In every conversation we ’ ve had with the remarkable individuals featured in this edition of our Journal, there’s an undeniable thread of gratitude woven through their words; a deep appreciation for the rare opportunity to express themselves in ways that bring profound joy to others They don’t just create; they challenge norms, push boundaries and, in doing so, they find an abundance of self-satisfaction
We are in a remarkable era, one where inspiration can be found in every direction and where our actions have the power to ripple across the globe The ability to make a meaningful impact is no longer bound by physical borders or traditional paths; it’s defined by our willingness to explore, create, and connect in ways that transcend the ordinary
My personal journey over the past few years has been a testament to this After over two decades in the building industry, a craft passed down through generations in my family, I could have easily believed that my life would always revolve around construction But life, in its beautiful unpredictability, had other plans After years of global and personal exploration, I now find myself meditating daily and sharing this practice within the construction industry. Who would have imagined that meditation and construction could coexist? And yet, here we are - two seemingly opposite worlds converging to bring about change in an industry deeply rooted in bravado and toughness
This convergence has ignited a fire within me; a passion for change, a drive to raise awareness, and a commitment to positively impact even just one life The satisfaction I find in witnessing individuals overcome their own challenges and traumas is immeasurable
As you delve into the interviews and stories within this edition of our Journal, I hope you find inspiration to reflect on your own journey Discover what truly makes you smile, what drives you forward, and what mark you wish to leave on this world
Ben
RAMA ARCHITECTS
ACONVERSATION WITHTHOMAS MARTIN
IN THE REALM OF RESIDENTIAL ARCHITECTURE, RAMA ARCHITECTS STAND OUT FOR THEIR INNOVATIVE AND TIMELESS DESIGNS THE DEDICATED TEAM OF ARCHITECTS AND INTERIOR DESIGNERS, LED BY A PASSIONATE DIRECTOR THOMAS MARTIN, SKILLFULLY COMBINE TRADITION WITH MODERNITY, CRAFTING HOMES THAT ARE BOTH FUNCTIONAL AND VISUALLY STUNNING THEIR COMMITMENT TO PUSHING BOUNDARIES, INTEGRATING WELL-BEING, AND PRIORITIZING SUSTAINABILITY SETS THEM APART AS LEADERS IN THE FIELD THIS PIECE DELVES INTO THEIR DESIGN PHILOSOPHY, NOTABLE PROJECTS, AND THE COLLABORATIVE SPIRIT THAT DRIVES THEIR CREATIVE PROCESS.
Can you tell us about what you do and why you do it?
We are a team of seven Architects and Interior Designers at Rama and we focus on high-end residential houses As the Director of Rama, my role includes a bit of everything from design, council and consultant coordination, project management, team management and everything in between I enjoy architecture because I love seeing a creation come to life. And when you see other people enjoying your creation, it’s incredibly rewarding It’s a bit like cooking a meal, following a recipe, executing it and enjoying it once it’s finished Architecture brings me similar satisfaction
Your practice thrives on innovation and pushing boundaries Can you share a recent project where you felt you truly broke new ground? Were there challenges you faced throughout the process, and if so, how did you overcome them?
With our 'M House' project in Clareville, we pushed ourselves with an ambitious Brazilian Modernist form designed using concrete, tallowwood timber, glass and stone This home was designed to fit its place on the water’s edge, among endangered gum trees within Sydney’s warm summer and cool winter climate The home is adorned with green roof planting to help with insulation but also to blend the structure into the landscape creating a recessive design This design deviated from many of our coastal weatherboard designs around Sydney’s Northern Beaches We were thrilled 'M House' was rewarded with several shortlist nominations within Australia’s most respected Architecture and Design circles.
The other project that broke new ground was an ‘alterations and additions’ project in Bilgola Plateau where we re-imagined and re-purposed an existing home The challenge was bringing a dated and disconnected house into the modern era largely using texture and shape The home resides above an ancient forest of Angophora trees with views out to Pittwater 'Plateau Project' embodies natural tones and materiality reflecting the land around it An internal palate of micro-cement and raw concrete draw warmth, reflecting light Plateau Project is punctuated by texture and angles – solid, soft, bold and light. Curves and lines, confinement and expanse collaborate to create a bold statement of opposites whilst creating cohesion and fluidity at the same time
The most common challenges we see on all projects are derived around three topics - cost, time and quality With M House and Plateau Project the Covid pandemic and the ‘La Nina’ weather event created unique challenges for us
Managing variables that were out of our control and keeping our commitments to delivering the projects on time, within agreed cost parameters without compromising on quality was challenging I’m a big believer that communication and transparency is paramount to the success of a project There will always be challenges and stressful moments in construction, but the best way to overcome these for the benefit of everyone is just to talk - put it out in the open and get through it as a team.
