Walking the Talk AWM Talking Business Zenith Interiors Innovative Integration CHT Architects The Human Touch Custance
INSPIRATION / IDEATION / DESIGN / INNOVATION / BUSINESS
editor’s letter WORKSPACES.
n this issue of Furnishing International, we focus our attention on workspaces. Commercial office design has evolved significantly over the last decade by means of embracing open plan, activity-based workspaces to encourage collaboration and engage employees in new and innovative ways. We’re seeing a clear steer away from the dated cubicle and standard custom of being seated from nine to five, and the results are rather impressive. Through each section of this issue, from Local Manufacturing to Talking Business, Architecture and Interior Design, we present some of the best, recent commercial workspace projects to offer inspiration and a window into top-shelf office design. Starting on page 20, Director of Australian Workstation Manufacturers, Anthony Scott, talks us through the custom-made furniture fit-out of the White Agency, while noting the challenges and wins of manufacturing locally. We talk business with two experienced directors of textile giant, Instyle, and industry leader in commercial office furniture, Zenith Interiors, who paint a clear picture of the current climate of commercial office design while providing sound advice for succeeding in the market, page 26. Our cover story this issue looks at CHT Architect’s very own office space, located in Melbourne’s inner city fringe (page 36), while a few pages later, we examine the interior design work of Custance on the standout office project, Screenrights, page 44. Tying it all together, we review 10 of the season’s biggest trade shows (page 49) – a highlight being ORGATEC Cologne for exhibiting well the latest trends in modern working environments. Also included is a comprehensive calendar of the most anticipated upcoming shows that you won’t want to miss. Finally, on page 66, Kat Chaousis reviews one of the season’s top reads – Detail in Contemporary Office Design by Drew Plunkett and Olga Reid – that showcases some of the world’s top workspaces by leading architects and designers. Enjoy! Elena Papargiris
Furnishing in Focus
Proudly Australian, Locally made AUSTRALIA’S LEADING MANUFACTURERS PROUDLY PRESENT THE LARGEST SELECTION OF LOCALLY PRODUCED FURNISHING DESIGNS TO BE SHOWN IN 2015. FREE OF IMPORTS. 2 & 3 June 2015 For more information visit www.furnishinginfocus.com Furnishing
in fo c u s.c o m
A of Worl cho d ice
Anthony Scott, Director of Australian Workstation Manufacturers shares on the company’s history, his visit to this year’s edition of ORGATEC in Cologne and talks us through the White Agency project.
Talking Business With Zenith Interiors and Instyle.
Interior Design Greg Prerau, Principal Director
of multi-disciplinary design firm Custance, shows how good design stems from the understanding and careful consideration of the people who will inhabit it, through one of the firm’s
Highlights from the key local and international trade shows recently
David Carabott, Director of CHT Architects, explains how the design of his
gone by are reported, and we provide a
own firm’s workspace provided a unique opportunity to create an office
calendar of upcoming shows to prepare
that embodies and embraces innovation and creativity.
you for the season to come.
This issue we review Detail in
Contemporary Office Design by Drew Plunkett and Olga Reid – showcasing some of the world’s top modern day workspaces by leading architects and designers.
Cover image: CHT Architects’ Collingwood Office, Melbourne Photographer: Anthony Vanzella @ ELLIKON
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Founder/Publisher Peter Zapris email@example.com Editor Elena Papargiris firstname.lastname@example.org Graphic Design Phillips Hentri @ Change Creative email@example.com Print ELLIKON – Print • People • Planet ellikon.com.au Contributing Writers Kat Chaousis, Melinda Jennings, Emily Sparshott Contributing Photographer Anthony Vanzella @ ELLIKON Subscriptions Manager Natalie Tshaikiwksy firstname.lastname@example.org Advertising Enquiries Louisa Li Phone: (+61 3) 9417 9399 Mobile: (+61) 400 519 218 email@example.com Ellikon Publishing 384 George Street Fitzroy, VIC 3065 Australia furnishinginternational.com Furnishing International is the exclusive Australasian member of:
Furnishing International accepts freelance contributions; however there is no guarantee that unsolicited manuscripts, artwork or photographs will be used or returned. The entire contents of Furnishing International are copyright and may not be reproduced in any form, either in whole or in part, without written permission from the publisher. While the publisher makes every effort to be accurate regarding the publication of advertisements, it should be noted that Furnishing International does not endorse any advertised product or service. Viewpoints and opinions expressed in Furnishing International are those of the authors. The publisher accepts no responsibility for the information supplied or changes subsequent to the date of publication. Furnishing International is printed at a ISO 9001 Quality Accredited and ISO 14001 Certified green print facility and on paper sourced from sustainable forests. The Publisher of Furnishing International promotes environmentally responsible, socially equitable and economically sustainable practices.
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Inspiration “Office design in Australia is world leading… there are landmark projects in this country that are benchmarks in the design world.” GREG PRERAU, CUSTANCE
The Design Gift Shop MenschMade Concrete Wall Clock with Oak Veneer Hands designed by Doreen Westphal is a modern, minimalist clock designed and manufactured in the Netherlands. thedesigngiftshop.com
BRABBU Design Forces CANYON Screen features brass finishes and layers bordered with aged gold nails. The different tones are given by applying aged patina on the brass surface. CANYON is an ideal addition to contemporary interior dĂŠcor. W: 180cm | H: 160cm.
KOKET GIA Chandelier is composed of 33 handmade, polished brass calla lilies that gracefully hang from the ceiling by the stems and gather in the middle like a bouquet. Designed by Andre Teoman.
Milan Direct Eames Replica Lounge Chair features premium Italian leather and seven-ply wood grain plywood â€“ perfect for the office. milandirect.com.au
Oblica Emotion Fireplace is a new product from Oblica’s German supplier, Skantherm. This fireplace – one of the most eco-friendly on the market – has recently been tested under Australian standards and the results are very good. oblica.com.au
Boyd Blue Watson Desk Lamp features a snow marble base supporting a vintage brass adjustable shade, and an exposed black cloth cord. boydblue.com
Space Furniture B&B Italia UPJ Armchair & Ottoman is the new pint-size version of the iconic UP5_6 armchair designed by Gaetano Pesce. Designed for kids aged three years and over. spacefurniture.com.au/upj-armchair.html
Condari Custom Made Rangehoods are powerful, stainless steel rangehoods made-to-measure according to your requirements, style and specifications. Made in Melbourne, Australia.
Mayfield 956 Macy table lamp features a crisp white shade and blue porcelain finish with an intriguing mix of textures and motifs.
Axor Citterio Single Lever Basin Mixer designed by Antonio Citterio is made from brass and chrome. It features a WELS 5 star rating, Silicon aerator for easy cleaning, intuitive pin lever handle and appealing reflective surfaces.
Original Style Earthworks Salina Natural Marble Stone Tiles come in various formats including polished or honed bricks, bevel bricks, mosaics, bevel mosaics and larger sizes. The veining effect occurs naturally and no two pieces of marble are the same.
norsu interiors Mathilda Clahr Leather M Straps are handcrafted from organic leather and vegetable-tanned in Tarnsjo, available in three colours. norsu.com.au
Boca Do Lobo Oblong Bar Cabinet merges modern and classical elements into a highly detailed and exquisite limited edition furniture piece. Handcrafted, the frame is made from wood covered in metal elements with a mirror inside. It is lacquered in black gold with a high gloss varnish.
Cult About A Chair in Oak was designed to portray conspicuous simplicity â€“ to work well around the dining table, as well as around a conference table, in a canteen or at the office. The ambition of designer Hee Welling has been to combine form, function, comfort, detail and aesthetics.
