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editor’s letter HOMEGROWN.
his issue celebrates standout Australian makers and designers, from the budding to the matured. We unveil a range of impressive new homegrown products, while looking at several standout local projects and business practices that have proven successful. In an industry that’s fast moving production offshore to improve on efficiency and the reduction of costs, it’s a standout accomplishment when a business commits to keeping its roots and does so successfully. It’s this kind of commitment that we focus on this season as a new wave of ingenuity springs into step. To represent our theme, we have spoken to some top industry moguls, as well as up-and-coming progressive thinkers in order to present a balanced perspective on how it’s done and how these chosen few are achieving their heights. Volker Haug, the creative genius whose lighting designs exude sheer imagination and intrigue, graces the cover of this issue. His lighting studio located in Melbourne’s creative hub of Brunswick East, is a humble wonderland of vivid objects. Upon our visit to capture this issue’s cover shot, it became prevalent that the team are simply engrossed in locally manufacturing objects that inspire them; committed and content doing what they love, and succeeding through that attitude. Following suit, Makers Lane featured in our Talking Business section, has built up an online community of such artists who appreciate the hands-on approach – a community in which ironically, Volker Haug is part of. Makers Lane provides people with the opportunity to submit a unique design online and then find a listed ‘maker’ who will bring that design to life – a fresh new, progressive business approach that we unpack and examine. We also talk business with the burgeoning creatives making waves at architecture, furniture and lighting studio, Archier. We chat on building an inspired business from the home ground up, while touching on the challenges and pleasures involved in that journey. Further on, F2 Architecture adds elegance to the pages of this issue with its simplistic design of the new Davidson Branding Studio, before blackmilk boasts with industrial chic and aesthetic appeal through the featured interior design project of Soho Restaurant and Bar. Bookmarking this issue, as always, is our fresh new products section – which is sure to spur inventiveness, a running of post and pre-trade show reports and finally our book review, which you will find to be a pleasant read. Enjoy! Elena Papargiris
F2 Architecture is the talent behind some of Melbourneâ€™s most striking constructions and
With Makers Lane and Archier
the new Davidson Branding Studio featured in this issue is no exception.
blackmilkâ€™s Director Conrad Manolidis unpacks the design features of the recently completed Soho Restaurant and Bar project in Melbourne.
Key local and international trade shows are informatively reviewed before the
Step into the intriguing and sublime world of Volker Haug,
seasonal calendar of selected upcoming
as Rachael Harrington interviews the man himself on all things
events is laid out.
local manufacturing and lighting design.
This issue, Kat Chaousis reviews Furnitecture: Furniture that Transforms Space by Anna Yudin.
Cover image: Volker Haug Photographer: Mark Rudge @ ELLIKON
Founder/Publisher Peter Zapris email@example.com Editor Elena Papargiris firstname.lastname@example.org Graphic Design Phillips Hentri @ Change Creative email@example.com Print ELLIKON – Print • People • Planet ellikon.com.au Contributing Writers Kat Chaousis, Rachael Harrington, Melinda Jennings, Jemmah Kelly 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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Feature Wall : flyme2themoon, Byron Bay 2013
Inspiration “Get out there and invest time into your passion. Once you start, be willing to embrace failure and learn from the mistakes.” CHRIS GILBERT, ARCHIER
Jasper and Eve Black Pendant Light made in Australia from sustainably sourced Tasmanian timber is made to order and flat-packed to reduce carbon footprint. jasperandeve.com.au
New Products Woodmark Splinter Stool by Adelaide based designer Caren Elliss, featured in the Workshopped 14 exhibition and was a 2015 ACE Award finalist. woodmark.com.au
Touched Interiors Carved Brass Interwine Coffee Table features a base composed in polished acrylic and a top made from polished brass. touchedinteriors.co.uk
Ute Design Trivet Coasters made from a composite of recycled cork and rubber. The trivet coasters are a modular system enabling the coasters to be clustered together to form a larger trivet when the need arises. Australian designed and made for Australian conditions, all products are protected by IP law that ensures you are buying a unique and exclusive product. utedesign.com.au
Lonsdale Coffee and Side Tables lend themselves to a variety of applications, available in both oak or walnut and the frames in white or black. tubeworksfurniture.com.au
Sweetpea & Willow Manhattan Tripod Brass Lamp features an adjustable arm and head to help spread light effectively. sweetpeaandwillow.com
Wildwood Designs Blonde One Piece Slab Dining Table with a black refectory style base made by Sydney furniture craftsmen Wildwood Designs from sustainably milled timber, featuring carefully sanded sides maintaining the original curves of the tree. wildwooddesigns.com.au
Curious Grace Contour Ottoman was originally designed by Grant Featherston in 1951 and comes fully upholstered with button detail on a solid timber frame. Many fabric colour options are available. Made under license to the Featherston Estate. curiousgrace.com.au
CesarrĂŠ Banquette Basse featuring a stainless steel frame, finished in epoxy polyester powder painting and topped with a waterproof cushion. cesarre.com
Art Hide Dalmata Rug is minimalist and Scandinavian inspired, featuring black and white Argentinian cowhide tiled into a Dalmatian style pattern. arthide.com.au
Southwood Flow Upholstered Bed is handcrafted in Melbourne with a solid timber frame, using natural latex and wool to avoid the use of synthetic foams. The Flow bed can be upholstered in a wide range of 100 percent natural fabrics including wool, linen, hemp and cotton. southwoodhome.com.au
Boyd Blue Tilda Chandelier features five tiers of wooden sticks on curved iron arms, all in a whitewash finish. boydblue.com
Maeker Studio Layla Seat is handmade using lamination bent European oak. The hand carved seat and simple lines make for a stunning mixture of Colonial and Danish design. Designed by Spencer Parks. maekerstudio.com
Artisanti Braemar Antler Coffee Table formed with resin deer antlers resting together as table legs under a glass tabletop. artisanti.com
Molmic Elegant Muse Grace Sofa is a refined design perfect for small spaces with the option of a firmer seat for a dining table setting. Proudly designed and manufactured locally in Melbourne, Grace features a solid timber frame using renewable timber with a 10-year structural frame warranty. molmic.com.au
Georgina Burley Coppend is a sculptural light piece inspired by the branches of Australian Eucalyptus trees and made from copper pipe featuring LED strip lighting. georginaburley.com
Cumulus Living Cloud Cushion measures 60x60cm and is digitally printed on stunning Belgian linen and piped and backed in a super soft velvet. cumulusliving.com.au
Lifestyle Accent Chair is covered in Lifestyleâ€™s new Cosmic fabric and is available in six colour options. The wooden legs are also available in natural oak, walnut and black. lifestyle-au.com
Amalfi Gita Table Lamp in black and grey features a hexagonal inspired shape, suitable for a range of applications. amalfihomewares.com.au
Relm Furniture Crop Bar Stool features a blend of solid American and Tasmanian oaks, with a customisable powder-coated aluminium accent. Following on from its older sibling, the Crop stool, the bar stool is designed to be a light feeling stool with refined detailing. relm.com.au
The Contemporary Home Wall Clock by German Architect and Designer Philipp GĹąnther is made from copper and chrome. The second hand moves in a smooth continuous silent motion while the main disc displays the hour. The hanging hook is integrated with the battery pack in the hollow interior of the clock. tch.net
LOCAL MANUFACTURING: CHRISTOPHER BOOTS
LOCAL MANUFACTURING: VOLKER HAUG
A RELATIVE NEWCOMER ON THE AUSTRALIAN DESIGN SCENE, VOLKER HAUG HAS QUICKLY EARNED A REPUTATION FOR INNOVATION IN LIGHTING DESIGN. HIS HIGHLY SOUGHT AFTER PIECES RANGE FROM COLOURFUL YET INDUSTRIAL, TO MINIMALIST YET DRAMATIC. HERE, FURNISHING INTERNATIONAL STEPS INTO THE INTRIGUING AND SUBLIME WORLD OF VOLKER HAUG. Words Rachael Harrington
Left: Cable Jewellery double configuration. Photo by Paul Allister Above: Flipside group shot. Photo by Simon Strong
ike many artisans of note, the beginnings of the Volker Haug lighting design story are humble, tracing back eight years to Haug’s one-car garage. Though his rise on the Australian design scene has been rapid, his passion for the craft was ignited long ago. “I was mad about lighting from child on,” Haug explains. “I have tinkered with lights all my life.” Yet despite this inherent fascination, German-born Haug began his professional life in hairdressing, unaware that the job of ‘lighting designer’ existed. “I cut hair for 19 years, which I’ve enjoyed, but the desire to do lighting was the only thing which could fulfil me,” he says.
