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VOLUME 6 | SUMMER 2017 AUD$7.95

Road Trip Edition

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Your guide to a well-designed life

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Our cover for issue 6 is Light Wave in Byron Bay by Harley Graham Architects, Winner of the Small Project category at this year’s AIA NSW Country Division Awards. #19







We take you behind the scenes and across the country to explore the architectural process.

#48 ARCHI-TOUR Byron Bay architect Harley Graham walks us through his award-winning Gull House.


#37 WOOL’S WORTH Beyond the little black dress, find out why Australian wool has become an international icon in furniture design.

# 52 Mudgee architect Cameron Anderson talks heritage and his new program Architects Outback. #58 Meet three Australian designers with international vision, from Tasmania to the top of Queensland.

SURVEY # 62 From flame zones to farm houses, explore how Australian architects are responding to the land. #68 Discover how architects are helping create multipurpose destinations bringing rural diversity to local business. #74 Take a journey through the ideas behind a range of fantastic weekenders where size doesn’t always matter.

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#43 SCULPTURE BY THE GLASS Take a stroll through the sculpture gardens of Australia’s leading wineries.


#82 COLD RUSH Be inspired by the way architects are responding to climate using age-old techniques. #88 MODERN X CLASSIC Tim Ross, the guy behind TV’s Streets of Your Town, shows us what he packs for an authentic road trip. #92 FUTURE CLASSIC From the seat of a plane, Tasmanian Simon Ancher, had a moment of inspiration that led to a furniture icon.


# 17 Thoughts, news and ideas.

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#20 #93

#52 #48

MEZZANINE’S guide to fitting out every room of your house.

FROM PAGE 93 #19 #28


#64 #70 #80 #46

#60 #18

#80 #20

#93 #26



#24 #62

#33 #44




Australia’s leading architects and designers explain what brings their projects together.

#93 #46

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Chris Rennie

Chairman Nicholas Dower


Managing director Paul Lidgerwood

Editor + creative director Marcus Piper

Assistant editor Aleesha Callahan

Contributing editors Penny Craswell Peter Salhani Sub editor Penny Craswell PRODUCTION

Digital pre-press Monique Blair

Subscribe to MEZZANINE and receive 4 issues for $29 delivered direct to your desk or door Call 1800 804 160 email or visit

Production manager Alicia Pinnock SUBSCRIPTIONS

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Commercial director Joanne Davies Content and digital director Chris Rennie Financial controller Sonia Jurista ADVERTISING

Brand development manager Laura Garro Brand and business development manager Brunetta Stocco Tel +61 3 9948 4961 Business development manager Neha Minhas Tel +61 3 9948 4918 PRINTING

Graphic Impressions Proudly printed and produced in Australia.

Architecture and Design Division MEZZANINE is a publication of Niche Media Pty Ltd ABN 13 064 613 529 St Kilda Road Towers, 1 Queens Road, Melbourne VIC 3004 Tel 03 9948 4900 Fax 03 9948 4999 All unsolicited material should be addressed to the attention of the editor at the address above. Material will only be returned if a postage prepaid self-addressed envelope is supplied. Niche Media Pty Ltd accepts no liability for loss or damage of unsolicited material.

Keep inspired and informed with MEZZANINE online @mezzanine_mag

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MEZZANINE is a publication of Niche Media Pty Ltd, ABN 13 064 613 529, 1 Queens Road, Melbourne VIC 3004 Australia, tel +613 9948 4900, fax +613 9948 4999, Mezzanine ISSN 2205-5452 Š2016 Niche Media Pty Ltd. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, internet, or otherwise, without the prior written permission of the publishers. While every effort has been made to ensure the accuracy of the information in this publication, the publishers accept no responsibility or liability for any errors, omissions or resultant consequences including any loss or damage arising from reliance on information in this publication. The views expressed in this publication are not necessarily endorsed by the editor, publisher or Niche Media Pty Ltd. Niche Media Privacy Policy This issue of MEZZANINE may contain offers, competitions, surveys, subscription offers and premiums that, if you choose to participate, require you to provide information about yourself. If you provide information about yourself to Niche Media, Niche Media will use the information to provide you with the products or services you have requested (such as subscriptions). We may also provide this information to contractors who provide the products and services on our behalf (such as mail houses and suppliers of subscriber premiums and promotional prizes). We do not sell your information to third parties under any circumstances, however the suppliers of some of these products and services may retain the information we provide for future activities of their own, including direct marketing. Niche Media will also retain your information and use it to inform you of other Niche Media promotions and publications from time to time. If you would like to know what information Niche Media holds about you please contact The Privacy Officer, Niche Media Pty Ltd, 1 Queens Road, Melbourne VIC 3004.

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# 12




s a devastating bushfire ripped through the Lake Condah region of southwestern Victoria in January 2006, an amazing piece of Australian architectural heritage was uncovered – one that challenges perceptions but also reinforces the thinking that architecture is a response to place, environment and people. Beneath the overgrowth of Tyrendarra property, part of the Budj Bim National Heritage Landscape, lay the remnants of homes contemporary in their ideas and yet, astoundingly, pre-dating the Pyramids of Egypt. Before this discovery, the site was known to be home to a complex agricultural system, an eel farming and smoking operation, and permanent dwellings for the Gunditj Mara people, all of which date back some 8000 years. However, the fi re revealed much more, including larger dwellings that suggest a multi-generational approach to housing. Who was responsible for these dwellings is still unclear, but whether it was Indigenous Australians or pre-settlement visitors, the discovery is unquestionably remarkable. That the new-found dwellings were much larger, built to accommodate three or four families, and probably a number of generations is extraordinary. Especially when you consider that 8000-year-old housing in Australia might have been ahead of the game when it comes to what we now call ‘multi-generational living’ – something we are just picking up on as we turn the corner into 2017.


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Marcus Piper Editor + creative director

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With that, and as I lead you into an issue devoted to this great land, I cannot begin without acknowledging those traditional owners of our continent as they play an incredibly important role in building a cohesive nation of respect and appropriate response. In August 2016, I was privileged to sit on the jury for the Australian Institute of Architects NSW Country Division awards. I was forewarned that it is not always as glamorous as the larger awards programs, and sometimes the work is a little … shall we say … ‘country’. Being a country kid living an adult life in regional Australia, I got that – and was thrilled to also have those preconceptions dispelled, not just by the quality and resolve of the entrants and their work, but also by the willingness of their clients to be progressive in their briefs and approvals. As a result of that process, the work, and meeting some of the members of the Country Division, it was clear that

As a result of that process, the work, and meeting some of the members of the Country Division, it was clear that MEZZANINE needed to take a summer road-trip to uncover the challenges and success stories from a more regional perspective.

MEZZANINE needed to take a summer roadtrip to uncover the challenges and success stories from a more regional perspective. The prospect of such a trip conjured images of wind in the hair and the distinct quality of light we get ‘out here’. In actual fact, it resulted in something far more inspiring, though sadly it did see me spending a few too many hours waiting for the NRMA somewhere between the Capertee Valley and Mudgee – stunning places you will discover in this issue. Stuck on the side of the road, having to wander aimlessly for mobile reception, you step into problem-solving mode. Moments like that remind you that we in Australia live on the frontier. Australia is a country of extremes in climate and population density. But the generosity of strangers, such as the bloke from the NRMA who spent the weekend checking in to make sure I could get home OK, is core to the people-focused problem-solving we fi nd in our extreme environment. And that is what this issue of MEZZANINE is about. Like those who build multi-generational housing from the local basalt, and the guy who reckons he can fi x your car in the middle of nowhere, it is about ingenuity, about response to place, and about contemporary ideas that reflect those ways of thinking. In this issue, we discover projects of serious significance. Beyond the iconic, they are real and represent a different side to architecture and design. They respond to our desires, our future and our heritage. We discover people who face the challenges of living in high-risk fi re zones or in climates that make the decisions for them. We discover the value of the great Australian ‘woolshed’ and meet the folk who have stepped out of those sheds to take on the world. So as we break the city limits and leave the motorways behind – this issue of MEZZANINE shows that architecture and design has a true relevance in everyday life – no matter where you live.

We hope you enjoy the ride. It is bloody incredible ‘out here’. /M

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It’s your time.

07 : 16

Living Systems, Kitchens & Bathrooms for every moment of the day.

Time to rise.

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It’s a long way from the desert surrounding Alice Springs to the canals of Venice, though the Anerle-aneme chairs, meaning to ‘sit a while’, went the distance. Designed as a collaboration between Alice Springs-based designer Elliat Rich and the Centre for Appropriate Technology, and made by local Indigenous men, the chairs sat in pride of place at The Pool, Australia’s exhibition at this year’s Venice Architecture Biennale. Available in a range of colours, the chairs are now available via CAT.


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CHRIS CRERAR Tasmanian photographer Chris Crerar is accustomed to remote locations and equally used to beautiful food. Having captured the Apple Isle’s architectural and culinary masterpieces for the past decade, he found himself onboard a vessel heading a little further south, to Antarctica, though the northern flavour was not left behind. After five days at sea, each evening ending with a blend of Crerar’s local and French cheese and wine, icebergs the size of islands began to appear. The IPEV ship, part of the French Antarctic program, was floating towards the Dumont d’Urville Station, named after the 19th century French explorer. Stepping out of the only base to be built around a colony of penguins, this image reminds him of the “incredible feeling of smallness” he felt while there. It is hard to trump the frontiers of Tasmania, but for Crerar, Antarctica did: “Everything feels vast in Antarctica – the sky, the ice sheet, the ocean. That base felt like a ski village, except that there were penguins and icebergs!” – CHRISCRERAR.COM.AU

BUILDING ON TRUST On the banks of the Shoalhaven River, west of the New South Wales town of Nowra, the two properties of the Bundanon Trust form an exquisite national treasure gifted to the Australian people by Arthur and Wendy Boyd in 1993. Known for an extensive artists-in-residence program and the iconic Murcutt-designed education centre at Riversdale, the properties’ master plan and the Boyds’ complete vision are nearing reality. Extending on the Trust’s international reputation, a new gallery with catering and accommodation facilities is set to be designed by the winner of a national architecture competition. As Brian Zulaikha of Tonkin Zulaikha Greer Architects, who developed the site’s masterplan says: “It is a competition based on ideas and appreciation of the Riversdale site. All the entrants held this understanding and had visited the site.” No doubt, once complete the site will become a new focal point for art tourism in Australia.

With an authentic Australian view, be it coastal or country, you want to complement it with something equally as real. BuyDesign™, a new Australian online retail space, has you well seated to take your pick from a range of original pieces that are delivered nationally and will last a lifetime. From poolside to farmhouse, the range captures the best of international furniture and lighting and makes shopping in remote areas easier than ordering your groceries.



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LOCAL FLAVOURS Sommelier and restaurant manager Joshua Picken is no stranger to perfectly combining local flavours. Having worked in some of the world’s best dining rooms, including the Magill Estate and as wine director at Orama, Picken now fi nds himself under the roof of The Currant Shed in South Australia’s McLaren Vale region. Visitors to the 100-year-old venue are treated to a blend of local and international wines alongside a mouth-watering menu, all served on locally-sourced ceramics. Seated at the 15° Table by Adelaide’s Matt Taylor of Dashingwood, teamed with Chris Hardy’s Langdon chairs for Worthy, visitors are invited to wash it all down using glasses made from recycled wine bottles by Dan Wilson’s Twice Drunk. All combining to create a true taste of Australian authenticity.

TAILS FROM THE PAST Launching at a recent exhibition at the Australian Design Centre, a new range of bespoke furniture by Australian Indigenous designer, Nicole Monks, brings stories of cultural significance to the table. Titled Marlu – meaning kangaroo – the collection was inspired by a trip to the Wajarri Yamatji country in remote Western Australia, and a conversation she had with her 93-year-old ‘auntie’ Dora Dann about Nicole’s great-grandmother’s kangaroo tail soup. Through a collection of furniture pieces, Wabarn-Wabarn (bounce), Walarnu (boomerang) and Nyinajimanha (sitting together), Marlu represents the importance of knowledge transfer and the role of memory and lived experience in this process.



FLEET OF FANCY Originally designed as a private commission for the Fleet restaurant in Brunswick Heads, Martin Johnston’s stools bearing the same name have taken on a life of their own. Based in Billinudgel, not far from Byron Bay, Johnston studied detailed joinery at Casino’s Technical College before going on to reinvigorate his father’s cabinetry and furniture business. With a series of local projects under his belt, including the fitout of Byron’s Allpress café, and new products in the wings, the Fleet stool is available to order and defi nitely leading his charge nationally. –

Go behind the scenes on instagram @martin_johnston_

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# 20







(1) Commendation Public and Commercial Architecture Town Beach Public Amenities – Chris Jenkins Design

(3) Commendation Small Projects Broken Head Studio Harley Graham Architects


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(4) Winner Residential Architecture – Affordable Housing Wingello House Ian Sercombe Architect


(2) Commendation Residential Architecture – Houses (Alterations and Additions) Tom and Doll’s Space Studio

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CLEAN CONSCIENCE PHIL KELLEHER YALLINGUP, WA West Australian builder, Phil Kelleher, plugs MEZZANINE in to what powers one of Australiaâ&#x20AC;&#x2122;s most celebrated sustainable homes.

PROJECT ACCOLADES - 2016 National HIA Greensmart Highly Commended Award for Custom Built Home - 2016 HIA Greensmart Western Australian Home of the Year - 2016 HIA Greensmart Western Australian Custom Built Home of the Year - 2016 HIA Greensmart Western Australian Framed Home of the Year

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he Yallingup home is a three-bedroom, two-bathroom single-storey residence with a floor space of 289 square metres on a block of one hectare. It embraces a rural lifestyle and energy efficiency with style and takes full advantage of the northerly sun with shelter from southerly winds. The house was constructed in three pavilions to suit the family holiday lifestyle. Each can be closed off for heating, cooling, noise etc, and follow the natural contours of the land so the house has minimal impact on the natural vegetation. Clever use of exterior colours and materials helps to blend the home unobtrusively with the landscape. The burnished concrete slab is a cost-efficient floor fi nish that gives thermal mass and is low maintenance. Colorbond and rammed earth walls require no further maintenance. Careful placement of living areas maximise solar gain. Large corner windows give the indoor/outdoor feel with native bushland views. Solar-efficient design and extensive use of insulation in the roof and walls retain winter warmth while ventilation measures and eave overhang allow summer coolness. The timber frame design minimised site impact and allowed retention of native bushland around the home. The interaction with the environment is most obvious from the moment you step inside. Incorporation of other measures such as water self-sufficiency, energy-efficient lighting and zoning of rooms sensitive to heating requirements means the occupants of this home can enjoy a comfortable, stylish home with lower living costs and energy consumption. The use of rammed limestone, grey Colorbond and gravel driveway blends the house into the natural bush environment.


No formal landscaping means the house makes use of the native bushland. Large ironstone rocks excavated during site works are used as a landscape feature and retaining walls. /M




Replanting of 150 grass trees that were in driveway and building area Correct orientation Correct insulation Glazing to suit orientation and climate Sealed openings Cross-ventilation Energy efficiency Water self-sufficient Minimal impact to site Resource efficiency. Gravel from site used for driveways and rocks used for landscaping/retaining. This minimised the spread of dieback Cleaning of all earthmoving equipment at depot before arrival on-site. Also to minimise the risk of dieback via soils from other sites

Phil Kelleher Homes Dunsborough, WA

DESIGN Denise Oâ&#x20AC;&#x2122;Connor Shelter Designs


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t’s a Sunday lunchtime in late August when we leave Melbourne on a leisurely drive through the Yarra Valley and out to Murrindindi. We’re following in the footsteps of the great architect Richard Leplastrier who camps out on a site to feel the land and place as he designs. The weather has been wet in recent weeks so we drop into the hardware store to buy gumboots. The smell of the sausage stall is too hard to resist, so we pick up snags and munch them happily on our walk back to the car. As the road opens up along the Melba Highway, we crank the radio and watch the countryside roll by. We arrive at the property and meet our clients, David and Louise, and the two youngest of their four children. Nestled at the foot of a valley, the eight-hectare property is mostly flat, with vineyard-covered hills rising up towards the south and west. The Murrindindi River gurgles noisily along the eastern boundary, carving a steep embankment and levee on its way out to sea. We stick close to the boundaries during our circumnavigation, enjoying the edge of the tree line. We head back to the shed that will be our sleeping quarters, kitchen, bathroom, lounge and studio during our three-day stay. The evening sets in, Louise heads back to Melbourne with the kids, and we spread out a 1:1000 copy of the land survey on the dining table. Covering it with yellow trace, we jot down our observations from our walk: the valley funnels the wind so it comes from the north all year round, both hot and cold; there is a long view of mountains to the south; shorter views to the north need landscaping to screen out the closest neighbour; the river offers paddling spots at specific points. We talk about the old house site, and the necklace of mature trees that circle it. In particular, there’s a beautiful manna gum with a crown at least 18 metres in diameter. We pop back outside to step it out, “yep, it’s a whopper.” Soon, our stomachs remind us they need to be fed so we fi nish up for the day and head to the local pub.

e wake up to an extraordinary mist blanketing the property. The house site is only 50 metres away but barely visible. David cooks up a hearty breakfast of eggs and bacon, then heads off to mess with a couple of fallen trees. We hear the sound of a chainsaw being fi red up. Is there any power tool more rural than a chainsaw? We pull out the tracing paper again and get to work. Once more, our conversation turns to the land and its opportunities. There’s a wonderful rawness to our dialogue as we sketch and chat. In the suburbs, our primary interests are often manufactured: heritage building fabric; town planning; the needs of neighbours. Here, we discuss place, the relationship between house and land, view corridors, light and shade, trees, habitat. Before we know it, it’s late morning and we hear a car pulling up. Kate Seddon is the landscape designer we’ve recommended to David and Louise. We’re excited to have her design input on the project, to put as much consideration into the outdoor rooms as the indoor ones. As we’ve only spoken with her over the phone before this, her visit is both an opportunity to familiarise her with the site as well as talk design philosophy. We circumnavigate the property once again, and talk about tree species, earthworks, materials and water. Kate spots one of the fallen trees. “That would make a great bench seat within a garden,” she says. We discuss the way we want the house to emerge from the landscape. We discuss the swimming pool and fi re pit, outdoor living and family barbecues. Kate leaves after a couple of hours and we head into town to grab a quick lunch of meat pies and vanilla slice. Then we rendezvous with a local craftsman called Chris, who has some bricks he wants to sell. There are around 18,000 of them stored on pallets. “I pulled these out of the old church on Murrindindi Station when it was demolished years ago,” Chris says. The church dated back to the 1860s, one of the fi rst civic buildings in the area. The bricks are a burnt orange colour, smaller than contemporary ones and curiously don’t have frogs. How can we make use of them? We do some rough calculations – we have enough for 44 metres of double skinned wall. Not enough for a whole house. We chat about Guilford Bell’s masterly use of brick as an inhabitable surface. Perhaps we’ll use them on the floor instead, or around the fi replace. Returning to the property, we spend the afternoon focusing on the house site. Its slightly elevated position, existing


RURAL SETTINGS MIHALY SLOCOMBE ARCHITECTS In the footsteps of Richard Leplastrier, Warwick Mihaly dons gumboots to walk us through what it is like to have the architects over for a country weekend.