Shabby Chic French Vanilla Trestle Table is made from solid timber painted, standing at 75cm high, with a roomy length of 150cm and a width of 55cm. Perfect as a desk or dining table. ghify.com
WINDFALL & LALIQUE Serene Lighting Collection combines the cultural heritage, craftsmanship and finest crystal of LALIQUE with the contemporary spirit and design language of WINDFALL, and features brass with bronze, nickel, gold or copper finishing. lalique.com windfall-gmbh.com
Beyond Furniture Seggio Lounge Chair boasts a unique, organic shape. It is black leather with matt grey polyurethane legs and high backed â€“ ideal for formal or casual spaces. beyondfurniture.com.au
Xavier&Me Scribble Cushion Cover in Black is made from 100 per cent linen blend fabric and is digitally printed in Australia. xavierandme.com
Eco Chic Chrysler Silver Sideboard is a sleek, industrial looking console with clean lines, a soft silver finish and crystal doorknobs. It was created using hand tools to fix thin, flat sheets of silver metal alloy over a wooden furniture frame. ecochic.com.au
Down that Little Lane 3 Shadow Box is handmade in Australia by local craftsmen using local materials â€“ an ideal display solution to fill empty wall space. downthatlittlelane.com.au
Satara Australia Lazer Chair is available in black, yellow, green, mint, blue, white and red. The frame is powdercoated, galvanised steel and the seat is teak. Designed by Rory Unite. satara.com.au Parachilna Anwar designed by Stephen Burks features 96 metal rods that are individually welded, generating three different structures that can be used alone or by combining any two of them. Stocked in Australia by Ke-Zu. parachilna.eu
Temperature Design Austin Two Seater Sofa is Australian made and is available in custom sizes and upholstery. temperaturedesign.com.au
Artisanti Fletch T Bar White Side Table combines warm tones and a smooth tactile surface with a cleverly designed tabletop. artisanti.com
Blum TANDEMBOX intivo drawer systems in Terra Black with ORGA-LINE made from steel and nylon. blum.com.au
Addition Design Hang Hook is 100 per cent Australian made and is used to hang headphones, bags, hats and totes off the side of a studio desk. It comes packed in a canvas bag and suits desks up to 25mm thick. Dimensions: 120 x 140 x 18mm. additiondesign.com.au
Vinyl Cuts Vinyl Record Bowl is made from upcycled vinyl records, showcasing a quirky, retro feel. vinylcuts.com.au
Sweetpea & Willow Mia Pendant Light is a gold faceted pendant boasting an on-trend hexagonal shape. sweetpeaandwillow.com
Xavier&Me Flor Designer Rug in Yellow is made from 100 per cent New Zealand wool, hand-tufted for a pile weight under foot. Suitable for residential and commercial applications. xavierandme.com
Go Modern Furniture Mogg Casetta in Canada fourposter bed was designed by the award winning, Nathan Yong for new Italian brand, Mogg, using lacquered, ash wood with an open pore finish. gomodern.co.uk
LOCAL MANUFACTURING: AUSTRALIAN WORKSTATION MANUFACTURERS
LOCAL MANUFACTURING: AUSTRALIAN WORKSTATION MANUFACTURERS
Walking the Talk SPECIALISING IN OFFICE FIT-OUTS, AUSTRALIAN WORKSTATION MANUFACTURERS BOASTS A WEALTH OF KNOWLEDGE AND EXPERIENCE IN WORKSPACE DESIGN, WITH OVER 21 YEARS UNDER ITS BELT IN THE DESIGN AND LOCAL MANUFACTURE OF AUSTRALIAN MADE COMMERCIAL OFFICE FURNITURE AND JOINERY. HERE, DIRECTOR ANTHONY SCOTT SHARES ON THE COMPANY’S HISTORY, HIS VISIT TO THIS YEAR’S EDITION OF ORGATEC IN COLOGNE AND TALKS US THROUGH THE WHITE AGENCY PROJECT. Photography Tim Connolly, Shoot Studios
n a humble four-car garage back in 1993, Australian Workstation Manufacturers set its solid foundations in CNC machining, with a clear vision to produce the highest quality products on the market. Since then, AWM went on to become the first Australian made manufacturer of the unique rail system workstation and over time, matured into one of Australia’s leading corporate furniture companies. Located in Sydney, AWM today employs over 70 sales, management, office and factory personnel with permanent delivery and installation teams and several semipermanent delivery and installation contractors around Australia. The company is committed to investing in cutting edge manufacturing technology and equipment to maintain its leading edge in the industry, as well as adopting processes and practices aimed at reducing its environmental footprint. Set on these strong pillars of support, and years of experience in adapting to the changing scope of workspace design, AWM has proven its unwavering ability to persevere through Australian made industry challenges that AWM Director Anthony Scott acknowledges. “Yes, there are challenges, however we have found that once the clients see the flexibility they have as well as the quality and the ease of after sales service, this is when
they realise the added value of [choosing] Australian made products,” he says. Commissioned by reputable interior design firm, Siren Design, AWM’s work for the White Agency’s prime real estate Sydney office (featured here) portrays the company’s knack for producing good, contemporary designs for workspaces. “The brief given to us by Siren Design was to provide workstations, loose furniture and detailed joinery that complemented the heritage listed building without modifying or fitting to existing brickwork. [We were to] work around existing timber columns and ceiling joists, ensuring everything kept in line with the overall eclectic design [of the space] that combines the old and the new,” said Anthony. “All of the workstations and joinery were custom made for The White Agency… We had to ensure we interpreted [Siren Design’s] vision of design, and [take it to] functional reality,” he said. Custom made strand boards, joinery in a Createc gloss finish and melamine meeting booths with two-tone upholstery were created to meet the brief, along with specially designed Monorail workstations with scalloped desks and custom designed shelves with metal screens. “The Monorail has been one of our most popular workstations due to its flexible design that allows easy transformation to suit the ever-changing needs of today’s office
LOCAL MANUFACTURING: AUSTRALIAN WORKSTATION MANUFACTURERS
“Our biggest threat is the cheaper, inferior imported products coming into Australia that look good, but unfortunately in the end [are] not so great for the client.”
LOCAL MANUFACTURING: AUSTRALIAN WORKSTATION MANUFACTURERS
environments, and an almost endless amount of accessories to suit all requests, and in true AWM style, if the client needs something different, we make it work,” Scott says. In addition, AWM produced open plan executive desks with matching perforated metal modesty panels and two-tone, curved mobile pedestals for this project. The brief for the kitchen was to recreate the style of a contemporary café, and to complement the open plan design of the office, enabling the space to be used for entertaining clients as well as for staff. From manufacture to install, the project took AWM about four to six weeks to complete. The company prides itself on fast lead times, stringent quality control and a superior sales service to ensure cost savings for its clients, and choosing to stay local enables AWM to boast these claims. All manufacturing is completed at AWM’s Alexandria showroom and factory in Sydney, where the focus on sustainability and the sourcing of local materials is strong. AWM holds an ISO 14001 accreditation for a full environmental management system focusing on recycling and reusing materials. Such materials can be seen throughout the White Agency fit-out, including powder-coated metal components for the workstations with E0 MDF tops, metal perforated privacy screens for the workstations, strand board doors and tops for the joinery and Caesarstone for the kitchen and breakout area.
“From concept to completion we strive to produce results over and above our clients’ expectations, whilst remaining Australian made. We believe that having the ability to adapt to clients’ designs and needs easily has and continues to be what keeps AWM successful. “Our biggest threat is the cheaper, inferior imported products coming into Australia that look good, but unfortunately in the end [are] not so great for the client,” Anthony explains. With this in mind, we asked Anthony if AWM has any plans of expanding to an international market, to which he responded: “No not as yet but who knows what the future holds.” For now, AWM is continuing to move forward at a steady pace with plans to launch a new range of height adjustable table bases and a new range of acoustic paneling that is streamlined and functional. The company’s great investment in technology is a large contributor to the quality of its end product and ethos in general. “Keep up with cutting edge technology, the latest software and never stop innovating and streamlining,” says Anthony. Being placed at the forefront of its industry sector, coupled with the years of experience AWM has had in workplace design, puts the company in an ideal, reputable position to perceive what’s ahead. Having recently visited and been inspired by the October 2014 edition of ORGATEC in Cologne, Anthony had much to share.
“ORGATEC was inspirational. The office is becoming more mobile as we know, but we are on the move with everything from moving your seat to standing and packing up and moving your whole desk. This maybe a few years away before it becomes common work practice, but it’s there. “We are seeing open plan workplaces [and] an increasing need for quiet areas and personalised workspaces. Screens are more than just a divider and accessories are [about] creating your personal areas whilst being functional. “The white gloss finish seems to be getting competition from more matt finishes and technology is becoming more prevalent inside workstations. “We see many trends developing in the workspace, ranging from hot desking to breakout workspaces and height adjustable workstations, and with all of this in mind, we have and are continuing to develop ranges that suit the new workspace. It seems the cubicle has had its day,” he says. Servicing clients throughout Australia, with showrooms in Sydney and most recently, a new designer showroom in Melbourne, AWM continues to grow in strength and relevance within an ever-changing industry. awm.net.au
First page top left: Meeting room First page top middle: Custom-made reception First page top right: Private, quiet meeting hubs First page below: Chevron tiled kitchen Adjacent left: Collection of images from AWM’s Alexandria showroom and factory in Sydney Below left: Open plan, customised workspace Below right: Reception waiting area
Feature Wall : flyme2themoon, Byron Bay 2013
Ideation Design Innovation “Keep up with cutting edge technology, the latest software and never stop innovating and streamlining.” ANTHONY SCOTT, AUSTRALIAN WORKSTATION MANUFACTURERS
TALKING BUSINESS: ZENITH INTERIORS
Z ZENITH INTERIORS HAS BEEN EXCELLING IN THE CORPORATE AND COMMERCIAL ENVIRONMENT FOR 50 YEARS THROUGH THE DESIGN AND MANUFACTURE OF NEW AND INNOVATIVE WORKSTATIONS AND OFFICE FURNITURE. HERE, VICTORIAN STATE MANAGER, PETER TRENGOVE, DETAILS THE JOURNEY THUS FAR AND WE DELVE INTO ZENITH INTERIORS’ COLLABORATION WITH NAB AND WOODS BAGOT FOR THE NAB 700 BOURKE STREET, MELBOURNE PROJECT. Photography Shannon McGrath Courtesy of NAB and Woods Bagot
ince its early beginnings back in 1956, Zenith Interiors’ showrooms have sprung up across Melbourne, Sydney, Australian Capital Territory, Queensland, Perth, Adelaide, and then, following the purchase of the showroom distribution arm of Formway in 2009, Auckland and Wellington in New Zealand as well, boasting a strong and reputable presence as its products have and continue to evolve over time. Having initially laid its foundations as a partition company before evolving into the Zenith Interiors brand of workstations, the company has since seen vast growth marked by smart business decisions and a commitment to solid values and goals, with people being the top priority. “Our first value is our people. Zenith staff are friendly, respectful, focused and committed. Our organisation has employees who have been with us [for] the entire 50 years, and just about every Zenith Senior Manager has been with us for more than 15 years, including myself,” says Trengove. Challenged for space due to rapid expansion, Zenith Interiors was forced to up-scale its manufacturing space to keep up with demand. After three moves, the current location in Sandringham, Melbourne has expanded to over 11,500 square metres, housing the design team, national projects team, the workstations, metal storage and
manufacturing facilities, and a new state-ofthe-art worktop manufacturing plant, along with a powdercoat automation line. “In Sydney, we are just about to move into a new 5,000 square metre facility in Kingsgrove. We have simply outgrown the existing Rockdale facility in under five years. This new premises will bring together all of our loose furniture, task chair and storage stock and incorporate our upholstery manufacturing division. It will also be the new home for our head office team for marketing and IT support,” said Trengove. Zenith Interiors’ vision to become a major player in the Asia Pacific region came to fruition in 2012 after having acquired a factory in Shanghai. Most recently, further expansion hit during August this year upon the opening of a Zenith Interiors showroom in Hong Kong as part of the company’s Asian expansion program. “Our expansion into Asia was a natural progression for us. Many of our clients have offices in Asia and there are so many Australian architects and designers working in these regions. The design community in this region know us; they respect our service and products, so we need to be there to support them and to achieve further growth for our organisation,” says Trengove. Peter Trengove started out with Zenith Interiors as a sales person, before progressing through the ranks to become the
TALKING BUSINESS: ZENITH INTERIORS
First page: Hero images of the NAB 700 Bourke Street, Melbourne project Above: Built-in soft furniture Adjacent: Custom booths
Victorian State Manager. Being a qualified cabinet maker, Trengove has worked in the commercial industry since the age of 14. His qualifications and experience have enabled him to understand and appreciate the complexities of the industry and with such wealth of knowledge, he has become a valuable asset to Zenith Interiors. “I learnt a long time ago that attention to detail, good customer service and the ability to find solutions for clients are key ingredients to a successful outcome for everyone,” he says. Given Trengove’s background and the success Zenith Interiors has seen, we picked his brain on the changing scope of workspace design. “The workplace is becoming highly flexible and mobile which is certainly challenging our traditional ideas of management and working styles. It is also
pushing the boundaries of what an office environment should look like, feel like and how it should function. Technology and economics have driven a lot of this change and have a major, positive impact on how and where we work. The style, feel and size of the workstations have changed, and now, our loose furniture collection is playing a huge role in our overall offer for collaboration, breakout and quiet areas in the workplace. “There is a lot of information in the market place about ABW [activity based working trends] but the way I see it is that we’re aiming for diverse and balanced work environments. The idea of sitting at a desk for eight hours a day is fading and we are working closely with the design community to supply products that will help them create functional and primary work-points, combined with alternate
workspaces, so employees can seamlessly transition from an individual work situation to [a space that enables] group work and collaboration. Another big focus is on privacy and concentration. Something we perhaps neglected in the traditional open plan offices in the ‘90s,” Trengove explains. The outstanding NAB project presents this picture of contemporary workspaces and Zenith Interiors’ competence in the field perfectly. The project was very much a collaborative effort between NAB, Woods Bagot and Zenith Interiors. “A project is only as good as the partners that come together to interpret the client’s vision and ensure the architect’s inspiration becomes a reality,” Trengove says. In this case, NAB, Brookfield Multiplex and Cbus Property teamed up with Woods Bagot and worked through the processes of tender,
TALKING BUSINESS: ZENITH INTERIORS
“A project is only as good as the partners that come together to interpret the client’s vision and ensure the architect’s inspiration becomes a reality.”
