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Ventura Lambrate One One One Eagle Rosemary Kirkby Goodman Tiny Miracles Ippudo

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welcomeindesign

letter from the editor issue 54, 2013

It’s like that old song – everybody’s doing it, doing it. And what are they doing? Well, Activity Based Working. Even those who just a few years ago dismissed it as just another form of hot-desking are doing it. The question is: do they always know what they are doing?

One suspects not, because ABW is not about design solutions, but about the process of arriving at design solutions. And process will always determine the end product – get the process wrong and you get the solution wrong.

But ABW is really part of a wider development – the gradual embrace of evidence-based design. This is actually what ABW is: a process of gathering all the evidence which will enable an understanding of how an organisation works and to what purpose. Only when this has been understood can an organisation begin developing appropriate design solutions for its physical workplace and workers.

An evidence-based approach abjures prescriptions, assumptions, prejudices, formulas and intuition. The only assumption is that any organisation or business is in its own way unique even though it may have things in common with other organisations.

Evidence-based research in its modern form is usually associated with medical research, then more specifically with the design of hospitals. It is linked to the name of Roger Ulrich whose 1980s research demonstrated how the recovery of patients was crucially influenced by their environment. More recently, evidence-based principles have been applied to the design of hospital systems, treating them as workplaces and focussing on desired outcomes rather than defending the autonomy of discrete units within the hospital (see our hospital special in Indesign #50).

Evidence-based research into the workplace has led to what might be called the ‘de-construction’ of the workplace. This has involved moving away from the rigidly controlled Taylorist office to an increasingly self-managed workplace. Also, with the rapidly growing sophistication of telecommunications it is no longer always necessary to have a physically integrated workplace. Instead, both on-site and off-site, people now can work in a variety of places.

Note that this has nothing to do with office-versus-open plan. And it certainly has nothing to do with any one-size-fits-all model. If we accept that ABW is simply an evidence-based approach to workplace design, then it becomes clear that ABW might just as well lead to everyone sharing an office as it might to everyone being scattered all over the building or even the city.

One thing is for sure: an evidence-based approach to anything can save a lot of wasted time, effort and money.

PAUL McGILLICK – editor

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from

dynamic stacking, linking and numbering

Sydney Melbourne Perth Adelaide Brisbane Canberra Hobart Ulverstone Darwin 1300 824 824 uci.com.au

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contentindesign

sep–nov, 2013

Issue 54 regulars

portfolio

027 EVOLVE Bite-sized portions from the latest people, places, products, events

COMMERCIAL

063 All in the family One of the industry’s most enduring family companies Miele and their lasting passion for quality design and durable products 073 Fuse Christopher Cuttle educates on the importance of museum lighting 074 CAFE CULTURE + SIGNATURE FLOORconcepts + UPLIFTING SOLUTIONS x Indesign Furniture, flooring and ergonomics combine to exhibit the latest trends with a nod to design constructivism 091 INDESIGN LUMINARY Leading workplace consultant Rosemary Kirkby shares her visions for productive worker environments and the future of the workplace 090 ART Lucy McRae’s latest installation extends the body beyond its biological realm into what she refers to as ‘body architecture’ 165 PULSE Filipino designer, Stanley Ruiz, brings traditional crafts and materials into contemporary design

104 One One One Eagle Street & ERM Power, Brisbane,

by Cox Rayner Architects 118 Goodman, Sydney, by Bates Smart 128 SGAR, Brisbane, by Skyring Architects 134 12WBT, Sydney, by Ian Moore Architects STUDIO 142 Moor Street Studio & Residence, Melbourne,

by Clare Cousins Architects RETAIL 148 Move-In, Melbourne, by Ellenberg Fraser Hospitality 153 The Ovolo Hotel, Melbourne, by Hassell 158 Ippudo, Sydney, by Koichi Takada

Australian manufacturing company, Koskela, on the adaptation of Aboriginal craft for the modern home Design duo Hay Alkalya and Yael Mer, from Raw Edges, show the poetry behind their materials 177 ZONE Lucy Bullivant heralds innovative design solutions by Thai practice Department of Architecture Alicia Sciberras on high-end hospitality co-collaborative space The Porter by 2D3D Creative and Haworth Nicky Lobo discusses design democracy and celebrates the underdogs of Milan at Ventura Lambrate Mandi Keighran on Lanzavecchia + Wai and their contribution to IN Residence at Milan 193 SUSTAIN Tiny Miracles Foundation in collaboration with Pepe Heykoop, reach out to the Pardeshi community of Mumbai to create sustainable design 200 PULSE Studio Swine for Coletivo Amor de Madre gallery, Brazil

