

— Design needs for the future now

text—Sarah Hetherington

A dramatic shift in education architecture is occurring – from traditional teacher instruction-based models to active student participation. Accordingly, spaces require a variety of flexible and agile requirements to encourage real life situations, stimulating environments and enriching experiences.

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previous—Cila Go chair and stool designed by Lievore Altherr for Arper, Stylecraft. below left—Monash University Learning and Teaching Building, John Wardle Architects. Image Peter Bennetts. below centre— Revolver stool by HAY, Cult Design. below right—Bend ottoman and Modules by Actiu, Interstudio

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The 2018 IDEA winner for the Institutional category, Monash University Learning and Teaching Building (LTB) was designed by John Wardle Architects (JWA), renowned for its conceptual approach to architecture and design through placemaking, coupled with significant experience in the changing typology of the education sector.

Information and communication technology has significantly impacted student learning and more than ever the need for integrated biological frameworks into education architecture is critical. The Monash University LTB, with a five-star Green Star rating and undertaken in a very tight time-frame, proposes a building conceived as a field of activity; it’s a multi-faculty learning facility that not only serves a significant proportion of the teaching load for undergraduate and postgraduate students on Clayton Campus in Melbourne’s south-eastern suburbs, but also houses Monash College, academic and staff offices for the Faculty of Education and the Office of Learning and Teaching.

Monash’s LTB fills a big void in education industry – seating for 4000 students, informal spaces for study or socialising, a student kitchenette, café and infrastructure. The LTB presents a major new gateway to the university, blurring the exterior landscape with the interior design.

Senior associate Amanda Moore says, “Monash had a multifaceted client group requiring a broad spectrum of spaces.” Answering a brief “to reenergise, reinvigorate and redesign education needs”, a prototyping process was developed with Multiplex to test how the spaces would work, and the research findings were integrated into the design in real time. Moore elaborates, “This innovative and agile working method was tied to the university’s own

developments into how education is taught – a studentcentric way of learning, and how to best support the teachers.” The LTB provides a “community space, support hub, peer-to-peer engagement and has become almost pastoral care-like in its approach”.

“The LTB is a ‘sticky building’ – people are drawn to it, and feel welcome,” adds Moore.

Historically, a site of stringybark bushland, the LTB’s internal spaces were envisaged by JWA as themes of ground, field, ravine and inhabited roof, providing a landscape of materials and finishes. Earthy tones supplement colour accents evoking curiosity; green carpets bleed into neutral tones and complement browns and burnt oranges throughout. Importantly, the teaching spaces are celebrated; located on the exterior of the building and visible from the outside, learning is on show while also natural light is maximised, both through exterior windows and a series of rhomboid-shaped skylights. Further, wellness principles of adaptable warm and natural lighting, fresh air and ventilation are wholly integrated.

Exemplary air quality to support wellness is critical when undertaking focused activity over lengthy periods. In 2019, Dyson will launch a national education initiative in partnership with Little Scientists Australia, a not-for-profit program for early childhood educators and teachers. Dyson’s senior design engineer, Tom Mogridge, says, “Air pollution can’t always be seen. Using our latest air purifier and its LCD screen in practical learning situations allows users to better understand what’s in the air by making the invisible visible, encouraging well-being and maintaining comfort levels indoors.” The aim is to provide education on air science with

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hands-on practical demonstrations using the new Dyson Pure Hot+Cool purifying fan and STEM (science, technology, engineering and maths) technology.

A connection to the landscape or nature in interiors further supports well-being in education buildings. The need for contemporary products that can withstand exterior elements is imperative. Tait’s Scape collection, designed

by Adam Goodrum, forms a family of playful and flexible outdoor elements, while supporting socialising, working, collaborating, meeting, eating or simply disconnecting from technology. Additionally, Tait’s Flint collection, designed by Ross Gardam, was used in the recent St Francis de Sales College Sports Centre project in South Australia.

Dynamic colour coating systems in interiors not only assist with wayfinding, but can create meaningful connections with the history of the site or surrounding public domain by energising underutilised spaces. Haymes’ TwoPack Epoxy Satin in Expressions and Solashield featured in Justin Architecture’s redevelopment of the Christian Brothers’ College in St Kilda, Victoria. Using colours inspired by the Australian landscape, an enhanced flow between buildings and surrounding parklands was created.

Haymes’ coating systems are self-priming with superb film properties, adhesion and surface hardness. Alternatively, in a recent project for the University of Queensland, Artedomus supplied the quartzite, limestone and marble stone used for walls, floors and exterior courtyards. For this project, the sophisticated grey-brown tones of Pietra Bronzea, with its striking bronze metallic inclusions, complement the project palette, and will retain its original colour.

Shaw Contract’s Mindful Play collection, comprising

100 percent PVC and bitumen free EcoWorx carpet tiles, is engineered for high-performance environments, to resist soils and prevent acid-based stains. The simple geometric forms, engineered stripes and powerful colour blocking capture the idea of play in education spaces. Featured in Hale Junior School by Site Architecture Studio in Perth, Mindful Play “made for a lively interaction,” says Site interior designer, Naomi McCabe. “Mindful Play’s triangular pattern resembles the roof line of the school and the geometric forms with accent colours create movement,” she adds.

Myriad furniture options for education spaces are available from leading designers and cutting edge innovators today. For the LTB, Amanda Moore notes, “Furniture was custom-designed and based on standard ranges, placing an importance on long-term maintenance, ergonomics and innovation.” Chairs and tables are flexible, easy to reconfigure and actively move around; a variety of configurations, heights and soft seating versus study options are placed throughout.

Victoria Shaw, of Stylecraft, says, “The best schools and universities are defined by their ability to create a sense of community. In response to the ever-changing requirements for effective educational spaces, furniture must be agile and offer value and practicality.”

The Stacy chair, designed by Lievore Altherr for Arper, blends functionality with understated elegance and, to enhance functionality, a detachable writing tablet can be fitted. Laura Sue-San of Design Nation recommends the Billiani Askew lounge chair designed by Daniel Fintzi for Billiani. “The chair features an elegant design using a sinewy, sculpted timber frame.”

Available from Obodo and used in the University of New Wales’ bookshop project by SJB, the Artifax Pavesino chair

by Silvia Marlia is a considered choice.

From Schamburg + Alvisse and available at Zenith is the Edo Work lounge, a solo or duo work module that can be fitted with a powered tablet arm. When sitting for long periods, Michele Kearney, managing director, Interstudio recommends the Conventio Wing chair by Flokk, “providing the utmost comfort for people sitting, with the chair actually tilting backwards and forwards, which also aids in the person’s comfort,” she says.

“So many chairs used in education projects have often been purchased merely based on price and not considering the entire ergonomic requirements – ensuring that not only is the chair comfortable, but it also provides healthy seating is critical,” she adds. For projects requiring variety and agility, the Bend ottoman and Modules by Actiu enable clients to “obtain their own individual look, as well as truly create a flexible environment, because they are easily able to be moved around,” notes Kearney. Actiu is a world leader in terms of sustainable design, actively pushing for creating ranges that create wellness within their environment.

Wilson Architects in association with Henning Larsen Architects recently featured Cult’s AAC42 chair designed

by HAY as well as the NAU Plum chair in Queensland University of Technology’s new state-of-the-art, sustainable

below left top—Artifax Pavesino chair, Obodo Contemporary Furniture. below left bottom—Sofi ottomans and Rize pneumatic tables, Krost. below centre—Dyson Pure Hot+Cool purifying fan. below right—Antila porcelain tiles, Artedomus

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and connected facility. Further, NAU has recently released a versatile desk system, Chameleon, by Adam Goodrum comprising an agile structure that takes configuration to new levels, where the extensive engineering offers limitless dimensional, typological and aesthetic table solutions. It features an overall aesthetic that reflects the seamlessness of its mechanics. Place atop an elegant Anglepoise; with its clean lines, flowing movement and flawless balance, Sir Kenneth Grange’s Type 75 supports focused reading in study environments.

For flexibility and ease of storage, a solution in agile table design is the Tipo Board table from Zenith Interiors.

Designed by Taku Kumazawa for Axona Aichi, the table features integrated front panel design, stackable capabilities up to six high on the floor and has the ability to load up to 30 on a dolly for ease of transport, making it highly compatible with educational environments. Alternatively, if adjustable table heights are required, the Rize pneumatic round and side tables are a savvy option from Krost, as they can be easily raised to the desired height via a lever and used in a wealth of settings from informal breakout or social areas to quiet meeting or study rooms. With a cantilevered silhouette using an off-centre tubular stem, the Rize side table sits over the seat of a chair or lounge, and is the perfect laptop table. It also pairs well with the Sofi ottomans, which can be easily moved, grouped for collaborative work or split for single use – offering endless configuration possibilities.

Since completion and occupation of the LTB, Monash has undertaken an ongoing post-occupancy project to measure performance outcomes, with extremely positive results. Student attendance has increased; in particular those studying on-site are achieving more academically.

“Monash raises questions around what is the purpose of the campus – the way in which spaces are used has changed,” says Moore. “We are in an era of blended learning models, classrooms are being flipped from the traditional mode of teacher as instructor to students as active participants and leaders in their learning.”

Moore and JWA were faced with the question, how do these rooms look and adapt to provide an equal learning experience for all students to face the ever-changing, ever-evolving needs of the workforce and future modes of working. “Students are needing to understand innovation, how to be agile and how to collaborate,” says Moore.

As education courses are changing to adapt to the workforce – multifaceted, multidisciplinary – architecture must be flexible and agile, moving with the needs of the future now.

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top—Mindful Play collection by Shaw Contract at Hale Junior School, Perth by Site Architecture Studio. centre right—Askew Billiani chair by Daniel Fintzi, Design Nation. centre left—Tipo Board table designed by Taku Kumazawa for Axona Aichi, Zenith Interiors. bottom left— Sardina basin mixer, ROCA. bottom right—Kink and Jak & Jil collections at Monash University Clayton, Melbourne, Tait

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FOLIO SHOW

Folio show Phoenix Tapware Zimi Collection Zimi is the next level in glamour and the choice for full customisability, allowing for the perfect on-trend look. Proudly designed in Australia, Zimi is Phoenix’s most versatile collection to date, with 27 colour and finishing combinations available across a unique range of mixer taps, shower mixers and outlets. Zimi offers neutral and pastel colour combinations, from the most in vogue colourings through to timeless classic pairings. The handles come in nine colours and best of all, they are easily interchangeable with the bases, allowing for flexibility and customisation. phoenixtapware.com.au

Ilve Artusi AFG999 Series ‘Pellegrino’ 90cm vintage style cooker Inspired by the legendary Pellegrino Artusi, the father of Italian cuisine, the new 90cm AFG999 ‘Pellegrino’ freestanding cooker epitomises vintage design paired with modern technology making it the ideal freestanding cooker. The 90cm Pellegrino freestanding cooker is a showstopper in the kitchen with its vintage inspired finish, chrome fittings, easy clean cooktop and six Italian made burners bringing together function and design seamlessly.

This cooker is available in the colour options of matt black, brilliant white and stainless steel to suit both a variety of designs & spaces. ilve.com.au

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Zip The smart and stylish kitchen essential The latest innovation in Zip Water’s HydroTap range is the Zip HydroTap Celsius All-In-One Arc, the ultimate in design and functionality. This smart system offers instant filtered boiling, chilled and sparkling drinking water, plus unfiltered hot and cold water all wrapped up in a single and stylish HydroTap. A source of design inspiration and wellness, available in 12 contemporary finishes, the Zip HydroTap Celsius All-In-One Arc complements any kitchen or office and provides great tasting water every time. zipwater.com

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

That is up to 79 percent less than some other hand dryers and up to 96 percent less than paper towels.

It has a lower environmental impact than other hand drying methods, producing only 3.6 grams of carbon dioxide per dry. dyson.com.au/hand-dryers/airbladewash-and-dry

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THE PRODUCTS

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Polyflor NEW Expona Superplank Message: Expona Superplank, a conceptually developed collection of luxury vinyl tiles, designed to inspire engaging and stylish interior spaces The range of beautifully authentic wood planks and abstract geometric tile designs can be laid individually for simplicity, or in conjunction with one another to create truly unique interiors For more inspiration visit Polyflor.com.au

Shaw Contract Suited We respond to our environments in myriad ways, but the core of our responses are aesthetic, tactile or emotional. Shaw Contract’s latest collection Suited takes its cues from timeless fabrics such as houndstooth, check, plaid, linen and jacquard, and reinterprets them to create an evolving story of pattern and texture.

Suited is also Cradle to Cradle Certified Silver, Declare Red List Free, and backed with an environmental guarantee for reclamation and recycling. To arrange a sample contact Shaw Contract on 1800 556 302. shawcontract.com

INS IDE

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KROST

S POTLIGHT

Sofi

When an interior requires furniture pieces that need to be adaptable, multifunctional and decorative, the only solution is to include the Sofi ottoman collection by Krost Business Furniture. Designed to fit perfectly in every room, Sofi works in all commercial and occasional settings.

The heart of Sofi is its versatile nature, with a number of shapes and sizes that complement each other through their limitless configurations.

With interchangeable soft furnishing components, the Sofi collection can be used in every workplace, from waiting rooms to collaborative zones and executive spaces. Sofi is not only practical but also

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stylish, with the ability to locally upholster in a variety of fabrics, adding a dash of colour to brighten up every interior.

Sofi embodies endless possibilities with a variety of different shapes available such as square, rectangle, round, hexagon, trapezium and curved. In addition to this, Sofi’s square and rectangle ottomans feature an optional back facilitating creative and unique furniture groupings.

Comfort is key for the Sofi collection, featuring durable foam padding to ensure long-lasting comfort, support and style. Each piece can be customised with optional solid beech timber feet, adding height to your setting. Limited

only by the imagination, Sofi can be curated to suit every interior, palette and style.

The range is available at Krost, the renowned furniture supplier established in 1989. Since its inception, Krost has become an integral part of office design in Australia with success in offering a diverse, quality driven collection like no other.