planning, design, refinement and product selection. Zenith Interiors then responded to the initial pilot program and tender process. “I think we participated and excelled in the presentation of world-class design for selection on this project through our understanding of the client’s needs and the parameters of the brief,” said Trengove. The Zenith Interiors R&D team offered product development and refinement within competitive, on budget costs for the project, and the logistics team was able to guarantee the supply, delivery and installation on time with quality assurance. “NAB required products that not only provided utilitarian service and a bespoke fit, but, as a global corporate player, excellent design was integral. “A project the size of 700 Bourke Street was immense, and we supplied over 2,430
workstations, 500 meeting tables, 210 booths with built-in soft furniture and lounges, and 150 Corrals [individual workstations],” Trengove explains. Zenith Interiors processed documentation, expedited procurement and effected delivery through operations manager, Andy Brook and site coordinator, Glen Bertoli. The delivery and installation was seamless, with site installers and a permanent on-site supervisor acting as overseer, which Trengove explains “is normal practice for Zenith whether a project is large or small.” “The NAB project for me was probably the most challenging, yet most rewarding. To be part of a project spanning over several years and working with clever innovative designers, well-organised project managers and builders, and in particular, a very receptive and friendly client, was a wonderful experience.
“Our ability to provide customised solutions is a huge strength for Zenith. Our success through our collaboration with NAB and Woods Bagot on the 700 Bourke Street, Melbourne project, and our long list of corporate, financial and government clients is fast becoming Zenith's success story,” said Trengove. For example, many of the custom, tailormade products Zenith Interiors designed for NAB, such as the Schamburg + Alvisse 3000 lounge series have now become a successful part of the Zenith collection. Schamburg + Alvisse – one of Australia’s highly respected design brands – joined Zenith Interiors in 2012, designing and developing new pieces for Zenith, adding to their already impressive collection, which has grown through the backing of Zenith Interiors’ showrooms and operations in every major city in Australia, New Zealand and as mentioned, recently, Hong Kong.
TALKING BUSINESS: ZENITH INTERIORS
Above: Built-in soft furniture
On the flipside, the collaboration also amounted in benefits for Zenith Interiors, as Trengove states: “It allowed us to make their products a key part of our comprehensive and complete approach to the marketplace across the entire region, not to mention adding their invaluable expertise and experience in design to Zenith’s culture.” “Marc Schamburg and Michael Alvisse are involved in just about every project which requires customised solutions from Zenith and are very much part of our team and our vision moving forward for new loose furniture products,” says Trengove. For the NAB project, Schamburg + Alvisse conducted extensive research on NAB and conversed with Woods Bagot to get a clear sense of NAB’s brief. Schamburg + Alvisse designed bespoke products that incorporated details of the building’s architecture and Zenith Interiors’ R&D team assisted with the implementation of the designs. “Elements such as the triangulated architecture, architectural details of the internal fissures and the internal design of the workplace; which balances privacy with transparency and permeability, were incorporated into products,
thereby adding another dimension to the interior,” says Trengove. A lot of inspiration came from the site and the building – the architecture, the fractal-like façade of the building and the crevices letting light stream in. The excellence of this project can be attributed to the many experienced, talented minds that worked on it. Zenith Interiors’ ability to meet the brief in such a successful way is credit to the company and portrays a clear example of contemporary workspace design. “We have invested a lot of time and energy into the products we are releasing to the market. Our Zenith design studio (which is our R&D team) is now [comprised of] 10 strong [people] and growing. We also have international partners we are working with and we stock and manufacture their products in Australia,” says Trengove. Keeping up with the latest trends and the changing way people work is a must for Zenith Interiors. The company has ensured it stays consistently strong in all areas of business in order to confront industry challenges with confidence as they arise. Most recently, the Zenith team has noticed a major trend in casual spaces that encourage employees
to work collaboratively, and according to Trengove there are also other standout trends that need to be addressed. “The furnishing industry still needs to focus on ergonomics and environmental processes when designing and manufacturing products, while embracing technology. Our new Media Connect [is a good example] – a wireless communication presentation product for collaborative work environments.” Zenith Interiors’ smart business practices continue to set the company apart in a competitive industry, as clearly exemplified through the NAB project featured here. Such practices include its customised solutions that combine knowledge with experience, working with its clients early to identify specific needs, and fulfilling those needs before ensuring the supply and delivery is executed promptly – elements of consistency that amount to strength. Trengove says: “We want the customer to say that Zenith cared as much about my project as I did.” zenithinteriors.com.au
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CAPACITY: MEET THE MAKERS
WITH NO INITIAL VISION TO EXPAND INTERNATIONALLY OR BOOM INTO AN INDUSTRY LEADER IN DESIGN AND SUSTAINABILITY, TEXTILE GIANT INSTYLE HAS, OVER THE PAST 27 YEARS, CONTINUOUSLY ADAPTED TO THE NEEDS OF THE MARKET AND FOUND SUCCESS IN EMBRACING OPPORTUNITIES ALONG THE JOURNEY. HERE, WE SPEAK TO FOUNDER AND MANAGING DIRECTOR, MICHAEL FITZSIMONS, WHO EXPLAINS HOW THE CHANGING SCENE OF WORKPLACE DESIGN HAS ALTERED THE TYPE OF TEXTILES AND OTHER PRODUCTS THAT ARE BEING DEVELOPED FOR THE OFFICE TODAY.
TALKING BUSINESS: INSTYLE
Adjacent left: Calibre and Sense fabric on modular seating Above left: Foliar by Adam Cornish Above right: Ecoustic Foliar by Adam Cornish
he focus on commercial-quality textiles is, as of late, being magnified within industry and leading suppliers such as Instyle, are taking full advantage through the creation of truly unique designs. The hype around Instyle can be credited to its consistent, design-driven products produced from superior materials, as featured here. In addition to textiles, Instyle provides leathers, vinyls, wall finishes, acoustic products and modular tile systems for interiors including office spaces, the hospitality and healthcare sector, public buildings, transport, public spaces and residential interiors. Such projects have included Qantas aircrafts and lounges, Sydney Olympic Stadium, government departments and major international corporations’ headquarters such as Facebook, Google and American Express. Instyle’s sophisticated collections are developed to industry leading standards by its in-house design team and are then produced by manufacturers in Australia, New Zealand, USA and Europe. For Instyle, manufacturing location depends on the product area, however the majority of its textiles and acoustic products are produced locally with long-standing, leading manufacturers. “When I established Instyle in 1987, I wanted to promote and support local design and local manufacturers. This is still a key
motivation for us as locally-made textiles are an important feature of our extensive collection,” says Fitzsimons. “I started with a small range of officeinterior-focused wool textiles that were designed and manufactured by local mills. After a few years of operation, we set up an in-house studio to design our own distinctive range of products,” he explains. The company sources premium natural leathers from Europe and Scandinavia, “because these countries supply the highest quality raw hides due to their low impact farming methods and tanneries. They are at the leading edge of technological and environmental innovation,” says Fitzsimons. Adding the competitive edge of sustainability to its business in 2002, Instyle has and continues to develop in this field. Instyle’s Life Textiles collection was the first sustainable textile collection in Australia to address the entire lifecycle of sustainable production, from the sourcing of raw materials, to product recyclability. Today, the company continues to advocate for lifecycle based products and standards. This commitment has paid off immeasurably for Instyle, having won numerous sustainability awards at the United Nations’ World Environment Day Awards and the NSW Government Green Globe Awards.
