Breaking The Mould Peter Vanderzaag Talking Business Alexander Lotersztain The Art of Architecture KUD Function Meets Form Studio 103
INSPIRATION / IDEATION / DESIGN / INNOVATION / BUSINESS
Furnishing in Focus
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MADDISON ARCHITECTS & GRAND DESIGNS AUSTRALIA
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editor’s letter SKILL, TECHNOLOGY, EXPERTISE
sually when I pick the brains of some of the outstanding companies we interview here at Furnishing International, I take the liberty of asking them many questions relating to how they translate their imagination into a reality, whatever it is they’re trying to create. The answer is usually the same and it generally comes down to three words – skill, technology, expertise. From the great minds that exist in our design world, I have learnt that these three disciplines are intimately linked and are also hugely relevant in the design and manufacturing industry for the very reason that in this digital age, technology has greatly impacted design through revolutionary materials and processes. Not only do we need technology to make a chair, or develop a building, or to design the interior of a room, but we also design more products and deliver more projects with technology already incorporated into the plan. With this, the need to constantly develop is essential – the skill, and becoming proficient in your field is what sets you at the forefront of innovative design – the expert. In this issue we explore this very construct and get excited at the prospect of new advancements, interesting ideas and endless possibilities. We begin by featuring Orchid Commercial Furniture as our Local Manufacturer, who has embraced a forward thinking culture and believes that possessing and utilising groundbreaking technology ultimately leads to long-term success. We also speak with Alexander Lotersztain, Director of design studio Derlot and Harriet Condos from Harbour Outdoor in our Talking Business segment who are both driven by passion and inspired by remnants from abroad, which have equipped both businesses with the necessary skills to cleverly spread their brands across international shores. Our cover story starring Billy Kavellaris and his architectural firm, KUD represents this theme wonderfully with their intriguing structures and distinctive details that further solidify their position as architect connoisseurs. This is evident in the infamous and stunning 2 Girls Building in which the Furnishing International team had the pleasure of visiting and learning about its elite design concepts. Then we meet our interior design specialists, Studio 103 where Director Catherine Quinn shares the thought processes behind the Perpetual Trustees project, which highlights an exclusive spatial capability and shows off the mastery behind this interior design practice. In this issue we aim to inspire, influence, encourage and showcase what it really takes to go from amateur to entrepreneur in an evolving industry. Enjoy! Natasha Sciré
& handcrafted quality
3fold Resources CEO, Peter Vanderzaag explains how innovative practices merged with
Talking Business With Derlot and Harbour Outdoor.
premium technology enables a more enduring manufacturing model.
Interior Design Studio 103’s Architect and Director, Catherine Quinn is this issue’s interior design expert. Having built up a reputation for excellence in design, Quinn sheds light on the features that are imbued in the Perpetual Trustees project.
Diversity, creativity and art are all elements that are at the core of KUD’s designs. Founder, Billy Kavellaris shares the vision and imagination behind the 2 Girls project where the beauty lies in the details.
Highlights are revealed from the recent local and international trade shows and a calendar of upcoming events.
This issue, Kat Chaousis reviews Fifty Under Fifty by Beverly Russell, Eva L. Maddox and Farooq Ameen.
Cover image: Billy Kavellaris Photographer: Mark Rudge @ ELLIKON
Founder/Publisher Peter Zapris email@example.com Editor Natasha Sciré firstname.lastname@example.org Graphic Design Phillips Hentri @ Change Creative email@example.com Print ELLIKON – Print • People • Planet ellikon.com.au Contributing Writers Deana Buscema, Kat Chaousis, Jemmah Kelly, Emily Sparshott Contributing Photographer Mark Rudge @ ELLIKON Subscriptions Manager Natalie Tshaikiwksy firstname.lastname@example.org Sales & Marketing Manager 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:
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Breaking The Mould Peter Vanderzaag Talking Business Alexander Lotersztain The Art of Architecture KUD Function Meets Form Studio 103
INSPIRATION / IDEATION / DESIGN / INNOVATION / BUSINESS
Inspiration “When each day presents a new challenge we have come to realise the best way to move is to tackle head on - don’t delay, work it out and move on to the next challenge.” HARRIET CONDOS, HARBOUR OUTDOOR
Polygon Armchair contains upholstered seat and back, dainty armrests and a supporting frame of mild steel, which is finished to polish chrome, black chrome, copper or a selection of house powdercoat colours. The geometric arrangement and angular legs is highly desirable and its purpose-designed structure allows the chair to fit into any corner. A polygon table is also available as a matching set. stylecraft.com.au
New Products Scandi Solid Timber Bed is custom made in Australia from Dellis Furniture. The Scandi bed gets its name from the Scandinavian-looking recessed tapered legs and slightly curved bedhead, which adds a sense of sophistication in the bedroom. dellisfurniture.com
Pure Dresser by Weylandts is inspired by early twentieth century factory interiors with its distinct faded and industrial aesthetic. The edgy piece consists of sharp lines, functional materials and metal legs. With its robust appearance, the dresser is a visual delight in any area. weylandts.com.au
Osaka Design Rug is a handcrafted patchwork rug made from cowhide hexagons. From Ombu Design, the rugâ€™s versatility is endless with its block colours and a complementary shape that makes for a stunning statement piece. ombudesign.com.au
Grazia Side Table from Boyd Blue encompasses matchstick sized pieces of natural iron, joined together with brass welds to produce an artistic-looking base. The round top is clad with a antique brass finish, sure to be the focal point of any room. boydblue.com
Sliding Wardrobe from Wokai Designâ€™s Fimes collection (Italy) in the Armadio sliding range. This modern wardrobe comprises of large format doors that come in various styles and finishes. The door tracking is integrated into the cabinetry for a minimalist look. The wardrobe can be installed as built-in or freestanding and comes in any height up to 2600mm, and set widths. Four internal finishes available. wokaidesign.com.au
Sweetpea & Willow Manhattan Tripod Brass Lamp features an adjustable arm and head to help spread light effectively. sweetpeaandwillow.com
Tana Shelf Unit by Tide is Australian made and takes its name from the Japanese word for shelf, Tana. Also inspired by Japanese streamlined design, the shelf possess quirky components with well-designed and versatile shelves. The shelf unit can be made in several sections with a variety of configurations and is also available in American Oak. tidedesign.com.au
Emma Bedside Table is handcrafted in Maroochydore by RAW Sunshine Coast. This contemporary bedside table is developed from a combination of new and reclaimed hoop pine floorboards. It features a slim and slender leg design and large drawers for storage. Available in natural timber with a choice of custom 2-pac drawer colours: Sweet Aqua, Cool Crayon, Artic Grey, Petula Pink, White and Black. rawsunshinecoast.com.au
Loft Wall Light by ISM Objects is constructed in Melbourne from durable steel and spun metal. It features a matte black finish with brass parts. Its flexible arm can be moved around wherever more light is desired and the clever structure is appropriate for providing ambient lighting in the home, office or even in a restaurant. The sleek lamp is available in clear vintage or frosted LED globes and in small (extends to 415mm) or large (extends to 705mm). ismobjects.com.au
Mosaic Countertop Washbasin is luxurious and ideal for brightening up any neutral-coloured bathroom. The metallic basin from Pittella is crafted from high quality materials and produced in Teknoform速, a polymerbased material that imitates a selection of textures. The subtle details of the mosaic provide a superb incorporation of ancient art while maintaining a sense of pure elegance. Also available in different patterns. pittella.com.au
Harvey Floor Lamp is specifically designed to provide a metropolitan ambience to any space. The lampshade is made from natural fabrics with sustainable fibres and a brass finish for an antique feel. The lamp is best suited to the study, living room or a trendy reading corner. ecochic.com.au
Lounge Cushions by Bandhini Homewear Design are a beautiful addition to any room. The warm colours and retro patterns are perfect for this season, and the shimmer effect offers a refined and chic appearance. Available in 50x50cm. bandhinihomeweardesign.com
LOCAL MANUFACTURING: CHRISTOPHER BOOTS
BREAKING THE MOULD
LOCAL MANUFACTURING: ORCHID COMMERCIAL FURNITURE
TAKING INSPIRATION FROM INNOVATIVE DESIGN PRACTICES, SPECIAL MATERIALS AND WORLD-CLASS MACHINERY, ORCHID COMMERCIAL FURNITURE PUSHES THE BOUNDARIES OF THE MANUFACTURING STATUS QUO. HERE, 3FOLD RESOURCES CEO, PETER VANDERZAAG, EXPLAINS THE BENEFITS OF COMBINING THE IMPORTATION OF RESOURCES WITH LOCAL MANUFACTURING, IN ORDER TO PROVIDE A FLEXIBLE AND INNOVATIVE APPROACH TO HIGH-PROFILE PROJECTS. Words Emily Sparshott
Left: Regus Business Centre, Melbourne.
n ability to drive both innovation and productivity in a hard-pressed industry like manufacturing can seem like an impossible feat. In recent years, we have seen the collapse of some big-name Australian manufacturing brands, so it’s no wonder companies favour international companies to fulfill their requirements. While growing a manufacturing business from the ground up may seem like the ultimate test of endurance, there is one Melbourne-based company who has stood the test of time. Orchid Commercial Furniture’s versatile business model works twofold; the company imports quality materials from international suppliers, but also has the ability to manufacture products locally. This, coupled with a passionate and enthusiastic team, is reason for its success within a tough environment. After qualifying as an engineer, Peter Vanderzaag began working in the manufacturing sector of retail shelving and quickly ascended to managing the production of one of Australia’s largest retail store fit-out companies. With an undeniable flair for design and manufacturing, Vanderzaag noticed obvious flaws and sub-par levels of service within the industry. It is with this dissatisfaction that Vanderzaag and colleague Francis D’Mello established 3fold Resources in order to deliver superior products based on stellar customer relations and industry expertise. Orchid Commercial Furniture was purchased by the duo in 2012 to combine 3fold Resources’ importing capabilities with local production and guarantee a more complete model of service. As part of 3fold Resources, Orchid Commercial Furniture invests in cuttingedge technology and machinery to produce bulk joinery and fixtures for companies who continually look to develop their brand through clever, stylistic design.