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above Warwick Mihaly and Erica Slocombe rest of page A glimpse into the diary from a long weekend in Murrindindi


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DAY THREE necklace of mature trees, history of inhabitation and proximity to the river make it the best choice. Glenn Murcutt talks often about putting the house on the worst part of the site – there’s no use putting it on the best part, it’s already perfect. How can we use this to inspire us? Our sketches begin at 1:1000 and meander their way down to 1:200. Everything we draw and say seems to come back to the manna gum. It’s far too big to wrap a house around, but can we stretch a house along its north edge, or slide one in to the south? We make a list of the rooms David and Louise have requested – an open plan living area, a connected kids retreat, a master bedroom suite and a handful of extra rooms for kids and guests. Adding a mudroom, laundry and a few bathrooms brings us to around 250 square metres. “Don’t forget the wine cellar,” David calls as he walks past on another errand. Then there are the qualitative aspects of the brief, our loose conversations with David and Louise in our studio and on site. These are always the most important insights we get into the lifestyle and aspirations of our clients, the nuggets of personality that have the power to drive a whole project. David and Louise live in town, so the Murrindindi house will be an escape from city life, a place for their children to get comfortable with the natural world. We draw bubble diagrams, stringing together rooms in an order that will facilitate these connections both inside and out. Distinct functional zones emerge – living, services and sleeping. We chop and change the relationship between rooms, aligning them to different parts of the landscape. We agree that the living room wants to face the sweep of the sun and views to the north. The master bedroom wants to face east to catch sunrise over the river. Do the kids’ and guest bedrooms face west? That might give them views over the neighbouring vineyard but will create heat gain issues. Maybe the south? There’s the long view towards distant mountains, but this is also likely to be the entry point for cars. We’ll need to consider privacy. We have a lot of ideas, but not yet much resolution. It’s getting dark now however and the pub beckons. A conversation for tomorrow then.

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n contrast to the chill and mist of yesterday, the day dawns bright and clear. We repeat our morning rituals and get back to the tracing paper. We sketch plans over and over again, gradually evolving our ideas into three distinct proposals. The cranked house takes shape fi rst, then the long house, and fi nally the compact house. They each preserve the essential zoning characteristics we settled on yesterday, but offer unique entrance sequences, and unique ways to engage with the glorious manna gum. The cranked house has a little of John Wardle about it, with its angled strands and busy junction at the centre. The long house is very long at 55 metres. “Peter Stutchbury would like this,” we say, pleased. The compact house with its sliding walls makes us think of Kerstin Thompson. Is this our chance to fi nally play with breezeblocks? Once we have the rough dimensions massed in, we duck outside to check our handiwork. We pace out walls, squinting at the space between us as we try to imagine a house sitting there. There’s a dip in natural ground level to the east that would be the perfect spot for a swimming pool to emerge from the ground. With a bit of earthworks, it could be its own pool fence. Are we too close to the manna gum? What about the old water tower and the blackwood growing up through it? Can we snake the driveway around it and turn it into a treehouse for the kids? We draw a series of pitched roof forms, simple narrow volumes with lean-tos. We want the house to be humble, connected to the strong Australian heritage of rural construction. It will have its origins in the archetypes of fi re pit and tent after all: a place to come together after a day out on the land, and a place to rest in anticipation of tomorrow. Finally and somewhat reluctantly, we pack up and head back to Melbourne, our heads full of possibility. We feel we have it all worked out, but at the same time it’s all still up for grabs.


These are always the most important insights we get into the lifestyle and aspirations of our clients, the nuggets of personality that have the power to drive a whole project.

Mihaly Slocombe Melbourne, VIC

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# 26



SHIPPING MEWS THOSE ARCHITECTS Formerly the refuge of the rural ownerbuilder, shipping containers are taking on a more permanent life as residential building blocks. MEZZANINE talks to THOSE Architects about the process and possibilities that exist between dock and doorstep.

above Simon Addinall and Ben Mitchell of THOSE Architects top right Concept rendering for Keiraville House, Keiraville

What are the benefits? There are numerous benefits to using containers as long as your architect works with their inherent properties, rather than against them. The key is to arrange the containers in such a way that preserves the structural integrity of each module, as much as practicable. If this is achieved, then shipping containers are relatively costeffective, efficient and timely to build with.

LONG-DISTANCE RELATIONSHIPS Our practice has delivered a number of projects at a considerable distance from our Sydney office. We recently completed a large commercial project in Chicago and are about to start on one in London. We have worked remotely with clients in locations including Melbourne, Perth, Byron Bay, Armidale, The South Coast, The Blue Mountains and The Southern Highlands. We take the architect / client relationship very seriously and engage with our clients on a weekly basis either via email, phone or Skype. Wherever possible, we do face-to-face meetings at critical stages of a project (such as presentation of concept designs, signing building contracts, conducting site meetings). In today’s digital age, the remote exchange of information is easy and a lot can be discussed and resolved digitally, not only with the client but also with builders and trades.

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What are the misconceptions about using shipping containers as permanent housing? We think the biggest misconception is that shipping containers offer a readymade building solution – one that requires minimal intervention in order to achieve a built outcome. The reality is that most projects require shipping containers to undergo significant modifications in order to achieve functional space, which can add major costs and delays to a project. If your architect isn’t familiar with the properties of shipping containers, they can be expensive to modify, to the point of them being cost prohibitive.

Are there any issues with council when using these things as building blocks? To date we haven’t had any opposition from councils when proposing containers as a base building element. However, there are numerous issues in relation to making containers comply with national building regulations, and your architect will need to guide you through these.

THOSE Architects Sydney, NSW

What modifications need to be made to turn the shell into a room? The first modification that needs to be considered is making a penetration in the side wall of the container to get daylight and natural ventilation into the room. As this affects the structural integrity of the container, it is important that your architect understands its properties well, so this can be done in a considered way.

Containers are constructed from steel, a material that is highly heat conductive, which can lead to condensation issues if not dealt with appropriately. The method of insulating and lining the container internally needs to be carefully considered. We have developed several ways to do this effectively. Running services to the room is also a key consideration and is something that can pose a problem, particularly in the case of bathrooms and kitchens where plumbing is required. What is the process once the design is approved? As with any project in our office, once the design is approved we fully document the project for construction. As well as general arrangement drawings, we typically document the building right down to 1:5 scale for critical details. We then work with our prefabrication builder to have the project fully costed and programmed before commencing works. Most of the building work is done off site in the builder’s prefabrication yard, before being trucked to site, craned into place and fitted out for occupation. Typically we administer the entire process, from concept design right through to practical completion. What sort of issues can arise on site? The traffic route from the yard to the site is very important to research when considering using containers. One of our projects specified 40-foot-high cube containers, which required delivery via semi-trailer. The manoeuvres required to deliver the containers to site were only achievable with millimetres to spare, and could have derailed the project entirely had this not been properly considered ahead of time.

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What makes this type of house appealing? We are interested in shipping container houses because of the structural integrity of the shipping container. We also like the idea of reusing shipping containers to reduce the overall environmental footprint of our house.








NO. 22 CARROLL RD 2,400















above Concept rendering and section for Corrimal House, Coal Coast

What did you learn from the architect? We are really excited by THOSE architects’ floor plan and the exterior screening they designed. The architects advised us to apply for a Complying Development rather than applying for a Development Application through our local Council, which is notoriously difficult to deal with. The Complying Development was a great idea that I’m not sure we would have tried on our own, as we didn’t know anyone else who had tried it. What were the upsides? The structural integrity of the shipping container is top of the list, although as I said above, we are also really excited by the floor plan and the exterior screening. We were also very happy to gain floor space without sacrificing backyard space.

right Design diagram showing the modular nature of the process and final concept rendering



A second-hand container, unmodified will cost anywhere from $3000 to $5000 depending on the condition.

Transport is in the order of $600 per container per move. The number of moves needs to be considered as typically there will be two or three moves per container throughout the entire process. For example, typically you would need to move it from the container port to the modification yard, from the modification yard to the paint booth, from the paint booth to the site – so, three moves per container.

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TIME-LINE Modification and fit-out of the containers can range from $1500 per square metre to $3000 per square metre depending on site conditions, complexity and level of finish.

Typically our fees will be in the vicinity of 1215% of the construction budget depending on complexity.

The program for a project of this nature also varies greatly, depending on complexity. Typically concept design will take four weeks. Development approval documentation will take six weeks. Development approval through Council will take three-four months. Construction documentation will take eight weeks. Construction will take anywhere from three months to 12 months.

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# 28




COTTAGE INDUSTRIAL STUDIO ESTETA CAPERTEE VALLEY, NSW Working on a house currently under construction in the Capertee Valley in NSW, Studio Esteta share what it has learned about how to overcome some of the logistical and communication obstacles that come with a remote site. DESIGNERS FELICITY SLATTERY & SARAH COSENTINO (DIRECTORS) OF STUDIO ESTETA PROJECT WARRAMBA LOCATION GLEN ALICE, CAPERTEE VALLEY, NSW SIZE 115SQM

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Remote in its location, the Capertee Valley House is situated on a 40.5-hectare plot of farmland with a river running through it in the Capertee Valley north-west of Sydney. The existing original sandstone cottage was built in the early 1900s and the client was keen to maintain its period character through a considered interior renovation. The aim was to refresh the cottage while maintaining a level of simplicity throughout the scheme so it didnâ&#x20AC;&#x2122;t seem out of place within the rural site context. It was also important for the design and material palette to be timeless. As a result, a modern but sympathetic approach has been taken with a subtle yet high level of detailing.

LOCAL TIME The clients purchased the property in January, and were keen to get started with the design process in order to start construction on site in June. As such, we provided the clients with a fee proposal and client questionnaire to get the process moving. We then visited the site in March to conduct a site measure, assess the existing conditions and determine any constraints and / or opportunities. We presented the first concepts plans in April and had three concept meetings to resolve the layout plan before commencing to the design development documentation. Design Development documentation and a resolved design was completed for pricing by mid-May. Due to some delays with pricing, with some value management to follow, the project started on site in July and was due for completion at the beginning of November.

There was a clear brief from the initial point we were engaged to renovate the existing period sandstone cottage internally while maintaining its character within the context of the site. At the initial briefing stage, we provided the client with a questionnaire, enabling us to establish a thorough understanding of specific requirements, preferred aesthetic, likes and dislikes early on in the process. This guided our approach to the initial concept plans and design ideas for the renovation. We presented the initial plans with an accompanying mood board of reference images that explained our design ideas and material palette for the various spaces. As we are based in Melbourne and our clients in Sydney, we had several Skype meetings to develop a final layout plan and the design direction that addressed the brief. The long distance process of communicating over the phone was seamless, and with clear communication via email and phone calls between Skype meetings, it worked really well. Any information that was misplaced or misconstrued was quickly identified and clarified. The client had an initial budget, which we felt was realistic based on the proposed scope of works. We aimed to keep to this budget throughout the concept design and design development phases. There were, however, some surprises along the way, with unknown existing conditions causing additional costs and, given the siteâ&#x20AC;&#x2122;s remote location, the associated delivery and transportation costs resulted in this budget being reached more quickly than anticipated. Regardless, we found ways to value-manage the project to reduce the overall construction costs to the original budget without compromising the design intent.

A strong relationship between architect and builder is critical to the success of a project in a remote location, particularly when the client and architect are located in different cities.

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background The Capertee Valley far left The original cottage bottom left Material selections for the new interior

ON THE ISSUES CONSTRUCTION It can be taken for granted the resources an architect or builder has access to when working in a large city. Smaller country towns present the issue of limited trades, limited access to skills and perhaps less willingness to experiment and try new things. Material selection can also be limited, but the builder on this project has been accommodating, working with us on a number of design and detailing issues, and sometimes suggesting alternatives that are more local and therefore more cost-effective. A strong relationship between architect and builder is critical to the success of a project in a remote location, particularly when the client and architect are located in different cities. It is not always easy to get to a remote site and talk through issues or sketch through an option directly with the builder or trades. Detailed drawings, particularly joinery detailing and 3D renders, assist in clearly communicating the design ideas and finer details. RELATIONSHIPS The long distance client/architect relationship is challenging, especially when the site is remote to both parties. You take for granted being able to drop into the site every two weeks to ensure quality is being maintained, or to take a sample to site to see how it works in the light. Without scheduled site meetings, the project can lose pace in terms of achieving completion and/or milestones within the construction period. We found it helpful for the client to go and stay on site for a month at a time when they felt productivity had dropped off. When it comes to site visits, it is important to make the client aware of your role as an architect. It must be clear what is included in your design services to ensure you are not taken for granted and to let them know that being in a different city or state provides limitations as to how often you can visit the site. This being said, it can still be a highly successful process if items are agreed early on, such as travel allowances, project program, and quantity of meetings.

COMMUNICATION Although we aim to keep on top of all communication lines, information does get lost and/or misconstrued via phone calls and emailing when you can’t be on site regularly checking what has been built. We share a dropbox file with our clients to manage current documentation issues, however if all parties don’t check this regularly and stay on top of updates, things can get missed. We have found the client is an important point of contact in terms of clarifying information between all parties, especially when they decide to go to site for a long period of time to keep on tops of things. If this is the client’s role, it is important they know that they can call whenever they have a query and that they are not inconveniencing you by doing so. Sometimes clients can feel they are pestering you, but it is our role as architects or designers to be there when we are needed – and it is much better to be pestered and achieve the best result than let things fall through the cracks.

Best advice Although it can be difficult to coordinate an architect when it comes to a remote site location, the benefits of engaging a designer or architect cannot be understated – they bring invaluable knowledge when it comes to making the most of a site, understanding construction methods and pushing trades or builders beyond their limits.

LOCATION Our client has ended up transporting many items directly to site due to unreliable removalists and delivery services. This helps avoid large delivery and transportation costs for finishes, fittings and equipment. Another difficult situation is getting trades back to site to do additional work, make changes or to get a speciliased trade there to do a small area of specialised work. It’s a lot easier when you are in a large city to get a trade back to site to change something or add something if changes are made to the drawings, as they often work in the area and/or are constantly on the road. When the site is over an hour from a small country town, it’s difficult for a trade to drop in to finish something off. They prefer to be there for a whole day if they are travelling that far and therefore you may encounter variations to the construction budget for their time. Similarly, it’s worth considering the value of small areas of detailing and whether they can be substituted for a design solution that achieves the same outcome – if a specialised trade is required only for a small area of work, the costs involved may be exorbitant. It would be worthwhile having a builder on board early in the process to advise on this. In this situation, an architect or designer may also be able to design alternative solutions that are acceptable and will achieve the same outcome. QUALITY When you are not able to attend regular site visits with the client and builder, it does make it difficult to ensure the quality is maintained. In this case, the client may need to take on the responsibility of quality control. It’s also important a dialogue is maintained with the builder early on, making sure they are aware they can call the architect or designer anytime to discuss issues and detailing. A good way to keep the quality maintained is to document the site progress with photos, detailed shots if need be, so the architect is up to date with what is going on and should they notice anything, they can immediately notify the client and builder.

