Furnishing International Winter 2016

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Winter 2016

I Spy Inspiration Something Beginning With Talking Business Scarlet Opus A Mosaic Of Minds McBride Charles Ryan The Bold And Beautiful The Bold Collective


SLEEP exceptionally

superb technology

& handcrafted quality

editor’s letter COLOUR MATTERS


olour is known to be a distinguished characteristic of light. Sir Isaac Newton discovered that sunlight is a combination of colours. He noticed that when light is passed through a prism it is distributed into seven constituent colours, which are red, orange, yellow, green, blue, indigo and violet. Our eyes see varying wavelengths of light which correspond to different colours. Colour is personal, particular and in a way prejudice. It can arouse a reaction, stir an emotion, alter a mood, mean something, change a look and in itself, is a glorious dynamic that is imbued into our culture. In design, we are faced with colour choices all the time. Whether it is primary, secondary, tertiary, analogous or complementary, all colours play a huge part in our visual experiences and engagement processes. As you can already appreciate from my brief synopsis above, the fundamental science and psychology behind colour is fascinating. And it is for this very reason that we decided to dedicate an entire issue to the magnificent concept of colour and celebrate what it means to us by exploring how we use it, as people and design professionals. We open this colourful issue with our inspiring local manufacturer feature about Something Beginning With before getting down to business with lighting studio, Ilanel and trend forecasting agency, Scarlet Opus. Talented architectural firm, McBride Charles Ryan gives insight into their Ivanhoe Grammar School Senior Years Centre development, while The Bold Collective who are our cover stars this issue, make a statement with their recent Porter Davis project. Our connection with colour far surpasses any other relationship in the design realm and it is through this connection that we purpose to inspire and ignite imagination. As such, welcome to the Winter issue where we endeavour to colour your world. Enjoy! Natasha ScirĂŠ

Furnishing in Focus

Proudly Australian, Locally made 8 & 9 June 2016 For more information and online pre-registration please visit www.furnishinginfocus.com


Peter Maddison


Andrea Lucena-Orr DULUX GROUP







in fo c u s.c o m


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A of Worl cho d ice


Winter 2016


Local Manufacturing

Melbourne-based design studio Something Beginning With inspire and delight with their beautifully made pieces. The team of two, Lisa Vincitorio and Laelie Berzon


Talking Business With Scarlet Opus and Ilanel.

tell us how they focus on functionality, quality materials and sublime finishes to maintain their enduring furniture collection.



Architecture Debbie-Lyn Ryan, owner of

architectural firm McBride Charles Ryan in Melbourne shares the thought processes behind the Ivanhoe Grammar School’s Senior Years Centre where the contrasting ideas of simplicity and complexity work harmoniously together.

Interior Design


Trade Shows

We review the most recent international

Step into the wonderful world of The Bold Collective and prepare to be amazed. In partnership with Monika Branagan, Co-Director

trade shows and we also present a seasonal calendar of the events ahead.

Ali McShane talks to Furnishing International about their visually captivating Porter Davis project, which is a prime example of how colour and creativity can go a long way.


Book Review

In this issue, Kat Chaousis reviews


New Products


Industry News

Rooftop Garden Design edited by David Fletcher. Through a series of vibrant photography, Fletcher explores the concept of sustainable gardening with respect to the unused spaces of rooftops in various cities around the world. Cover image: (Left to Right) Ali McShane, Monika Branagan Photographer: Mark Rudge @ ELLIKON

Founder/Publisher Peter Zapris peter@furnishinginternational.com Editor Natasha Sciré editor@furnishinginternational.com Sales & Marketing Manager Louisa Li Phone: (+61 3) 9417 9399 Mobile: (+61) 400 519 218 louisa@furnishinginternational.com Subscriptions Manager Natalie Tshaikiwksy subscriptions@furnishinginternational.com Contributing Writers April Davis, Kat Chaousis, Jemmah Kelly, Emily Sparshott Contributing Photographer Mark Rudge @ ELLIKON Design & Print ELLIKON – Print • People • Planet ellikon.com.au ELLIKON Publishing 384 George Street Fitzroy, VIC 3065 Australia furnishinginternational.com Furnishing International is the exclusive Australasian member of:

Furnishing International accepts freelance contributions; however there is no guarantee that unsolicited manuscripts, artwork or photographs will be used or returned. The entire contents of Furnishing International are copyright and may not be reproduced in any form, either in whole or in part, without written permission from the publisher. While the publisher makes every effort to be accurate regarding the publication of advertisements, it should be noted that Furnishing International does not endorse any advertised product or service. Viewpoints and opinions expressed in Furnishing International are those of the authors. The publisher accepts no responsibility for the information supplied or changes subsequent to the date of publication. Furnishing International is printed at ELLIKON, a ISO 9001 Quality Accredited and ISO 14001 Certified green print facility and on paper sourced from sustainable forests. The Publisher of Furnishing International promotes environmentally responsible, socially equitable and economically sustainable practices.

Offering the full gamut of graphic design & print production services, ELLIKON provides a seamless, integrated, comprehensive service suite. I N S P I R AT I O N , T I M E , T O O L S A N D S K I L L

To listen, hear and learn To imagine, craft and create, To effect, perfect and execute. PERFECT PRINT SOLUTIONS

Offering an end-to-end solution including graphic design, digital, offset to electronic services all under the one roof, ELLIKON is uniquely positioned to maximise success for your business. This is our commitment to you, our customer.


Inspiration “The sky’s the limit for designers. We have the freedom we didn’t have in the past to question and disrupt design conventions. I would always challenge designers to be brave, learn from each project and strive to be different.” ALI MCSHANE, THE BOLD COLLECTIVE



Tull Pendant from Meizai is specifically designed for Incipit by Italian designer, Tommaso Caldera. An intelligent reinterpretation of the traditional lamp found in workshops, the light is made from classic materials that highlight an austere style. Combining form with functionality, the Tull Pendant comes in a range of fresh colours that make the aesthetic appreciated whether the light is on or off. meizai.com.au

New Products

Around The World Globe by Amalfi is a gorgeous and classy object to highlight your study or hallway. Made out of metal with a gold and black finish, the piece steers away from the traditionallooking globe and has a unique style that doubles as a refined and exquisite art piece. amalfihomewares.com.au

The Silhouette Chair is handmade and assembled in Sydney. The eye catching chair from Evie Group is bound to turn heads with its remarkable individual profile joined together to form a modular type seating system. In its compacted state, it is a chair and open it up to make an impressive bench or art form. Finished with Birch ply and black rubber lining, all pieces are made to order and custom pieces are available on request. Its neutral colours allow for the sophisticated shape to stand out, enabling it to be a perfect piece to any room. shop.eviegroup.com

Winter 2016



The Offering Mirror is designed and handmade to order from Kira & Kira in Queensland. This round mirror is gracefully made from solid wood and contains an optional removable shelf. Available in a natural, dark stain or black finish with two dimensions - 90mm deep or 120mm deep. kiraandkira.com.au

Omega Waterfall Spout in its fine geometric form, exudes splendour. An ergonomic masterpiece, the bathroom tap is functional and is modeled to create a waterfall appearance and a soothing sound. casalusso.com.au

InďŹ nity Sideboard from Casa Uno comprises of nine different drawers and plenty of storage space. With an interesting aesthetic, the sideboard displays a sense of charisma and is designed to transform the look of an area, whether it is a study space, living room or highlight to a hallway. zanui.com.au




Logan Patchwork Rug is superbly designed in Australia by Trash Garden. The striking rug is ethically made in India from reclaimed durable denim obtained from all over the world. With every patch, a new and different story is revealed, which is intentional to add character to wherever it is placed. Available in a range of sizes and matching cushions and ottomans are also obtainable. downthatlittlelane.com.au

Destiny Tray On Stand from Emporium comes in a black and white marble. Its simple legs provide an elegant appeal to any bedroom or room corner as a modern bedside or coffee table. emporiumhome.com.au

Urchin Fire Pod is made and painted in Australia with the options of an Antique White or Chocolate finish. Absolutely spectacular, each fluid link is formed with a beaten metal rod and then hand welded into a spherical shape. Suitable for both indoors and outdoors, it will radiate coastal chic. entanglements.com.au

Winter 2016




SHOW FEATURES GALORE, including Australia’s longest running design competition – VIVID & the renowned International Seminar Series





R EG IS TER F O R YO UR FREE VI SI T OR PA SS T ODAY! On e re g i stra ti on gra n ts yo u access to both Decor + Desig n & A I F F .





Haven Pure Linen by Warwick is high end and magnificent. Haven is made from 100 per cent luxurious premium European linen that delicately exposes the natural lustre of flax, while subtly combining tradition and modern tones to create a complete clean look. Its colours highlight a natural softness, inspiring a sense of tranquility and making it ideal for armchairs, sofas, ottomans, lampshades and cushions in a casual or formal residential space. warwick.com.au

Soy Candles from R2 Designs are bound to get your space feeling ultra cozy this season. Handmade in Melbourne, these scented soy candles last for more than 60 hours and are an incredible mood-setter. r2designs.com.au

Essential Vase Collection are wheel thrown handmade and come in a variety of shapes and sizes as an enchanting-looking set. Display the terracotta vases as is or place some flowers in them to uplift the look and feel of a space. jonesandco.com.au

Winter 2016



Lyndsay Table Lamp is sleek and stylish, and adopts a minimalist visual. The LED lamp is made in Australia and comes in chrome metal with an opal glass shade. It also includes a convenient toggle switch on the base. Its neutral colours enable it to complement any room and as such, it is regarded as a contemporary must-have. aerodesigns.com.au

Nouveau Pendant from Porcelain Bear gives a lovely subtle glow. The structure itself blends pure lines with dainty porcelain characteristics. Made in Melbourne, the Nouveau light exposes true craftsmanship through non-translucent porcelain, coupled with innovative design technology to produce a beautiful light for an interior application. porcelainbear.com

Lewis Bed by Jardan is proudly made in Australia and embodies small living concepts with its understated frame and slender body. The relaxed-looking bed is made from a powder coated steel base and upholstered hardwood frame with a high resilient foam headboard. Made to order, the bed comes with a removable loose cover and a pinched-edge stitching detail. jardan.com.au




Corfu Outdoor Bench is manufactured to the highest of standards. This Parker Boyd outdoor bench is made from sustainable teak and high grade outdoor wicker. It is available in matching chairs and/or tables from Melton Craft. meltoncraft.com.au

Esca単o Ottoman from Art Hide is a bold and versatile design, desirable for any area. In a delightful caramel colour, with attached jute handles and lightweight qualities, it can work as a seat, footstool or a quirky side table. The hide skin is sustainably and ethically sourced, making the ottoman both a classic and trendy item. arthide.com.au

Pinch Noir Table is a limited edition release and is skillfully executed by Melbourne-based, Sawdust Bureau. With sharp lines and a brass leg, the table has an intense appeal. The shape is designed to be beneficial for storage with its rectangular loop on one end and embedded brass strips on the other to hold magazines and the like. Traditional and ethical methods have been employed when creating the table, made from Victorian Ash timber and to recognise its exclusivity, each piece is stamped with an edition number. sawdustbureau.com

Winter 2016



Agate Drink Coasters are made from semi precious natural stone and come in fuchsia pink, which make it a brilliant piece to brighten up your tabletop. The set of four slice coasters contain natural marbling, crystals and a gold gilt edge, yet each coaster holds a different shape. A layer of rubber covers the bottom to protect surfaces and the glossy top gives an attractive appearance. Each coaster is 10cm - 12cm in diameter and 4mm - 6mm thick. rockribbonsecogifts.com

Watercolour Splash Map is made in Australia from advanced latex printing technology on premium cotton/ poly blend 360GSM canvas. It is gallery wrapped around a 4cm kiln-dried timber frame and coated for protection against UV light and dust damage. Guaranteed against fading and warping for 20 years, the watercolour splash print will bring colour to a neutral room instantaneously. wallartprints.com.au