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Cover Move-In, Melbourne, by Ellenberg Fraser (pp.148-150) Photo: Peter Fraser

Distributor for Australia, Singapore: Australia T 1300 306 960 Singapore T +65 6511 9328 www.stylecraft.com.au

Duna Collection Design by Lievore Altherr Molina www.arper.com

MALMÖ MOVEMENT

STRETCHY spring Kristine Five Melvaer’s ‘Spring’ lamps stretch towards the ceiling like living flowers. And made from eco-friendly welded steel and elastic coating, they are in fact well deserving of their blossoming suggestion. Contemporary in aesthetic, the ‘Spring’ lamp’s simple and pure form appears refined and elegant, its soft, translucent light creating a calm and delicate glow reminiscent of its seasonal inspiration. With the tallest lamp measuring two metres, you could easily believe you’ve entered a glowing forest – a common theme of this Norwegian designer who aims to harness the communicative potential of her designs as a means to create an emotional bond between object and user. And Spring is perhaps the most emotive of seasons. For, when “colour stands abroad on solitary hills,” wrote Emily Dickinson, “a light exists in spring.”

[Text: Philippa Daly]

Kristine Five Melvaer (47) 9057 3287 kristinefivemelvaer.com

In 2012 the ‘Malmö’ armchair was awarded the Good Design Award. In 2013 this family of furnishings, designed by Michele Cazzaniga, Simone Mandelli and Antonio Pagliarulo, has expanded again. Marrying Italian design sensibilities with a Scandinavian aesthetic, the ‘Malmö’ collection now encompasses a range of lounge seating and low table options as well as bar stools. Solid ash in construction, ‘Malmö’ is articulated through its fine edges and gently tapered legs. Its appeal lies in the successful fusion of robust composition and visual lightness. The ‘Malmö’ family is available in Australia from James Richardson Corporation P/L. [Text: Owen Lynch]

James Richardson Group (61 3) 9428 1621 jamesrichardson.com.au

venetian horizon Officially launching at the 2013 Milan Furniture Fair, London and Venetian-based company, Wonderglass, presented itself as a new company of highly regarded international designers.

Brooklyn-based Japanese designer Nao Tamura in particular, exhibited ‘Flow[T]’, a contemporary glass chandelier inspired by “the reflections of the Venetian cityscape glistening on the evening water.” Here, Tamura combined the enduring craft of Venetian glass-blowing with his own contemporary practice, creating multiple buoys that capture the timeless beauty of the Venetian horizon. Here varying blue-green hues beguilingly float into the dark recess of each uniquely shaped buoy. [Text: Nikita Sheth]

WONDERGLASS (44 2) 0763 12061 wonder-glass.com

evolveindesign

TONne OF BRICKS Using the same ancient techniques applied to the manual construction of bricks, the Adobe Desk Tools in terracotta bring a sturdy , grounded quality to deskware accessories. Using five varying clay types, this set of four accessories includes a table mirror, document tray, pencil holder and tray. “I found it interesting to develop household objects with the same techniques used to build houses, letting myself be guided by the various colours resulting from the different compositions of the ground in Italy,” says Italian designer Ilaria Innocenti. Exhibited at the Milan Furniture Fair, Adobe Desk Tools are ideal for any desk situation with wire frames available in a variety of colours to suit decor. [Text: AS] Ilaria Innocenti (39 2) 3655 9584 ilariai.com

Jumping Success A star student has emerged in progressive educational furniture with the ‘Jumpseat’ from ergonomic genius Profurn. With its sleek, minimalist design, the ‘JumpSeat’ is miles ahead of its classmates. Plywood and steel form the backbone to the seat’s cantilevered structure, meaning that when not in use, the ‘JumpSeat’ can fold to less than 100mm. Combining this innovative technique with a simple and elegant look, the ‘JumpSeat’ is certainly a lecture chair that deserves wide recognition. Honest, clean and timeless, Australian company Profurn have created a chair with limitless possibilities in design and functionality. [Text: PD]

Profurn 1300 776 387 profurn.com.au

SITTING IN MOTION While many workplace settings perpetuate sedentary behaviour, the ‘Muvman’ stool by German designer Aeris combats a lack of movement and the associated health risks. Embodying the European concept of sitting at any angle, the ‘Muvman’ encourages movement and facilitates ergonomically correct standing and sitting at a range of heights. Pushing the boundaries of conventional seating, neither style nor comfort were sacrificed in the design of ‘Muvman’. The innovative combination of the tilted spring centre, and revolutionary socket at the base of the ‘Muvman’ reduces spinal pressure while promoting active-dynamic sitting to strengthen core muscles. Comfortable and intuitive, the ‘Muvman’ is the perfect addition to any workplace as it enhances concentration, performance and circulation. The ‘Muvman’ is available in Australia through Healthezone. [Text: NS]

Healthezone (61 3) 9020 2098 healthezone.com.au indesignlive.com

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Regional Fare Defying economic headwinds, the International Furniture Fair Singapore sails strongly onwards, reports PAUL McGILLICK. Singapore aims to become the design hub of Asia. As an island state without any natural resources, its future lies in its ability to harness the creativity of its people. The objective is a smart economy based on ideas and innovation.