Studio Esteta Melbourne, VIC

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# 30



uilding in a remote location can be costly, but investing in the right architect can save you money over the long term, providing a well-designed space that is site-specific, works with the local climate and is tailored to your individual needs. Before building, the owners of Inverdon House were tired of seeing the same oversized house design being replicated, one that relied heavily on air-conditioning all year round, had poor siting and little regard for well-considered outdoor living spaces. The clients wanted to challenge this typical housing model, and engaged an architect to design a low-maintenance, flood- and cyclone-proof home that was easy to live in. As they were close to retirement, part of their brief was the provision for a future, live-in carer, as neither wanted to end up in a nursing home. Masonry was selected as the main construction material for its robust and low-maintenance qualities, and instead of following the current local trend of hiding the blockwork in render, paint and plasterboard, the clients instead chose to expose the masonry inside and out. A porcelain-coloured Austral block was used throughout, with contrast created through differing bonding patterns and pointing techniques. This also meant that great precision was required in the laying of each block, as any inaccuracies would be revealed, particularly where stack bond occurred. With limited access to particular resources, materials and skilled trade, along with high transportation costs to the remote site, a large percentage of the materials, details and fi nishes initially requested by the client were out


SOCIALLY AWARE CHLOE NAUGHTON In the North Queensland town of Bowen, architect Chloe Naughton has brought together a world of ideas and solutions in Inverdon House, with just a little help from social media.

of the question. This sparked an exciting exploration of ideas and reworking of materials and details by the contractor and architect to deliver alternative solutions at a cost more aligned with the client’s budget. Working with local trades and craftspeople was important, not only to support local businesses, but also to stay within this budget. A lot of the fi ner, interior detailing had been designed and priced in steel, but a similar outcome was achieved by working with a local fabricator who specialised in aluminium work. Instead of using standing seam zinc cladding between the top of the blockwork and the roof, painted compressed fibre cement with a narrow, repetitive, vertical batten was used for a fraction of the price. Similarly, each detail was reworked and refi ned throughout to work within budget and available resources. As a graduate of architecture working in a regional area, Naughton found the process of refi nement challenging as often the best design ideas evolve from workshopping sessions with fellow designers. Turning to social media, however, Naughton was able to tap into a wealth of knowledge and advice from across the globe while documenting the entire process, sharing what worked and what didn’t. The result is a project that has completely changed the way the clients live, moving from a house with a single door and no cross ventilation to a home that completely opens up to nature. /M

PROJECT DETAILS INVERDON HOUSE top Chloe Naughton – Most of the joinery is low-grade plywood, with inexpensive pine used for door jambs and window reveals. – Doors are standard-sized, solid-core and ply-faced. Above each door, an additional door was installed, divided into maneuverable awnings to allow passive ventilation, reducing the need for air-conditioning. – Correct orientation and careful planning of spaces captures breezes, blocks out unwanted sun and in turn reduces energy costs.

left The main ensuite top right The view through the kitchen far right Guest bathroom featuring pine jambs, ply door and awning above for passive ventilation bottom right Variations in masonary create a visual texture

– Concealed lighting reduces the need for expensive light fittings. – Bricks were made from the leftover concrete after every pour. These bricks were used in the entry court to cap off the extruded bricks used.

Chloe Naughton Bowen, QLD

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TRIED AND TESTED TRUTHS – It isn’t necessary to polish concrete floors – it’s possible to achieve a smooth, creamy, steel-trowelled finish, which is then sealed.


– Instead of using large stone slabs for benchtops, which are expensive to transport, individual stone tiles can be used which also reduces wastage of material. – Work closely with product representatives to get the most out of your selected materials or products and don’t be afraid to extensively experiment and test products before using them.


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– Speak to your local plumbing and electrical stores about ordering in certain products before buying out of town – they should be able to order most products.

– Sub-contractors can be very resourceful when given some creative licence. Inverdon House features a custom-made brass and copper outdoor shower, which the plumber put together in a couple of hours. – We worked with our main contractor as much as possible rather than using specialised trades to undertake particular tasks such as the concrete kitchen island bench or laying the mosaic tiles. – A thorough site assessment was undertaken by the architect to establish the most appropriate siting of the building, taking into consideration the local environmental and climatic factors of the site.

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hen Mignon Steele and Morgen Figgis met 15 years ago, the foundations of a fruitful multidisciplinary partnership were already in place. The pair were both creative jugglers. Aside from her artistic practice, Steele painted fi lm and television sets as well as houses, while Figgis, a graduate of architecture, worked for a Sydney-based architectural practice that specialised in a full design and build service. Collaboration, then, became a natural progression for the duo. Moving to Melbourne, they gained experience in small projects, including joinery, decks and “weird renos of impossible rental properties”. Now based in regional NSW as Barnacle Studio, the partners in life and practice continue to operate at the intersection of art, design and architecture. “I think most artists and creatives have a similar experience balancing workaday jobs to make time and space for what we feel compelled to make,” Steele says. “We came to this way of working because neither of us wants to do just one type of work.” With complementary skill sets, Steele and Figgis work independently and in tandem as appropriate. “Jumping between disciplines seems to help the inspired investigation and open creativity of a new task,” Figgis explains. Their EE Shed project displays the successful amalgamation of Steele’s artistic sensibility and Figgis’ expertise in the built form. Painted with random geometric shapes in muted tones of yellow and charcoal, the exterior creates a colourful shell for a pared-back interior expressed through timber, form ply and concrete. Barnacle Studio keeps its approach fresh by escaping the norm, taking cues from farm sheds and silos spied on its travels, and the small epiphanies experienced “when it’s all stripped back to a tent and maybe a tarpaulin in the trees.” The Cowshed, built on a site high on the Illawarra escarpment, is a perfect




top left Morgen Figgis and Mignon Steele of Barnacle Studio above left The prefabricated EE Shed combines the architectural and artistic talents of the studio left Quiver by Barnacle Studio as part of the Antidote exhibition at Sheffer Gallery right The Cowshed is a simple structure that allows a sense of connection to nature Barnacle Studio Bellambi, NSW

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illustration of this principle. Designed as a studio office for the owner, the rear wall is lined with shelves to provide ample storage, while the desk outlook and side entrance are glazed. In this way, the owner is positioned among the trees even from within. “Lots of buildings are swamped in extraneous stuff that prevent humans from experiencing the natural world,” Figgis says. The low-cost, efficient build of Mignon’s painting studio demonstrates the pair’s shared appreciation of the built language of the rural Australian landscape. Recycled elements, including corrugated steel panels and weatherboard over a timber frame, were assembled over 15 days with the help of friends “paid in baked beans and coffee,” to create a neatly resolved, enjoyable small-scale project fi lled with character. Their art serves as explorations of form and colour, encompassing sculpture and painting with a playful, tactile feel. Their latest collection of works, entitled Antidote, was shown at the Sheffer Gallery this past August. “Publicly presenting artworks is always a bit nerve-wracking, but it was really satisfying to push through it,” says Figgis. Steele’s painting style is quirky and rhythmic, eliciting an enjoyable feeling of spontaneity through soft colours in energetic, contrasting patterns. Currently, Barnacle Studio is focused on researching and refining construction techniques to improve the value of a finished building, while maintaining the design quality, flexibility and environmental sensitivity in its work. The busy pair keep an eye out for opportunities to collaborate outside the Barnacle umbrella, to challenge themselves by making “ambitious stuff ”. Another goal is to be able to combine work and travel, seeking a residency program to give their young family “some really solid cultural and environmental experiences”. Being parents, the ever-present reality of family life naturally has an ongoing impact on the process. While it gives rise to creative opportunity and makes a habit of resourcefulness – one delightful small joinery project is an inventive sleeping bunk for their little ones – it can be “a challenge to fi nd the space to collaborate,” Figgis says. “Despite living under the same roof, life with young kids can mean that is difficult to achieve.” So, understandably, the couple take pride in the fact that “we’re still self-employed, still friends and still married!” In Figgis’ words, “there are so many things to look forward to; making time for it all is the only problem.” /M

15/11/16 11:29 AM




hen you think of the palm-lined beaches of Noosa, images of luxury resorts, long weekends or even retirement might sail through your mind. For Rory Morgan and Kati Williams, that relaxed coastal-cliché couldn’t be further from their hard-working truth. In a few short years, the pair have built a furniture brand known for quality and a refi ned aesthetic that is catching the eye of architects and interior designers nationally. Starting as Maker Studio in 2012, the couple rebranded as Mast Furniture early in 2015, a shift that reflects more than just an idyllic location on the northern tip of Queensland’s Sunshine Coast. Taking the fi rst two letters from each word of the original name, Mast is a symbol of the coming together of ideas, of talents and of people – a partnership in business and a personal voyage.



top left Rory Morgan and Kati Williams of Mast Furniture above left Legs of the Willox stool being planed left The Willox stools at Code Black Coffee, Melbourne with interiors by Zwei Interiors above KW tables at Level One Electra House, Adelaide with interiors by Studio Gram

Mast Furniture Noosa Heads, QLD

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right Custom fitout of Mast Coffee in Noosaville

“I had wanted to be an architect for as long as I can remember,” says Morgan, whose parents ran their own pottery business and grandparents made a living through art and jewellery. Finding himself at the helm of an emerging design and manufacturing business, he reflects, “I guess growing up surrounded by creative people running their own businesses rubbed off on me.” While working as a draftsman, Morgan made the shift to furniture making in his spare time. As he recalls, it became “more an obsession than a hobby”. The self-taught Noosa local hasn’t so much turned his back on the dream of designing buildings, it is more that he approaches space from a different angle, creating furniture that carves out its own space within an interior. Reinforcing the direction the pair have taken, Williams adds that “one of our biggest inspirations is designing for architectural spaces. Seeing our current range specified for cafés and residential projects is inspiring. It drives us to keep creating new pieces suited to those environments”. Having moved from America to study marketing and creative writing, Williams has put her skills to good use as Mast steadily charts its course across the nation, with the majority of their clients located in Brisbane or interstate. “We’re both 100% sure our business would be growing at a much slower rate without the help of Instagram”. she says, identifying the social media platform as their most valuable tool outside the workshop. With their work popping up in Melbourne café Code Black Coffee and the multi-award winning Sunday House by Teeland Architects, it is a platform that is clearly working, though the challenges of isolation aren’t limited to recognition. Additional delivery costs and having to city-source components aside, the couple behind Mast fi nd travel extremely important for both inspiration and exposure. “Because we are fairly isolated in Noosa, it was great to be a part of DENFAIR in 2015, to be involved with other people and businesses in our industry,” they say of their experience at the Melbourne design fair. And after testing the waters to great success, what is on the horizon for Mast? “We know it will be advantageous to have a real-life showroom presence in capital cities,” they admit, citing the ambition to “have a nation-wide distributor for some of our upcoming ranges in the next 12 months”. /M


# 34

15/11/16 11:32 AM

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this page Spence & Lyda ‘Lounge Chair #3’, walnut frame upholstered in Missoni Home ‘Santafe #174’. Missoni Home ‘Socrate #100’ wool throw. Tribe Home handmade wool rug in ivory

Peter Salhani


The idiom ‘Australia was built on the sheep’s back’ is one of our more endearing national narratives, as resilient as the fibre of the golden fleece.

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# 38



oco Chanel’s ‘little black dress’ changed fashion forever at the end of World War I. It freed women from oppressive oldworld design, with a flattering new cut that was simple, practical and chic. Its secret was the lightweight wool jersey fabric that relied on wool’s strength, elasticity and breathability to keep its cool, and perfectly keep its shape. Dior did it again at the wend of World War II with his startling ‘New Look’ collection, which lavishly used wool as a reaction to wartime scarcity. Designers have been in love with wool ever since. As the world’s largest exporter of wool, and producer of its fi nest fibre – the merino – Australia is a major force in global fashion and design economies. Every year, the Australian Wool Innovation group supports Australian exhibitors at the world’s largest textiles trade – Heimtextile in Frankfurt. Our fi rst merinos came from Spanish royal stock in 1797, and selective breeding since has resulted in its refi nement as the best natural fibre for next-to-skin products – such as fashion and homewares textiles, bedding, outdoor and sporting goods, and, more recently, the lining of wetsuits and the growing ‘athlesiure’ market for outdoor activewear. It was Missoni who first produced a tracksuit from lightweight wool for athletes in training. Founders Rosita and Ottavio Missoni started a small knitwear shop in 1953 in the north Italian town of Gallarate with Rosita as pattern-maker and Ottavio (‘Tai’) as colourist and technician producing lightweight wool track suits, knitwear, and a small catalogue of women’s garments, which caught the eye of American Vogue editor Diana Vreeland in the sixties, who brought the brand to America. Designers are drawn to are the unique properties of wool – its warmth, fi re-resistance, self-softening lanolin and a unique structure (similar to hair) that helps textiles and yarn hold their shape. Just as Chanel and Dior used these to great effect for form-hugging couture, Australian furniture and industrial designer Tom Fereday uses wool fabric to give his new Wes collection of sofas and ottomans a similarly tailored line.


above Missoni Home ‘Sandra #100’ cushion and throw in trademark Missoni chevron pattern right ‘Lateral’ wool rug from Gavin Harris’s Mindscape collection for Designer Rugs

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Made in Australia by The SD Element, and distributed by Zenith, the collection relies on the tautness of a wool upholstery fabric from Kvadrat Maharam (and the upholsterer’s skill) to achieve its clean, crisp edges. “Wes conveys complex yet minimal forms. It’s meant to have a bit of tension, but still look soft and inviting,” says Fereday. “The doming of its compound curves is a real challenge for the upholsterer because is has to look seamless (and beautiful) from every angle.” A lot of work goes into getting the right angles for each piece and to achieve this, Fereday worked with master upholster Darren McKinnon at The SD Element. To the plywood frame they layered fireretardant foam of different densities to balance comfort and form, sidestepping the need for molded foam panels. From there, it was McKinnon’s skill that finessed the final shape. The fabric selection is critical. “Only wool gives you that super-fi ne radius; it’s a lot stronger and easier to manipulate than any other fabric. Upholstering is a lot like sculpting,” says McKinnon. From sculpting sofas to a graphic new collection of rugs from the mind of Gavin Harris: Mindscape is his second

15/11/16 11:34 AM


Only wool gives you that superfine radius; it’s a lot stronger and easier to manipulate than any other fabric. Upholstering is a lot like sculpting. PHOTOGRAPHY | COURTESY PENCE & LYDA | COURTESY DESIGN RUGS | HAYDN CATTACH | ARCHIVAL IMAGE © CSIRO


above Tom Fereday Wes collection for Zenith: plywood frames, solid ash legs and Kvadrat Maharam Sunniva wool fabric

A ripping yarn CSIRO scientist David Henshaw revolutionised world-wide wool production in 1961 with his invention of a self-twist spinning machine that turbo-charged the centuries-old craft of spinning wool without the yarn breaking or losing strength. Lengths of unspun wool were twisted on themselves, not each other, then paired and released, with the energy in their twists triggering them to wrap around each other without breaking – at virtually limitless speeds. Manufactured by Repco, the new machine increased yarn output from 20 to 220 metres a minute, from a machine 80 per cent the size of its predecessor. Little wonder it won the Prince Philip Prize for industrial design in 1970.

top right Australia’s 1961 invention of the Repco self-twist wool spinning machine enormously increased wool output world-wide bottom right The crimped structure of wool fibres helps yarn and fabrics hold their shape

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# 40




left ‘Reflector’ from the 2016 Mindscape collection by Gavin Harris for Designer Rugs


Three quick questions with Stuart McCullough, managing director of the Woolmark Company*. How big is Australia’s wool production? We’re the world’s largest exporter, producing and exporting 40% of the world’s greasy wool, earning AU$3.38 billion (2015/16). That makes wool Australia’s third largest agricultural export after beef/veal and wheat. Most of the wool we produce is exported for processing in other countries. What’s so special about Australian merino wool? Merino is the fi nest wool fibre (around 15 to 24 microns) and Australia is the leading producer, exporting 90% of the world’s supply for use in high quality apparel and high-end fashion. Austra-

lian merino is a distinct breed from its Spanish predecessors, adapted to Australian conditions through selective breeding. How important are the AWI design competitions? By running the International Woolmark Prize, we put wool in the hands of the world’s leading innovators, and on the global stage. It is the world’s most prestigious award for rising fashion stars. We are promoting the versatility of the fibre and aligning young talent with commercial opportunities and mentorships from fashion heavyweights.

* The Woolmark Company is owned by Australian Wool Innovation (AWI) a not-for-profit enterprise owned by more than 24,000 Australian woolgrowers to invest in research, development and promotion.

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collaboration with Designer Rugs since winning the Evolve competition in 2010. Harris is design director at Futurespace where he creates workplaces for the likes of Fujitsu, Microsoft and advertising’s McCann & CMG Group. With this collection of rugs, he explores both the conceptual and practical as it crosses over from his personal design enquiries into the client realm. “I had been thinking about the typical length to width ratio of rugs, and at the same time, some of my clients at Futurespace were wanting statement pieces for reception areas – objects reflecting their company ambitions,” Harris explains. “With ‘Reflector’ for instance, I wanted to create a three-dimensional effect using simple gradation in tone and form. I see it positioned as a diamond in a room, not a square. ‘Lateral’ was about creating a sense of movement through space using graded lines in green, which is both a relaxing and invigorating colour. Something common to all the designs was the lack of traditional corners and edges, so a lot of technical precision was needed to make those soft ‘rounded’ edges strong.” The collection is hand-tufted from New Zealand wool – which is to carpet (due to its fibre length) what Australian merino is to knitwear (for its fi neness). Lia Pielli, a senior textile designer at Designer Rugs helped translate Harris’s ideas into works of texture and tonal subtlety. “We combined two different yarns – a single ply yarn for the fi ner-edged elements and a felted yarn (which is quite

chunky) for the large graphic blocks of colour. Playing with different pile heights brought an additional textural element to the graphic designs,” Pirelli explains. “Wool is very much like curly hair in structure, it always wants to snap back to its original place, because it’s got a zigzag shape to the fibre – like a spring. Even if you’ve had a heavy object on a carpet for a while you can usually apply some steam and bring the fibre back to form.” If a zigzag is the key to wool’s resilience, it is also the emblem of Missoni – today a global brand, famed for its super-fi ne knitwear, electric colourways, and for being one of the few fashion houses to leap successfully from catwalk to couch. Continuing her grandparents’ tradition of marrying craft and design with innovation, heiress and fashion designer, Margherita Missoni, reflects: “There’s actually no fi ner natural fibre to work with. It makes me feel at home; and it’s very personal to me, because it’s one of the fi rst threads my grandparents used.” And it comes from one of the oldest and most resilient natural fibres that we have. /M PHOTOGRAPHY | COURTESY DESIGNER RUGS

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this page The TarraWarra Estate Cellar Door designed by Kerstin Thompson Architects, shortlisted in the 2016 IDEA awards



Some of Australiaâ&#x20AC;&#x2122;s most outstanding and historic vineyards provide the perfect outdoor venue for sculpture prizes and exhibitions, inviting you to take your time savouring landscape, art and architecture.