It is evident and accepted knowledge that in order to expand successfully within a challenging and competitive industry, collaboration is paramount. Instyle has undertaken many joint ventures with companies such as Contemporary Leathers in 2001 and Wovin Wall in 2006. The company has also invested in many partnerships, such as recent collaboration with Adam Cornish to produce Foliar and Ecoustic Foliar. “When we were looking to collaborate with designers to expand our wall finishes range a few years ago, our partners at Box and Dice recommended Adam as they had worked with him previously on his prototypes and liked his design aesthetic and approach. “We liked his concept for Foliar immediately – it was beautiful, playful and unique in that the user could interact with it. The concept for Ecoustic Foliar evolved while developing Foliar, as acoustic products were becoming an important consideration, and it fit nicely into our successful Ecoustic collection released early last year,” Fitzsimons says. Internationally recognised, Instyle’s presence spans from Australia, throughout America, Canada, Asia, Middle East and UK and is distributed in New Zealand by its wholly owned subsidiary, VIVID Textiles Ltd. With Instyle carrying such influence and creative ability, Fitzsimons is positioned to
view industry in a discerning, sophisticated way. Hence, we asked him to share his thoughts on current trends in workspace design and discovered how these trends and changes are influencing Instyle’s designs. “The new design of open plan workspaces has led to the increased requirement for acoustic products to reduce noise and disruption. “Another trend is the move towards activity-based workspaces (ABW), which has seen the inclusion of pods or work areas with their own in-built acoustic capabilities to encourage collaboration. “With finishes, A&D clients are looking for textured products using a combination of neutrals on workstations and ergonomic chairs. Textures in bright colours are often used in blocks of colours or as accents on casual and lounge furniture. Patterns are used as accents or in combination with plains
TALKING BUSINESS: INSTYLE
and textures within one piece of furniture,” he says. Instyle’s products are often designed to meet a brief and then supplied to professionals in the architecture and design industry. Such designs are focused on a range of factors including the specific market it is being designed for, price-driven factors or performance-driven factors to meet a specific abrasion, fire or acoustic result. Surprisingly, plans for Instyle were never to expand internationally. The catalyst for its rapid growth was the demand from expat Australian designers in the USA, Hong Kong and Singapore wanting to use Instyle’s products. “This resulted in distributors in these countries approaching us to represent our products in these markets,” Fitzsimons says. “In the USA, we decided to establish our own company in 2002. In 2006 our distribution changed when the American
Below: Calibre fabric on chair and Ecoustic Foliar by Adam Cornish Adjacent top: Ecoustic Panel 8mm Adjacent middle: Avenger fabric at Austin Health: Olivia Newton-John Cancer & Wellness Centre Adjacent bottom: Wovin Wall at I-Square
TALKING BUSINESS: INSTYLE
“When I established Instyle in 1987, I wanted to promote and support local design and local manufacturers. This is still a key motivation for us as locally-made textiles are an important feature of our extensive collection.”
company 3form licensed our customised Wovin modular system products and at the same time, Unika Vaev, a well-established North American wholesaler, approached us to represent our sustainable Life Textiles collection,” he says. Since, Instyle’s USA business has flourished and Unika Vaev has taken on the entire textile and acoustic product collections. “Over the last three years, our international sales network has grown significantly in other parts of the world and Instyle’s products are now represented in New Zealand, USA, UK, Europe, Singapore, Hong Kong and the Middle East,” Fitzsimons said. Instyle’s design team stays up-to-date with current and future trends primarily through international trade shows, design magazines and the Internet. “One of our designers has just returned from the London Design Festival and has indicated that furnishings are still incorporating a lot of texture, and a large variety of textures, from an aesthetic viewpoint and because textures offer longevity, as they do not date as quickly as patterns. There is also the use of natural finishes such as wool and leather in furniture designs as they provide a hand made authenticity,” Fitzsimons says. As workspaces in Australia and abroad continue to evolve, as do the products industry is producing, clearly illustrating the timeless flow between the changing way humans interact and the flow-on effect of way design responds. With influential industry leaders such as Instyle, the future looks bright. instyle.com.au
ARCHITECTURE: INNOVATIVE INTEGRATION
ARCHITECTURE: INNOVATIVE INTEGRATION
Integration CREATING A SPACE THAT IS BOTH FUNCTIONAL AND INSPIRING IS THE PINNACLE OF GOOD ARCHITECTURAL DESIGN. HERE, DAVID CARABOTT, DIRECTOR OF CHT ARCHITECTS, EXPLAINS HOW THE DESIGN OF HIS OWN FIRM’S WORKSPACE PROVIDED A UNIQUE OPPORTUNITY TO DESIGN AN OFFICE THAT EMBODIES, AND EMBRACES, INNOVATION AND CREATIVITY. Text Emily Sparshott Photography David Patston
ur modern architectural landscape calls for exciting, cutting-edge design coupled with functionality, and this is particularly so in Melbourne’s innercity fringe. CHT Architects has successfully reflected this ideology with the design and fit-out of its office in Collingwood. A space that is both architecturally- and aestheticallysound, CHT Architects’ open-plan office blends modern ideas with its own heritage, providing its employees with a functional and inspiring place to work. Originally established in 1999 by David Carabott, CHT Architects evolved when fellow director Michael Holt joined the firm in 2004. Today, the company believes in the value of remaining socially, environmentally and ethically conscious, with a desire to produce high-quality, distinctive designs that complement modern Australian life. The company is design-focused and multidisciplinary, offering services in architecture, urban design and interior design
across multi- and single-residential sectors, aged-care, health, commercial, institutional and hospitality sectors. With a philosophy to design spaces that respond to the aspirations of those who occupy them, Carabott explains that the company’s main objective “is to create environments that help enrich people’s lives,” and this can certainly be said for CHT Architects’ workspace. Collingwood is a haven for creativity, exuding an industrial-chic feel while sticking firmly to its cultural roots. CHT Architects’ office is a 19th century red-brick and bluestone building on Oxford Street. The property originally comprised two sites that were separately owned and occupied by two residential dwellings, with a 33-foot frontage and a depth of 190-feet running east from Oxford Street to Cambridge Street. Upon further investigation into the history of the site, Carabott discovered its fascinating heritage.
ARCHITECTURE: INNOVATIVE INTEGRATION
“Office spaces need to be adaptable and flexible to change. Environments that are too rigid do not allow for this flexibility.”
First page: Level one reception, with the ‘DNA of Architecture’ feature wall Left: The ‘DNA of Architecture’ feature wall upon entry Above: Lower level hallway with adjoining kitchen and private meeting room Adjacent top right: Reception area and open meeting space, within the existing shell and brick facade of the building Adjacent bottom right: Collective workstations with indoor plants acting as a subtle, yet private buffer from distractions
“The shape and location of the current building is consistent with the building shown on the maps dating back to 1858, devised by the surveyor general, Andrew Clarke,” Carabott explains. “It is understood that this original brick and stone factory was built by Josh Dyason, an immigrant of British origin. [He] established a successful lime juice cordial manufacturing business spanning over 23 years … [called] Dyason and Son Cordial Manufacturers. It would seem from historical records … that both men were highly-respected members of the Collingwood community.” Armed with knowledge of the building’s foundations, Carabott explains his vision for the property. “When re-conceptualising the building the aim really was to provide a workspace that
was inspiring to work from and comfortable to work in,” he says. “The critical element of the design was the expression of the history of architecture and treating the original fabric with respect. The inspiration for the warehouse conversion was found in the original historic façade, which was always the appeal and attraction of the space.” While his vision for the workplace seems simple, it enabled the development of a unique social dynamic. “Allowing the staff to work in a studio environment with no offices, reinforces a flatter-hierarchical structure and makes for a more comfortable and creative place to design. It was really about the elimination of hierarchy within the workplace … [using] visual contact, natural light and encouraging a dialogue of architecture throughout.”
“The design is very much connected to CHT’s ideals of responding to the aspirations of those people who occupy the building. As the office is a collection of architects, it only makes sense that it should be architecturallyand aesthetically-pleasing.” Establishing a space by architects, for architects, could have been a tricky feat, especially considering its inhabitants are among the best in the business. However, with a focus on transforming the space into a haven for creativity, the features of the property are as visually appealing as they are motivating. “It was a decision from the very beginning to retain the existing shell of the building, and now this provides a large amount of space and character internally,” describes Carabott. Implementing a black and white colour palette to act as a neutral base, the office
ARCHITECTURE: INNOVATIVE INTEGRATION
boasts bluestone walls, old timber trusses, a 100-year old door and re-used timber flooring. Carabott’s use of polished concrete flooring on the lower-level of the building exudes an industrial-chic feel, while natural light and the incorporation of plants help to provide a refreshing, relaxing environment. The elimination of traditional offices permits the open interface of a studio environment that encourages open dialogue and interaction between employees and clients. However, perhaps the most appealing aspect of the property is the statement black and white feature wall situated on the top level of the building. As Carabott explains, it acts as a visual timeline of design and architectural influences – and it certainly seems that this wall reflects Carabott’s vision for the space, reiterating the importance of blending nostalgia with innovation. “The feature wall is very much a standout in the office, with the black-and-white colour scheme … from Gaudi, Art Nouveau and monumental classicism in 1900, to neo-expressionism and bureaucratic neointernational style in 1960, and now to CHT Architects, the history of architecture and design is acknowledged, reminding us of how it has been influenced over time and evolved into the firm it is today. The wall is really about the DNA of architecture.” While the workspace harnesses CHT Architects’ vision, Carabott explains that an environmentally conscious workplace is
equally as important as its fit-out. In order to keep with sustainable practices, the company has implemented some key green features into the design, while also recycling material from the original building of its old office. “CHT has installed 30 solar panels onto the roof of the Collingwood building. These panels will provide up to 10kilowatts per hour of power generation, which it is hoped, will fulfill 50 to 60 per cent of the practice’s power needs,” states Carabott. The office also includes “the incorporation of bike parking facilities in a bike container
– and showers to facilitate this – which encourages employees to choose to cycle to work.” In addition to this, “with 140 indoor plants lining the office, employees can feel a connection to nature, which has been proven to increase workplace productivity.” A space bursting with imagination, CHT Architects’ has certainly made its own mark on the Collingwood site. Reflecting on their own needs as a practicing architectural firm, the team at CHT Architects has been able to apply their knowledge of the industry to their own dwelling – with astounding results.