Few things happen in Singapore without a purpose and as part of an integrated, comprehensive plan. So it is with the annual International Furniture Fair Singapore (comprising the ASEAN Furniture Show, the Décor Show and the Hospitality Show), which needs to be understood as part of this government-driven programme.

Now thirty years old, the Fair aims to be the Salone del Mobile of the region with a design driven fair supported by curated spaces and a dynamic off-site array of creative initiatives.

The show itself, at the Changi Expo site, has consistently grown each year.

Having added the Décor Show and the Hospitality Show, 2014 will see the Hotel Show Asia added to the other sections. All of this is fleshed out with talks and curated exhibitions.

D’Space is the curated component, usually situated literally in the heart of show. This year the Furniture Design Award was moved off-site for greater exposure, but there were other elements to complement the stands.

For example, the Mosaic Design Collection which showcase the collaboration between local manufacturers (Grafunkt, Lorenzo, Koda Star Furniture, Eurosa and Air Division) and local designers (Nathan of whom have been previous awardwinners at the Fair.

There was also Futurecraft, an open pavilion showing the results of a project involving designers from Singapore, Indonesia and Sweden reinterpreting traditional crafts from the region for contemporary use. There was also a cluster of emerging designers from Singaporean design schools and the second edition of the Green Pavilion which explores a variety of green issues. This year it also highlighted two ‘classic’ products by local design outfit, Out of Stock – the ‘Bare Bones Construct’ and the ‘Naked’ chair.

There was also a display featuring another ‘classic’, the ergonomic task chair, ‘Capisco Puls’ by Håg. This year the Green Pavilion was curated by UK material expert, Chris Lefteri.

The commercial component of the Fair consisted of 466 exhibitors from 26 countries, while the 2013 Fair attracted 20,893 visitors from 102 countries.

The IFFS reports that spot orders were roughly US$297 million with follow-on sales expected to reach US$3.3 billion.

There is no question that IFFS is the premier show in the region and one innovation this year was to cluster some exhibitors in national sectors – Vietnam, Indonesia, Thailand, Taiwan and France, with China (as usual) dominating Halls 7 and 8.

While it is true that the Fair has a way to go to become a truly designdriven show, there are also a number of companies who are innovative and unique. The most prominent is d-Bodhi from Indonesia who consistently expand the range and sophistication of their products – as well as consistently winning the Best Stand Award.

D-Bodhi sets the pace with quality product using mainly recycled materials – and recycling was again very prominent in IFFS 2013. Among

THIS PAGE Futurecraft

is the result of a workshop of five Singaporean designers collaborationg with Form Us With Love

the best design-driven products, AngoWorld from Thailand again impressed with a new ceiling light, ‘Electro T’, made from hand-soldered nickel-coated steel wire with woven silver thread – a shimmering and wonderfully elegant product.

Kozy Living from Taiwan won the Best Product Award with a beautifully resolved and simple multi-purpose stool/tray/table, to add to their other simple but attractive homeware products. The Hong Kong-based French company, Maiori showed a clutch of outdoor products, including a delightful outdoor shower. And Lithuanian company, Sedes Regia, presented a strong collection, including the wildly eccentric ‘Tufty’ chair which is much more comfortable than it looks.

The off-site programme, SingaPlural, had its second edition with a wide variety of installations, events and talks. But perhaps the most intriguing element was Bench which began as a competition where architects, designers and members of

the public were invited to design and make benches from timber bleachers salvaged from the now demolished National Stadium. These were seen in several locations, but the most congenial was Dhoby Ghaut Green, the parkland surrounding Dhoby Ghaut metro station. There were 30 benches in all, most of them at Dhoby Ghaut, and many were exceptionally imaginative, combining utility and aesthetic appeal.

The ultimate stamp of approval was the way visitors to the park made full use of them, accepting them as a natural part of the park’s amenity.