Gus* Halifax Chair is exceptional in its style. This accent chair by Gus* Modern is contemporary, solid and a great addition to any space that is designed to relax in. The modern chair’s faceted upholstery panels use FSC-Certified wood on a precision welded, powder coated steel frame. The walnut finished paddle armrests with exposed ply edges assist in softening the strong lines, and by itself the chair offers a strong industrial feel. globewest.com.au




Crosby Rectangle Console Table endows durability and practicality. This marble top console table is inspired by French provincial furniture with a modern twist. It consists of an iron frame and a cross over iron middle support, a distinct design for a sharp look. A well thought out structure for any hallway, bedside, dining table, serving table or ultimate dressing table. vavoom.com.au

Petaline Bathroom Basin from Kohler is inspired by organic forms and is noticed for its petal shaped appearance. Designed as a spacious bench top basin, it is made from cast iron and a black enamel finish. Despite its wondrous shape, the basin sits perfectly in any bathroom with natural stone and metals, or timber and glass, and will pair with polished chrome or rose gold tapware. Wherever it is placed, it is sure to be the main focus. kohler.com.au

Mobitec Soda Sofa with its retro features, offers a lavish component to any room. It encompasses upholstered fixed arms, back and seat, environmentally friendly foam, two upholstered buttons in the backrest, single upholstered buttons to the inside and outside of each armrest and solid Beech turned timber legs, sourced from sustainable plantations. furniture.temperaturedesign.com.au

Winter 2016





ver the past decade or so, distressed, industrial-look metal interior fittings have been all the rage. While they’re still undeniably popular, we’re now seeing an increased interest in the use of more radiant, organic materials. Timber doesn’t go too far out of sight, as it is a versatile, sustainable and cost effective material that keeps living spaces alive with beauty, warmth and comfort. These traits are especially important when it comes to planning a lighting strategy for any project. Nowadays, light fittings do not have to cost the earth and will inevitably have a huge impact on the overall feel of a space, therefore lighting should never be an afterthought. Well-chosen fixtures will highlight architectural detail and bring

out the best aspects of any given scenario, and not to mention hide a multitude of sins elsewhere. The fundamental truth remains that lighting is one of the most powerful renovation or interior design tools that a person can harness and if there’s one material that clients are taking plenty of advantage of right now, it’s wood. With showrooms in Melbourne and Sydney, boutique Australian lighting company About Space has a well-curated selection of modern and retro style light fittings, many of which incorporate timber. These include the popular Modu, Loud and Signal pendants, which are made from lightweight paulownia (one of the fastest growing and most sustainable trees in the world). For the eco conscious locavore,

there’s the sleek, energy saving 2by4 LED light, designed and custom built in Melbourne using Tasmanian oak. Finished with beeswax, these round or rectangular profiles are available in a stunning natural timber, walnut stained or black Japan finish. And from a clean, modern look to a more rustic one, timber is also paired perfectly with copper or other metal finishes in the decorative Zamia range, handmade in India for a radiant, provincial vibe. Explore the wonderful marriage of timber and light further online or in store.

About Space +61 3 9417 4635 | aboutspace.net.au



Winter 2016


s n I y p S

n o i t a r pi



ARI Sofa pictured with the FINN Chair and ARRAY Coffee Table from the 2016 SBW campaign.


ne of the great misgivings many of us face when furnishing our home – perhaps ironically – is choice. From websites and blogs to Pinterest and Instagram, in 2016 there is certainly no shortage of #designinspo as consumers increasingly seek to invest in quality design. But as we all know, quantity doesn’t always equate to quality, and too often we resign ourselves to the ‘fact’ that opting for aesthetic appeal and longevity often means compromising on comfort, functionality, or even the welfare of our environment. Lucky for us, Melbourne-based design studio Something Beginning With (SBW) doesn’t believe in compromise when it comes to unifying functionality with quality materials and finishes, to produce a refined collection of furniture that is enduring and visually captivating. The brains behind SBW are Designers and company Co-Directors Lisa Vincitorio and Laelie Berzon. With a shared vision to create a furniture range that merged high quality design, visual appeal and local manufacturing, this dynamic duo relish the collaborative process driving SBW, each bringing a plethora of experience, creativity, talent and stylistic flair. “We bounce ideas off each other like a pinball,” says Laelie.


“Lisa is nourished with an abundance of manufacturing experience and knowledge in the industry. I bring to the table a vast understanding of colour, attention to detail from the visual arts perspective and a strong furniture sales background.” With a background in Interior Design and Visual Arts coupled with a solid grounding of the furniture industry, Laelie adds unique artistic insight to the practicality of everyday items, producing a dynamic furniture collection that has relevance and longevity. “Growing up I was surrounded by art, sculpture and murals. I started to develop an aptitude for colour and attention to detail at an early age. My grandfather was a major influence and true inspiration. I went against my creative instincts and studied a Bachelor of Commerce at Monash University, which posed a deflated and empty state of mind. Naturally I had to make a change,” Laelie says. After enrolling into Brighton Bay Art, Design and Photography, Laelie was able to harness her creative skills on a completely new level. She later enrolled into RMIT to study Interior Design where she discovered an affinitive for turning an empty interior into a functionally effective and aesthetically pleasing environment.

Left & above: Morning After Café in Brisbane's West End featuring custom designed furniture and lighting.




“We feel that it is extremely important to foster and support local manufacture for many reasons. It allows us to support this diminishing industry, which still employs many. It also means we can have in-depth involvement in the construction and quality control of our product.”

“Working in the furniture industry, I always knew that one day I would take the risk and liberty of introducing a fresh and eclectic collection of products tailored towards the architecture and design market. I wasn’t sure how this would occur, or with whom I would take this journey. I just knew I would,” says Laelie. With twelve years of experience in furniture and homeware design, Lisa Vincitorio made her mark as the youngest Australian designer to partner with design industry heavyweight, Alessi. Her work alongside Alessi received international recognition and won an award at the 2005 Tokyo Designers Block, in addition to a myriad of products in production and supply with Australian distributors; and is commissioned to design furniture for events such as the Flemington Spring Carnival. “From Year 10 I knew I wanted to be in a creative industry. Initially I thought that would be graphic design but it wasn't until I went to the RMIT furniture exhibition and met Kjell Grant that I knew I wanted to design furniture. There is something special about creating a functional product that can be enjoyed by its

Winter 2016

owner as well as be an expression of someone's personality,” Lisa explains. “As a designer, being able to translate your personality into a product and have it accepted and enjoyed by someone else is extremely satisfying. Laelie and I decided to create our own brand and distribute our products ourselves because we love to see where things end up and how they are being used on a daily basis.” In 2011 they did just that, and five years on, they haven’t looked back. Since establishing their first studio space in Collingwood, the brand now works alongside eighteen highly valued and talented individuals in its headquarters, manufacturing and logistical channels. “We love Collingwood’s vibe and it’s certainly a great reflection of our business ethos and our diverse and bespoke collection… We feel that having a bricks and mortar location will help to further solidify and legitimise the brand. Now having the amenity to showcase the comprehensive and continually expanding product collection in one space will allow clients to engage with the product,” Laelie explains.

Above: Manufacturing images featuring the ARRAY Stool and the making of the MIA Coffee Table.

Needless to say, there are many reasons to love SBW’s furniture collection, with each piece staying true to its signature-refined design, exceptional materials and beautiful detailing. Not surprisingly, it wasn’t long before SBW began garnering attention for all the right reasons. “We’ve been really humbled by the design industry’s response to our wares, which has seen the steadfastly Australian-made designs and high quality products specified in a diversity of project genres by eminent design firms. Arguably one of the biggest compliments has been the specification of SBW pieces in the studios of architect and design firms [and] having a product which is well received and seeing it come to fruition in a public space or commercial installation, with the end user being extremely satisfied with both the result and service provided,” Lisa and Laelie explain. Within the realms of SBW, both Lisa and Laelie work closely to conceptualise each product. From there Lisa takes care of design development and engineering, while Laelie adeptly manages sales and marketing. There are now twenty-one product ranges in the


SBW kitbag and growing. This also provides the freedom for customers to adapt the colour, finish, size or specs from SBW’s existing furniture range. “Our products are smartly coordinated to offer solutions suited to a wide range of interior situations. Our eclectic mix of side, coffee, dining and bar tables; stools, chairs, easy chairs, ottomans, rugs, storage and more recently a sofa, are designed to talk to each other,” says Laelie. Each design piece focuses closely on function, simplicity both in form and materials, and importantly, a sophisticated colour palette. In order to cater for its eclectic clientele, SBW offers a plethora of material and finishes across its product ranges, including an assortment of powder coat colours, upholstery and solid timbers. “We strive to use a colour palette that is sophisticated yet youthful, playful yet considered. We bring to the table a vast understanding and an eclectic mix of understated brights, pale pastels and neutrals,” Laelie explains. An emphasis on client service from design stages through to on site installation means that

the client, the designers and manufacturing team work in unison. While SBW does offer a vast array of standard product ranges, most of its clients take the opportunity to customise a design, even if it’s ever so slightly. The open invitation for clients to work collaboratively with SBW on customisation is a rare and wonderful opportunity. “When we set out to create a new product we are mindful of our collection, and our clients. We look at what we lack in our assortment and what our clients are calling for. We consider how a new design will sit with the other products in the range, as our intent is to create a concise collection, where different products can sit side by side in a space complementary to each other. When working on a project with our clients, our sole purpose is to facilitate their vision to create a high quality outcome that will encapsulate the SBW ethos,” Lisa says. SBW offers clients the ability to choose their preferred colour, finish and dimensions along with a leather or fabric of their liking for all upholstered products. Designs such as the Array collection, Oscar chair and sofa, and the Otto family are prime examples of designs that best exemplify SBW.

Above: Collection image from the 2016 SBW campaign featuring the OSCAR Sofa, MAIKO Coffee Table, REN Chair (Dulux colour and natural finishes), MAIKO Side Table, MIA XL Side Table, and CHARLIE Chair.



Another product we’re particularly fond of is the brand’s latest, the FINN chair. The design is the result of a long development process to create a versatile voluptuous armchair that is both unique and adaptable to a multitude of environments. The base design is constructed from oval tubing, which was purposefully chosen as a shape that would be striking but complementary to the soft curves of the shell. The striking base creates dominance without taking away from the softness in the shape of the shell. The FINN chair, like the entirety of the SBW product range, was manufactured locally in Melbourne. Many of the working relationships SBW has built with local manufacturers have been fostered for close to a decade and they have seen SBW through its conception and development. “We feel that it is extremely important to foster and support local manufacture for many reasons. It allows us to support this diminishing industry, which still employs many. It also means we can have in-depth involvement in the construction and quality control of our product. We can also offer a customised product to our clients, without a need for mass quantity and with a short leadtime,” Lisa explains. “SBW is [also] committed to ensuring our products are manufactured under ethical conditions. Having local manufacturers means we can stay connected with how our products are made, minimising waste and looking after


our people. We use timber with Sustainable Forestry certification, use environmentally sustainable, high resilience foam and recycled plastic chair shells for all upholstered chairs.” Products from SBW’s prolific collection have been specified by some of the country’s most established and innovative architecture and design practices for a wide variety of projects and sectors. Creative firm, Bower Architecture entrusted SBW’s products for the Australian Catholic University project, while the furniture’s adaptability to different design environments has seen its specification for projects by Technē Architects, Woods Bagot, Hot Black Interiors, PTID, Pro Management Group and Studio 103. SBW also work alongside Australian interior designers and architects to provide product, either standard or custom made specifically for their current projects. “Projects vary but our clientele all have a common thread. They are innovative [and] mindful of their clients to create inspiring spaces that are a joy to be in. Our clients have a natural flare and ability to effortlessly mix beautiful finishes together to create breathtaking environments,” Lisa says. As you may have guessed, SBW’s namesake harks back to a favourite childhood pastime, ‘I spy with my little eye’. It’s a game Lisa remembers fondly and one that she cites inspired her to use her creativity as a child. “‘I spy with my little eye, something beginning with’ remaining a common pastime played as a child to occupy boredom on travels

and the like was all about forming a mental picture and using the imagination ... The name resonates in people’s minds, taking them back to their childhood,” says Lisa. Just as the brand’s name suggests, SBW continues to be a source of beautiful furniture designs that are open to interpretation without any limitations. It is a brand with a vision to inspire by providing a stimulating and refined collection of furniture that continues to grow organically thanks to the tenacity, talent and hard work of two ladies who truly relish the role of designer. “To be truly alive a designer and/or artist [one] must be open, curious and courageous and must constantly reinvent oneself. The things that motivate us in life will lead us to do what we want if we are passionate and determined,” says Laelie. It seems that despite their meteoric rise on the Australian furnishing design scene and the loudening chorus of industry acclaim, both Lisa and Laelie remain focused on creating fresh and inventive product ranges, maintaining strong ties with current manufacturers and clients and fostering new and exciting relationships. The co-directors also have big plans for showroom expansion in various locations. There is little doubt it is simply a matter of time before SBW is a household name in the Australian and international field of design and architecture. somethingbeginningwith.com.au

“To be truly alive a designer and/or artist [one] must be open, curious and courageous and must constantly reinvent oneself. The things that motivate us in life will lead us to do what we want if we are passionate and determined.”