ARCHITECTURE: INNOVATIVE INTEGRATION
Top: Small, private meeting room on the lower level, with exposed bluestone and concrete flooring Middle: Continued black and white patterning, giving identity to the lower level Bottom: Large meeting room on the lower level, presenting effective use of a narrow space, authentic character and the retaining of the existing building’s existing materials
“We think there is a realisation that the quality of the working environment for employees greatly affects their levels of job satisfaction, wellbeing and productivity as well. This often goes hand-in-hand with workplace culture and the kind of relationships and attitudes that are encouraged within the workplace. The way we have designed our communal and kitchen areas encourages employees to mingle with one another. “Office spaces need to be adaptable and flexible to change. Environments that are too rigid do not allow for this flexibility,” Carabott asserts. Looking toward the future, what can we expect from Melbourne’s architects? Is it becoming harder to work on innovative and interesting projects in an everexpanding landscape of urban consolidation? Carabott doesn’t seem to think so. “In Melbourne, there is an emerging market that respects design and provides a demand for high standards of design. This allows for firms to cater for these needs and provides a market which to work with. “It is an exciting time to be a part of the architecture and design industry in Australia. There are many innovative companies working on extremely exciting projects, which is inspiring to be a part of, and it brings many more creative opportunities to Australian designers. “Today, designers are becoming less and less competitive, and instead more collaborative, with CHT as an example. We collaborate with like-minded designers within Australia and internationally, as this ultimately helps us to achieve great things as the result of a collaborative and creative team effort.” Through this, CHT Architects are currently working on a range of exciting designs in collaboration with a hardworking group of architects, interior and urban designers, paving the way toward an exciting and bright future. Today’s modest office designs no longer warrant a drab, clinical interior. CHT Architects’ implementation of modern interior design coupled with an acknowledgement of the site’s rich past has allowed the firm to create its own sanctuary for creativity. With a clear vision to design spaces that are not only visually pleasing, but functional, CHT Architects has clearly created a work of art. chtarchitects.com.au
Business “Today, designers are becoming less and less competitive, and instead more collaborative… We collaborate with like-minded designers within Australia and internationally, as this ultimately helps us to achieve great things as the result of a collaborative and creative team effort.” DAVID CARABOTT, CHT ARCHITECTS
INTERIOR DESIGN: CUSTANCE
Human Touch GREG PRERAU, PRINCIPAL DIRECTOR OF MULTI-DISCIPLINARY DESIGN FIRM CUSTANCE AUSTRALIA, BELIEVES THAT THE ESSENCE OF GOOD DESIGN STEMS FROM THE UNDERSTANDING AND CAREFUL CONSIDERATION OF THE PEOPLE WHO WILL INHABIT IT. HERE, PRERAU EXEMPLIFIES THIS ETHOS THROUGH ONE OF THE FIRM’S LATEST AND MOST IMPRESSIVE WORKSPACE INTERIOR DESIGN PROJECTS, SCREENRIGHTS. Text Melinda Jennings Photography Ian Carlson
rue connection comes from the human touch’ – an objective sentiment, but also the core value that drives the well-respected design firm that is Custance. The multi-award winning practice started more than 30 years ago, when Jonathan Custance first put his dreams into action in Wellington, New Zealand. Carrying the dream to expansion, in 2000, Greg Prerau introduced the Custance name to Australian shores and became the Founding Director of Custance Sydney. Since its solid foundations were set, Custance has been entrusted with many high-end projects spanning interior design, architecture, urban design, master planning and strategic facilities. Although different, each project along the journey has shared a clear and common objective through the Custance lens: ‘to create an environment where people can flourish – a space to thrive’. “We have been around for over a quarter of a century because it’s always been about something more; building space for our clients to thrive, through time. So whilst aesthetics are important, our design ethic strives to be not so concerned with fashion, which quickly dates, but with innovative and relatively
timeless solutions that help each client tell their unique story within their own physical space,” Prerau explains. Adding colour and life to the philosophy that characterises Custance, is its recent project with audio-visual copyright company, Screenrights. What began as a strategic planning assignment to determine whether Screenrights’ office space fit within the changing landscape of the audio-visual industry, quickly shaped into a much larger project, with Custance at the helm. Because Prerau and his team were so in tune with the actual needs of the client, they were able to determine that Screenrights’ current office did not promote the growth that it was looking for. Through a facility planning review and locational analysis, Custance assisted Screenrights in finding a brand new location that would be more conducive to meeting its clients’ needs. But the work was only just beginning. “After securing the lease, the next stage of the project was the interior design brief. Screenrights required an innovative, dynamic new workplace to reflect their creative membership and collaborative audience
connections, whilst controlling costs as befits a not-for-profit organisation. “They wanted to represent the innovative nature of both their own work and the work of their members and open themselves up to interact with the arts and film industries,” says Prerau. With this brief in mind, Custance set about creating an open-plan workspace that promoted integration between staff and clients. What resulted was an office space that reflects the heart of the company in a visually dynamic, artistic way. From the moment the lift doors open you are delivered to the centre of the workspace, into the very heart of Screenrights. With staff-client relationships being traditionally held on two different sides of the fence, this welcoming and unique entrance aimed to break down that barrier and promote transparent and holistic collaboration. As well as promoting transparency through these breakout areas and across the entire design, Custance didn’t lose sight of representing what Screenrights is all about as a company. “In essence, the open breakout spaces at the front of house are like a stage set which generates its own life and activity through staff traversing the space and visitors coming
INTERIOR DESIGN: CUSTANCE
First page: View from lift/lobby to staff breakout bar and client welcome area Above left: Client waiting alcove Above middle: Open plan ‘ad hoc’ collaboration space Above right: Open plan quiet collaboration zone
and going. The people are the performance and the creative talent,” Prerau said. “Allusions to stage and production abound throughout this space to reinforce the creative message that is at the heart of Screenrights. For example, the lighting was selected for its theatrical references and is a deliberate feature in the front of house.” The drive to create something unique and memorable led to the creation of the project’s standout feature – the overhead disc visual. Large, circular discs were printed with images of classic Australian television and film scenes and positioned onto the ceiling, resulting in a highlight of the design that connects the entire workspace. As well as looking fantastic and holding together the theme of the business, the discs also act as sound absorbers – a functional addition to any open-plan office. “We were looking for a way to do more than place posters on a wall… when [we landed on] a design element would be both functional and creative, we felt we were on to something special,” says Prerau. And “something special” was certainly achieved throughout the fit-out, spanning four
offices, a boardroom/large meeting room, two small meeting rooms, a large utilities/resource area, communications room, large storeroom, a generous staff breakout area, reception, and at least thirty-six individual workstations. Keeping in mind function, form, the connection their design would have with its inhabitants and the important matter of economical sustainability, Custance endeavoured to retain as much of the existing office space as possible. All original ceilings and lighting were retained, as well as a large majority of the built-in joinery. Where possible, Custance used the existing furniture that Screenrights owned, including their boardroom table and meeting room chairs. All new purchases for the office fit-out were chosen based on how durable they were, and, where possible, from GECA approved suppliers. But the real triumph of sustainability came directly from ingenuity inspired by the perfect blend of interior design and architecture that is Custance. “The greatest contributor to sustainability,” Prerau explains, “was the open plan layout, allowing daylight to
penetrate into the open plan office from both the long (north and south) sides of the building, which meant no additional lighting had to be installed over the existing base building provision. “The open nature of the floor plan also contributed to energy efficiency, as there is no secure locked perimeter around the lift lobby. This open layout makes the most of the base building air-conditioning system, allowing good return air flow paths and reducing temperature fluctuations within the space,” he adds. Long-term sustainability is such a core focus and responsibility in this economic climate, not only for designers, but also for those working in almost every industry. Even small differences like facilitating airflow and utilising natural daylight can make an important impact. According to Prerau, future sustainability isn’t the only concern of the interior design industry within Australia though. He sees our current climate to be in an “interesting state of flux”, crediting the Global Financial Crisis to contributing to a landscape in which business owners are still afraid of risk.
INTERIOR DESIGN: CUSTANCE
“The people are the performance and the creative talent.”
Above: Staff breakout area banquette, built-in to follow the curved feature corner of the building
“It seems that collectively, corporate and government in Australia have become so risk averse that they delay crucial office space decisions so long that the design process is becoming more and more rushed. The strategic planning part of why should an organisation move, where and what type of place is the best to move to, what work processes do we need to change and what is the ideal model for the new office to aspire to, is often not being considered. “We have encountered more and more client briefs over this time that once we start the design process we are forced to pause as the realisation dawns that what we have been asked to design is not what the client actually needs but only what they thought they wanted. What they thought they wanted was so compromised by time and cost pressures so the question continually arises, does one build it on time and on budget knowing [that] it’s not [specifically] fit for that client? The answer varies from project to project but rarely do we end with the same brief we started with. “Having said all that, I believe that office design in Australia is world leading as we are early adopters of totally open plan spaces and
activity based working. There are landmark projects in this country that are benchmarks in the design world,” says Prerau. With this well-rounded attitude towards the current state and future of Australian design, what can we next expect from Custance? Big things, according to what’s lined up in the books. Custance is currently in the final stages of completing a 2,500 square metre office for the NSW Independent Commission Against Corruption (ICAC). It is also in the initial stages of assisting the NSW Ombudsman Office transform its workspace, as well as creating an open plan fit-out within the Harry Seidler Australia Square building and designing several multi-unit residential architecture projects. With such potential on the horizon, the compelling interest toward the developing Custance story is prevalent within industry. From its larger to smaller projects in varying sectors of design and planning, it is clear that the vision of maintaining human connection at the forefront of every project will continue to inspire and propel Custance toward an even brighter future.