Your work explores a variety of styles, from traditional coastal homes to modern structures. How do you approach maintaining your design principles of simplicity, balance, scale, and proportion across such diverse projects?
We feel confident designing different styles of homes that reflect our clients desires from container houses, weatherboard coastal homes to modernist structures Architecture is a delicate dance between the client’s wishes and sometimes innovative or new directions some clients are hesitant to take At the end if the day it's an exercise in trust Some clients are happy for us to present designs that are different, bold and boundary pushing and those are the projects that not only risk the most, but also pay off with the greatest rewards
Like every project, we approach the design by understanding what the client needs, and in response to the council controls We are inspired by the modernist ideology of ‘Form follows Function ’ This essentially means that the house needs to work from a functional point of view first, then we can finesse the house with principles of simplicity, balance, scale and proportion to get the form right The principle of ‘Form follows Function’ can be applied to every project of every style and scale
Can you take us through your design process, from conception to completion?
When we are engaged by a client to design a home for them, we first work to understand who they are, how they live, how they use their spaces Homes should reflect who we are so getting to know our clients is an important first step We also need to get an understanding of the council controls and what can and can’t work from a compliance point of view From there, we try and understand their design preferences, ask about any reference architecture they love and discuss materiality Once we have this information, we then work on a conceptual design that incorporates the architectural and design elements they like and present the concepts to them along with material and colour palettes After discussing the conceptual design, we then use their feedback to land on the final design We then head into the design development stage, whether it be a DA or a CDC to ensure we gain approval or certification for the design Many consultants are coordinated during this phase and we then use this information to build up the plans ready for costing and construction These are our detailed Architecture and Interior Design Plans which specify every little element of the project Once the project is costed, either through a preferred builder or a competitive tender, we work with the client to negotiate the contracts, gather the CC and start up on site with the builder. It's a collaborative process with the builder, client and ourselves to ensure the project is executed during the building phase. We then work with the builder to gain certification to ensure the build is safe to occupy.
Your work is described as creating timeless architecture that enhances wellbeing. How do you integrate elements that promote well-being into your designs?
We value wellbeing in all aspects of our design We believe a home should be a place that provides comfort, solace, rest and shelter - among other things It should be a safe place to restore and nourish ourselves and it should reflect who we are Wellbeing can be reflected in bright, open spaces that bring light into a home, adding warmth. Wellbeing can be reflected in cosy nooks, providing a place of retreat Wellbeing can be seen in a large sociable kitchen, a place to entertain and nourish It can be seen in a beautifully designed backyard for children to play, connected back to the home seamlessly Wellbeing can be a connection to landscape and the environment seen in internal courtyards bringing greenery into the centre of the home, along with light and nature Wellbeing is different for everyone but we all should have spaces in our homes that serve our wellbeing
Environmental considerations are crucial in modern architecture. How do you address sustainability and environmental impact in your projects?
I believe architecture should always be informed by the land on which the structure sits on It should take into consideration natural light, airflow, breezes, and climate Glazing is also crucial - important to let the light in but also important for thermal efficiency with double and triple glazing We recently installed fire shutters to a project in a high flame zone and in addition to providing flame protection, they also provide heat and sunlight protection from the blistering summer sun when they are lowered in peak afternoon heat. We’ve also incorporated green roof gardens on projects that provide natural insulation to any roof
We’re guided by BASIX requirements but also inspired by new technologies promoting sustainability We’re conscious about designing for the future also - thinking about electricity over gas and providing spaces for batteries or services to promote sustainability, whether those services are available to us today or in the near future Natural light, cross flow ventilation, high R-Value materials are all key to sustainability.
How do you see sustainable architecture evolving in the next decade, and what new practices or technologies are you most excited about integrating into your projects?
The advent of renewables and batteries excites me Homes are now able to harness their own energy (solar) to warm their interior spaces and collect rainwater in tanks to water the garden We’re also starting to see some new materiality with a greater emphasis on sustainability - timbers harvested from renewable plantation forests, recycled masonry products, triple glaze solutions and more. We are already seeing phased out with higher emphasis on insulations or thermal breaks
How do you stay inspired and keep your designs fresh and innovative amidst the ever-evolving trends in architecture and interior design?
