Steadfast Visionaries Earl Pinto Talking Business Darcy Clarke X-Ray Vision fmd architects Room With a View Mim Design
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editor’s letter PIONEERING CREATIVITY
his issue focuses on bold and refreshing creativity. Standout businesses and projects have been featured for their ability to influence and inspire, challenging the furnishing industry’s status quo with innovative processes and designs. Underlying each feature is the common notion that reaching the coveted ‘cutting-edge’ status stems only from genuine passion and talent, coupled with a drive to create something new. It is evident that industry frontrunners are most often defined by a unique point of difference that sparks interest. Our cover story depicts the journey and ethos of Earl Pinto. The company is disinterested with mass expansion without focused attention to detail in design and manufacturing. Directors, Alex Earl and Gerard Pinto are committed to upholding a love for the industry and investing in pioneering technology as they continue to confidently and successfully manufacture locally. Delving deeper into the issue, you will discover fmd architects’ renovation and extension of the Knox Orthopaedic Group in Melbourne, expressing an intriguing concept by portraying the literal parallels between orthopaedics and architecture through clever architectural design. Quite similarly, Mim Design asserts a holistic approach to interior design, achieving the creation of sophisticated interiors that are refined in detail and indicative of each client’s personality and/or individual brand. In doing so, each project is refreshingly unique. The Pask Office project featured is no exception. True to form, we uncover insightful, timely industry themes with two inspiring businesses: Darcy Clarke and GlobeWest. Through each interview, we highlight the distinctive point of difference that has kept each business ahead of its game and in the spotlight. Capping it off, the trade shows section provides an international window to several different markets and trends, and this issue’s book review encapsulates our theme of creativity to a tee with a review of Reproducing Scholten & Baijings which unpacks the creative processes of the innovative and dynamic design duo, Stefan Scholten and Carole Baijings of Amsterdam-based studio Scholten & Baijings. Enjoy! Elena Papargiris
Be inspired by elegant designs, in outstanding quality fabrics. Maximise your look with our extensive range of interior textiles. *Chair; Leno Linen, Sheer Drape; Provence Platinum, Rug; Cadrys - Southbank
Call us: AUS 1300 306 316 | NZ: 0800 651 112 Check stock online at charlesparsonsinteriors.com or download the app for your mobile phone.
Fiona Dunin, Director of Melbourne-based architectural practice fmd architects, shares the thought process behind the renovation and extension of the Knox Orthopaedic
Talking Business With Darcy Clarke and GlobeWest.
Group in Melbourne, revealing her intriguing vision to present the parallels between orthopaedics and architecture through clever design.
Interior Design Mim Designâ€™s Founding Director,
Miriam Fanning, shares insight into the conceptualisation and realisation of the dapper Pask Office Project.
Trade Shows Highlights from key local and
Melbourne-based firm Earl Pinto designs and creates pieces that are both
international trade shows and a calendar
well made and aesthetically delightful. In partnership with Alex Earl,
of upcoming events.
Co-Founder and Co-Director Gerard Pinto talks to Furnishing International about the importance of sound industry knowledge and creative collaboration as well as discussing the true satisfaction of creating a piece that transcends modern-day design.
Kat Chaousis reviews Reproducing Scholten & Baijings by Louise
Schouwenberg & Michael Maharam â€“ a stunning visual monograph providing a privileged insight into the remarkable 14-year long journey of creative processes by one of the most innovative and dynamic design duos in Europe.
Cover image: Gerard Pinto of Earl Pinto Photographer: Mark Rudge @ ELLIKON
Introducing the new
Two new collections featuring Sealyâ€™s latest support technology:
Designed to allow your body to completely relax and recover. Model shown is from the Sealy Posturepedic Enhance collection.
Australiaâ€™s Number 1 Bedding Brand* * QMR Tracking Study, January 2015
Founder/Publisher Peter Zapris firstname.lastname@example.org Editor Elena Papargiris email@example.com Graphic Design Phillips Hentri @ Change Creative firstname.lastname@example.org Print ELLIKON – Print • People • Planet ellikon.com.au Contributing Writers Kat Chaousis, Jemmah Kelly, Emily Sparshott Contributing Photographer Mark Rudge @ ELLIKON Subscriptions Manager Natalie Tshaikiwksy email@example.com Sales & Marketing Manager Louisa Li Phone: (+61 3) 9417 9399 Mobile: (+61) 400 519 218 firstname.lastname@example.org 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.
T: 03 9518 1600 Wholesale Enquiries: email@example.com globewest.com.au
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
Inspiration “My main aim was, and is to be continually inspired; I love the ability to work on a diverse range of projects within the growing and ever-changing design industry.” MIRIAM FANNING, FOUNDING DIRECTOR OF MIM DESIGN
New Products Tubeworks Furniture Rhone Barstool features a moulded plait finish seat on an American Oak frame. tubeworksfurniture.com.au Carl Hansen & Son Reversible Tray Table is a design that was born in 1970 by Hans J. Wegner and is now being reintroduced by Carl Hansen & Son. Like the original, the tray is round, oak-edged, reversible, has a smoked oak handle and is available with black and white laminate surfaces. The tray is now also available in a version with oak and smoked oak surfaces. Carl Hansen & Son is now available through Cult. carlhansen.com
Enjoy Lighting Platinum Collection featured here in Peony Rose, Steel and Nordic, boasts an unscented, hand-crafted, intelligent lighting solution, featuring LED technology for a realistic candle flicker and a multi timer, which once set, will automatically switch the candles on every night without lifting a finger. enjoylighting.com.au
Alliance Furniture Trading Navy OďŹƒcerâ€™s Desk features a unique design and chic masculine appeal, making a great statement piece. alliancefurniture.com.au
The Fletcher Chair by Adam Cruickshank was designed with careful consideration to the texture, tone, and longevity. Each component is produced with accuracy by computer controlled manufacturing and then completed, in assembly, with the attention of a skilled craftsman. adamcruickshank.com.au
apaiser Oman Bath is hand-crafted from stone by skillful artisans and boasts smooth curves and a contemporary hue. apaiser.com
Caroma Contura Freeform Basin boasts distinctive gentle curves and a sophisticated appearance, suitable for commercial or domestic applications. caroma.com.au
Something Beginning With Jac Chair is a handcrafted armchair that features an environmentally sustainable recycled frame with high-resilience commercial grade fire retardant foam used for the seat and back. Fully upholstered in a selection of fabric or leather, the chair also boasts American Oak hardwood legs available in a natural or stained finish. somethingbeginningwith.com.au
Stretch Now Swopper Ergonomic Chair can adapt to all three dimensions of human movement. It moves forward, backward, sideways, rotationally as well as up and down. stretchnow.com.au
Vintec Australia Noir Series features borderless black glass on each cooler, providing a sleek, modern cabinet for wine storage suited for commercial or domestic environments. vintec.com.au
Time for a different perspective
Room99 Concrete Clock made from cement and influenced by the shape of a spiral staircase. room99.co.nz
About Space Compass Pendant Light boasts clean lines and adjustable windows. Available in five standard colours. aboutspace.net.au Gainsborough Trilock Omni Back to Back Door Handle is architecturally designed and features 600mm pull handles with a cleverly concealed lever on both the interior and exterior of the door, finished in either a premium stainless steel or polished stainless steel. It also features Gainsboroughâ€™s award-winning 3-in-1 Trilock technology. trilock.gainsboroughhardware.com.au
Dorf Vixen Sink Mixer boasts seamless operation that complements its sleek appearance while its flexible, fully retractable pull down spray adds functionality. The mixer is available in three options including matte black with a chrome trim, matte white with a chrome trim and full chrome. dorf.com.au
Tait Stellar Screen designed by Christina Waterson is a multipurpose screen system made from three components, which can be used in different configurations to create three unique patterns. This piece was inspired by the night skies in rural Queensland. madebytait.com.au
Time to experience different
Zohi Interiors Chevron Bone Inlay Side Table made of natural camel bone and wood. zohiinteriors.com.au
IN-SPACES Cullen Table Lamp created by Mullan Lighting is a standout piece boasting industrial chic. The reflection from the back plate engages the eye and embodies the richness of the brass it has been constructed from. in-spaces.com
Mark Maple Limited Boat Armchair made of teak wood with cushion available in a variety of colors. markmaple.co.nz
CP Lighting NewGROWTH 2 LED lighting feature boasts unique artistry and will make for a brilliant focal point in any space. cplighting.com
Furnitex Connect 2015. Returning brands alongside new discoveries. Expect Different July 9 â€“ 12, 2015. Royal Exhibition Building, Carlton Gardens, Melbourne, Vic Re-energised. Re-imagined. Register at furnitex.com.au
Go Modern Furniture Mogg Ordinary Day (in a woodshed) Sideboard designed by Raphael Charles is made from solid fir and has a black internal finish. gomodern.co.uk
Zanui Marni Gloss Bedside Cabinet in Aqua and Yellow provides a unique display feature with open-draw shelving. zanui.com.au
Cult Kaleido Trays by Hay are made of powder-coated steel and boast a modular system that works as a functional puzzle, with nine colors and five geometric shapes. cultdesign.com.au
Safe • Real Wax • No Mess
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LOCAL MANUFACTURING: CHRISTOPHER BOOTS
LOCAL MANUFACTURING: EARL PINTO
STEADFAST VISIONARIES MARRYING TRUE CRAFTSMANSHIP WITH MODERN TECHNOLOGIES, MELBOURNE-BASED FIRM EARL PINTO DESIGNS AND CREATES PIECES THAT ARE BOTH WELL MADE AND AESTHETICALLY DELIGHTFUL. IN PARTNERSHIP WITH ALEX EARL, CO-FOUNDER AND CO-DIRECTOR GERARD PINTO TALKS TO US HERE ABOUT THE IMPORTANCE OF SOUND INDUSTRY KNOWLEDGE AND CREATIVE COLLABORATION AS WELL AS THE TRUE SATISFACTION OF CREATING A PIECE THAT TRANSCENDS MODERN-DAY DESIGN.
arl Pinto is the brainchild of Alex Earl and Gerard Pinto, combining Earl’s background of furniture design with Pinto’s expertise in architecture and retail design. What began as a simple collaboration between two like-minded individuals, quickly evolved into a long-term partnership that has stolen our attention. Earl Pinto captivates with its refreshingly unique designs that are all manufactured locally in a humble showroom-come-workshop, ideally tucked away in Melbourne’s trendy industrial suburb of Collingwood. Earl Pinto demonstrates that it is important for manufacturers to consider a clever combination of artistry and technology in order to truly grasp the changing nature of manufacturing while staying true to the essence of it all – that is, a love for the game.