Left: (Left) Lisa Vincitorio, (Right) Laelie Berzon.

Winter 2016

Ideation Design Innovation “My passion for innovative design extends beyond the physicality of mere objects. Design is about experience – a philosophy that encompasses spatial relationships and the touch points between people, artefacts and their evolving environments.” ILAN EL, ILANEL



Talking Business:


Above: Trend Hub by Scarlet Opus at U.S. exhibition, TISE.

Winter 2016



carlet Opus – a name that comprises of the joining of an emotion and an aim. ‘Scarlet’ being the colour of passion and ‘Opus’ being mostly associated with the movement of music, is also correlated with one’s greatest work. Here, Founder of Scarlet Opus, Victoria Redshaw shares with us what it is like to always be looking into the future through the valuable process of trend forecasting. After starting her creative journey at Art College and then going on to study a Bachelor of Science in Textile Design, it wasn’t long before Redshaw recognised the usefulness of trend forecasting in the interior sector. With minimal contacts, nominal experience in running a company and a vague business plan, Redshaw spent years developing her forecasting skills in order to bring the most accurate and unsurpassed trend information, now paramount to the design industry. Tell us about Scarlet Opus – where did it all begin? I started Scarlet Opus as a sole trader twelve years ago. I had reached a point in my career where I felt I had the confidence and contacts to finally strike out on my own, and in truth I was finding corporate life restrictive, repetitive and slow in terms of decision making. I wanted to have a much greater degree of control over the work I participated in; a more agile approach to decision making, an adaptive approach in terms of business direction and, perhaps most crucially, control over how I spent my time – a precious commodity I am very mindful of. As a sole trader I quickly realised that working on my own was not for me and

that working with freelancers would both make my working life more fun and enable me to take on more projects. So I extended and shared my workload with a couple of designers, but inviting Phil Pond to join Scarlet Opus was the real turning point for the business’ growth. Phil gave the company direction [and continues to give] its internal dynamism that keeps it morphing and fluid. With his sales and marketing background he was able to scan the commercial horizon and see the wide and varied applications for trend forecasting – its amazing potential to inform better decisions relating to everything from product development, buying, merchandising, marketing and store design to guiding and informing the work of homebuilders, hoteliers and inspiring the work of interior designers. Together we built a small but brilliant in-house team and developed a portfolio of freelance experts (who we refer to as Scarlettes) and we now offer a broad range of trend forecasting related services. In addition to the trend reports that have always been our core business, the team now spends a huge amount of time designing and delivering trend seminars, workshops, tours, as well as designing and curating Trends Hubs at exhibitions and shows around the world. What does Scarlet Opus do? As a trend forecasting agency, we provide insight into the future wants, needs and desires of consumers. We provide manufacturers, retailers, product designers, interior designers, home builders, architects and the media with trend forecasting information, with a specific focus on the


interiors sector. We present trends two years ahead of real time, so at the time of writing it is Spring 2016 and we are putting the finishing touches to our Spring/Summer 2018 forecast, with some initial work already done on our Autumn/Winter 2018/19 forecast. We also use our trend forecasting expertise to review and edit the current product ranges of manufacturers and retailers to inform store design, merchandising, exhibition booth design; and even the vocabulary used by sales representatives when presenting new collections. Our defining strength is the ability to not only forecast design trends and changing attitudes amongst consumers, but also translate those broad themes and issues into very specific product or market guides. Yes, we provide information about colour, pattern and materials etcetera, but we are also able to filter the information right down to what it will mean for a particular product sector, basically providing information on what to manufacture or sell. Often the person or department who commission us are not ‘creatives’ as such, so our reports and presentations are written in an accessible style, full of actionable suggestions and loaded with images. I think this is one of the main reasons clients seek us out and stay with us season after season – they get such a deep, comprehensive and detailed understanding of future design trends that enables them to make decisions and investments with real confidence. Moving away from client boardrooms and thinking instead about presenting trend seminars at exhibitions, we aim to generously inform and inspire audiences so they leave the

Above: (Left) Trend Hub by Scarlet Opus at U.K. Flooring Show. (Right) Trend Hub by Scarlet Opus at U.K. Flooring Show 2015.



seminar theatre genuinely excited to return to work and implement aspects of what they have heard and seen. What is forecasting and how do you do it? At Scarlet Opus the process we use begins by collating a huge amount of information relating to future planned events. As a team we discuss architectural projects, hotel openings, film productions, museum shows, and a myriad of other things due to take place over the next two to three years. We also assess social change; examine popular culture, and the economic and political climate in a broader sense. And we take into consideration the new work and collections of designers and manufacturers around the world. We analyse all of this information, also taking into account current global events and issues, in order to translate all of this information into a prediction of future design trends. From our research we know what will be on people’s radars at a given point in the future and how this will likely affect their wants, needs and desires in broad and also very specific terms. All of the pieces of information


that we gather together, assess and translate are like pieces of a jigsaw that fit together to form an ever growing and more complete picture of future trends. We then begin to build colour palettes and establish the ‘look’ and key design characteristics, mood and materials etcetera, relating to each of the season’s trends. It is a fascinating organic process that I have come to think of as a social science. How does society and/or the environment affect forecasting? People are often surprised to learn that the mood in society can have an effect on design and even colour trends, and that it is essential for our team to consider this as part of our forecasting process. For example, the financial crisis changed consumer attitudes, spending patterns, decision making processes, priorities and tastes. The mood in society shifted significantly and design tastes shifted too – ostentatious ‘bling’ no longer felt appropriate and fell from favour. Strange as it may seem this affected colour, surface finish and metallic trends e.g. high shine gold, which had previously been hugely

Above: (Left) Trend Hub sample table. Photographer: Laura Greenwood BA, MA of Scarlet Opus. (Right) Trend Hub by Scarlet Opus at U.S. exhibition, TISE 2015.

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popular, was replaced by warmer, earthen metals like brass and copper. Generally there was a move post financial crisis to buy less but buy better. Consumers explored the virtues of restraint, moderation and an edited-down approach as well as authenticity. It became more important that products offered longevity in terms of quality and style, and greater ecological awareness drove a demand from consumers to know where, by whom and out of what the products they bought had been made. And they wanted to speak directly to retailers and manufacturers via social media. Transparency became essential. From a marketing perspective the whole concept of dictating what this season’s ‘must have’ item is now seems totally out of sync with the modern consumer’s mindset. Retailers that want to be successful and truly connect with end consumers have to refocus their message and offer products that answer the genuine needs and wants of consumers, rather than trying to create a pseudo desire for products they do not really need.



Above: Trend Hub sample table. Photographer: Laura Greenwood BA, MA of Scarlet Opus.

Why is trend forecasting important? How do you think designers and makers can benefit from understanding more about it? Outside of the design industry few people seem to know about the work of futurists and trend forecasters or how our predictions help to guide the designing, manufacturing and buying activities of well known product brands and retailers. Certainly very few end consumers have any idea that the vast majority of the products they buy have been created in line with the predictions of trend forecasting agencies like ours, and that this process of forecasting all started a couple of years before the products ever became available for them to buy in a shop or online. However, we do not want to dictate what the trends should be or influence the essence of the personal design direction of designer’s work; certainly we do not want to contribute to greater homogenization. Rather our aim is to help designers and makers understand how their work fits into future trends, which will allow them to make more informed decisions with regards to both their products and business. If you know what the design trends are going to be one or two years from now then you have more time to plan, experiment, design and make before a product or collection launch. Trend forecasting can help guide

“Our defining strength is the ability to not only forecast design trends and changing attitudes amongst consumers, but also translate those broad themes and issues into very specific product or market guides.”

what materials to consider working with; what colours to include in or drop from, help anticipate what will sell best, and in turn inform the ordering of raw materials etcetera. Of course our trend reports also help designers and makers get their marketing language and stories right so that they resonate with consumers. Above all, it is inspirational, thoughtprovoking information. We fully appreciate that designers and makers want to be free rather than constrained in creative terms, but they also need to ensure their products will sell. Trend forecasting is therefore a tool that can be used to give designers and makers a competitive advantage whilst maintaining creative integrity.

Tell us about your team. What kind of skills do they need to be equipped with to be able to forecast? Being a good trend forecaster requires an unusual mix of skills that are creative and academic. I believe that the best trend forecasters have a design background and training, as well as a capacity for researching, processing, analysing and retaining large amounts of information. It is essential to have a mix of people with diverse specialisms, and that means having access to carefully selected graphic designers, exhibition booth designers, IT specialists, bookkeepers etcetera. I am a big believer in allowing people to do what they are best at and enjoy most. People produce their best work when they are happy and




“Interior products in particular have a visual relationship with other products in the same space, and colour helps forge these relationships, whether they are harmonious, balanced or contrasting relationships.”

Left: (From left to right) Laura Greenwood BA, MA, Phil Pond & Victoria Redshaw BSc.

enthusiastic about the tasks they have been set, so it makes sense to me to allocate work in accordance with this ethos. What are some current trends in the design industry? As our lives become more complex and dominated by technology many consumers are reaching for more grounded lifestyles, reconnecting to nature in an attempt to find balance in our fast paced modern world. Biophilia (our basic human desire to connect with nature) is increasingly important in design terms because natural materials, patterns, shapes and textures are reassuringly familiar and authentic – key qualities at a time of constant change, information overload and mistrust. This has design implications for wellbeing in the workplace as well as for the hospitality sector and residential interior design. What are some of the trends that you forecast for the next couple of years? One of the most interesting areas we are researching relates to progressive technologies and developments in new sciences, such as Synthetic Biology. It is driving intense debate about Transhumanism and our increasingly intimate relationship with technology. Technology will enable us to become digital nomads – working and living anywhere we choose, which will have a huge

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effect on everything from kitchen design to workplace furniture design. We are also constantly researching developments in smart home technology, 3D and 4D printing and augmented reality, which in turn raise issues connected with privacy, control, access and the new directions that consumerism will take. We are also forecasting a greater need for home products that answer the issues associated with living in smaller, more compact spaces in cities. What portion of your forecasting depends on colour trends? How important is colour in your work? From cookware manufacturers to flooring manufacturers, most of our clients are focused on first gaining a deep understanding of future colour trends from us and then guidance on how best they can apply colour forecasts to their products. So forecasting colour trends is a hugely important part of our work. Colour is normally the first thing you notice about a product and it can win or lose a sale. Interior products in particular have a visual relationship with other products in the same space, and colour helps forge these relationships, whether they are harmonious, balanced or contrasting relationships. Colour affects mood, it is emotional and is a core component in our forecasts – everything pivots on the colour palettes we forecast.