With showrooms in Sydney and Melbourne, Krost offers superior service and world-class products. It has set the agenda once again with Sofi, an adaptable, practical and stylish collection created for the contemporary workplace environment. krost.com.au

PRO DU C TS

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TICKETS ON SALE NOW! THE TIMBER YARD FRIDAY 22 NOVEMBER 2019 BUY YOUR TICKETS AT IDEA-AWARDS.COM.AU

Overall Sponsor Gold Medal Sponsor

Sponsors

Trophy Sponsor

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Event Partners

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S POTLIGHT

DESIGN NATION

Puffalo by Ross Didier

Exemplifying laid back style, Ross Didier’s new Puffalo modular range is a lounge for lounging. Available through Design Nation, the Puffalo is really a celebration of the horizontal life. Indeed, the combined comfort and aesthetic has been noted as the ‘love child of Italian lifestyle brand Moncler and Jaguar’s E-Type.’ And while the style is gorgeous, sumptuous and highly contemporary, the real love is the invitation to flop down, chill out and feel yourself descending into slow motion bliss.

Didier notes that the Puffalo was designed as the perfect lounge for the now grown-up slacker generation, to trigger memories of lazy afternoons playing records, flicking through magazines and just doing… whatever.

“I liked the idea of having a glamorously grounded range without much focus on the legs, but instead almost the feeling of billowing cushions on the floor,” says Didier.

Puffalo can be configured through multiple combinations of voluptuous shapes to adapt from the largest of living rooms to the smallest statement spaces.

With application across residential, hospitality, institutional

and education, the range comprises 19 base elements and three loose feather filled cushion options. It is manufactured using the highest quality materials, including FSC (Forest Stewardship Council) certified timber frames, with steel springs and elastic webbing, and premium grade, highresilience foam topped in silky soft memory foam.

Recognised as one of Australia’s preeminent designers, Didier has seen his designs procured by Nintendo, Microsoft, Westpac, Hewlett-Packard, Google, Belconnen Arts Centre, Nomad restaurant and the Australian Defence Force. With accolades including Young e Design Milan, Victorian Design Award, inside IDEA and Australian Design Mark, it is not surprising to learn that his Bombala chairs are now sitting outside Sydney’s Opera House. His Elfin stools are in New York’s Times Square, while his Obelisk sofas have pride of place in the Denver Art Museum.

Approaching design as engineered art, Didier’s work is underpinned by a strong philosophy that manufacturing, ideas and design are interwoven. designnation.com.au

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2/09/19 11:36 AM

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inside is the definitive handbook for every interior designer. Published bimonthly, inside showcases the latest innovations, projects and products from within Australia and beyond, analyses trends and highlights the most important news.

VISIT SHOP.NICHE.COM.AU OR CALL 1800 804 160

Terms and conditions: Offer expires 9 December 2019 and is valid for print subscribers in Australia only. An email address is mandatory for digital versions through Zinio. Niche Media ABN 13 064 613 529.

I understand my subscription will start with the next available issue, which will be mailed once payment has been received and processed. Privacy: your name and personal details are retained by Niche Media to fulfil your subscription, send your renewals, offers and inside products and services. We may also provide this information to third parties for distribution of the prizes. No refunds provided. Niche will provide all issues subscribed to in print or digital format while in publication. Niche will not allow ‘queued’ issues on banked up subscriptions to extend longer than three years from time of purchase.

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2019 SHORTLIST ENTRIES 102

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HOSPITALITY RESIDENTIAL SINGLE RESIDENTIAL MULTI RESIDENTIAL DECORATION COLOUR WORKPLACE OVER 1000M2 WORKPLACE UNDER 1000M2 PUBLIC RETAIL INSTITUTIONAL OBJECT, FURNITURE & LIGHTING (PROFESSIONAL) OBJECT, FURNITURE & LIGHTING (RISING) INTERNATIONAL EVENT SUSTAINABILITY EMERGING DESIGNER OF THE YEAR GOLD MEDAL

Overall Sponsor Gold Medal Sponsor

Sponsors

Trophy Sponsor

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Event Partners

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2019 Shortlist

Welcome to IDEA Every year we say that the submissions to IDEA just can’t get better and every year we see the bar raised in design, creativity and style. 2019 has again set a precedent for outstanding projects and objects showcasing the very best that Australian designers, architects and product designers have to offer.

With near 500 projects received, the shortlist of 291 is the largest ever and this year our esteemed judges will have many tough decisions to finally decide the ultimate winners.

We would also like to thank our wonderful sponsors who make the IDEA program so successful. Your support encourages the design profession and applauds their triumph and, as the oldest awards program in Australia, we are proud to be associated with the very best retailers, manufacturers and associated industries that contribute to IDEA. We look forward to seeing everyone in Melbourne on 22 November as the winners of IDEA 2019 are announced and we celebrate the very best in Australian design.

Jury Panel This year we welcome to our awards process seven outstanding practitioners who together make up the IDEA jury.

Between the jury members there is a wealth of expertise, experience and understanding, and this group is a formidable ensemble of professionals.

We would like to thank every member for participating in IDEA 2019 and look forward to announcing the winners of this year’s awards in Melbourne on 22 November.

Jan and Gillian

Jeff Copolov DIRECTOR, BATES SMART

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

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Jury Panel

Dan Cox

Byron George

Nicholas Karlovasitis

DIRECTOR, CARR

DIRECTOR, RUSSELL & GEORGE

CO-FOUNDER AND DESIGNER, DESIGNBYTHEM

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

Russell & George is an award-winning and experimental design and architecture practice with completed projects on four continents.

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

Nick Karlovasitis is an industrial designer designing furniture, lighting and accessories, as well as collaborating with designers for the curated DesignByThem collection. Nick strongly believes in education, collaboration and sustainability, and is a frequent speaker at universities and design events around Australia. His passion for good design has led him to create a design focused platform where Australian designers can showcase their work in Australia and abroad.

Tina Engelen

Yasmine Ghoniem

Jeremy McLeod

JOINT-PRINCIPAL, CO-AP

DIRECTOR OF INTERIOR ARCHITECTURE + DESIGN, AMBER ROAD

Tina studied interior design at Sydney College of the Arts before becoming features editor at Interior Design & Architecture. She interned with Arclinea and Burley Katon Halliday and formed Daffodil with Danny Venlet and Marc Newson. In 1995 Tina co-founded Engelen Moore where she realised projects including the Price O’Reilly house and worked with many property development companies, receiving accolades and awards for her work.

In 2007, Tina joined CO-AP and continues to produce exceptional projects across multiple design sectors.

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Raised across four continents, Yasmine creates interiors that are birthed from her vast childhood memories abroad, hailing inspiration from Kuwait to Sydney, Savannah to Saudi Arabia. Her goals always remain the same: to reconnect people with the spaces they inhabit through highly considered layering illustrated through a strong sense of storytelling. Amber Road was established in 2013 and has delivered a range of award-winning interiors projects across multiple sectors with customisation at the core of every brief. Yasmine is also a sessional design tutor for Interior Architecture at the University of NSW.

CO-FOUNDER AND DIRECTOR, BREATHE ARCHITECTURE

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

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

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Hospitality

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01 400 Gradi, South Australia D – Dean Dyson Architects P – Dianna Snape

07 BurleighP avilion D – Alexander &CO. P – Anson Smart

A contemporary Italian restaurant/bar, situated on the Parade in the leafy suburb of Norwood, the project is a purposely designed theatrical dining experience that builds the sense of suspense and surprise transcends from the sculptural exterior through to the dramatic interior world.

A quintessential beach pavilion, this iconic ocean-facing building and swimming pool has had a refurbishment and partial construction that is robust, sun drenched and faded – with a design that celebrates ocean front views with painted concrete block detailing and ample foliage.

02 Agostino D – Chris Connell Design P – Earl Carter

08 C.C.B abcoq D – Tom Mark Henry P – Damian Bennett

Comprising a wine bar, wine store and cellar in the heart of Carlton, the design references the old restaurants of Italy.

With a pared back design and rich palette of finishes and materials, Agostino celebrates the history and tradition of a family run business.

This project is a fun and quirky fitout for a rotisserie, carvery and cocktail bar in Cronulla. Its namesake C.C. Babcock from TV’s The Nanny is a little sassy and bold. Her personality was adopted for the interiors, with a fusion of a coastal influences to reference the beachside location.

03 ARCDining D – Anna Spiro Design P – Kara Hynes A modern juxtaposition of design and decoration that embraces block colour and bold shapes within a minimal selection of pattern. A considered design aesthetic and interesting selection of art and objects gives the restaurant a contemporary and quirky mood.

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04 BanB an D – Genesin Studio and Peculiar Familia P – Jonathan VDK Adelaide’s first Korean fried chicken and beer eatery sports a low-tech K-Pop minimalist interior with playful branding to capture freshly cooked share foods.

All aspects of the branding and spatial design are recognised through the digital, print and built space.

05 Black Hide Steakhouse by Gambaro D – PLUS P – Toby Scott

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Designed around the concept of paddock to plate, the interior design draws on the senses to deliver a layered experience.

Located within an iconic, historic building, the distinct envelope was refurbished to create a dramatic character and ambience throughout.

06 Bankvale Run at Marnong Estate D – ClarkeHopkinsClarke P – Peter Marko

09 Caravan2: 0 D – Flack Studio P – Sharyn Cairns Located in Dosan Park Seoul, Caravan is at the heart of the old garment district in Gangnam. Inspired by 1950s Italian design, the space captures the true essence of hand-made, craft and texture with a solid marble crazy-pattern flooring amplifying movement and colour.

10 DriftHous e D – Multiplicity P – Emma Cross, Martina Gemmola Stage two of Drift House converts an adjoining Edwardian residence and reinvents a former garage/shed as a front of house reception, while inserting a purpose-built salon into the reconfigured garden setting to unify and complete this seaside bed and breakfast retreat.

11 Faro D – Hall Studio, Katsalidis Architects and Fender Katsalidis Australia P – Adam Gibson, Jesse Hunniford, Jonathan Wherrett Within Pharos, housing James Turrell’s Unseen Seen perceptual cell, Faro restaurant provides a setting both for viewing and participation. It’s a place of respite, contained within the chaos of the MONA experience, where light and colour deliver a complementary mood.

A destination restaurant on a working cattle farm and winery, Bankvale Run sets the tone for the ambitious redevelopment of the estate through natural materials, intimate zoning and views worth lingering over, with both a welcoming local and high-end appeal.

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12 G&Tea D – Luchetti Krelle P – Anson Smart

18 ManyLit tle D – Hecker Guthrie P – Shannon McGrath

Luxurious materials, such as the handcrafted jewel-toned jade wall wrapping the space in rich movement and colour, are offset by the warmth of brass detailing. A hyper-real landscape offers a sense of wonder as leaves subtly sway, and fireflies dance.

Drawing inspiration from the rural views, the muted green landscape perfectly frames the internal palette, bringing the beauty of the surrounds inward through textural brick, terrazzo and rich timber elements. Objects and furniture create a varying interior landscape.

13 Harbord Diggers Club D – Fender Katsalidis and Paul Kelly Design P – Grant Leslie, Huw Lambert

19 MjølnerM elbourne D – Studio Y P – Brook James

Part of an intergenerational mixed-use precinct located on the iconic Freshwater headland, the club provides diverse facilities within a plan designed to reduce its activity and operational footprint at different times, while maintaining a dynamic atmosphere.

To Mjolner is to drink and dine like a Viking. With a fitout that crosses two floors, upstairs is a nod to Nordic design of bleached timber, light concrete render and grey toned upholstery, while downstairs pays homage to the festive after the feast mood with a darker, warmer space.

14 Hotel Rose Bay D – Richards Stanisich P – Felix Forest

20 Mt Erica Hotel D – Bergman & Co P – Eugene Hyland, Nicole England

Respecting the spirit of the original establishment, the historical narrative is expressed through the use of Decoera finishes: terrazzo, solid timber and ceramic tiles combined with rattan detailing, within a singular design language across all crafted elements.

Transported to another era, the interior is both a nod to the grandiosity of Wes Andersons The Grand Budapest Hotel and a wink to the simplicity of early Australiana. With a filmic play on the midcentury traditional pub, wood panelling transitions to eccentric detailing.

15 ImperialHot el D – Alexander &CO. P – Anson Smart

21 Mumm Champagne Bar D – Bates Smart P – Sean Fennessy

Realised as a palace of pleasure, this revered LGBTQI+ safe haven features a bespoke cathedral-esque ceiling mural, while a 250-seat restaurant (Priscillas) with open kitchen, has been dynamically programmed to turn from dining room to dance floor with ease.

This is a vibrant, contemporary interior that evokes the energy of the race.

Towering displays of gold magnums create gilded backdrops for the sculptural black gloss bars. The riddling racks are a key statement within the theatrical interior, which celebrates Mumm’s unique process.

16 ImperialUP D – Alexander &CO. P – Anson Smart Located on the upper level of the Imperial Hotel, Imperial UP has been conceived as an ‘Arts Social Club’, via references to Studio 54 and the distant memories of Andy Warhol via a 30-seat diner, cocktail bar, private dining room, lounge/dining area and exterior bar/pizzeria.

17 LoveM achine D – Blackmilk Interior Design P – Ari Hatzis Located in the hub of Chapel Street’s entertainment precinct, this iconic club has been reinvented as the imaginary digital world of Tron. The futuristic design references a younger generation, captivated by a fast-paced technologically-based world of light and movement.

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22 Nineteen at The Star D – Mim Design P – Sean Fennessy Featuring a 150-seat restaurant, private dining, bar and VIP lounge, with views of the Gold Coast horizon, the design responds to natural forms connecting and responding to the ever-changing atmosphere, and capturing a space that is perfectly succinct and visually immersive.

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23 Ovolo The Valley D – Woods Bagot P – Dion Robeson Delivering intimate and individualised experiences, the refurbishment of the hotel interior posits a balance of style and functionality through an expressive dialogue between space, and art, while a whimsical installation places guests at the centre of a fantastical art story.

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24 Peaches D – Pierce Widera P – Derek Swalwell

30 StillwaterS even D – Cumulus Studio P – Anjie Blair

The project immerses guests in an alternative peach universe, where suspended circular pendants represent ripe peaches hanging from the pink ceiling, while walls seem dipped in pale pastel peach. Oversized leaves provide green accents, cutting through and balancing the pink.

The adaptive reuse of an 1830s flourmill on the riverbanks of Launceston, the new Stillwater project expands on the existing restaurant footprint. It includes sensitive alterations and additions to the mill’s upper floors – from gallery and provedore to seven luxury suites.