“Alex Earl and I started working together seven years ago. I had graduated from architecture at Melbourne University and was designing retail spaces on the side while doing some postgrad research. In my office a colleague had one of Alex’s lights – a one-off piece designed for an exhibition – hanging above his desk. I wanted to use a variation of the light for a project and found Alex with the hope that we could collaborate. “At this stage, Alex was about to start his own studio, which really enabled us to work together on designs for my projects [as well as] to start building up a range of designs. We worked really well together and that was the start of Earl Pinto,” describes Pinto. The company has enjoyed a steady rise in success since its conception, and benefits from the knowledge and experience both Earl and Pinto bring
to the table. With its very foundations based on a willingness to collaborate with similar creative minds, it was inevitable that Earl Pinto’s creativity extended to other projects as well. “We collaborate with a number of architects and designers to achieve design outcomes specific to their projects. We often develop projects by meeting early in the design process and helping designers navigate the construction of complex pieces. It may often involve a specific manufacturing technique that is shown in some of our products that they want as bigger installations, customised to fit their own specifics,” Pinto says. Earl Pinto’s focus is primarily on the quality manufacturing of its pieces inhouse. Consisting of up to six employees, with little fluctuation in number, the company upholds an ethos based on a pure love for the industry. Pinto quips,
“We’ve often tried to stay clear of trends. [We] create things that are for us: beautiful and well made. The problem with trends is they have a distinctly ﬁnite life. We pride ourselves on products that we hope are kept for life.”
Below: Log stool and side table. Plywood shown with Blackwood veneer (left) and digital print (right) Adjacent: Earl Pinto workshop in Collingwood, Melbourne
LOCAL MANUFACTURING: EARL PINTO
“We believe in a happy workplace … it functions well because we all love what we do.” This particular labour of love is evident in Earl Pinto’s work as its philosophy is one that embodies a “designed and made-in-place” design ethic. Enjoying a hands-on approach to their work, the team constantly endeavours to produce innovative design pieces. “We push to have our own distinct style. We make the majority of our products in our workshop. We have kept everything local, but more and more we are seeing a demand for our products internationally. “We are constantly prototyping and pride ourselves on doing things a little differently. We try to work on designs and projects that keep us excited and to keep experimenting and trying new materials and techniques. I guess [we are] trying to be true to the origins of our creative partnership,” says Pinto. Strong competition from overseas manufacturing practices means that Australian companies are pushed to create a business model strong enough to rival the largest and very best of the business. A firm sense of identity and a clear vision for the future has ensured a steady incline of success for Earl Pinto. “We weren’t really aware when we started as to how hard manufacturing in Melbourne was. But we are building a demand and that’s great!” explains Pinto. “As we are not a large business, we are extremely flexible in how we work. This allows us to do things that larger businesses would not be able to do.” By designing for mass production, big manufacturers can consequently weaken their identity. For Earl Pinto, this is not an option and authenticity is paramount.
“We try to design things that we like and are enthused by, then [we] see if there is a market for them. [We do this] rather than looking around at what the market wants [and trying] to provide something to meet that demand. “There is tangibility to what we do. We are not about mass production, as we like to know who is making our product and how it is made. This is also about the ethics of production. “Having said this, we often see gaps in the market that seem obvious.” In Pinto’s opinion, modern technologies offer an additional layer of tools available to production that does not negate the value of traditional craftsmanship. “Traditional craftsmanship has integrity … what you see is [exactly] how it’s made. [This technique provides] a layer of authenticity and is fundamental to furniture making in our view. “The handcrafted aspect means that every object is finished precisely with attention to detail and with a great deal of care and pride,” Pinto explains. This careful craftsmanship and attention to detail is most certainly what piques the interest in clients, but Earl Pinto believes there is a place for modern technology, too. In fact, blending traditional and modern styles of manufacturing makes for a finished product that is well thought out and unique. “Using advanced machinery we have in the workshop [ensures] we can carry our excitement about an idea through to a finished prototype very quickly … so we can see if an idea will work and if it warrants further development. “For example, a product like the Wave unit would otherwise be extremely difficult to produce without the accuracy and efficiency of a CNC router,” Pinto explains.
LOCAL MANUFACTURING: EARL PINTO
â€œWe are constantly prototyping and pride ourselves on doing things a little differently. We try to work on designs and projects that keep us excited and to keep experimenting and trying new materials and techniques. I guess [we are] trying to be true to the origins of our creative partnership.â€?
LOCAL MANUFACTURING: EARL PINTO
Left: Urchin Planter made from European birch plywood, shown in solid American walnut Middle: Simon Coat Stand Right: Orb on a Wheel shown in European birch plywood with bamboo skin
The company’s method of production has resulted in pieces that are appreciated by clients all over the world. “We have a standard range of both lighting and furniture to suit domestic settings and commercial fit-outs. For example, the Lionfish is used commonly as a single bedside pendant light or above a dining table. It has also been used in an installation of 20 in an airport in Sharm el-Sheikh, Egypt. [In addition], 30 were used in a corporate foyer in Virginia, USA,” says Pinto. “We see ourselves as a tool for brands to create cost-effective and unique outcomes that will become a part of their brand. We also work with many hospitality businesses, providing seating and tables to suit their needs. We have on many occasions developed products for projects that have become part of our standard range. “My background as an architect and retail designer helps greatly in being able to provide this service, having had 12 years of experience designing stores, cafés and restaurants. “The Simon coat stand is one [product] we are particularly proud of. The fluid lines
and rounded forms give the appearance that it had been grown that way, rather than it being made. It is an extremely simple product that looks exactly how it’s made. One cross-halving joint holds it together and the material is the hero. Its simplicity is offset by its functional curves, but also [gives] it personality. People’s reaction to the product always gives us a buzz.” The Kink chair, made from natural or colour-washed European birch plywood, is a fresh take on the café-style chair. Simple in aesthetic but showing interesting, clever lines, this design is representative of Earl Pinto’s ingenuity. Similarly, the Simon coat stand made from solid timber oozes personality, being understated but ingenious in its presentation. While particular styles of design tend to be cyclic, Earl Pinto’s intention is to steer clear of fads. “We’ve often tried to stay clear of trends. [We] create things that are for us: beautiful and well made. The problem with trends is they have a distinctly finite life. We pride ourselves on products that we hope are kept for life.”
The year ahead holds plenty of exciting prospects for the company, as the team focuses on the improvement and progression of product design, which remains the key focus for the company. “This year is about refining what we are doing and reaching a greater audience,” says Pinto. There is certain romanticism behind traditional craftsmanship, and there’s no denying that this style of manufacturing is idyllic, albeit time-consuming. While the quality of work Earl Pinto creates is integral to the company’s ethos, modern technology has its place in contemporary design, too. Blending these two styles of manufacturing, therefore, is genius, and is something both Earl and Pinto have perfected through their collaborative partnership and talented team. earlpinto.com.au
Decor + Design and the Australian International Furniture Fair (AIFF) are Australia’s premier events for the interiors trade.
16 - 19 July 2015
Co-located at the Melbourne Convention & Exhibition Centre, over 200 exhibitors will showcase the very latest interior products & furnishings from leading companies.
Melbourne Exhibition Centre
For more information and to register, please go to: www.decordesignshow.com.au or www.aiff.net.au
Don’t miss: VIVID – Australia’s longest running competition for emerging designers. DESIGN: Bazaar & WALL STREET. Trend tours from UK trend forecasting agency, Scarlet Opus. An outstanding line up of leading design thinkers from across the globe.