Flooring: Amtico International, Polyflor Australia, Signature Floorcoverings Wall Finishes: Dulux, Classic Ceramics Ceiling Finishes: Woven Image Joinery: Laminex, Polytec Upholstery: Instyle Contract Textiles, Kvadrat Mirror: Viridian Chairs: Hilton Bell & Associates, Stylecraft, Space Furniture, Unifor Australia Tables: Maxton Fox Furniture Systems, Space Furniture Lighting: Space Furniture, Satelight Design Storage: CFS Furniture Equipment: Fisher & Paykel, Electrolux, Hafele Fittings & Fixtures: Caroma, Zip Heaters, Hand Rail Industries, Caroma Dorf, Reece, RBA
Trade Shows THE LEADING TRADE SHOWS JUST PASSED EXHIBITED PROGRESSIVE DESIGNS, BUDDING TRENDS, AND FACILITATED PRICELESS NETWORKING OPPORTUNITIES FOR BUSINESS GROWTH. HERE, WE DETAIL 10 POST SHOW REPORTS, BEFORE PROVIDING YOU WITH A COMPREHENSIVE CALENDAR OF NEXT SEASON’S MOST ANTICIPATED SHOWS.
Above: The B&T stand at ORGATEC, Cologne Germany
COLOGNE, GERMANY | 21–25 OCTOBER
BANGKOK, THAILAND | 19–23 OCTOBER
he modern office and facility trade fair, ORGATEC, was this year attended by an estimated total of more than 50,000 industry visitors from 120 countries. ORGATEC 2014 hosted 624 companies from 41 countries across 105,000 square metres of exhibition space. Of the 624 companies present, 207 exhibitors and five additionally represented companies were German, and 409 exhibitors and three additionally represented companies came from abroad. These figures show that 66 per cent of the exhibitors were international companies. The trade fair recorded a significant, double-digit increase above all in visitors from the Middle East, North America, North and South Africa and China. ORGATEC portrayed a strong focus on the noticeable changes in today’s working environment, with the presentation of plenty of wellbeing, communication, technology and movement trends. A central theme was the design of communication-friendly workspaces, presented through concepts that simultaneously offered places of retreat as locations for concentrated work, with a cosy atmosphere. In addition to furnishings, exhibitors presented innovative acoustic and lighting concepts. Integrated technology and the possibilities of sharing, forwarding and jointly processing knowledge and information, was also a key highlight. The aspect of wellbeing in the office was focused on with intent to promote and improve employees’ health and thereby, their motivation levels and working capacity. This was shown through unique designs and presentations. The next edition of ORGATEC will be held from 25–29 October 2016. orgatec.com
he 38th edition of BIG+BIH, ASEAN’s biggest lifestyle and designer product fair, was organised by the Department of International Trade Promotion in collaboration with the Thai Lifestyle Products Federation and the Design & Objects Association. Held at Bangkok International Trade and Exhibition Centre, the show saw almost 600 Thai and international exhibitors from Japan, Taiwan, Indonesia, China, Myanmar, Cambodia and Laos, and 1,600 booths showcasing lifestyle products. Mrs. Nuntawan Sakuntanaga, director general of the Department of International Trade Promotion, revealed that based on returned questionnaires, both exhibitors and visitors were quite satisfied with the outcome of the five-day show. “Given the current global economic situation, we were quite satisfied with the outcome of the show,” Mrs. Nuntawan Sakuntanaga said. This edition, the show launched a new concept, H.O.T (Hospitality Objects Thailand), that exhibited decorative items and furniture for hotels, boutique resorts, themed restaurants, cafés and pubs. Held twice a year in April and October, BIG+BIH is divided into trade (first three days), and public (the last two days), exhibiting a range of products including gifts, decorative items, household products, toys, ceramic items, handicrafts, stationery and more. Preparations are already underway for phase two – the 39th edition in April 2015. bigandbih.com
CIFF GUANGZHOU, CHINA | 5–8 SEPTEMBER
he 34th edition of CIFF was attended by 1,030 companies, which was on average 13 per cent more than last year’s edition. The fair was spread out across 200,000 square metres of the China Import and Export Fair Complex in Guangzhou, which was packed with buyers and industry professionals from more than 140 countries and regions, as well as European, Russian, American, Australian, Turkish and Japanese designers and specifiers.
In the past, the CIFF September show has been known for showcasing home furniture, outdoor furniture, décor, textiles and other upholsteries. This edition however, CIFF added to the expected by including exhibits of office furniture, hotel furniture, public furniture and furniture machinery and raw materials for the first time. This initiative was undertaken with intent for the show to become more inclusive.
In 2015, the September edition of CIFF will move to Shanghai within the National Exhibition and Convention Center – a futuristic structure with a surface of about 1.5 million square metres, of which 400,000 is exhibition space. CIFF 2015 Shanghai will be held from 8–12 September.
overseas visitors from 158 countries and regions, which was raised by 3.3 per cent since last year and hit a record high. By business scope, manufacturers occupied 23.34 per cent of the total visitor count, trades: 36.54 per cent, specialists (designers, architects and media): 35.44 per cent, and contractual end-users: 4.68 per cent. Exhibitors said that the venue facilities were improved and the visitor flow was satisfactory. Visitors found that the exhibited
furniture products were a standout of this year’s edition. “We have seen more true customers that wrote and confirmed orders than any other China show,” said Mark Foster, Director of International Sales at Uttermost.
FURNITURE CHINA SHANGHAI, CHINA | 10–14 SEPTEMBER
he 20th anniversary of Furniture China brought together key Chinese domestic furniture enterprises and over 307 international exhibitors, totaling 2,685 exhibitors in participation. Held at Shanghai New International Expo Centre and Shanghai World Expo Centre, showcasing the latest products, designs and technology, the fair attracted 98,401 visitors – a 15.34 per cent increase in comparison to last year’s edition. This count includes 21,823
REED GIFT FAIRS
INTERTEXTILE SHANGHAI HOME TEXTILES
SYDNEY, AUSTRALIA | SEPTEMBER 20–23
SHANGHAI, CHINA | 27–29 AUGUST
eed Gift Fairs Sydney September saw strong visitor numbers, totaling 5,851 and 283 exhibitors, showcasing a range of gifts, novelty products, furniture, homewares, fashion and accessories. Held at Sydney Exhibition Centre at Glebe Island, a highlight of the fair was the free education sessions that were held at The Retail Hub, where buyers listened to retail experts share on sales and social media marketing, while providing advice in the lead up to Christmas. Standout stall, Mediterranean Markets took out best stand of the exhibition, featuring a range of furniture and homewares with a coastal, contemporary Mediterranean feel. Another standout was Lucinda Rose, with a large stand showcasing some of the best pieces of its furniture range and more. The four-day fair was appreciated by exhibitors and buyers for sparking new business, networking, and catching up with customers. In preparation for Sydney September, Reed Gift Fairs took on board all of the feedback from visitors and exhibitors who attended Reed Gift Fairs Sydney February earlier this year to make the event an even greater success.
he August edition of Intertextile Shanghai Home Textiles recorded a 10 per cent increase in buyer numbers compared to 2013, with a total of 43,189 buyers from 94 countries and regions in attendance to source from the 1,334 exhibitors from 31 countries and regions. This total count was broken down as 38,571 buyers from China and 4,618 international buyers, with the top five visitor countries and regions outside of China being Korea, Japan, Taiwan, Russia and USA. The fair took place at the Shanghai New International Expo Centre across 150,400 square metres – the largest in the 20-year history of the event. Speaking at the conclusion of the fair, Senior General Manager of organiser Messe Frankfurt (HK) Ltd, Wendy Wen, outlined how the fair has always evolved to stay close to the market. “This year was a special fair for us, marking the 20th anniversary, and as always, we made sure the show provided the market with the right features at the right time. We invited more local designers to educate buyers on interior trends this time, and it was also pleasing to see that these buyers were still showing strong demand for overseas brands, particularly those from Europe with a long heritage,” she said.
INDEX FAIRS MUMBAI, INDIA | 9–12 OCTOBER
elebrating 26 years, this four-day event saw about 25,000 trade buyers and specifiers visit Mumbai from across the architecture, interior design and building sectors. Over 300 booths were seen sprawled across 300,000 square feet of the MMRDA Exhibition Center, fitted out with a range of interior products with a focus on spaces for furniture, decorative lighting and artifacts, kitchen, office, wall and floor products and architectural hardware. Being design-driven, Index Fairs allocated key spaces to design including the Index
Design Boulevard; with lighting installations, the Kudos Gallery; exhibiting standout contributions to the hospitality industry, and the Art Enclave and Sculpture Zone; two brand new editions to Index Fairs this year. The fair’s visitor profile was boosted by the official partnership with the Hospitality Procurement Managers Forum (HPMF) and the Institute of Indian Interior Designers; the architect fraternity that is responsible for interior fit-outs of the sprawling project spaces of the country. In addition, strategic partnerships with India’s leading airlines and hotels took the fair to a new level of
professionalism and success. Focused initiatives, such as the B2B matchmaking exercise attracted over 2,700 trade and business visitors from across India. Index Fairs is well-known as a good entry point into the Indian markets and has, over its 26 years of operation, helped launch leading brands from over 20 countries including Italy, Germany, Poland, Spain, France, Malaysia, Singapore and China into the Indian marketplace.