25 Persone Bar and Restaurant D – PLUS P – Toby Scott

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Inspired by Italian laneways, the thoughtful design delivers a moody, atmospheric aesthetic. Lighting and fine details convey the experience of discovery through a variety of textures, colours, history and the pockets of dining and entertainment found along the way.

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Rustica Bakery – Melbourne Central D – Bergman and Co P – Nicole England The calming effect of lighting as soft pools of illumination is compounded by a restrained aesthetic, monochromatic palette and unembellished detailing.

A monolithic front counter travels throughout the space before literally pushing through the front window.

34 27 SakeM anly D – Luchetti Krelle P – Anson Smart, Tom Ferguson This project delivers an established tone while demonstrating flexibility of character and an evolution of the brand in response to the locale. The cantilevered reception desk appears to hover over an anthracite boulder, while the shadow play of botanicals is evocative of ikebana.

28 Sebastian D – Ewert Leaf P – Fiona Story

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The Heritage-listed former Dressing Pavilion situated on the Williamstown foreshore has emerged with energy and a sense of escapism. The design for this unique venue celebrates European Modernist architecture and transports users to the beaches of San Sebastian.

29 South End Social D – Stewart + Highfield P – Grace Picot South End Social is a tonal take on modern Mediterranean meets coastal Australia, with stucco walls and arches arriving at the matte tiles and terrazzo curves of this Gosford venue. Fresh light colours deliver a relaxed atmosphere in a space that is unique and intimate, while wholly accessible.

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31 SunsetDine r D – Guru Projects P – Kitti Gould Playing on the concept of a retro Miami diner, the design embraces a pastel colour palette and bold painted patterns, reminiscent of Art Deco architecture in South Beach. The project playfully explores bold colours and material selections to deliver a vibrant engaging space.

32 The Club Stand D – Bates Smart P – Peter Clarke, Sean Fennessy Celebrating the rich heritage of the Victoria Racing Club and enhancing views of the racetrack, the Club Stand has been designed as a stage set to incorporate 13 different hospitality venues with distinct aesthetic personalities and schemes that unify and define.

33 The Dining Room D – Bates Smart P – Sean Fennessy Located within The Club Stand at Flemington Racecourse, The Dining Room celebrates the heritage of the Victoria Racing Club, providing a contemporary design that is refined and elegant, and evokes a sense of familiarity, while offering a space for new traditions.

34 TheFant auzzo D – SJB P – Tom Blachford This project creates a tough, brooding interior, highlighted by refined textures that frame Vincent Fantauzzo’s artwork. The palette references the surrounding cliff with tones of rough earth, while dramatic lighting adds theatre, and geometric shapes mirror the building’s façade.

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United Places Botanic Gardens South Yarra D – Carr P – Sharyn Cairns Defying the unspoken rule of luxury hotels’ need for a significant volume dedicated to an alluring public realm, United Places features a radical reduction of shared space that gives way to exquisite interiors and privacy. United Places is a place not to be seen.

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2019 Shortlist

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01 Attic house D – Madeleine Blanchfield Architects P – Anson Smart

07 Casa Atrio D – Biasol P – Derek Swalwell

The project thoughtfully and respectfully changes a Heritage Arts and Crafts house, allows the original qualities to be the heroes, while improving amenity and coherence throughout. Insertions are subtle but powerful. The language used is consistently light and uplifting, without demanding attention.

A heavenly plant-filled atrium brings life, light and connection into the heart of this family home. Externally, the character is an Italianate-style terrace, while the spacious, light-filled interior has the charm of a classic Parisian apartment with elegant detailing, custom furniture and spaces to gather.

02 Blackwattle Bay townhouse D – Sam Crawford Architects P – Anson Smart

08 Central Park Road residence D – studiofour P – Shannon McGrath

The well-designed set of spaces create a light-filled and spacious home. The material palette includes warm Blackbutt timber, brass and raw steel. These elements, coupled with green highlights in curtains, tiles and painted niches, work to connect the interior spaces with Blackwattle Bay and industrial vistas.

A simple, pure and unadorned vision strengthens architectural language that purposefully informs the interiors, blurring boundaries between inside and out, towards a cohesive design. Lightfilled with fresh air and aspect, there is an inner truth and stillness to the spaces that produces calm.

03 Bondi Junction D – Alexander &CO. P – Anson Smart

09 Castle Cove house D – TERROIR and Pascale Gomes-McNabb Design P – Brett Boardman

Home to a young family of six, this project explores the role of architecture as a form of education. The result of three alterations over seven years, it is successful in communicating ideas of the built environment and demonstrating material expression that is honest and surprising.

04 Brick and Gable house D – Breathe Architecture P – Ben Hosking, Tom Ross Brick and Gable house is about building less to give more. It is both home and office, house and garden, private and urbane. It’s about an urban family changed by their experience of living in Copenhagen and deciding to live in a simple and sustainable way.

05 Camperdown warehouse D – Archer Office P – Kasia Werstak

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This warehouse conversion delivers a flexible three-bedroom residence within the raw concrete shell of what was once a carriage assembly factory. Each of the rooms opens onto a double-height living volume that brings natural light and a sense of the outdoors deep into the interior.

06 Caroline house D – Kennedy Nolan and Adriana Hanna P – Derek Swalwell

Responding to the natural rocky escarpments found in middle harbour with its concrete form, this primary gesture is then inhabited with timber lined pockets that act as a threshold between intimate moments of habitation and the monumental landscape of Castle Cove.

10 Cornerstone house D – Splinter Society Architecture P – Sharyn Cairns This highly textured and detailed home sets monumental and scarred quarry rock against a rhythmic palette of blackened steel and timber fins. The ensuing dialogue between hard and soft, heavy and light, rough and polished, creates moments of intrigue and delight within a refined and sophisticated home.

11 Crescent Head house D – Madeleine Blanchfield Architects P – Robert Walsh A discreet weatherboard box from the street, this one-bedroom house opens into a large living area with a folded timber ceiling accentuating the volume and spectacular views. Commissioned by a couple as their retirement home, the property also includes an apartment for family use.

Restored and reimagined, the Edwardian house with added pavilion is separated from the original building by an internal courtyard and swimming pool. Both whimsical and formal, the detailed and nuanced approach to texture, colour and pattern provides a balanced relationship between garden and interior.

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12 Darling Point D – Alexander &CO. P – Tom Ferguson Articulated through a contemporary floorplan, the alteration of and addition to this Victorian cottage in Darling Point, Sydney, pays homage to a traditional grand home. All surfaces have been deliberately hand-detailed and finished, from polished plaster and painted tidelines to ceiling lining boards and contemporary wall panelling.

13 Darlinghurst terrace D – Tom Mark Henry P – Pablo Veiga Filled with minimalist design and pared back to its original features, this Heritage terrace has been injected with contemporary details. A clear line upon entry, with a view from the front door through to the kitchen and dining space, continues seamlessly into the sundrenched courtyard.

14 Deco residence D – FMD Architects P – Fraser Marsden, Tatjana Plitt Comprising a series of striking and sculptural elements inserted into the opulent period spaces of a 1930s Art Deco estate in Melbourne’s leafy southeast, these additions delicately touch the original, offering counterbalance and subtle conversation with the generous volumes and rich tones of the original house.

15 Dunes D – Whiting Architects and Calamity Jane P – Derek Swalwell Set among the sand dunes on Victoria’s Mornington Peninsula, the new works include a second-level addition, master bedroom, en suite and retreat to take in 180-degree ocean views. A major renovation created cloistered outdoor spaces for entertaining, and a sheltered and extensive vegetable garden.

16 Elemental house D – Ben Callery Architects P – Dave Kulesza, Jack Lovel This completely self-sufficient outback retreat posits an architectural expression of adventure, freedom and minimalism that is synonymous with going ‘offgrid’. The form boldly responds to its environment and the palette of materials reflects the quiet rawness of the site and a minimalist penchant.

17 Fitzroy residence D – Kate Challis Interiors and Ridolfi Architecture P – Sharyn Cairns

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At 3.9 metres at its widest, this residence on a busy retail strip was originally built in 1892 as a shop. Today the building delights as an inner city family home and a seductive sanctuary, honouring a radical past by retaining a distinctly individualistic spirit throughout.

18 Garden Bunkie D – Reddog Architects P – Christopher Frederick Jones The Garden Bunkie is part of the tiny home movement and growing trend for a standalone dwelling with enhanced design and lifestyle aspirations. This compact detached dwelling is carefully sited around established trees. The simple, robust exterior of the Garden Bunkie belies its delicate, light filled interior.

19 Garden Wall house D – MAKE Architecture P – Sean Fennessy With no room to spare in this 4.5-metre wide site, ruthless paring back has reduced the scheme to two white brick garden walls, running uninterrupted at a constant height from interior space to garden extent with a singular dark brick form balancing gently above. Skylights amplify the light-filled spaciousness.

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20 GB house, Sydney D – Renato D’Ettorre Architects P – Justin Alexander Responding to the magical site overlooking Gordons Bay, this house embodies the spirit of seaside living in a design that is discreet in scale, has a quiet focus and layered materiality, and is sensitive to site and neighbours, providing mystery and privacy along one of Sydney’s busiest coastlines.

21 Hatherlie D – Andrew Simpson Architects P – Shannon McGrath The additions to this 19th century terrace house of individual Heritage significance include new living, kitchen, meals, laundry and study areas, while the front portion has been fully restored. The built internal and external interventions incorporate a formal geometry that creates varied horizontal and vertical spatial experiences.

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22 HDP residence D – Genesin Studio P – Jonathan VDK

27 Magnolia house D – Arent&Pyke P – Anson Smart

Innovation of processes and materials underlie the high calibre of the project with established trades challenged and the delivery of the magnificent four-way curved ceiling and walls. Noted as a last hoorah house, the design timelessly provides for a growing family and their entertaining needs.

The elusive combination of formidable elegance and airy simplicity achieved in the foyer effectively provides a backbone to the warmth of herringbone oak, rugs, artworks and furniture selection (Cassina Rio coffee table, Minotti Seymour sofa, Gubi Beetle chairs and Walter Knoll nutwood table).

23 His and Her house D – FMD Architects P – Derek Swalwell, Peter Bennetts

28 New Modern D – Bower Architecture and Interior Design P – Shannon McGrath

His and Her house was designed as a celebration of connection and coming together. The clients had each engaged FMD Architects for previous house designs and, when the two embarked on this new project together, it completed the reconfiguration of one project while drawing qualities from the other.

24 Huntingtower Road residence D – Workroom, Agushi Group and Simone Haag P – Derek Swalwell

29 Oak house D – Kennedy Nolan P – Derek Swalwell

This project delivers evolution and layering through an exploration of form, space and material, whereby each element creates a unique presence that transcends fashion. Simple gestures in a raw but refined palette subtly reveal the project’s detail and provide an oasis from the outside world.

An adaptive reuse of a double-fronted Victorian house is distinctive for its large oak tree and red steel brisesoleil, which performs many functions, including that of sun shading. The interiors range from the dramatic to the tranquil using concentrations of colour in varying intensities.

25 Kew apartment D – Sarah Wolfendale Interior Design and NP.CO P – Shannon McGrath

30 Pentagon house D – FMD Architects P – Derek Swalwell, Jayme Collins, Nicole England

This compact 90-square metre apartment, while a small space, has been carefully designed as a comfortable home for a young family. Maximising the feeling of space while celebrating the original period features of the apartment, the design makes the most of the ceiling heights and natural light.

This project is a bold, yet sensitively considered addition to a 1920s Californian bungalow in Melbourne’s south-east.

Following the thoughtful restoration of the existing home, a permeable northfacing extension facilitates a greater connection to the outside, binding together qualities of old and new through a play on scale and form.

26 Mermaid Beach residence D – B.E Architecture P – Andy Macpherson Signifying permanence as a desire to stay and age, the primary material is rough and smooth in-situ concrete, contrasted with natural timber. The building offers privacy, but once through the entry threshold, the space becomes open and transparent, embracing the expanse of sand and sea.

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This mid-century home demonstrates how contemporary architecture and interior design can be influenced by Heritage, without replicating a past era.

Sensitively scaled to complement, rather than compete, the addition, veiled in white geometric screening provides glimpses of the spatial complexity.

31 Perfect Storm D – Killing Matt Woods P – Katherine Lu Dubbed ‘the concrete bunker’ for its deliberate use of applied finishes, this Camperdown apartment for two design professionals delivers an intimate, yet utilitarian environment. Inspired by Brutalism and the local warehouse vernacular, extruded geometries and moody tones result in a minimalist and precise interior.

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Residential Single

32 Pettigrew – Boyd residence D – Flack Studio P – Derek Swalwell

37 Renwick D – NTF Architecture P – Dave Kulesza

With a build that was started in 1943 by Robin Boyd, and completed in three stages over three decades, this home was the first residential design by Boyd. As such it was imperative that the project remain true to Boyd’s architectural legacy with industrial simplicity of a flat, elongated roofline and sustained banks of windows.

Conceived as a private sanctuary that gives away little from the outside, the home has been designed for a small family to grow into. Neutral pieces form the basis of the furnishing, with highly crafted items highlighted in each space, and with a continuous colour palette used across multiple spaces.

33 Portland Street residence D – Nina Maya Interiors and Sternberg Design Studio P – Felix Forest

38 Sage house D – Carole Whiting Interiors and Design and Kate Patterson Landscapes P – Jack Shelton

The project comprised a transformation of a dated mansion into a contemporary home for a young dynamic growing family.

The interior marries a collection of rare antiques with modern art, local and European design, including the crystal and brass bespoke sculptural lighting piece.

The simple and unfussy design marries sophistication with informality through materials and furnishings, with a handcrafted feel that keeps the aesthetic grounded. Views from one area to another, and a constant textural palette throughout, add a familiarity to the spaces and flow to the overall narrative.

34 Powell Street house D – Robert Simeoni Architects P – Derek Swalwell

39 SAR residence D – Mim Design and Emma Tulloch Architects P – Sean Fennessy

Leveraging a quiet interior and muted light, the design response emphasises a deliberate quietness, quelling the northern light and enigmatically connecting with the materiality of the original two-storey 1930s duplex. A dark stained timber staircase sits compactly between existing walls.

35 Raglan Street D – Alexandra Kidd Design P – Pablo Veiga Tranquil, comfortable and, perhaps most importantly, well resolved, one of the key design elements in the home is moments of bold colour, which set the tone for each space. In the ground floor’s sprawling, open-plan space, the dining nook’s deep blue palette creates an intimate sense of scale.