Ideation Design Innovation “Using advanced machinery we have in the workshop [ensures] we can carry our excitement about an idea through to a ﬁnished prototype very quickly … so we can see if an idea will work and if it warrants further development. For example, a product like the Wave unit would otherwise be extremely difficult to produce without the accuracy and efficiency of a CNC router.” GERARD PINTO, CO-FOUNDER AND CO-DIRECTOR OF EARL PINTO
TALKING BUSINESS: DARCY CLARKE
DARCY CLARKE FOR MORE THAN A DECADE, DARCY CLARKE HAS CREATED DYNAMIC, MODERNIST DESIGN PIECES FOR RESIDENTIAL AND COMMERCIAL BUYERS. WHILE THE COMPANY’S EVER-INCREASING PORTFOLIO OF WORK IS COMMENDABLE, ITS FOUNDER AND DIRECTOR, DARCY CLARKE, WANTS THIS KIND OF DEVELOPMENT TO BE RECOGNISED THROUGH OTHER LIKE-MINDED INDIVIDUALS. HERE, CLARKE EXPLAINS THE MOTIVATION BEHIND HIS DESIGNS, AS WELL AS HIS NEW BUSINESS MANUAL THAT IS CONTRIBUTING POSITIVELY TO THE DESIGN WORLD. Words Emily Sparshott
TALKING BUSINESS: DARCY CLARKE
e all know the stories of artists whose genius is only discovered years after their deaths. While it is true that many artists die with their work unrecognised, the emergence of design company Darcy Clarke is looking to change this state of affairs twofold. With an impressive portfolio of innovative, high-calibre interior and outdoor products, Darcy Clarke’s enviable reputation within the industry is primarily due to its clever fusion of interesting, modern shapes, natural materials and pops of colour. Providing stunning pieces to both residential and commercial buyers, Darcy Clarke has ensured it relishes its success here and now. While Darcy Clarke has set its own firm foundations within the design industry, the company’s director, Darcy Clarke, has lent his knowledge to the wider artistic community by writing his own self-published business guide, Creating a Difference. This is not only a well-thought-out manual for like-minded artists and designers, but is indicative of what businesses can achieve through years of experience, insight and a spirit of generosity. Darcy Clarke was born out of Clarke’s motivation to start afresh, following a sea change from Sydney to Byron Bay in 1999. “Returning to a coastal country town turned out to be awesome and beyond my expectations ... it was a wonderful time to be in Byron Bay. [Since then] the business has been a really surprising adventure and has definitely challenged and pushed me [toward] greater things,” Clarke says. Since its inception, Darcy Clarke has expanded to Brisbane, from where its logistics now operate. However, the company also utilises other discreet and beautiful locations to influence its creativity and imagination. Working with manufacturers and suppliers across Australia and overseas, Darcy Clarke’s primary base is tough to specify, with Clarke preferring a more collaborative approach to his work through sharing ideas and production with talented industry professionals. “In physical terms, [Darcy Clarke’s home base] is harder to pin down as we’re not bricks and mortar. The laptop computer is a focal point and our website and emails are our main connection with customers. We have embraced the digital economy,” Clarke describes. With a unique threefold business model and the incorporation of in-house staff with only the very best of outsourced manufacturers, Darcy Clarke’s point of difference is in the products created and services offered. “Our core service is the design, manufacturing and direct supply of our products. As we are involved in the entire process, we have a solid understanding of who made them and how they were made.
TALKING BUSINESS: DARCY CLARKE
First page: Artist studio collection with Quentin and paintings by Michael Cusack Above: Night time ‘colour-O’ collection Right clockwise from top left: CaD on the art wall, island side tables, Darcy Clarke with timber Neds; photographed by Christina Waterson, Rogue Neds, CaD on the bookshelf, clear Diamond pendant
“The designs are of a high-calibre in terms of design, concept and manufacturing quality. In recent years, the focus has been about colour and a broader product range. “[While] lighting is our strength, we are pushing ourselves to offer a broader range of furniture and lighting objects for both interiors and exteriors. Our aim is to allow more freedom to expand our range and our service, with more diversity in what the Darcy Clarke brand can offer,” says Clarke. Perusing Darcy Clarke’s portfolio, there is an obvious flair for geometric shapes combined with appealing, playful hues. So far, the Ned seats and Gynara pendant have proven to be the most emblematic of Darcy Clarke’s ethos. With a purely Australian design language pinned to their concept, the products embody ingenuity in the spirit of adventure and innovation. While this sense of adventure continues to be the hallmark of Darcy Clarke’s designs, a
moral obligation toward greener practices is also a key motivator for the company. “It is difficult to see the benefit of ethical practice when large companies and governments that consume the most, seemingly do the least [to combat this issue]. However, that is like saying Australia shouldn’t be an environmental world leader when our overall energy use is much less than other countries. “I would say yes, be a leader, be ethical – that is one of three options I see. The other [two options for business is] build for longevity and stop being a throw-away society. “With the Ned [seats] we know where the timber comes from and we save it from being wood-chipped, therefore creating value with a great object. “We are [also] putting money into the local community around us and have ongoing support for Médecins Sans Frontières Australia
– [an organisation] that does amazing work around the world. We love what the Fred Hollows foundation does. Our thinking is [in terms of] generosity, community and best practice,” Clarke describes. Following the clear success of Darcy Clarke and its commitment to producing exceptional designs, it’s only fitting that this generosity has extended to the wider community. Clarke’s Creating a Difference manual proves to be not only a personal labour of love for Clarke, but a tangible representation of his willingness to give back. After receiving an invitation to speak at an entrepreneurial development workshop held in Suva, Fiji, Clarke’s interest in encouraging creativity within business was piqued. “Creating a Difference is for creative people who have limited business skills and financial understanding, but are full of ambition and talent.
TALKING BUSINESS: DARCY CLARKE
“I see an exciting future for a sophisticated Australian design language that we can put [forward]. The quality talent is out there, it needs only to get past product design [and] into the art of it.”
“The first ideas for this guide grew directly from my experience at the workshop [in Fiji] and while interacting with artists from the Pacific Nations. I realised ... that business concepts presented in a traditional format are difficult for creative-minded people to understand ... they aren’t written for the creative thinker. “Creative people are wired differently ... [they] get into business for very different reasons and face unique issues in business. Naturally, a better understanding would be achieved if business concepts were presented in a way that was more aligned to the thinking of creative minds. This is my hope and the inspiration behind business principles for creative people,” Clarke explains. Certainly, raw artistic talent and a unique vision from creative minds is the driving force behind innovation within the design industry. While many emerging designers possess the means to express themselves through varying artistic mediums, it’s staggering to consider the artistry we have not yet experienced, purely through a lack of knowledge of traditional business practices on the behalf of the artist. The guide offers practical business concepts to develop and enhance entrepreneurial process within the artistic community, and therefore enabling creative minds to execute these ideas within a business setting. By engaging with Creating a Difference, readers can gain both the tools to develop their work into a business model, and the creative empowerment that comes from that.
TALKING BUSINESS: DARCY CLARKE
The driving motivator behind this guide, Clarke explains, is to share his experience with like-minded people. “I’m doing this to give back what I’ve learned over the years ... if this can help others then that is what it is about. “I want to help as many people as possible in the most inclusive way, to see a long-lasting wealth. Creating a Difference is the means and knowledge to run a sustainable practice through empowerment. “It is all a work in progress and it will get better and better as the content is increased and the business is refined. I’ll be interviewing some other great creative business people in the future and I’m looking forward to having conversations with people doing awesome creative work. “The perfect compliment would be to hear how the guide has achieved [its] objectives. I look forward to hearing how it has changed or helped to improve other creative businesses.” With an impressive collection of interior design pieces and a self-published book, the future for Darcy Clarke is full of promise. Seemingly, this level of success is the inevitable outcome of Clarke’s steadfast ambition. “What we are doing with the Darcy Clarke brand is great, [and] it is heading in an exciting direction. Things are now openingup for the business as we are getting more and more enquiries from around the world – the interesting challenge is how to supply to these different markets. “I feel blessed with what has resulted and what I’ve achieved. My desire is to be
more adventurous and creative, as this will benefit the quality of the brand, the designs and what we have to offer our clients,” Clarke says. As for the wider design industry, Clarke predicts a strong future. “I see an exciting future for a sophisticated Australian design language that we can put [forward]. The quality talent is out there, it needs only to get past product design [and] into the art of it.” As for Clarke himself, having studied visual arts and architecture in the past, he plans on applying this specialised knowledge to enhance the content and quality of his own work, as well as lending this knowledge to art and design students through tutorials and lectures. With an unwavering devotion to expressing his own creativity through Darcy Clarke, as well as encouraging other artists to do the same, Clarke’s unique approach to doing business is admirable. Having built a strong reputation for producing quality products to Australian and international buyers, as well as the increasing recognition of Creating a Difference, Clarke’s ingenuity is symbolic of what can be achieved through passion and vision – the type of business savvy skill that will leave its mark on the industry for years to come. darcyclarke.com creatingadifference.com.au
“Business concepts presented in a traditional format are difficult for creativeminded people to understand ... they aren’t written for the creative thinker.”