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right Jewel de la Mere by Ben Fasham at Yering Station below Hold by Bridget Nicholson, Winner of the 2016 Yering Station Sculpture Award

Yering Station Sculpture Award Yarra Valley, VIC

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irst planted in 1883, the vineyard of Yering Station is the oldest and one of the most beautiful historic working vineyards in Victoria. Positioned in the stunning Yarra Valley, the 17,000 hectare Yering Station was named after the land’s Aboriginal name by the Scottish-born Ryrie brothers. Each year, the Yering Station Sculpture Award takes place here – history and viticulture mingle with contemporary art in a meeting of the senses. Sculptures are viewed within the established garden’s undulating natural environment with a magnificent view across the Yarra Valley. Throughout the breezeways and long corridors of Yering Station, the contemporary architecture of the curvilinear wine bar restaurant designed by architect Robert Conti and the French monasteryinspired underground barrel cellar lend an atmospheric setting. Year round, the Yering Station Art Gallery is open to the public and Yering Station furthers its love affair with art by supporting the NGV Friday Nights music series. Set along the southern tip of the Mornington Peninsula, Montalto Winery and Olive Grove is home to the prestigious Montalto Sculpture Prize, which delights art lovers, not to mention wine lovers, throughout the year. The highlight of the art calendar, running from February to October each year at Montalto, is the $30 000 Acquisitive Montalto Sculpture Prize. Walking through the exquisite gardens and natural wetlands, the vineyard is a buzzing hive of natural and human creativity – nature interacting with the diversity of sculptural forms. Within the lush grounds of Montalto there is also a permanent collection of sculptures acquired through the prize, along with select pieces of contemporary sculpture acquired over the last 15 years. Owner Wendy Mitchell worked with Melbourne’s Royal Botanic Gardens landscape architect Andrew Laidlaw, from Laidlaw and Laidlaw Design, to expand the garden spaces. Designed by the architecture fi rm Williams Boag, the Montalto Vineyard Restaurant and Cellar Door was designed fi rst and foremost to



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promote and nurture the natural systems of the surrounds. Not far away, the TarraWarra Museum of Art stands as one of Australia’s icons in contemporary architecture. Designed by architect Allen Powell, who won an invited architectural competition in 2000 to present design schemes for the museum, the TarraWarra Museum of Art is resplendent in its use of golden sandstone and glass. TarraWarra Museum of Art is a gift to the Australian public by founders Eva and Marc Besen. The museum hosts the TarraWarra Biennial, and the gallery program is rich with rewarding investigations into modern and contemporary art. Alongside the museum, the TarraWarra Estate is a producer of exceptional pinot noir and chardonnay in the Yarra Valley, where art, architecture and wine enthusiasts can delight in the new Cellar Door designed by Kerstin Thompson Architects. In New South Wales, Sculptures in the Garden, held in the central west town of Mudgee, takes in the tranquil setting of Rosby Wines and Guesthouse. Each year, the winery, set within lush surrounding gardens and paddocks, brings to life a bountiful exhibition of more than 250 sculptures with works in glass, ceramic, slate, timber and metals such as bronze, steel and copper. “We think they live and breathe, they have their own sprit and energy, and will last into the future,”

below Galaxia 3 by Alan Rose at the 2016 Sculptures in the Garden exhibition


…history and viticulture mingle with contemporary art in a meeting of the senses.

TarraWarra Museum of Art Yarra Valley, VIC

Montalto Sculpture Prize Mornington Peninsula, VIC

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We think they live and breathe, they have their own sprit and energy, and will last into the future. EDMUND CAPON | ART SCHOLAR

Sculptures in the Garden Mudgee, NSW

Artentwine Sculpture Biennial Tamar Valley, TAS

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commented Edmund Capon when congratulating Stephen Irwin on his winning work Taking the Plunge. The winning work will be the newest addition to extend the collection of public sculptures along the Mudgee Sculpture Walk. In the Tamar Valley on the north-west coastline of Tasmania, the Artentwine Sculpture Biennial is a roving exhibition taking in the Holm Oak Vineyards, Tamar Ridge Cellar Door, Moores Hill Estate, Iron Pot Bay Vineyard, and Goaty Hill Wines. With a jam-packed program of ‘Sparkling Lunches’, degustation dinners, and masterclasses in wine appreciation, Artentwine is a discovery of fi ne art and the wealth of bountiful produce from the region. The exhibition extends itself through a three-day Symposium on Form and Place, an artists’ market, and artist talks to bring to life the importance of the arts in everyday living. Designed for adventurers, academics, art lovers and artists, Artentwine explores the interconnection of Tasmanian culture and history among fi ne wine. /M

above Taking the plunge by Stephen Irwin, winner of Sculptures in the Garden, 2016 left Odd man out by Paul Brunyee, winner of the 2016 Artentwine West Tamar Council Acquisitive Sculpture Prize


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he Gull House floats above a small neighbourhood lane in Byron Bay. The house has views to the east over native coastal heath and wetlands, and tallow beach beyond. To the north, it looks over the bay to Mount Warning and the caldera. When starting the project, we talked about the busy little lane and wanted to make something light and uplifting with the clients – a functional sculpture. Even though the house is in a dense little neighbourhood, there is still a strong connection to nature. We talked about the birds and bats that flew over the site each afternoon. At the same time, we were reading Jonathon Livingston Seagull in the office. Here was a gull that dared to be different to the colony. Discussions took place about the similarities between the ‘hovering’ or ‘floating’ forms of contemporary architecture and the way seagulls hover over hot chips at the park. We tested these theories and spent days at the beach as an office, eating fish and chips, and having a lot of fun feeding the gulls and watching the waves. Predominantly a lightweight construction, the forms of the house connect with a combination of natural hardwood and fibre cement cladding. Shapes hover in the air and slowly stagger down the hill. External materials move from outside to


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Rising above the streets of Byron Bay, Gull House by Harley Graham Architects is more than just a chip off the old block.

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Harley Graham David Taylor


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inside. One of the major factors in the design of the house is privacy from the many surrounding houses. The use of solid balconies and screens gives the house the feeling of a sanctuary even though it has neighbours all around. A raw rendered wall sits on the lane with pool and gardens directly behind it. Entering the house, you walk under an angled roof that funnels light from the south into the entry space. As you open the door, the house expands into a double-height space that connects the living zones. The house is experienced as a series of rooms, and not one large open space. But at the same time, there are areas in the house where one can see front-to-back, from pool to coastal heath and ocean beyond. The kitchen and living spaces open out to north-facing decks with high timber screening and blockwork planter beds for privacy. The kitchen has a three-metre-long strut window that opens to a stone bar for outdoor dining. Upstairs, the master bedroom and secondary living space see ocean in both directions, east and north-west. The house is all about being able to open up, as much or as little as you want, to the outside. By using a combination of large sliding glass panels, screened louvres and strut windows, the house can be opened up or closed down depending on the season. The house flows seamlessly from inside to out, and by using external weatherboards as internal cladding, internal spaces have an external feel. The interiors are kept to a simple palette of timber floors, white weatherboards

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GREEN POINTS The house has no air-conditioning, instead making use of natural ventilation, with all living spaces having a northerly aspect. The house runs on a five-kilowatt solar system with battery back-up. All roof water is recycled into two 10,000 litre tanks, filtered, and fed back into the whole house for every purpose, from drinking water to toilet flushing. It is a new house that proves that contemporary houses don’t have to be ‘energy sucking beasts’ in the way they work throughout the year.

and white-painted plaster. This allows the internal planters and different views to the ocean to really stand out. In Byron Bay there are nine months of the year when you want the house to be really open, and three months in winter that get a bit cool. There are also mosquitoes at dusk in summer if the tropical rains have set in. The house becomes a machine to deal with these constraints at different times of the year. The upper level is light and glassy, with a crisp angular plate roof and fi ne steel columns that allow it to float in the air. There is blackbutt internal flooring, spotted gum external decking and cladding over 50% of the house. The natural hardwoods give the house its warmth, its contrast, and anchor it to the site. Upstairs becomes lighter still with a large openable corner with no columns. This structure that normally occurs in the corners of buildings has been shifted out to the edge of the deck. The whole roof to the north is supported by three round fi ne steel columns. The house adds to the fabric of old and new beach houses on a denselypopulated knoll in the middle of Byron Bay. It is part of a two-house development encouraging a form of residential density in the middle of coastal towns that is necessary to avoid sprawl on the edges of communities, and an example of how the best houses are a result of true collaboration between owner, builder and architect. When this team is humming, happy and willing to solve problems together, the building can fly.

Harley Graham Architects Byron Bay, NSW

The house adds to the fabric of old and new beach houses on a densely-populated knoll in the middle of Byron Bay.


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Mudgee architect Cameron Anderson talks with MEZZANINE about adjusting to country practice, heritage in a rural context, and Architects Outback, a new program taking architectural services ‘off road’.

FURTHERING right Architect Cameron Anderson

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main image The red Louth Road between Bourke and the tiny, one-pub town of Louth

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o, I love the city but I also love the country. I established the Mudgee practice in 2011 after my wife Amber and I moved here, intending initially to take 12 months out to lend a hand on her family’s property. I’d been working in Sydney with Bates Smart and would travel to Mudgee every Friday night to work weekends on the farm, which was a great leveller. Having grown up in country Tasmania, I studied architecture at the University of Tasmania, then moved to Melbourne where I worked for several years with Hayball Architects. Even there we’d been thinking of a regional life longer term. The ambition was to provide quality contemporary regional architectural services, and balance that with a country life. It wasn’t the easiest of transitions. After five years in large commercial practices, jumping into solo practice working mostly on small residential projects was a big shift. In some respects, I’m still working it all out. I was lucky to get a great foundation at Hayball and Bates Smart in commercial, multi-residential, education and tourism projects by some inspiring individuals. They also taught me the importance of different skill sets – one of the single biggest challenges for small regional practices. I have a thing for diversification of project types and geographic spread, as well as in my professional and personal interests. It’s a cardinal rule of investment to diversify your assets, right? Why shouldn’t the same rule apply to your working life? I think regional practice lends itself to a better work–life balance. Involvement in the family farm and winery gives me a break from architecture and keeps me fresh. Having said that, juggling architecture and time on the road travelling between clients with framework and three


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children, sometimes seems more hectic than the city. But there’s a big difference in the frame of mind. A benefit of that agricultural interest is that it helps me relate more sensitively and creatively to our agricultural clients. Remote or regional projects operate differently to urban scenarios, being intrinsically linked to farming outputs and the weather. Our main pillar of practice is residential, but we’re also involved in commercial, tourism and education projects. Apart from myself, the practice employs two part-timers – a graduate Jack White, and a student, Alex Martinek. Jack juggles architecture and his family’s Angus cattle stud. Alex is completing her architectural studies remotely. It’s great to share the journey with them, and certainly more productive. Testing your ideas in a studio setting is an important part of design; it gives you the confidence to push boundaries. Most of our projects interrogate similar themes: the rural vernacular, historical investigations, landscape, context (physical and social), and the natural environment, as well as the individual client. We’re always looking for a unique response to client or site through extensive research and diagramming: we’re obsessed with the diagram, as both a conceptual driver and analytic/communication tool. My fi rst Mudgee projects have been great teachers. An early commission was Gladstone Street Residence, where the clients came to me with a sketch for the extension to their house in a heritage conservation zone. The safe thing would have been to go along with it, but instead we jumped in and started drawing up different possibilities. It could have backfi red,

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but the client embraced the concept and the process, and we achieved the vision. That gave me the confidence to continue questioning conventional design responses, so we were fortunate to have a great client who took a chance on us. And we’ve become great friends. High Cube Café was atypical – a shipping container project on the fringe of Mudgee’s industrial area. The client specifically wanted a shipping container café, and we developed that conceptually into a sustainable program for the site; so the buildings are relocatable should the land ever be repurposed. There’s something compelling about the temporary typology in times of high consumption and waste. This goes back to my drive for diversification and the mitigation of risk. More recent projects have given us a taste for repurposing materials, and engaged us more with the rural vernacular in historical and narrative ways. Queens Pinch Road (featured on pages 66-67) was a farmhouse addition where we incorporated old materials and machinery from the property, either as building fabric or rescued objects. For another project, we’re repurposing the client’s timber supplies in the screening, custom joinery and light fittings. There are cost benefits to using salvage because labour is generally cheaper in the country, and although frugality seems second nature on a working farm, it’s also a way of preserving cultural and emotional connections. And it’s exciting to give old things a second life. here’s a misconception that heritage buildings cost a lot to renovate and upkeep. It may be true in some instances, but I think people can underestimate the economic value of a good heritage item. Our Mayne Street project in Gulgong recently won the 2016 Heritage Architecture Award, AIA (NSW Country Division). This was a unique one because we largely kept the existing fabric intact and added a new volume that catered to the client without destroying heritage or cultural significance. Handled sensitively, a detached or discreet addition addition to a heritage house needn’t compromise it, but can actually reference a historical relationship with the outhouse or detached kitchen. It can have other benefits too, such as ease of construction, and opportunities to improve aspect and passive solar gain.

bottom left Coonabarabran, northeast of Dubbo right Gladstone Street residence rest of page High Cube Café in Mudgee’s industrial district



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I see huge potential to develop new models for improving our remote and regional areas. And theyâ&#x20AC;&#x2122;re not necessarily all architecture related.


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In March 2016, Cameron Anderson and Dubbo architect Alexandra Murray (Design Tribe) piloted the Architects Outback program, visiting the Central West NSW towns of Coonabarabran, Coonamble, Walgett and Bourke. Recorded for ABC Radio National, the program aims to overcome the lack of access to architectural services by finding economies of scale so the profession can more frequently service these remote locations, and partner with strategic organisations to reduce the cost. The idea is so good that Anderson received a small Project Grant from the NSW Country Division of the Australian Institute of Architects (AIA) and support from the NSW Architects Registration Board to make it happen. Architects Outback is an ABC Radio National program (on Blueprint for Living) and can be heard online.

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Architects Outback

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bottom left The ‘Pink house’ in Walgett is a former nurses’ dormitory currently used for short-stay accommodation

below right Mayne Street House, Gulgong, winner of the 2016 (AIA) NSW Country Division Heritage Award

left Gladstone Street residence

hallenges to country practice are not always as obvious as weather events and the impacts of drought and flood. Maintaining contact with other architects is vital – not just for information and resources, but also for a sense of professional community. It’s certainly something I miss from working in a large practice or in the city where resources and experienced practitioners are more readily accessible. Technology is an enabler, connecting regional areas, but there’s a fl ip side to this change. For example, AuctionsPlus, an online marketplace for buying and selling livestock, is changing the way farmers interact, to which takes some adjustment. Country clients often have lower budgets to spend on architecture, but higher expectations thanks to TV shows such as The Block and Grand Designs, and the rise of digital media (such as Pinterest and Instagram) which fuels an appetite for ‘visual content’ but can short-circuit a genuine understanding of the design process. All of this brings opportunities to investigate the macro, not just the micro, which is where the Architects Outback program started. Architects Outback is a concept I’d been developing for 18 months with support from professional bodies. The idea is to take architects out into remote and regional areas (beginning with New South Wales) offering consultations to people who would never normally see an architect or use their services. Together with a like-minded architect friend from Dubbo, Alexandra Murray, and, a freelance journalist, we hit the road in March 2016 and recorded a program for ABC Radio National. That was a oneweek pilot where we made consulting services available, but the aim is to make it a permanent thing. The response was overwhelming. We made lots of contacts with other architects and potential clients through the process, gathering and collating information and feedback from all these people since the trip. But we really only scratched the surface. I see huge potential to develop new models for improving our remote and regional areas. And they’re not necessarily all architecture related. I don’t see why remote and regional Australia should be



All of this brings opportunities to investigate the macro, not just the micro, which is where the Architects Outback program started.

Cameron Anderson Architects Mudgee, NSW

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disadvantaged by distance any more – and that ’s at the core of the program. Currently on the drawing board are: a new rammed-earth dwelling on a vineyard; an extension to a 1980s rammed-earth house; historic house extensions in Mudgee and Scone; a two-storey commercial development; a preschool playground; an indoor swimming pool on a rural property and … Stage 2 of Architects Outback! /M

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WORLDS MZ06_058-061_profile_designer.indd 58


From Tasmania to the tip of Queensland, Australian designers are taking on the world with their feet firmly planted at home.