36 Redfern warehouse D – Ian Moore Architects P – Rory Gardiner The conversion of a two-storey warehouse to a family home, with internal courtyard and terrace, was undertaken through the removal of sections of roof. The upper level serves as the living accommodation, while the lower level is given over to the garage, guest suite, entry and equine genetics laboratory.

This Victorian Heritage home balances contemporary design references with elements of traditional Japanese design.

Quintessential Japanese design elements – authentic materiality, connection to nature, daily ritual and screening – reveal uninterrupted spatial flow and invoke a restorative calm.

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40 SLD residence D – Davidov Architects P – Veeral Patel SLD residence is a family home on a small inner suburban site that is lowmaintenance, private and sheltered from traffic impact. The interiors act as a completely natural extension of the high brutal and minimal exterior form, and adopt many of the identical materials and finishes to blur the boundaries.

41 Sunday Street D – Reddog Architects P – Christopher Frederick Jones

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Inspired by the traditional Queenslander’s transition from verandah to internal space, the extension playfully expands and contracts, moving between low and high ceilings, narrow and cosy rooms to expansive spaces, before ascending to a concealed indoor deck and finally a roof terrace.

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42 Surfside house D – Andrew Burges Architects (ABA) P – Peter Bennetts

47 The Paddington house D – Pohio Adams Architects P – Katherine Lu

Conceived as an extension of the climb up from Clovelly Beach, the house is essentially a set of platforms working off the central stair. A pinwheel plan creates a light-filled communal space with a legible path to living areas upstairs, before culminating in a surprising coastal view.

Defined by the interplay between lightness and weight, the renovation of this Georgian terrace calls on the robust materiality of the original rough-hewn sandstone walls, corten steel, white burnished concrete and a dramatic black steel staircase as contrast with fine detailing and abundance of light.

43 The Caulfield North residence D – Flack Studio P – Anson Smart

48 The Sandy Bay residence D – Flack Studio P – Anson Smart

Originally built by Michael Feldhagen, and previously renovated by the late Peter Corrigan, this home required a sensitive yet distinctive touch to honour its architectural significance. Focusing on its modernist roots, inspiration is drawn from fashion, art, design and architectural form.

Overlooking Hobart harbour, this home was designed to honour its 70s Merchant Builder heritage, while allowing its young family to enjoy this home for a further 50 years. The respect and interplay of history, colour, texture, material and detail narrates a home of layered bliss.

44 The Clubhouse D – Wolveridge Architects P – Derek Swalwell Sited among the dunes of the Mornington Peninsula, this opulent beach house opens and shuts as the weather permits, and provides the backdrop to display artefacts from a life of travels. A range of outdoor spaces, both protected or otherwise, give a sense of the external environment.

51 45 The Elmore residence D – Flack Studio P – Sharyn Cairns With the residence requiring a complete overhaul, the simple brief for this 19th century homestead was to create a beautiful country home with the emphasis on country and colour via a non-precious approach that took on the persona of Kate Winslet, at home in jeans or gown.

46 The Hawthorn residence D – Flack Studio and Lisa Breeze Architecture P – Sharyn Cairns Honouring the intention of the early 1900s Victorian residence with a classic and contemporary approach, the redesign and extension of the original home allows for dramatic moments and calmness, while making way for five bedrooms, three living rooms and four bathrooms.

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49 Thornton residence D – Doherty Design Studio and Detail 9 Architects P – Derek Swalwell The project is a country retreat designed with simplicity, balance and restraint to enable this contemporary home to sit in harmony with its country surroundings. It has been pared back, highly detailed, with textured materials, and features subtle plays on matt and gloss, graphic shape and unexpected colour.

50 Triple Fronted Revival D – Pleysier Perkins P – Michael Kai The thoughtful and modern design of this postwar brick veneer house posits a contemporary interior that welcomes light from the newly established expansive windows. With considered restraint, the joinery packs a punch with high contrast and bold textural surfaces.

51 Yandoit cabin D – Adam Kane Architects P – Adam Kane Designed as a permanent dwelling for an artist in regional Victoria, the cabin was conceived as a contemporary sculptural form within the landscape.

With a mezzanine bedroom beneath the asymmetrical roof line, the skylight is emphasised through the converging angles of the interior space.

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01 131 Residences South Yarra D – Carr P – Sharyn Cairns

07 Pine Ave D – The Stella Collective P – Maegan Brown

A complex of four individual residences, 131 Residences is a celebration of light and form. Monolithic mass intensifies the sanctuary within via pared-back materials and fittings, sculpted form and unified interior, architecture, landscape and urban experience.

Imbued with Elwood’s effortless combination of beachside luxe and Art Deco design, Pine Ave is a stunning collection of eight town homes. Intuiting the lives that will unfold within, each stage has been painstakingly considered to deliver homes that are a stylised, extension of effortless, modern living.

02 537 Elizabeth Street D – Woods Bagot P – Trevor Mein

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This is a prototype for ongoing ownership in a typology blurring residential, serviced apartment and hotel living. On a micro inner city site measuring just 6.7 by 29 metres are 12 highly appointed apartments where a fully inclusive residential proposition heralds a new level of amenity and liveability.

03 6 Little Smith Street D – Neometro, MA Architects and Hall Studio P – Derek Swalwell Well-considered internal planning provides all the functionality and liveability of a house, albeit within a smaller space. Storage and functionality are paramount with an emphasis on simple forms and materiality. A restrained palette, concrete ceilings and feature lighting provide a strong base.

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04 Allure D – EB Interiors P – Prue Ruscoe

08 Prahran residences D – Travis Walton Architecture P – Elisa Watson Redefining the standard of luxury design in townhouse residential living, the apartments have been designed and finished for a low-maintenance lifestyle of the finest calibre. Tthe chic interiors offer sophistication, style, functionality and seamless indoor-outdoor living.

09 Sussex D – Mim Design and Powell & Glenn Authenticity, proportion and sculptural form are realised in a design that connects the residences with their surroundings through an understated palette and rounded lines, while finer details, inspired by sculptor Alexander Calder and painter John Coburn, draw the eye during moments of calm.

10 TGIPF townhouses D – Tecture Architecture and Interior Design P – Shannon McGrath

Complementing the exclusive location of Gunnamatta Bay, the two apartments are spatially designed to accommodate the modern Australian way of living. The open plan style capitalises on the spectacular view. Each of the apartments has been designed to complement aspect and light.

Compact and sophisticated, TGIPF townhouses epitomise considered luxury living and thoughtfulness in design detailing. A repetitive design ideology features throughout, showcasing a sensitivity of architecture and interiors, and strong spatial awareness of achieving the most from a small footprint.

05 Bower Manly D – Mim Design (for Costa Fox) and Koichi Takada P – Tom Ferguson

11 The Eighth D – Mim Design, Peter Kennon and Elenberg Fraser P – Derek Swalwell

Outstanding location, along with quality, size and the natural reflection of organic form used throughout the design, encompassing six 300-square metre apartments, make this project special. A holistic approach allows each apartment direct connection and view lines to Manly and Cabbage Tree Bay.

Beautifully realised, these aspirational residences embody the building’s philosophy: live, experience and enjoy within your private community. The symmetry of the grid façade flows into the interiors to create framed vistas through the arrangement of spaces, from private lift arrivals to entertaining zones.

06 Nth Fitzroy by Milieu D – Flack Studio and Fieldwork P – Sean Fennessy

12 The Englefield D – Woods Bagot P – Shannon McGrath

Light-filled and breathable, the apartments, across four levels are cloaked in a mesh veil of operable shutters and fixed screens – the translucent building form allows air and natural light to pass freely. A spacious and considered floor-plan takes reference from Japanese and 70s Australian design.

This project is a collection of seven residences over four levels that blend timeless design with modern convenience.

Housing six homes across levels ground to two and a penthouse on the third floor, the development has a sophisticated and functional feel that integrates seamlessly with its South Yarra setting.

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Residential Decoration

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01 ArmadaleIII D – Simone Haag and Workroom P – Derek Swalwell An eclectic array of furniture pieces complements the raw architectural expression, resulting in a home of luxury and layers. Fringed ottomans, studded stools, herringbone marble tables, clashes of pattern and texture. The pieces are dynamic, liveable and married to the design.

2 Art Deco residence D – Kate Challis Interiors P – Sharyn Cairns Celebrating Chinese culture while functioning as a modern home for a family with young children, the Brighton house merges traditional Chinese forms, shapes, techniques, materials and influences with contemporary elements to create a vibrant family residence.

03 Arth ouse D – STUDIO CD Design P – Anson Smart This is a theatrical family home, where curated rooms of contemporary forms sit harmoniously within the architectural foundations. Dramatic murals, sculptural lighting, textured fabrics and bursts of colour against muted tones represent the young family in its grand inner city setting.

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04 CasaA trio D – Biasol P – Derek Swalwell

06 Hatherlie D – Simone Haag and Andrew Simpson Architects P – Shannon McGrath Maintaining the formality of the original Victorian terrace, while leading into the darkness of these rooms with a moody palette of rich tones, the scheme is moody and sophisticated, yet pared back for clients that prefer their living spaces to be not overly decorated.

07 Fitzroyr esidence D – Kate Challis Interiors P – Sharyn Cairns The Gertrude Street project is an unapologetically creative family home that blurs the distinction between art and design. This personable family home is a celebration of creative collaboration, inspired by the immersive interiors of grand historic European homes.

08 Hollype nthouse D – Simone Haag, Bec van der Slys and Tom Robertson Architects P – Derek Swalwell The clean lines of this project are softened with the curves of objects, furniture, bespoke furniture and artworks, each complementing the monochrome palette with touches of brass, leather and velvet, which adds texture and warmth towards an effectively homelike environment in this penthouse.

The plant-filled atrium brings life, light and connection into the heart of this family home. With the character of an Italianate-style terrace, the interior is spacious, light-filled and has the charm of a classic Parisian apartment with elegant detailing, custom furniture and spaces to gather.

05 Coveh ouse D – Brendan Wong Design P – Maree Homer Decorated with rich, textural layers of contemporary comfort and with added treasures of period significance, the interior is an aesthetic journey of brave yet authentic materials, and extends innovation to the finest interior details in reimagining the spirit of the original 1960s architecture.

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09 HouseA valon D – Simone Haag P – Mark Roper

14 Portland Street residence D – Nina Maya Interiors P – Felix Forest

Liveable, approachable and comfortable, the interior is layered with colour, tone and texture, as a personification of the owner.

As the owner is an avid collector of books and Indigenous art, there is a sense of honesty and originality, as the practical, liveable and simply beautiful harmonise.

This project involves the transformation of a dated mansion into a contemporary home for a young dynamic growing family.

The interior marries a collection of rare antiques with modern art, local and European design, including the crystal and brass bespoke sculptural lighting piece.

10 Hunters Hill house D – Arent&Pyke P – Felix Forest

15 St Kilda residence D – Doherty Design Studio P – Derek Swalwell

Providing domestic well-being in a homogenised old home with contemporary décor, the design uncovers old and provides new distinguishing features. Within the new design, the established garden relates to the interior as a place of daily interaction.

Colour is kept at the fore in this revamped and revitalised St Kilda home. Extensively renovated by Kennedy Nolan in 2000, its latest iteration expands the original work to create a cohesive and vibrant retro-inspired renovation that contrasts beautifully with its heritage, without being discordant.

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16 Tennyson D – Darren James Interiors P – Cathy Schusler

The elusive combination of formidable elegance and airy simplicity achieved in the foyer effectively provides a backbone to the warmth of herringbone oak, rugs, artworks and furniture selection (Cassina Rio coffee table, Minotti Seymour sofa, Gubi Beetle chairs and Walter Knoll nutwood table).

Playfully embracing the client’s love for florals and greenery, the elegant design is both sophisticated and fun, with colour, comfort and textural qualities used to delineate and blur spaces, while the home’s natural light and indoor greenery further connect outdoor spaces.

12 Pettigrew – Boyd residence D – Flack Studio and Simone Haag P – Derek Swalwell With a build that was started in 1943

by Robin Boyd, and completed in three stages over three decades, this home was the first residential design by Boyd.

As such it was imperative that the project remain true to Boyd’s collaborative approach to crafting Australian homes, while paying homage to a master.

17 The Caulfield North residence D – Flack Studio P – Anson Smart

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Originally built by Michael Feldhagen, and previously renovated by the late Peter Corrigan, this home required a sensitive yet distinctive touch to honour its architectural significance. Focusing on its modernist roots, inspiration is drawn from fashion, art, design and architectural form.

13 NNHr esidence D – Mim Design, Emma Tulloch Architects and McLaren Developments P – Peter Clarke A refined blend of understated luxury, familiar warmth and a curated collection of furnishings merges seamlessly with the sculptured forms of the residence, while the client’s love of automobiles is reflected in the inclusion of precision detailing and durability.

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18 The Fitzroy residence D – Flack Studio P – Anson Smart

23 The Prahran residence D – Flack Studio P – Sharyn Cairns

Transforming this 1800s miner’s cottage from a poky four-bedroom home into a spacious and sophisticated two-bedroom home for entertaining, the design incorporates texture, colour, art and furniture to reclaim the building’s heritage while shaping a contemporary future.

This 1800s Victorian property overlooking the Botanic Gardens has been infused with colour, texture and detail. Focusing on a bold and confident language, the magnificent home takes shape through layering of considered detail and colour with a focus on the permanent.

19 The Elmore residence D – Flack Studio P – Sharyn Cairns

24 Under The Tree D – Arent&Pyke P – Anson Smart

Requiring a complete overhaul, this 19th century homestead came with the simple brief to create a beautiful country home with the emphasis on country and colour via a non-precious approach that took on the persona of Kate Winslet, at home in jeans or gown.

The palette of sandstock bricks, bagged blockwork and polished concrete required warmth, personality and more intimate atmospheres. The lightwell and its sixmetre tall fiddle-leaf fig – with retractable glazed roof overhead – provide a centrepiece for an open plan hub that leads to the garden.

20 The Ivanhoe residence D – Flack Studio P – Sharyn Cairns, Caitlin Mills This residence was a 1970s Merchant Builder home that suffered a 90s renovation where all the gorgeous features, materials and embellishments were ripped out. In providing Ivanhoe with a contemporary interior, the design marries the past with the future and reasserts the 1970s.