We love looking at design from a holistic view and seeking out where design is in other countries and what informs their approach Design should be dynamic, changing, fluid We approach design as a constant learning process - learning from past experiences but also learning from others in our field
Your projects express a thorough connection to the landscape. If you had to work amidst a landscape that wasn’t typical of Sydney, where would you love to see and create one of your projects?
What a great question! We are currently designing residential projects for clients in two very different geographic and cultural landscapes to Sydney Pakistan and Malaysia With any good design, we are informed by climate, landscape, material function and material availability and, of course, historical precedent. We aren’t looking to reinvent the wheel, but we may bring a different cultural approach to architecture and design than what is typically seen in Pakistan and Malaysia A lot of our projects are inspired by Mediterranean or arid areas, with beautiful native species surrounding them. If we could dream, we’d love to design a home on a flat landscape surrounded by exposed geology and low -ying plants, no houses or infrastructure to be seen just a vista of mountains or ocean
Looking ahead, what trends or innovations in architecture and interior design are you most excited about exploring in your future projects?
Instead of trends, we ’ re drawn to longevity We embrace design principles that will last the test of time We certainly love exploring new and innovative materials in our designs, ones with impact but also ones we can use in a restrained manner. I’ve always been inspired by repetition, something used en masse - which in a bigger picture transforms quite simplistically
Lastly can you tell us what a typical day in your studio looks like and your surroundings inspire you?
We are a collaborative studio made up of architects and interior designers Most projects require team collaboration at some stage of the process We have a weekly team meeting on a Monday that sets the scene and the pace for the week ahead Some days our heads are down deep in the process, and other days we are chatty, engaging one another and bouncing ideas around. We have an upbeat, positive vibe in the studio and music is always pumping in the background! Above all, we have deep respect for one another and we thrive off of our shared passion for good architecture and design
CLAUDIA LAMBERT
CRAFTINGECLECTIC ELEGANCE
IN THE EVER-CHANGING LANDSCAPE OF INTERIOR DESIGN, CLAUDIA LAMBERT EMERGES AS A MASTER OF VERSATILITY AND ECLECTIC ELEGANCE RENOWNED FOR HER SEAMLESS FUSION OF MINIMALIST AND MAXIMALIST ELEMENTS, LAMBERT'S UNIQUE APPROACH TRANSFORMS SPACES WITH A HARMONIOUS BLEND OF THRIFTED TREASURES AND HIGH-END PIECES IN A RECENT INTERVIEW, WE DELVE INTO CLAUDIA’S INSPIRATIONS, HER DYNAMIC CREATIVE PROCESS, AND THE PERSONAL STORIES THAT SHAPE HER DISTINCTIVE DESIGNS, OFFERING A GLIMPSE INTO THE MIND OF ONE OF THE INDUSTRY'S MOST EXCITING DESIGNERS
How would you describe your style, and what draws you to this aesthetic? Would you say it has a maximal minimalist influence?
I tend to be a bit of a chameleon when it comes to my style - while there are common threads that run throughout like textural elements, mixing of materials, art and lighting - I can swing between minimalist, maximalist and somewhere in between depending on my mood and what is inspiring me at the time
We noticed on your Instagram that you often find inspiration through thrifting or vintage shopping. Do you think there is a place for creating modern spaces around thrifted pieces that have lived numerous lives?
I think that is the only way to bring warmth, personality and a unique spirit to a home I have no trouble mixing a $50 marketplace find with a $5000 chair, that is what I love so much about the interiors I get to create, I don't place hard and fast rules around it It's usually the case that a vintage piece will soften a more contemporary one and it's that balance I like to explore
Has there been a time when you unintentionally stumbled across an artwork or object, and it dictated the design of the room around it?
Absolutely, this is a usual occurrence for me. I thrifted a beautiful high gloss red steel sculpture and it energised me to shift my palette in my own home to accommodate this one piece Art is my jumping off point for interiors, even if the piece isn't acquired by a client I can use it to build a palette, mood and feeling.
With your emphasis on quality and provenance, how do you balance sourcing unique, storied pieces with the demands and timelines of a modern design project?
This is a balancing act, I tend to encourage people with more nerves around vintage to start with the basics in a more contemporary style like a sofa or dining table then we can play around with adding in unusual elements like armchairs, lighting, dining chairs and rugs Its less daunting this way and once people understand we can keep it tonally neutral they are more open to the idea of old versus new to help bring a soul into a new build.
Can you share a story about a time when a client's personal history or passions significantly influenced the design of their home? How did you incorporate those elements into the final design?