I understand you’re going to be at Decor + Design this year, why do you think it is important for visitors to attend shows like this? We are very excited to have been invited back to Decor + Design for a third year running. I will be presenting the keynote trend seminar on the opening day of the show, during which I will share valuable insights into future colour, material, pattern and style trends for 2017. Scarlet Opus team members will also be leading Trend Tours, which will allow visitors to see our pick of on trend products being exhibited at the show and gain an understanding of why they link to current and future trends. And for the first time at Decor + Design we will be creating a Trend Hub area in the champagne bar on the show floor where visitors will be able to gather lots of trend information and see innovative products and materials, as well as listen to trend talks. For visitors such as interior designers and retailers it is incredibly useful to visit shows like Decor + Design to not only source products and see what is currently trending in the interiors sector, but also gather a wealth of information about future trends. scarletopus.com

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Parker Boyd Teak Collection Distributed by Melton Craft. T: (03) 9360 0150 Inquiries: info@meltoncraft.com.au meltoncraft.com.au



Talking Business:


The 39 Steps - An Immersive Light Journey at Justin Art House Museum, Prahran Melbourne (JAHM). Photography: Ivan Lee/IJ Productions.

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reating an interactive lighting experience is no easy feat, but after a lifelong fascination with architecture and in-depth studies into experiential illumination; whimsical and engaging lighting projects are a natural part of Ilan El’s professional world. He felt the pull towards the design industry at a young age. “People often ask me, what made you choose lighting design and why? The short answer – it chose me. The long one starts with childhood memories. When my brother and I got our first Lego kit he built a spaceship and I built a house. He added jet engines and I had to have a chimney,” El explains. Fast forward twenty years and El was taking his childhood fascination and transforming it into a prosperous career. He started this journey as an architecture student, studying the history of art and design, as well as engineering, psychology, sociology, chemistry and philosophy. These were some of the “most creative, challenging, and happiest years” of El’s life and it was this confidence in the social sciences that assisted him in becoming a better architect. “Architecture defines our built environment; our cities, our workplaces, our homes. These affect who we are, how we interact with one another, how we live our lives. So yes, studying social sciences made me a better architect, a better designer, and a better person. As someone responsible for the way people live, having [a] better understanding of their needs [is] crucial [for how] I design their living or work spaces,” says El. As it turned out, his first degree was just the beginning of what was to come. “Somewhere between writing my thesis [and] building models, I joined Diadem’s design team and juggled between interior design and industrial design. Diadem supported me through to my graduation and beyond. They commissioned my very first light installation at the Tabcorp Marquee for The Spring Racing Carnival,” El explains. Two years after he graduated, El was a registered architect with a collaborative studio that specialised in the design of innovative products and stylish interiors. Being continuously drawn towards the way design affects people; his insatiable hunger for more was not yet satisfied. It was around this time that a friend asked El to design a fashion boutique, and soon after another friend hired him to


design a sushi bar. From here, El swiftly made the transition from architect to interior designer. While he was actively planning the interior layout, finishes, graphic design and lighting for this contemporary Japanese restaurant, he was exposed to the production of luminaire. Intrigued and enlightened, El took the initiative to learn as much as he could about the concept to ensure the lighting choices he made were close to perfection. Light, in itself, has two states of existence - on and off. Through his research, El discovered that when off, a light is just another object in space, however, when on, it comes to life and carries the potential to light up lives. After this realisation, El’s architecture and social sciences knowledge wasn't enough. So he moved to Melbourne and furthered his education. “It was literally a light bulb moment. I saw the light and knew that’s what I wanted to do more of. I searched the globe and decided to join RMIT’s Master of Design program where I specialised in experiential illumination,” El explains. “I was lured to Melbourne for its cultural vibe and explored the spatial relationships light creates with environments and their occupants; and ways to harness illumination for a better wellbeing,” he adds. A couple of years later, Ilanel launched. “Ever since that light bulb moment, my passion for innovative design extends beyond the physicality of mere objects. Design is about experience – a philosophy that encompasses spatial relationships and the touch points between people, artefacts and their evolving environments,” El explains. In the early days of the business, El would spend endless hours travelling around Melbourne interacting with suppliers and fabricators to develop long standing working relationships with likeminded companies that could assist him in achieving his dream. His focus was on product and service excellence, whilst supporting the economy. “All our products are proudly made in Melbourne from local and imported ingredients. We use fabricators from all around Melbourne and country Victoria and import components from Europe, Asia and America. We only import parts and materials that we can’t get here. Our success is measured by the quality of our products, which can only be achieved through having easy and daily access to our local fabricators,” El explains.




Above: (Left) Heavy Rain 7Clouds Chandelier at a private residence, South Yarra, Melbourne. Photography: Ivan Lee/IJ Productions. (Middle) Deco Grandeur - A 13m long illuminating centrepiece at The Royal Bank Chambers Foyer on Collins Street, Melbourne (BGH Melbourne). Photography: Ivan Lee/IJ Productions. (Right) Desert Rain - 100 Light Drops in a 3.2m diameter outdoor installation at The Four Seasons Hotel Doha Qatar. Photography: Henry Chebaane/BlueSky Hospitality.

Ilanel’s quality lights reflect his unique understanding of people and space. Together with his small team in their 150 square metre warehouse in St Kilda, Melbourne, Ilanel works on a variety of materials to create bespoke briefs and custom projects. “I’m intrigued by different mediums for my creations and constantly explore new ways of expression. I work with natural and earthy materials, such as wood, natural yarns and porcelain. I also use various metals, glass and polymers,” El says. El’s love for tailor-made and distinctive creations has seen him working with a range of professionals, including Graphic Designer, Sarah Hotchin. The two worked on the lighting graphics for the eclectic light installation at the Royal Bank Chambers on Melbourne’s Collins Street. The chandelier was custom designed to suit the Royal Bank Chambers’ 1940s style, and is a recent piece of art that El is particularly proud of. The thirteen-metre chandelier was constructed from contemporary materials and

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inspired by Egyptian and Japanese influences. To maximise the chandelier's overall impact, a clear film imprinted with spectacular symmetrical patterns was used. Each part was especially made over a six-month period, which was shadowed by a thirteen-hour installation that resulted in the chandelier suspending from the ceiling. Featuring a hidden pulley system, the chandelier can be raised or lowered for cleaning and maintenance purposes. The finished product is a stunning addition to the structure, which pays homage to the building’s original heritage and style. El’s well-regarded reputation within the industry has also made it possible for him to complete large scale projects for Estée Lauder and hospitality giants, The Four Seasons and The Marriott Hotels. With every project, El aims to capture simplicity whilst “lighting people’s lives,” by evoking an emotional and engaging response from his clients. “Being a designer, as opposed to an artist, I design to a brief, to a need, to client

specifications. As such, I am mostly inspired by people and their dreams. Another important influence to my work is nature and natural phenomenas,” El says. His favourite piece of work thus far is the luminary he created back in 2007 with a group in Tokyo called Space Dance. The contemporary Japanese dance crew focuses on the particular performance art of Butoh, which comprises of a variety of body formations and physical detailing. El was asked to develop an interactive lighting feature, which would represent their fearless movements. In appreciation of the group's technique and style, he created a versatile and sophisticated piece; and titled it Nu. “The piece is constructed by four sections (limbs) hinged together (joints) and ready to take on endless formations. Combined with illumination, it generates an environment for exploration of light sculpting,” El explains. The first light El ever brought to life was Rain, which to this day, continues to be Ilanel’s


best selling light composition. Illumination is the key concept behind the multi-sensory light, which combines sight and sound and encourages interaction through touch. “Rain captures the shimmery sparkle of raindrops frozen in descent and voices a whimsical chime of flutes. Individual drops are visually subtle, but gain tremendous strength when multiplied and clustered in large groups,” says El. Another way El is revolutionising the industry is through coloured illumination and patterns created through light and shade. El believes coloured illumination is visually enticing and influential in its ability to alter the atmosphere of any given space. While researching illumination, he discovered the positive implications of colour psychology on the human condition. “Phenomenas of coloured illumination, such as fire and the sky from sunrise to sunset, borrow their appeal from the fact that they seem to release us from the customary visual world. Hence the admiration and apprehension of illumination since [the] beginning of time,” El says. A well-known example of the early uses of coloured lighting in generating an influential response is through the religious ideals of Catholicism. The warm light that seeps through stained glass cathedral windows

creates an intense and serious type of light, which inspires an atmosphere of calm, and evokes deep thoughts and reflection. This ambience is believed to be a representation of God. Nowadays, coloured lighting is more commonly used in theatres to enhance a visual or to generate a certain atmosphere in the hospitality sector, such as function rooms, or even as a ‘mood maker’ in residential settings. A close and unbreakable relationship exists between light, colour and emotions. This run on effect is often realised in a physical manifestation. Colour theorists and experts often claim that certain colours elicit certain emotions, which in turn, directly influences people’s way of life. Some theorists have even gone as far as claiming that colours can influence a person’s personality. Cultural associations are one of the biggest ways light and colour influence the world. These interpreted associations play a pivotal role in the way El designs his products as to elicit a specific mood or ambience. Although this sometimes may seem like a perplexing role, El takes pride in overcoming any obstacles. “I love working with people from around the globe and bringing light to their lives. Our bespoke and large scale projects keep us at


the top of our creativity, challenging us with problem solving and constantly teaching us one or two things we did not know,” says El. El is currently in the process of rebuilding his company’s website as part of a major rebranding. With a world of new design prospects on the horizon, he fully intends to continue revolutionising the lighting industry with his bespoke, one-of-a-kind designs by taking his own advice - “be original and innovative. Support local makers and share knowledge.” Often taken for granted, the ability to harness the power of lighting is an exceptional, well-earned gift that El has mastered. His knowledge, experience, and above all, passion, make him a connoisseur and innovator in the field, allowing him to impact the physical world one luminaire at a time. ilanel.com

Below: The Portal - A Bespoke Interactive Light Sculpture at a private residence, Caulfield, Melbourne. Photography: Ivan Lee/IJ Productions.