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21 The Sandy Bay residence D – Flack Studio P – Anson Smart Overlooking Hobart harbour, this home was designed to honour its 1970s Merchant Builder heritage, while allowing its young family to enjoy it for a further 50 years. The respect and interplay of history, colour, texture, material and detail narrates a home of layered bliss.

25 Vaucluser esidence D – Tzannes P – Nicole England Refreshing the original 1936 design, the design approach was not to radically change the existing character of the house, but to respect and enhance the distinctive Art Deco aesthetic and form.

The magnificent bathrooms of tile and marble are just one example of this exemplar renovation.

26 VillaA mor D – Arent&Pyke P – Anson Smart The grand romantic gestures of this 1928 top-floor apartment of a Spanish Mission-style building called for a soft architectural intervention and a careful decorative curation. The finished design avoids opulence and cliché, but references the client’s Parisian eclecticism.

22 Thorntonr esidence D – Doherty Design Studio and Detail 9 Architects P – Derek Swalwell

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Inspired by the landscape, and reflecting the colours used by artist Hans Heysen in his paintings of monumental Australian gum trees – pale blues, bone and pale terracotta – the interiors, while pared back, are highly detailed, with textured materials, graphic shape and unexpected colour.

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01 AtticM agic D – Windust Architecture x Interiors P – Eve Wilson

07 ManteauNoir D – Carole Whiting Interiors and Design P – Danny Wootton

This project honours a child’s imagination with a joyful roof space renovation atop a Melbourne Heritage home. Sparking delight with colour and form, it celebrates the minds of the two children, while reimagining the humble attic as a dreamscape in the clouds.

Working within strict design parameters, the design links the dedicated annex to the larger retail store. Maintaining the personality of the broader business while creating a strong retail landscape, the deep inky blue element sets the tone and envelops the visitor.

02 Art Deco residence D – Kate Challis Interiors P – Sharyn Cairns

08 Melbourne Jet Base D – Cox Architecture P – Peter Clarke

Celebrating Chinese culture while functioning as a modern home for a family with young children, this Brighton house merges traditional Chinese forms, shapes, techniques, materials and influences with contemporary elements to create a vibrant family residence.

A unique facility dedicated to the specific needs of high-end travellers – including exclusive business amenities, curated dining, lounges and private suites – the project establishes an international benchmark for the airline industry and new gateway for Victoria and beyond.

03 C.C.B abcoq D – Tom Mark Henry P – Damian Bennett

09 Microsoft Technology Centre D – Tom Mark Henry P – Damian Bennett

A fun and quirky fitout for a rotisserie, carvery and cocktail bar in Cronulla. The sassy and bold namesake C.C. Babcock from The Nanny was adopted as a personality for the interiors, with a fusion of a coastal influences to reference the beachside location.

Microsoft’s first Flagship Technology Centre in Australia, the 1680-square metre space is located above the iconic GPO in Sydney’s bustling Martin Place.

The multipurpose space incorporate conference spaces, produce display areas and staff touchdown zones.

04 Fitzroyr esidence D – Kate Challis Interiors P – Sharyn Cairns The Gertrude Street project is an unapologetically creative family home that blurs the distinction between art and design. This personable family home is a celebration of creative collaboration, inspired by the immersive interiors of grand historic European homes.

05 ImperialHot el D – Alexander &CO. P – Anson Smart Relaunching one of Australia’s most revered LGBTIQ+ safe havens, the design reimagines this cultural icon as a ‘Lost Palace’ as it continues to play a pivotal role in the greater Sydney community, while also providing an inclusive cabaret and entertainment space.

06 ImperialUp D – Alexander &CO. P – Anson Smart Conceived as an ‘Arts Social Club’, Imperial Up is a public salon referencing Studio 54 and the memories of Andy Warhol. Located on the upper level of Sydney’s iconic Imperial Hotel, it includes a 30-seat diner, cocktail bar, private dining room, lounge/dining area and exterior bar with pizzeria.

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NGV Rigg Prize ‘We’ve boundless plains to share’ D – Flack Studio and Grazia & Co P – Sean Fennessy Saturated in a golden hue, its opulence revels in the current Australian ‘golden age’. The project draws into focus the centrality of diversity and tolerance, and asks Australians to question the modern meaning of ‘We’ve boundless plains to share’.

11 Sandy Point house D – Kennedy Nolan P – Derek Swalwell Perched on the coastal dunes of eastern Victoria, this holiday house suits the family’s long association with the modest beachside hamlet. It is built from timber suitable to its bushfire prone setting and is designed to grey off and be camouflaged in its indigenous-planted setting.

12 Stillwater Seven D – Cumulus Studio P – Anjie Blair The adaptive reuse of an 1830s flourmill on the riverbanks of Launceston as luxury accommodation expands the existing restaurant footprint with sensitive alterations and additions to the mill’s upper floors to provide gallery and provedore to seven luxury suites.

13 The Benevolent Society D – Futurespace P – Toby Peet Creating a vibrant community is at the heart of The Benevolent Society’s strategic mission. With this in mind, the concept of colour in interior design as underpinning of social connectivity is central to the design outcome for both the Head Office and Community Hub. 14 The Club Stand D – Bates Smart P – Sean Fennessy Celebrating the rich heritage of the Victorian Racing Club, the Club Stand incorporates 13 different hospitality venues, via an interior design strategy that enhances views of the racetrack while distinct aesthetic personalities and colour schemes both unify and define.

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Requiring a complete overhaul, the simple brief for this 19th century homestead was to create a beautiful country home with the emphasis on country and colour via a non-precious approach that took on the persona of Kate Winslet, at home in jeans or gown.

16 The Prahran residence D – Flack Studio P – Sharyn Cairns This 1800s Victorian overlooking the Botanic Gardens has been infused with colour, texture and detail. Focusing on a bold and confident language, this magnificent home takes shape through layering of considered detail and colour with a focus on the permanent.

17 The UNSW Bookshop D – SJB P – Anson Smart The dynamic retail space distils qualities from some of the world’s best-loved bookstores into a unique design vision that celebrates the book. Block colour curved ceilings establish the distinct character of each room, while glowing peach tones signal the end of journey.

18 Wilson Asset Management D – Futurespace P – Toby Peet

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Focused on wellness, akin to a health retreat, the design takes cues from hospitality, resort and residential interiors to promote a sense of well-being and create connection. The palette is classic with a personalised overlay of artwork, planting and environmental graphics.

19 Yarra Valley house D – Chelsea Hing P – Sean Fennessy Set in Victoria’s picturesque Yarra Valley, this home’s interior and palette capture the beautiful colours in the landscape – ghost greys of the eucalypts, the washed-out greens of the grapevines, the terracotta blush of the soil and the blackened bark of the trees.

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01 Arup Melbourne D – HASSELL and Arup P – Earl Carter

06 BVN Sydney Studio D – BVN P – Brett Boardman

Showcasing a collaborative, engaging and adaptive culture, the workplace is a living, breathing community. Spread over three floors, the site is disrupted by expansive voids with mezzanines inserted to create a cascading, terraced effect resulting in five separate levels.

Given the era of disruption the architecture and construction industry is now entering the design thinks what the future of the practice may look like. To enable this new model, data is delivered from the soffit via a retractable cable fed through a pivoting arm.

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07 Cardno APAC North Headquarters D – Cox Architecture P – Toby Scott, Christopher Frederick Jones

Transforming a warehouse into a unified workplace of the future, the project posits a range of specialist environments that support the team sharing with an overall gesture referencing the super highway with polished concrete, line marking and internal street lamps.

The use of urban planning principles in an interior setting in addition to the graphic overlay shifts Cardno’s brand from corporate to personable, approachable and fun. Moments of pause are celebrated in mural format with significant projects represented in supergraphics.

03 Baker McKenzie D – HASSELL P – Nicole England This Barangaroo office facilitates a new kind of workplace for a profession perceived to be stuck in the past via a hybrid workplace that embodies the changing nature of legal practice, fostering richer engagement between colleagues, staff and clients.

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04 B:Hive, Smales Farm D – BVN and Jasmax P – John Gollings Designed to enable all possible configurations of a flexible workplace within the framework of an urban working community, the centre’s master plan recalibrates a 20th century office/park model into a new residential, retail and commercial urban precinct.

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The new workplace for this global consulting firm responds specifically to the surrounding context, with distinctive Melbourne characteristics subtly expressed throughout the design, while a variety of spaces promote different working styles fostering creativity and innovation.

08 Carmans HQ D – Ewert Leaf P – Fiona Story The former chocolate factory has been redesigned for staff amenity to include: an outdoor conservatory, communal landscaped garden, contemporary openplan kitchen and gathering space for staff, fully equipped gym, yoga studio, sleep retreat and phone booth.

09 Civilex Victoria D – Studiomint P – Peter Clarke, Armelle Habib Photography The aesthetic industrial elements, which resonate with the engineering and civil focus of the company, are balanced by the family-orientated culture, well-being and a sense of belonging intrinsic to the client. On sunny days the large doors open completely.

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David Jones and Country Road Group D – Gray Puksand P – Peter Bennetts, Tatjana Plitt Denoting a culture of sophistication and fun, with an underlying Australian element through the incorporation of locally designed and made furniture, light fittings and finishes, the design heralds David Jones while ensuring autonomy for the brand’s group of design houses.

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11 Ernst & Young wavespace D – GroupGSA P – Luc Remond, Nicole England

16 KPMG D – Woods Bagot P – Dion Robeson

Parametric modelling informed key design decisions that were directly impacted by live building data. For example, key elements such as the blade wall, consisting of 300-plus individually laser cut acrylic panels, were specifically sequenced to influence circadian light and sound.

Drawing on the site’s Indigenous significance as a peaceful no warfare zone, the metaphor of ‘burning off’ is executed with a considered material palette from evocatively smoked glass, to ashy walnut timber and deep tones of burnt-off and deep forest green and flame orange.

12 Groupe Clarins D – Unispace P – Shannon McGrath Taking inspiration from the application of cosmetics, the Heritage building is juxtaposed with a clean minimalist overlay, which acts as a canvas for decorative layers of colour, pattern and texture. The integration of brand uses bold graphics and digital expression.

13 HAVAS Village D – Hammond Studio P – Terence Chin Respectful of the Heritage envelope, the workspace is predominately open plan, with enclosed spaces designed as freestanding timber pavilions. Exposed untreated timber columns, beams, joists and exposed mechanical services reflect the original industrial use of the building.

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17 Melbourne Airport HQ D – Foolscap Studio P – Tatjana Plitt, Peter Clarke The project is a new workplace for Melbourne Airport HQ with enhanced amenity for 190 staff that encourages retention and increases well-being.

Realised through the concept of movement, the design is executed in progressive, dynamic gestures that respond to past, place and a healthy, inspiring future.

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18 Microsoft Technology Centre D – Tom Mark Henry P – Damian Bennett Creating a space for an international brand that feels truly grounded, the layered design approach speaks to the richness of the Australian environment by celebrating its complex physical form, vibrant colours and unique textures.

14 Herbert Smith Freehills D – Unispace P – Nicole England

19 P&N Bank Office D – Woods Bagot P – Dion Robeson

Facilitating a shift to an agile workspace core the spaces and workstations are configured by perimeter windows to maximise natural light. Curved lines provide softness and warmth, while a bold colour palette includes deep red, coral, forest green, teal and ink blue hues.

Sensory tools like scent and sound ensure a positive atmospheric experience while, in a first for Australia, habitat soundscaping works with visual and audio to strengthen a connection to nature.

Jack Flanagan’s Concierge piece takes abstract inspiration from the balga tree.

15 International House D – HASSELL P – Nicole England

20 Santos Office D – Woods Bagot P – Dion Robeson

A workplace that showcases the integrity and beauty of Australia’s first engineered timber building, every detail accentuates and pays respect to the quality of the building fabric, while creating an environment where the users feel welcome and energised.

Shifting away from individual offices to a curated open plan and inter-tenancy staircase encourages physical movement and chance interactions, while all work points take advantage of the natural light and direct access to vegetation with generous spaces for focus and respite.

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21 Scottish Pacific Business Finance D – Valmont P – Walters Macri

26 The Executive Centre D – Unispace P – Shannon McGrath, Damien Kook

Blurring the line between the stereotypes of tech-focused and traditionally led institutions, informal booths with mood lighting allow for private meetings in a large area, while bleacher seating overlooking Circular Quay has become a sought after area for staff to work.

Exhibiting a distinctly Melbourne look and feel, the central breakout area provides maximum connectivity between communal and private spaces, and provides opportunities for networking.

The private offices, positioned around the perimeter, adapt to space requirements.

22 Space&Co. 8 Ex D – WMK Architecture P – Rachael Dere

27 Treasury Wine Estates Melbourne D – Carr P – Sharyn Cairns

The interior language is defined by a stripping away of layers in exploration of the building’s history as an urbanised industrial aesthetic. The storytelling of segments is balanced by the elegance of selected applied finishes, a greenhouse and luxurious club lounge – The Lodge.

With hospitality at its heart, the design delivers a suite of customer-facing experiences, with the Barrel Room as the company showpiece. Darkened walls paired with the smell of aged oak and sweeping views of the city elevate wine-tasting to the enjoyable business of sharing.

23 Space&Co. L19, 2 Southbank D – BVN P – Tom Ross

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The project comprises a mix of enclosed, semi-enclosed and open workspaces dedicated to members, each with a completely hosted overlay. Amenities, perceived as an extension of the workspace, include a café, bookable meeting rooms, workshop and conference space.

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24 The Australian Ballet D – HASSELL P – Lillie Thompson Responding to the unique requirements of the dancers, the design considers emotional and psychological needs.

The connecting staircase has generous proportions to allow two ballerinas in tutus to pass without a costume disruption and mimics the ribbon of the pointe shoe.

Washington H. Soul Pattinson Workplace D – Endrim Consulting P – Toby Peet In this innovative and inspiring workplace, the beautiful clay bricks reference the old site’s internal structures, while maintaining contemporary design.

The workspace supports a variety of working styles, converging into an open, residential inspired living environment.

29 Yamaha Music Australia D – Studiomint P – Peter Clarke Incorporating the brand history, with a sense of sophistication, the multifaceted space allows for a modern office environment, to work among auditoriums, sound recording studios, AV theatre and, to top it all off, a grandiose entry and events space to welcome guests.