One of the nice things about IFFS is its unpredictability. There is always something fresh about it. Some of the initiatives come off better than others, of course, but it is gradually working its way towards a confident blend of present commercial benefit with a showcasing of design with the potential to become part of the commercial landscape.

iffs.com.sg

evolveindesign

D’SPACE D’Space encompasses design initiatives within the International Furniture Fair Singapore (IFFS). D’Space provided a steady line-up of debut exhibitors and loyal supporters launching their new and innovative products, creative and cutting-edge furniture collection.

iffs.com.sg

ARROW | KOZY FOR LIVING A multi-functional side table, the Arrow can be rotated to meet various needs. Judges praised Kozy International’s living room innovation for its novel but yet affordable design.

kozyforliving.com

TILES | COCOMOSAIC Cocomosaic Tiles are made from shells of natural coconuts that are found in many parts of Indonesia. The coconut shells are readily available and are a sustainable option for design. Cocomosaic Tiles collect the fruit of this abundant tree and process it to use in their tile collection. Creating a warm, natural atmosphere for interiors, the Cocomosaic Tiles can be used in commercial and residential applications for environmentally conscious design solutions.

cocomosaicaustralia.com.au

BENCH | SINGAPLURAL Part of this years SingaPlural – an off-site downtown celebration of local design – was BENCH. BENCH was a project that involved thirty designers and architects, who were given timber bleachers from the demolished National Stadium and asked to make a bench. Pictured is a bench by Forum Architects a company that formed to service clients looking for imaginative solutions to their developments. They believe that paring down to the essentials in a world of limited resources can bring value to arrive at elegant solutions.

singaplural.com / forum-architects.com indesignlive.com

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Clockwise from top left High back

double seat ‘Inka Bergere Sofa – S200D’, low singular ‘Inka Armchair – F200’ and high back singular ‘Inka Bergere Armchair – S200’ from Cafe Culture. All chairs are finished with Timber beech frames upholstered in Steelcut fabric with a bleached stain

cafe culture High quality and custom furniture specialists Cafe Culture have exclusively acquired the new INKA collection from Billiani after great success at Milan. The Australian market will encounter the experimental streak and excellent craftsmanship of Italian brand Billiani and can experience the INKA collection and many more great brands at the Cafe Culture showroom

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ca up fe lif c tingult pH u sty OT so re / art l OG ing R lu signat dir AP tion a ection li HY ci t s + ur a im In e f s r de loorconc MARci o be bi sign n r CUS r s o a PIPERs n ep ts

a v g a an ar nt gl de eS

83 cafecultureindesign

bankside theatre A distinctive building on the river in Brisbane demonstrates yet again that necessity is the mother of invention

portfolioindesign 105

words Paul McGillick photography Christopher Frederick Jones & FLORIAN GROEHN architect Cox Rayner location Brisbane | AUS PROJECT 111 Eagle Street

indesignlive.com

165

profiling the life and work of creators around the globe

PORTRAIT: Kurt Arnold

173 Stanley RUiz 176 Tjanpi Weavers 180 Raw Edges

“ It takes more than Philippine natural materials to make an object look Filipino.”

sTANLEY RUIZ

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Designing for Change A design-driven project in mumbai aims to break the poverty cycle, creating jobs, skills and innovative products both culturalLY and environmentalLY sustainabLE

THIS PAGE ‘Leather

lampshade’ design for Studio Pepe Heykoop manufactured through the Tiny Miracles Foundation RIGHT Young males from the Pardeshi community in India gather around Pepe Heykoop to be taught how to craft the designs RIGHT (BELOW) Local Pardeshi woman wiring the ‘Leather Lampshade’

sustainindesign 195

words Mandi Keighran photography Annemarijne bax

n the middle of Mumbai’s red light district, there exists the Pardeshi community – over 700 people living in poverty. The monthly income for each of the 120 families amounts to 25 euro, and is generated primarily from the weaving of cane baskets. The efforts of a charitable Dutch organisation, however, aim to pull the Pardeshi community out of poverty and into a middle class standard of living by 2020 – and design is a key element of their strategy.

The philosophy behind the Tiny Miracles Foundation is best described using the old adage: ‘Give a man a fish and you feed him for a day. Teach a man to fish and you feed him for a lifetime’. Rather than handing out money and services in a way that, against all good intentions, simply encourages the poverty cycle, the organisation aims to bring about fundamental change within the Pardeshi community by way of four pillars: educate the parents; educate the children; provide a family income; and improve living circumstances. Providing a family income is where design enters into the equation.

When Laurien Meuter founded Tiny Miracles in the Netherlands in 2010, she was searching for ideas that could be used to generate jobs and skills within the community. At a family dinner, she mentioned the foundation to her cousin, Dutch designer Pepe Heykoop, who was looking for ways to grow production of his design work in an ethical way. A discussion began and the first income-generating project for Tiny Miracles Foundation was born.

For Heykoop, the first project needed to be the right fit for both the Pardeshi community and the retail market – what was the point of creating more products like the woven cane baskets, which had kept the

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