This cohesive production model has proven to be a real selling point for the company. As Vanderzaag explains, “Our sophisticated methodology of importing components to augment our local manufacturing has given us the best of both worlds. Local turnaround time and our capacity to manufacture shortrun bespoke projects is ground breaking. The convergence of importing and local manufacturing has set us apart from many others in the industry.” For Orchid Commercial Furniture, the proof of its success is in its expansive portfolio of high-profile clients, including large projects for Centrelink, Costco, Harris Scarfe and the Australian Taxation Office. In addition, it has worked alongside well-known design and supply companies such as RED Design, Laminex and Polytec. These partnerships have allowed Orchid Commercial Furniture to provide costeffective alternatives for clients, giving them the appeal of being a versatile and customercentric manufacturer. Four years on, Orchid Commercial Furniture’s aptitude for design and manufacturing has now reached new heights with its purchase of a new 5000-square metre factory located in Dandenong. However, the transition to a larger, more sophisticated factory meant investing in only the very best manufacturing technology and machinery. “We believe convergence is a competitive advantage, so we had to bring together manufacturing and importing into the one site. Our new factory is state-of-the-art and custom-built for maximising productivity and job satisfaction,” Vanderzaag says. “After careful examination of the best machinery available globally, we decided on Homag for our new edge banding centre because of its accuracy, speed, quality of finish and its ability to cope with growth in sales. Our factory combines sophisticated joinery software, real-time job tracking and the latest CNC equipment in all facets of our manufacture … using the best technology on the market ensures our long-term future of being at the leading edge in our industry. Combining this with a brand new factory that has a purpose-built layout means that we are not only using the best machinery, but also the most efficient process flow.” While new technology is integral to its business model, Orchid Commercial Furniture has not forgotten the importance of manual labour and organic talent. As the brand grows, Vanderzaag is fully aware that the wellbeing and progression of its people is paramount to the company’s success.
LOCAL MANUFACTURING: ORCHID COMMERCIAL FURNITURE
Left: Harris Scarfe Flagship Store, Rundle Mall, Adelaide. Bottom left: Eye Clarity, Emporium, Melbourne.
“In-house manufacturing ensures we have control over all aspects of the process so we can maintain quality and delivery expectations to our customers,” says Vanderzaag. “Our overseas and local supply sources have [allowed] an appropriate solution for a range of different circumstances, from urgent local manufacture to meeting a specific store opening requirement, to a detailed manufacture
“Our training and induction process ensures our staff are competent and well-equipped to operate our sophisticated production process. We believe our customers reap the benefits of our staff giving all they need to do their job,” says Vanderzaag. “We [employ] a dedicated team of people who support our account managers in delivering projects. They all [consider] themselves as servants to the project … from customer enquiry to completion. We often work collaboratively with architects and interior fit-out companies to provide a fully integrated solution,” he adds.
The establishment of the Dandenong factory has allowed Orchid Commercial Furniture to drive its customer-focused business to the forefront of the industry. Determining the needs of each client – whether it be seeking a unique product or meeting a rigid deadline – reduces the red tape that can hinder the manufacturing process. With experienced employees and world-class technology at its disposal, the company ensures a more versatile and personalised approach, which Vanderzaag explains is an extremely important factor for clients.
and shipping schedule for a well-planned rollout of a particular project. With combined manufacturing and project delivery capabilities, we can provide a vertically integrated solution [which] enables our customers to have multiple cost options based on their needs. This, coupled with the ability to manufacture all facets of joinery in-house from Corian, veneer, solid timber and 2-pack polishing enables us to achieve delivery dates the industry expects without relying on other supply chains.” Major national brands rely on a continuity of product that duplicates their business model with exacting repetition and standards. While this can be achieved through careful documentation and craftsmanship, it’s the use of new technology that makes this process streamlined and costeffective, something that Vanderzaag has not only recognised, but also embraced. “We utilise drawing and optimisation software to provide our customers with detailed information about the products we are making and to drive our machines from the frontend. Every part is programmed and recorded in the office so that we can repeat identical manufacture at any future point,” Vanderzaag explains. “One of the unique features of our technology is our automated board store, which manages raw board inventory and maximises use of materials through offcut management,” he adds. Combining technology with manual skills to fulfil stringent project guidelines has been a worthwhile investment for Orchid Commercial Furniture, with one project in particular being both professionally and personally rewarding. “We are very proud of our involvement in the recent development of the Officeworks’ Russell Street 3D Experience Centre. Orchid Commercial Furniture was engaged to design and manufacture the joinery for the project, while 3fold Resources completed the installation and project management,” says Vanderzaag.
LOCAL MANUFACTURING: ORCHID COMMERCIAL FURNITURE
“Our vision is to be a collaborative, reliable, cost-effective and innovative service provider that can meet and exceed customer expectations.”
Clockwise from top left: New Edge Banding Centre; Assembling cosmetics display units; Peter Vanderzaag; Orchid Commercial Furniture Assembly Area; Status review at the automated board store; Francis D’Mello.
“From an initial design brief from the customer, Orchid Commercial Furniture was able to develop the concept and production drawings in-house, and went through a rigorous prototyping phase before settling on the final design. The selection of materials and finishes were key to the project, and Australian plywood, 2-pack [polish] and melamine finishes were combined to present the desired look and feel. The 3D scanning room was a particular challenge, as we were required to provide a round internal space to house around 150 fixed cameras inside a square room. [However] the end result was a happy client, a very proud team at Orchid Commercial Furniture and a gold award in retail experience at the 2015 Melbourne Design Awards.” Implementing modern technology, learned expertise and an impressive portfolio of highprofile spaces, it’s clear why Vanderzaag and D’Mello’s 3fold Resources is recognised as a game-changer in Australian manufacturing. However, this type of success is dependent not only on a company’s ability to meet the demands of the manufacturing industry, but to adapt to broader changes in the labour market. “Our vision for the Orchid Commercial Furniture and 3fold Resources brands is to be a collaborative, reliable, cost-effective
LOCAL MANUFACTURING: ORCHID COMMERCIAL FURNITURE
and innovative service provider that can meet and exceed customer expectations,” explains Vanderzaag. “We believe that with the downturn of the mining industry, Australia will need to go back to local manufacturing to support our working population. We are trying to improve our technology so that we can employ semi-skilled labourers ... a segment of the labour market, which will be flooded with people. In the furnishing sector, we believe that only those companies with a commitment to technology and efficiency improvement will survive. Over the last two years we have already seen many companies disappear from the scene. The competitive advantage will be a sophisticated supply chain that can meet the changing needs of the furniture industry. As we move from a supply-driven supply chain to a demanddriven supply chain, manufacturers will have to be agile and be able to modify and change their work practices.” As the reputation of the 3fold Resources brand grows, so too does its social responsibility. Recognising the importance of supporting the wider community, the company has established a not-for-profit organisation, Compelled By Love, in order to see disadvantaged people flourish.
“Our company DNA is strongly influenced by our commitment to giving back to our local community and international projects, where part of our profits are dedicated to seeing people realise their true potential. This is not just a catch-cry; it is in-built into our culture and influences the way our staff perceive their jobs,” explains Vanderzaag. “We believe in making the world a better place, not just for our staff and families, but for many others not as fortunate as ourselves. Our staff and customers have become supporters, giving time and finances to make a difference,” he adds. In its thirteen years of operation, 3fold Resources has enjoyed an untarnished reputation in the local manufacturing industry. Its willingness to embrace new processes, infrastructure and people ensures Australian brands – and indeed, international businesses – have access to a manufacturing company that rivals the very best in the industry. As such, the company’s unique dualistic approach, as well as its focus on skill, technology and adaptability, will ensure a successful future. orchidfurniture.com
“Our company DNA is strongly influenced by our commitment to giving back to our local community and international projects, where part of our profits are dedicated to seeing people realise their true potential.”
Above: 3fold Resources/Orchid Commercial Furniture HQ, Dandenong South.