The presence of top exhibitors attracted some of the biggest buyers in the world including retail giants Hobby Lobby, TJX, Best Buy, Family Dollar, Ross Stores (USA) and ALDI, to name but a few. Xue Song, General Manager of Shenzhen D’SILY, who has attended the fair for 22 consecutive years remarked that, “After 15 years of development, Jinhan Fair has reached an ideal state in terms of the quality of exhibitors and the diversity of product
supply chain and has truly become a onestop platform for clients in the global home and gifts industry from different regions and with different needs. Buyers used to come for the exhibitors, but now they are here for the fair itself.”
JINHAN FAIR FOR HOME & GIFTS GUANGZHOU, CHINA | 21–27 OCTOBER
ver seven days in October, the 30th Jinhan Fair for Home & Gifts was held in Guangzhou, China at the Poly World Trade Center Expo. The fair covered an exhibition area of 83,000 square metres and attracted over 50,000 professional buyers from 154 countries and regions around the world, and nearly 800 exhibitors, presenting tens of thousands of new home furnishing and gift products and trends.
PARIS, FRANCE | 5–9 SEPTEMBER
COLOGNE, GERMANY | AUGUST 31–SEPTEMBER 2
eeing only a slight but positive increase in visitors this edition (1.1 per cent), MAISON&OBJET was attended by a total of 110,000 people over the five days of the fair. Breaking it down, international visitor numbers were up by 7.4 per cent and exhibitor numbers increased by five per cent, with 3,445 exhibitors in total. The fair was focused on the era of connectivity, an era dominated by social networks and expanding multi-channel commerce. This theme was chosen by the MAISON&OBJET Observatory. The show’s energy extended through to the fourth annual PARIS DESIGN WEEK, spanning over eight days of evening festivals, gatherings, presentations and events, uniting more than 120 locations and 250 participants. This year, the show also announced it is exporting its expertise with two new, major events – MAISON&OBJET Asia and MAISON&OBJET Americas. The show will now be run four times a year: Paris in January and September, Singapore in March and Miami Beach in May. Organisers aim to further the show’s influence as a crossroads for business, sharing and dialogue, unmatched anywhere else. Visitors to the show enjoyed discovering new designers, brands and companies such as INSIDHERALAND featured above, as the show served as an expressive platform for top-shelf designers and this September, dubbed Tom Dixon Designer of the Year 2014. Through its environmentbased organisation, the show offers good international visibility for both small designers and big-name brands.
he international garden trade fair, spoga+gafa, this edition attracted around 36,800 trade visitors from over 100 countries. The fair saw a 10.7 per cent increase in the number of exhibitors since last edition, and the share of foreign visitors was 58 per cent. Katharina C. Hamma, Chief Operating Officer of organiser, Koelnmesse GmbH said: “The overall attendance in 2014 was stable. However, there was a shift in the visitor structure across the countries. Positive developments were particularly recorded from North and South America and Oceania. Due to the social and political situation, growth from Africa and Russia was not to be expected.” This year, spoga+gafa covered exhibition space spanning 241,000 square metres with its five exhibition segments including garden creation, garden living, garden care, garden unique, and garden basic. To sum it up, the trade fair showcased everything that makes garden living better, aesthetically pleasing and comfortable. The theme ‘living green’ was blatantly represented as around 100 horticultural companies and service providers presented a comprehensive assortment of nursery items, potted plants and seasonal goods. Practical and attractive concepts and secondary placements of the exhibitors were presented on the ‘boulevard of ideas’. Expert lectures and discussions were held, such as the Taspo Talk, which went down very well with the visitors especially landscape architects – a focus that was launched this year and celebrated a successful premiere at spoga+gafa with over 30 participants. All of this rounded off the experience of visiting the trade fair.
19–22 FEBRUARY 2015
3–7 MARCH 2015
MALAYSIAN INTERNATIONAL FURNITURE FAIR
KUALA LUMPUR, MALAYSIA
he boutique retail trade show, Life Instyle returns for 2015 at the Royal Hall of Industries & Hordern Pavilion in Sydney. This exhibition welcomes an outstanding curated line-up of 350 carefully-selected industry-leading exhibitors representing premium, bespoke and design-led products across homewares, giftware, lifestyle and children’s products. The event aims to fuse together business and design to recognise and celebrate the very best. Next year’s edition will welcome a new suite of exhibitors, experts and design enthusiasts, promising retailers and buyers a hub of design activity and a place to hunt for the latest trends and coveted brands. Following the success of Life Instyle Melbourne, the Sydney event will welcome a brand new suite of Australia’s high calibre stylists, designers and brands. Style Lab will also return for 2015 – the radical interactive display using the latest trends and design-led products to create a series of changing scenes created live each morning of the event. The event will be officially launched with an opening night Champagne reception on 19 February from 5:00pm–7:00pm. See the website for further details.
he 21st edition of MIFF will be held at the Putra World Trade Centre (PWTC) and MATARDE Exhibition & Convention Centre (MECC) in March 2015. The show will as usual, present a strong lineup of exhibitors from about 10 countries and regions. So far, the event’s visitor pre-registration list shows an increase in overseas interest compared to last year, which has given the organisers confidence that MIFF 2015 will be yet another successful show. As it will be the first industry event of the year in Asia, show attendees to MIFF 2015 can expect to see brand new collections and an extensive selection of new products from 500 manufacturers. The five-day show will be spread over 80,000 square metres and is on track for another strong performance based on the momentum of influential buyers coming to MIFF in the past few years and an expected sellout show again, with over 80 per cent of booths having been already booked since August this year. An estimated two-thirds of the exhibitors will be from the Malaysian furniture industry. Confirmed exhibitors include household specialists Green River Wood & Lumber, Poh Huat Furniture, Hin Lim Furniture, Favourite Design, SJY Furniture, Euro Chairs and Merryfair Chair System, to name but a few.
4–7 MARCH 2015
12–15 MARCH 2015
EXPORT FURNITURE EXHIBITION
KUALA LUMPUR, MALAYSIA
he 11th edition of EFE promises to be an exciting platform showcasing the latest innovations and designs by the furniture manufacturing sector. The event will be held at the Kuala Lumpur Convention Centre (KLCC); Malaysia’s leading convention facility, next to the iconic Twin Towers. EFE has long been known as an exhibition by the industry for the industry focussing on furniture and accessories, and this next edition has 250 exhibitors lined up from Malaysia, China and ASEAN countries, and for the first time, it will feature an international pavilion. Held in conjunction to EFE will be Malaysia Furniture Week, which will include a comprehensive conference program, seminars, business matching and other exciting activities. EFE is organised by EFE Expo Sdn Bhd; a wholly-owned company of the Malaysian Furniture Council (MFC), which is a newly merged entity, formed by the recent merge between the Malaysian Furniture Industry Council and the Malaysia Furniture Entrepreneur Association on 20 September 2014. EFE 2015 will be a great networking opportunity for business connection within the furniture manufacturing sector and will be visited by buyers, retailers, wholesalers, designers and architects.
FEX 2015 will be held at Jakarta International Expo (JIExpo) and will showcase the merging of local Indonesian traditions with a contemporary influence through furniture and décor. The venue is open and spacious, providing various halls and spaces for exhibitors and events. JIExpo is a versatile venue that is easy to reach from Indonesia’s airports, making it convenient for visitors. IFEX 2015 will feature furniture for commercial and domestic applications made from a wealth of Indonesia’s natural resources including wood, rattan, bamboo, as well as synthetic rattan and other materials. Expected to attend IFEX 2015 are more than 500 exhibitors and 7000 international buyers from 110 countries. The foregoing IFEX 2014 attracted 6,113 visitors in total, including 4,092 local visitors and 2,021 from overseas. For the first time, IFEX 2015 will introduce the Hall of Excellence, which will showcase the work of around 20 companies. Manufacturers from these companies will present their finest furniture characterised by high quality designs, innovations, artistry and materials. IFEX plans to be bigger and better than last year and is set to be a promising event.
13–15 MARCH 2015
16–19 MAY 2015
INTERNATIONAL FURNITURE FAIR SINGAPORE
SINGAPORE, SOUTHEAST ASIA
NEW YORK CITY, USA
he International Furniture Fair Singapore (IFFS), held in conjunction with the ASEAN Furniture Show (IFFS/AFS), The Décor Show and The Hospitality 360°, is regarded by industry experts as one of Asia’s best sourcing platforms. The design-led exhibition will be held at Singapore Expo Convention and Exhibition Centre, and boasts over three decades of experience since its inaugural event in 1981. The 2015 edition of IFFS will shine the spotlight on design from new and exhibiting countries. It will present a comprehensive range of furniture and numerous design initiatives. Visitors can expect a wider offering and a suite of creative installations at the trilogy of design-led events next year. Pre-registration for the show is open until the end of February 2015 and more than 1,500 industry professionals have already registered for complimentary access online. Mr. Ernie Koh, Chairman of IFFS said: “The show’s primary objective has been to facilitate conversations and create business opportunities between manufacturers and designers, distributors, retailers, and hoteliers. For 2015, buyers can look forward to a wider offering with the addition of exhibitors from two new countries, while those seeking inspiration can keep their eyes peeled for our brand new SingaPlural Design Hall.”
he 27th annual ICFF, North America’s platform for global design, will map the newest frontier of what’s best and what’s next at New York City’s Jacob K. Javits Convention Center. North America’s premier showcase for contemporary design, the ICFF annually lures those in determined pursuit of design’s latest trends to an encyclopedic exhibition of up-to-the-moment offerings, as well as a series of fascinating, fun, edifying programs, and a packed schedule of exhibits and features. For the four-day duration of the fair, 15,300 square meters of the Javits Center will be abuzz with more than 31,000 interior designers, architects, retailers, representatives, distributors, facility managers, developers, manufacturers, store designers, and visual merchandisers. On May 19, ICFF opens its doors to the general public, as well. More than 600 exhibitors from all points of the globe will display contemporary furniture, seating, carpet and flooring, lighting, outdoor furniture, materials, wall coverings, accessories, textiles, and kitchen and bath for residential and commercial interiors. The ICFF hosts representatives from Australia, Austria, Belgium, Brazil, Canada, China, Colombia, Czech Republic, Denmark, Egypt, El Salvador, France, Germany, Guatemala, Italy, Japan, Lebanon, Lithuania, Mexico, Netherlands, Norway, Philippines, Portugal, Scotland, South Africa, South Korea, Spain, Sweden, Switzerland, Taiwan, U.S., United Kingdom and Venezuela.