25 The Benevolent Society D – Futurespace P – Toby Peet

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Providing a community hub for all, the project takes a considered approach to supporting people, while showcasing the society’s distinct character. A large breakout located within the atrium facilitates a town hall setting for larger group gatherings.

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01 Ambience Office D – Studio Y P – Ben Glezer

06 Design Studio D – Studio 103 P – Jack Lovel

A playful interpretation of the optical phenomenon of prisms adds varied visual stimulation at different times of the day.

Light, as the foundation of this design, has been used as a material and artform to colour, texture, divide and create the overall sensory experience of this space.

An industrial factory in Abbotsford has become a multifunctional workspace that offers a confident combination of industrial appeal and contemporary design, where the original character of the site creates the perfect balance between functional office and design showroom.

02 Bank Street, South Melbourne D – k20 Architecture P – Peter Bennetts

07 HPA Commercial D – EB Interiors P – Prue Ruscoe

Designed around the concept of a campfire, the space is warmly welcoming with a range of communication points for discussion and idea forming. Dynamically imbued with natural and artificial light that plays across the interior, the design creates movement and a steady rhythm throughout this beautiful studio.

Juxtaposing the building’s industrial surroundings, the luxurious furnishings and joinery deliver an unexpectedly edgy corporate space. Henry Beck, designer of the London Tube map, has influenced the project through the idea of smaller, glass pods within a larger raw cube.

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Caulfield Grammar School co-working D – Studio Tate P – Sean Fennessy

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The project is an engaging, vibrant and playful co-working space for staff, students and visitors to work and interact.

The design narrative draws inspiration from the village square, which informes the textural combination of finishes, to ensure a functional and unique outcome to this Heritage building.

04 Cox Architecture Studio Brisbane D – Cox Architecture P – Christopher Frederick Jones This is a sensitive restoration of a Heritage listed 1890 studio as a creative workplace full of natural light. Formerly a warehouse for metal foundry Smellie & Co, the refurbishment conveys a journey of exploration and discovery that engages with adjacent gardens and river to deliver the Heritage as hero.

08 LJ Hooker Newport D – Alanna Smit Structural Interiors P – Deanna Gerlach Epitomising a laid back beach lifestyle, this Malibu inspired workspace is expressed through contrasting spaces, light levels and an organic palette of textured whites and blacks, with nods to mid-century modern in a careful balance of old and new.

09 King St D – Kennedy Nolan P – Dan Hocking The interior of the historic Melbourne Steamship Building on King Street in the Melbourne CBD is characterised by a balance between Heritage fabric and a fresh visual identity. The design is delivered through focused colour, rigorous texture and finish and careful lighting (functional and decorative).

05 Davidov Architects Studio D – Davidov Architects P – Jack Lovel Free flowing and unexpected, the circulation between the two main spaces adds interest and scale, through compression and expansion, refuge and prospect. Joinery is executed in a residential approach complemented by the use of natural stone, hardwood indoor plants, domestic furniture, art and sculpture.

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10 Marrickville Warehouse D – Adele McNab Architect P – Ben Hosking

15 Squad Ink D – Arent&Pyke P – Nikki To

The kitchen sets the tone of the warehouse as an open and warm space, while the Casing Boutique inspires conversation about sausage making. With capacity for cooking classes, a specially designed sausage making room, and interactive product display, the space makes butchery fun.

Effectively an anti-office that strays from the corporate, the design is exemplified by the green velvet Gubi Beetle sofa, exceptional furnishings and dark green marble-topped bar stocked with house-designed bottles. Rich, natural materials, joinery and plants coalesce as a residential/hospitality hybrid.

11 Maximus Melbourne D – Siren Design P – Cheyne Toomey Photography

16 Techn Studio D – Techn Architecture + Interior Design P – Tom Blachford

Set within a character filled building in the heart of Melbourne, the design embraces the arched windows and high ceilings of the site’s architectural heritage, which is set against industrial elements of concrete and steel, light timber floors and soft linen textures.

12 Piazza Dell’Ufficio D – Branch Studio Architects P – Peter Clarke Clad economically in cardboard tubes, the space is conceptualised as a central public piazza to reduce the visual barriers between staff and student interactions.

The control of light creates a contextual narrative referencing porticos and formal archways.

13 Polyglot D – mcmahon and nerlich P – Shannon McGrath

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Clearly expressing the practice’s philosophical goals while providing an inspiring workplace for the creative team, the design, while rigorously detailed, functional and practical, also experiments with sculptural, architectural forms, and tactile Oregon timber and waxed raw steel.

17 Woodcut Melbourne D – Mim Design P – Sean Fennessy Paired with blackened steel and concrete, the minimal palette supports the beauty of this natural product. Upon entry, charcoal logs are strewn across the charred planks of timber while blackened foliage overhead juxtaposes the bright, neon signage.

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Considered contemporary design sits comfortably within the Heritage fabric of the theatre’s new creative workspace.

Natural materials and planting provide warmth, texture and life. Heritage colours are interpreted in the new interventions and colourful boardroom pod.

14 Richards Stanisich Studio D – Richards Stanisich P – Felix Forest Every material, fixture and furniture item was considered for its depth of colour, texture and response to touch. The result brings a sense of serenity to the studio and a harmonious environment for creative thinking. Reception and meeting rooms are refined with plush dusty-rose carpets.

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Public Space

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01 161 Collins Street D – Bates Smart P – Peter Clarke

06 Darebin Arts Centre D – Sibling Architecture P – Christine Francis

Incorporating a distinct Collins Street entrance, a Flinders Lane pedestrian entrance and a repurposed atrium with a new façade, which functions as an internal oasis retreat, the redevelopment of the T&G Building beautifully befits its prestigious location.

Reimagining the existing public spaces within this active community arts venue, while giving a nod to the golden era of theatre, the public spaces tie the venue together and allow for informal and incidental performances to occur in a truly golden environment.

02 175 Eagle Street D – Cox Architecture P – Christopher Frederick Jones

07 Dream Lab D – LAVA (Laboratory for Visionary Architecture) P – Peter Bennetts

Responding to the river edge and Heritage neighbour, this ambitious transformation delivers a true blurring of genres. The space provides the intimacy of your own lounge room, the formality and service of a hotel style concierge, and the corporate amenity of a city tower.

03 2 Southbank D – BVN P – Tom Ross

Connecting the four separate rooms with a continuous ribbon, to promote creative thinking with non-linear solutions, the design transforms a Heritage 1830s cottage (a former lolly shop) in Parramatta into a dream-like, fluid, continuous space for writing workshops for young people.

Repositioning the building as a 21st century asset equipped to meet the demands of a shifting economic and social landscape, the lobby upgrade evolves space typologies and models of operation, to support changing tenant demands.

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04 Buxton Contemporary D – Fender Katsalidis P – John Gollings The project is the new home for an extensive collection of Australian art, a philanthropic donation by Michael Buxton to the University of Melbourne.

The existing Heritage built fabric remains largely intact, with alterations to meet gallery use and environmental rating requirements.

05 Dangrove art storage facility D – Tzannes P – Ben Guthrie This purpose-built state-of-the-art storage facility uses a hierarchy of dramatic interior experiences via distinct spaces in a refined material palette of concrete and blackened steel, with sculptural lighting, bespoke joinery and considered furniture selection.

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08 George Place D – Fender Katsalidis P – Anthony Fretwell, Rohan Venn Two existing towers and a Heritage building have been merged with innovative communal lobbies and pedestrian links, creating a new ‘urban room’ for the precinct and the 3500plus inhabitants who share the wellness space, cafés, retail, co-working and conference facilities.

12 The Bunker D – Studio Snell and twentysevenhundred P – Barton Taylor

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Founded on a belief that a gym must transport the user to another world, The Bunker is a gym like no other. Located in a basement, a neo-Tokyo, military survivalist aesthetic melds the grungy raw underground concrete shell with the high-tech gym facilities.

09 Green Square Library and Plaza D – Studio Hollenstein and Stewart Architecture P – Tom Roe

13 Waltzing Matilda Centre D – Cox Architecture P – Christopher Frederick Jones, Casey Vallance

This open, flexible and inclusive public space posits a fusion of building and landscape – interior and exterior, where the library and plaza is envisioned as an ‘urban living room’ for a growing community that maximises the visibility of the library programs.

The Centre is an exuberant celebration of the famous ballad, deeply connected to place using metaphors of an ancient landscape, striking forms and crafted, tactile materiality. The design draws visitors into its cool, gorge-like interiors: an immersive sequence of towering, fluid spaces.

10 Melbourne Central Arcade D – Kennedy Nolan P – Derek Swalwell Eschewing the architectural language of the conventional shopping mall, the design amplifies scale through coherent, continuous materials, while deploying pattern to add texture and grain. The robust and expressive use of steel, stone and timber adds rigour to the whole.

09 11 Play Pod D – Scott Carver and Hoyne P – Shehani Kumarasinghege The Play Pod comprises an oversized Rubik’s Cube for outdoor activation that responds to the needs of any public space. Low-cost, flexible and portable, the Play Pod is a modular, adaptable structure to suit the needs of users, while easily relocatable to activate new areas.

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01 ANZ Home D – WMK Architecture P – Ed Sloane Comprising a specialised home loan branch in Melbourne’s CBD, the essence of the design is informed by the familiarity of what defines ‘home’. The project weaves a domestic journey through a retail experience, seamlessly blending the two settings in a way that breaks the mould for commercial environments.

Working within strict design parameters, the design links the dedicated annex to the larger retail store. Maintaining the personality of the broader business while creating a strong retail landscape, the deep inky blue element sets the tone and envelops the visitor.

02 Cashmere Collection D – INK interior architects P – Michael Wee

07 Mariana Hardwick Boutique D – Adam Kane Architects P – Tom Blachford, Adam Kane

With a textural palette inspired by a dusty Australian landscape, the store is home to a collection of quality cashmere sweaters and scarves. Joinery displays are refined with simple repetition and detailing, while the overall interior has a gentle push and pull between hard and soft design elements.

Relocating from the iconic Hardwick building, the interior design reflects the contemporary direction of the brand’s future. Adopting a refined palette of textures and tones, the all-white interior provides a considered and timeless backdrop for each handmade gown.

03 Castorina & Co D – Flack Studio P – Sharyn Cairns

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06 Manteau Noir D – Carole Whiting Interiors and Design P – Danny Wootton

Providing a stage to present mid century Italian vintage furniture, the design creates a moody landscape that travels through various worlds via Italian inspired materials and modernist shapes. A monolithic brass counter sets the scene, while large circular portholes allow a view of what is coming next.

08 Mastani D – DesignOffice P – Haydn Cattach The design of the 100-square metre Melbourne boutique is underpinned by qualities of strength and beauty, providing a confident and layered environment to showcase the collection. The rhythm of the new felt-lined ceiling beams adds definition and increases the sense of depth and richness.

04 e&s Showroom D – Mim Design P – Peter Clarke Showcasing over 50 brands, the design offers a reminder that to experience an object is worth more than an online visit. The interior is both relaxed and sophisticated and, while highlighting the brands, also allows the customer to make informed choices within a beautifully curated environment.

05 Gaggenau Melbourne D – Carr P – Earl Carter, Samara Clifford Photography Colours are dark and brooding; light is purposeful; detailing is exquisitely resolved. In the product gallery, monolithic, black-mirrored towers and a constricted floor plan reference the trunks of the dense Black Forest of Gaggenau’s origins. In this intimacy, products are at first hidden from view.

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09 Ownworld Showroom D – Arnoldlane P – Nicole England This is a tranquil showroom environment to experience the various product ranges with appeal to the architectural, design and broader community. The balanced space enhances the showroom experience and office function, while easily adapting to suit product launches.

10 Skheme Showroom D – Skheme and GP2 Projects P – Nicole England Providing a working balance between physical displays and digital information, the showroom utilises large display slides and in situ wall/floor displays for accurate visual representation. Agile interchangeability allows instant updates to keep up with architectural and design styles.

11 Storey Timber D – Flack Studio P – Sean Fennessy Creating an interior where clients can gently discover products, a large custom pink table was introduced, as was a bar.

Concurrently, multiple clashing materials showcase the products’ relationship with hard and soft materials. A wall was created for sample boxes.

12 StylecraftHOME Melbourne D – HASSELL P – Nicole England Using a residential language, the design delivers an aspirational and inspirational retail environment. Realised as a set of elements – arches, mesh, garden, timber, stepped and skylight – each iteration (Sydney and Melbourne so far) is signatured to location while wedded to brand.

13 Subtype D – Noise Noise Noise P – Arnaud Domange Defined by an industrially space-age aesthetic, Subtype showcases distinctive details, including hidden installation rooms equipped for the most left of field visual merchandising concepts, a photography studio and sneaky joinery details that show thoughtfulness and a sense of humour.

15 The Blow D – Tecture Architecture and Interior Design P – Damien Kook

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Designed as the physical embodiment of brand personality – fresh, fast, feminine, bold and modern – colour blocked pink and white is punctuated by red accents and moments of humour, combining with screening elements to define the compact floor plan.

16 The Horse D – We Are Triibe P – Terence Chin Inspired by the client’s tagline ‘magnifying the essential’, The Horse flagship store embodies the brand’s relaxed and welcoming essence. A sense of playfulness was introduced through the use of natural textures, warm tones and pops of vibrant yellow.

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17 The Muse D – Bruce Henderson Interiors P – Shannon McGrath For a development comprising 42 residences over 14 storeys, the display suite located over two levels includes fully detailed prototypes of the kitchen and associated butler’s pantry and scullery, as well as a full en suite and dressing room designed in a showroom format.

18 The UNSW Bookshop D – SJB P – Anson Smart

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This dynamic retail space distils qualities from some of the world’s best loved bookstores into a unique design vision that celebrates the book. The most evocative material in the project palette is the book itself, which becomes the walls of each space.

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Tongue n Groove Flagship Showroom D – Tobias Partners P – Anson Smart Reinventing the showroom experience as a playful display of engineered, solid European oak boards on the floor, walls and ceiling, the space acts as a stage to showcase the product’s potential, and design flexibility, while being entirely open to the street.

14 TarraWarra Museum of Art D – Fiona Lynch P – Sharyn Cairns

20 Zowie Evans Hairdressing D – Cheah Saw Architecture P – Trevor Mein

Sculpted around the significant architectural language of the museum, the gallery foyer gives definition to the expansive multi-use space – positioning the retail experience as a curation of art and objects. Local artisancreated displays embody the adventurous spirit of TarraWarra.