Ideation Design Innovation â€œDesigners need to be able to describe their visions verbally and through their imagery; they need to be able to harness the power of persuasive oratory to convince clients and bureaucrats the merits of their design. Ultimately this will determine the calibre of the work.â€? BILLY KAVELLARIS, KUD
TALKING BUSINESS: DERLOT
â€œWe as designers are the eyes to our clients. We train to see how people respond to their environment and objects around them. You never stop learning and every challenge has its own unique solution.â€? Autumn 2016
TALKING BUSINESS: DERLOT
ALEXANDER LOTERSZTAIN, DIRECTOR AND DRIVING FORCE BEHIND MULTIDISCIPLINARY DESIGN STUDIO, DERLOT, SET OUT TO TAKE ON THE WORLD - LITERALLY. WITH A SUCCESSFUL AND INSPIRING RECORD NATIONALLY AND INTERNATIONALLY, LOTERSZTAIN EXPLAINS THE IDEOLOGIES THAT ASSIST HIM AND HIS BUSINESS TO GO FROM STRENGTH TO STRENGTH IN AN EVOLVING INDUSTRY. Words Deana Buscema Photography Florian Groehn
Left & above: Morning After Café in Brisbane's West End featuring custom designed furniture and lighting.
assion, design, material, technology, travel, exploration and immersion. It may seem like a lot to absorb, however for Brisbane designer Alexander Lotersztain, this is a complete set of indestructible principles, originally formulated by his design journey and now the main motivation behind his thriving business. It is Lotersztain’s experience with the above that has developed the solid backbone and essence of multidisciplinary design studio, Derlot. Known to most as a multi-skilled design studio, Derlot specialises in delivering collections of unique and sought after designs in product, furniture and interior, with a hand in hotel concepts, branding and art direction. Born in Buenos Aires, Lotersztain moved to Australia at the age of eighteen where he began and completed an Industrial Design degree at Griffith University in Brisbane. Armed with incredible passion and occupying an exceptional knack for design, Lotersztain’s creativity derives from his experiences with travel and the exploration of different cultures by “completely immersing [himself] in it,” as he explains. “When I started out I knew where I wanted to go, decisions such as moving to Japan and some time later to Milan - the design capital, were definitely all part of the bigger brewing plan. I spent a lot of time in Tokyo, Milan and Barcelona and finally came back to Australia. I still like to travel a lot, but Australia allows me to have a clear headspace” Lotersztain explains. This sort of love for travel has guided Lotersztain to leave an iconic mark in many
aspects of the design industry. His work has graced the pages of worldwide publications and has appeared in the collection at the Pompidou Museum in Paris. Lotersztain was also presented with the inaugural Queensland Premier’s Smart State Designer of the Year fellowship award in 2010 and landed a well-deserved place as one of the 100 most influential designers worldwide. Amongst all of these impressive accomplishments, Lotersztain continues to push the boundaries of his business to further enhance the Derlot studio footprint. He does this by acting as design advisor to several private and government projects, frequently presenting at TEDx conferences and taking part in design judging panels here and abroad. You might have also recognised his face from Australian television show, The Renovators in which he was a mentor for. Worldwide experience entitles worldwide recognition and Lotersztain is privy to this with a host of international and national clients, including Asahi in Japan, Nestlé in Switzerland, Escofet in Spain, UFL in New Zealand and most recently, the new check-in lounges for the domestic terminals for Virgin Airlines in Australia. In 2011 Lotersztain made the decision to launch Derlot Editions – a clever and effective move with a primary focus on the design, manufacture and dispersal of furniture and lighting to the global spectrum, as well as the domestic market. “Derlot Editions in all honesty, established itself due to the frustration I encountered with the bigger brands and how difficult it was to
get my ideas produced, and the time it took to do so. I thought, if they won’t go for it, I’ll have to do it myself and now it has become a pretty serious business. Derlot Editions has distributors in many countries, manufacturing in Australia, China and the USA with an evergrowing range. Our product catalogue is 180 [pages] long,” Lotersztain says. Being involved in the competitive furnishing industry in both Australia and on the international front only strengthens the importance of producing more cutting-edge, functional furniture for the client. It is also a creative challenge that Lotersztain learnt to embrace in his early days as a designer and manufacturer. “I think my main focus has always been to listen to our clients. I have learnt over the
TALKING BUSINESS: DERLOT
years to read thoroughly between the lines and create some really successful products that fit a niche or a developing market. Along with the ability of making quick decisions, being adaptable and flexible also led Derlot to a great business model,” Lotersztain explains. “The company started and still pretty much is a design studio, which gives us a great advantage. Our passion for design and our knowledge on every aspect of the project proves key against market-focused competitors. Designers like the idea that they are dealing with a person that understands their language. It’s not just about selling them a chair, but more about [a], ‘creating one together’ type of attitude,” he adds. And sometimes the challenge is not in the design. Looming deadlines, client’s demands,
thorough organisation and an infallible business structure are all familiar notions to any established business. Lotersztain takes pride in the close-knit team he has acquired and understands that Derlot’s success is mostly based on quality rather than quantity. “The company is based in Brisbane and Hong Kong with a total of eight staff members, it is small but I prefer it this way and I don’t see my company growing any larger at this stage. If that does end up happening, we will probably separate the creative department from the business side to keep that focus and edge. We have a great support team,” Lotersztain says. With widespread knowledge and a flourishing business, Lotersztain was still exposed to the evolving demands of the industry. While manufacturing was mostly
TALKING BUSINESS: DERLOT
Left: Award-winning Prisma Collection. Right: Alexander Lotersztain 2015 Limited Edition QTZ. Far right: Derlot Editions Twig Backrest, Sydney Harbour.
done in Australia, the opportunity arose to venture out and seek assistance from overseas companies. The hope was to offer clients a better service and take advantage of global technologies that would ultimately enhance his much-desired work. “We do most of our work in house and have manufacturing primarily in Australia. There is also componentry and export production from our factory in China. We then decided that a selection of products be manufactured in the USA. This assisted with competitiveness, lead-time, shipping costs and physiological issues. We also found that some of the technologies required for constructing certain products are not available locally,” Lotersztain says. It is Lotersztain’s love for ‘the different’ that entices him to always look for and engage in innovative models - materials being one of them. Although Derlot maintains a reputation for being particular, Lotersztain prefers not to limit his crew and takes an “anything and everything” approach when sourcing materials. This approach has proved successful in collaborations with furniture retailers such as Stylecraft, where an extensive selection of Derlot Edition furniture was made available for purchase. In the commercial sector, Lotersztain has partaken in numerous collaborations with several prodigious companies and through an outstanding design process, the creation of some distinctive and admirable furniture pieces were deemed possible. A couple of examples include the development of major best sellers - Twig and Prisma. Twig, as the name suggests, incorporates the natural twig form and develops into a versatile and durable seating system that can appear as one or linked together in an array of layouts, mostly used in contemporary public spaces. Prisma targets
the contemporary workplace and hospitality sector’s need for adaptable furniture. The Prisma structure includes a collection of pieces such as a lounge chair, ottoman and side table to form one whole unit, also featuring extended backrest heights to form privacy and acoustic control screens. “[It begins with] a conversation and observation. We as designers are the eyes to our clients. We train to see how people respond to their environment and objects around them. Establishing that line of thought is an ever-learning curve and why I like the design process. You never stop learning and every challenge has its own unique solution,” Lotersztain says. “Our aim for each furniture product is for the item to serve its function and propose its purpose in a new way. Twig and Prisma have been by far the best sellers as they came into the market offering something new and innovative and it captured the imagination of designers and specifiers” he adds. The evolution of Derlot doesn’t end there. In between the many branches of the brand, Lotersztain’s determination to excel and honest craftsmanship led him to cultivate the Limited series. Enter, the idea of a completely blank canvas where the study of aesthetics and experimentation of functional innovation have no actual limitations. “Limited, has allowed me to experiment with materials and technologies without a commercial outcome in mind. It is purely experimenting and learning.” Lotersztain explains. Every piece in the Limited series is formed using luxury materials and each stage of the production process is closely followed by the designer to ensure elite skill and standards are incorporated into each piece. Each item is individually numbered and sold with an
authenticity certificate, which Lotersztain signs off to further confirm the validity of the product, add a personal touch and to leave a lasting impression. Possessing such talent and exerting plenty of enthusiasm for his craft leaves no room for pessimism when it comes to realistically assessing the current industry situation. Lotersztain believes that the future of design looks promising if we remain diligent and true to the cause. “The benefits, especially that of the furniture production industry is that you learn the overall business of design and I think a true designer needs to know all aspects of it. The main challenge we face is ensuring that we stay creative,” Lotersztain says. “I think the future will be more focused on service and customisation with the help of automation. [Also] finding the right balance between technology and the emotional connection [with] the particular craft,” he adds. Looking forward, Lotersztain is keen to further the Derlot and Derlot Editions portfolio. “We are looking at expanding our global reach and [are planning] an expansion into the USA with distribution partners there… With Derlot, our aim is to continue our current projects. The interiors area is getting really busy and a couple of product design clients are on the cards,” Lotersztain explains. For Lotersztain, “everyday is a new day” and staying ahead of the game is a combination of deep desires, vigorous research and an endless curiosity, whereby the inclination to increase our skill and knowledge is without a doubt an imperative factor. From Lotersztain, we learn that being positive and purpose-driven is what it takes to make your mark in the design world. derlot.com
TALKING BUSINESS: HARBOUR OUTDOOR
MUCH LIKE THE FURNITURE THEY DESIGN AND MANUFACTURE, THE CONDOS FAMILY IS UNIQUE, INCREDIBLY DURABLE AND POSSESS A DEEP SENSE OF CULTURE. HERE, FURNISHING INTERNATIONAL UNVEILS THE TRULY INSPIRING STORY BEHIND HARBOUR OUTDOOR AND HOW THE FAMILY BUSINESS DRIVES GROWTH AND EMBRACES INNOVATION, ALL WHILE REMAINING STEADFAST TO ITS FAMILY ROOTS. Words Jemmah Kelly
t is often said to achieve success and longevity as a business – irrespective of the nature of the industry – one must be attuned to what is its key differentiating factors in the marketplace. Equally important are strong values so that the business may continue to improve, innovate and complement the talents of its workers, while adhering to the wants and needs of its consumers. In other words, stay relevant. Since 1976, the Condos family has been doing just that. After immigrating to Australia from Athens, Greece, in 1966, family patriarch and budding blacksmith Jim Condos wasted little time honing his craft in various Sydney metal shops. A decade later, Jim founded Tecno Furniture and quickly established a reputation as one of the region’s premium blacksmiths, initially specialising in the design and manufacture of monumental hand-forged iron gates and custom furnishings of brass and steel. Tecno Furniture CoDirector Harriet Condos reveals however, that it wasn’t long before Jim’s passion for furniture design began to take precedence and the business started to take on a new and exciting direction. “Jim’s love of furniture design eventually led to the first [furniture] collection being designed in 1984, and due to the very quick success of his designs the business evolved to design and manufacture high-end forged iron furniture,” Harriet says.