“Phenomenas of coloured illumination, such as fire and the sky from sunrise to sunset, borrow their appeal from the fact that they seem to release us from the customary visual world. Hence the admiration and apprehension of illumination since [the] beginning of time.” furnishinginternational.com








vanhoe Grammar School’s Senior Years Centre (Plenty Campus) is a building that encompasses both simplicity and complexity through the use of distinctive shapes and statement colours. Combining classical and abstract styles, this project is a wonderful example of Melbourne-based architectural firm McBride Charles Ryan’s ability to create a space that’s not only visually stunning, but also integral to the education and growth of the people who inhabit it. Consisting of owner Debbie-Lyn Ryan, Director Robert McBride and a wellestablished team of architects, McBride Charles Ryan has amassed an impressive portfolio of completed projects, which are all tangible representations of their unique ideas and designs. An amalgamation of commercial, contextual and historical interfaces informs the firm’s design choices and paves the way to clear architectural concepts. With its strong focus on the power of architecture to generate meaning and value, it’s not surprising the firm was awarded the 2005 Victorian Architecture Medal – a symbol of recognition for their impact on the Victorian architectural landscape. At the crux of McBride Charles Ryan’s projects is the view that architecture can be personally relatable and inspiring for users, visitors and passers by. This is an ideology that seems to spurn from Ryan’s own sensory experiences of the spaces around her as a child and the impact they’ve had on her work as an adult. “As a young person, I was exposed to many different architectural environments due to the nature of my father’s work. Our family was constantly on the move and I can count [living in] fifteen houses in three states by the time I reached thirteen years of age. My mother was a dressmaker and eventually the family business was in manchester. Our new house, fabric patterns, colours and textures were topics of contemplation and discussion. So perhaps it was this combination that laid the seeds of interest,” says Ryan. While the family occupied many different residences, the individuality of each home has stayed with Ryan her entire life. “I have a photographic memory of each new house [with] its own individual character. In Whyalla, we had a stone house made of big blocks. It had velvet curtains, which divided the lounge from the hallway. We held performances there. It had violets in the front yard and an enormous backyard, which went on forever. Renmark was a mean house probably made of asbestos and its only

Left: Main Entry and Forecourt.



redeeming feature was its proximity to a weigh bridge where we would take a bucket and fill it with stonefruits or grapes. [It also] had a large front lawn where we would run under the sprinkler,” Ryan explains. “I remember our house in Shepparton [as it was] our introduction to the modern speculative house … [My] school in Bunside, Adelaide was an experimental school with sea grass matting and operable walls. I still can smell our trips to the city. We would stay at Victoria Hotel in Little Collins Street. It was exciting; I remember the foyers and sensed the age of the building and that part of the city,” she adds. Once Ryan had established foundations of her own in Melbourne’s CBD, her work began to flourish. She describes the late 1980s as “heady days” for the industry, where anyone with a little talent could make his or her way into the architectural world. It is here that McBride Charles Ryan was born. “I had a lot of freelance work, which I did from a studio in Little Bourke Street. I had so much that I got Rob McBride and Tony Charles to help me [and then] I suggested we should have our own business. We started in Rob's and


my apartment … I had a drawing board in my bedroom … representatives had two hundred steps to climb with samples,” Ryan says. “I started [McBride Charles Ryan] by designing sets for exhibitions and photographic shoots. I supplemented this with sub-contract work for people like Ian McDougall and ARM Architecture in the early days to help get by. Very slowly we graduated to real work: cafes, small houses [and] extensions. [We have] humble beginnings – small jobs that led to larger jobs, but we still keep doing the smaller, interesting ones! We have had to earn our stripes.” More than twenty years on, McBride Charles Ryan has headed the architectural design of many exceptional public spaces and institutions, including NGV Melbourne Now’s Community Hall, as well as a multi-residential block at Monash University’s Clayton campus. However, the Ivanhoe Grammar School’s Senior Years Centre could well be the magnum opus of the firm’s stunning portfolio. Set within a rural landscape, the newly erected Senior Years Centre stands as a focal point of the campus. Tall eucalyptus trees and red river gums are dotted around the

grounds and provide a native, almost nostalgic character to the property. The challenge was to create a building that not only complemented its landscape, but was also ambitious in design. Ivanhoe Grammar School acknowledged that to provide a personalised and tailored educational experience, they needed a design that incorporated a variety of general learning areas and separate spaces for senior year teachers, as well as a science centre to be used by younger students too. What followed was what Ryan describes as a lengthy planning process that involved the added input of those who would also be utilising the building. Consisting of School Principal, Deb Sukarna, the Facilities Manager and selected staff representatives, Ivanhoe Grammar School’s planning group met with McBride Charles Ryan throughout the development of the project. As well as this, the group visited varying teaching spaces to get a feel for the design of other educational centres, including the La Trobe Institute of Molecular Science and RMIT’s Swanston Academic Building. An array of planning models were developed and analysed as a result.

“The interior of the facility, with its complex geometry laid over the pureness of a circle is an apt metaphor for the encouragement of curiosity and the wonder that a study of science can reveal.”

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The collaboration between the two parties proved to be a boon during the design phase, because as the collective team discovered from their research, they needn’t rely on traditional teaching spaces to create a truly dynamic educational facility. “The building was to have a science focus so we analysed that activity. Science was found to be about experimentation, analysis, reflection and display. We could separate these activities and make use of the space more efficiently. We aimed for fresh air and access to views since they were naturally magnificent. We wanted access to outdoor learning, as well as some spaces to be multi-use and some to be focused,” Ryan explains. “We discovered that similar sized rooms were not required for a lot of activities in a senior school and a variety of spatial types would be a more efficient way to use space. For example, some languages in senior schools may only have six students; therefore a 50m x 70m2 classroom (the norm) is not required. An intimate space would be better and could be used as a break out space at other times.” “The physical connectivity and proximity of the variety of spaces was considered in great

detail. It was acknowledged that the teaching of any one class would occur over a variety of connected or nearby spaces. This would allow the intensive teaching of small groups, student collaboration and individual contemplation to all occur simultaneously,” she further adds. Having taken almost two and a half years to complete, the Senior Years Centre is a marked success for McBride Charles Ryan. While its civic exterior is circular in form and moulds with the bush landscape, the interior of the centre houses a geometric overlay that clearly defines the separate working spaces of the building, whilst symbolising the labyrinthine nature of human intellect. As Ryan describes, the contrast between the exterior and interior encapsulates contemporary pedagogical approaches by teachers to provide a well-rounded education. “It is another exploration of an ideal educational model. The circular plan is an alluring one for architects. Clearly, it is a definitive human mark upon the landscape, and yet its many precedents – from Stonehenge to indigenous gatherings – show that it can, perhaps paradoxically, coexist with and not disrupt a native landscape. The interior of the


facility, with its complex geometry laid over the pureness of a circle is an apt metaphor for the encouragement of curiosity and the wonder that a study of science can reveal,” Ryan says. “This geometry was used to define the central courtyards, the light wells and a mosaic of learning spaces. A series of indoor courtyards were designed within the facility to enhance cross ventilation, light and aspect to the rooms. The largest of these, the central courtyard space, acts as an adjunct to the ground floor teaching spaces and provides a central recreational and meeting place for the students. One of the many breakout spaces sits within the courtyard and can fully open to provide a focal point for presentations and lunchtime concerts. Staff areas are peppered throughout the facility to enhance access by the students and to encourage collegiality. Locker areas that are open and light-filled are similarly

Below: (Left) Central Courtyard. (Right) Main Entry.



Below: (Above) New Laboratory Spaces. (Below) Outdoor Learning - enclosed and connected in the Courtyard.


scattered. They are designed as highly visible social areas,” she adds. For a project such as this, materiality is highly important, and McBride Charles Ryan’s use of colour, texture and natural light is a nod to the contrast between decorum and playful experimentation. “We call the project a ‘mosaic’ of learning spaces; it is like a kaleidoscope. As you move around the building, the coloured geometric pattern continually changes. The ambition is to open students’ minds to a multitude of possibilities,” Ryan explains. “Roof cladding was used as a wall cladding in combination with timber and planting. Used in circular form rather than the typical shed structure, the [exterior’s] dark material not only enhances the natural Australian landscape, but acts as a foil opening to the rich mosaic of colour on the interior.” As well as the use of varying colours and materials, encouraging natural light

and ventilation was extremely important in reiterating the incorporation of the building with the school’s landscape. “The learning spaces have been configured to generally maximise both light and shading through upper level walkways. Large, easily operated sliding doors are included to encourage the staff to maintain connectivity between the inside and outside and reduce the reliance on conditioned air. Most spaces are configured so as to maximise the opportunities for cross ventilation to the learning areas,” says Ryan. Since its completion in late 2015, Ryan says seeing the Ivanhoe Grammar School’s students interact with the space and using it exactly as the firm intended has been McBride Charles Ryan’s proudest moment. Following on from such a monumental achievement, McBride Charles Ryan looks forward to many more exciting projects, including a masterplan for a university, as well as a welcome arch for the Vietnamese community in Footscray. In Ryan’s words, “you have to be passionate about what you do, or you will find it difficult to survive. Where there is a will, there is a way.” This catchphrase has certainly provided the modus operandi for McBride Charles Ryan. From starting out by creating sets for exhibitions on a drawing board in Ryan’s bedroom, to designing an awe-inspiring hub aimed at enhancing learning and creativity, the company has certainly found its footing within a difficult industry. The Ivanhoe Grammar School’s new Senior Years Centre takes the most contrasting of ideas, materials and colours, and utilises them to turn the space into a visual splendour. While its kaleidoscope of colour and fluidity of form stands out in its rural setting, McBride Charles Ryan has made it seem as if it should have been there all along. mcbridecharlesryan.com.au

Completion: December 2015 Main Suppliers Exterior panels Vitra Panel Sound absorbing decorative panels Ella Panel Carpet Cavalier Bremworth Flooring Comcork Roof Lysaght Kliplok Paint Dulux Roller blinds Helioscreen Glazing Viridian Windows & doors Capral Laminate Duropal Lighting Zumtobel, ECC & OMS Fixtures & fittings JD MacDonald

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Industry “Something Beginning With is committed to ensuring our products are manufactured under ethical conditions. Having local manufacturers means we can stay connected with how our products are made, minimising waste and looking after our people.” LISA VINCITORIO, SOMETHING BEGINNING WITH




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hen entering into the design scene, an artist, designer or maker is set out to focus on a single and prominent goal, and that is to stand out. To truly succumb to the creative industry and ensure longevity as a designer, is to be unique, challenge the norms and push the boundaries, or to put it simply – be different. Of course, it takes a huge application of strength, courage, creativity and a daring personality to be bold and to uphold this sentiment to its fullest and truest meaning, but once a glimpse of work has been captured by an appreciator’s eye, a ‘high demand’ status is imminent. In Sydney’s suburb of Chippendale stands a boutique interior design firm that represents all of this and more. Known for their contagious energy, vibrant style and quirky personalities, Designers and Co-Directors Ali McShane and Monika Branagan have put together a small team that call themselves The Bold Collective. Through the charms of serendipity, Ali and Monika met professionally in 2008 while working for the same company and after sitting next to one another, they soon realised they shared very similar design philosophies. As the friendship blossomed so did their desire to create ‘unique, innovative and dynamic interiors.’


“From here we both found ourselves at a crossroads and started discussing the possibility of breaking away and doing something a little different!” Ali explains. Three years later, Ali and Monika decided to take a leap of faith and thus, The Bold Collective was born. “The company has since grown and we have delivered a number of workplace, workplace strategy, retail, education, and hospitality projects. We are a multidisciplinary studio offering both interior and graphic design services and have quickly carved out a niche for ourselves within the advertising media sectors where we have created a series of dynamic workplaces for cutting edge agencies,” Ali explains. “We are fortunate to work with a great group of designers all with different strengths and skills. We are always learning from each other and making sure we make time to enjoy what we’re doing and get inspired,” she adds. With over fifteen years of experience as a design professional, Ali spends a large portion of her time working in the workplace sector for diverse organisations. She is passionate about workplace strategy and enjoys challenging clients to different ways to work. Her aim is to expose the true essence of an organisation through visually appealing

Above: Relaxing in the French Industrial Breakout.



workplace settings resulting in a unique and dynamic design outcome tailor made to suit her clients. Her design partner, Monika possess skills in interior as well as graphic design and prior to the formation of The Bold Collective specialised in retail projects. Over the last five years Monika has worked across a variety of sectors including education and hospitality, and of course workplace design. With their talents combined, the dynamic duo have enabled a well-regarded design firm where their distinguished work is driven by an unceasing passion to generate highly creative interiors. Coupled with an approachable and friendly culture, The Bold Collective has seemingly become the design destination for all who seek a fun and funky environment. “Our studio is design curious and we are constantly sharing ideas from widespread sources, which helps to inform our work and ensures that our projects are diverse and fresh. We are keen to provide interiors that go beyond meeting the functional requirements


of the brief to inspire, challenge and provoke. We want to be anything but mainstream so we are attracting a strong clientele base that wants to ‘disrupt’ the state of norm,” says Ali. It was exactly this notion that led The Bold Collective to take charge of their latest and most exciting Porter Davis project in Melbourne. Working extensively with the Porter Davis design team, the brief was clear yet unique with the main objective being to create a space that holds 300+ staff in one location at 720 Bourke Street. The aim of the single destination was to enhance the workplace culture and Porter Davis also specified that the design reflect their World Of Style design process. “The aesthetics for the project reference Porter Davis’ World Of Style model, where clients are invited to participate in a style evaluation to assist in the design of their new home. The online survey takes clients through a number of images that are categorised in different styles based on destinations, which range from New York to London to Bali to

Below: (Left) A London Meeting Room. (Right) Indian inspired open plan workplace and lockers.