Left: Collection with screen writer Hamish Fraser
TALKING BUSINESS: GLOBEWEST
TALKING BUSINESS: GLOBEWEST
IN THE LEAD UP TO GLOBEWEST’S ANNUAL DEBUT OF ITS BRAND NEW COLLECTION, FURNISHING INTERNATIONAL CAUGHT UP WITH DESIGN MANAGER KETI LYTRAS WHO SHEDS LIGHT ON THE COMPANY’S PHILOSOPHICAL APPROACH TO BUSINESS AND ENLIGHTENS WITH HER OUTLOOK ON THE CURRENT AND FUTURE FURNISHING INDUSTRY. Interview Elena Papargiris Photography Armelle Habib
aving grown up in the Western Cape of South Africa in a town called Napier, GlobeWest Co-Founders, Alan and Stephen Mendel spent their early years intently observing their parent’s passion for collecting and restoring antique furniture for the family home. Ten thousand kilometers from South Africa, and half a lifetime later following parallel careers, the brothers decided to build something together in their new home of Australia. In 2004, combining their complementary skills under a shared passion for interiors, GlobeWest was born. Since then, the company has garnered a loyal client base by offering a diverse range of progressive and design-led furniture. Keti Lytras joined the GlobeWest team as Design Manager in late 2014. In the lead up to GlobeWest’s annual debut of its brand new collection to be unveiled at Decor + Design this July, Furnishing International caught up with Design Manager Keti Lytras who sheds light on the company’s philosophical approach to business and enlightens with her outlook on the current and future furnishing industry. What does your role involve and how has your experience contributed to GlobeWest? My role is to bring creative direction and support for the execution and development of our range. Our desire is to launch a collection that, as well as being timeless and beautiful, displays consistent innovation. This has been an intrinsic part of GlobeWest’s mission and I hope I can continue to contribute to our offering through my experience in textile design, product development and forecasting. How does GlobeWest’s philosophical approach to business impact on productivity and development? We strive to create and curate beautiful furniture that allows style conscious Australians to create unique, personalised living spaces. This necessitates a true understanding of Australian lifestyles and a vast collection covering an array of interior styles, product silhouettes, materials, finishes and colours. With this model, we can’t and
don’t mass-produce, therefore we dedicate a lot of resource to research, product development and quality control. What materials do you prefer and why? I think the nature of working in design is that this is always changing. However, I seem to repeatedly get excited by natural timbers and natural fabrics that wear beautifully. Where are the products designed and manufactured? We design and develop a large portion of the collection at our head office in Melbourne. Additional pieces are the result of collaboration with our valued suppliers throughout every corner of Asia. While we lead the design process, we also take inspiration from the materials produced by, and skills available from, our suppliers and manufacturers. So it’s a sort of virtuous circle through which all stakeholders continuously learn – the ultimate winner being the Australian customer. Our supplier base being so broad gives us the opportunity to deliver a multitude of different elements to our range. This includes solid wood from Indonesia, sleek veneer from China, and handcrafted pieces from the Philippines and India with the focus on metals and bone inlay. How many people are employed by GlobeWest and what are their roles? GlobeWest has grown to a team of over 30 people plus agents and distributors throughout Australia and New Zealand. The head office team includes design, product management, sales, marketing, sales administration, procurement, logistics, warehouse and shipping, finance and after sales. We also have a further five full time members in our operations team that conduct our quality control inspections. What are the key forces that you see shaping the Australian furnishing industry? As a country, our varied landscape and its environmental elements provide neverending possibilities for design to complement. Therefore Australian architecture and landscape architecture are key influencers to the furnishing industry. The Australian way of
life, our love of the outdoors and entertaining also dictate how we want our environments to look, feel and function. Whilst ecommerce will play its role, the industry needs to champion bricks and mortar retail to protect its vital place, and also encourage consumers to appreciate the value of design expertise as an investment. What is the most critical problem facing us in the future? How can design intercept with that? The challenge for Australian brands will be to continue to create excitement and interest in a retail landscape that is being inundated with mass-produced product. There is the need to continue to evolve both product development and business processes to ensure the greatest efficiencies. Beautiful things alone will not be enough; we need to bring them to the market cost effectively. What advice do you have for emerging design managers or furniture designers? Stay open to learning from others and share your own knowledge – generosity doesn’t cost you anything. Collaborate with other creatives from different fields – it’s reinvigorating and you never know where it’s going to lead. And lastly, be true to who you are, know that from making mistakes you learn the most, and always go with your gut instinct. What’s next? We are continually looking forward and always adding to our range, which is really exciting. The upcoming collection will showcase lots of beautiful tactile pieces, organic shapes and new colour. Marble will still be strong alongside light and dark coloured timbers and brass finishes, as well as natural fabrics in soft neutrals, with gorgeous fresh blues and greens. Texture is still important in timber finishes, with parquetry, and patterning being highlights. We can’t wait to share our latest collection with the trade at Decor + Design this year, which will be held from 16–19 July. More than 30 per cent of the collection will be brand new. We are exhibiting at booth B11 and B12. globewest.com.au
ARCHITECTURE: FMD ARCHITECTS
FMD ARCHITECTS’ RENOVATION AND EXTENSION OF THE KNOX ORTHOPAEDIC GROUP IN MELBOURNE EMBODIES THE SUCCESSFUL UNION OF FORM AND FUNCTION. HERE, FIONA DUNIN, DIRECTOR OF MELBOURNE-BASED ARCHITECTURAL PRACTICE FMD ARCHITECTS, SHARES THE THOUGHT PROCESS BEHIND THE PROJECT’S DESIGN AND CONSTRUCTION, REVEALING HER INTRIGUING VISION TO PRESENT THE PARALLELS BETWEEN ORTHOPAEDICS AND ARCHITECTURE THROUGH CLEVER DESIGN. Words Jemmah Kelly Photography John Gollings
ARCHITECTURE: FMD ARCHITECTS
he ‘Surgeon’s Rooms’ project by fmd architects impresses with its arresting, layered, sculptural façade that references the tools, prosthetics and intricate subtleties of the human frame, connecting the design to the purpose of the site – orthopaedics. Beyond its front, the project’s interior renovation carefully balances visual appeal with the practical requirements of the surgeon’s rooms. With extensive experience in architecture of varying scales, types and budgets, fmd architects specialises in boutique commercial, hospitality and residential work. This highly specified focus enables the practice to deliver high-level client service, without compromising on sustainability or innovation. Fiona Dunin led the architectural design of the Surgeon’s Rooms project and notes that an insightful creative process and rigorous attention-to-detail have been hallmarks of the architectural practice since its inception in 2006. fmd architects’ ongoing enthusiasm and commitment is evident throughout its everexpanding portfolio as it responds uniquely to the personal and collective histories of its clients. “A particularity of the practice is its extensive research into materials and product development, which equips it with the knowledge to develop rich and inventive architecture.” The Surgeon’s Rooms project firmly embodies this mythology. Its striking façade was constructed using an eclectic mix of
ARCHITECTURE: FMD ARCHITECTS
First page left: The faรงade backlit like an X-ray at night First page top right: The layered faรงade filters the north light into the waiting and consulting rooms behind First page bottom right: The fins are made from recycled plastic bags Above: Reception desk formed from plywood which has the form of a hip prosthetic carved out of it Bottom left: View to the admin office from reception Bottom right: The waiting seat is made from the element carved out of the reception desk
ARCHITECTURE: FMD ARCHITECTS
The colours and materials chosen for the building’s interior beautifully complement the surroundings, resulting in an unobtrusive design that flows effortlessly from room to room.
Above: The waiting area behind the façade
aesthetically pleasing and sustainable materials. The building showcases what is in essence more than just an orthopaedic practice – a refreshing and thought-provoking contemporary design. The brief presented to Dunin and her team at fmd architects stipulated an extension of the existing administration spaces and reception area, with the addition of two consulting rooms for the surgeons. A communal hot desk touch down area was also required for post consultation work, as well as an administration office to accommodate the support staff, and a large kitchen and outdoor deck, to allow the team to come together for lunch and post work get-togethers. The reception area needed to play the dual role of waiting area, while also serving as a workshop space for group mindfulness classes – which are an important component of the recovery process for the patients. Reconciling the practicalities of an orthopaedic practice with an out-dated building yearning for a twenty-first century facelift was a challenge to say the least, Dunin explains. “The main challenge was to balance the architectural response with the pragmatic requirements of the spaces.” However, this brief did not necessarily hinder the design of the project. Rather, it presented an exciting opportunity for fmd
architects to pursue beauty and functionality through the meticulous exploration of the symbolic relationship between orthopaedics and architecture. Taking us through the initial planning phase, Dunin explains a key consideration was to develop a visual connection between the two practices. “The tools, process and the language of the orthopaedic surgeon are aligned with the ways of the carpenter. There are also parallels between architectural design and the design of prosthetics and surgical techniques, with 3D modelling and printing a common practice in their research and development processes. Our design approach was to emphasise the parallels between the disciplines in the built form.” A restrained palette, comprising film, steel and recycled plastic imposed over 3 millimetre steel plates, was carefully considered and skilfully implemented when constructing the strong sculptural look of the façade. Each plate has been meticulously cut into shapes that closely resemble bones and joints, which effectively highlights the orthopaedic focus of the business and the architectural design. As Dunin states, the layered façade also references the two-dimensional and three-dimensional qualities of the X-ray – an essential analytical tool of the orthopaedic surgeon. During the evening, the internal lights illuminate the spaces
between the prosthetic cut-outs, creating a back light effect similar to an X-ray light box illuminating bones. “The prosthetic cut-outs in the façade are actually the structural bracing to the steel frame supporting all the fins. The façade emphasises the thinness of an X-ray sheet, while developing a depth through layering film, steel and recycled plastic forms. As it is backlit by the interior, the façade mimics the visual qualities of the X-ray on a light box.” Regarding the internal elements of the design, Dunin explains, “the interior extends the three-dimensional qualities and interplay of light achieved in the façade. The recycled plastic acoustic panelling reinforces the shadows cast by the façade, extending the virtual world of the X-ray into the interior.” The colours and materials chosen for the building’s interior beautifully complement the surroundings, resulting in an unobtrusive design that flows effortlessly from room to room. The continuation of these materials internally unities the interior with the exterior, enhancing the harmonious design and continues to highlight the orthopaedic motif. A focal point of the interior is undoubtedly the reception desk, which mimics the threedimensional qualities of prosthetics seen in the façade. Constructed using layered plywood block, each piece was individually cut to
ARCHITECTURE: FMD ARCHITECTS
Completion 2014 Location Melbourne, Australia Team Fiona Dunin, Andrew Carija, Robert Kolak, Owen Castley Builder Malin Construction Structural Engineer Macleod Consulting Services Engineer BRT Consulting Building Surveyor Wilsmore Nelson Group Town Planner Urbis Landscape Architect Katherine Rekaris
Left: The rear of the reception desk is as intricate as the front
“The tools, process and the language of the orthopaedic surgeon are aligned with the ways of the carpenter. There are also parallels between architectural design and the design of prosthetics and surgical techniques, with 3D modelling and printing a common practice in their research and development processes. Our design approach was to emphasise the parallels between the disciplines in the built form.”