Right: Balmoral Slip Collection.
TALKING BUSINESS: HARBOUR OUTDOOR
TALKING BUSINESS: HARBOUR OUTDOOR
"The utilisation of leading edge technology [will] maximise our results whilst simultaneously embracing our values of customer care, communication and integrity.”
Eventually the Tecno Furniture found its niche in the outdoor furniture market and in 2007 Jim’s sons, Harrison and Nicholas, began to see potential to expand business operations internationally. A year later, the brothers boldly expanded and re-branded Tecno Furniture’s outdoor collection with an export arm, and thus Harbour Outdoor was born. Inspired by Australia’s modern coastal architecture and beachy lifestyle, the Harbour Outdoor range echoes the modernistic style of Sydney-based Architect Peter Stutchbury. Harrison and Nicholas envisioned handforged metal outdoor furniture with elegant, uncluttered silhouettes that seamlessly blends
indoor-outdoor living. These stylistic cues have since become a hallmark of Harbour Outdoor’s designs. The ‘Piano’ collection, for example, is a fun and playful collection characterised by modern, clean lines and aluminium powder coated frames. Light diffusing Batyline® mesh chairs and stools have been coupled with UV-resistant high-pressure compact laminate (HPCL) slats for tabletops and bench seats. The Balmoral collection embodies plush luxury and innovative design. With a thick cushion and a distinctive signature welting, the Balmoral collection adds a touch of luxury and comfort to any outdoor area. Through an original, innovative design, Balmoral makes use of
polymer slots on an interchangeable structure to create twelve possible layout combinations from one setting. Not surprisingly, it didn’t take long for buyers to sit up and take notice, and the rest as they say, is history. “As a start [Harrison and Nicholas] explored the market in USA and Europe, and found a large gap for high quality, wellpriced product. After launching at the New York International Contemporary Furniture Fair in 2008 and the MAISON&OBJET [trade show in] 2009, the brand was well received and orders began to come in. From here the manufacturing capacity needed to be considerably increased and a move of the main factory into Southern China was the next step. We [Harbour Outdoor] still retain the factory in Botany, Sydney [where] all custom items are produced for the Australian market,” Harriet explains. With the majority of manufacturing taking place offshore in developing countries where culture and language varies drastically, maintaining a stokehold in the international marketplace can present many challenges.
TALKING BUSINESS: HARBOUR OUTDOOR
“Design, manufacturer and distribution under one umbrella enable us to be competitive in the current volatile global climate.”
Above: Breeze Collection. Previous page: HD Buttercup, Los Angeles.
But rather than succumbing to the pressure of catering to the global market, the Condos family views challenges as opportunities to review its company’s structure, systems and processes, and ask hard questions that ultimately facilitates business growth. “Harbour Outdoor faces challenges each day running the production out of China – communication and adapting our work ethics to embrace a different culture and way of thinking bring the biggest challenges,” Harriet explains. “When each day presents a new challenge we have come to realise the best way to move is to tackle head on - don’t delay, work it out and move on to the next challenge. The
business in the USA is also full of challenges. Language may be universal, however, the market is so varied and as a high-end furniture company the expectations are also high. The path the business has chosen turns a full circle [beginning in] Australia where the design concept begins, [towards] China where the goods are produced, [then] internationally where the goods are sold, and ultimately back to Australia where we control all facets of the business.” In spite of this multifaceted production process, Harbour Outdoor remains extremely hands-on throughout the design, manufacturing and distribution process. As a result, the company has continued to find success and meet market demand, catering to both domestic and commercial markets in Australia and abroad to the USA, Europe and Asia. Today, Harbour Outdoor’s Australian branch (Harbour Outdoor Australia) is based in Sydney, while its American counterpart Harbour Outdoor USA retains a head office in New York Design Centre. There is also one showroom and three retail stores in Los Angeles.
“Harbour Outdoor is in a unique position in the outdoor furniture market - original designs and family-run. Design, manufacturer and distribution under one umbrella enable us to be competitive in the current volatile global climate. We control all our production in order to achieve the consistent high-end finish we are so well known for. No outsourcing to other factories ensures our quality and ability to deliver on time is ensured,” says Harriet. “Jim and myself work as a team and are both directors of Harbour Outdoor Australia, and in partnership with our two boys Harrison and Nicholas are directors of Harbour Outdoor USA [and] as a family business we all work to achieve the same end result.” That end result being a company characterised by distinctive design, attention to detail, the ability to come up with new ideas, the skill to experiment with new materials and the expertise to create collections that are classically modern, yet timeless. Key to achieving this is skilled management,
TALKING BUSINESS: HARBOUR OUTDOOR
experienced tradesmen and the adaptation of technology, both in the design and manufacturing process tailored to suit the business model. Fortunately, Harbour Outdoor is a company that has these in spades, and with its ability to engage modern technology without losing touch of the human element, it will continue to remain at the forefront of innovation and design. “As designers and manufacturers, we are grateful that this millennium is continually moving towards high technology in both design and engineering processes. Our future will engage two philosophies – high-tech and high touch. The utilisation of leading edge technology [will] maximise our results whilst simultaneously embracing our values of customer care, communication and integrity,” Harriet says. Consequently, Harbour Outdoor boasts a loyal clientele that is as diverse as they are many, ranging from individual residential customers both in Australia and USA through
“We are a growing company with fresh ideas that are coming from the new generation. This is driving the brand to places never imagined.”
Below: Conrad Maldives Rangali Island.
TALKING BUSINESS: HARBOUR OUTDOOR
to retail stores, interior designers, architects and hospitality companies. The style, and importantly, durability of Harbour Outdoor’s product has also caught the eye of high-end hotels, including Starwood Hotels, Conrad International, Westin Hotels in Hawaii and Dominican Republic, One and Only resorts in both Hayman Island and Miami Halekulani Hotels in Hawaii. In fact, if you’ve been fortunate enough to experience any of these luxury stays, chances are you’re familiar with chic outdoor living spaces, punctuated with pieces from Harbour Outdoor’s any number of stylish creations. “Definitely trends have changed over the last ten years, outdoor is now the new indoor and we find our customers realise their outdoor space is as precious as the indoor space, therefore, we need to continually come up with furniture designs that will stand up to the extreme climate experienced in different parts of Australia, and [also] find ways to make this robust furniture as welcoming, comfortable and luxurious as the furniture for the inside space,” Harriet says. Yet despite Harbour Outdoor’s resounding success, both at home and abroad, the company has no intention of remaining stagnant. Rather, the industry and consumers can rejoice as the company continues to reinvent itself and find more effective and innovative ways to embark on exciting new projects and collaborations.
“As designers and manufacturers, we are grateful that this millennium is continually moving towards high technology in both design and engineering processes. Our future will engage two philosophies – high-tech and high touch.”
“Our most current project is a collaboration with Restoration Hardware USA, which recently launched three new collections and four new collections [were] released [this] Summer. We are a growing company with fresh ideas that are coming from the new generation. This is driving the brand to places never imagined,” Harriet says. As Harriet succinctly puts it, “Harbour Outdoor is a work in motion; always looking for new ideas and mediums to create high quality outdoor pieces for todays market.” Indeed, this has allowed Harbour Outdoor – a once small family business – to flourish into a reputable international brand, while continuing to instil the four values upon which the business was built: integrity of brand, communication, customer intimacy and results.
Above left (left to right): Nicholas, Jim and Harrison Condos. Above right: Conrad Maldives Rangali Island.
THE ART OF ARCHITECTURE
Left: 2 Girls Building, Abbotsford, Melbourne. Right: Embossed concrete with wallpaper pattern. Far right: Three-dimensional lamp as a highlight piece.