Winter 2016

Milan and beyond. At the end of the survey the results are collated and the client’s overall style is revealed,” Ali explains. “This style can then be translated into different finishes, colours, materials and textures throughout their new home. A Berlin home for example would have classic lines, aged timbers or concrete floor, large white walls, industrial undertone, mono tonal grey palette, factory style lights and gritty feel to textures in fabrics. A Fifth Avenue New York home might feature dark timbers and black furniture, stone and luxurious velvet upholstery with chrome and glass highlights throughout.” Through her understanding of thoughtful workplace design versus long term effectiveness in the workplace, Ali and The Bold Collective team decided on a range of settings that would undoubtedly exude personality and work harmoniously in an activity based workplace. All work settings took into consideration the typical daily requirements of the lively and productive



“We are fortunate to work with a great group of designers all with different strengths and skills. We are always learning from each other and making sure we make time to enjoy what we’re doing and get inspired.”

workplace and the elements were arranged strategically into a fascinating design structure that encourages staff to explore all the various work settings. “There are a combination of different heights to work and meet, and all the support spaces were centralised encouraging staff to move around the 3000 square metre floor plate. Although we had numerous, aesthetic ‘looks’ it was important that the selection of furniture was practical and fit for purpose. As each work setting was modeled from a different destination, nothing was ‘typical’. As an example, there were over fifty different styles and types of chairs used across the project. We spent some time trying to benefit from efficiencies of scale and adopted a trestle like leg detail to the workstations that could be translated differently through texture and colour,” says Ali.

“We worked extensively with Baseline who interpreted our concept of the trestle leg for the team tables. They now manufacture this leg as part of their range called the Bold Leg,” she adds. Upon arrival at the residential home builder’s office, you will immediately be stepping into the realms of The Big Apple. A lustrous and welcoming reception desk that sits on turned timber legs greets individuals as they take in the typical New York vibe. With a salvaged timber herringbone strut ceiling holding a series of cut crystal lights, the space resembles a fabulous New York apartment with loft-like components in audacious colours. “One of the most unique aspects of the project was that there were no two similar colours used throughout the project. Having said this, there needed to be some consistency. We explored the concept of ‘vintage’ or

‘distressed’ and applied this to each of the destinations. The same Interface carpet tile range was used to delineate each zone along with a series of vinyl timber planks laid in different ways to create different aesthetic concepts,” Ali explains. Just a few steps away and you have been suddenly whisked away to the French industrial themed kitchen/café with matching fixtures, an open grid ceiling and subway tiles that adorn the walls. The client facing meeting spaces encompass a Milan and Soho appearance while the gaming/recreation area is designed to a very fitting Las Vegas style. “The Medibank building in Docklands is located overlooking the Etihad stadium. This outlook was especially important to the Porter Davis team so we located the breakout/ gaming area to overlook this view to take full advantage of this new location,” Ali says.




the inner city, the space showcases local street art and hints of infamous Melbourne icons. “We designed all the graphics and were experimental with printing on laminates and designing bespoke screen fabric by printing Melbourne street names onto laminated team table surfaces and Henna style prints over India. We also overlaid graphics on the locker banks to set the scene for the style direction,” explains Ali. “As a team we all love the Malibu work setting the best. Together with suspended vintage surfboards, tropical prints, and a blend of turquoise and pinks make this space magic for us. The Malibu inspired Koskela hoodies are a great addition in such fun finishes.” Like the Porter Davis brief, Ali is noticing that more of The Bold Collective projects consist of organisations that are turning away from the conventional corporate look and

Above: (Upper) Ground Floor Welcome Centre. (Lower) Malibu Quiet Zone.

Winter 2016

The workspaces incorporate a number of locations. These include the beaches of Bali, Maldives and Portsea, which were deliberately placed in the quieter spaces of the building and filled with large cozy lounges for staff to work independently. This space also consists of a suspended swing, an interesting and eye catching feature. Another striking room is the London workspace, which displays a wall sized image of the Union Jack and holds old English furniture, which adds a touch of royalty. There is also the brightness of the Nautical Hamptons and Classic Hamptons, splashed with blue and white stripes, plenty of rope covered objects and ornamental oars for an added seaside effect. Other popular destinations that inspired the layout of the remaining workspaces include Malibu, Ubud, West Indies, Tokyo, India, Barcelona and Scandinavia. Melbourne also makes the cut. Embracing the characteristics of

are looking at options that require crossing over the lines to a state of imagination and being challenged. This does mean that the use of colour is often invited, embraced and appreciated, which is something that The Bold Collective are ecstatic about, as Ali explains, “We are certainly not afraid of colour at The Bold Collective. So many corporate workplace environments are very bland and ‘safe’. They don’t need to be! It isn’t a residential home. It needs to be fun, inspiring and dynamic. Colour can have an enormous impact on an interior environment and is an essential part of the overall aesthetic.” As the admiration for the design of the Porter Davis project continues and the compliments constantly roll in, it is only further broadening the already famed reputation of The Bold Collective and their ability to consistently produce stunning spaces. As 2016 shapes up to be another exciting year for the design firm, they are prepared to take on new technologies, new techniques, interesting briefs and work with clients who are eager to be at the forefront of a new way of working. “The sky’s the limit for designers. We have the freedom we didn’t have in the past to question and disrupt design conventions. I would always challenge designers to be brave, learn from each project and strive to be different,” Ali says. With this said, The Bold Collective, as the name suggests are bound to present us with yet more awe-inspiring and fabulous interior designs in the future. With a bubbly personality and distinct design eye, there is no missing the portfolio of projects that will be facilitated by the design force with their strong values reflected in each venture – after all, as Ali perfectly puts it - “as designers, we are what we design.” theboldcollective.com.au

300+BRANDS OF EXcEPTIONAL CALIBRE REGISTER NOW 2-4 June 2016 Thu-Fri - Trade Only Sat - Public day Melbourne Exhibition Centre REGISTER NOW




Above: Salone del Mobile.Milano, Italy

Winter 2016





ith an incredible attendance total of 372,151, the Salone del Mobile. Milano has come to a close. The Milan Fairgrounds lit up with activity from 12 – 17 April as the 55th edition of the show took place. Its well-regarded reputation around the world was evident as an increasing number of international visitors explored the show, understanding the importance of quality furnishing. The weekend was opened to the public and 41,372 people were counted. “With 67 per cent of attendees from abroad, most of them high profile and with robust spending power, according to comments

from exhibitors, this edition has yet again confirmed the strong international vocation and importance of exports as a crucial segment of the sector today,” says Roberto Snaidero, President of the Salone del Mobile.Milano. Approximately 2,407 exhibitors (30 per cent foreign companies) proudly offered their best Italian and international products across over 270,000 square metres. The show was split into two segments: Classic and Design and many events, exhibitions and presentations took place. The 19th edition of SaloneSatellite was themed ‘New Materials>New Design’ and received great interest from the crowd

as it featured the designs of 650 young talents (under 35). ‘Before Design: Classic’ boasted a modern take on classic furniture. The ‘space&interiors’ event encapsulated the essence of architectural finishings by Migliore+Servetto Architects. The most major event, however, was ROOMS. Novel Living Concepts, which is within the XXI International Triennale and focused on interior architecture masterpieces.

One of the feature events of IFEX 2016 was the ‘Hall of Excellence’ with exhibitors showcasing their best and latest design products. Other eye-catching programs included the IFEX Awards and the ‘Reimagining Craft and Design in Asia’ seminar. The seminar had renowned speakers who discussed development trends in furniture design. There was also an emphasis on the Tree Planting Movement, whereby show organisers are working with the government to protect the material resources of the furniture

industry. Information was delivered on the program to explain the government’s efforts in minimising tree-cutting or obtaining wood from natural forests. As the largest business-to-business furniture show in Indonesia and the region, the show delivered an overall excellent exhibition as Australian buyer Terry explains, “Indonesia has a variety of unique products that differ in each region with their own attractive design and quality raw materials.”




uyers and visitors alike had only positive comments to make about the 2016 Indonesia International Furniture Expo (IFEX). In a floor space of 60,000 square metres, more than 9,000 buyers made connections with 512 exhibitors, and it resulted in US$325 million in sales, which far exceeded last year’s amount of US$270 million. “The Essence of Infinite Innovation” was the theme for the event and it is said to play a huge part in the achievements of the show. The aim was to promote the vitality of creativity and innovation in the furniture and handcraft industry, inspired by local culture and to display the finest products that match the varying tastes of the market. Participants were able to meet with thousands of buyers and distributors from Europe, the Middle East and USA. “IFEX is an exhibition for all stakeholders of the country’s furniture and handicrafts sector, including the public. This is one of the reasons why we invite the public to enjoy IFEX 2016 on our last day,” says Rudi Halim, Chairman of the Association of Indonesian Furniture and Handicraft (AMKRI).




CIFF GUANGZHOU, CHINA | 18-21 & 28-31 MARCH 2016


he 37th edition of the China International Furniture Fair (CIFF) took place from 18 – 21 March and 28 – 31 March at the China Import & Export Fair with a floor space of 750,000 square metres. Its reputation remains as the world’s largest furniture exhibition with the figures exceeding all expectations. Approximately 3,868 exhibitors connected with 168,881 visitors (9 per cent more than last year) to further enhance the business platform. Phase one (18 – 21 March) was focused on the theme of ‘WholeHome-Décor’ and provided a full range of furnishing solutions, from small to large scale and from traditional to modern styles. The area was divided into two pavilions with different sectors including the Design Hall, Soft Decoration sector, Custom-made Furniture and Kids & Teenagers Furniture sector. There was also the Outdoor & Leisure sector located in the PWTC Expo next door to the main exhibition and the first Global Garden Life Festival, which was a visitor favourite. Phase two (28 – 31 March) was focused on office environment and public spaces, with the aim to encourage interactions between manufacturers and buyers with the large range of office, hotel and public space furniture. The Office Environment Theme Pavilion was once again a hit, as it revealed to the audience ideas on improving the quality of work.

Winter 2016

With an increased desire to connect technology with furniture, CIFF used the concept of ‘Smart Furniture’ to educate individuals through events, forums and discussions of what is ahead in the future, in terms of interactions between technology and furniture. These included integrated audiovisual furniture for the living room, such as sofas with wireless charging functions; mattresses with sleep tracking devices and intelligent office systems. Custom made furniture was also of notable popularity with the growing trend of consumers who prefer furniture that fit their space rather than the other way around. The international sector was a distinct attraction, as brands from all over the world returned with pavilions from Turkey, Malaysia, Thailand and Korea exposing their innovative ideas, concepts and models. There were also a number of themed conferences, forums, shows and events, which included the Loyal Client Honor Awards, the National Office Furniture Work Conference 2016 and the 8th Design Gallery. All events encouraged creativity, spurring on the future development of China’s furniture industry. ciff.fairwindow.com





rofessionals of furniture and interior design came from all over the globe to be a part of the 2016 International Furniture Fair Singapore, as it promised an ‘exceptional show experience.’ From 10 – 13 March, six halls with 423 exhibitors from 29 countries offered a wide range of superb furniture pieces and stunning collections to a staggering 20,343 visitors at the Singapore EXPO. Reports show that the visitors came from 92 countries and overall there was an increase of 8 per cent in attendance compared to the last show. Those who attended were from various backgrounds including retailers, importers/exporters and distributors. Chairman of IFFS, Mr Ernie Koh says that the re-design and the new identity IFFS adopted for the show enabled a better quality event, as he explains, “While the show has always been design-led, we saw the need to take this to the next level. Our goal is to be a platform that facilitates business discussions, highlights the latest trends in design, and engages the imagination.”