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n oceanography, the term gyre refers to the network of currents that circulate ocean water around the world. And for London-based designer Brodie Neill, it is the source of inspiration for his Plastic Effects project, which took centre stage at the Australian pavilion during this year’s London Design Biennale. The project aims to highlight the toxic contents of these currents that carry tonnes of plastic waste, and the impact this has on marine life and ecosystems. Substituting this waste for marble, timber and ivory, Neill’s Gyro table is made from what he describes as ocean terrazzo – pieces of plastic collected from the ocean and composed into a kaleidoscope of immersive colour. “As a Tasmanian, my connection focuses in particular on the sea and the coastline that surrounds my small remote island,” says Neill, who grew up on Australia’s Apple Isle and studied at the University of Tasmania before embarking on a global design voyage. The initial concept for this new work fi rst took shape in Neill’s mind when standing on the beach at Bruny Island in Tasmania a little over a year ago, one of the many trips he still makes home to a place where he “fi nds the connection becoming stronger rather than fading away”. Australia’s remote location, a frontier nation, has produced some incredible things. Neill says: “I have always believed that the necessity of ingenuity and selfreliance is Australian-wide because of our historic distance from the rest of the world and also the availability of materials and resources that are unique to us.”



opposite Brodie Neill’s Gyro table in the Australian pavilion at the London Design Bienale 2016

Marcus Piper

AWAY MZ06_058-061_profile_designer.indd 59

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above The Alpha chair by Brodie Neill for Made in Ratio top right Charles Wilson’s Carafe table for Herman Miller

I remember her opening it and exclaiming ‘Isn’t it clever!’ which sounded strange to me as it was the first time I had heard the word ‘clever’ used for an object rather than a person. CHARLES WILSON PHOTOGRAPHY | COURTESY MADE IN RATION + CHARLES WILSON + CHRISTINA WATERSON | ALBERT COMPER

below left Wilson’s Shoehorn for Menu and Serif stools


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bottom left + right Christina Waterson’s Stellar for Tait and Colony wall relief made from Kauri Pine salvaged from rum vats

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That ingenuity and self-reliance is a way of life on the land, as Sydney-based Charles Wilson recalls from a childhood growing up on a farm outside the rural NSW town of Forbes. “Certainly being familiar with many different machines and structures has given me a good understanding of materials and engineering,” he says, and with a bevy of local and international clients producing his work, it is clear that this understanding is paying off. Wilson’s recent Carafe table for Herman Miller, designed to accommodate work and play, is a piece of true industrial design, combining aesthetics and ideas to further the function of an existing object. Like his Candelabra for Danish brand Menu that comes together using rare earth magnets, Wilson has built a reputation for creating things that are beautifully clever, a reflection perhaps on the moment he fi rst considered becoming a designer. As he recalls, “One Christmas back in the late 1970s Mum was given something called a Guzzini Ball,” a space-age plastic picnic basket. “I remember her opening it and exclaiming ‘Isn’t it clever!’ which sounded strange to me as it was the fi rst time I had heard the word ‘clever’ used for an object rather than a person.” From that moment Wilson began considering what it would be like to create clever things instead of simply being clever. For Wilson, the land has also inspired him aesthetically. His self-produced Serif Stool is designed to resemble the discarded casings of a machine. Similarly, multidisciplined creative Christina Waterson’s Stellar collection for Tait is derived from a childhood in the bush, joining the dots in the night sky to create mental images of local flora and fauna. Waterson, who grew up in a small town north-west of

Bundaberg in Queensland, now bases herself in on the north coast of NSW where she shares a studio with her partner, furniture designer Darcy Clarke. Growing up in pre-digital remote Australia, Waterson found inspiration and a connection to the outside world in small things. Discovering Liberty of London fabrics in a small local textiles store was a moment that left a lasting impression: “At the time they were so exotic with the flora and fauna depicted being very different to our own.” She says, “the fabrics were a connection to the world beyond the town, as was music, video clips and magazines. They connected me to fashion, design, places and spaces all around the globe.” While travel plays an important role for Waterson, she still holds a connection to a more local way of life. A sharp sense of humour and the ability to engage in conversation with people from all walks of life are things she sees as a result of a country upbringing, though she has also learnt to trust her instincts. “It was my gut feeling that led me to that unbeaten path against advice to ‘just do one thing’ and ‘practice as an architect’,” she says, an architectural graduate who now works between the boundaries of art, design and architecture. Having spent her days in the city, Waterson feels at home in her new rural setting: “Living and working in such a beautiful environment within a grounded and generous community means you make time to appreciate and be a part of the community and place.” Though these days she is just a little less isolated: “There’s a certain duality in being connected to the high speed NBN and working away to the sound of mooing cows in the field next door.” /M

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this page The Pavilions on Magnetic Island Qld is set among granite boulders, hoop pines and eucalypts. Its cladding of hardwood battens acts as a second (insulating) skin and is silvering with age

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t’s a 20-minute ferry trip from Townsville (population 200,000) to Magnetic Island, permanent population around 2000. Approximately half of this mountainous island is protected national park — a rare habitat of granite boulders, hoop pines and eucalyptus woodlands, fringed by coral in the Great Barrier Reef Marine Park. Zammi Rohan, principal of 9point9 Architects, has designed a number of houses here. His latest is The Pavilions, recently commended at the 2016 North Queensland Architecture Awards. He sees the island – just eight kilometres off the mainland – as both a satellite community of Townsville and a remote tropical paradise. But the short water crossing brings unique challenges to architecture. “There are logistic limitations in terms of material sizes that can be brought to the island by boat, which in turn dictates the sort of materials you can use,” says Rohan. “There’s also a limited supply of resident trades; using them can save on costs, as opposed to ferrying people daily to work. So your strategies to simplify construction are important.” The Pavilions is high up on Nobby Headland, an environmentally-sensitive development of 17 large residential lots, where small building envelopes ensure minimal intrusion on setting and sight lines. Views from here radiate across the Coral Sea to Cape Cleveland and the city of Townsville.   Rohan’s clients purchased the site with an abandoned, partially-built frame. He re-planned its layout, repaired and completed the steel skeleton in among the granite boulders. Steel columns, bearers and roof beams were prefabricated in Townsville, and ferried over for assembly. “The advantage of prefabrication is that allows us to work with the terrain. So the frame fits around or is bolted onto the boulders. Of course, you need a geotechnical engineer’s advice on where to put those foundations. The other advantage is that a roof can go up very quickly, which provides shelter and shade. That’s important because it’s very hot most of the year, and very wet in the rainy season [November–March].” In the larger of two pavilions are the living area, kitchen, library, study, bathroom and guest room. The smaller contains three bedrooms, a bathroom and master suite. The priority is the

I Across Australia, architects are finding that a reponse to place and the environment forms the foundation of ideas that will remain rock solid.

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left The main ensuite of The Pavilions opens to a private deck looking down to Picnic Bay

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9point9 Architects Townsville, QLD

Chris Jenkins Design Port Macquarie, NSW


above + below right Phoenix House in Port Macquarie NSW; the steel and concrete block facade defends against the nearby flame zone

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outdoors, with 89 metres of outdoor decking to a relatively-modest interior of 149 square metres. Both pavilions are clad in fibre-cement sheeting, then cloaked in hardwood timber battening, achieving twin goals of shading the walls from tropical heat, and softening the building, so it ‘merges’ into the forest as the timbers turn silver over time. Rohan’s clients live in Hong Kong: one is French, the other is from Townsville. The interiors are a collaboration with a Parisian designer, so the furnishings, fabrics, art and timbers of this retreat are a mix of Australian, Asian and European influences. Rohan himself is something of a hybrid. An Australian Malaysian from Tasmania, he moved to Townsville for his apprenticeship with Troppo Architects, where he worked for seven years before starting 9point9. “What I really learnt at Troppo was a response to climate and place; and rationalising and simplifying planning, materials and construction methodology, although my style has evolved since then,” he says. “Troppo are renowned for lightweight construction, whereas I am now exploring a variety of forms and heavier materials; like Laneway House [named 2016 Regional House of the Year by the AIA] where we used concrete blockwork and a full masonry slab. “It’s a small project but it’s helped raise awareness locally about design. Townsville is bigger than Darwin or Cairns, though it fl ies below the radar because it hasn’t been seen as a major tourist destination. There’s a lot of industry here (mining, port, defence, and two universities). I think as it matures, it’s becoming more urban and progressive in its outlook.”

“By effectively creating a fi re shield with the northern wing, the bushfi re attack level for the rest of the house could be downgraded to BAL 40, allowing us extensive use of fi re-resistant windows to the east to access the views,” says Jenkins. Devoid of glazing, the north wing contains the top-floor master suite, with garage below. In the south wing are the children’s rooms at ground level, with kitchen, dining and main living areas above, and a small services area and wine cellar in the basement. While the steel of the roof wraps down the western façade towards the ocean, it hovers high above both wings, shading the balconies and interiors. Connecting the wings is a central staircase behind a glass curtain wall that displays to the street its battened balustrade screen of Victorian ash. “The timber screen softens the whole façade and it looks beautiful at night when it’s all lit up,” says Jenkins. This crucial element is in part a reparation for having rearranged the brief to meet the fi re codes. Jenkins’ non-combustible armoury of steel and honed concrete block (Adbri Designer Masonry in Ivory with river gravel) is unsympathetically blunt, but he richly lined the interior with Australian hardwoods – blackbutt for flooring, Victorian ash for joinery and custom-made furniture, adding occasional colour bursts to amplify their warmth.  At the 2016 AIA NSW Country Division Awards, Jenkins, “a local — of 25 years” received the People’s Choice Award for Phoenix House, and a commendation for his nearby Town Beach Amenities project – a rejuvenated café and toilet block at the local surf life saving building – now serving the only decent beachside coffee in ‘Port’.

The timber screen softens the whole façade and it looks beautiful at night when it’s all lit up. CHRIS JENKINS

urther south in New South Wales, overlooking Tacking Point Lighthouse and the Pacific, Phoenix House in Port Macquarie acts as both a bushfi re shield and a lens on the landscape. Set on a steep promontory, the site is classified as a flame zone, the highest bushfi re attack level. This profoundly influenced the architect’s approach to form and materiality. The clients had wanted a house of timber and stone, but the bushfi re regulations ruled out any external timber, and stone proved cost-prohibitive. The tangential street frontage triggered a strategic response from architect Chris Jenkins. He designed a building of two principal wings as high up to the road as possible, exploiting height to capture ocean views over rainforest canopy. Then, materially, he used the north wing as a primary bushfi re defence, wrapping it in the grey/green steel of the roof (Lysaght 305 Longline in Colorbond Woodland Grey).


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outhwest now, to the NSW Central Tablelands town of Mudgee, where architect Cameron Anderson augmented a mid-century log cabin on a small sheep property. In the fertile Cudgenong River valley, at the outer edge of the Sydney basin, Mudgee is home to around 10,000 people. During the 19th century gold rush, when prospectors flocked to the nearby towns of Hill End, Gulgong and Windeyer, its population peaked at nearly twice that. Today the legacy of those early boom years is written in the hundreds of heritage-listed buildings in Mudgee – domestic and agricultural, as well as civic institutions such as the Post Office, Railway Station, Town Hall and St Mary’s. Eventually gold was replaced by coal, and the mining of marble, clay, shale and dolomite from beneath the rich soils. Above ground, it’s farming, fi ne wool and food tourism that feed the town. “It’s an interesting time for Mudgee,” says Anderson. “The mines are getting old, and with more talk of renewables, people are looking beyond mining. A renewed interest in food associated with wine is driving innovation in areas like short-stay tourism. As an example, my wife’s family hosts the annual Sculptures in the Garden festival (more on page 43) at their property, Rosby Wines. It’s one of the things we moved here to help with, and its grown steadily to attract around 3000 people this year.” His brief for the Queens Pinch Road property was for a house extension with both separate bedrooms and gathering spaces for a family of nine. Anderson adapted to the tight budget by reorganising the little cabin for extra bedrooms, which meant the new wing could be reduced in scale, and funds diverted to building intelligence (like hydronic underfloor heating and solar hot water).


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Anderson likes to underscore thresholds between old and new buildings, rather than conceal them, and he used both form and fi nish to do this. While the log cabin ignores the site aspect and contours, and runs east-west, his addition runs north-south for better sun and rolling views down the property. The two are connected by a new shallow entryway, which traps a deep central courtyard behind. In layering the steel cladding profi les of the addition, Anderson alludes to the rural vernacular of a structure expanding over time. With recycled materials, he expressively links the new wing to the landscape. All the brick paving is all recycled. Timber from an old bridge was found on the site and used for external columns. Two old barn doors were remade into a heavy sliding shade screen hung on crude rollers from an old piece of machinery. “I’m increasingly interested in repurposing materials. It’s relevant to more remote projects where transport and labour can be significant costs. But it’s also a way of using materials that tell a story – things found on site or collected by the client. That frugality might seem second nature to farm life – born more from necessity than nostalgia, but I think it’s also about preserving a personal connection. And it’s great environmentally when you can give things a second life.”

That frugality might seem second nature to farm life – born more from necessity than nostalgia, but I think it’s also about preserving a personal connection. CAMERON ANDERSON


Cameron Anderon Architects Mudgee, NSW


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below In the small Hobart repurposed by Core Collective Architects, original painted brickwork is retained and rooms are identified with different material treatments left top & bottom The street-level façade from inside, with glass-faceted panel, and outside the new building outlines the old bookmaker’s workshop

this page Queens Pinch Road house in Mudgee recylces materials in a new addition that reorients the house

Humble by nature The winner of MEZZANINE’s 2016 Australia Day Instagram competition was Hobart architect Chris Clinton (@christopher_ clinton), who nominated Glenn Murcutt’s 1994 Marika-Alderton House in the Northern Territory. Said Clinton: “It’s a humble building that embodies Murcutt’s rigorous approach. It came into existence after a lengthy study of climate, construction methods and engagement with the occupants. It absolutely says “authentic Australian to me”. Murcutt, Australia’s only Pritzker Prize laureate, was responding to both the extreme Monsoonal climate of East Arnhem Land, and its acutely disadvantaged Indigenous community. Marika Alderton was a prototype, if you will, for better Aboriginal public housing than the typically alienating government stock. Buffeted by cyclonic winds, the site is surrounded by an estuary, a freshwater lagoon and a beach facing the Arafura Sea. Murcutt’s design has a raised floor and no glazed windows, but operable hatches and walls that throw the interior open to winds and daylight. Its steel roof, plywood skin and platform were all prefabricated in Gosford NSW, then trucked to the site. Designed as “an elevated shaded platform from which inhabitants can observe the horizon, changes in weather, the movement of people and animals and the playing of children,” it is a pioneering house in the true spirit. *Heneghan, Gusheh, Lassen, Seyama: The Architecture of Glenn Murcutt (TOTO, 2008).

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Across Australia, businesses are discovering the power of collaboration, creating multipurpose destinations that provide more than a one-of-a-kind experience in a single location.

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Penny Craswell

VIEW this page Devil’s Corner is a cellar door, café and lookout in Tasmania made of old shipping containers

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right The Iglou fashion boutique at The Sonic features all pink change rooms at the rear below Nimrod’s café is at the rear of The Sonic bottom left Studio Esteta restored the classical Greek architectural features of the Masonic Hall at The Sonic bottom right The Jumbled homewares store at The Sonic

The transformation of the building from its original use by freemasons, who did not accept women as members, into a retail and fashion centre owned and designed exclusively by women, makes this a great feminist story.

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hree distinct projects – the architectural repurposing of a masonic hall, an old timber mill, and 10 shipping containers – show how mixed-use, experiential destinations can help connect local communities.


Situated on the scenic drive along Tasmania’s East Coast, Devil’s Corner is a cellar door, café and lookout named for the Devil’s Corner wine label. The architecture is by local studio Cumulus, which added to the existing building, a small demountable, by creating a series of rectangular forms in the landscape with repurposed shipping containers. The resulting collection of buildings offers a cellar door wine-tasting experience, complemented by fresh local food (including fresh-shucked oysters from Freycinet) as well as spectacular views of the Hazards mountains and Freycinet. The architecture is grouped into two collections of buildings. Five shipping containers have been used to create a market area, consisting of a number of horizontal buildings surrounding a sheltered courtyard. The other five have been used to construct a lookout, a larger building with a vertical tower element made from two shipping containers end on end that offers the best vantage point for views. The materiality of the buildings is counter-intuitive, with warm timber used to clad the exteriors, and steel remaining on the interiors as a clue to the material’s previous life. Cumulus describes the lookout as a critical component of the design. Director Peter Walker says: “In the same way that an appreciation of wine can be gained through understanding its subtleties and varying ‘in-mouth’ sensations, there are many ways landscape can be appreciated.” The way the buildings have been designed demonstrates the importance of experience in creating Devil’s Corner, with visitors led on a journey through wine, food and the experience of Tasmania’s beauty. Here, architecture plays a crucial role in creating a destination for the senses.

Home to a fashion boutique, homewares store and café, The Sonic is a clever adaptive reuse of a historic Masonic Hall that is creating a buzz in Orange, NSW. The building dates back to 1864 and features classical Greek architectural features common in Masonic buildings. It has been put to many different uses over the years, and most recently had been used to manufacture and retail school uniforms. Felicity Slattery and Sarah Cosentino from architecture and design practice Studio Esteta were tasked with transforming the building into a retail and café space, with Iglou fashion boutique on one side, Jumbled homewares store in the main hall and Nimrod’s café located at the rear. The transformation of the building from its original use by freemasons, who did not accept women as members, into a retail and fashion centre owned and designed exclusively by women, makes this a great feminist story. But the building needed some work to make the transition. The fi rst step for Studio Esteta was to restore the original grandeur of the building, including the original Greek emboss on the front façade, which had been obscured. The next was to remove the commercial ceiling grids to reveal soaring ceiling heights, and plasterboard to reveal brickwork. Brickwork and other surfaces were limed, painted white or whitewashed to create uniformity throughout the space. Commercial-looking handrails, door hardware and fence were all removed, and replaced with minimal black steel accents. Onto this spare palette, each of the three businesses has added its own aesthetic. For example, Iglou features limed timber fi nishes and black hanging rails, with pink carpet and fabrics adding femininity in the change rooms. The reinvention of this distinctive building has created a destination and a sense of community for the city. “The project has been a talking point in Orange and surrounding towns,” says Felicity Slattery from Studio Esteta. “It is one of the fi rst independent retail stores of this scale in Orange to offer such an array of local and international brands, something citysiders take for granted.”