So like a moth to the flame, Haug left his hairdressing days behind him to pursue his first love of lighting. “My good friend Christopher Boots introduced me to Geoffrey Mance – an amazing artistic lighting designer whom I did a mentorship with for one-and-a-half years. “By working with him I realised that it is possible to make a living with my dream career – lighting design. I cleared out the garage and started my own business.” The remarkable growth of said eponymous business has seen Haug move out of his garage and through three studios, today finding him in Brunswick East. Here his showroom of eye-catching creations is open to anyone looking to experience the wonder
LOCAL MANUFACTURING: VOLKER HAUG
Above left: Mini Mega Wow and Wow Shade group shot. Photo by Paul Allister Above right: U.L.O. group shot. Photo by Paul Nicholson Right: The Volker Haug team in the workshop (Paul, Fletcher, Kristin and Volker)
and delight that has become synonymous with the Volker Haug name. “We find that when people visit our studio they are often inspired and leave with more than what they originally came for,” Haug says. Though ‘unique’ is a word used all too liberally in the world of design, its use is undeniably fitting in describing Haug’s work. The scavenger in Haug has seen him craft bespoke pieces from the most unexpected of materials, like Japanese calligraphy brushes and vintage French oyster cages. Despite a love of the outdoors, Haug says his work takes inspiration from urban life rather than nature. “Materials that I have access to inspire me,” he explains. “Especially multiples of the same object, [which] challenge me to do something different. “[It’s the] simple but beautiful objects or shapes that do it for me. They inspire me to make something new, interesting and perhaps unexpected.
“Although I don’t hide their originality, it often happens that when people look at one of my designs they firstly don’t see what it’s made out of.” Though diverse and ever-changing, Haug says the Australian design and manufacturing landscape is particularly taken with brass and copper of late. “We’ve just launched a new lighting design range made of brass,” he says. “This is our new favourite material. We also like to work with copper and other metals. Although we’ve been using these materials for years, we love experimenting with different metal finishes to create a unique product.” Testament to the ability of a Volker Haug piece to transform the space it inhabits, Haug’s bespoke work is in high demand. “It seems that we often get new custom projects from people whom we’ve worked with in the past,” he says. “I guess this is a good sign.”
As well as commissioned projects, Haug’s vision is also realised through his diverse collection of accessible pendant, wall, table and floor designs. “One of my favourite designs is the ‘OMG’ shade,” says Haug. “The name says it all. It is made of 19 crushed shades, which are then anodized and bolted together into one great big 1.7m shade – not for the faint hearted!” Though none could say any product in the range lacks in originality, Volker Haug customers benefit from the ability to further distinguish their piece with their own design input. “Many of our designs have multiple customisable options, [which] is not so common,” Haug says. “This enables the customer to have input in the design by selecting the components, colours and finishes. People really love to contribute to the design.” Haug’s designs can be found in commercial and residential spaces alike, transforming
LOCAL MANUFACTURING: VOLKER HAUG
“I love collaborating with people as it can lead you to surprising outcomes.”
LOCAL MANUFACTURING: VOLKER HAUG
Top: Volker Haug showroom, Melbourne. Photo by Paul Allister Middle: Volker with iconic Four Arm Antler. Photo by Marcus Flack Bottom: Fire Tree Candelabras. Photo by Paul Allister
commercial, retail, restaurant, café and home interiors across the country. “We work with a range of interior designers and architects, builders and also individuals in Australia as well as overseas,” he says. “I love collaborating with people as it can lead you to surprising outcomes. “For example, we’re working closely with a light bulb maker and experimenting with some very unique bulb shapes and finishes.” Although the materials of the Volker Haug studio can come from all over the globe, Haug says he and his team are keen to source locally wherever possible. “We’re trying to source local materials. We also love working with local manufacturers to be able to promote [our products as being] ‘made in Australia’, as well as reducing our carbon footprint. “We’re also big on saving energy; we have a huge range of beautiful and interesting decorative LED light globes – the perfect way to be environmentally friendly without compromising on style or light quality. “We love educating our customers on energy saving to help them to achieve this.” Having fast made a name for himself on the Australian design scene, Haug has his sights set on the international lighting market. “I was especially happy to be involved with international group lighting exhibitions in Bangkok and also France,” he says. “I’m very excited to spread the Volker Haug style around the world.” Given his meteoric rise on the Australian design scene and the loudening chorus of international acclaim, the future certainly looks bright for Volker Haug. volkerhaug.com
Ideation Design Innovation â€œWith a unique and distinctly modern business model, coupled with a small number of in-house employees and an enviable network of outsourced makers, the Makers Lane point of difference is evident in the personalised and assured service it offers in a vast and detached online environment.â€? JEMMAH KELLY
TALKING BUSINESS: MAKERS LANE
WITH A RAPIDLY EXPANDING PORTFOLIO COMPRISING A DYNAMIC RANGE OF HIGH-QUALITY, ONE-OF-A-KIND DESIGNS, MAKERS LANE IS FAST DEVELOPING A REPUTATION WITHIN THE INDUSTRY AS THE GO-TO MARKETPLACE FOR CUSTOMISED GOODS THANKS TO ITS INNOVATIVE ONLINE PRESENCE. HERE ITS CO-FOUNDER, CRAIG VAN ZYL, EXPLAINS WHY TODAY’S CONSUMERS ARE ON THE HUNT FOR DIFFERENTIATED PRODUCTS AND WHY MAKERS LANE IS POISED TO TAKE ADVANTAGE OF THIS SHIFT. Words Jemmah Kelly
oday, mass-manufactured goods tend to be the rule rather than the exception, and finding that special item that speaks to your individuality and lifestyle can be a daunting prospect indeed. Yet for many, commissioning custom-made can be equally intimidating – this is where Makers Lane steps in. Since its launch in May 2015, Makers Lane has carefully curated an enviable portfolio of eclectic, custom-made design pieces – all commissioned at the click of a button. Pairing clients seeking custom-made pieces with highly-skilled designers and artisans both here in Australia and New Zealand, Makers Lane co-founders Craig van Zyl and Clare Gilligan and her brother Paddy, have ensured the design and manufacturing process is a truly collaborative one. “What we will do is allow more people to realise their design ideas with the help of ‘makers’ that understand the technical needs of any custom-made product. In addition to this, we will allow professional designers a wider selection of makers, and as a result a
broader scope of design freedom. Our makers love a challenge, and when you couple that with creativity at the design phase, amazing things can happen,” said Craig. “Further to this, our business is squarely targeting the professional specifier market. Currently, half of the briefs we receive are coming from this professional market segment, which is very encouraging and something that we are looking to grow … Ultimately it allows the professional to spend more time conceptualising designs and working with their client,” he adds. Indeed, collaboration has proved a vital component to the company’s success from the get-go; Makers Lane itself is the product of an intuitive collaboration between its three creative co-founders. “The glue in [our] relationship was a common view that quality craftsmen in Australia (and around the world), while plentiful, were hard to find. The process of commissioning bespoke products is daunting and often has a degree of uncertainty and risk associated with it, particularly for clients that find it hard to determine the value of a
TALKING BUSINESS: MAKERS LANE
“The Makers Lane point of difference is evident in the personalised and assured service it offers in a vast and detached online environment.”