I had clients with Indian heritage and they wanted to incorporate this into the concept without being too literal We used deep rich colours, brought in styles of chairs reminiscent of their grandparents' Jeanneret heirlooms and used a large scale black and white photograph of their university in India The end result was very beautiful and personal
How do you find the artwork you use in your designs, and what role does art play in shaping the overall atmosphere of a space?
I visit galleries all the time, I forge relationships with artists and go to contemporary museums I keep an image log of everything I am drawn to and refer back to this when first starting out an interior, I see what the clients respond to and take it from there Sometimes it's not so literal as to reference the colours but often the feeling it brings, the texture or the tone
You recently completed the design of your own home. How does this experience compare to working with clients?
I can take more risks this way! It's easy to make a mistake in your own home because you only have yourself to blame but with clients, while I like to push the boundaries, they are more calculated risks Doing my own home is a never ending merry go round, I might find a beautiful chair that will force me to shift everything around again because I can't live without it! I love being this way because I am constantly energized and inspired to push the limits and create change
What trends do you forecast for the summer of 2024, and how do you plan to incorporate them into your upcoming projects?
I tend to reduce in summer, reduce the soft furnishings, reduce the clutter to create a greater sense of space, where in winter I can hunker down and fill the rooms As far as trends go I am not sure what summer will bring, I might get inspired by a trip, artwork, an image or a shift in my focus I wouldn't mind trying out something completely different to reinvigorate me but I won't be buying anything too trend driven
Can you tell us what a typical day in your studio looks like and how your surroundings inspire you?
What I love most about my work and working for myself is how much power I have over what my days look like, some weeks I am full of energy and have appointments with clients and suppliers all day and some weeks I am in my home studio working on briefs, concepts and presentations Typically I wake up around 6:30/7, get the kids ready for school, go to the gym then straight on to appointments all over sydney I like to get out and work outdoors, in cafes or on the run I am not great at sitting still so this really is the perfect job for me!
PITT& GIBLIN
THESOUNDOF TASMANIA
THE STORY OF PITT & GIBLIN IS A TESTAMENT TO THE POWER OF A SHARED PASSION FOR MUSIC AND DESIGN FOUNDED BY JACK PITT AND ROSS GIBLIN, THE COMPANY EVOLVED FROM HUMBLE BEGINNINGS AS A BACKYARD AUDIO PRODUCTION OUTFIT INTO A BESPOKE AUDIO BRAND KNOWN FOR ITS HIGHPERFORMANCE, HIGH-VALUE PRODUCTS THIS EVOLUTION WAS FUELED BY YEARS OF RESEARCH, DEVELOPMENT, AND A DEEP UNDERSTANDING OF AUDIO SYSTEM DESIGN TODAY, PITT & GIBLIN’S DEDICATION TO CRAFTING THEIR PRODUCTS ENTIRELY IN HOBART, TASMANIA, REFLECTS THEIR COMMITMENT TO QUALITY AND THEIR UNIQUE BLEND OF HERITAGE AND MODERNITY IN THIS INTERVIEW, THEY DISCUSS THEIR INNOVATIVE USE OF MATERIALS, THE PROFOUND IMPACT OF THE LISTENING ENVIRONMENT, AND THEIR VISION FOR THE FUTURE OF AUDIO DESIGN
Can you share the story behind the start of Pitt & Giblin (P&G) and how your long-term partnership has shaped the company?
A shared love for music and interest in design and making lead to collaborations between Jack Pitt and Ross Giblin Early works concentrated on bang-for-buck technology, which fed a side hustle of speaker system rentals to parties and events This grew to something that initially resembled a backyard audio production company, and later a bespoke audio outfit, which helped fund the constant research and development stage, one which we pursued for around ten years prior to launching the first product Superwax in 2020 - and still continues today P&G has largely left the audio production thing to one side, now concentrating on core product development and scaling manufacture These early years provide us with a strong foundational knowledge of audio system design and operation, as well as an understanding of our place in the market, uniquely positioning us as high performance, high value brand
Can you discuss the significance of manufacturing your products entirely in Hobart, Tasmania, and how its blend of heritage and modernity influences your work?