2015年9月9日-12日 2015年9月9日-12日 9-12 9-12September, September,2015 2015 上海新国际博览中心 上海新国际博览中心 Shanghai ShanghaiNew NewInternational InternationalExpo ExpoCentre Centre
Contact in show management : Contact in show management : Email: firstname.lastname@example.org Email: email@example.com Tel: 0086-21-6437 1178 Fax : 0086-21-6437 0982 Tel: 0086-21-6437 1178 Fax : 0086-21-6437 0982
Industry News AMBER TILES LAUNCHES TREND COLLECTION
mber Tiles has recently launched the new Trend collection of coloured glass, Venetian enamel and gold leaf tesserae tiles. The Trend mosaic tiles feature the innovative Trend Plus mosaic backing system that supports the sheets of glass mosaic and makes for an easier and faster installation. It’s ability to be used with all types of adhesives for glass mosaic (concrete, polyurethane and epoxy), ensures a perfect seal in interior or external applications. Commenting on the new partnership, Amber’s Marketing Manager Nathan Downs said, “Amber Tiles is excited to partner with Trend to bring
ETA, a collaborative network of manufacturers and researches, has recently partnered with the FCJA (Furniture Cabinets Joinery Alliance) to launch the META Furniture Cabinet Joinery Hub, intending to unite business leaders from the Australian furniture industry to share ideas and enhance local collaboration. The META Furniture Cabinet and Joinery Hub was officially launched on Tuesday the 14th October 2014 at Federation Square in Melbourne. With the apartment boom and rising interest in bespoke design, this collaboration will assist in creating a globally recognised ‘brand Australia’ to propel the profile of Australian made products both here and abroad. Australian manufacturer Luxmy has joined the META Furniture Cabinet and Joinery Hub to encourage other Australian furniture manufacturers to adopt an entrepreneurial spirit and contribute to pressing conversations regarding the future of the industry. meta.org.au/hub/furniture
its inspirational, diverse and innovative mosaic tile collections to Australian designers, specifiers and homeowners. “Known internationally as a forerunner of new trends, with a unique ability to bring together Italian artistic tradition, respect for the world’s resources and cutting-edge technologies, Trend is a true industry leader and perfect fit for Amber Tiles,” he added. The Trend collection is now available at Amber Tile’s 29 outlets across NSW, ACT and QLD in a range of colours, shapes and textures. ambertiles.com.au
META PARTNERS WITH FCJA
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FEDERLEGNO ARREDO EVENTI SPA: NEW BOARD OF DIRECTORS
merger agreement was recently signed between Cosmit SpA (founder of Salone del Mobile) and Federlengo Arredo Srl in the interest of improved efficiency, streamlining administrative and legal processes and continuous improvement of the organisation. Subsequently, the name of Federlengo Arredo Srl has been changed to Federlengo Arredo Eventi Spa, with Roberto Snaidero as sole President of Salone del Mobile, and as such, the assembly of the company met on the 21st of October to renew the board of directors. At the conclusion of this meeting, it was decided that the new board members are:
Roberto Snaidero (President), Giovanni Anzani, Stefano Bordone, Massimo Buccilli, Luciano Colombo, Giovanni De Ponti, Paolo Fantoni, Mauro Guzzini, Vittorio Livi, Andrea Negri, Emanuele Orsini, Marco Predari and Alberto Scavolini. The Salone will continue its association with the biennial trade shows Euroluce and SaloneUfficio, EuroCucina and the International Bathroom Exhibition, as well as the annual International Furnishing Accessories Exhibition, the SaloneSatellite and the Saloni WorldWide Moscow. salonemilano.it
THE AUSTRALIAN FURNITURE DESIGN AWARD
tylecraft and JamFactory have recently established the Australian Furniture Design Award (AFDA) – a significant prize to encourage innovation and raise the profile of Australian designers. The winners will receive a $20,000 cash prize and mentoring with a residency at JamFactory’s Adelaide-based Furniture Studio. The winners’ work will also be acquired and displayed by the Art Gallery of South Australia. Entries are to be submitted online and from these entries, six finalists will be chosen by the expert panel. Judges include Tony Russell; National Product and Brand Manager at Stylecraft, Jon Goulder; Creative Director of the Furniture Design Studio at JamFactory, Nick Mitzevich; Director of the Art Gallery of South Australia, Fenella Kernebone; Presenter of By Design on ABC National Radio, and Rosina Di Maria; Principal at Woods Bagot. Prototype pieces by the finalists will be exhibited at Stylecraft’s Adelaide showroom in July 2015, where the winner will be announced. The AFDA is open to all Australian designers or designers currently resident in Australia. Entries are now open and will close on the 22nd of May 2015.
SFIC INSTITUTE OPENS FIRST CARPENTRY TRAINING CENTRE
n the 11th of November this year, the first carpentry training centre was opened in Yishun, Singapore. Launched by the collaborative efforts of the SFIC (Singapore Furniture Industries Council) Institute, National Trades Union Congress’ e2i (Employment and Employability Institute) and the Singapore Workforce Development Agency (WDA), the facility is designed to train and develop new local craftsmen to contribute to the struggling Singapore furniture industry. The training centre features two classrooms and a workshop. Here the Creative Craftsman Apprenticeship Programme that was introduced in February this year is undertaken. As
part of this program, trainees partake in a six-month structured course on carpentry aimed at improving their skillset and encouraging them to fill the major shortage gap of carpenters in Singapore. “Majority of the carpenters in Singapore are foreigners, and many practising masters are nearing retirement age,” said Mr Neo Sia Meng, Chairman of SFIC Institute. The SFIC Institute is a subsidiary of the Singapore Furniture Industries Council and was formed as a training and development initiative for the furniture industry in 2004. sficinstitute.com
Detail in Contemporary Office Design BY DREW PLUNKETT AND OLGA REID RRP $60 PUBLISHED BY LAURENCE KING PUBLISHING, 2014 (440) 20 7841 6900 WWW.LAURENCEKING.COM Review Kat Chaousis
irected at professionals in interior design, to students in their early stages of technical development, Drew Plunkett and Olga Reid have produced yet another striking publication to add to their repertoire. Detail in Contemporary Office Design is an artistically presented, technical resource aimed to inspire and educate through showcasing some of the world’s top architects and designers, specifically in creating the modern day workplace. Setting the tone for the visual and conceptual material to follow, this book commences with an intriguing rundown of office design and its evolution over time. Touching on themes including the changing functional, ergonomic, technological, social and creative nature of workplaces in today’s times, the book highlights how designers have learnt to consider and facilitate these themes in the spaces they create. The authors note that places of work are often a second home to employees, indicating the importance of design to consider both the functional needs of the organisation and the psychological and social requirements, using space to foster both a culture of productivity and employee satisfaction. Plunkett writes, “Interiors, and not just those for offices, are normally about making good the shortcomings of an existing shell, whether in response to a change of use or to improve users’ experience… thinking about the experience of being inside shapes decisions about the exterior and demonstrates how a shared detailing language evolves.” Within its 192 pages, Detail in Contemporary Office Design remains true to its title, offering just that; a detailed exploration of 42 of the best office design schemes in recent times, featuring a global showcase of leading architects and their projects. The story of each
design is brought to life by a synergy of crisp photography, alongside technical drawings and plans, furthered by an inclusive CD featuring all drawings, and often accompanied by a rich narrative taking you on a journey through the design concept and process. Some of the highlighted projects include, Skype in Sweden by PS Arkitektur, Red Bull in Amsterdam by Sid Lee Architecture, Adobe Utah Campus by Rapt Studio, Barcode in Singapore by Ministry of Design, Hypernuit Offices in Paris by h2o architectes and many others from around Europe, Asia and South America. It’s evident the material presented in this book is aimed at designers, or at least those that are speaking a common language;
communicating each concept through initial sketches, to technical drawings and highly developed image rendering intended to educate and excite, expanding the designers vision to consider the endless creative possibilities an empty space can offer, and likewise, the message each specific design communicates about a brand and its people. Detail in Contemporary Office Design is certainly a versatile publication. Its technical and conceptual explorations make it a great resource for students and professionals in the industry, while the fresh photography makes it as visually appealing as it is appealing to read.
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The Plexus Light by Adam Cruickshank was inspired by the common elements that underline the naturally occurring and man-made branching patterns that exist in structures all around us, from veins in a leaf to the streets in an urban sprawl, and the complexities of the human body’s intricate pathways. The Plexus Light is fully programmable so that the intensity, colour and sequence of the light can be created to achieve the desired ambience and effect. Adam has recently completed the Plexus Light installation featured here for the lobby in the new Oceanna 29 apartment complex in Scarborough, Western Australia. adamcruickshank.com.au
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COME TOGETHER 19-22 FEBRUARY ‘15 ROYAL HALL OF INDUSTRIES & HORDERN PAVILION | SYDNEY SHOWCASING EMERGING TRENDS, BRANDS AND PRODUCTS ON THE COOLER SIDE OF STYLE & DESIGN 2015’s Life Instyle is all about the fusion of creativity, ideas, design and like-minded people. Prepare to be captivated and inspired by a sourcing experience unmatched anywhere else. Discover unique products, learn from the latest visionaries and get your business noticed with Life Instyle’s curated world of the finest and most distinct products available in Australia and beyond. Explore a mix of designer brands across homewares, fashion, lifestyle and kids products all within an inspiring and fresh sourcing environment. Retailers, stylists, designers – Come Together at Life Instyle Sydney 2015.
REGISTER NOW *Trade Only Event
Published on Dec 16, 2014