Cumulus Studio Melbourne, VIC + Launceston / Hobart, TAS

Studio Esteta Melbourne, VIC


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We evolved a concept of the internal city blocks, creating connecting laneways between spaces, and allowing each space to have a frontage to the pedestrian circulation routes. TINA TZIALLAS

Tzillas Omeara Architecture Studio Bowral, NSW

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Previously a timber mill, and the site of a car mechanic and hardware store, The Mill is a loose amalgamation of buildings that has been turned into a new hub in Bowral’s main street. With a café at its centre, The Mill also houses a number of retail spaces, studios for designers and other small businesses, and a coworking, meeting and event space. The owners recognised that these old buildings could be reinvented using new methods of engagement, while remaining focused on local values. “We wanted to create a meeting place for locals during the week and a destination for tourists on the weekend,” explains co-founder Matt Holt. Tina Tziallas and Tony Omeara from local architecture studio Tziallas Omeara, whose office is now within the building, have transformed a selection of run-down industrial buildings into a hip, sleek new space offering a range of different functions. Where possible, the design has made the most of the original structures, while removing more recent ugly additions. The largest space at 390 square metres is dedicated to the café, which boasts a raked roof and original timber trusses, while the old timber store has been converted into three retail stores. The original Timber Mill is now a generous retail space, while another old storage building is the site of five pop-up stores called ‘The Stables’ thanks to their shutters and stable doors. A series of smaller buildings has been united in a larger structure which is now home to studio spaces for creative professionals or small retail spaces for locally produced goods. “We evolved a concept of the internal city blocks, creating connecting laneways between spaces, and allowing each space to have a frontage to the pedestrian circulation routes,” says Tina Tziallas. This space is also home to Collab Highlands, a coworking space where professionals have access to a seminar space, wireless internet, printing facilities, and break out spaces, and can feel like they are part of a community. The resulting space provides a range of functions for a variety of different users, with a strong brand and good architecture bringing people together to create a sense of vibrancy in the local community. “Projects like The Mill encourage communities to work together. The feeling of community is infectious and benefits the entire town,” says Tziallas.

above Tzillas Omeara Architecture Studio retained the original timber trusses and raked ceiling in the café at the heart of The Mill left The Mill’s recycled and reclaimed materials reflect the raw, industrial nature of the site right The Mill’s logo and branding has been recently tweaked under the direction of curator Jane Quinn


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THE PHARMACY In Bonalbo, a small village in the Upper Clarence Valley in the NSW Northern Tablelands, a pharmacy is in the process of changing its business model, offering a cafĂŠ to its customers in an inspired example of mixeduse architecture. The idea came when the new pharmacist realised that people travelled reasonably large distances into town, often from remote locations, to visit the pharmacy, but there was nowhere nearby for them to meet, sit and gather. Now under construction with design by Tricia Helyar Architects, this retail and cafĂŠ space is set to become a local hub, creating a talking point and sense of community for the locals.

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this page The Tintaldra Cabin by Modscape in northeast Victoria

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t is little wonder that the road trip is so much a part of Australian tradition. Across these boundless plains, with landscapes so scenic, generations of travellers have embraced the open road as an essential, authentically local experience. When Aussies retreat, we shed the extraneous accoutrements of the every day. Never is it more apparent than when we are away from our domestic routine, that we realise it ’s possible to forgo most of our worldly possessions in favour of spontaneity, a picturesque destination, and a few moments of blissful nothing. But how to build spaces that encourage and sustain an unencumbered lifestyle? “Some holiday houses I’ve seen are enormous,” says Ashley Dunn of Dunn and Hillam Architects. “But all you really need is somewhere you can cook well, and a place where people can gather.” Their Dogtrot House on the South Coast of New South Wales is a neat solution for a family of four avid campers. The brief was to create a permanent structure that would emulate the communal, immersive feel of the camping experience. The two pavilions are divided by an open, but sheltered corridor, or ‘dogtrot’, creating a permeable structure. Though modest in footprint, these include space enough to sleep 14 people, if necessary.



Sandra Tan

THE GRID When we hit the road in search of a change of pace and wide-open space, a minimal approach to design can make the destination a little bit more manageable.

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In the front room, secure storage boxes at the perimeter house swag mattresses made to fit on top, turning generous bench seating into raised beds. A veranda opens out towards an estuary and lagoon, creating a place for visitors to sit out of the wind to feel as though they’re outside. “No matter what the weather is like, you’re engaging with it – whether you’re moving between rooms, or just having a quiet cup of coffee,” says Dunn. The positioning of the house on site was a key consideration. Sitting with its frontage towards the fall of the land, its inhabitants are able to access surrounding views, while remaining closed to the rear and protected from weather coming over the slope. Its strategic elevation means that the house is above the gaze of passing stickybeaks, so visitors to the Dogtrot House are able to live in an open way without compromising their privacy.

Modscape Melbourne, VIC

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imilarly, on a rural property in northeast Victoria, the Tintaldra Cabin by Modscape generates a sense of peaceful seclusion. Built for a travelling client who would only inhabit the space for half the year, the brief called for an unobtrusive structure. “Most of the time we spent on site with the client was about getting the positioning just right,” says Jan Gyrn of Modscape. From a siting and visual point of view, the dwelling needed to be relatively nondescript to deter any unwanted visitors while the property was vacant. To achieve this, the closed rear of the building faces the road, while the outwardlooking frontage, complete with deck, projects towards rolling hills beyond. Clad in recycled corrugated iron, in the vernacular of the Aussie shed, the cabin appears at home in its setting, receding into the landscape. By contrast, the interior of the small-scale dwelling is crisp and clean: a simple frame for the expansive views. Tintaldra Cabin is completely off the grid, with energy from solar panels on the roof, heating via a fi replace and rainwater tanks on site. “It is almost a romantic notion – that it’s a true getaway where you can operate all year round without any reliance on any sort of authority,” says Gyrn. Being specialists in prefabricated and modular solutions, Modscape provided the architectural design service as well as being able to do the bulk of the build off site. “Modular is an easy way of delivering in a rural setting,” says Gyrn. “It can sometimes be tricky for the different trades to get access to a tricky site, but prefab resolves that quite well.” Limited space requires consultation between the architect and client, in order to distil function down to its fundamental elements. The Tintaldra Cabin provides a master bedroom and bathroom, combining kitchen, living and dining areas to form a complete, if compact, home away from home. “Part of our ethos is to challenge the perception of what you really require,” says Gyrn. “What we provide is a quality product designed well, not a quantity one that just gives you space you don’t necessarily need.”



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Its strategic elevation means that the house is above the gaze of passing stickybeaks, so visitors to the Dogtrot House are able to live in an open way without compromising their privacy.


this page Dunn and Hillam Architects Dogtrot House, predominantly fabricated off site to minimise time on site by Builders Smith and Primmer

Dunn and Hillam Architects Sydney, NSW

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They decided that they wanted to do something special. They could have built cheaper, and bigger, but they really wanted a custom little project. KATHARINA HENDEL | TAKT

he Woonona Pod by TAKT Studio for Architecture demonstrates the potential of seasonal small space living to improve and contribute to our permanent residences. The family of four had no room for grandparents visiting from the UK during the Australian summer, resorting to caravan parks to house their guests. The clients pooled their resources and approached TAKT to come up with a solution that could keep the family together. What began as a standard granny flat evolved into a more integrated, imaginative structure. “They decided that they wanted to do something special,” says Katharina Hendel of TAKT, noting that the client had championed their bespoke, compact solution. “They could have built cheaper, and bigger, but they really wanted a custom little project.” Impressively, the space, though small, exudes a generous, airy quality. The large windows on its north-facing side contribute to this, as well as a continuous glazed panel overhead that runs the length of the building and creates a permanent view to the sky. The owners were very hands on and did a fair bit of the work themselves, with parents, sisters and nephews pitching in to get the job done. By condensing the space and including features that displayed the character and personality of those within, TAKT tapped into the family’s collaborative spirit. A closer look at the colourful kitchen splashback reveals an impressive Lego wall, a project for the big and small kids of the house. “When they came to us with the Lego idea, we said, ‘Really? Are you sure?’” Hendel laughs. “But it was a fun idea. So eventually we told them, ‘OK, but you’ll need a good set of colours!’” A Darth Vader Lego set was duly purchased to appease the architects with its requisite quota of black bricks.



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The family were on site to help with odd jobs, including the assembly of the affordable IKEA carcass specified by TAKT as a structure behind custom facia, to avoid the expense of in-built joinery. They were also involved in the charring of posts and beams, a solution to weatherproofi ng and making uniform the mixed hardwoods supplied. “The design is about the rhythm and sequence of spaces, and we wanted that to be readable from the outside,” Hendel says. The posts create a strong pattern and give a graphic form to the exterior. What Hendel is most satisfied with is that TAKT was able to extend the function of original brief. When vacant, the Woonona Pod becomes the family’s second living room – they practise yoga there in the mornings, and hold the occasional party there. “It’s not just a guest quarters that is closed when the grandparents are away – in many ways, it has become a retreat in its own right,” says Hendel. It has also sparked the clients’ enthusiasm for small spaces. They are now contemplating the addition of a modular office on site. As we approach the season for packing light, perhaps there are lessons we can take home from our travels about the joy and satisfaction of consciously living light.

this page The Woonona Pod on the South Coast of NSW


Takt | Studio for Architecture Thirroul, NSW

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Architect Shane Blue details the key pieces that bring a sense of authenticity to coastal Australia.

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The last thing on your mind when you pull into your beach house for a chilled weekend is maintenance. Blueys Beach House by Newcastle-based Bourne + Blue Architecture brings together a palette of hard-wearing finishes and furniture to make sure Saturday mornings are spent surfing not scrubbing.




AS YOU ENTER Pavers Amber MVS NXCE 592 French pattern x 30mm

Joinery cupboards and ceilings Birch ply Kitchen bench Caeserstone Sleek Concrete

Cladding Spotted gum Sorrento profile Cutek pretreatment

Cooktop Bosch PKF645D17A

Eaves 6mm James Hardie CFC

Rangehood Qasair MT60L1B

Roofing Blue Scope steel Colorbond Custom Orb

Oven Bosch HBG43S450A

Floor grates Stormtech 65ARG25

Fridge Electrolux EBE5167SD

Polished concrete floor finish Parchem Mastershield UA20 epoxy

Dishwasher Siemens SN46M582AU

Fireplace Invicta Argos firebox

2 2|

WHILE YOU DINE Tripod Table and Oak Chairs Mark Tuckey furniture


OUT THE BACK Bean bag seating

Lighting, bowls and cups Mud Australia

Fire pit


AND IN THE BATHROOMâ&#x20AC;Ś Tiles Amber large floor tiles Amber small brick pattern rough marble Shower and Tap-ware Brodware City Stik B99.05.T5 Platino matte finish and single lever wall set mixer


5 Brodware City Stik 1.9913.00.0.01 Exposed shower mixer set Basins Caroma Cube basin

Bourne + Blue Architecture Newcastle, NSW

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t is impossible to ignore the impact the late-1800s rush for gold had on Australia’s architectural heritage. A new-found wealth saw the Victorian and, more specifically, Boom style home become a beacon of prosperity – lining our streets with the decorative façades of what we now call the terrace house. Even Melbourne’s Royal Exhibition Hall was built to show the world the wealth we had discovered, later becoming Victoria’s fi rst World Heritage-listed building. Stepping beyond the subsequent eras of Federation and Art Deco, these homes have become the starting point for most architects, fi lling our regional towns with a character of the not-so-distant past. Digging a little deeper into the gold rush, we rediscover the great Aussie invention, the Coolgardie safe, designed by Arthur Patrick McCormick in the late 1890s – created to keep food cool in the extreme temperatures experienced in the remote Western Australian town that provides its name. It is a simple concept, thought to be derived from the way

COLD MZ06_082-086_inspiration.indd 82



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When it comes to climate control, Australian architects are going to ground for inspiration. MEZZANINE steps back in time to discover how our future is panning out.


Marcus Piper

RUSH this page Desert House by Dunn and Hillam

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Architectural language above Part of the Coolgardie Line by Elliat Rich, a finalist in the 2015 AFDA award right The section of Desert House in Alice Springs by Dunn & Hillam

Elliat Rich Alice Springs, NT

Dunn and Hillam Architects Sydney, NSW

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‘On Shore, Off Shore, Quite Sure, Not Sure’, the topic for the recent Australian Institute of Architects NSW Country Division regional conference held in Kingscliff led us to question the importance of identity and authenticity, and whether this is being eroded or informed by the ease at which we can travel, share information and access images and materials. What is it to design in and for Australia when we are virtually bombarded with images and commentary from across the globe? Vernacular architecture is typically based on local needs, built of local construction materials and reflects local traditions. A recent house in Coonabarabran by Armidale practice architecture@altitude encompasses the form of vernacular structures evident in its simple “shed” form, perhaps a subconscious response to recent woolshed research, whilst also a direct response to an expansive rural site and a harsh climate.

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Aboriginal people used kangaroo skins to carry water, and relies on three simple elements: wind, water and heat. Today it is better known as evaporative cooling. For more than half a century, the verandas of many Australian homes featured these early makeshift fridges, many made from hessian and wire mesh. For Alice Springs-based designer Elliat Rich, her Coolgardie Line furniture brings a new level of opulence to this iconic piece of rustic Australian ingenuity. A finalist in the 2015 Australian Furniture Design Award, Rich’s work brings together references to the past and present, creating works that showcase the everyday in a local context. It is nothing new to position a house so the breeze keeps things cool, or even elevate a structure to encourage air flow. In fact, the iconic Queenslander is an architectural form derived purely from this function, as is the great Australian woolshed which has inspired the likes of Stutchbury and Murcutt when they head out of town. Similarly, the concept behind McCormick’s low-tech invention is at the heart of exciting new thinking in the approach to energy-efficient buildings. In the small NSW town of Junee, architects Dunn and Hillam, together with a local council brave enough to explore possibilities, has created a public library with

above Airies House in Junee left The Junee Library Both by Dunn and Hillam


an energy bill of less than most households. To understand the way this is achieved, you would think you would need to borrow a few physics textbooks, though the system is actually incredibly simple. Water that is harvested from the building’s roof is resprayed over the roof during clear nights, reducing the temperature of the water down to approximately eight degress. This water is then used to cool the building during the day. Called a night-sky cooling system, in essence it is a Coolgardie Safe at a grand scale and the first of its kind in Australia. It is expected to pay for itself in just four years. Dunn and Hillam’s commitment to energy-efficient buildings is long-standing, with their 2009 Airies House, a contemporary farm-house on the outskirts of Junee, providing the growing family with a home where the only visible climatic control is ceiling fans. Derived from the ideas behind grain silos, farm buildings and that other rural icon, the akubra, the house is arranged under a large roof that drops low to the ground, reducing the impact of wind and sun. Using hydronic geothermal heating and cooling in the floor, the home is virtually self-sufficient with solar panels used to power the pumps that circulate the water. Further afield in Alice Springs, these same architects have designed the Desert House, another leading example of low-tech ideas being used to manage climate. Using a concept usually found in campgrounds, the house incorporates a fly roof that creates a void, a little like the double skin on an old Kombi. As the warm air rises and escapes a breeze is created by drawing cool air from the rock beneath the house, channelling it through a series of well-placed windows. In the still, arid conditions of Central Australia, a naturally-generated breeze is rare, so one which reduces the internal temperature of a house by up to 15 degrees without the use of air-conditioning could be considered an architectural miracle. Returning to Western Australia, Luigi Rosselli Architects have recently constructed Australia’s longest rammed earth wall along the edge of a sand dune in the remote Pilbara region. Behind the 230-metre-long span, constructed using only materials from the site, are 12 apartments – home to musterers who work on the cattle station for short periods of the year.

To understand the way this is achieved, you would think you would need to borrow a few physics textbooks, though the system is actually incredibly simple.

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… utilising the thermal mass of their natural surrounds to keep them cool in a sub-tropical climate that often experiences temperatures above 40 degrees.

Luigi Rosselli Architects Sydney, NSW

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Titled ‘the great wall of WA’ and buried beneath the dune, these homes are at one with the earth, utilising the thermal mass of their natural surrounds to keep them cool in a sub-tropical climate that often experiences temperatures above 40 degrees. Topped with a meeting space and chapel that features cyclone-proof curved sliding-glass windows, the project provides a safe haven for its residents while reducing energy costs and maintenance in the off season. The project, which is gaining recognition globally, rejects corrugated iron roofi ng, a material typically used in rural buildings and central to the work of iconic Australian architect Glenn Murcutt. In doing so, it is raising questions about the materials we commonly use and exploring new possibilities for an Australian architectural vernacular. As Murcutt himself said: “You know, if we set out to design an architecture that’s Australian, we’re in trouble ... The important thing is that we address the issues, we address the landscape, we address the brief, we address the place. If we address those things and do them rationally and poetically at the same time, we must be getting somewhere.” /M

above ‘The great wall of WA’ by Luigi Rosselli Architects


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The Maximum Effect. THE FUTURE OF ARCHITECTURAL SURFACES IS HERE. Maximum is the first technical porcelain panel with extraordinary dimensions: 1.5 metres wide, 3 metres long and just 6 mm thin. Developed and made in Italy using leading-edge technology, Maximum is available in 40 beautiful colours and finishes designed to outperform both composite and quarried stone. Maximum pressed porcelain panels are lightweight, durable, UV stable, environmentally friendly and cost effective, providing limitless design possibilities for both interior and exterior. Visit to find out more.