bespoke product or determine the maker's ability to interpret and deliver their brief,” says Craig. “We spent several months validating the concept by manually sourcing makers and managing projects that were submitted via a very basic web page. Once we were confident that there was a market here, we invested in our platform and launched our site in May 2015,” he adds. Similarly to many of the clients and makers the business brings together, the company’s co-founders are also geographically dispersed. Again, a more collaborative approach to work through sharing ideas coupled with a clear set of responsibilities has been vital, as each operates on separate, yet equally important facets of the company. “I work in Sydney, Clare is in Canberra and Paddy is in Melbourne [so] trust is the most important thing in this situation. We have all learned to trust each other explicitly, and while we catch up face to face fairly frequently, phone, email and chat works well for us … We also have makers and clients
all over the country and being distributed means that we are physically closer to more of them and we can typically always get someone to go out and see a maker or client at short notice.” With a unique and distinctly modern business model, coupled with a small number of in-house employees and an enviable network of outsourced makers, the Makers Lane point of difference is evident in the personalised and assured service it offers in a vast and detached online environment. “Our processes are pretty simple, and we would like to keep it that way. We have a clear set of responsibilities between us and we catch up very regularly to make sure that we are making progress in the areas that matter. The main thing that takes time, is ensuring that clients get what they need and makers have the information they need to be able to respond to the briefs we get,” Craig explains. “The collaborative affair is the iterative process that begins naturally when a brief is distributed and finishes when a product is delivered and the client gets to fully appreciate
Left: Concrete Coaster by Concrete Benches. Photo by Dom Goldsworthy Above: Bushfire Hero by Savage Design
the beauty of a bespoke product. Makers read the brief and interpret the design against their particular craft and style. The questions they ask are often similar, but the responses they get will lead them each down a slightly different path and will get the client to think about aspects of their design that they had not previously considered. “It is a creative, collaborative process all the way through and you can only fully appreciate the uniqueness of the product when you get it and see the detail and passion that has gone into every millimetre of the product,” Craig says. Eliminating the dubiousness often associated with online purchases, Makers Lane offers contracts specifically structured to remove project ambiguity and complexity, ensuring an open and fluid dialogue between the client and the makers with the ultimate goal to achieve the highest-quality custom product possible.
TALKING BUSINESS: MAKERS LANE
“The initial design concept is a big part of any custom made product and typically comes from the client side. Having a maker that understands the materials the client has chosen and how to use them in ways that highlight their unique qualities definitely strengthens the product and typically adds the finishing touches that make the piece custom.” “There are also questions about intellectual property and contractual rights that often send people down the tried and tested commercial path. We wanted to solve those problems, not only because we believe there is a distinct market opportunity there, but because we believe that everyone should have access to quality, custom-made products,” he adds. Importantly, Makers Lane’s online marketplace also extends each maker’s reach far beyond their local market, allowing some of the industry’s finest to showcase careful craftsmanship and attention to detail
Above: Wool Ball by Ilan El Right top left: Photo by Dom Goldsworthy Right top right: Waterfall Stools by Evan Dunstone Middle: General tools Bottom left: Raintree table by Vlad and Kylis Kis Bottom right: Photo by Dom Goldsworthy
TALKING BUSINESS: MAKERS LANE
“Indeed, collaboration has proved a vital component to the company’s success from the get-go; Makers Lane itself is the product of an intuitive collaboration between its three creative co-founders.”
TALKING BUSINESS: MAKERS LANE
Above: Ned Pendants by Daniel Giffin
that piques the interest of a far broader market across a range of categories, which was previously not conceivable in a more traditional sense. “A maker in Melbourne now has access to clients all over the country and vice-versa, which means they can produce a product for a client in Darwin, where previously it would have been hard for them to be discovered by this client,” says Craig. “I do believe that Makers Lane is helping bridge the gap between the design and manufacturing industry, simply by putting more designers in touch with more makers and by allowing people that are not qualified designers to express themselves through our marketplace and potentially produce something magnificent,” explains Craig. Already, Makers Lane receives upwards of a thousand online visitors browsing each month; an enviable figure for a company still in its infancy compared to is industry
counterparts. Yet having already curated a repertoire of makers and products that are as impressive as they are eclectic, seemingly the result of the creative ingenuity, specialised knowledge, and tech-savvy business approach of Craig and his team will see the business continue to flourish, and facilitate creative partnerships between unique vision and raw artistic talent. “We have what we need now to run this business smoothly, but there are always additional elements that could be added. We wait for the right validation from the market before going ahead and doing it and this keeps us focussed on the right activities at the right time. “The way people shop will continue to change. Settling for commercially produced products that meet most requirements is not going to be the norm for too much longer – particularly when people realise that they don’t need to. Consumers are going to
demand differentiated products and I think we are well placed to take advantage of this shift,” says Craig. With this in mind, it’s hardly surprising that Craig predicts a strong future for both the design and manufacturing industry, and most certainly Makers Lane’s strong foothold in it. “Our immediate focus is on expanding our maker and client reach, making the brief and project process as smooth and collaborative as possible and, most importantly, learning as much as we can about how we can add value to our clients and makers. “Understanding our clients is top priority for us. At the end of the day, we are here to solve their problems, and without getting to know them, we have no chance of knowing what problems we really need to focus on. “Our business is a marketplace, and staying in touch with both sides of it is essential.” makerslane.com.au
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TALKING BUSINESS: ARCHIER
TALKING BUSINESS: ARCHIER
THE BRAINCHILD OF THREE LIKEMINDED ARCHITECTS, ARCHIER IS A DYNAMIC BUSINESS MODEL, BORN FROM A COMMON DESIRE FOR SUBTLE INTERIOR OBJECTS THAT COMPLEMENT THEIR SURROUNDS. THE ARCHITECTURE, FURNITURE AND LIGHTING STUDIO IS BASED IN MELBOURNE AND HOBART, ECHOING A PARED BACK AESTHETIC AND UNDERSTATED ELEGANCE. Words Jemmah Kelly Photography Ben Hosking, Miranda Louey, Chris Gilbert, Josh Fizgerald
Left: The hand crafted joinery kitchen/ dining space of Sawmill House. Photo by Ben Hosking Above left: The Otway Circle Table in Victorian ash and powder-coated steel. Photo by Miranda Louey Above right: The Otway Dining table in Australian Blackwood and brass. Photo by Miranda Louey
he saying goes, ‘find a job you love, and you’ll never work a day in your life’. It’s a lovely sentiment. Few of us pursue careers that incite such passion in him or her. Indeed friends and architect graduates, Chris Gilbert, Chris Haddad and Josh Fitzgerald, found themselves in such a predicament while working on various projects in separate architectural practices. Whilst enjoying the work, each struggled to deal with the long project times and lengthy feedback periods. As a result, the trio began to collaborate on the concept of opening a flexible, open studio space of their own design – one that allowed them to undertake architectural projects, whilst also designing and manufacturing smaller scale design pieces. Thus, Archier was born. “The catalyst for Archier was when we were pursuing our own projects, mine an inner-city apartment renovation. Rather than purchasing off-the-shelf products, we were interested in developing solutions that could conform to the space rather than vice-versa,” says Archier Co-Director and Co-Founder Chris Gilbert. “The results and feedback we received gave us the opportunity to break away from proprietary systems and begin exploring the process of ‘making’ within the traditional architectural model. Over time these small excursions built a foundation to start our own company based upon the three poles of education, products and architecture. These poles are interwoven to a point where it’s hard to clarify where one ends and the other begins, with varying timelines and priorities creating an almost constant process.”
Not constrained to one style or industry, Archier offers architectural services and a range of lighting and furniture customdesigned to complement those spaces. Although this might not appear conducive at first, Archier seamlessly combined these modes of operation into a successful business model, leveraging the advantages of each medium to promote and support the other. “Our architecture projects provide an opportunity to design and develop custom furniture and lighting pieces that can, if successful, become a commercial product. Alternatively the fast turn around of the furniture pieces enables us to have a dynamic media presence with new work shown regularly on both the website and social media. This regular release of media helps to build the company brand, which promotes the architectural side of the business,” says Chris. A predilection to explore locally available materials, trades and processes helps drive Archier’s design process, paired with ongoing experimentation and prototyping. The business implements trades-people and suppliers as a cohesive network to create highcalibre objects, which are thoughtfully made from sustainable timber, brass and steel, using a variety of crafts. “Historically architects have engaged in each of these design elements – we are returning to this historical practice where every industry that is linked to architecture is on the table, and we aren’t willing to restrict ourselves to familiar territories. We learn by exploring these new industries and territories
TALKING BUSINESS: ARCHIER
Clockwise from top left: Chris Gilbert working on the CNC router; photo by Miranda Louey, prototypes for concrete work; photo by Chris Gilbert, Hex candle holders in concrete and brass; photo by Josh FitzGerald, Sawmill House bedroom and courtyard; photo by Ben Hosking, Ashfield Street apartment in Hobart renovated with custom fittings; photo by Miranda Louey, Archier directors from left to right: Chris Gilbert, Chris Haddad, Josh FitzGerald; photo by Miranda Louey
â€œWe are strong believers in failure as an opportunity to learn, so are consistent in our desire to take risks and critique ourselves.â€?