“We’ve managed to ‘marry’ the design and trade aspects of the furniture business at this edition of IFFS. In addition to being an ideal platform for striking deals and penetrating new markets, IFFS is now also the place to spot new design trends or to gain inspiration,” he adds. Over the years IFFS has established itself as the ‘premier sourcing platform’ and this year the theme was ‘Celebrate Inspiration,’ with an aim to recognise and elevate future industry growth. The Décor Show and FurniPro Asia were co-located with IFFS and offered an unmatched view into the latest technological machinery developments, which attracted a large market of trade buyers. There were also several events, installations and initiatives that took place. Most noted were SingaPlural, Furniture Design Platform and the Furniture Design Award (FDA) Showcase, which holistically provided an extra dimension to an already magnificent show. iffs.com.sg



rom 8 – 11 March, the Saigon Exhibition & Convention Center (SECC) held the most anticipated Vietnam International Furniture & Home Accessories Fair (VIFAEXPO). Altogether there were 1,243 booths and 253 exhibitors (23 per cent foreign exhibitors) with 70 per cent of the participant space being taken up furniture manufacturers & wood materials. Exhibitors came from all over the world including Belgium, Denmark, Australia, China, Korea, Japan, Malaysia, Canada, France, Germany, India, Singapore, Spain and USA. VIFA-EXPO welcomed a steady amount of visitors with an increase in attendance

compared to last year. The increase was inevitable with 9,635 visitors and 3,806 of these visitors being from abroad, mostly from China, Korea and Australia. The show focused on connecting potential buyers with their equal business partners and as a result the show concluded at US$14.5 million. The biggest achievement however, was the obvious demand for wood products in Vietnam, which was demonstrated through the show’s business interactions. Another focal point was the Awarding Ceremony of the Apricot Blossom Furniture Design Competition (Hoa Mai Prize 2015 -

2016), which was held during the Opening Ceremony. It was the 13th edition of the competition and it attracted 238 submissions from 191 candidates. There were eight winners whose work was exhibited at the fair. Overall, VIFA-EXPO 2016 was a positive and professional exhibition with improvements being made every year for it to continue to be a victorious international show. vifafair.com












s the 2016 Export Furniture Exhibition (EFE) drew to a close on 8 March, reports show that across the four days, US$703 million was made in sales, making it the second highest sale total in the fair’s history. Known as Southeast Asia’s biggest furniture event, the 12th edition of the show kicked off the industry trade show season in Asia with 257 exhibitors from Malaysia and the region and with over 50 per cent of those exhibitors being new. Located at the Kuala Lumpur Convention Centre (KLCC), the show was described as ‘upbeat and busy’ with various networking opportunities between regular and new buyers. Over 9,000 visitors from 135 countries and regions walked through the show and notable business interactions were made from Australasia, North America, Middle East, South Asia and East Asia. There were various highlights from the show. The China Export Pavilion was a popular attraction where Malaysian exhibitors were given the opportunity to export to China where solid wood furniture products are currently in demand. Also, with the Malaysian industry focusing more on the development of the culture of design and moving from ‘original equipment manufacturer’ to ‘original design manufacturer,’ the Professional Designers Programme by the Malaysian Timber Industry Board in association with the Malaysian Furniture Promotion Council was successful in showing the top quality products with original designs, which enhanced the show and encouraged a better overall outcome.

Winter 2016

normous success is what the Malaysian International Furniture Fair (MIFF) experienced this year with reports showing a greater international attendance and record sales of US$908 million (outdoing the US$865 million made last year). The export-oriented furniture trade show held firm its position as ‘the leading industry show in Southeast Asia’ with 500 companies from 15 countries and regions showcasing their very best to 20,000 visitors from 130 countries and regions. Attendance increased from Europe, North America, Far Asia and Australasia. There was an optimistic vibe at the Putra World Trade Centre (PWTC) and MATRADE Exhibition and Convention Centre (MECC) where the show took place from 1 – 5 March. 30 per cent attended the show for the very first time and along with the other regulars, all experienced a selection of new products and collections with incomparable value and quality. With the fair offering stronger alliances and more opportunities to connect with the entire globe, Ms Karen Goi, MIFF General Manager is looking forward to a prosperous future, as she explains, “We received very good feedback from exhibitors. There were many new products, more visitors and first time buyers, all adding to the strong business synergy felt throughout the week. This is a very good outcome as we gear up for a bigger show in 2018. We will certainly expand our efforts to attract more new and returning customers in the future.”


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HOW WILL WE BE LIVING AND WORKING TOMORROW ? FIND OUT AT ORGATEC As the world’s only platform for integrated, holistic workplaces, ORGATEC is the trade fair for reflective and progressive thinkers: Modern office furnishing, visionary interior design, forward-looking solutions for mobile working and sustainable strategies for the contract sector will provide momentum for new ideas and stimulate creativity. Be a part of it !


Australian Representative: Fairlab Exhibition Management, PO Box 1096, Bakery Hill, VIC 3354 Phone 03 5332 2823, visit@koelnmesse.com.au



2-4 JUNE 2016

8-10 JULY 2016









fter a brilliant show last year, DENFAIR is back this year with a ‘new look, new dates and new show.’ Remaining in Melbourne, the exhibition is formulating a foundation to stay in the city every year and provide an ‘uncompromised trade show’ to all of its willing participants and eager visitors. DENFAIR is known to bring together the very best that Australia has to offer in terms of furniture, lighting, textiles, home designer products and artwork. The annual show, this year, will be held at the Melbourne Convention & Exhibition Centre from 2 – 4 June. The first couple of days will be open solely for design professionals and the last day will be open to the public. “Not only is DENFAIR bringing the best of Australian and international design to architectural and design industry professionals, but our show is open to the public on the Saturday so all people with a passion for design can experience an international standard design exhibition,” says Thibaud Cau-Cecile, DENFAIR Co-Founder. The objective for the exhibition is to urge ‘forward thinkers to connect, work and inspire.’ After the appointment of their new Creative Director, Alexi Robinson, the show is ready to impress. There will be a repertoire of exhibitors for 2016, which have doubled since last year and will include prestigious companies such as Space, Cult, Living Edge, Jardan, Tait, Zuster, Great Dane, Blue Dot, Ajar, Planet, Interstudio, ISM Objects, Didier, Domo and loads more.

Winter 2016

or the industry, by the industry, the 2016 FURNITEX & design show is planning on creating a matchless platform that will inspire all to connect with the latest furniture innovation and design trends of the year. From 8 – 10 July, the Brisbane Convention and Exhibition Centre will hold what is otherwise known as the ‘fashion week’ for furniture, as it spotlights what’s new in Australian and global trends. With a variety of events fixed to take place, visitors and partakers will have the honour of witnessing the 2016 Australian Furniture Industry Awards (AFIA) of the Australian Contemporary Emerging Design Awards ACE, exclusive to FURNITEX & design. These annual awards are designed to support and inspire innovation in design and construction of all areas of the furnishing industry. All shortlisted entries will be on display during the show and the winners will be announced on 9 July at the Australian Furnishing Industry Awards Gala Cocktail Event. Further boosting international recognition, the winners of each category will be given the opportunity to exhibit their product at the Furniture China show in September this year. Another interesting event will be DESIGNERS on the Inspiration Runway, where hand picked leading designers will each formulate a showcase using only the finest and most unique furniture discovered in Australia, ultimately underlining the valuable assets and creative minds we have in the country.


21-24 JULY 2016


31 JULY 4 AUGUST 2016







decordesignshow.com.au | aiff.net.au


ustralia’s largest interior event, Decor + Design and the Australian International Furniture Fair (AIFF) is back from 21 – 24 July at the Melbourne Exhibition Centre. After a wonderful 2015 show, organisers are aiming for bigger and better whereby pioneering designers and leaders in manufacturing will provide an inimitable range of soft furnishing, homewares, lighting, interior accessories, handcrafted objects, flooring and furniture. Over the four days, there will be several key attractions including the VIVID design competition, where the work of emerging designers will be revealed and the esteemed awards of excellence will be presented. The International Seminar Series will also take place, which will analyse Australian design influences and its position in the global design industry. Through a line up of international and local design leaders, insights on ‘global-local inspiration’ will be shared. There will also be plenty of workshops distributing tips for local design businesses and the AIFF LOVES HOMEMADE installation will be an area dedicated to the flourishing Australian based furniture, cabinet and joinery designers and makers. Exhibition Manager, Informa Australia, Chris May believes that the show will remain as Australia’s most successful buying event, as he explains, “We received excellent attendance at the 2015 fairs with over 10,000 design-savvy trade visitors along with the exhibition stands at both shows representing a higher calibre of product than previous years. We are confident that 2016 will see record numbers, allowing more buyers to view the latest products and designs unveiled by over 250 exhibitors.”

rom 31 July – 4 August, the Summer edition of the 2016 Las Vegas Market will take place, ready to present an unrivalled show with even more highlights and events. There will be 50 new furniture companies, new home décor resources and an extension of outdoor products; and The Pavilions at Las Vegas Market, which will hold approximately 500 provisional exhibitors. “Las Vegas Market continues to exceed expectations as the leading buying platform for furniture, home décor and gifts in the western United States,” says Robert Maricich, Chief Executive Officer, International Market Centers. “We are seeing unprecedented levels of energy and enthusiasm as Las Vegas Market continues its remarkable attendance and exhibitor growth trajectory. Summer market will continue to evolve, improve and excite, building upon the Winter market’s record levels of new and expanded resources and double digit gains in buyer attendance.” The show is also in preparation for numerous special events, including the annual Gift for Life “Up on the Roof” Fundraiser, product demonstrations and complimentary food and wine tastings. There will also be education programs, which will focus on design trends, retailing strategies and plenty more. Amongst all this, the Summer show will not fail to represent a complete and diverse portfolio of quality exhibitors. Retailers and designers will be exposed to an extensive range of furniture, lighting, decorative accessories, floor coverings and textiles, as the Las Vegas Market aims to deliver another positive show.




4-7 AUGUST 2016

7-10 SEPTEMBER 2016






ome of the most respected and desired boutique brands will be getting together under one roof once again, for what is predicted to be another excellent Life Instyle show. Exhibition organisers have utilised their time carefully selecting only the finest suppliers in the country to showcase at the 2016 Melbourne show. As the ultimate destination for buyers, retailers and interior designers, Life Instyle this year will be held at the Royal Exhibition Building for four days. Known for its large array of local and prized designs, over 600 brands will be not only unveiling their latest pieces but also delivering their quality goods across homewares, lifestyle and much more. ‘Return to the Source’ is the theme, which means the show will be dedicated to sharing the origins of products and the processes of production with an emphasis on raw form. Exceptional shows will take place such as Innovation Pitchfest, which is a unique event that will reveal true Australian talent and enable business opportunities for Australians. Training Wheels will also make a come back this year (by popular demand). The 4th edition of the event offers an inspiring and interactive one-day workshop that will assist designers in their business needs. Over the years Life Instyle has continued to build on their high standard reputation, so this year, the Melbourne show is sure not to surprise but is destined to satisfy all needs and wants.