I think functionally Hobart offers a unique landscape for creatives that's often overlooked The city is very small, and it's proximity to nature, industry, recreation, and housing could be considered a catalyst for our work The investment of time in our product has been made less of a burden due to the short transit times, and the accessibility means we could, did, and will continue to keep at it! The benefit of Hobart is we ' re still doing a reasonable job of balancing work with other personal activities - especially in summer when the days are long, an hour longer than Sydney, and two hours longer than Brisbane
Hobart also has a strong hospitality sector, which has supported us in making commercial sales but also exposing our brand and product to new clients We're proud to be a part of the local music scene where we provide technical support and also product to bars, breweries, nightclubs, restaurants, we just don't have a cinema, yet
You work with a lot of cast bronze. What were the reasons for choosing this material? Was this purely a design decision, or are there technological properties that assist with the performance of the speakers?
Bronze is a solid choice for casting and machining a loudspeaker component as it is relatively dense and well damped compared to say aluminium
We initially chose it because that's what the foundry offered - our first pattern was actually just a converted waveguide prototype which we used for testing!
Bronze has become part of the identity, we love the materiality and we can finish it in house, raw, or patinated with various acids The performance characteristics of the waveguide are very much the physical geometry The optimisation of this shape cannot be overlooked Installed in the speaker the bronze element is inert, and the material doesn't significantly contribute to the loudspeaker's tonality, but the performance benefits we get from this geometry is fantastic The consistency of these loudspeakers needs to be heard to be believed
Through your custom orders, you request information about the environment in which the user intends to listen to the speakers. How much do you think the spatial environment influences the listening experience?
Of course, it influences the listening experience massively We aren't looking to convert all our installs or clients homes into overdamped recording studios with eggshell foam everywhere, as some architects might assume (haha)! Jack works as a noise and vibration consultant as well as with P&G, and you wouldn't be shocked to learn he specialises in acoustics It's not a dark art, and there are criteria for acoustic performance in a range of applications which provides us with the guidelines to be able to offer well informed advice about the feeling of a space with regard to its function Generally we find that by implementing an acoustic treatment strategy the music can be more forward and enjoyable in the experience, and also improves speech intelligibility in the space There's nothing worse than a space sounding loud and still not being able to hear anything or anyone well
How do you think the culture of music listening has changed over the years?
I'm convinced the accessibility of music has shifted peoples listening habits We're getting lazy, the algorithm is feeding us convenience, there's less curation and organisation in my music than there was 10+ years ago I speak to people quite often about how great their iTunes library was I bet they haven't even converted it to Apple Music or Spotify, so where is it?
Looking to the future, what advancements or innovations in design and audio are you most excited about exploring?
We're interested in seeing just how far we can take a Tasmanian made product on the world stage, there's more and more going internationally and Jack and I are excited about evolving our products and offering solutions for a wider range of listeners I'm not sure how long we ' re going to be in this bronze age but I hear it can last a few thousand years
You recently collaborated with designer Tom Fereday on the Cast speaker. How did the collaboration for this project come about?
Cast speaker was a fun project, and I'm happy with how the name 'Cast' wraps it up That was always the intent, as Tom approached us about collaborating in a manner that would combine his formal and material approach with our acoustic elements and manufacturing procedure Casting is relatively unique to us, and we can do it within our Hobart live-work-play triangle
What was the inspiration behind the design and concept of the Cast speaker?
Tom was eager to integrate the waveguide form as the only front facing acoustic element, the other components only revealed with investigation What Tom designed is sensitive to the requirements for both ease of manufacture and acoustic design opportunities. I designed and manufactured all the casting patterns in house, in CAD, using Autodesk Fusion 360 and our CNC machine - so I understand the limitations of what can and can't be done in a relatively tight timeline, around 8 weeks prior to the Melbourne design week launch The object further leans into this singular acoustic element in its mono material construction, and no external fixings.
Can you discuss the choice of materials for this collaboration and the impact they have on design and performance?
Aluminium is light and soft and rings like a bell. The internal surfaces of Cast are damped with constrained layer butyl rubber, and the waveguide and rear faceplate are both supported on rubber stoppers We pre-tension the cast against these stoppers to mitigate against unwanted resonance It's now inert, feeling less empty or hollow, and performs like any other piece of geometry. It's a fun speaker to listen to, it doesn't look like it sounds, and it doesn't sound like it looks - further confused by the lack of traditional 'speakers' on it
How does your work embody the blend of art and technology, and what does this mean for the future of loudspeaker design in your opinion?