TALKING BUSINESS: ARCHIER
and there is a cycle of learning, which keeps us relevant and interested in the profession,” Chris explained. Archier’s lighting designs are predominantly commissioned by interior designers and architects, while its furniture finds its mark amongst individual consumers from around Australia. “The majority of our furniture products to date have begun as private commissions that have then evolved into commercial products. Because of this the client or customer who commissioned the job collaborates strongly with us and is pivotal to the final outcome,” says Chris. Beyond private commissions and commercial products, Archier’s architecture and design is a result of using standard details and materials in atypical ways – a concept the business’ co-founders wish to continue to distil. “The merit of this approach was uncovered through the process of physically building the Sawmill House where everything we designed we had to be able to build,” Chris states. Widely acclaimed for its innovative and sustainable design, the project received a 2015 Architecture Award for Residential Architecture. Archier were also more recently awarded in three categories at the 2015 Houses Awards including winner of Emerging Architecture Practice, winner of New House Under 200 metres sq. and receiving a commendation for Sustainability. Recently featured on Grand Designs Australia, the Sawmill House has also been included in the upcoming Robin Boyd Foundation Open Day and Design Discussion. “From a building point of view, we are interested in challenging industries rather than ‘green washing’ our houses … The Sawmill House up-cycles local concrete waste into a legitimate building product. This works as a direct, mass scale of sustainability, compensating for the half-ton of CO2, which is produced with every new ton of concrete. We are now working with a Melbourne-based concrete plant to develop this further to utilise the 18 tons of concrete waste they produce daily. We hope that this can be expanded to a national scale,” says Chris. Another standout project is the recently completed Five Yards House in Hobart, Tasmania. Commissioned by a retired couple with a passion for gardening, the project expresses Archier’s unique amalgamation of architectural practice, and furniture and lighting design; coinciding harmoniously. “The project was for a retired couple for which gardening is a passion and as such, was designed around the desire to be constantly engaged with the garden,” Chris explains. “Rather than a simple glass cube, the garden was to articulate the house and in return the house would articulate the garden. Each room has a corresponding garden
with its own aesthetic and composition. We concurrently used the house as a prototyping test bed for our furniture and lighting ideas. In addition to designing and administrating the project we designed and manufactured pendant lights throughout, as well as the kitchen; investigating ideas of kitchen benches as free-standing furniture pieces within a kitchen space.” Moving forward, Archier will continue to uphold its ethos, education, products and architecture, with teaching in particular a key pillar of its business model. Current engagement with universities, including the University of Melbourne School of Architecture’s Fabrication Laboratory and Workshop, connects Archier to a variety of state of the art fabrication machinery and helps to keep the ideas driving the business relevant. But while the act of teaching helps to clarify ideas on design and places them up for critical evaluation, Chris offers some humble advice to prospective entrepreneurs eager to dive into the industry. “The fundamental piece of advice would simply be to get out there and invest time into your passion. Once you start, be willing to embrace failure and learn from the mistakes. “Also fail fast, as in don’t hold onto a failed idea because of invested time or money, be accepting of the failure and move your ideas in a different direction. For us this is more
than just a business mentality but also a physical act in the form of prototyping new products and ideas regularly as mistakes need to happen for ideas/products and companies to evolve. Without this, things become stagnant.” As for Archier itself, it will continue to expand its process of leveraging latent assets to new fields of architecture that have a more holistic level of involvement. After all, at its very core, Archier is a business that aims to continue learning and developing, placing no boundaries on which direction it goes. “As a young company we are still establishing our process, tuning the machine. We are strong believers in failure as an opportunity to learn, so are consistent in our desire to take risks and critique ourselves. Achieving this can become a challenge, as self-criticism and change is often the harder path to take, so we all try to be accountable for individual elements in order to maintain focus.” Embracing change and the positive feedback received thus far, the Archier team has been fortunate with clients who have been willing to let them experiment and trust them through the process. Continually evolving and welcoming to new ideas and developments, Archier is set to sail steadily through the industry’s current waves. archier.com.au
Above: The Collector Sideboard in solid American Walnut with dog, Pedro. Photo by Chris Gilbert
ARCHITECTURE: FMD ARCHITECTS
REFINED SIMPLICITY F2 ARCHITECTURE IS THE TALENT BEHIND SOME OF MELBOURNE’S MOST STRIKING BUILDINGS AND INTERIOR FIT-OUTS. HERE, CO-FOUNDER AND DIRECTOR FRANCO FIORENTINI UNPACKS ONE OF F2’S MOST RECENT PROJECTS – THE NEW DAVIDSON BRANDING STUDIO IN MELBOURNE – DEPICTING ENVIABLE SOPHISTICATION THROUGH CLEVER PARED BACK DESIGN. Words Melinda Jennings Photography Derek Swalwell
ARCHITECTURE: F2 ARCHITECTURE
f you’ve ever travelled along the Great Ocean Road and been blown away by the suspended house floating above Fairhaven Beach, you’re already unknowingly a fan of F2 Architecture’s work. In fact, the Melbournebirthed firm has been at the helm of many iconic buildings throughout Victoria over the past 13 years, creating unique designs that have earned a multitude of awards. F2 Architecture’s local roots are owed to both founders Franco Fiorentini and Frank Marioli – born and raised in Melbourne, and both having completed their Bachelor of Architecture (with Honours) at the University of Melbourne. Fiorentini believes F2’s success can be attributed to the team’s ability to apply creative solutions to custom projects, by working closely with the stakeholders involved in each project to vividly bring concepts to life. “The practice is focused on ideas and their realisation,” Fiorentini says. “We share a process of creativity and experimentation with our clients to create an individual outcome for each project.” This approach has certainly been beneficial in helping F2 make their mark on the architecture and design world over the years. Like their involvement in designing the new Marais store when it opened on Bourke Street (Melbourne CBD) mid-last year. Working with the owner’s childhood love for
Left: The street view re-interprets the industrial heritage of the location Above: The reception area provides a glimpse of the overall project Below: Client spaces and meeting rooms are clustered around the central creative area
ARCHITECTURE: F2 ARCHITECTURE
Above: The creative and collaborative process of design sits at the centre of the organisation Right: New elements inserted into the old shell in a way that maintains a sense of space
darker fairy tales, the team created a brooding but magical Brothers Grimm-esque space that earned them well-deserved recognition, including the Laminex Australia Project of the year Award. Similarly, the approach has proven successful through one of F2 Architecture’s more recently completed projects; the Davidson Branding Studio in Richmond, Melbourne. The branding and graphic design studio tasked F2 with breathing new life into its formerly existing factory space, with a brief to provide a workplace that reflects the creativity of the business’ everyday operations. “Without having been able to work closely with the client, the end result would never have been as successful as it turned out to be,” Fiorentini explains. “The [Davidson Branding Studio] project was a highly collaborative process; the timeless architectural response emerging out of a series of workshops between architect and client,” he says.
“[F2 Architecture] is focused on ideas and their realisation. We share a process of creativity and experimentation with our clients to create an individual outcome for each project.”
This collaboration delivered a comprehensive design that flows seamlessly from the exterior right through to the interior details. The challenge here was creating a unique identity for Davidson Branding with respect to the building’s metropolitan location. Accomplishing this entailed a blended approach to the exterior and interior; saving the rustic outer aesthetic, while sheathing it in a black metal screen that created a “sense of mystery”, while still achieving a slightly more contemporary internal space.
“From the outset, the approach included a major re-thinking of the urban presence of the building to replace conventional articulation with a bolder and less conventional street presence,” Fiorentini says. “Internally, the character of the existing factory is retained but customised to reflect the culture of the studio and the creation of a collaborative work environment. “The exterior treatment, with its use of concrete render and industrial steel mesh is a contextual reference to the many crude factories and industrial buildings which
ARCHITECTURE: F2 ARCHITECTURE
â€œDavidson Branding is a pre-eminent branding and graphic design studio. Their work is characterised by simplicity and sophistication. The architectural response layers the building in new elements which are simple yet create a transformative effect to the inside and outside of the building.â€?
ARCHITECTURE: F2 ARCHITECTURE
“The colours and materials chosen for the building’s interior beautifully complement the surroundings, resulting in an unobtrusive design that flows effortlessly from room to room.”