create the unique shape, while the remaining off-cuts were used to create the feature seat in the waiting room. The carved elements removed were then connected to form the bench seat, ensuring all the plywood was used to avoid wastage. In addition to its innovative design and striking finishes, sustainability, Dunin reveals, was a major focal point throughout the design development of the project. Recyclable materials, which would have otherwise ended up as landfill, were used wherever possible throughout the project. “The materials [were] chosen for their zero maintenance qualities, including the recycled plastic fins … fixtures and fittings were recycled where possible.” Extending the eco-friendly vision further, the decking was also made using recycled plastic (Modwood), while last but not least, the EchoPanel utilised internally for acoustic softening and design was made using recycled materials. Post renovation, the building now optimises energy-efficiency, with an emphasis on respecting the natural surrounds and site conditions. Dunin reveals that key considerations when designing the interior were to increase access to natural light and ventilation, while developing a visual connection to the new garden areas from the workspaces. “The planning ensured that access to natural light and ventilation minimised the reliance on electric lighting and mechanical ventilation,” she says.
Harnessing the natural thermal benefits of the sun and maintaining it throughout the building was vital to the design’s success. What were once closed, internalised spaces with no connection to the exterior have now become light-filled and naturally ventilated areas, with a significant reduction on the reliance for artificial light and ventilation, and happier and healthier staff. The bright, light-filled internal spaces were made possible with the north-facing orientation of the entry, reception and waiting room areas, imbuing the space with a strong sense of warmth as natural light effortlessly permeates to significantly reduce the building’s carbon footprint. It also adds a sense of spaciousness, while retaining the interest of all who view it. With creative vision and timeless design, Dunin and her dedicated team at fmd architects have delivered an aesthetically pleasing, customised exterior and interior design that is rich in detail and is a true embodiment of the practices shared between orthopaedics and architectural designers. Utilising a range of innovative materials and finishes, while addressing the pragmatic requirements of the consulting rooms, this project effectively demonstrates what can be achieved when function and form successfully unite. Most importantly, however, the site now delivers the benefits of increased natural amenity, resulting in a greater sense of wellbeing amongst the staff and reducing service costs to the patients. fmdarchitects.com.au
Industry â€œAs a country, our varied landscape and its environmental elements provide never-ending possibilities for design to complement. Therefore Australian architecture and landscape architecture are key influencers to the furnishing industry.â€? KETI LYTRAS, DESIGN MANAGER AT GLOBEWEST
ROOM WITH A VIEW Winter 2015
INTERIOR DESIGN: MIM DESIGN
WITH A FORMIDABLE FIXTURE ON THE DESIGN SCENE, MIM DESIGN CONTINUES TO GO FROM STRENGTH-TO-STYLE, AND THIS DAPPER DESIGN IS NO EXCEPTION. HERE, FOUNDING DIRECTOR MIRIAM FANNING PROVIDES AN INSIGHT INTO THE CONCEPTUALISATION AND REALISATION OF THE PASK OFFICE PROJECT. Words Jemmah Kelly Photography Peter Clarke
Left: Black stained timber and antiqued brass custom coffee tables Above: View from communal office space through to private meeting room
nterweaving quality with custom design and timeless nature, Mim Design boasts a holistic approach to design, aiming to create sophisticated interiors that are refined in detail and indicative of each client’s personality and individual brand. With considerable experience delivering projects within the residential, retail, hospitality and corporate sectors, Mim Design is a multi-disciplinary practice located in South Yarra. The practice implements a collaborative approach, while favouring client involvement as well as associated consultants when delivering projects. Design debonair Miriam Fanning is the founding director of Mim Design, and the driving force behind the practice’s diverse and creative style. A wealth of experience informs
Fanning’s well-considered approach to interior design and her impressive repertoire. After embarking on a rather exciting exploit in 2000 – starting a family – Fanning then launched Mim Design. At the time, she recalls wanting to inspire and be inspired – a mantra that still informs much of her professional practice to this day. “My main aim was, and is to be continually inspired; I love the ability to work on a diverse range of projects within the growing and everchanging design industry,” says Fanning. “I’ve never looked back on the leap of faith I took to go out on my own and launch Mim Design. It was a dream come true for me and one that has proudly grown from strength-tostrength over the past 15 years.” Since its humble beginnings in 2000, the company has blossomed into a busy studio, comprising 19 talented staff in addition to another director and two associates. Projects now range in service from interior design to building design, place making, styling and brand direction. The forging of strong client relationships also forms an integral part of the Mim Design’s identity, which Fanning cites as vital to ensuring the studio is an approachable environment for both clients and the practice. “We maintain a close level of communication and contact with our clients throughout each project. From the initial
briefing through to the build, this close connection with our clients allows us to take a holistic and individual approach with each project. The boutique-feel is essential to our studio as it allows us to focus on the finer details, as well as create custom design and identify with unique timeless design elements for each project.” Drawing inspiration from the modernist styles of the ‘60s and evoking a sense of urban sophistication, the Pask Office Project featured here, exhibits an elegant yet pared back palette, highlighting the strong lines and design elements of the multi-purpose office space and modern workplace environment. During initial discussions, the client used key words such as ‘comfortable’ and ‘residential’ to inform the brief, which also stipulated private meeting zones and executive offices, as well as communal spaces for team interaction. “As with any client, we enjoyed building a strong relationship and working closely alongside the Pask team to understand the
INTERIOR DESIGN: MIM DESIGN
company’s vision and needs within their new workplace surroundings. Mim Design presented three conceptual designs, one of which stood out and was selected by the client,” Fanning explains. “As a studio, we set out to design a space that reflected the Pask company itself. As a prominent property development company, Pask focuses on a holistic approach to developing warm and inviting places whilst encouraging a sustainable community lifestyle,” she adds. The design’s practical, yet residentiallike charm is accentuated by its panoramic outlook and connection to the Flinders Lane, Melbourne streetscape 15 storeys below. “Private meeting zones and executive offices are located around the office perimeter to allow these key areas to maximise the view. Implementing full-height glazed partitions to these areas also meant that an unobscured light can flow through to the public spaces, ensuring maximum light flow throughout the entire tenancy, diminishing the need for
lighting and thereby assisting with energy consumption,” says Fanning. “The use of clean architectural lines create a sense of large-scale proportion, while Elba Marble stone and black steel framework highlight the separate divisions, provide privacy and distinguish staff zoning,” she adds. Efficient planning ensures each space is light-filled and well proportioned, as each area seamlessly transitions from one space to the next. While detailing the high-end fixtures and finishes, Fanning said, “Black steel beams wrapping around the walls and ceiling, create a pivotal shell that not only acts to anchor and contain each zone, but also enables space for custom shelving and credenza storage. This structure combined with the black partition framework to the boardroom created a series of portals that delineate a direct pathway to the boardrooms. “Fitting out the design to the existing floor plate was the most challenging element within this project, however it encouraged our team to explore different layout options and find
Ever on the hunt for creative inspiration, Fanning names artists such as Paul Davies and Matthew Johnson, as well as sculptor Peter Cole, as her current stylistic influences.
Left: Reception lounge looking through to boardroom Below: Boardrooms
INTERIOR DESIGN: MIM DESIGN
Left: Miriam Fanning Above: Private office space Below: Central reception / lounge area
INTERIOR DESIGN: MIM DESIGN
Mim Design team Miriam Fanning & Charlotte Dethick Project Management Case Meallin Construction Schiavello Key Project Suppliers Random Spaces Great Dane Furniture Alternative Surfaces RC&D Jardan Corsi & Nicolai G-lux Woodcut Hughes Commercial Hub Furniture Cult Cavalier Bremworth Viridian Glass Dulux Elton Group
Above left: Boardroom Above right: Elba marble detail
a unique solution. Due to the location of the space on the 15th floor of an inner city high rise, mechanical and construction work was also challenging at times,” Fanning explains. In terms of planning, Fanning reveals, “The Pask tenancy needed to function as a dual tenancy, however, instead of a reception they wanted a comfortable lounge/entry zone which reiterated the fundamental ‘residential’ feel.” To achieve this, clever spatial planning has been implemented to allow both boardrooms and the entry lounge to perform as a dual function zone when required and the transparency between spaces enables an open connection across all zones. “As you enter the Pask office foyer, the space becomes one of warmth and intimate comfort in a refined and contemporary gallery-like environment. The office is an innovative combination of cultivated styles, which have been realised through the use of quality natural materials that evoke a classic, understated luxury,” says Fanning. The design carefully avoids the use of synthetic materials and instead, focuses on renewable natural materials with longer lifespans including the warmth of the Elba marble stone, engineered timbers, leathers, timber ceilings and polished concrete floors, punctuated by inset brass accents, all of which Fanning says, contribute towards a standout design.