This intervention posits a densely packed series of coinciding events, where joinery transformation allows changing spatial definition to be determined by activities, including: stage for teaching, stations for stylists to work in collaboratively or individually, gallery and demonstration venue.

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Australian Catholic University Mercy Building D – ThomsonAdsett P – Alicia Taylor

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The building is a community landmark at the Banyo campus that embraces ACU’s vision and ethos, where character, wholeness, humanity and innovation were the key drivers. Paying homage to the site’s significance, the project includes new learning and staff spaces and a library expansion.

Understanding the unique challenges of the complex, the response includes an abundance of natural light, views through to calming trees for visual respite from intricate and intense work, art including large commissioned pieces and a range of contemplative spaces.

02 Brainpark D – Splinter Society Architecture P – Jack Lovel 08

Heralded by the giant brain, Brainpark in Monash University facilitates neuroscience research into brain plasticity in addictive compulsions. The design combines cutting edge technology with real-time biofeedback in a comfortable, inspiring, non-clinical environment.

03 Corpus Christi College Theatre D – EIW Architects P – Silvertone Photography Both striking and elegant, the design utilises an Equitone ‘Linea’and flat profiles, cut into a triangular pattern on the façade to give a unique texture to the theatre, while Tasmanian oak has been used extensively, and in many ways, towards a unique interior.

09 04 Curtin Think Space D – Arcadia Design Studio P – Dion Robeson The project is a flexible, collaborative space situated at the heart of the Curtin University campus. Borrowing from Neo-futurism and the works of Archigram and Superstudio, it posits optimistic speculation with saturated colour inspired

by Archigram’s bold imagery.

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Deakin University School of Medicine, Optometry Clinic D – Bourke and Bouteloup Architects P – Tom Ross

Forensic Medicine and Coroner’s Court Complex D – Silver Thomas Hanley and Cox Architecture P – Tyrone Branigan

07 Green Square Library and Plaza D – Studio Hollenstein and Stewart Architecture P – Tom Roe Located at the heart of Australia’s largest urban renewal precinct, the library and plaza provide a flexible and inclusive public space, a fusion of building and landscape, with the interior and exterior envisioned as an ‘urban living room’ for a growing community.

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Kwong Lee Dow Building, Level 1 at University of Melbourne D – PTID and University of Melbourne P – Gallant Lee Photography Reborn from a car park into an integrated facility of endless configurations, the Kwong Lee Dow Centre is a multipurpose environment combining student spaces with flexible learning environments that are reconfigurable from examination venue to learning instantaneously.

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Mentone Grammar School, Keith Jones Learning Centre D – Hayball P – Emily Bartlett The adaptive reuse of an existing gymnasium delivers innovative education facilities with a strong focus on student well-being. A collaborative approach to architectural, interior and landscape design allows strong, clear concepts to be carried seamlessly throughout.

Contextually aligned with the bamboo panels of the main area, the clinic acts as an extension of the public area, while creating a warm atmosphere. The panels’ perforations, with an array of varying circles, reference the Ishihara test and define this unique space.

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Institutional

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NICM Health Research Institute, Western Sydney University D – Gray Puksand P – Robert Walsh

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Bringing together a plethora of disciplines for collaboration and cohesion of people, practice and place, this new typology facilitates a variety of students, researchers, academics, teaching staff, clinicians and members of the public to undertake a diversity of activities.

Representing an evolution in fashion design pedagogy, much of the space and learning experiences simulate commercial cross-discipline practice spaces, enabling students to work collaboratively, while the floor itself is used as a site of exhibition, performance and display.

11 Orygen and OYH Parkville D – Billard Leece Partnership P – Ian ten Seldam The project is a youth mental health and research facility championing inclusive and universal design, where everyone is safe, welcome and empowered. Spatial planning, warm materiality and home-like spaces challenge perceptions about what mental healthcare looks like.

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Our Lady of the Assumption Catholic Primary School D – BVN P – Brett Boardman, John Gollings, Stefan Hefele Comprising spaces that invite imagination, innovation and support independent learning and well-being, the project reuses a rundown 1970s Brutalist building and includes the addition of a four-storey atrium, a new hall, arts space, balconies and rooftop playgrounds.

RMIT University School of Fashion and Textiles City Campus D – Spowers P – Tatjana Plitt

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RMIT University, School of Global, Urban and Social Studies (GUSS) D – Spowers P – Tatjana Plitt Consolidating the School of Global, Urban and Social Studies into RMIT’s iconic Edmond and Corrigan Building, an urban design context underlines the narrative used to unlock the spatial challenges of the vast floor plan, while natural light pervades the whole.

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St Luke’s Aged Care – Lulworth House D – Gilmore Interior Design P – Amie Baines In a stunning architectural vestige and surrounded by impressive gardens is the newly refurbished residential aged care on the third level of St Luke’s Hospital.

The main building provides a temporary site offering premium accommodation during the current overhaul.

Presbyterian Aged Care – The Scottish Apartments D – Gilmore Interior Design P – Richard Drew

18 The Ian Potter Southbank Centre D – John Wardle Architects P – Trevor Mein

In the former Scottish Hospital, a mid19th century building with Georgian roots, the design posits a harmonious balance between the building’s unique heritage and contemporary design solutions via an interior that residents can adapt and customise.

Outwardly focused and inviting, the building balances the concentration required of students with camaraderie and social engagement. The Green Room of the arts, it is a place to rub shoulders with fellow musicians and the milieu of the wider campus and precinct.

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14 South Melbourne Primary School D – Hayball P – Dianna Snape The school is the first government-funded vertical school in the state of Victoria.

Developed within the context of innerurban regeneration, it is an exemplar of contemporary education design, and true example of integrated learning and a resource hub for the whole local community.

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Object, Furniture & Lighting Professional

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Object, Furniture & Lighting – Professional

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01 Acrobat luminaire series D – Porcelain Bear P – Sam Slicer Acrobat is a family of luminaires characterised by simple, elegant geometry, visual tension and softly diffused LED light. The light is softened and diffused through highly translucent porcelain sleeves, which extend beyond the main body of highly finished electroplated stainless steel.

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Chameleon by Adam Goodrum for NAU D – NAU P – Large Arts Named for its ability to adapt to its environment, the Chameleon is an agile structure that takes commercial configuration to new levels. Its range of articulated features offers limitless dimensional, typological and aesthetic table solutions within a singular design language.

03 AVISOar mchair D – SKEEHAN x STELLEN P – Fiona Susanto, Jem Cresswell, Saini Copp, Emen

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Inspired by yacht design and boat building techniques AVISO is an armchair of generous proportions and clean controlled curves. A minimal frame defines the sculptural silhouette, while natural materials and exceptional craftsmanship build a tactile experience.

06 Coast – Malibu dining table D – Daniel Boddam Architecture & Interior Design P – Kelly Geddes, Andy Macpherson Representing a connection with nature and freedom the Malibu dining table offers a reinterpretation of the classic surfboard shape. Carved from solid oak with sumptuous edges, it brings a sense of the beach indoors, while clearly inviting and welcoming touch.

07 ETOd esk D – Tom Fereday for King Living P – Fiona Susanto A unified desk designed to appropriately consider how people work today, this is the first one in the world to offer interchangeable lighting and charging accessories. The desk integrates power, wireless charging and lighting into one sophisticated minimal design allowing full customisation.

08 Hemera D – Ross Gardam and New Volumes P – Sean Fennessy, Haydn Cattach Like the Brutalist architecture that it references, the Hemera desk lamp is powerful in its simplicity of form.

Featuring two solid circular volumes of stone, which intersect with no visible light source, the design delivers a striking desktop monolith that appears to emit light naturally.

04 EcousticS culpt D – Instyle P – Large Arts Sculpt is an elegant acoustic ceiling tile system that is easy to install into new and existing spaces. The unique patented system can be easily customised or available in a range of striking designs, and achieves superior acoustic performance due to its shape, construction and raw materials.

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05 Coast – Kelly chair D – Daniel Boddam Architecture & Interior Design P – Kelly Geddes, Andy Macpherson Evoking the landscape, Coast is inspired by travel, adventure and freedom.

Designed to bring a sense of calm, the Kelly chair is an indoor sun lounger that enables maximum airflow and comfort for a tropical environment. Well proportioned, it is ideal for slouching.

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Object, Furniture & Lighting – Professional

09 HoneyColle ction D – Coco Flip P – Haydn Cattach

14 Nebulae D – Ross Gardam P – Haydn Cattach

Honey is a new collection of sculptural lighting that explores themes of fluidity and transparency. Utilising slip cast ceramic stoneware, turned timber and hand-blown glass, the project is a celebration of local craft with a nod to a stylised Art Deco sensibility.

Taking its name from the natural phenomena of interstellar clouds and their dynamic layered lighting effects, the Nebulae Collection explores the diffusion of both natural and LED light.

The geometric machined forms, coupled with the fluid glass discs, create balance between elements.

10 J19 D – Beatrix Rowe Interior Design P – Shannon McGrath The pieces in the J19 range of handmade objects are designed to be simple forms sitting quietly within a space, creating a visual rhythm as they interact with each other and their surroundings.

They are both versatile and movable, possessing a changeability that plays with light and shadow.

11 JasperII D – King Living P – Chris Warnes, Josh Evans, Felix Forest Jasper II is an exceedingly comfortable storage sofa, yet the options for customisation include a state-of the-art media console, plug-in tables in timber veneer or Carrara marble, clever tech integration with wireless charging for mobile devices, plug-in lights, speakers and shelves.

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15 Tableau D – DesignOffice and Cantilever Interiors P – Haydn Cattach, Dan Hocking Bridging the gap between procurement of custom joinery and the assembly of a predetermined kit of parts, Tableau offers a component-based kitchen system of two primary elements: Block and Bench, which can be joined together and are supported by Shelf and Store.

16 Tre Mezzo stools D – Biasol P – James Morgan, Derek Swalwell Comprising versatile stools for indoor and outdoor spaces, Tre Mezzo is conceived as an in between range for casual, flexible and informal use. The three-legged seating collection combines strong, geometric forms and crisp, clean lines with robust materials that ensure longevity.

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Mochi lounges by Elliot Bastianon for DesignByThem D – DesignByThem P – Pete Daly Consisting of upholstered pillows pressed into a timber frame, each piece is visually engaging from all angles. Locally made, Mochi armchairs, lounges and booths comprise a furniture range that explores the relationship between soft and hard materials for the home and workplace.

13 NAVEColle ction D – SKEEHAN studio P – Charlie White Inspired by architectural drawings of timber framed boats and expressionist Bauhaus artwork, the collection uses the minimum structure required to support the upholstery treatments as a continual silhouette in a material-driven narrative celebrating Australian manufacturing and flexibility.

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Object, Furniture & Lighting – Professional

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Object, Furniture & Lighting – Rising

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D – Studio Ephebe P – Pauline Tsolos

06 Democracy of Shapes D – Eva Novakova – Penocze P – Martin Chum

Individually crafted in Melbourne, each jewellery-like piece of functional sculpture and collectable design is uniquely created to evoke intimacy through the oyster-like form that borrows from nature a wild beauty that is art-byday and light-by-night.

This tableware series displays perfect proportion, balancing sterile functionalist form with surreal appearance. Kiln cast from waste glass, the design incorporates applications for industrial producers to absorb waste materials for repurpose into production items.

02 ApresCar t D – Dean Toepfer P – Dean Toepfer, Andre Castellucci

07 Espressflow D – Donnenfeld P – Eial Donnenfeld

Apres is an architecturally inspired, contemporary take on the traditional drinks trolley. Shape and line relations are explored, as are manufacturing techniques (tube bending and CNC routing) and mixed materials including steel tubing, American walnut and Marblo.

Specifically designed for the at-home coffee machine, the design features a slope proportional to the gravitational constant, causing coffee to flow smoothly without creating air pockets in the crema. Espressflow was created using a 3D ceramic printer to show the raw creation process.

03 Bar-code drinks cabinet D – Eamon Riley P – Eamon Riley, J Forsyth A curiosity of a drinks cabinet with an enticing spy-through façade consists of 62 individually cut and cored pill shapes, which are subtly used as a motif throughout. Bar-code uses reclaimed Australian timbers with no nails or screws used in construction.

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04 Candy D – Jack Balfour Ceramics P – Christopher Sanders Candy is controlled, formed and finished in the hand; the motion of the potter’s wheel renders each object a unique celebration of materiality, pure form and colour. Approaching design on a small batch level has afforded a personal connection in the refinement.

05 Colonnade D – Formacy P – Martin Cedes

08 FenceS itter D – Sarah Brooke P – Sarah Brooke This steel expanded mesh bench takes a bubbly and playful approach to a traditionally industrial material. Through investigations into various rolling and TIG (tungsten inert gas) welding processes maximum robustness was achieved with minimal use of material.

09 Loopdey Tonielle Dempers Matt Biocich, Michael Tartaglia Derived from a children’s toy, this task lamp takes qualities of childhood play and incorporates them into a lightweight, versatile product. Playing with the design allows light to be directed where necessary. Designed for disassembly, every element can be taken apart and recycled.

This is a stackable metal indoor planter box that is inspired by ancient Roman aqueducts. Available in two modules with narrow and wide arches to allow a variety of combinations and heights, the design marries classical architectural shapes with the beauty of nature.

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Object, Furniture & Lighting – Rising

10 Loopdey side tables D – Tonielle Dempers P – Matt Biocich, Michael Tartaglia

15 PURE D – RZ interiors P – RZ interiors

These tables take their cues from childhood fun, which is expressed in the playful details and joinery. Using materials of mild steel and timber table tops of rock maple and American oak, the minimal side tables are designed for disassembly – every element can be recycled.

PURE (Pure Unity Round Equality) the round table unites people and is democratic, where everyone is equal.

Made of pure solid American white oak top and a powder-coated steel base, the table is finished with hard wax oil and is available in a variety of finishes.

11 Mr.Z D – Joandita Centika P – Joandita Centika

16 Re.Bean coffee stool D – Kristen Wang Design P – Naveed Farro

Mr. Z takes its inspiration from the everyday gestures: that is, a bedside table lamp that explores the notion of falling asleep. Mr. Z tells a story of ourselves; it expresses excessive daytime sleepiness and recalls a classroom nap and a certain state of mind.