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PUNKT UP While Ross’ Instagram account is a virtual tour of Australia’s architectural heritage, when he is on the road he prefers to drive a little more off the radar. The Punkt MP01 mobile phone, designed by Jasper Morisson, is simply a phone with no internet, no social media, and no distracting digital dashboard to take you off course.

TUNED OUT There was no digital streaming in 1974, the year Gram Parsons released Grevious Angel, Ross’ soundtrack of choice for the open road. And with a phone that doesn’t carry a playlist, he keeps the CD in the glove box.

MP01 MOBILE PHONE by Jasper Morisson, for Punkt


THE STARTING POINT The Citreon DS, launched at the Paris Motor Show in 1955, was the result of a collaboration between sculptor and designer Flaminio Bertoni and aviation engineer Andre Lefebvre. Once voted the most beautiful car of all time, it has become a symbol of modernism, and for Ross a vintage DS in black with a red interior is the only way to travel. 60 years later, the legendary piece of automotive design lives on with the re-launch of the range.

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LAWN LOAFERS Wandering lawns and laneways in search of his next set, Ross sports the iconic Stan Smith sneaker by Adidas. Understated in design and branding, these treads match the reputation of their namesake, a champion tennis player of the 1970s, though in recent years they have also been painted with the ‘happy’ brush by Pharrell Williams.

SECRET SERVICES On a mission to uncover our best-kept design secrets, Ross’ vision of Australian architecture is framed by a pair of Kingsman sunglasses, part of a bespoke collection by the film’s director Matthew Vaughn with Cutler and Gross.

SOCIAL’ISMS Whether it is for the crew or the crowd, Ross packs to please with the SUNplace solar cooking table and set by Lanzavecchia + Wai, and a set of 1970s Plona folding chairs designed by Giancarlo Piretti. Part of the permanent collection at Melbourne’s NGV, they add a purpose to a road trip in exploring the vintage furniture stores across the nation.

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THE ICON Comedian, TV personality and self-confessed architecture tragic, Tim Ross – the star of the ABC TV series Streets of Your Town* – has been touring the hidden gems of Australia’s mid-century architecture for the past year with his Man About The House performance series. So who better to take MEZZANINE on a roadtrip of design than the public face of Australian modernism? @ modernister


above Tim Ross with Australian architect, Robin Boyd, in the ABC series Streets of Your Town

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Investing in quality outdoor furniture requires long-term dedication, Gordon Tait managing director of Melbourne based outdoor furniture company Tait gives us a few hot tips on how to keep the classics eternally cool.

* If you missed Ross’ fantastic series it is now available on DVD



All timbers need oiling. To ensure Spotted Gum’s colour is retained, we would suggest oiling the timber biannually. First, clean the furniture with hot soapy water and a scrubbing brush, then sand the surface with a 240-grade sand-paper. Then, wash the furniture down a second time with fresh water, ensuring you let it dry thoroughly. Finally, using a high-quality outdoor furniture oil, apply two coats with a brush or rag. For Accoya, follow the same steps as Spotted Gum, but be mindful that Accoya is much a softer wood that won’t stand up to aggressive sanding. You can apply an additional coat of tinted oil after wiping the table down with water. FSC Spotted Gum (Eucalyptus Maculata) and FSC Accoya are high quality timbers known for their durability – we source these from western Queensland and some forest stands located in eastern coastal areas. Spotted gum is a rich-coloured Australian hardwood with fantastic lasting qualities in exterior contexts. Accoya is an acceylated Radiata Pine (Pinus radiata) product with a light colour that is both durable and environmentally compatible and can be used outdoors for furniture and decking.

Typically, there are two grades of stainless steel that can be incorporated for outdoor application: 304 and 316 Marine Grade. The latter is employed in high-corrosion environments, such as coastal locations subject to salt-air contact or chlorine exposure in pool settings. For outdoor environments where there is no risk of corrosive contamination, 304 grade is a more than suitable choice. Generally any fixings used for outdoor furniture and those that reduce rust should always be 316 grade. The finish of the stainless steel also pays a big part with the higher the polished finish, the smoother the resulting surface. A smoother surface will ensure environmental build-up such as dust, vehicle emissions and salt have less chance to ‘hang’ onto the surface, causing what is known as tea staining. It can of course be cleaned off, but will reappear for as long as it is located outdoors. Another way to smooth stainless steel surfaces is to Electropolish, which is an electrolysis treatment.

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MEZZANINE design directory MEZZANINE would like to acknowledge the members of

our Editorial Advisory Board for the time they have taken in guiding the publication. We have also included the Instagram handles for this inspirational team to give you an insight into their processes and thinking. Adam Goodrum Furniture designer Sydney ADAMGOODRUM.COM ADAM@ADAMGOODRUM.COM






George Livissianis Designer Sydney

Kennedy Nolan Architects Melbourne

Penny Craswell Writer Sydney











_ Halliday & Baillie Architectural hardware Sydney HALLIDAYBAILLIE.COM

@KENNEDY_NOLAN _ Matt Gibson Architects Melbourne




Matt Woods Interior designer Sydney

Tait Furniture retailer Melbourne + Sydney






Mim Design Interior designers Melbourne

Woods Bagot Architects Global






Hecker Guthrie Architects Sydney

Own World Furniture retailer Sydney + Melbourne





JamFactory Gallery + studio Adelaide JAMFACTORY.COM.AU








Hassell Architects Global

Stylecraft Furniture retailer Melbourne+ Sydney



Peter Salhani Writer Sydney PJSALHANI@GMAIL.COM






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Niche Media ABN 13 064 613 529. I understand my subscription will start with the next available issue and will be mailed once payment has been received and processed. Privacy: Your name and personal details are retained by Niche Media to fulfil your subscription, and send you renewal notices, offers and MEZZANINE products and services. We may also provide this information to third parties for distribution of the prizes. No refunds provided. Niche will provide all issues subscribed to in print or digital format while in publication. Niche will not allow ‘queued’ issues on banked up subscriptions extend longer than three years from date of purchase.

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s a rather tall man, Tasmanian designer Simon Ancher doesn’t consider air travel to be a luxurious experience. Add to that the weight of a new role as head of furniture at the University of Tasmania, and tensions were running high for Ancher as he boarded a 2006 fl ight to Melbourne’s WorkShopped event. “I decided to focus on something other than my lack of comfort for that fl ight,” he recalls, instead concentrating on the wingtip of the aircraft. The curve in the wing that drew his attention has resulted in a design detail that has taken Ancher to new heights as he progresses beyond his role at UTAS and into a full-fl ight design studio. The piece that moment inspired is the Clipped Wing stool, the fi rst in what has become an entire range derived from the aesthetics of fl ight – equally defying logic and gravity. As Brian Parkes, CEO of Adelaide’s Jam Factory, says: “Ancher’s Clipped Wing range has a timeless elegance to it. There’s some very clever joinery concealed behind what seems to be a clean, simple cantilevered plane.” Carrying that angular motif through benches and cabinets, Ancher has created an iconic language – something of a rare feat in the furniture world. It is a language that relies on his skills as a maker and his determination to make a difference. Now, after a decade shaping the futures of a new generation of furniture designers at UTAS, Ancher and his wife Lisa are




Brian Parkes

From one moment of inspiration on a flight not-so-fancy, Tasmanian designer Simon Ancher conceived a future furniture classic that will last for generations.

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taking off on a more independent journey from their Launceston base, with their store and studio as the focus. It is a brave move to step away from the safety net of his former role, though as Parkes suggests: “Given the momentum behind his practice – and his business – I’m quite sure these things will remain in production for many years to come,” adding, “his commitment to solid timber and quality craftsmanship will ensure they last for generations.”

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THE MEZZANINE #95 #102 #103 #105 #107 #109 #110 #113 #114 #114


THE INSIDE SCOOP Discover what brings eight inspirational interiors together. ADVICE AND INSIGHTS FROM



Indigo Jungle Garden Studio by Angus Munro of Marc&Co (Page 108)

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The Sawmill House in Yackandandah is a regional dwelling in an industrial setting. By reusing materials and seamlessly fusing design and craft, two brothers have achieved something remarkable in a small town in north-east Victoria. The Sawmill House uses 270 reclaimed one-tonne blocks of locally-sourced waste concrete, which anchor it into the landscape and a dynamic, active building envelope to regulate the internal environment. Large operable panels on the roof and façades blur the boundaries of inside and outside, and warmly welcome the natural environment. Along with the house itself, the furniture, lighting and joinery were all made by brothers Ben Gilbert (client and local sculptor) and Chris Gilbert (lead architect from Archier). Much of the house and its interiors was designed and developed ‘on the fly’, achievable due to the unique relationship and skills of the brothers. Their drive to intertwine the processes of craftsmanship and design as a continuing conversation was fulfilled in a house that celebrated its site’s history and environment. The house effortlessly uses raw materials in unconventional yet bespoke ways.





BRASS: The kitchen joinery is hand wrapped in a fine brass sheet, and patinated with apple cider vinegar. The surface will continue to age and narrate the life of the house.



TIMBER-LINED WALLS + CEILING: Red stringy bark trees that fell during a storm seven kilometres up the road were dried, milled and dressed within the region and used to line the ceiling and floor.


LIGHTING: Designed and prototyped by Chris, the lights are designed to disappear. They later were developed into Archier’s bespoke lighting collection.


above Archier director and Sawmill House designer, Chris Gilbert with founding directors (L-R) Josh Fitzgerald and Chris Haddad

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TEN Light – no waste – variation: the main features of TEN, a new and innovative collection by Conde House and Michael Schneider. TEN, the Japanese word for heaven, describes the concept of light, almost airy design. Deriving from the aeronautical, the chair’s concept has been perfectly mastered by Conde House’s craftsmen. A simple, yet difficult to realise concept with striking features: lightweight design in solid wood, superior seating comfort and a wide range of combinations of wood colours and upholstery materials. Basic versions for contract and residential purposes can be upgraded up to very exclusive solid wood/leather combinations.

283 Swan Street, Richmond Vic 3121 Tel: +613 9112 7250 Mob: +61 4 2534 6875

Barbera produces Australian made and designed furniture for commercial and domestic spaces. Our ethos works around intelligent design outcomes and process orientated workings. Fusing old industrial techniques with modern technology and high craftsmanship centring on quality materials and engineering, Barbera supplies both the Australian and international specifier market.

Studio showroom by appointment 5/213 Sunshine Road, Tottenham Vic 3012 Tel: +613 9314 4273 Email:

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OFSET Ofset by Alexander Lotersztain is one design, offering infinite possibilities. Designed exclusively for Arthur G, Ofset comprises a series of moveable modules, which can be rearranged once constructed. Simply begin with a base, building your configuration with a seat, back, arm or table. Housed inside a solid American oak base, each Ofset module can be individually upholstered in fabric or leather. Arthur G is an Australian furniture company dedicated to the creation and production of classic design. All Arthur G pieces are conceived and manufactured to order in Huntingdale, Victoria, to exacting specification.

VIC 618 Church Street, Richmond, Vic 3121 Tel: +613 9429 6696 NSW 1/8 Hill Street, Surry Hills, NSW, 2010 Tel: +612 9332 1488 WA 207 Stirling Highway, Claremont, WA, 6010 Tel: +618 9286 1433

CICCA COFFEE TABLE Cicca, designed by Miniforms Lab for Miniforms, is a pair of coffee tables that nest together beautifully. Cicca coffee tables feature a metal frame that can be painted in a number of colours or are available in a bright copper with a galvanic treatment finish. The table top is available in a soft touch Calacatta Gold Laminam or lacquered to match the structure.

SYDNEY Tel: +612 9699 8577 MELBOURNE Tel: +613 9411 0011 BRISBANE Tel: +617 3254 3700 Email:




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The form of the building was composed to maximise views in accordance with each staff member’s role. The architects face out into the orchard, while the landscape architect faces directly into a small landscaped courtyard. Where the form is solid, it blocks out car parks and back-of-shed areas. The work of Australian artist Rosalie Gascoigne played a key role in the way we approached the external recycled façade. Recycled old corrugated iron was collected from the paddocks surrounding the project site and composed as a façade treatment in contrast with a thin glazing system that provides a minimal threshold between desks and the orchard. All joinery is custom-designed, laser-cut layered plywood with burnt black, expressed edges. Joinery is carved out and continuous in form to create workstation desks, benches and a cantilevered model display bench.

Internally, raw plywood floors and ceilings contrast against white walls.


A series of layered plywood boxes are tucked into wall cavities between studs to form book and folder storage.


The organic forms of the internal joinery took cues from the geometry of the surrounding apple and pear trees.


Designed as a glass box for viewing the surrounding orchard, this small studio includes an office space and a meeting area for two architects and a landscape architect.


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SYDNEY Tel: +612 9699 8577 MELBOURNE Tel: +613 9411 0011 BRISBANE Tel: +617 3254 3700 Email:

Close to its 20-year anniversary, Cult (established 1997) is a leading furniture retailer with a collection of 30-plus brands across furniture, lighting and accessories. This includes renowned brands including Republic of Fritz Hansen, HAY, Poltrona Frau, Magis, Carl Hansen & Son and Cassina, as well as Cult’s own brand that supports local Australasian design. Cult has grown from its first location in Chippendale, Sydney, to now include showrooms in Melbourne, Brisbane and Auckland, as well as distributors in Canberra, Adelaide and Perth. Tel: 1300 768 626 Email:


LITERATURA OPEN BOOKCASE Literatura Open, designed by Vicent Martínez for Punt, is a distinctive bookcase, inspired by the classic, legendary and award-winning ‘La Literatura’. Literatura Open is a bookcase that is transparent and even lighter, so it can hold books and objects, as well as being used as a room partition that integrates into all kinds of architecture and interior design projects. Playing with fixed shelving and a movable shelving section on castors, the bookcase is both stunning and functional.

NUPTIAL FLOOR LAMP The Nuptial floor lamp is the latest collaboration between Trent Jansen and DesignByThem. Marrying simplicity and expression, the floor lamp plays on scale and balance, creating a graceful statement piece. Ever-evolving, Curious Grace is an Australian owned furniture company, specifically employing industry professionals whose purpose is to facilitate residential and commercial project fitouts. Curious Grace utilises a range of original-design commercial and hospitality-grade furniture products developed by local and international designers and manufacturers. Our focus is on making your project as simple as possible with complete furniture specification management and on-time furniture delivery.

VIC Yarraville & Clifton Hill NSW Mosman Email:

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DesignByThem was founded in 2007 by Nicholas Karlovasitis and Sarah Gibson and showcases the work of many great Australian designers. The studio’s design first approach and passion for education is reflected in its products and culture. Visit the website for more Australian designs.

109 Shepherd Street, Chippendale, NSW 2008 Tel: +612 8005 4805 Email:

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GOLDEN KEY DESIGN AWARD 2014; GERMAN DESIGN AWARD NOMINEE 2017 PICARD WORKING DESK Artisan is an award-winning design and innovation manufacturer, which specialises in the manual production of high quality furniture made from solid wood. Its insistence on manual artisan work is what sets it apart. Artisan collaborates with the best regional and global designers who are familiar with its technological advantages and who know how to convey its expertise into a vision that is worthy of the precious material that is wood. Artisan’s aim is to reaffirm its philosophy with each collection, each species of timber, each designer’s vision, combined with a diligent craftsman’s finish. The final process incorporates natural oils, soaps, wax or varnish, which ensures a longer lifespan, preserves the naturalness and improves the visual timber features of each product. “We have known wood our entire life, from the forest we played in as children…” – Fadil

Rear 33 Little Ryrie Street, Geelong Vic 3220 Tel: +613 5224 1444

Creating sophisticated effortless pieces that offer relaxed luxury designed for living, the Lounge range of interior designer furniture is distinctive and exclusively available to our interior design market. Beautiful furniture for living, handcrafted, made in Melbourne, for designers. For the full breadth of range and product details visit Lounge is distributed nationally through Boyd Blue; you can visit showrooms for display.

Tel: +617 5527 0899 Email: Email:

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At Living Edge, we believe that great design is an intelligent idea brought to life in a way that’s beautiful, original and sustainable. We’re committed to bringing our customers the best designs from the world’s most established and forward-looking luxury furniture brands. Each brand we represent is selected for the quality and significance of its designs, its relevance to the Australian market, and a commitment to social responsibility that’s in line with our own. Our products improve people’s home, work and shared environments. Our unique range and knowledgeable service has made us Australia’s preferred destination for architects, interior designers, and those who share a passion for authentic design.

Sydney | Melbourne | Brisbane | Perth Tel: 1300 132 154 Email:

Established in the early 2000s, Meizai offers an evolving selection of products and solutions across furniture, wardrobes, joinery, lighting and accessories, with an emphasis on developing and building an environment that celebrates design and provides a platform for innovative, up and coming designers, design houses and brands. Collaborating with innovators both internationally and locally, Meizai prides itself on offering designs that can transform a variety of spaces and projects. We travel extensively to the world’s prominent design locations in search of new and innovative solutions, brands, products, concepts and finishes that can help to bring any design vision to realisation. MELBOURNE SHOWROOM (FLAGSHIP) 658 Church Street, Richmond Vic 3121 Tel: +613 9279 2888 Email: SYDNEY SHOWROOM The Woolstores Shed 73, 4E Huntley Street, Alexandria NSW 2015 Tel: +612 9119 3455 Email:

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Own World exists to support the design community with inspiring and practical solutions to the challenges faced when creating functional, well-resolved, sustainable and beautiful spaces. We want our dialogue to be genuine, our relationships to be enjoyable and our delivery to be seamless. Timeless appeal, application, technology and environmental sensibility are key considerations for inclusion in the Own World portfolio. We are continually speaking with manufacturers and artisans from around the world to find products and objects that fill design niches. Aiming to keep work and life balanced, Own World strives to satisfy ‘design minds’ through connection and experience beyond the limits of work.