“The colour scheme consists of refined charcoals, greys and nude tones bring both a warmth and softness to the space and contrast with graphic elements such as the black structural beams and sleek surfaces, whilst the timber-lined ceilings create a sense of masculinity and luxury.” Scale, proportion, silhouette, texture and finish have been carefully considered throughout the Pask Office project to achieve an overall relaxed look within this unique office fit-out and to create a unifying flow through the different zones. Notably, the Pask Office project is a paperless operation, which has embedded sustainability into the company’s day-today operations. With this in mind, Fanning adapted an eco-friendly inspired approach. “Our concept, design and layout integrated this environmental initiative when designing storage facilities, including the increased need for concealed AV. We were proud to work on a project dedicated to making a difference on energy, water and waste,” says Fanning. The Pask Office is just one of many standout projects the creative team at Mim Design has beautifully brought to life. Yet as the paint still sets on the last project, Fanning reveals she’s eager to embark on the next order of business. “Next on my long list of dream projects is to create a capsule collection of our custom
designed products [and] collaborations with some of our fabulous suppliers. We are also looking to undertake a standout hospitality or hotel project.” Ever on the hunt for creative inspiration, Fanning names artists such as Paul Davies and Matthew Johnson, as well as sculptor Peter Cole, as her current stylistic influences. Each of who, according to Fanning, “skilfully demonstrate form and colour from an artistic point of view.” “There are so many inspiring Australian designers that are crafting and creating. It’s an exciting time in Australia,” she adds. “What excites me about Australian design is that we are unique in our ideas and considerate of our environments, which leads to an amazing array of projects that speak big on a global scale.” Cultivating creativity and stylistic flair, Fanning and her team’s unwavering excellence in delivering projects within the residential, retail, hospitality and corporate sectors is noteworthy. Mim Design has become a company that equates itself to the customisation of interior design to suit each individual project. It is this approach that continues to see the practice achieve outstanding feats in design, ensuring Mim Design remains firmly at the forefront of interior style. mimdesign.com.au
Trade Shows A DIVERSE RANGE OF TRADE SHOWS MARKED THE CALENDARS OF FEBRUARY AND MARCH THIS YEAR, AND OF THESE, WE HAVE REPORTED ON OUR TOP NINE PICKS, HIGHLIGHTING INSPIRING DESIGN FROM AROUND THE WORLD AND AN INSIGHT INTO INDUSTRY TRENDS, FACTS AND FIGURES. READ ON TO DISCOVER A CALENDAR OF NEXT SEASON’S MOST ANTICIPATED UPCOMING EVENTS.
Above: Expo Mueble Internacional Invierno
EXPO MUEBLE INTERNACIONAL INVIERNO GUADALAJARA, MEXICO | 18â€“21 FEBRUARY 2015
his yearâ€™s Expo Mueble Internacional Invierno hosted 2,132 booths spread across 60,000 square metres at Expo Guadalajara, Mexico. The trade fair was visited by more than 12,000 buyers and recorded a 10 per cent increase in international visits since last edition, specifically from Canada, Columbia, Panama and US. The fair exhibited a range of furniture, accessories, textiles and decorative products with a focus on innovation. The Mexico Design Pavilion stood out as a highlight of the event, featuring a select range of high-end Mexican designs with a focus on artistic flair and creativity. Post show reviews reported that 97 per cent of buyers in attendance said the trade fair delivered on their expectations and they found what they were looking for. Of these buyers, 84 per cent considered the fair an event that is capable of generating better business in Mexico. Expo Mueble Internacional Invierno this year hosted the IAFP (International Alliance of Furnishing Publications) of which Furnishing International is the exclusive member for Australia. The IAFP held its annual meeting in Mexico and reported back stating an insightful and successful visit. expomuebleinvierno.com.mx
SYDNEY, AUSTRALIA | 25–26 MARCH, 2015
DONGGUAN, CHINA | 16–20 MARCH, 2015
pon the successful conclusion of Total Facilities 2015, more than a third of exhibitors recommitted to next year’s Melbourne edition. Organised by Diversified Communications, Total Facilities was held at Glebe Island’s Sydney Exhibition Centre from Wednesday March 25 to Thursday March 26. The event hosted some of Australia’s most prominent leaders and key influencers from the facilities management and building industry. Leading local and international product and service suppliers included Allied Pickfords, Assa Abloy, CSR, Dyson, Dorama, ISS Facility Services, KONE, Rubbermaid, SecureCorp and Zip Industries. A highlight was the seminar program, which included 25 sessions in total, attended by more than 400 professionals and covering a wide range of topics from high-end performance buildings to contract management. Martin Leitch, who hosted a packed seminar session at this year’s event said, “Total Facilities is a hugely beneficial event for the Australian facilities management industry, providing a well-balanced mix of opportunities”. Total Facilities 2016 will be held at the Melbourne Convention and Exhibition Centre from 6–7 April, 2016.
he 33rd International Famous Furniture Fair (commonly known as 3F) was this year, the largest edition yet. The event saw a total visit of 1,306 exhibitors and more than 120,000 buyers; including about 11,000 international buyers from more than 150 countries and regions. Held at Guangdong Modern International Exhibition Center, the grand opening of 3F saw the unveiling of the new Hall 3G, which was officially launched to hold more brands and companies from China and abroad, covering an area of 30,000 square metres. To celebrate the 33rd edition of 3F, the organising committee distributed 200 free five-star hotel rooms for pre-registered international buyers by a lucky draw. To further accommodate international buyers, a well-equipped VIP lounge was set up in the Export Pavilion. Many visitors acknowledged that, as one of the main tradeshows in the Chinese domestic market, 3F is becoming friendlier to international guests by both facility improvement and service upgrade. Concurrent fairs included the Famous Home Accents Fair, the Famous Furniture Woodworking Machinery Fair and China Rosewood Furniture Fair. The 34th 3F will be held from 3–7 September 2015.
Feature Wall : flyme2themoon, Byron Bay 2013
SINGAPORE, SOUTHEAST ASIA | 13–16 MARCH, 2015
JAKARTA, INDONESIA | 12–15 MARCH 2015
raised for its design-driven nature and dubbed the ‘gateway to Asia’, the International Furniture Fair Singapore (IFFS) closed its 32nd edition after four full days of business meetings, networking, seminars, and design-related activities, propelling the industry towards an expectant year ahead. A total of 487 exhibitors from a record number of 39 countries participated in the trilogy of concurrent events this year, including the 32nd ASEAN Furniture Show (IFFS/AFS 2015), The Décor Show, and Hospitality 360° – occupying 60,000 square meters of floor space at the Singapore EXPO. IFFS welcomed 18,836 visitors from 102 countries to the fair, including 92 buying delegations and 380 VIP Hosted Buyers of The Prestige Club. Exhibitors from various segments of the show independently concurred that they chose Singapore because of its geographical location and cultural positioning. First-time Belgian exhibitor, Ms. Khadidja Thys, Export Manager, Umbrosa NV, said, “IFFS is a powerful platform for us to meet new customers, reach out to our existing clientele, and also to further increase brand awareness in the region. We received a high volume of leads, which comprises a wide variety of industry people – hotel owners, operators, designers, retailers, and developers.” iffs.com.sg
ndonesia International Furniture Expo (IFEX) 2015 was spread out across the 50,000 square metres of floor space at Jakarta International Expo. The total of 470 exhibitors were greeted by the arrival of 8,596 visitors who intended to carry on business-to-business transactions. The first day of the exhibition was highlighted by the attendance of the President of Indonesia, Joko Widodo and Minister of Trade, Rachmat Gobel, during the opening ceremony. The President did not say much, but he did stress the country’s furniture and craft short term export goal. “We have set the goal of hitting US$5 billion worth of furniture and craft export value in the next four years. I believe AMKRI and Ministry of Trade are currently arranging a roadmap to hit that target,” he said. Positive feedback from visitors and exhibitors gave organisers PT. Dyandra UBM International confidence for next year’s edition. Buyers commented that they needed over two days to cover all exhibition space, and noted that Indonesia’s handcrafted furniture presented a high level of detail and visual appeal. ifexindonesia.com
TIFF BANGKOK, THAILAND | 11–15 MARCH, 2015
hailand International Furniture Fair (TIFF) 2015 welcomed a total of 32,583 visitors from Thailand and overseas – with the number of visiting foreign business people increasing by 9.5 per cent over the previous year. From the total number of visitors, 26,482 attended the event during the days it was open to the public, while 6,101 business people attended during the days it was open to the trade. Of the 6,101 business people in attendance, 1,118 were from foreign countries and 4,983 were from Thailand.