There's plenty of great companies across the world developing technologies for loudspeakers, at a component level The advancement of digital signal processing and high performance amplification that's also cost effective and accessible to smaller manufacturers like us will further enable our craft to excel. Not many other brands apply equal portions of technology and art in my opinion, and so often any real technological advancement is washed away with the rest of the HiFi marketing machine brainwashing consumers Jack and I are eager to continue making a product that is made well, thoughtful, personal, and has exceptional performance. This type of technology won't expire like consumer electronics, so we balance it with materials and finishes that are worth owning for a long time
The spirit of Nature enlivens Vincent Van Duysen’s new Pavilion at Molteni&C in Giussano through a curated selection of contemporary art and craft by Tuscanbased galleries KALPA
A major expansion of about 1,400 square metres has reconfigured the geography of Molteni&C’s headquarters, an emblem of the DNA and values of the historic Giussanobased company and a further milestone in the Group’s growth and internationalisation strategy “We are proud to host within our Compound a piece of architecture designed by our creative director, a new contemporary which is integrated into the historic site and signals the company ’ s new path towards the future” said Carlo Molteni, Chairman of the Molteni Group. The Molteni Compound expansion project by creative director Vincent Van Duysen comes a few years after the interventions that reconfigured the layout of the premises, including the showroom and the main entrance, between the mid-1980s and the 1990s, and marks the first Van Duysen-designed architectural project within the company ’ s boundaries.
The original layout dates back to early 1950s architectural designs, of which the grand staircase, façade cladding and typical window frames are still preserved The round pillar positioned at the entrance is a clear Rossi architectural trademark, which is also found in the Aurora house in Turin or in the Villalba unit, while the showroom, designed in-house by Luca Meda, is minimal in its linearity and conceived to emphasise the individual design pieces Over time it will undergo further interventions, creating continuously new settings, capable of restoring the warmth of the Molteni&C house
The rediscovery of Nature as man ’ s first home to nourish and protect is an urgent matter for both our society and our innermost selves Both art and design are in this sense important vehicles for transmitting this sentiment, and they do participate in such a contemporary critical debate These reflections take part in the new collaboration project between the Tuscan KALPA Galleries (Volterra) and the Italian leading furniture company Molteni&C (Giussano), which hosts PERENNI, a selection of artworks by contemporary artists and makers Yoshimi Futamura (Japan/France), Federico Gori (Italy) and Marc Ricourt (France)
Sharply integrated within the design of the Pavilion, PERENNI is an array of ceramic sculptures, intricate engravings on copper, and sculpted wood vessels inviting reveries and contemplation and drawing focus upon the perennial movement of plants always changing and never the same The exhibit revolves conceptually around the ideas of the multiplication and metamorphosis of forms and materials, the key role of plants as witnesses of time, and the critical urgency of man ’ s harmonious reconciliation with the natural world According to an all-around holistic vision of space that considers the environment, the human and the architectural, PERENNI invites the visitor across an organic visual journey where the languages of art and craft suffuse the spirit of architecture.
The Pavilion is designed to encompass a fluid connection between the courtyard and the interior space, as the ecosystem of Futamura’s, Gori’s and Ricourt’s research embraces the complexities of the natural realms, bringing indoors their spirit, forms and energies via timeless works of art.
DENA LAWRENCE
HOWARTTHERAPYAND CULTURAL
COLLABORATIONSHAPE
DENALAWRENCE'SRUG DESIGNS
DENA LAWRENCE’S JOURNEY FROM MENTAL HEALTH NURSING AND ART THERAPY TO RUG DESIGN IS A COMPELLING NARRATIVE OF EMOTIONAL EXPRESSION AND THERAPEUTIC VALUE HER UNIQUE BACKGROUND PROFOUNDLY INFLUENCES HER CREATIVE PROCESS, RESULTING IN RUGS THAT ARE NOT JUST DECORATIVE PIECES BUT ALSO INSTRUMENTS OF HEALING AND WELL-BEING IN THIS EXPLORATION, LAWRENCE DELVES INTO HOW HER EXPERIENCES WITH TRAUMA SURVIVORS AND HER DEEP CONNECTION TO THE WESTERN AUSTRALIAN LANDSCAPE AND KASHMIR'S CULTURAL RICHNESS HAVE SHAPED HER INTRICATE, EMOTIONALLY RESONANT RUG DESIGNS THROUGH METICULOUS CRAFTSMANSHIP AND VIBRANT ARTISTRY, LAWRENCE’S RUGS TRANSCEND TRADITIONAL BOUNDARIES, OFFERING A TRANSFORMATIVE EXPERIENCE THAT BLENDS BEAUTY, COMFORT, AND EMOTIONAL DEPTH
Can you describe how your art therapy and mental health nursing background has influenced your approach to creating rugs, particularly regarding emotional expression and therapeutic value?