WITH SUCH INTRICATE DETAILS AND STRINGENT METHODOLOGIES IMBEDDED INTO THEIR DESIGN CULTURE, KUD HAS BEEN RECOGNISED LOCALLY AND INTERNATIONALLY FOR THEIR SMALL TO LARGE SCALE PROJECTS. HERE, BILLY KAVELLARIS GIVES INSIGHT INTO THE TREMENDOUS AND THEATRICAL STORY BEHIND THE 2 GIRLS BUILDING AND EXPLAINS TO US HOW CAREFULLY CONSIDERED DESIGN IS PARAMOUNT IN THE DEVELOPMENT OF AN AWARD-WINNING STRUCTURE AND A FRUITFUL FUTURE. Words Natasha Sciré Photography Peter Clarke
t was at the tender age of fifteen when Billy Kavellaris unwrapped a very special gift. It was a drawing board, his very first one. Little did he know that this gift would change the course of his life and open his eyes to his destiny, because it was at that very moment that Billy knew what he wanted to be - an architect. Many years on, while studying in his first year as an architectural draftsman, then completing his Bachelor of Architecture, Kavellaris was commissioned a small garage extension for his uncle. Since then, he has worked on various project types with a portfolio that ranges from 400-metre skyscrapers to dainty corner chapels. By 2002, the Melbourne-birthed multi-disciplinary practice, Kavellaris Urban Design (KUD) was established and making ground in the design world with their one-off design interventions and a team designed for ultimate diversity. “We have a team of architects that have completed single residential dwellings, highdensity residential, public and commercial
buildings and major high-rise developments. Our design team is youthful and energetic and is comprised of eight different cultural nationalities. This is not by chance but by design,” Kavellaris says. “I am interested and invested in cultural diversity because I believe that this is a key ingredient to the making of a place in an increasingly urbanising global context. Our approach to all our work is one of collaboration and [the] exchange of ideas. All of our staff are architects and have designedfocused values. This is essential when we are recruiting new team members.” The KUD team exists through Kavellaris’ emanating passion for the industry, which extends from the academic world of architecture. Committed to learning and evolving, Kavellaris teaches at the University of Melbourne and is also in the midst of writing a book about poetry, architecture and photography. With an eclectic body of work, these art forms not only have been influential
in Kavellaris’ development as a designer but the components also inform KUD discourse and design philosophy. “We are a design-focused practice that considers architecture as a utilitarian art form. We see cultural and commercial value in architecture as an intellectual pursuit that balances all the complexities of our vocation,” Kavellaris says. “We approach and consider all of our projects as individual architectural narratives that respond to four design principles; site, context, client and environment. Our work is underpinned by interdisciplinary speculations, which recognise that architectural outcomes are directly influenced by dynamic socioeconomic, political and technological forces where culture plays a mediating role. Our clients see financial and emotional value in what we provide, which is an essential ingredient for a successful sustainable architectural practice.”
The unique practice continues to defy boundaries and abandon the architectural language that people and communities commonly define themselves by. This very element is precisely what was anticipated for the 2 Girls Building, a mixed-use building designed by Billy Kavellaris with the assistance of the Project Architect, Rodrigo Sandoval. The space comprises of offices, warehouse spaces and residential apartments all divided by an art gallery with mesmerizing artworks on display throughout the building. Standing out from the rest in Abbotsford, the 2 Girls Building provides a billboard to the community that resembles the classic inner-city atmosphere with a touch of theatre. The contemporary and elaborate building was developed on only two pre requisites; that Digiglass and Samantha Everton’s artwork be incorporated into the building. “KUD has been interested in the collaboration of art and architecture over the years. This collaboration with Samantha Everton injected another layer of complexity; unintentionally exchanging and
swapping the role of the architect to artist and the artist to architect. The boundaries of the alliance were blurred, redefining ‘the artist’ and ‘the architect’ as one expression,” Kavellaris explains. “I already knew of Samantha’s work and I selected the ‘Masquerade’ from Everton’s ‘Vintage Dolls’ series. I decided to reconstruct Samantha’s artwork for the concept and took a leap of faith. Thankfully [the client] loved the idea. The best part was that the '2 Girls' in the photograph were [the client’s] daughters, which I had no idea. It was a nice cosmic coincidence.” With an open brief, the building was designed to be a contrasting juxtaposition to the urban streetscape. The function of the building amalgamates art, photography and architecture and its veneer showcases the collaborative relationship between the three commodities. Kavellaris achieved design mastery with the result being all characteristics coinciding and intertwining with the other to create a new and fascinating art form.
Below left: Double height lobby featuring Samantha Everton's original 'Masquerade'. Below right: Glass stair gallery. Opposite page Top left & right: Art Gallery. Bottom left & right: Light courts with tree sculptures through art gallery.
“Photography appropriates architectural materiality and photography shifts into the architectural space of the third dimension. Architecture becomes photography, photography becomes architecture and the building becomes a hybrid urban artefact within the built environment,” Kavellaris says. If you were to ever come face to face with the aesthetically pleasing 2 Girls Building, you will immediately notice its visually compelling and striking appearance. The photographs of the '2 Girls' that feature on the building’s façade have emerald-coloured tones through it and translucent elements applied. The embossed concrete on the sides is softened by ornate patterns consisting of wallpaper, red theatre curtains that lace the top level and vintage furniture, which are one of the main themes in the artwork. One of the many focal points is a giant threedimensional lamp, which was designed as a clever highlight piece to add a depth-like quality to the smooth and level surface of the building, and to also give a dramatic effect at night with its wondrous glow.
The wallpaper motif is refabricated in the foyer and colour stained tree sculptures are placed in the light courts as a seamless continuum from the exterior to the interior. With all the fine textural compositions that permeate the 2 Girls Building, KUD’s main challenge was precision. “This interplay of soft ornate imagery represented in hard and heavy concrete is a classical idea, which provides simultaneous readings of the architecture and the artwork,” Kavellaris explains. “The intervention is reinforced with the Digiglass and also explores translucency contrary to the heavy opaque concrete. We had to redraw the entire artwork and all the intricate details of the photo in order to generate a mould for the concrete panels. We had to undertake a process of trial and error with respect to the technical application of the Digiglass. Several samples were tested to create the perfect level of translucency. The tolerances with respect to how the glass and concrete intersected required very highly skilled people to achieve the finish that we were seeking.”
“We designed the building to capture the qualities of a baroque theatre setting. We were interested in creating a contrasting dialogue between the post-war industrial buildings/Victorian cottages with the colourful contemporary material palette of the 2 Girls Building,” Kavellaris adds. Impeccable design and well-considered applications are not the only qualities that KUD stand for. Environmentally sustainable design is also implemented into every project. Kavellaris and his team continue to cultivate and champion these fundamental aspects in their work by way of emphasising its importance from a holistic viewpoint. “Environmentally Sustainable Design is very healthy for our industry and for the global community as a whole. In my view [it is] another mandatory skill set that good architecture must incorporate in the building, just like capturing good light in a space, or selecting the right material palette,” Kavellaris says. As advocates of recycling and renewing materials, KUD ensured that the 2 Girls
Building involved eco-friendly aspects wherever possible. The building is rated six stars and incorporates natural cross ventilation to all dwellings through the large light courts that are situated around the building. This allows the rooms to gain light and ventilation from the opposite sides of the site and also reduces the dependence on artificial lighting. KUD also integrated a 22,000-litre rainwater tank for storm water collection, which is also used to flush toilets and provide irrigation to all the vertical gardens and landscaping. Extending their green practices, the floorboards from the original building were spared and reused to adorn the foyer walls and lift spaces. The structural roof truss members were utilised for the feature stair treads and all the timber used for the project came from renewable forests, which were approved by the Forest Stewardship Council. It is no wonder why the 2 Girls Building has received well-deserved recognition locally and internationally, including being awarded
“I am interested and invested in cultural diversity because I believe that this is a key ingredient to the making of a place in an increasingly urbanising global context. Our approach to all our work is one of collaboration and [the] exchange of ideas.”
Clockwise: Home office, kitchen and living space; One bedroom apartment; Double-storey townhouse study area; Double-storey townhouse kitchen and living area; Roof terrace to double-storey townhouse.
Completion 2015 Concrete panel supplier SA Precast Concrete moulding supplier Reckli Glass supplier Viridian Glass Artwork for glass DigiGlass Feature stairs Pulse Weld Red art feature cladding Vitra Art Custom wallpaper supplier Fleetmark
the 2015 National Master Builders Award for best Medium Density Building, the 2015 Master Builders of Victoria Best Multi-Unit Development, the 2015 Apartment Complex, and the most distinguished - the Best MixedUse Building at the 2015 International LEAF Awards in London. Kavellaris’ success is indicative of his unswerving efforts and his determination to broaden his skills and build on his expertise. With this, he offers humble advice to budding designers. “From the first stroke of the pen to the completed built work, it takes more than just talent. Architects need to be multidisciplinary in all areas that relate to our craft. Designers need to be able to describe their visions verbally and through their imagery; they need to be able to harness the power of persuasive oratory to convince clients and bureaucrats the merits of their design. Ultimately this will determine the calibre of the work,” Kavellaris says. With this philosophy set tightly in KUD’s ethos, the firm has some exciting projects currently under construction, namely a large Cultural Centre and a $350 million major project comprising of six towers. For Kavellaris, this is just the beginning of more adventurous architectural design.