IFF is preparing for yet another wholesome and advantageous show to take place at the National Exhibition and Convention Center in Shanghai from 7 - 10 September. The 38th edition of the show will take up 400,000 square metres and will fill it with design essentials from Home Furniture, Office Show, Home Decor & Home Textiles, Outdoor & Leisure and Machinery & Raw Materials. The CIFF-Modern Home Furniture show will cover five halls to show a complete range and assist with brand development, further enhancing the fair’s reputation in providing the finest ‘trading, exhibition, communication and promotion opportunities.’ A large number of international exhibitors are expected as CIFF continues to reach out to all corners of the globe. Special events include the 2nd edition of the East Design Salon and the Office Life Theme Pavilion. Both events will celebrate Chinese design and developments in home and office furniture. In an attempt to strengthen their overseas influence, CIFF has staged a series of profile-raising events at other international shows such as Salone del Mobile.Milano this year, in order to gain more traction amongst worldwide media, exhibitors and visitors. Experiencing immense triumph, the events lived up to its potential and have furthered the name of CIFF, looking ahead to a profitable show in September. ciff.fairwindow.com


Winter 2016


8-11 SEPTEMBER 2016


11-14 SEPTEMBER 2016









he well-loved China International Furniture Expo (Furniture China) is returning for its 22nd edition from 8 – 11 September and hopes are high for the event. The organised and wellpresented show is set to display original designs from high quality clients and is offering plenty of services to keep all visitors satisifed. The show will be held at the Shanghai New International Expo Centre (SNIEC) and Shanghai World Expo Exhibition & Convention Centre (SWEECC) at Pudong Shanghai, China. With an aim to meet the needs of different markets, Furniture China in conjunction with Maison Shanghai, will be delivering a design-orientated interior houseware event, which will showcase home furnishings, décor, accessories and product innovation. Approximately 2,200 exhibitors will cover 320,000 square metres of floor space in total and exhibit their items to an expected 100,000 visitors. Special events to visit include Shanghai Home Design Week, which offers an assortment of furniture showrooms, markets, stores, boutiques, workshops and galleries. Designers’ Night, which is considered one of the most important events during the show has been described as a design feast for the community and it praises the talents of the industry as a perspective into the future. The Gold Idea Design Award will continue to be a great event, as it supports Chinese design through an outstanding awards presentation; and the Chinese Furniture Product Innovation Award will honour creativity and inspire onlookers.

he most awaited trade fair is on its way. The Dongguan 3F Export Furniture Fair (3F Export) has been arranged from 11 – 14 September in the biggest furniture production base - Guangdong International Exhibition Center. The exportorientated show will cover 100,000 square metres of residential, office and outdoor furniture, as well as home accessories and upholstery – making the show a one-stop destination for all local and international buyers. As part of their customer service, 3F Export are providing competitive rates to exhibitors, compared to other shows in China so that those exhibitors will be able to offer buyers their best products at the best prices. 500 exhibitors will be given the opportunity to share their most prized products with an expected crowd of keen buyers. “3F Export Fair is a show that the market wants,” says Mr Alex Lin, General Manager of Dongguan Famous Furnishings Import & Export Exhibitions Co. “Guangdong is the furniture producing centre in China. Furniture exported from Guangdong accounts for over 40 per cent of total furniture exported from China. There are thousands of furniture producers in Guangdong. We want our international buyers to walk into 3F Export Fair with confidence that this show is for them, the exhibits are 100 per cent for export and they no longer need to compete with local Chinese visitors for chances to speak with sales people in the stands with products of their interests.”






aven’t you always wanted to run through all that foam at the car lovers? Not only is this a viable question, but it is also the title of the winning entry that won the hearts of the judges at the 2016 NGV Architecture Commission. The winning studio is Melbourne-based M@ STUDIO who reinvented a suburban car wash copied from an existing car wash in Blackburn, Melbourne. The unusual yet interesting structure brings a fresh composition to the art gallery. Instead of concrete and fluorescent lighting, the arrangement will comprise of a translucent polycarbonate roof, a

lightweight steel body and walls made of layered cricket netting. The car wash will also have five wash bays with bright pink astro turf, rubber humps and road marking detail. Added features include a ‘car wash’ sign that lights up at night, two bays that will contain hanging red plastic curtains and another bay that releases mist to enhance the extra quirky car wash vibe. As with all the competition winners, the temporary structure will be used for recreational purposes during the off periods but will also hold scheduled events, talks and performances during the warmer seasons.



M@ STUDIO Architects are excited to be able to share their creation with the public, as they explain, “We are thrilled to be selected as the winner of the 2016 NGV Architecture Commission. Open competitions such as this provide a vital platform for architects to experiment and facilitate public discourse around the broader ideas that motivate the specific design explorations.” Led by the Department of Contemporary Design and Architecture, the competition is an annual event whereby architects are invited to submit their provisional structures with a chance to feature their inimitable design at Melbourne’s Grollo Equiset Garden. The judging panel this year consisted of Corbett Lyon (Lyons Architecture), Rachel Neeson (Neeson Murcutt Architects), Emma Williamson (CODA) and Fleur Watson (RMIT Design Hub), with competition advisor, Andrew Mackenzie of City Lab. Judging was based on uniqueness of design, site consideration, material use, sustainability and recyclability. The winner was chosen from a pool of 93 entries that were shortlisted to five and then judged on quality, originality and viability. The 2016 NGV Architecture Commission will be open for use at NGV International from October 2016. ngv.vic.gov.au

lorence Broadhurst’s unique designs are just as much celebrated today as they were in the 1960s when they were initially released. Recognised by TIME magazine as one of the world’s most influential post-war designers, the distinct and timeless designs are craved by many. Axolotl have recently announced that in partnership with the Signature Design Archive, they have been given the licensing to represent the renowned Australian designer’s work. Over 500 of Broadhurst’s distinguished designs, which include tapestries, geometrics and florals, can officially be used with Axolotl’s metal, glass, concrete and timber products to produce stunning laser cut screen, custom doors and feature walls. Broadhurst’s designs along with Axolotl’s talent in carving, etching, inlaying and embossing has enabled a spectacular product range that can cater to any theme from elegant, to vintage, to modern. axolotl.com.au




ustralian online marketplaces, Handkrafted and Bluethumb are working collaboratively, putting their passions and talents together to produce some one off creations for local charities. Their project – Created with Care – highlights ‘community, originality and authenticity’ and their aim is to reveal the amazing Australian artistry, while giving back to the locale. While Handkrafted is focused on connecting individuals with independent local makers and artisans to produce sustainably made bespoke furniture and objects, Bluethumb connects artists with

buyers. So it was a perfect match that the two companies work together for the cause. All involved donated their time, making pieces that are to be auctioned off with all of the makings going to selected charities. Handkrafted Founder, Fred Kimel and Bluethumb Co-Founder, Edward Hartley recognise the importance of business partnerships and working together to make a difference. “Collaboration is paramount to the success of every business and individual. It’s so important to take the time out to reflect upon and approach potential collaborators to discuss ideas and

opportunities. It’s also much more fun,” Kimel says. The outcome so far has surprised both parties, as Hartley explains, “Everyday I look at incredible art, yet these pieces are beyond my greatest expectations. They have set the bar for future artists and crafters. What’s beautiful to see is their own art and trade has transferred so well across mediums and captured the essence of their style.” The auction is currently open and will close on 10 June at 5pm. createdwithcare.com.au


o celebrate their 40th anniversary, Magis has partnered with Cult to facilitate a pop up space in the Cult showrooms – Magispace x Cult. For two weeks in each city, a portion of the Cult showrooms in Sydney and Melbourne will be redesigned by Magis to accommodate their classic designs as well as their new 2016 products. Magis is recognised for its sleek and distinct pieces of work, made mostly from plastic and metal. In the past, they have worked with international design icons such as Konstantin Grcic, Jasper Morrison and Marc Newson to bring forward the most stylish and eccentric pieces. With the Sydney pop up successfully closing on 17 May, The pop up section in Melbourne will host a launch event and then will be open to the public from 24 May to 7 June. cultdesign.com.au

Winter 2016





he ‘green’ movement is everywhere in recent times, from our smoothies, to our salads, our laneways, highways and now our skyscrapers. Rooftop Garden and Design is a promotion of the latest ‘green’ practices in sustainable gardening with what was once a wasted space in our cities - rooftops. Editor David Fletcher is an urban designer and landscape architect and amongst many significant achievements, he has also taught urban design and landscape architecture at Harvard Design School. Fletcher provides commentary dispersed between endless pages of vivid photography detailing the concept, design and process; and adding depth to the complex layers of considerations, which arise during sustainable planning. This book is appealing to a modern movement of architecture and design, increasing our awareness of the impact of construction on the environment and how we can harness one to help the other. In his preface, M K Leung notes, ‘the need to improve our urban green infrastructure to create a better living environment is both pressing and imminent. The rooftops of existing and new buildings provide opportunities for architects and designers to regenerate nature of artificial ground.’ Leung highlights a few common threads in the works presented in this publication, which are ‘integrated planning, climate response, people oriented, adding value, ecological and resource efficiency.’ Overall, Leung concludes that successful rooftop greening demands careful design and planning. Thus, Rooftop Garden and Design takes its readers on a careful journey of just that. The chapters cover: Introduction to Rooftop Gardens, Design Considerations, Operation and Maintenance; followed by various case studies highlighting global projects - from commercial to residential - in Australia, Chile, China, Europe, Japan, Mexico, Philippines, Scandinavia, Thailand, United Kingdom, United States and Vietnam.

Winter 2016

Each project is showcased with narrative, which includes the brief and the environmental considerations viewed through large and crisp photography. It ultimately celebrates the final product interspersed with concept and design sketches from the earlier stages of planning. The photography in this publication is so vivid that you can almost feel the rich warmth and breathe in the freshness of these spaces. There are a variety of featured projects such as the Ko Shan Theatre New Wing in Hong Kong (p.40), designed by Ronald Lu & Partners. It features ‘a theatre inside a park – an environmentally and social responsive strategy for a unique urban park context,’ capturing a ‘green regeneration’ and revitalising the parks’ role as a public facility. In Switzerland we see the 9 House Estate Lattenstrasse (p.82), designed by Peter Vetsch whose vision was born out of the energy

crisis as he works towards energy saving building methods. In New York, The Tribeca Loft (p.128) designed by Andrew Franz to create a ‘fluid connection with the outdoor environment’ using a relocated mezzanine as a ‘sunken interior court with a retractable glass roof leading to the green roof above.’ As you journey through the publication it’s hard not to be inspired at the thought of wide open, fresh green retreats bringing new life and rich bursts of colour to harsh spaces. The design of these rooftop areas are thoughtfully seeking harmony between the natural and the social in engineering spaces, which entice people to gather and enjoy, whilst nurturing the delicate environmental balance and benefits. This book is an appetising body of work sure to set inspiration in motion for transforming lifeless, unused spaces into greener areas of vibrancy and energy.

Furnishing International is the exclusive Australian member of the IAFP.

Winter 2016

I Spy Inspiration Something Beginning With Talking Business Scarlet Opus A Mosaic Of Minds McBride Charles Ryan The Bold And Beautiful The Bold Collective





enowned for their wide range of concretes, bricks, wood and marble finishes, Scandinavian Wallpaper & DĂŠcor presents their newest and most sophisticated range, Concrete Cire by Tres Tintas Barcelona. The industrial chic wall covering range was originally showcased in Paris before Creative Director Ann-Louise Lollo Jansson recognised its stunning suitability in the Australian Market for both the domestic and commercial divisions. Known for the appeal that lies in its imperfect look, the concrete collection is bold, modern, luxurious and emphasizes a rich and raw aesthetic. The range is digitally printed with metallic finishes and contains five main designs with five colour variations per design. wallpaperdecor.com.au

Advertiser Index IFC-01

Sealy sealy.com.au


Decor + Design & AIFF decordesignshow.com.au & aiff.net.au


Dongguan 3F Export Furniture Fair 3fexport.com/en


Furnishing in Focus furnishinginfocus.com


About Space aboutspace.net.au


China International Furniture Fair ciff.fairwindow.com


Bekaert Textiles bekaerttextiles.com


Melton Craft meltoncraft.com.au


IAFP iafpalliance.com


FURNITEX & design furnitex.com.au


DENFAIR denfair.com.au

ELLIKON ellikon.com.au


Orgatec orgatec.com


Winter 2016


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China National Furniture Association

Shanghai UBM Sinoexpo International Exhibition Co., Ltd.

Tel: +86 21 33392222

E-mail: furniture@ubmsinoexpo.com

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