The top five countries with the highest number of visitors were Malaysia, Japan, US, Taiwan and China, respectively. In addition to the exhibit of furniture, visitors also delighted in a range of activities and exhibits centered around design innovation and inspiration, including the Young Designer Showcase, Design Excellence Award and Design Planet, to name just a few. TIFF 2016 will mark the 20th anniversary of the long-standing event and as such, event organisers promise an occasion not to be missed. thailandfurniturefair.com
EFE KUALA LUMPUR, MALAYSIA | 4–7 MARCH, 2015
icking off the buying season in Asia, the 11th Export Furniture Exhibition (EFE) hosted 8,300 visitors from 128 countries, with more than 44 per cent of these being international buyers – a good turnout of strong buyers from emerging regions and the strong traditional markets of India, Australia, Singapore, United States and Japan, despite the figures showing less overall visitors compared to last edition. The fair covered more than 22,000 square meters at the Kuala Lumpur Convention Centre (KLCC). The site at KLCC remained the preferred venue by both exhibitors and
buyers for its strategic and central location in KL City. Buyers were kept busy with the wide displays of new products and selections from Malaysia, China, Indonesia, Singapore and India. The show offered an extensive range of furniture with selections of modern and contemporary styles for dining, bedroom, living room, office, occasional, children, outdoor as well as furniture fittings and hardware. One of the highlights of the event was the UK Export Pavilion in Hall 6 which was mooted out after an overseas market survey trip to the UK in early January 2015 to
discover the needs of UK buyers. The market research mission was led by the Malaysian Timber Council. The Pavilion solely displayed furniture products made for the UK market. Upon the conclusion of EFE 2015, event organisers posted sales of US$670 million after four days of bustling trade. The next edition of EFE will be held from 9–12 March 2016 at KLCC. efe.my
MIFF KUALA LUMPUR, MALAYSIA | 3 – 7 MARCH, 2015
espite tough market conditions, the Malaysian International Furniture Fair (MIFF) rang up its second highest sales record of US$865 million as it concluded its March 2015 event on a positive note. Organised by UBM Malaysia, and held at the Putra World Trade Centre and Malaysian Exhibition and Convention Centre, the fiveday annual event saw 508 exhibitors from 15 countries in attendance, with 10 per cent of these being new exhibitors. First-time buyers made up a third of the 18,000 attendees from 130 countries and regions in attendance.
According to UBM Malaysia, buyer traffic to MIFF 2015 was relatively steady from the regions of North America, the Middle East, Australasia, South Asia, Southeast Asia, East Asia and Latin America – except Europe and Africa with significant drops from Russia, Ukraine and the Ebola-stricken West African states. Tey Lay Hui, Managing Director of Malaysia’s Home Best, who secured higher sales than last year said, “Buyers from over 50 countries visited us and over 80 per cent were new customers. We have already booked our space for MIFF 2016.” miff.com.my
AMBIENTE MESSE FRANKFURT FRANKFURT, GERMANY | 13–17 FEBRUARY, 2015
he 2015 edition of Ambiente saw an increase in the number of exhibitors and a recorded level of internationality on both the exhibitor and visitor sides. The event hosted more international visitors than ever before, with 4,811 exhibitors from 94 countries in attendance – 53 per cent of which visited from outside of Germany. These figures show a slight increase since last year’s edition, which hosted 4,749 exhibitors from 89 countries – however, all in all, a positive outcome.
Across 328,500 square metres, 135,000 buyers from 152 countries attended the consumer-goods tradeshow. Pleased with the results of the fair, Thomas Grothkopp, Managing Director, German Glass, Porcelain and Ceramic Association said, “Ambiente 2015 was held against the background of a positive economic environment and this was apparent on all five days of the fair.” The top ten visitor nations after Germany were Italy, France, the Netherlands, Great
Britain, Spain, the US, Switzerland, China, Turkey and Poland. There was an increase in the number of visitors from important European consumer-goods markets also, such as Denmark, France, Portugal and Spain. ambiente.messefrankfurt.com
Las Vegas Market Furniture | Home Décor | Gift
August 2 - 6, 2015 CELEBRATING 10 YEARS
BETTER. BEYOND EXPECTATIONS. NEW SHOWROOMS ON EVERY FLOOR 2,200 CROSS CATEGORY LINES & GROWING NEW FLOORS • Gourmet, Gift & Housewares on C11 • Boutique décor and accessories on C5 • Casual Furniture & Patio on C12-13 NEW TEMPORARY TRADESHOW: THE PAVILIONS AT LVMKT • Design, Handmade, Gift & Home • Introducing Discoveries: The Antique Vintage Marketplace
AUGUST 2-6, 2015 REGISTER FOR MARKET TODAY!
2–3 JUNE 2015
2–3 JULY 2015
FURNISHING IN FOCUS
urnishing in Focus will bring together Australia’s leading manufacturers to present a large selection of locally-produced furnishing designs this June. Showcasing to a broad cross-selection of industry visitors, this trade only event prides itself on being free of imported furniture products. Initiated in 2010 as individual trade exhibitions based in each state, Furnishing in Focus has since grown with demand from potential exhibitors, and this June for the first time, Furnishing in Focus will become a national exhibition centrally located under one roof in Melbourne. Furnishing in Focus 2015 is a complete sell-out, with 49 Australian manufacturers showcasing Australian-made products from lounges, dining, case goods, solid timber products, bedding and bedroom products. This exclusive event is complimentary, open to members of the Australian Furnishing Industry including manufacturers, buyers, retailers, decorators, architects, specifiers, industry bodies and trade establishments. Pre-Registration is not necessary. However it is asked that a business card be left with the reception team at time of entry. For buying groups or multi-chain retailers, there are meeting room facilities that can be made available by prior booking. furnishinginfocus.com
RCHITECT@WORK is a respected international exhibition aimed at reinventing how architects, designers and real estate professionals discover knowledge and innovation. Its July 2015 edition will be held at the Shanghai Exhibition Centre. The event will exhibit more than 100 innovative products and will host more than 20 speakers at its seminars. In addition, it aims to offer high-quality networking opportunities for both exhibitors and visitors. For the first time this year, a new leading contract event for office and facilities, WorkPlace® China, will be held concurrently with A@W. This exhibition and conference will be focused on how people work and how great office spaces can make a difference in China. For the second year, A@W will also feature YourFirm@Work, a creative space for architects and designers to share their creativity and know-how. architectatwork.cn
9–12 JULY 2015
16–19 JULY 2015
DECOR + DESIGN & AIFF
ustralia’s only industry-led, international furniture and furnishings show is coming to the Royal Exhibition Building this July, and it is set to keep its promise to deliver a reenergised, reimagined event – by the industry, for the industry. The event will host a range of high-calibre industry designers, manufacturers, educational offerings, competitions, an awards night and more. The conference, partnered by Manufacturing Skills of Australia, will cater specifically to the needs of the industry while aiming to inspire and inform attendees. International speakers and specialists will impart their expert knowledge during the two-day programme. Knowledge Hub sessions will also offer attendees free, 20-minute specialist topic presentations such as staff motivation and more. In addition, an online Match ’n’ Meet business-tobusiness service will enable visitors to schedule one-on-one appointment times with exhibitors. Inspiring feature floor display areas include Commercial Connect and Design Connect, as well as an intriguing display of innovative pieces from the finalists of the Australian Contemporary Emerging Designers Awards, the Australian Furniture Industry Awards (AFIA) and the Modern Icons Gallery, featuring a retrospective of internationally acclaimed Australian furniture master, Ian Howard of Aristoc Industries.