“Many of our projects have pioneered technologies that have enabled us to create architectural outcomes that would not be possible in the past. We are constantly engaging with manufacturers and contractors to push the boundaries for new architectural exploration,” Kavellaris says. “Our industry has been working hard to show Australia and the world that we have our own voice and identity. Australian architecture produce some of the most avant-garde buildings in the world. I think the future for us is looking brighter with all the great local examples being built in this country today.” An influential, meticulous and inspiring design such as the 2 Girls Building only uncovers the talent that exists in our time. KUD is a true testament to how a design firm should approach each of its projects, which is to provide enduring buildings with minimal ecological impact, through the use of unrivalled imagination. The brilliance and strategy behind the 2 Girls Building joined with Kavellaris’ paradigm of the ultimate architectural structure has led us to believe that we are yet to see more spectacular works of this kind in the future. kud.com.au
Industry “Our sophisticated methodology of importing components to augment our local manufacturing has given us the best of both worlds.” PETER VANDERZAAG, ORCHID COMMERCIAL FURNITURE
INTERIOR DESIGN: STUDIO 103
FUNCTION MEETS FORM Autumn 2016
INTERIOR DESIGN: STUDIO 103
A RELATIVE NEWCOMER TO THE ARCHITECTURE AND INTERIOR DESIGN SCENE, STUDIO 103 HAS QUICKLY EARNED A REPUTATION FOR EXCELLENCE IN DESIGN AND BESPOKE CUSTOMER SERVICE. THE PERPETUAL TRUSTEES PROJECT EMBODIES JUST THAT, SHOWCASING CORPORATE SOPHISTICATION WHILE PACKING AN IMPRESSIVE VISUAL PUNCH. HERE, COMPANY ARCHITECT AND DIRECTOR CATHERINE QUINN UNPACKS THE DESIGN FEATURES OF THIS INNER-CITY OFFICE SPACE. Words Jemmah Kelly Photography Aaron Pocock
Left: View from dining area
esign – whether architectural, interior, graphic or otherwise – is subjective at the best of times. After all, we’re all familiar with the phrase ‘beauty is in the eye of the beholder.’ How then do we make the distinction between a good design and a great design? Fortunately, Studio 103 has the answer. It begins, as Architect and Studio 103 Director Catherine Quinn puts it, with “no cookie-cutter designs,” and viewing each project from the necessary viewpoints of the architect/designer, the client and the user. It’s a principle the Melbourne-based architecture and interior design practice has studiously upheld and become well-known for since its inception three years ago, and is evident in every project Quinn and her talented team undertakes. “We started up in 2013 as a group of experienced designers with a common aim to create buildings and spaces that are unique to site and function, focusing on the user’s experience of the space,” says Quinn. “We have a core team of four – two with architecture backgrounds [and] two with interior backgrounds – as well as a student architect and another interior designer who works for us part-time. We aim to have a melding of interior and exterior; we believe that buildings that have a flow between indoor and outdoor work best,” she adds.
Left: The central breakout space and kitchen.
INTERIOR DESIGN: STUDIO 103
“We started as a group of experienced designers with a common aim to create buildings and spaces that are unique to site and function, focusing on the user’s experience of the space.”
As a multi-disciplinary team, collaboration is a fundamental part of Studio 103’s work ethic, beginning with the internal team and continuing with clients as well as local artists, designers and craftspeople. Doing so enables the practice to engage with and explore new design possibilities, work across and take each project in exciting directions. Whether providing healthier workspaces, creating harmonious living spaces or improving student-learning experiences, Studio 103 has truly perfected the art of delivering bespoke customer service. Indeed, it is this philosophy, work ethic and well-earned reputation for creating inspirational interiors and exteriors that led to the practice being shortlisted at the 2014 Interior Design Excellence Awards (IDEA) in the Emerging Designer category for its Rialto Management Offices project (Workplace under 1000sqm). The accolade is a testament to the practice’s aptitude for creating spaces that beautifully unite function and form, and the Perpetual Trustees project is no exception. Perpetual Trustees is an independent and diversified financial services group with
an office located in Melbourne’s CBD. The company called on the expertise of Studio 103 to refurbish and breathe new life into their workplace. The clients sought a vibrant and invigorating design befitting a financial services group. As Quinn explains, achieving such a design called for a careful balance between invigorating splashes of colour and a refined, professional aesthetic indicative of a corporate environment. “The client was very conservative, and it was a challenge to break away from their traditional concepts of how an office should function and what it should look like… Perpetual [Trustees] wanted an office space suitable for a conservative corporate company that was vibrant and energised at the same time.” Quinn and her team responded to the brief, creating “a central open-plan workspace that challenged the traditional closed-office layout … Meeting rooms flow from the entry and waiting area, leading onto utility spaces and a quiet room. Central to the open-plan workspace, is the staff breakout. The focus of
Above: The waiting area and small meeting room.
the fit-out, it doubles as an informal meeting space, and a staff break room,” she adds. A key feature is the use of geometric patterns on the walls and the window glazing, which is repeated throughout the fit-out and serves as a dynamic design element and intriguing focal point. “[The] geometric patterning breaks up the window glazing throughout, while allowing light to infiltrate core areas,” explains Quinn. Inspired by Perpetual Trustees' trademark colour – a dark shade of blue – Studio 103 implemented a complementary colour scheme comprising blue and green hues that flow harmoniously throughout the office, enhancing the sense of space and openness of the design. A carefully curated selection of distinct fixtures
INTERIOR DESIGN: STUDIO 103
and finishes, including blonde timber joinery and copper, punctuate the space against the darker colours. A hallmark of Studio 103 is its ability to use everyday objects in unexpected ways and find original solutions to ordinary spaces. Often, this includes recycled and reused materials wherever possible. A great number of environmentally, socially and economically sustainable elements often feature prominently in many of Studio 103’s designs. “One of the client’s main objectives was to use sustainable, recycled materials wherever possible [and] all furniture, fittings and materials were selected with this in mind,” says Quinn. Studio 103 turned to Something Beginning With (SBW) to furnish and complement the existing characteristics of the space, as well as add function and stylistic flair. SBW’s stackable Zac Chairs and Lili Stools tie in perfectly with the distinct colour palette and the vision Studio 103 had for Perpetual Trustees, while also providing additional seating that invites people to gather together and sit comfortably.
The seating area, coupled with a Loop Table, an Array Dining Table and elegant Oscar Chairs, also tie the design together and exude the vitality and the sophistication intended for the design, adding a timeless appeal and comfort to the workspace. Vibrant yet elegant, the Perpetual Trustees project featured here echoes the creative vision, talent and stylistic flair for which Studio 103 is quickly becoming renowned. The project is a depiction of the rich textures, quality materials and unique spatial experience of which Studio 103 is capable of delivering, without compromising on ethical and sustainable practices and that add value to the client, the environment and the design. Undoubtedly, Studio 103 is an exciting and multifaceted architecture and interior design practice destined to leave a mark on the city of Melbourne and its surroundings, for many years to come. studio103.com.au
Above: The client's branding forms the basis for the colour palette in the breakout space.
Project Suppliers Something Beginning With Baseline Jardan Schiavello Stylecraft Haworth Light Project Volker Haug Satelight Instyle Interface Forbo Polyflor Surface Squared Kvadrat Maharam Caesarstone
Trade Shows THE HECTIC HOLIDAY SEASON WAS NO MATCH FOR THE LEADING TRADE SHOWS THAT RECENTLY TOOK PLACE, AS THEY ACHIEVED ALL-ROUND SUCCESS. WE REPORT ON OUR TOP INTERNATIONAL SHOWS THAT PRESENTED TO US FRESH DESIGNS, GROWING TRENDS AND THE CONCEPT OF COLLABORATION TO STRENGTHEN THE INDUSTRY. WE ALSO PROVIDE A RUNDOWN OF THE SEASON’S MOST ANTICIPATED EVENTS TO MARK IN YOUR CALENDAR.
Above: Las Vegas Market, USA.