My art therapy and mental health nursing backgrounds have significantly influenced my approach to creating rugs As a mental health nurse, I saw the need for nonverbal expression among patients, especially those with trauma This led me to establish an art therapy program, recognising art as a powerful tool for healing and resilience Artmaking is a spontaneous and intuitive process that aids in self-soothing and relaxation This journey of navigating light and dark, joy and sorrow, informs my rug designs, emphasising emotional expression and therapeutic value.
With decades of experience channelling my creative energy into music and visual arts, I explore inner and outer landscapes through my work My artwork, born from an intuitive search for authentic self-expression, helps break habitual behaviour, explores contrasts, celebrates nature's beauty, and provides solace during challenging times These principles translate into my rug designs, offering therapeutic and emotional benefits to those interacting with them
Your rugs are described as one-off artworks that take over 12 months to create Can you walk us through the artistic process from the initial concept to the final woven product?
When I started rug making, I did not set out to design a rug I simply had my existing intuitive, spontaneous artwork translated into a rug This translation process involves adjusting my artwork slightly to be viewed from all perspectives when placed on the floor It's a meticulous process that requires careful consideration of how the design will appear when woven into a rug This involves working closely with the weavers to ensure that the essence of my original artwork is preserved in the final rug The translation process is a delicate balance between maintaining the integrity of the original artwork and adapting it to the unique medium of rug weaving
Initially, my free-flowing abstract works, characterised by curvilinear gestures, daubs and paint splashes, posed a challenge for Kashmiri weavers accustomed to traditional Persian rug designs with repeating patterns
However, the best master weavers in Srinagar, with their unwavering dedication and adaptability, rose to the occasion, showcasing their mastery and commitment to their craft
Their expertise successfully merged expressionist modern art from Australia with the timeless technique of hand-knotted rugs, creating something unique and inspiring This is a testament to the weaver ' s resilience and adaptability, qualities that are as much a part of the rug ' s story as the artistry itself. The global appeal of these rugs is a testament to the power of art to transcend cultural boundaries and connect people from different parts of the world. The collaboration with the weavers is a rewarding experience, as it brings my artwork to life in a new form and fosters a cultural exchange that enriches the final product
How do you integrate inspirations from the Western Australian landscape and your experiences in Kashmir into your rug designs?
My artwork is also inspired by wildflowers, the red earth of the outback, the seascapes of Western Australia, and the dazzling colours of India I use bold and vibrant colours in my artwork these intense colours are invigorating, exciting, and brighten my mood
When placed on the floor, rugs ' vibrant colours and designs recreate nature in a transformative way, affecting the mood of anyone who gazes upon them The therapeutic impact of these designs is profound, offering a sense of calm and well-being to those who interact with them The combination of vibrant colours, intricate designs, and the tactile experience of the rugs can create a soothing and uplifting environment, contributing to the emotional well-being of the audience
More than just decorative pieces, my rugs can transform a space ' s atmosphere, infusing it with the beauty and tranquillity of the natural world The audience plays a crucial role in interpreting and experiencing my rug designs Their unique perspectives and emotional responses add another layer of meaning to the artwork, making each interaction a part of the artistic process
Having my artwork transformed by artisans has been extraordinary The rugs are a way of grounding my innate ephemeral experience I have adapted my practice for the rug designs my signature kaleidoscopes of colour have been framed and are more contained Knotted in silk, they glow like gemstones or stained glass
The Firesun Story highlights the transformative power of art in difficult circumstances. How has your experience working with trauma survivors influenced your artistic philosophy and the themes you explore in your rugs?
The Firesun Story is a powerful testament to the transformative power of art, especially under challenging circumstances My experience working with trauma survivors has deeply influenced my artistic philosophy and the themes I explore in my rugs It has shown me the profound healing potential of art, inspiring me to create designs that can bring comfort and hope to those who interact with them. Working with people with trauma has not affected my artwork as such - more like I help them understand why they have chosen the colours and how they can mix or change colours and use different techniques to alter their moods. This same process that I follow myself.
Every rug in the Dena Lawrence Firesun Collection is a testament to the unique blend of artistry and craftsmanship. Each rug is a masterpiece of precision and creativity using 22 to 40 colours, woven in high density with 576 knots per square inch The pure silk's lustre adds a reflective glimmer that changes throughout the day and seasons, while the soft pile's intense depth of colour provides the ultimate tactile luxury underfoot This combination of artistic expression and meticulous craftsmanship distinguishes Dena Lawrence rugs, piquing the curiosity of discerning luxury home decor enthusiasts. This unique blend sets Dena Lawrence rugs apart, inviting the audience to explore the intricate details and the story behind each piece.