Above: The design integrates lighting, air-conditioning, computer floor and cabling into design features which enhance the value of the workplace
define the character of the location. It is a highly contextual building, albeit expressing a new life within.” This unified tying of old and new is something that F2 Architecture is not a stranger to. The firm’s work with retailer Paul Smith saw the re-imagining of the interior of a heritage-listed mansion on Collins Street in Melbourne’s CBD, mixing the history of the building with a refreshing contemporary tone. The same goes for the Red Brick House project in Melbourne’s suburb of Toorak; which exhibits F2’s successful creation of a space that didn’t detract from the integrity of the original 1920s design, but rather gave it a new life. The key to this, as Fiorentini explains, is utilising as much of the original
setting as possible, while also being creative in bringing new materials into the mix. For the Davidson Branding Studio, this meant selecting materials that could effectively display the contrasting elements of old and new. “The existing concrete slab floors have been ground and polished to produce a visually textured surface with scars and imperfections which record the history of the building and its former lives,” he says. “In contrast the new black steel insertions convey precision and monumentality, and enhance the sense of space.” Beyond material selection and client liaison, the team at F2 Architecture believes a project is ultimately tied together by focusing on who will be using a particular space and how the design works with that. This is particularly the case for commercial projects, where it’s important to match a business’ design to their operative style. “[Davidson Branding’s] work is characterised by simplicity and sophistication,” Fiorentini explains. “The architectural response layers the building in new elements which are simple yet create a transformative effect to the inside and outside of the building.” The overall effect of the project was – as has become a signature of F2 Architecture’s work – reflective of that same simplicity and sophistication Fiorentini describes Davidson Branding to be characterised by. Is this something we should continue to expect from the Melbourne outfit? Either way, F2 Architecture’s timeless, complex and mature architectural designs have proven to repeatedly influence and inspire in a unique and refreshing manner. f2architecture.com.au
Industry “We’re trying to source local materials. We also love working with local manufacturers to be able to promote [our products as being] ‘made in Australia’, as well as reducing our carbon footprint.” VOLKER HAUG
INTERIOR DESIGN: BLACKMILK
LUXE Spring 2015
INTERIOR DESIGN: BLACKMILK
BLACKMILK IS A MELBOURNE BASED, AWARD WINNING INTERIOR DESIGN STUDIO WITH AN IMPRESSIVE PORTFOLIO OF WORK TO BOAST. HERE, COMPANY DIRECTOR CONRAD MANOLIDIS UNPACKS THE DESIGN FEATURES OF THE RECENTLY COMPLETED SOHO RESTAURANT AND BAR PROJECT IN MELBOURNE. Words Elena Papargiris Photography Anthony Licuria
lackmilk’s approach to interior design starts with a simple principle: to never cut and paste. Studious about originality, the team at blackmilk takes pride in gathering inspiration from fresh and changing creative avenues such as popular culture, innovative art installations and novel textures. Choosing not to compare their work to that of their competition or publicised imagery, blackmilk has been able to achieve numerous truly unique and inspired designs. Boasting a number of industry awards that will testify to this approach, blackmilk was born from the idea that design is more than what meets the eye, but rather, a successful combination of form and function. Backed by years of experience, the team at blackmilk remains committed to creating interior designs that are individually tailored to suit each individual client – with the team counting collaboration as key to successful design. The company has perfected the art of customer service and the process of designing. From initial drafts to construction, the team strives to keep the process as seamless as possible for the client. “We love it when a client comments that it just magically happened, which is really not the case,” says Manolidis.
Left: View from dining area
Illustrating these thoughts is the finished work of the Soho Restaurant and Bar project, completed by blackmilk in December 2014. “The client wanted a new restaurant that would [encourage] people walking past to enter – an element of intrigue and curiosity to capture the attention of a broad demographic of patrons,” says Manolidis. The name Soho takes inspiration from classic New York style warehouse bars and eateries, and following suit, the interior design ran with this idea that resulted in an industrial style restaurant with a hint of elegant luxe.
INTERIOR DESIGN: BLACKMILK
“We aimed to create a warm and inviting atmosphere,” says Manolidis. Although modern and industrial in aesthetic, blackmilk managed to create warmth with this design by introducing wood to balance out the range of industrial steel features, as well as a medley of cleverly selected soft furnishings. The wood and steel features juxtapose the rich coloured brick feature walls, yet surprisingly each element works together in a harmonious manner, projecting ambiance and originality. A local project, Soho Restaurant and Bar is located along the bustling, iconic Southbank precinct of the Yarra River in Melbourne.
The venue’s glass frontage and terrace gaze over the picturesque river, maximising the site’s surrounding space to add an ambient appeal to complement the design. The industrial, New York theme was not only chosen for its chic aesthetics, but to tie in strategically with the surrounding environment, flattering the bluestone and steel structures that line the nearby promenade. The design of Soho Restaurant and Bar is one that blackmilk is familiar and quite comfortable with – industrial chic being a signature characteristic spotted in many of the company’s projects.
INTERIOR DESIGN: BLACKMILK
â€œThe wood and steel features juxtapose the rich coloured brick feature walls, yet surprisingly each element works together in a harmonious manner, projecting ambiance and originality.â€?
Left & Right: A combination of fixed and movable seating inspired by New York style Below: Vintage style armchairs further tie in with the New York inspired design scheme
“As we have worked well together before, the client put a lot of faith in us, therefore the client’s input was minimal, and the brief was very open ended,” says Manolidis. The project features a number of standout design features including the use of faux pipework and valves on the walls, which add a keen sense of authenticity to the design while encouraging its industrial aesthetic. In addition, the unique steel mesh fireplace located in the centre of the restaurant surrounded by bar stools and lounge seating, helps to cleverly divide an otherwise expansive, void room, giving it purpose and structure. “The colour scheme and textures were decided on as a requirement by the client that the interior would have a longevity in design and attract a broad demographic of patrons. “Working with the combination of steel and timber in this design was the most interesting and enjoyable aspect of designing Soho,” Manolidis adds.
INTERIOR DESIGN: BLACKMILK
The vintage concrete floor tiles supplied by Urban Edge Ceramics tie in perfectly with the industrial chic theme and the vision blackmilk had for Soho, while also providing a classic and timeless feature to the space, which is exactly what the client’s brief specified. The red brick façade also works to tie everything together, projecting clearly the style of design Soho was intended to exude. This, coupled with the interesting, wine rack feature wall intensifies the charm and character of the space. Simplistic yet refined, the Soho Restaurant and Bar project featured here echoes the talent and technique that blackmilk can confidently attest to. The project is a depiction of the design style blackmilk has been inclined to favour in the past and thus, not only shows what the team can achieve, but gives insight into the blackmilk team’s personal preference of design, and it’s enlightening indeed. blackmilk.com.au
Above: View to the alfresco overlooking the Yarra River
Furniture Meizai, Zanui Lighting Italstyle Lighting Design, Jan Flook Lighting Flooring Mentone Premix, Urban Edge Ceramics, Havwoods Finishes Daniel Robertson Australia, Rugs Carpet & Design
5 to 8 deCembeR 2015 PARIS - PoRte de veRSAILLeS - hALL 7 LeveLS 1 & 2
Come to PARIS, to dISCoveR the CIty of LIght And to meet the CReAm of the fRenCh And InteRnAtIonAL fuRnItuRe InduStRy 300 bRAndS - 40,000m² vISItoR RegIStRAtIon oPenS Soon for all information, contact the organisation: firstname.lastname@example.org +33 (0)1 80 48 18 35 www.espritmeuble.com
Trade Shows OUR TOP SEVEN POST-SHOW PICKS WILL INSPIRE WITH UPDATES ON NEW PRODUCTS, TRENDS AND INDUSTRY THEMES. FURTHER, NEXT SEASON’S MOST ANTICIPATED UPCOMING EVENTS ARE LISTED ON OUR CALENDAR, WITH IMMINENT DATES TO MARK IN YOUR PLANNER.