CNR IMOB ISTANBUL, TURKEY | 26-31 JANUARY 2016
rom 26 - 31 January, the Istanbul Furniture Fair – CNR IMOB held its 12th fair at the CNR EXPO Center. With 150,000 square metres of space and 11 halls, there was plenty of opportunity for buyers to view the finest home furnishings, interior designs and global furniture trends for 2016. The most important and largest furniture event in Turkey and its region cooperated with MOSFED (Federation of Turkish Furniture Associations) to introduce a wide range of elegant designs and products including modern, classic and modular furniture, bedding, chairs and furniture accessories, which is exported to over 175 countries. Along with the increased number of international exhibitors, there were a total of 524 exhibitors meeting and connecting with the 148,221 visitors (32,784 international visitors) that flooded the show over the six days. The aim of the fair was to represent the true passion that Turkey has for furniture and to enable a platform that is exclusive to business and trade, developing vital contacts and to share ideas, gain further knowledge and be inspired. As the second largest furniture show in the world, CNR IMOB understands that having a strong sense of style and being able to
translate this into exceptional product innovation is what sets them apart in the furniture industry. They believe consumers are looking for high quality “series-produced” furniture that is reasonably priced and satisfy all their design needs. This is found to be far more popular than just buying off the shelf and CNR IMOB 2016, in this way, was successful. All guests were exposed to numerous samples of highly qualified and versatile products, customised to suit individual wishes. Young designers also displayed their new and innovative products by sharing their portfolios. To further support students and aspiring designers, CNR IMOB hosted a project where the industrial design departments of 28 different universities were welcomed to design new chairs, armchairs or stools that were representative of the Turkish sitting culture. Winning samples were created as models and put on display during the fair. cnrimob.com
LAS VEGAS MARKET
LAS VEGAS, USA | 24-28 JANUARY 2016
COLOGNE, GERMANY | 18-24 JANUARY 2016
pening day for the Winter edition of the Las Vegas Market was deemed the busiest day ever in its 10-year history and it certainly set the tone for the five-day show. From 24 - 28 January, the show delivered an extensive range of furniture, home décor, gifts and an abundance of new and innovative merchandise from reputable industry suppliers, making it the foremost destination for buyers in the Western United States. With access to more than 330 new resources and almost 100 per cent occupancy in the furniture showrooms, the statistics proved the show a success from both the perspectives of buyers and suppliers. Vendors experienced massive sales growth, while also fostering new business relationships. All visitors were thrilled with the quality and variety of stock available at the market and were equally impressed with the level of organisation, the uncomplicated arrangement and the buzzing atmosphere. The show included 146 new showrooms across 40 floors in three buildings. Along with 180 new exhibitors debuting in the recently expanded pavilions, there was also record-breaking attendance and the highest level of leasing activity in five years. Visitors came from all over the United States (mostly from California, Nevada, Arizona, Texas and Washington) as well as 77 other countries. Scott Eckman, Executive Vice President of Marketing and Furniture Leasing, International Market Centers (IMC) is optimistic about how this show has set the standard for the rest of the year, saying, “Winter market was extremely strong with robust traffic. People were committed to getting here and we set another Las Vegas buyer attendance record. We saw major exclusive-to-our-market product introductions and countless showroom expansions. Order writing also was fast and furious – a strong indicator that 2016 is starting off on very solid footing.” lasvegasmarket.com
ologne was described as “a successful start to the year” after the accolades that were received from the recent show, which took place from 18 – 24 January. There was an increase in numbers (4.8 per cent), as records show that 80,000 visitors (46 per cent from abroad) from 128 countries walked through the show and explored the new trends in furnishing that the 1,185 exhibitors (from 50 countries) offered. There was a notable presence from the European sector, especially from the Netherlands, United Kingdom, Spain and Austria, and there was also an increase in visitorship from the USA, China and India. President and Chief Executive Officer of Koelnmesse, Gerald Böse was pleased with the statistics, saying, “This outcome shows that imm cologne is unmatched as a business event for the global furniture and furnishings industry.” “This is where the world comes together to do business, which offers a lot of new opportunities for export-oriented companies. At the same time, this fair has proved once again that business and creative inspiration are not mutually exclusive,” he adds. This year showcased a number of products and ideas and allowed all involved the chance to take part in solid business interactions. Highlight event, Das Haus – Interiors on Stage comprised of a walk-through simulation of a home, which was designed in 2016 by Sebastian Herkner. The Smart Home exhibition at LivingInteriors also attracted a wealth of interest, whereby various companies shared resolutions for a “cleverly networked” home. imm-cologne.com
ESPRIT MEUBLE PARIS, FRANCE | 5-8 DECEMBER 2015
he immense support for the Esprit Meuble show was evident as from 5 - 8 December, 8,742 visitors (11 per cent international) made their way through the trade show and linked ties with over 300 companies (an increase of 50 per cent). The show completed its fourth year and was held in the heart of Paris at the Parc Des Exposition with an expanded space of 40,000 square metres (an increase of 30% from last year). Furnishing International had the opportunity to visit the event as it hosted the official IAFP annual meeting. Our team experienced the professionalism, hospitality and design panorama that only Esprit Meuble could offer. The main themes were â€˜Manufacturing Know-How, Talent, Futureâ€™ and from design through to distribution, companies shared all products from bedding, seating, living room, bathroom and outdoor furniture, not only for homes but also for hotels, shops, offices and public buildings. There were various complimentary services including refreshments and food (at no cost), cloakrooms for convenience and endless entertainment. One in every three visitors attended the show for two
days or more, which confirms Esprit Meuble to be the most popular business meeting in the country for the furnishing sector. There was a diverse range of brands this year as new exhibitors joined the show including Stressless, Himolla and Calligaris and all were very impressed with their results. Each exhibitor made an effort in presenting and promoting new products that combined fine craftsmanship with technological innovations. Reports show that half of the exhibitors were French and the other half consisted of brands from Italy, Germany, Portugal, Spain and Romania. Organisers are particularly ecstatic about the outcome and are looking to progress into 2016 by enriching all components of the furniture show, especially the contemporary furniture section in order for all furniture professionals to experience an outstanding and well-rounded trade show. espritmeuble.com
12-17 APRIL 2016
16-20 APRIL 2016
SALONE DEL MOBILE
HIGH POINT MARKET
NORTH CAROLINA, USA
rom 12 – 17 April, the Rho Milan Fairgrounds will hold the 55th edition of Salone del Mobile, set to pull on the heart strings of all innovators with an interesting platform of products and high quality services. With a sold out show, this year will see three exhibitions, plenty of entertainment, special events and a host of home furnishing aspects for visitors within the sector. Foreigners make up 30 per cent of exhibitors and it is expected that approximately 300,000 visitors will be attending from 165 different countries. Some of the stages that will take place include the Salone Internazionale del Mobile along with the International Furnishing Accessories Exhibition with more than 1,300 exhibitors spread across over 145,000 square metres. This segment will be split by Classic and Design to ensure there is maximum room for visitors to take part. EuroCucina is also making an appearance, showcasing its latest in functional kitchens (as requested by customers) and its exhibition FTK (Technology For The Kitchen) will be focusing on the latest technology in built-in appliances. The International Bathroom Exhibition will be presenting cutting-edge bathroom furniture and accessories and the 7th SaloneSatellite Awards with prizes for young designers will be a definite highlight. As the aim for the 2016 Salone del Mobile show is to combine business with culture, it seems as though this year will be no exception. salonemilano.it
omplete convenience is what the High Point Market aims to establish at this year’s trade show. With approximately 11.5 million square feet of floor space, 2,000 exhibitors spread across 180 buildings and an estimated 75,000 visitors at each show, the event has been dubbed the biggest home furnishing trade show in the world. The 2015 show was record-breaking with more registrations than ever before and this year the optimism remains with impressive numbers predicted. The Spring market will take place from 16 – 20 April. With over 100 countries represented and approximately 10 per cent of attendees predicted to be international, visitors will be able to view a variety of new products and have the opportunity to be involved in industry conversations. This will be made available prior to the commencement of the show through the New Product Premiere program. Apart from being the ultimate destination for business, the High Point Market will also host a variety of educational and social events including the CEU-accredited Design Viewpoints Series and the popular Style Spotters LIVE. highpointmarket.org
27-29 APRIL 2016
4-6 MAY 2016
looming Your Home is the theme for the 2016 edition of Proposte, which will pay homage to natural motifs. Floral patterns and earthy tones will be displayed in various ways through the show’s beautiful fabrics. This year the fair will be located at Villa Erba in Cernobbio and doors will be opened from 27 - 29 April. It is already looking promising with an expansion of exhibition space reserved by companies. Proposte has consolidated itself as the one-stop-shop for all things fabric and curtains and the show is hoping to once again demonstrate leadership in textile products. Proposte maintains its exclusivity on the trade show list. Only textile editors, manufacturers of upholstered furniture, wholesalers, converters, buying groups, and contract operators are allowed entrance to the show, by invitation only. Attendees will have the chance to meet with over 90 exhibitors who will be revealing the very latest trends in textiles. propostefair.it/en
esignBUILD returns to Melbourne from 4 - 6 May 2016 at the Melbourne Convention & Exhibition Centre with ‘Collaboration’ being one of the key themes. To celebrate its 30th year of existence, DesignBuild organisers have announced plans for fresh and exciting new features. The 2016 show will present a new floor layout with designated areas for Landscape & Outdoor, Structural & Materials, Interior Fixtures & Finishes and Technology so that visitors can make their way seamlessly through the show. One particular event to note will be the 2016 speaker program, which this year will be split into three topic areas: Compliance, Sustainability and Innovation. This program is designed to invite leading international and local speakers to examine the key trends in 2016. There will be a host of leading brands and also the delivery of two special new features: DesignBUILD Incubator and DesignBUILD Raw. Both features are developed to acknowledge fresh new talent in the areas of architecture, design and construction and link them to product manufacturers and industry specialists. DesignBUILD Event Manager Ali Mead believes in nurturing the next generation of designers and is dedicated to supporting students and entrepreneurs, as he explains, “These new projects will not only add an inspirational physical construction to the show but help new talent meet key decision makers, to help propel them and the industry forward for the future.” designbuildexpo.com.au
23-26 MAY 2016
8-9 JUNE 2016
FURNISHING IN FOCUS
he Middle East’s largest and longest running design event, INDEX International Design Exhibition returns from 23 – 26 May 2016 at the Dubai World Trade Centre. The 26th edition is expected to attract over 800 exhibitors from 50 countries and over 30,000 people are estimated to attend. The exhibition plans to provide a platform for matchless business and networking opportunities, useful information, excellent services and an array of the latest design innovations, trends and techniques. Buyers, sellers and experts from retail, residential and hospitality around the globe will have the opportunity to take part in unique discussions and will be educated on the challenges of design and how to overcome obstacles that may arise. The 2015 show was deemed a success and due to popular demand, four new sectors will be introduced for this year’s show (including the Technology and Eco sector), making it a total floor space of 42,000 square metres. Sharing the platform with INDEX International Design Exhibition will be Workspace at INDEX, which is the largest commercial interior fit-out and design exhibition in the region and showcases a range of high-end products and services that ultimately enable a better working environment. This year will mark the 15th year for Workspace at INDEX and it is set to be more magnificent with a true indication of what is ahead in the market, and it will also assist with varying working environments across the commercial division.
bigger and better furniture show is on its way to Melbourne with the 2016 Furnishing in Focus (FIF) only a few months away. From 8 - 9 June, FIF will be showcasing upholstery, dining, case-goods and metal furniture, together with curtaining and soft furnishing makers. The show received a fantastic response in 2015 and the national event, completely dedicated to Australian furniture and furnishing manufacturers is only gaining more traction in the industry with the endorsements of major retail groups such as Harvey Norman, Domayne, OZ Design, Furniture One and Homemakers. These businesses have been vocal in encouraging Australian Manufacturers to show their creative abilities in a general forum. FIF 2016 will be held at the Melbourne Convention and Exhibition Centre (MCEC). The exhibition size has increased with another bay locked in to accommodate a total of 65 exhibitors (a 30% increase from last year). Show organisers, Warwick Fabrics are excited about the upcoming show, as it confirms not only a bright future for the exhibit but also for all Australian manufacturers. Warwick Fabrics began FIF in 2010 with mini exhibitions around the country to support local manufacturers and the show has now turned into a top quality national exhibition. The show invites other fabric houses to showcase to Australian retailers the very latest in world textile trends with the hope to further strengthen the “ripe” position of Australian manufacturers.