Can you elaborate on the role of colours and patterns in your rug designs? How do you choose colour palettes and motifs that resonate with your artistic vision and the intended environment?
The role of colours and patterns is truly significant in my rug designs I carefully select colours and patterns that align with my artistic vision and complement the intended environment. My process is intuitive - I choose colours based on my mood and the atmosphere I want to create. I start with a spontaneous colour palette and let my creativity flow abstractly until a design or form emerges Colours play a significant role in affecting our moods and emotions A colour's tone, brightness, and saturation can profoundly impact our physiological and emotional state For instance, blue is known for its calming effect, while warm colours like reds, oranges, and yellows exude vibrant and intense energy On the other hand, cool colours such as blue, green, and purple have a more relaxing and soothing effect
Seeing my artistic creations transformed into exquisite silk rugs by the skilled artisans of Kashmir has been truly aweinspiring These masterpieces infuse living spaces with vibrant energy and elevate the overall atmosphere Each rug, with its distinct colour combination and unique mood, can influence the mood of those around it Some exude warmth and vitality, while others create a tranquil and soothing ambience Each piece is interactive and can change the mood of a space
As an artist working across different mediums, including music and visual arts, how does your approach to rug design differ from your other creative pursuits?
My artistic endeavours encompass music and visual arts, but my approach to rug design diverges from my other creative pursuits While I paint spontaneously, following my mood, I've adjusted my artwork when translating it into rug designs, ensuring they can be appreciated from various perspectives Additionally, I've incorporated a softer, more subdued colour palette in some pieces to appeal to those who prefer pastel tones
Can you share a memorable anecdote or story behind one of your rug designs that showcases your work's emotional impact or cultural significance?
In 2023, I received the prestigious Best Studio Artist Design award at Domotex in Germany for my captivating rug design, "Maschera "
This exquisite silk rug, meticulously crafted by skilled artisans, boasts a rich palette of 22 vibrant colours intricately woven at an astounding density of 484 knots per square inch Inspired by the elemental forces of earth and air, the design exudes an irresistible warmth, vitality, and whimsy, evoking emotions and bringing nature's vibrancy to life
Fashioned entirely from 100% silk, "Maschera" is a transformative work of Art that adds a touch of luxury and invigorates any space it graces, breathing new life and energy into its surroundings.
Collaboration with artisans in Srinagar has been pivotal. How do cultural exchanges and working in diverse settings influence your creative process and the global appeal of your rugs?
Engaging in partnerships with skilled artisans in Srinagar has been extremely important I've found that immersing myself in diverse cultural experiences and working with people from different backgrounds has dramatically influenced my creative process and the global appeal of my rugs. I've been exposed to a rich tapestry of vibrant colours, intricate designs, and age-old traditions through collaboration with artisans and carpet designers in Kashmir and India This exposure has allowed me to infuse my creative process with a broader range of influences, making it more dynamic and multifaceted My travels and interactions with different cultures have significantly impacted how I use colour and approach design, ultimately enhancing the global appeal of my rugs
Finally, what legacy do you hope to leave through your rug designs and contributions to the art world? How do you envision the enduring impact of your artworks on future generations of artists and consumers?
Kashmir carpets have a rich history and are known for their beautiful craftsmanship For many years, they have followed traditional Persian carpet styles and designs However, Dena Lawrence Rugs has brought a fresh perspective to Kashmir by introducing abstract designs that break from traditional patterns
Dena's artwork is now turned into rugs, preserving its soft and flowing nature through silk fibres. These rugs bring beauty and luxury to any room, with vibrant colours that liven up the space and rich textures that add a touch of elegance The transformation from artwork to rugs has enhanced the designs' beauty and vibrancy, capturing the original paintings' energetic qualities These silk rugs play with light and colour, creating a dynamic and engaging visual experience
The rugs feature vivid, bold colours that can have a therapeutic effect, energising or calming those who see them. Their organic shapes and lively atmosphere bring a touch of nature and beauty into your home, offering a unique and exceptional addition to any room. These rugs are designed to bring the healing power of colour to your home, each carefully crafted to evoke specific emotions For instance, the red rug is meant to bring love and energy, while the blue rug promotes peace and trust Each Dena Lawrence rug is a masterpiece to brighten your mood and lift your spirits