Above: Salone del Mobile, Milan
DECOR + DESIGN & AIFF
MELBOURNE, AUSTRALIA | 16–19 JULY 2015
MELBOURNE, AUSTRALIA | 9–12 JULY 2015
he Decor + Design and Australian International Furniture Fair (AIFF) saw more than 10,000 trade visitors in attendance from Australia and abroad. Held at the Melbourne Convention Centre over four days from 16-19 July, the co-located events hosted leading manufacturers and wholesalers who unveiled their forthcoming collections, while international experts discussed trends for the coming season. Chris May, Exhibition Director of Informa commented: “We have been delighted with the excellent attendance at the 2015 fair and the overwhelmingly positive feedback we have received from our exhibitors, with record numbers already rebooking for the 2016 event. Buyers were able to view the latest products and designs unveiled by over 250 exhibitors, with many sales opportunities generated.” A highlight of Decor + Design this year was the introduction of daily Trends Tours – curated by UK Trend Forecaster Victoria Redshaw, of Scarlet Opus. Victoria took fair patrons on a guided tour of the exhibition floor, talking through the key macro interior design trends for 2016 and beyond. Another highlight of Decor + Design 2015 was the International Seminar Series which welcomed both international and local speakers. The work of over 90 budding designers was unveiled at VIVID design competition, with awards announced on the opening day. Melbourne, Western Australia and New South Wales took out the top awards this year.
ollowing the new management takeover of Furnitex, the newly launched event, Furnitex Connect kicked off with intent to initiate change to benefit the industry. Held at the Royal Exhibition Building in Melbourne, the new look Furnitex Connect and Furnishing Futures (industry conference organised by Manufacturing Skills Australia) included attendance by dignitaries such as Senator Lily D’Ambrosio – Minister for Industry and Trade, Senator Simon Birmingham – Assistant Minister for Education and Training, and many more. The first two days of the event allowed trade visitors and buyers the opportunity to discover, learn, discuss business and network. The following two days included access for the general public, giving them a chance to immerse themselves in exciting and progressive furniture and furnishing designs. Furnitex Connect will be going north to Brisbane for 2016 and returning to its traditional home in Melbourne in 2017. The launch into Australia’s fastest growing state underlines the commitment to ensure the industry is showcased in key Australian markets in each alternating year. Collaborating with the producers of Gift HQ, Queensland’s major Gift Fair, Furnitex & Design 2016, as it will be known, will feature a broad range of furnishing materials and products to suit visiting architects, interior designers and colour specialists from across the world.
FURNISHING IN FOCUS MELBOURNE, AUSTRALIA | 2–3 JUNE 2015
arwick Fabrics’ trade only, national event Furnishing in Focus, in partnership with Australian Made, promotes proudly Australian, locally made products and was this year held at The Melbourne Convention and Exhibition Centre. The event welcomed nearly 700 visitors over the two days, and of this number, 410 visitors arrived on day one and 280 attended on day two. Warwick was pleased with these numbers, considering the exclusivity of the event, describing the show as a success. At the Tuesday evening cocktail party, and according to custom since 1993, Tom Warwick presented the Warwick family Vice Award to a worthy recipient for their contribution to the Australian Furniture Industry. This year’s recipients were Claude & Dora Postma who started Topform Furniture in Hobart 50 years ago in 1965.
In light of the 2015 show, Warwick announced that for next year’s show, they have extended the invitation to other fabric wholesalers to exhibit and have placed no restrictions on customers if they choose to use fabrics other than Warwick’s. Warwick is also encouraging dining, case goods and metal furniture manufacturers, together with window and soft furnishing makers to attend next year’s event. Anticipation for the 2016 event sees an increase in size by 30–50 percent, based on current requests for exhibition space. furnishinginfocus.com
DEN FURNITURE & DESIGN FAIR
MELBOURNE, AUSTRALIA | 14–16 MAY 2015
COLOGNE, GERMANY | 5–8 MAY 2015
he inaugural DEN Furniture & Design Fair was this year held in Melbourne from 14–16 May as part of the Design Matters: Melbourne International Design Week. The event played host to over 4,800 visitors over the three days with around 4,200 of those being industry professionals. The very first day, saw 1400 people walk through the door. With an unprecedented number of visitors for a design event of its intimate size within its first year, the quality of the visitors from the design industry was good and many exhibitors signed up for 2016 just one week after the show’s commencement. “It’s very exciting to see some exhibitors who have not participated in a trade show for the past 10 years now signing up to be a part of DEN. Similarly we saw some of the best Australian interior design firms turn up, to everyone’s surprise, as they are known for never attending trade fairs,” said event organiser Thibaud Cau-Cecile. A highlight of the show was the Exhibitor Awards. The judging panel – Miriam Fanning (Mim Design), Kerry Phelan (K.P.D.O) and Jeffrey Copolov (Bates Smart) – were faced with a difficult task, that was announcing the winners. The winners were: Volker Haug; Best Stand Under 15m2, Cult; Best Stand Over 15m2, Apato; Best Overall Product, Anaesthetic; Best ID Section and Chris Connell; Best Australian Designer at DEN.
nterzum in Cologne saw more than 57,500 industry visitors from 143 countries in attendance, 1,561 of these being exhibitors from 57 countries. The show noted an overall visitor increase of 8.5 percent since last edition and an 8.6 percent increase in occupied space. “The increase in visitors did not just reflect the appeal of the innovations and solutions showcased by our exhibitors, but also emphasises the importance of Interzum for the industry,” said Katharina C. Hamma, Chief Operating Officer of Koelnmesse. There was a significant increase in visitors from Europe, Italy in particular, as well as typically strong showings from the UK, Spain, the Netherlands and Poland. In addition, there was also a considerable increase in fair guests from Asia, particularly from China. Visitor figures from the USA were up 25 percent, South America; up 21 percent, and India; up 34 percent. The atmosphere at Interzum was one characterised by business and networking. The exhibiting companies unanimously reported excellent contact with representatives from all sales channels at a very high level. This was confirmed by the preliminary visitor survey: almost 64 percent of visitors questioned revealed that they were either sole or joint decision-makers when it comes to purchasing and procurement decisions within their respective companies. interzum.com
JINHAN FAIR GUANGZHOU, CHINA | 21–27 APRIL 2015
he 31st Jinhan Fair hosted nearly 800 exhibitors across an exhibition area of 83,000 square meters at the Poly World Trade Center Expo in Guangzhou. The show saw 51,000 buyers from 160 countries and a showcase of products that represent the new season in home and gifts. Ellen Li from the global sourcing division of Target said, “We always dispatch five to six teams to the fair, and walk through all halls of the fair deliberately.” New to the show this edition was the Outdoor Zone and the Lighting Zone – opening the door to a new host of exhibitors,
positively contributing to the event’s increase in numbers. A highlight this year was the lecture series. Georges Lustig, Founder and CEO of Du Bout Du Monde, spoke on ‘Sourcing Trends of the European Market’, while Olga Sismanidou, Co-Founder and Director of Miracles Visual Experiments Co., Ltd, spoke on ‘Better Display, Better Marketing’. With the great volume of exhibitors, buyers and accumulated brand power, Jinhan Fair is not only regarded as the sourcing base by the buyers, but also noticed and recognised by international trend forecast institutes.
Mr. Tom Mirabile, the Consumer Trend Forecaster from the ‘Global Color Bible’ Pantone pointed out that, “Compared with other exhibitions, what impress me most in Jinhan Fair are the fashion trends, avant-garde inspirations and reliable product quality.” The next installment of Jinhan Fair, the 32nd edition, will be held from 21–27 October 2015, and will showcase the latest fall and winter products, again in Guangzhou at the Poly World Trade Center Expo.
The theme of the 18th edition of SaloneSatellite, in which 700 emerging designers under 35 took part, was ‘Life Planet’, proving extremely popular. The Rho Milan Fairgrounds pavilions also contained Michele De Lucchi’s huge installation ‘The Walk’ – a circular path through the labyrinthine meanderings of the workplace, and architect Dario Curatolo’s installation ‘IN ITALY’ – involving 64 Italian companies and a select group of designers, planners and architects; the installation becomes an app for exploring five interiors – in Lecce, Milan, Rome, Venice and the
Val d’Orcia (the Sienese hillside) – in five different styles. In addition, Attilio Stocchi’s installation/event ‘FAVILLA: To Every Light a Voice’, in Milan’s Piazza San Fedele attracted more than 10,000 visitors.
SALONE DEL MOBILE MILAN, ITALY | 14–19 APRIL 2015
his edition of Salone del Mobile in Milan welcomed 310,840 visitors through its doors. These visitor numbers reflect a trend that was noted in 2013 – the last time the biennial exhibitions devoted to lighting and the office were held. The presence of Russian operators was reassuring. China proved the leading market and Germany was the second country of provenance for sectorial operators. This edition saw a particularly high number of visitors from the Middle East; Saudi Arabia, Lebanon and Egypt in particular. Visitor numbers from the US, UK and India were also up.