FURNISHING IN FOCUS FIRING UP A
fter receiving widespread acclamation for the 2015 Furnishing in Focus (FIF) show, 2016 marks a very special year for the national event, which is anticipating a terrific outcome. Top Australian fabric supplier, Warwick Fabrics is joining with the Australian Made Campaign to ensure that FIF maintains its reputation as the nation’s only furnishing event that offers a plethora of only Australian made goods. Australian Made Campaign Chief Executive, Ian Harrison is proud to be a part of the program, saying, “This exhibition will showcase the exceptional skills Australia’s furniture and furnishing manufacturers have to offer,
increase visibility of the variety that is readily available, and demonstrate how much more flexible buying locally can be.” Set to take place from 8 - 9 June at the Melbourne Convention and Exhibition Centre, FIF will be presenting more than soft and hard furnishing goods with networking opportunities, various events and some recently confirmed inspiring speakers - Andrea Lucena-Orr, Peter Maddison and Darren Palmer. Andrea is known to be extremely knowledgeable and experienced in colour and design and is the Colour and Communications Manager for Dulux Group. In this position, Andrea focuses on trends
and colour forecasting and regularly presents her findings to trade, retail and media. Her input is integral to Dulux Group’s marketing strategies. Andrea is also a member of the international Colour Marketing Group (CMG) and International Color Association (AIC) and will share some insight into how she pursues colour forecasting around the world. Director of Maddison Architects, Peter Maddison is a multi-award winning architect. His firm has completed over 300 projects since its inception in 1988 in all areas of hospitality, tourism, residential, educational and commercial. Maddison Architects has won over 55 awards and
commendations for their work and continues to develop outstanding architecture. Peter is also on the Honours Committee for the Australian Institute of Architects and is ambassador for the not-for-profit Melbourne Open House program. In 2014, Peter was bestowed the degree of Doctor of Design Honoris Causa by RMIT, which further acknowledged his contribution to the architecture and design field. Amongst all this, he has written a book, ‘Grand Designs Australia The Handbook’ and made television appearances on LifeStyle channel’s Grand Designs. Another well-known and distinguished designer, writer and speaker, Darren Palmer will also be sharing his wisdom and experience at Furnishing in Focus this year. Darren began his interior design studio 10 years ago and since then he has worked with numerous high-profile clients and gained much-deserved celebrity status through his contributions to numerous design magazines and his expert writing skills in the Australian House & Garden magazine. He has also gained popularity through
Australian television where he has made appearances on Home Made, Reno Rumble and the most popular, Channel Nine’s The Block where he is currently on the judging panel. Last year Darren was included on Men’s Style magazine’s ‘Men of Influence’ list and in addition to all of this, he has written a book titled ‘Easy Luxury; An expert guide to creating your perfect home,’ and is currently working on his second book. All guest speaker talks are free to attend and no bookings are required. With a total of 65 exhibitors, leading retail groups are in full support of the upcoming show and its uniqueness as an Australian furnishing event. General Manager of Harvey Norman Furniture, Brian Carr greatly encourages participation in the show, saying, “The FIF exhibition is solely reserved for Australian manufacturers and is entirely free of imports, which has encouraged a degree of design creativity that we are all looking for. This year it was announced that in 2016 the industry’s key fabric suppliers would be invited to participate and their attendance will help the exhibition to
become all-inclusive and to greatly increase visitor numbers.” The esteemed Vice Awards will also take place at the trade show on Wednesday 8 June from 5-8pm. All exhibitors and visitors are invited to attend an enjoyable night of informal drinks and nibbles, and celebrate the announcement of the annual winner. Since its establishment in 1993, the Vice Award is given to an inspiring individual who is heavily involved in the Australian furniture industry and has made countless and valuable contributions to it. As the preparation takes place for what will be one of the most important shows in the industry, Furnishing in Focus Spokesperson John Mackinnon is looking forward to the show and what it may enable in the future, as he says, “With fantastic industry support this trade show will expand even further in 2016. This is a great example of what can be done by an industry prepared to work together.” furnishinginfocus.com
WEEKEND AT STONEFIELDS A
ustralia’s Paul Bangay, distinguished landscape designer is opening up his private 4.6-acre backyard to the public from 16 - 17 April. Visitors will have the opportunity to enjoy a lavish weekend at the Stonefields open garden event in Victoria and explore the garden in all its green glory, from the imagination behind the elegance, to the intricate details, to the specific elements that define Bangay’s incredible vision. The weekend will also consist of food, wine, cheese and coffee by local producers, a raffle with almost $5000 worth of top food and gardening prizes, rare and exotic plants from local nurseries and many more exciting events. The event is organised by the not-for-profit Stephanie Alexander Kitchen Garden Foundation and all money raised will go towards the foundation and its goal of increasing pleasurable food education for children. There is a chance to meet both Paul Bangay and Stephanie Alexander, learn more about the foundation and obtain a copy of their personally signed books. kitchengardenfoundation.org.au
IMAGINE A CITY A
n interesting and special sort of architecture exhibition is currently taking place at the State Library of NSW. Visitors are encouraged to delve into a realm of imagination and to picture our cities with no public buildings, and reflect on memories of our everyday lives surrounded by public architecture. Through the Imagine A City exhibition, there is a celebration of the most iconic and controversial buildings made possible by the NSW Government Architect’s Office (GAO) over the past 200 years. These include the Sydney Opera, Taronga Zoo’s Elephant House, Darlinghurst Gaol and the Lunatic Asylum in Parramatta. The exhibition is showcasing the compilation of original drawings, photographs, plans, paintings and models from past to present, and is also showing the work of renowned artists and photographers such as Max Dupain, Lloyd Rees and Harold Cazneaux. The event is free and will close 8 May 2016. sl.nsw.gov.au
Fifty Under Fifty BY BEVERLY RUSSELL, EVA L. MADDOX AND FAROOQ AMEEN RRP: $72.85 PUBLISHED BY THE IMAGES PUBLISHING GROUP, AUGUST 2015 +61 3 9561 5544 I IMAGESPUBLISHING.COM Review Kat Chaousis
his book is a celebration of sorts, an acknowledgement and an accolade to a group of top fifty designers under the age of fifty, who have made a remarkable contribution in the design space during the 21st century. It is a noteworthy volume of work and there is no question as to why each of these designers made the cut. The mentioned designers are outstanding, both in their craft and their conscious. Their dedication in considering the harmony between the environment and ethos, and the functional with the philosophical is evident within the text: “a forward-thinking generation of creative people, aware of global issues that urgently need solutions through imaginative design.” Curated by Beverly Russell, Eva L. Maddox and Farooq Ameen, they present the conclusions of a distinguished panel of judges who gathered to identify and celebrate these leading contributors and their firms. Present on the five-person jury was Stanley Tigerman, founding partner, Tiger McCurry, Chicago; Ralph Johnson, design principal, Perkins+Will, Chicago; Jeanne Gang, founder Gang Studio, Chicago; Marion Weiss, founding partner, Weiss Manfredi, New York; and Qingyun Ma, Dean of Architecture, University of Southern California, and founder MADAs.p.a.m., Shanghai and Beijing. As with the flavours of diversity noted amongst the panel members, this body of work depicts a global snapshot of talents featuring firms from Bangladesh, Belgium, Brazil, China, Germany, India, Ireland, Japan, Mexico, The Netherlands, Norway, Spain, Sri-Lanka, Sweden, Thailand, Turkey, and the United States. British-American author, educator and editor, Beverly Russell opens this collection by acknowledging that “the firms featured here exhibit passion for the planet, concern for the future and joyful satisfaction in creating spaces that respond to humanistic realities: schools, medical clinics, integrated agriculture opportunities, sustainable low cost housing and affordable effective transportation.” In the business of innovation in the 21st century,
these aforementioned distinctives aid a creative momentum, necessary to operate within the climate of an ever-expanding global population, which is approaching 7.5 billion people - one third of whom live in poverty. The innovators of our time are those who are seeking urgent solutions to the ever-changing humanitarian and environmental landscape. While Eva L. Maddox notes the distinctions in identifying design innovation for 2015 in her preface, Maddox describes the highly accomplished group of fifty under fifty innovators as possessors of certain characteristics that enable “purposeful value, multidiscipline achievements, global sharing and no boundaries,” which translates into “working differently [and] spurring innovation and economic development.” Each of the firms and designers featured in the book are documented through full
colour photography across 352 glossy pages with detailed designs and enriched by narrative, which dictates the passion behind the planning, process and purpose of each completed project. Readers are offered a unique insight into the designers’ ethical drive, environmental considerations and brave steps towards creating meaningful solutions for varied populations. This publication is indeed an inspiring body of work where celebrating these top fifty designers under fifty encourages emerging creatives to be inspired by the bold achievements of those that have gone before them and opens up the opportunity to further grasp who they are, not just what they do. For the seasoned designer, may this collection serve to energise and evoke fresh practices and perspectives in your own craft and contributions to this space.
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