ecor + Design, co-located with the Australian International Furniture Fair (AIFF) will this year take place over four days at the Melbourne Convention and Exhibition Centre. Decor + Design will celebrate emerging designers and feature leading design and interiors experts both locally and internationally. The event will also launch a few new installations. Among the new installations is DESIGN:Bazaar, a hub of smaller studios showing original design work. Alongside DESIGN:Bazaar will be WALL ST, a unique platform for textile designers and surface artists looking to showcase large format visuals and original bespoke pieces. In addition to the new feature, a number of well-known exhibitors will return to Decor + Design this year including Theo & Joe, Armadillo & Co and GlobeWest. AIFF on the other hand, will unveil the latest in furniture designs for commercial, residential and retail industries, and will host Australia’s longest running design competition, VIVID, which is set to raise the bar for emerging Australian furniture designers. The 2015 AIFF and Decor + Design are expected to attract more than 10,000 Australian and international buyers. decordesignshow.com.au aiff.net.au
30 JULY – 2 AUGUST 2015
2–6 AUGUST 2015
LAS VEGAS MARKET
LAS VEGAS, UNITED STATES
he annual Life Instyle trade only event returns to the Royal Exhibition Building in Melbourne this July offering a great platform to source the latest brands and products with a focus on style and design. The event will this year welcome a fresh line-up of more than 600 curated brands representing premium, bespoke, design-led products across homewares, giftware, lifestyle and children’s products, set against the backdrop of a beautiful sourcing environment. Life Instyle also presents Kids Instyle – the only designer trade event dedicated to kids. In addition, artisans and designers will collaborate to showcase the very best in contemporary design via First Instyle – an exhibition that celebrates emerging designers launching exclusively into the market. Visitors can expect to source from premium brands including Ahoy Trader, UASHMAMA, Pony Rider, Saison, Lightly, Paper Empire Australia, Funkis and Zakkia Homewares to name just a few. lifeinstyle.com.au
he 10th anniversary of Las Vegas Market will take place this August and is expected to be bigger and better than its previous edition, with continued expansion in the range of exhibits. The event will showcase furniture, gift and home décor, delivering the Market’s largest and most wide-ranging selection of exhibitors, as well as new programs and features for buyers expected to generate optimum buying and selling opportunities. “Summer Market promises to create a resource-filled and action-packed market experience for retailers and exhibitors alike, marking the culmination of a three-year strategic re-imagining and repositioning growth plan to produce an exciting, multi-dimensional and all-inclusive buying platform,” said Robert Maricich, Chief Executive Officer of International Market Centers. New elements for Summer Las Vegas Market include the debut of C11; a new permanent showroom floor for gourmet housewares, tabletop and specialty food, better home décor resources on C5, and repositioning and reimagining of temporary exhibits such as The Pavilions at Las Vegas Market. lasvegasmarket.com
8–12 SEPTEMBER 2015
9–12 SEPTEMBER 2015
he September edition of CIFF 2015 will be held in Shanghai at the brand new National Convention & Exhibition Center, which will play host to the exhibit of home furnishings, office furniture, outdoor furniture, textiles, machinery and raw materials, sprawled across 400,000 square meters of floor space. Participants in this year’s event will include major companies from Australia, US, Italy, France, Great Britain, Belgium, Portugal and Turkey. Professional visitors will be more than 200,000 from more than 190 countries. In addition, all major Chinese brands will be present, including Landbond, Hinglee, Kuka, Zuoyou, Qumei, Kinetic, Kinwai, Steel-land, Welon, I&D and Sleemon, to name just a few. Bringing new ideas and innovation, schools and prestigious associations will play part in the event including Guangzhou Academy of Fine Arts, Duoshao, Norya and Free Space.
he 21st China International Furniture Expo will this year be held from 9–12 September at the brand-new Shanghai World Expo Exhibition & Convention Centre (SWEECC) and will feature a few new additions. The hall for classic furniture, especially hall N2, will become a new focus of the event. In addition, P1 parking lot near the third entrance hall will be developed into E8 exhibition hall for office furniture. In addition, the woodworking machinery that used to be exhibited in Shanghai World Expo Exhibition & Convention Centre (SWEECC) will be moved into E6 exhibition hall, which may further facilitate the upstream-downstream linkage in the furniture industry and enhance the competitiveness of China’s furniture industry by means of crafts and materials. National pavilions from Turkey and Australia will be new this year, in addition to the usual eight major foreign national pavilions and together with over 200 international furniture brands exhibiting.
FORTHCOMING OPEN HOUSE
WILKAHN PRODUCT SHOWCASE
pen House Melbourne is back this July, unlocking the doors of Melbourne’s most significant, praiseworthy buildings for the pure intent of valuing good architecture, design, heritage protection and planning. From July 25–26, the general public will be free to explore outstanding houses, buildings, infrastructure and landscapes that illustrate Melbourne’s rich history, while reflecting how we live and work, and offering insights into our future city. Past events have been a success with 130,000 visits and 70 per cent return visitors. The forthcoming Open House Melbourne is an event not to miss.
ilkhahn, premium German manufacturer of high-end office and conference furniture, is hosting a product launch and showcase event on July 16. Held at Wilkhahn’s Asia-Pacific headquarters in Alexandria, Sydney, the event will showcase never-seen-before archival furniture shipped from its German headquarters, as well as five new product launches. Wilkhahn is expecting approximately 350 attendees made up of designers, architects, project managers and end clients. Contact Wilkhahn for further information on attending. wilkhahn.com
VIEWPOINT ACQUIRES JOBPAC
iewpoint Construction Software® has recently acquired Sydney-based firm Jobpac, provider of construction software solutions to the Australian and New Zealand (ANZ) construction industry for more than 25 years. The union of Jobpac’s strong team of construction software professionals and Viewpoint’s organisiation and
advanced product portfolio, has created a new, stronger market leader with rich resources for customer service, support and innovative product development. Viewpoint will maintain its Melbourne facility but relocate its ANZ Headquarters to the Jobpac offices in Sydney. Former Jobpac CEO Ian Desbrow will lead the new, combined organisation.
Viewpoint is a provider of constructionspecific software solutions to the global construction and capital project industries. viewpoint.com
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Reproducing Scholten & Baijings BY LOUISE SCHOUWENBERG & MICHAEL MAHARAM RRP $120.00 PUBLISHED BY PHAIDON PRESS, FEBRUARY 2015 + 44 20 7843 1057 | PHAIDON.COM Review Kat Chaousis
ichael Maharam and Louise Schouwenberg have created a stunning visual monograph providing a privileged insight into the remarkable 14-year long journey of creative processes by one of the most innovative and dynamic design duos in Europe, Stefan Scholten and Carole Baijings of Amsterdambased studio Scholten & Baijings. The book itself is a piece of art, designed by Joost Grootens and published by Phaidon, with 300+ pages trimmed in fluorescent orange, punctuated by tip-ins that launch you into each catalogue of work – the complete package wrapped in a white die-cut jacket laid over a rich gradient red hardcover. Inside, the intelligently woven words were written by Louise Schouwenberg with foreword by Michael Maharam, who introduces the tone of the content by stating, “ultimately we are in the business of the narrative” before adding, “the most successful products elicit an immediate visceral understanding from the audience and require no more than a sentence or two of explanation.” This publication boasts detailed visual accounts of Scholten & Baijings work in Woven Willow, Vegetables, Colour Wood, Colour Porcelain, Colour One for MINI, Tea with Georg, Blocks and Grid, offering an intimate perspective that stems from the design process through to production and thus, almost offers a direct rapport with the creators themselves. “The key is the symbiosis between us. As individuals we would never have been able to make these designs. It really is Scholten and Baijings,” harmonise Carole Baijings and Stefan Scholten. Each section has a flow of crisp photography, giving the reader a taste of
concepts, materials, original sketches, colour swatches, and design variations – essentially the full product passage. The detail and craftsmanship is so intricate that you simply cannot skim over the pages as you would a magazine; rather, you are drawn into a journey through the detail as though you were viewing a fine piece of art and this journey takes time. There’s a brave use of colour and textures which seem to form part of Scholten & Baijings distinct fingerprint with Schouwenberg’s supporting text, which aims to provide a three dimensional perspective to the visual story, highlighting designer intention and technical appreciation. Mahrahm concludes, “In the end we felt the diversity demonstrated in the work of Scholten and Baijings with their highly defined aesthetic vocabulary overlaid
across varied product types, their hands on approach and the fact that they were a small office reliant on the distilled thinking of few versus many, would provide the necessary fundamentals for this exercise.” And thus, this visual narrative was birthed. Through Maharam’s endorsement of the work of these designers and his vision to document their journey readers are offered exclusive access to the entire Scholten & Baijings collection. The Scholten & Baijings body of work affirms that there is a space for bold, abstract creativity to find a harmony within the realm of industrial functionality. For those in the industry seeking inspiration and encouragement to pursue what may seem unattainable or unorthodox, this publication is sure to be a breath of fresh air.
Sebel Pier One Electrolight, in collaboration with Bates Smart Architects present the revitalised Sebel Pier One – the high-end hotel and conference facility located at Walsh Bay in Sydney. The lobby, bar and restaurant refurbishment features a stunning custom light sculpture inspired by the organic form and movement of the ocean’s creatures and the way modern yachts replicate the same movements. The commissioned work, named ‘Squelette’, was both conceptualised and detailed by the Electrolight team in Sydney. Specialist fabricator Axolotl were appointed to manufacture the piece and were instrumental in the realisation of the work, affording Electrolight the opportunity to create the machined organic forms in a lightweight brass aesthetic using Axolotl’s proprietary metal coating techniques. Photography by Rohan Venn
Advertiser Index IFC-01
Australian Made australianmade.com.au
Enjoy Lighting enjoylighting.com.au
Las Vegas Market lasvegasmarket.com
Charles Parsons Interiors charlesparsonsinteriors.com.au
Décor + Design & AIFF decordesignshow.com.au & aiff.net.au
Bekaert Textiles bekaerttextiles.com
Anji Zoy Furniture Co. Ltd zoy.en.e-cantonfair.com
About Space aboutspace.net.au
Tubeworks Furniture tubeworksfurniture.com.au
Furnishing in Focus furnishinginfocus.com
Furnitex Connect furnitex.com.au
Antique Mirror Glass antiquemirrorglass.com.au
Life Instyle lifeinstyle.com.au
3 0 JU L - 02 A UG | 2015 R OYAL EX HI B I TI ON BUILDING | MELBOURNE
AUSTRALIA’S COLLECTIVE OF THE FINEST IN STYLE & DESIGN With a strong focus on local design, Life Instyle is home to some of Australia’s most esteemed boutique brands and is the ultimate destination for buyers, retailers and interior designers who appreciate something different and Out Of This World. Showcasing a curated selection of products across homewares, lifestyle, kids & baby, apparel and jewellery, Life Instyle aims to connect quality design-focused buyers with leading brands.
REGISTER NOW *Trade Only Event
Published on May 14, 2015