4–8 SEPTEMBER 2015
24–27 SEPTEMBER 2015
MAISON & OBJET
he 20th anniversary of Maison & Objet Paris is here, themed ‘Birthday Cakes meet Birthday Plates’, and as usual will be held right in the thick of Paris Design Week. This new edition will reflect a remodelling; now including three new hubs and sectors. The different halls will be themed as Eclectic, Cosy, Elegant, Actuel, Craft, Cook and Design, Fragrances, Complements, Fresh, Kids, Fashion, Beloved, Scenes Gallery, Now! Design and iProjetsi Interior Design. For September 2015, the members of the Observatoire de la Maison will elaborate on the theme of ‘the precious’. Their thinking explores five contemporary expressions of the sublime, from hypermateriality to extreme fragility. Visitors are welcome to discover their approach in the inspirations trend book and inspirations space staged by Elizabeth Leriche. The objective of Maison & Objet Paris has always been to serve the profession by maintaining a clear vision of future developments in the industry. Today, these indicators have led Maison & Objet Paris to refresh its model to present a clearer, more consistent offering, better suited to ongoing market evolutions. The September 2015 fair will see some 70 per cent of exhibitors move to be relocated elsewhere within Maison & Objet Paris. maison-objet.com/en
he Old Truman Brewery in London will host this year’s edition of Tent London in late September. The event will exhibit thousands of interiors products from 40 global design brands and over 200 established independents and undiscovered talents. In addition, it will host feature installations, inspirational talks and seminars, as well as presentations from Country Pavilions. Tent London is purposed for ‘original thinkers and early adopters’ seeking the best in contemporary design. Following a triumphant 2014 London Design Festival outing, the team at Tent London reflected upon the show’s successful design blueprint, looking at what could work even better. It was concluded that they would further develop the hosting of the country showcases. In preparing for Tent London 2015, a great deal of time has been spent meeting with the embassies, trade ministries and institutes of various countries. As an exclusively London-located show, Tent London attracts many architects and interior designers who specify for regional, national and international projects. The Australian Furniture Association (AFA) is proud to announce Australia’s involvement in International Pavilions at Tent London to highlight the quality and innovation of the Australian furniture industry, in addition to the winners of the recent ACE (Australian Contemporary Emerging Design) awards displaying their award winning projects. tentlondon.co.uk
5–8 DECEMBER 2015
18–24 JANUARY 2016
IMM COLOGNE + LIVING INTERIORS
ubbed the annual meeting of furniture professionals, ESPRITMEUBLE has carved out a solid reputation in just three years. This edition, the event will be bigger than ever, increasing its exhibition space by 30 percent, from 30,000m2 to 40,000m2. It will also this year host the annual IAFP meeting (International Alliance of Furnishing Publications) – of which Furnishing International is a member. In 2014 the trade fair was unable to meet demand for space, but this year it is playing host to new brands that enhance the quality and variety of the offer, an offer that meets the needs of visitors and above all focuses on specialist and multi-specialist distributors in the furniture sector. The trade fair will feature almost 300 brands – a 50 percent increase on last year – and will be held at the Porte de Versailles Exhibition Park right in the heart of Paris. Brands in attendance will include Tréca, Epéda, Celio, Girardeau, Hilding Anders, Rom, Ernest Ménard, Diva and Pirelli, to name but a few. ESPRITMEUBLE plans to pursue its purpose: to enhance the sector’s image, display its performance, its vitality and its capacity for innovation, while perpetuating its values of conviviality and service. The event will focus on industry advice and inspiration, merchandising, decoration and much more.
ogether with imm cologne, LivingInteriors will offer a comprehensive and innovatively staged picture of the interior design sector. National and international exhibitors from the various key segments will present trends and new business opportunities, setting incentives for trade visitors and end consumers. Every two years, LivingInteriors presents a concept of intelligent room solutions and holistically staged living spaces, formed by the interaction of various interior design products and materials from the segments: bathroom, flooring, wall-coverings and lighting. imm cologne purposes to set trends, business momentum and topics for the furniture year ahead. Cologne is conveniently located in the middle of the world’s most important sales market, Germany, and centrally located in Europe. Exhibitors planning to attend will find all the relevant target groups in one place – as well as the perfect opportunity to present ideas and innovations to the world. The event plans to bring the latest innovations and concepts from the areas of bathroom and room design to life. In 2016, everything will revolve around the ‘Trend Avenue’. Visitors will experience the trends and concepts of tomorrow at numerous stands and special features of the event, in addition to the Forum, with its inspiring event schedule.
24–27 JANUARY 2016
26–31 JANUARY 2016
THE JANUARY FURNITURE SHOW
CNR IMOB ISTANBUL FURNITURE FAIR
he January Furniture Show is expanding; it is expected to be an even bigger, five-star event in 2016. The four-day show will be held at the NEC (National Exhibition Centre) in Birmingham, UK. It will see Hall 5 make a comeback as the biggest hall for the 2016 show as more quality industry names join the strong line up of exhibitors. Laraine Janes, Co-Director of January Furniture Show said: “Confidence in the market, and in our show, has meant we’ve already seen over 50 new companies signing up to join the 2016 show, alongside an 85 percent re-booking from last year. We’ve also seen significant growth from existing exhibitors who saw real value in the show and have requested more space.” Lebus, Ultra Furniture, VIDA, Breasley Consumer Products, Serene Furnishings, TCS, Kettle, Rauch, Forte, Nolte Mobel, Wiemann, Sherborne, Baker Furniture, Nicoletti Gallery Direct, Blue Bone and Pacific Life Style are just some of the big brand names that are taking bigger and better stands for the 2016 event. “While we have extended Hall 5, we’re doing it for the right reasons – and that’s to increase the offering to visitors and to add greater variety, making it a ‘one-stop-shop’,” said Laraine. Online registration for the January Furniture Show is open. See the full list of exhibitors for 2016 and secure your free badge by visiting the website. januaryfurnitureshow.com
NR-IMOB Istanbul Furniture Fair 2016 will next year be held at CNREXPO Istanbul. Hosted by MOSFED Furniture Industrialists and Businessmen Association, and Istanbul Fair Inc. Co., the event purposes toward a gathering of the Turkish furniture sector, together with target market buyers. This edition aims to be bigger and more inspiring than its previous, as event organisers continue to extended the fair invitation to prominent industry leaders across the Middle East, Europe, the Balkans, North Africa and Russia. Visitors and exhibitors can expect a furniture design contest, before a ceremony to reveal the winners. The competition aims to highlight the importance of good design within the furniture industry, as well as to connect designers with buyers. Currently, Turkish furniture companies are exporting their products to more than 200 countries on average, across five different continents. The Turkish furniture industry can be praised for the quality of its furniture; good workmanship and original design and such achievements will be reflected on and celebrated at the 2016 event. cnrimob.com
VIVID WINNERS T
he VIVID 2015 winners were announced at the VIVID Awards Ceremony during Decor + Design in Melbourne, which was held from 16–19 July. Gabriella Audrey Aliwarga of RMIT University (VIC) was awarded the GlobeWest Furniture Award of Excellence in Design for Wine Stool. Wine Stool was inspired by the relationship between a cork and a wine bottle and is manufactured without fasteners, screws or glue. The wooden tops are turned by hand and divided into two parts, allowing it to clamp the steel frame and secure it. Richard Greenacre of RMIT University (VIC) was awarded the Dowel Jones
Furniture Concept Award of Excellence in Design for Agave Credenza cabinet. Inspired by the Agave plant’s sculptural leaves, Agave Credenza is constructed from solid European Beech and fronts a textural armoured façade of hand-cast acrylic tiles. Peter Milligan of Central Institute of Technology (WA) was awarded the Beacon Lighting Award of Excellence in Design for Counterpoint Light – a task light using a standard MR-16 LED bulb, powered by a 12-volt power supply, made from coloured laminates of Memphis, unglazed ceramic, carbon fibre and 3D printed plastic.