The locally handcrafted design explores a sustainable material sourced from locally collected coffee ground waste and other coffee industry waste. The project, featuring a unique smell and tactility, is 100 percent biodegradable and generates no waste.

12 Oceania D – Simon Haeser P – Paule Scantlebury

17 Shardm irror D – Special Things Furniture Colin Whitehead

Inspired by Australia’s coastlines, the form, functionality and aesthetics of this couch were designed to suit two people comfortably, while being ergonomically correct. Using high-quality materials from local suppliers, the design supports local industry and sustainable manufacturing.

Through a production process that combines technology and craftsmanship, the Shard mirror can be created in a wall mounted or free stand version. The organic and visual design is derived from the combination of a random bevelled edge and plain mirrored section.

13 one.two D – ty designs P – Stuart Cox

18 TOO D art D – TOO designs P – Thomas Gouws

This is a bespoke collection of noisereducing pendants. The curvaceous fluted design, composed of 12 fins, is contrasted against Scandinavian-inspired designer plywood support rings. The sustainable sound-absorbing textile provides attractive and functional noise mitigation.

A geometric wall art system that consists of blank metal canvases with a variety of kits in different shapes and colours.

Developed by two architects, TOO designs’ aesthetic is characterised by clean architectural lines and bold, simple geometric shapes.

14 Palpt able D – McFarlane Furniture P – Aldo Dezani

19 Torquelam p D – University of Western Australia P – Tyran Hanlon

The Palp table encompasses gentle curves with strong form and figure. The approach to this design was to challenge subtle details and softness with a robust character. The original figure was derived from the forms of an arachnid giving the leg shape a somewhat creature-like stance.

By rolling the lamp about its base, the light can be directed in any direction desired – aiding in performing tasks or providing variable ambient light. The product’s switch is incorporated into the design through concealment below the colourful disk in a manner that complements its playful nature.

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International 03

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International

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01 Caravan2: 0 D – Flack Studio P – Sharyn Cairns L– Seoul, South Korea

06 ShibuyaA partments D – Jackson Teece P – Second Wind, Shinji Hiraga L– Shibuya, Tokyo, Japan

Located in Gangnam, Seoul, Caravan 2:0 references 1950s Italian design through layered elements of the hand-made, craft and texture. Powder blue Featherston Scape chairs, custom artwork and Flack Studio designed lighting and joinery converge with aplomb.

The 39-storey residential tower, Park Court, provides a sanctuary from energetic Shibuya with understated interiors inspired by Japanese snowfields, accentuated with natural materials of timber, marble and brushed nickel while hints of colour enliven the space.

02 GreenwichGr ind D – Biasol P – Handover L– Greenwich, London, UK

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Contemporary colour and detailing infuse the Heritage building with distinct areas defined by the original infrastructure. The cocktail bar features a deep turquoise blue backdrop and elegant stools, while pale pink banquettes wrap around the front of the restaurant.

03 MantabWor kplace D – S/LAB10 P – Heartpatrick L– Kuala Lumpur, Malaysia

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The Legacy House – Rosewood Hong Kong D – BAR Studio P – Edmon Leong L– Hong Kong This project is a dining concept within Rosewood Hong Kong that features a Chinese restaurant and seven luxurious and intimate private dining rooms. Channelling traditional Chinese hospitality, the interior design is highly sophisticated, but with an eclectic, slightly nostalgic overlay.

Intentional mismatches are articulated in the design’s volumetric handling of spaces, as well as the contrasting play of colours, textures, materials and complementary custom detailing. The result is a confident, bold architectural presence and visual identity.

04 Over/UnderKios ks D – Woods Bagot and Kammetal P – Brooke Holm, Luka Gavasheli L– New York, US A solid block split by a sinuous curve to achieve two complementary volumes.

Over, provides shade while the Under volume has a green acrylic roof that filters light and alludes to the Heineken brand. Standing at 10 feet tall, each comprises 800 aluminium cylinders.

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05 SiblingEs presso D – Travis Walton Architecture P – Elisa Watson L– Seminyak, Bali, Indonesia A hole-in-the-wall concept where Melburnian devotion to the perfect coffee drives a design response, and where customer connection to the barista and showcasing the brew defines the experience. Branding integrates via subtle plays of materiality and shadow.

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Event

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Event

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DENFAIR Speaker Space and Lounge D – Arthur Koutoulas Design P – Paul Gosney, DENFAIR

06 Julian Opie: Studio for Kids D – National Gallery of Victoria P – NGV Photographic Services: Predrag Cancar

Exploring the boundaries between furniture and architecture, the lounge presents a soft sculptural installation that offers an immersive experience to the audience and flexible seating/meeting scenarios, while blurring distinctions between sculpture and furniture.

Presented alongside a major showcase of work by British artist Julian Opie, this interactive exhibition is especially designed for children. Referencing Opie’s bold portraiture and interest in drawing, the exhibition activities were developed in collaboration with the artist.

02 Design Canberra Festival 2018 D – Design Community P – 5 Foot Photography

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Comprising a mini exhibition in the Canberra Centre showcasing local designers, the project reuses and reimagines the display joinery that was originally designed for the 2017 festival to create a striking and sustainable new look and bring real value without a large budget.

03 Dust D – Liminal Spaces & Dancenorth P – Dianna Snape

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Enabling space to be defined and unravelled through the dancers’ interaction with the manipulable installation, the deceivingly minimal design begins as a monolithic wall, before transforming to play a critical role in enriching and amplifying the narrative of performance.

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Escher X nendo: Between Two Worlds D – National Gallery of Victoria and nendo P – Takumi Ota Surveying the work of Dutch artist MC Escher in dialogue with the work, and spaces designed in collaboration with acclaimed Japanese design studio nendo, the exhibition reveals the mastery of both practices, while bringing together art and contemporary design.

NGV Rigg Prize – ‘We’ve boundless plains to share’ D – Flack Studio and Grazia & Co P – Sean Fennessy The project draws on the lines from the Australian national anthem – ‘We’ve golden soil and wealth for toil’, and ‘ For those who’ve come across the sea, we’ve boundless plains to share’ – to discuss contemporary Australia through the lens of domesticity in a dialogue of art and design.

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Simone Haag X NGV Art of Dining 2019 D – Simone Haag P – Dylan James Taking inspiration from The Banquet of Cleopatra by Giambattista Tiepolo, the design reinterprets one of history’s most decadent dinner parties. Colour and pattern are paramount to the design, while ceramics, lighting and objects form a sculptural centrepiece.

09 Welcome to Wasteland D – Friends & Associates, Mr Kyle Mac, More Studio and Natalie Turnbull P – Josh Robenstone, Kristoffer Paulsen The exhibition presented projects by creative disciplines exploring the use of waste materials, while offering visitors an insight into how leading practitioners are approaching Australian waste issues, not just with a sense of obligation but as an opportunity of crisis.

05 Home: Feast, Bathe, Rest (NGV) D – Arent&Pyke P – Felix Forest, Shannon McGrath A conceptual take on ‘Domestic Living’ as the embodiment of soulful well-being, the design communicates an emotional response to a well-designed home, removed from its literal context into a gallery environment to engage with those unaware of the power of interiors.

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2019 Shortlist

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Sustainability

01 Brick and Gable house D – Breathe Architecture P – Ben Hosking, Tom Ross C– Residential Single

06 Garden Bunkie D – Reddog Architects P – Christopher Frederick Jones C– Residential Single

11 Piazza Dell’Ufficio D – Branch Studio Architects P – Peter Clarke C– Workplace under 1000sqm

Recycled and locally sourced materials include Tasmanian oak floorboards, Australian blackbutt timber veneer and bricks. The single, utilitarian material enabled building and budget efficiencies and a single trade that reduced waste and material consumption, but also money and time.

Passive design principles are paired with natural materials for framing, sustainable timber cladding and screens, plywood interior and sandstone retaining walls.

There is also a social sustainable aspect in terms of accommodating visitors with a ‘work from home’ space and a possible second dwelling.

Economically clad in cardboard tubes ($2.50 each) that bring a rich textural warmth while being fully recyclable, the interior space is conceptualised as a central public piazza to reduce visual barriers between staff and student and encourage informal initial chats towards student well-being.

02 BVN Sydney Studio D – BVN P – Brett Boardman C– Workplace over 1000sqm

07 GB house, Sydney D – Renato D’Ettorre Architects P – Justin Alexander C– Residential Single

12 Redfern warehouse D – Ian Moore Architects P – Rory Gardiner C– Residential Single

A strategy of user-reconfigurable, fully mobile furniture provides a futureproofed solution, while the fibre optic and boom solution reduces one copper cable per desk to one fibre optic per eight desks. A move to Citrix provides greater flexibility and reduces heat output and subsequent air-conditioning energy load.

A north-easterly aspect, passive cooling and heating, evacuated solar tubes for hot water and under-floor heating, solar panels, rainwater harvesting, the integration of gardens on roofs and courtyards, robust materials employing structure as finish, and energy efficiency underpin the project’s sustainability.

The project features original brick shell and timber trusses, high-performance glazing, external adjustable aluminium louvres, photovoltaic panels with two battery storage locations, evacuated tube solar hot water, electric vehicle charging point, rainwater harvesting tank plus hydronic radiators and underfloor heating.

03 Cox Architecture Studio Brisbane D – Cox Architecture P – Christopher Frederick Jones C– Workplace under 1000sqm

08 Green Square library and plaza D – Studio Hollenstein and Stewart Architecture P – Tom Roe C– Institutional

13 Waltzing Matilda Centre D – Cox Architecture P – Christopher Frederick Jones, Casey Vallance C– Public Space

Achieving five-Star Green Rating, sustainable features include storing rainwater beneath the plaza for irrigation and reuse, passive irrigation via surface collection drains, drought-tolerant plants, and a displacement ventilation system hidden behind the library bookshelves to reduce energy consumption.

The thickness of the walls and external spraycrete adds thermal mass to mitigate extremes of outback diurnal temperatures and allows the mechanical systems to operate efficiently, conserving precious energy. Locally batched concrete is seeded with local gidgee and opal stones.

09 Nth Fitzroy by Milieu D – Flack Studio and Fieldwork P – Sean Fennessy C– Residential Multi

14 Welcome to Wasteland D – Friends & Associates, Mr Kyle Mac, More Studio and Natalie Turnbull P – Josh Robenstone, Kristoffer Paulsen C– Event

Freeing the Heritage perimeter from the built form, the original sash windows open during cooler months and the studio is naturally ventilated nine months of the year, reducing energy usage by 70 percent. Waste has been reduced by 80 percent by embracing technology such as writable screens.

04 Dust D – Liminal Spaces and Dancenorth P – Dianna Snape C– Event Maximum impact with minimal resources: the palette was restricted to readily available black MDF that will conceal knocks and does not require painting. These are screwed together to form boxes, allowing dismantling and reuse, while the encompassing cover is a reusable Lycra fabric ‘sleeve’.

05 Elemental house D – Ben Callery Architects P – Dave Kulesza, Jack Lovel C– Residential Single Form and passive solar design, coupled with thermal performance, deliver a house that is completely self-sufficient – producing all of its own electricity and water. A wood fire and one single reverse cycle air-conditioner provide the heating and cooling, while all materials are sustainably sourced.

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Sustainability has been considered in every aspect, to include: rainwater collection, solar electricity for communal spaces, operable shading screens, exposed concrete ceilings to improve thermal performance, cross-flow ventilation through the communal courtyard and bike spaces for every apartment.

All projects were manufactured locally using Australian waste streams (Public Office explored digital waste) with no printed collateral, all queries led to the solar-powered website, exhibition signage was printed directly onto walls, and there was hand-pumped alcohol and BYO cup on event night.

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Our Lady of the Assumption Catholic Primary School D – BVN P – Brett Boardman, John Gollings, Stefan Hefele C– Institutional Optimally sustainable, the 1970s concrete building features the addition of a masstimber structure, while the entire building is enclosed with a high-performance CLT envelope and highly insulated (R-4) zinc cladding façade, with double-glazed, airtight high-performance timber/ aluminium windows.

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Endrim Consulting Established 2017 08

Adam Kane Architects Established 2015 02

Bruce Henderson Interiors Established 2018 05

Carole Whiting Interiors and Design Established 2016 06

INK interior architects Established 2014 09

Adele McNab Architecture Established 2018 03

Arcadia Design Studio Established 2016

Dean Dyson Architects Established 2017

Kate Challis Interiors Established 2015

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Emerging Designer

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Nina Mayer Interiors Established 2016

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PLUS (Interior Design) Established 2016 14

STUDIO CD Design Established 2017 17

Noise Noise Noise Established 2017 Tecture Architecture & Interior Design Established 2015

Simone Haag Established 2015

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Designer of the Year Again, the entries submitted to IDEA 2019 were outstanding in every aspect and the six practices showcased here for the Designer of the Year award each presented an exceptional body of work. Congratulations to those who have been nominated. Your talent, creativity and innovation place you at the apex of your profession and we applaud you all.

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01 Alexander &CO. D – Imperial Hotel P – Anson Smart

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02 Flack Studio D – The Ivanhoe residence P – Sharyn Cairns, Caitlin Mills

03 Arent&Pyke D – Villa Amor P – Anson Smart

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Designer of the Year

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04 Kate Challis Interiors D – Fitzroy residence P – Sharyn Cairns

05 Kennedy Nolan D – Sandy Bay house P – Derek Swalwell

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06 Mim Design D – Nineteen at The Star P – Sean Fennessy

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2019 Shortlist

Gold Medal

IDEA 2019 comprises many special awards and one of the most prestigious is the Gold Medal award. This accolade is given as a tribute to those who have contributed their talent to enriching the design landscape of Australia. It is bestowed in recognition of those practitioners who have worked tirelessly throughout their careers to achieve the greatest heights and in so doing have influenced their industry in ways that are both enduring and iconic. Last year’s recipient of the IDEA 2018 Gold Medal Award was the exemplary husband and wife team Sandy and Peter Geyer and a video is available to view on ADR. We look forward to announcing the winner of this year’s award at the gala party in November in Melbourne and hope that you will join us to share the moment when we recognise a life full of achievement and applaud the recipient of the IDEA 2019 Gold Medal.

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above—IDEA 2018 Gold Medal winners Peter and Sandy Geyer with Gareth Krost

2/09/19 1:22 PM

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