NGV HOSTS PARALLELS Spring 2015
And last but not least, Alexandra Reid (NSW) was awarded the Beacon Lighting Concept Award of Excellence in Design for Reiding Pendant made from compressed books and steel, featuring rounded curves that contrast with the tightly compressed pages and steel. The lamp is simple while being complex in references. The competition this year featured over 90 finalists assessed by a highly reputable judging panel and was curated by Caroline Caneva FDIA (hon), in conjunction with Studio Nace and Caneva Building. decordesignshow.com.au
arallels: Journey into Contemporary Making will be held from 17–18 September 2015 at the National Gallery of Victoria. The two day event will host some of the world’s leading thinkers and practitioners in contemporary craft and design and will see more than 10 international and 20 Australian speakers explore the future of contemporary craft and design – sharing their stories,
presenting new mindsets and considering opportunities to further evolve the complementary worlds of craft and design. Created in partnership with the National Craft Initiative, the National Gallery of Victoria will host stellar international speakers. For a full list of speakers and events program visit the NGV website. ngv.vic.gov.au
AFIA & ACE 2015
THE NEW SAGE ONE
he Australian Furniture Industry Awards (AFIA) and the Australian Contemporary Emerging Design Awards (ACE) are each year, a highlight of the furnishing calendar. The AFIA highlight the very best of Australian made furniture from established to emerging designers, makers, students and apprentices. The awards acknowledge excellence, encourage innovation and design within the industry and celebrate the success of the Australian furniture sector. This year’s judges were the esteemed OAM Babette Hayes, Dr Brandon Gien, Chief Executive
Officer of Good Design Australia, Cameron Baker, Deputy Chief Executive Officer of Manufacturing Skills Australia (MSA) and International Judge, Zilahi Imre, Vice President of the International Alliance of Furnishing Publications (IAFP). This year’s ACE Design Award judges Holger Dielenberg, Jan Henderson and Michael Hayes were most impressed with the quality and quantity of the entries. For a full, extensive list of award winners, visit the below websites. ausfia.com.au australianfurniture.org.au
age Australia has recently launched Sage One, the latest online accounting application for entrepreneurs and small businesses. This new cloud accounting solution has been praised for its ease of use. Sage One has been wholly customised for the Australian market in the areas of tax compliance and awards interpretations around payroll. “With the launch of Sage One in Australia, it is now a three horse race. Small business owners and their accountants have long needed a more reliable and easy-to-use solution that lets them focus on the business of doing business. Sage One manages all of the necessary and daunting financial components of running a business in a timely, accurate and cost efficient manner,” said Alan Osrin, Sage Australia Managing Director. Sage One will bring a new competitive offer to the Australian market with dominant strengths that include low price, superior service and heritage of development behind the new solution. sagesoftware.com.au
NEW FROM ALEXANDER BROWN
ecently featured at Decor + Design in Melbourne, Alexander Brown’s PVC Floor Piece is a bright new addition to the designer’s portfolio. “As an artist and designer, one of my intentions is to uncover and champion the visual beauty of the mundane. The PVC floor piece which is part sculpture and part design object is constructed from recycled PVC pipes that have been disregarded from building sites,” explains Brown. Each length of pipe is roughly sanded to both give the material a bone like texture and abstract it from its original state. A traditional Navaho beading technique called ‘Peyote’ is used to construct the textile-like form. “This technique gives the textile an architectural quality and allows it to be expressed in various configurations whilst being self-supported. When the textile is illuminated its architectural patternation is delineated, with light flowing through all of the tubes,” he says. alexanderbrown.tumblr.com
ward winning studio, Williams Burton Leopardi has officially launched its transition into a fully integrated architecture and interior design studio – a new corporate brand identity – Williams Burton Architects + Interior Design. This marks the first major brand transformation the company has undertaken in its 32-year history, officially acknowledging Sophia Leopardi, long standing interior design lead, as Director, with the introduction of its new brand identity. “We celebrate life’s rituals, creating moments to unfold and be enjoyed,” says Leopardi. designbywbl.com.au
HANIEL ACQUIRES BEKAERT TEXTILES
M DESIGN SPEAKS ON WORKPLACE
ork Place/Work Life ran successfully this year as part of Design Speaks on 18 August at Eternity Playhouse in Sydney, where local and international keynote speakers joined a range of panelists to discuss the issues shaping workplace design. The forum covered topics on the future of design in the workplace, bringing together Australasia’s leading practitioners in workplace design and wellbeing and was presented by Architecture Media along with Taubmans. A highlight was Clive Wilkinson’s keynote
address: ‘The Theatre of Work’. Wilkinson is president and design director of Californian practice, Clive Wilkinson Architects, and a global leader in workplace design. His address involved a discussion on the critical forces that have shaped the modern workplace, drawing on examples from his extensive portfolio including Googleplex in Silicon Valley, Macquarie Group’s One Shelley Street in Sydney and workplaces for Disney to name a few. designspeaks.com.au
attress textile enterprise Bekaert Textiles was added to the Haniel portfolio as of 8 June 2015. “With our positioning as a familyequity company, we have achieved success in the highly competitive market of corporate transactions,” explains Haniel CEO Stephan Gemkow. “Bekaert Textiles is an excellent fit for us with its business model and will enrich our portfolio.” Bekaert Textiles is recognised as a leader in quality, service and innovation in its industry and is headquartered in Belgium. The company’s CEO Dirk Vandeplancke and his management team aim to continue to lead the enterprise toward profitable growth. bekaerttextiles.com
Furniture that Transforms Space BY ANNA YUDIN RRP $35 PUBLISHED BY THAMES & HUDSON, 2015 +61 3 9646 7788 | THAMESHUDSON.COM.AU Review Kat Chaousis
his book is ‘technical, functional and expressive’, as perfectly explained in the introduction to the opening chapter; words that truly frame the theme that carries the contents of Furnitecture throughout. Published by Thames & Hudson, this catalogue of works does not disappoint, with hundreds of pages generously presented with visual testimony to a variety of global projects where furniture and architecture have fused in perfect harmony. The book’s content is orderly divided into three key sections: Experimenting with Structure, Furniture as Micro Architecture and Synthesis. Furnitecture boasts with hundreds of crisp colour images featuring works from sketch to prototype and completion. Each page is punctuated by short narrative to help add life to the story behind each project; typically how designers endeavour to “change the way we interact with our furniture and the spaces we inhabit by exploring the relationship between art and design, the rational and intuitive.” The synergy between design and architecture lifts the reader into a grand new realm of bravery and creativity as furnishings, interior environments, and solutions for small spaces are explored through the dense display of project samples. Furnitecture features the work of a global generation of designers who are changing the way they approach their solutions to functionality and space, resulting in pieces that truly transform the places they inhabit. Projects such as ‘Book Mountain’ designed as a powerful “advert for reading in a community with 10 percent illiteracy” found on page 216, designed by Dutch Architectural firm, MVRDV in Spijkenisee, Netherlands is a perfect example of what the author describes
as “functional cluster” where the container and the content are not separated but rather co-designed. This stunning piece of work, as with many forms of art and architecture is not limited to simply its aesthetic appeal but rather the depth within the concept, creating not just a structure, but carrying a message that reaches a community. Furnitecture features works from other respected designers including Danish studio KiBiSis design for a reconfigurable bookshelf system, Japanese architect Shigeru Bans Moving Boxes within Rooms, Dutch designers Makkink & Beys conversational Ear Chairs and French atelier 37.2s series of selfstanding cubes.
This publication will stimulate the designer’s palate for the endless possibilities that lay within the field; as the reader discovers the testimonies of design feats that have been made thus far, it becomes clear that Furnitecture serves as a resource to challenge the ever-evolving creative boundaries with furniture and architecture. Yudin notes: “When scrolling through the countless possibilities that appear on the border between the two domains, we are only just tapping into the extreme and fascinating diversity of Furnitecture.” It just leaves you wondering; what great potential lay ahead for this industry?
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SCHIAVELLO’S KAYT VILLAGE
ith evolving technology and trend towards agile workplaces, Schiavello introduces Kayt Village, an intelligent furniture collection that enables balanced and active environments. Based on the success of the Kayt Quiet design in 2008, the Kayt Village collection includes the Cabana, Nook and Hutch.
Schiavello’s concepts and products are developed in Australia by applying a design process that brings together the company’s core design principles and engineering with the creativity of local and international designers. Internationally renowned for the design and manufacture of furniture, from highly intelligent workstations and task
seating, to statement pieces and storage, the company is one of Australia’s most respected interior construction specialists.
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