SYDNEY SHOWROOM Contact name: Norman Paul 716 High Street Armadale, Vic 3143 Tel: +613 9421 1191 Email:

Planet loves originality, individuality, texture and beautiful natural materials, and has been celebrating handcrafting, quality, style and sustainability since 1991. We aim for a timeless restrained functionality that makes sense of materials and has personality. We build production furniture designed by Ross Longmuir in solid Australian hardwoods and resolve thousands of unique pieces, with consideration for impact on the environment at our core. We have a comprehensive website and our two Sydney showrooms have an extensive range of homewares, including Australian studio ceramics, our own carpets and soft furnishings, vintage Japanese items, as well as many other unique items.

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5/50 Stanley Street, Darlinghurst, NSW 2010 Tel: +612 9358 1155 MELBOURNE SHOWROOM 11 Stanley Street, Collingwood, Vic 3066


Mortice and Tenon is a Melbourne-based bespoke furniture and joinery manufacturer working within the high end of the market. Since 1997 we have been helping to create beautiful environments for designers, architects and private clients alike. With our core artisan European trained team based in our Preston factory, our services extend to designing, manufacturing, installing and project managing of projects from high-end residential to high-end commercial. We pride ourselves and revel in working on the most difficult and complex projects where we can put our craftsmen’s skills to work in order to achieve an optimum result.

Planet Commonwealth 114 Commonwealth Street, Surry Hills NSW 2011 Tel: +612 9211 5959 Planet Potts Point Shop 2, 10 Macleay Street, Potts Point NSW 2011 Tel: +612 9331 2181

Showcasing a select collection of modern furniture, lighting and design objects, Remodern represents progressive brands and designers that push modernity, seek innovation, and create original and timeless design with a commitment to high-quality craft. ‘Towards the world, keep being curious, listening and practising’ – Bentu Design is experimental, unbounded and responsive, devoted to design and committed to creating functional, considered and sustainable products. Doing away with the superfluous and allowing necessity and function to guide its creations, Bentu transforms the discarded and everyday, into the spirited and desired. Ding table [featured] is part of Bentu’s recycled concrete range available through Remodern.

30 Viking Court, Moorabbin Vic 3189 Tel: +613 9044 7980 Email:


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Several interventions were made to the existing building to create a more functional layout and provide additional storage, without changing the footprint of the house. With the clients loving surfing and the ocean, we designed various screens, shelves and benches in shapes alluding to waves or whales. A shelf in the bathroom was created from a snapped surfboard, while the bench at the front door has been shaped from timber to reflect an alaia surfboard. To give some life to the existing street faรงade, we used a combination of vertical shiplap boards and battens of varying thickness in a curved relief creating a sense of movement when driving by or as the sunlight changes through the day.

Use of local hardwoods throughout creates a hardy and tactile environment.


Artworks in the dining room have been painted using the old doors as canvases by house painter Shaun Clarke.


New skylights flood the spaces with sun in the winter months.


Materials are primarily plywood, red ironbark, blackbutt and customorb monument. Most of the furniture, including the dining table, sofa, kitchen island and other built-ins, was custom-built by Sam Thomas, a local builder, and designed by Ian Sercombe, the architect.


An uninsulated, painted concrete block house has been transformed into an inspiring holiday home that responds to its location between the surf and the trees of the Blueys Headland.


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Always paying close attention to the care of the product during all phases of construction, Lema has an extraordinary way of interpreting the essence of Italian quality and design. With ‘slow living’ as the company’s ethos, all Lema pieces are designed to achieve interior harmony and comfort. The sophisticated and timeless collection of Italian wardrobes, shelving systems and home furniture is on display in our exquisite Melbourne and Sydney showrooms.

MELBOURNE 173-177 Barkly Avenue, Burnley SYDNEY Casba, 18 Danks Street, Waterloo

SEE US ON PAGE 40 Stylecraft has been providing furniture of original, contemporary design for over 60 years. First established in Melbourne, Stylecraft is now represented in Sydney, Brisbane, Perth, Adelaide and Canberra, together with a showroom in Singapore. Our diverse product offering from Australian, European and Japanese brands is suitable for residential, hospitality, workplace and commercial spaces.

Tel: 1300 306 960

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Simple Form is a Scandinavian and minimalist lifestyle concept store and interior styling studio, carefully curating beautiful and unique art, homewares and furniture from international and local designers. We support iconic brands such as Hay and Muuto, as well as up-and-coming independent creatives. Living a life of simplicity truly begins with being surrounded with forms that not only serve a fundamental function, but also have inherent beauty, craftsmanship and timelessness. Simple Form seeks to make the world less complicated by being a destination to shop for simple, clean and carefully considered designs.

Mob: +614 0212 1890 Tel: +613 9041 5296


Renowned furniture and living brand, Lema, available exclusively from Rogerseller, has designed and manufactured a comprehensive range of home furniture and storage solutions for over 40 years.

DESIGN IS IN THE DETAILS. The finishing touches that make your client project a home. Top3 by Design specialises in providing the small furniture pieces that take your project from fantastic to extraordinary. If you are an architect, interior designer or developer ask us about our Industry Program. We have worked some of the industry’s best to add the finishing touches to display apartments, residential homes or office fitouts. From product supply to your brief, through to a full style consultation.

Tel: 1300 867 333 Email:

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AGAPE SEN SYSTEM AND ACCESSORIES From leading Italian bathware company Agape comes the innovative Sen system. Gwenael Nicolas of Curiosity and Japanese marketing expert Reiko Miyamoto designed the Sen system as an expression of Eastern spirit and Western technology. Crafted from striking grey or black-brushed aluminium, Sen incorporates multiple functions in a line of independent components that can be freely combined. The Sen system includes wall-mounted taps, a flexible hand shower, a shower column, surface-mounted taps and floor-mounted spouts, as well as a range of accessories including a soap dispenser and towel holder. Agape is exclusive to Artedomus.

Based out of New Zealand, Methven has been creating amazing water experiences since 1886. Drawing on New Zealand’s heritage as an island nation, we have developed a unique relationship with water. This understanding of water has led us to garner a variety of local and international awards for innovation and product design in showers and tapware – including the prestigious Red Dot Award. Known for breakthrough innovative technologies Satinjet® and most recently Aurajet™, Methven continues to push the boundaries of conventional showering to create amazing water experiences.

Contact name: Nicole Jessup Tel: 1300 638 483 Email:

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Bathe is an Australian owned luxury bathroom distributor for internationally renowned brands Hansgrohe, Kaldewei, Duravit and Bathroom Butler. Winners of multiple awards, these brands are selected due to their international standing as leaders in their respective fields. This ensures every product that Bathe represents brings to the user the highest standards of manufacturing quality, excellence of design and the ability to create the ultimate luxury bathing space and experience. Bathe has been bringing the art of bathing to Australian retailers, architects, designers, renovators and home builders since 1995 and showcases designs from Philippe Starck, Antonio Citterio, Phoenix Design, Ettore Sottsass and Lord Norman Foster.

Tel: 1300 133 320

CDESIGN Designed in collaboration with leading design firm Carr Design Group, CDesign expands its collection in 2016 with the intention to produce a distinct, contemporary and functional range of bathroom products. The Micro 485 is compact, highly adaptable and ideal for small powder rooms, while the 1330 Double and 1620 Double provide optimal flexibility that suits a diverse range of residential and commercial projects, as well as budgets. Manufactured from solid surface, all designs have a smooth matt finish that is exceptionally hard wearing and durable. CDesign is part of the Omvivo Signature Range and is available through Omvivo distributors globally. Tel: +613 9339 8130 Email:

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Established for more than 120 years, Rogerseller remains the leader in sophisticated and timeless bathroom solutions. Our carefully selected portfolio of exclusive imported and local brands align with everything we’re passionate about – superior craftsmanship, attention to detail and an uncompromising commitment to quality, culminating in a bathroom collection that is an expertly curated range of the finest pieces from around the globe. You can browse our bathroom collection in any one of our world-class showrooms in Melbourne, Sydney, Brisbane or Perth.

The purpose of drainage in building and design is to ensure the successful functioning and durability of the built area. Linear designs by Stormtech are a striking visual statement: a chic and ultra-modern look that enhances the visual appeal of any drainage area. This is of upmost importance in contemporary designs where aesthetics are a key consideration. Linear drain design was invented by Stormtech to allow for a wider range of floor surfaces and flooring configurations than is possible with traditional centre wastes. With contemporary and streamlined integration, Stormtech products are particularly suited to commercial and residential environments. Stormtech Pty Ltd Tel: 1300 653 403 Email:


MELBOURNE 173-177 Barkly Avenue, Burnley SYDNEY Casba, 18 Danks Street, Waterloo BRISBANE 74-76 McLachlan Street, Fortitude Valley PERTH 153 Broadway, Nedlands

Image supplied by Schiavello

Gibbon Group is more than a national flooring wholesaler. Today, we move to the beat of a large community of talented designers – designers who are inspired by the nature of things, with limitless curiosity for creating beautiful human centred experiences. The nature of Tretford 80 percent Mongolian cashmere carpet (pictured) is extreme resilience and timeless beauty – ideal for commercial applications, including corporate office, retail groups, multi-residential apartments and education interiors. Whatever flooring design you create, we can achieve through collaboration. We’re listening with great anticipation and want you to share your vision with us. Take the journey with us and be heard.

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Melbourne timber flooring supplier Harper and Sandilands specialises in premium wide engineered oak timber flooring. We also offer an exclusive range of matching solid oak mouldings, trims and cabinetry panels, enabling our timber to be utilised across a unique array of applications, including ceilings, walls and joinery, for a look only limited by your imagination. Being the choice of leading architects and designers, we only use the world’s most beautiful plantation timbers (American oak, French oak, teak, holly oak and walnut), the world’s leading manufacturers, and therefore only sell the highest quality engineered timber flooring available. Harper and Sandilands has a Melbourne timber flooring showroom; however, we deliver Australia-wide.

9 Almeida Crescent, South Yarra, Vic 3141 Tel: +613 9826 3611 Email:


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The Split desk was developed during my time as an associate at The JamFactory, with the brief focusing on a high-end product that could be used for exhibition purposes to build brand awareness.


Considered cable management and storage solutions.


Durable Corian and solid timber work surfaces.

Split is a multipurpose desk providing the user with an array of options through the manipulation of the work surface. A blend of contemporary and traditional materials creates a dynamic and original piece, with honest detailing sympathetic to the manufacturing techniques used. The durable thermoformed Corian work surface incorporates cable management and book display, while the solid timber surface accommodates inactive items. Partitioning provides an area for paper, with an incorporated drawer for storage and alcove for small items. PHOTOGRAPHY | TOM ROSCHI



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Tel: 1300 785 199

BAFFLE Baffle is a suspended light, based on the notion of creating intimacy, softness and warmth in open plan environments. Created by UK design duo Doshi Levien, the 100 percent fluted wool-felt canopy comes in two sizes: 1200mm Round and 2400mm Stadium. Baffleâ&#x20AC;&#x2122;s lightweight aluminium hanger and warm lighting provides an attractive alternative for visual identification. Providing a sense of acoustic privacy, Baffle assists in dampening sound levels in open-plan environments, effectively fading conversation into background noise.

Tel: +613 9330 8888 Email:

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FOR NOW DESIGNED BY CHRIS LILJENBERG HALSTROM Recently released at Orgatec and from the +Halle Collection, the For Now series injects a sense of domestic comfort into the spaces of public activities. The warm and light expression responds to the increasing fusion between home and contact and contributes to the creation of spaces providing calm and contentment. A modern look for classic Scandinavian designâ&#x20AC;Ś

AIRE Realised by Spanish designer Mario Ruiz, the Aire collection of tables and workbenches is a light and adaptable series that provides an elegant aesthetic for meeting, training and work settings. Comprising three designs: Aire Fold, Aire Work Bench and Aire Meeting, each piece shares common geometry. Thoughtfully considered, Aire couples light detailing with strong performance through the use of high quality aluminium and engineering. Subtle cable management complements various electrification preferences and the Scope range of accessories allows for privacy panels, above desk shelves and storage.

Tel: +613 9330 8888 Email:

3.60 CHAIR EXCLUSIVE TO WORKSPACE Collaborating with ITO Design, Forma 5 has developed 3.60, a task chair that allows the user to change positions while supporting the body. The 3.60 task chair has been designed from the study of ergonomics, kinematics and general perception of the human body and, in particular, the postural development in the office throughout the working day.

Sydney | Melbourne | Adelaide | Canberra Tel: +618 8374 8900


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The barn predated the house, but had collapsed in a storm. All its timbers, which were either adzed logs or pit sawn, were reused in a manner as close to the original as possible. In this way, a unique structure was created for two new wings required as extensions, including the new living area. The old structure, which includes what is believed to be the longest length of colonial timber (18 metres) still extant in Tasmania, has enriched the new and created a dialogue with the past in a totally original and inclusive way.

Integral to the design is the use of timber found on site. Whatever was found growing on the property was cut down, mostly local hardwoods.


Much of the furniture was supplied by local furniture designer/maker Scott Van Tuil who mainly uses Tasmanian timbers and powder-coated steel. His pieces include the dining table, bench seat, coat rack and armchair. Other furniture pieces are from LUC. PHOTOGRAPHY | MATT SANSOM | COURTESY CIRCA MORRIS-NUNN ARCHITECTS


Acton is a 200-year-old building that was originally an early colonial manor house, inhabited by a number of families and servants who worked on the property. Now on a much smaller acreage, the house is home to a single family who wanted to extend, making use of the outbuildings adjacent.


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KITCHEN SYD NEY BARAZZA FEEL OVEN RANGE For more than 40 years, Barazza has been the name synonymous with high performance, design ingenuity and craftsmanship with its ‘Made in Italy’ mark. New to the Barazza appliance range is the Feel Oven Collection. The Feel Collection meets a particularly extensive array of preferences. The options range from 60-centimetre multi-program and pyrolytic ovens to a combi-steam and microwave oven that also offers the possibility of adding a coffee machine and a warming drawer. Touch control and digital programming are at your fingertips on all of the appliances in the collection. Adding to this, the advanced Feel Collection allows you to choose among many vertical or horizontal installation combinations, giving you the utmost freedom with your design. Available through Abey Australia.

Tel: 1800 809 143

Modulnova has evolved from being one of Italy’s brightest rising stars of kitchen design, to a major design force across the global market, cementing its reputation as a progressive manufacturer of premium kitchens, and bathroom and living room furniture. At the forefront of design, Modulnova continues to innovate – sourcing only the best in new materials and technology, then combining this with artisanal workmanship and design integrity. Young and dynamic, the Modulnova was created and launched under the guidance of the renowned Presotto family in brand 1988. Reflecting the continued interest worldwide, the new Modulnova Sydney Studio showcases the range from the buzzing landmark development of The Cannery in Rosebery.

Building A, The Cannery, 3/36 Morley Avenue, Rosebery, NSW 2018 Email:


The Rogerseller Kitchen Collection offers the finest in Italian designer kitchen cabinetry from world-renowned Valcucine, alongside a range of the highest quality kitchen tapware.

Qasair Rangehoods presents a stunning new range of Condor alfresco rangehoods. Alfresco areas are becoming increasingly complex, which means that ventilation is one of the most important design considerations. As barbecues continue to increase in size and complexity, with heat output of up to 110 megajoules, careful planning with regard to correct ventilation is essential.

For 30 years, Valcucine has been turning the world of kitchen design and manufacture on its head. Acclaimed for its cutting edge design, unprecedented ergonomics and superior engineering, Valcucine has brought sustainability and environmental respect to the fore of kitchen manufacture. With care and passion for recyclability, reusability and material reduction, Valcucine kitchens have proved that ecofriendly solutions can exist side by side with quality, technology and elegance.


The exquisite Valcucine Kitchen Collection can be experienced in our flagship showrooms in Melbourne and Sydney. Distributed in Australia by Condari Pty Ltd Tel: 1300 360 563 Email:

MZ06_designdirectory.indd 107 MELBOURNE 173-177 Barkly Avenue, Burnley SYDNEY Casba, 18 Danks Street, Waterloo

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Our brief was to design a small pavilion in a subtropical garden. We began thinking about a shack in the landscape; shacks are often remote and small because they are only inhabited occasionally.


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In the cold, a shack retains warmth and protects from the cold, while in the tropics, it might provide shelter from the rain and somewhere dry to cook. The form usually expresses the use, a steep pitch to shed the snow or large overhangs to shade. They are generally modest and available to all demographics, offering retreat from urban life and a simple relationship with nature. In a suburban garden setting, perhaps the studio could be imagined as a shack. However, the purpose now is no longer shelter, but something more ephemeral. Instead of responding to a defined brief, the design seeks non-standard archetypal experiences, such as an angled super-skinny entry door, a building with no roof, windows with views when lying on the floor, and walls and structure that are not straight. The studio offers unique, memorable experiences, and is rich in spirit.


The zigzag cladding, painted dark to merge with the shadows in the landscape, is assembled by cutting an angle to the bottom edge of standard fibre cement. The sheets are then laid like large overlapping roof tiles on the walls.


Windows are located high and low, to frame specific landscape views and to add glancing light onto wall and floor surfaces. The walls have an expressed zigzag bracing frame and are lined in plywood. The patterned mosaic floor is lush and exotic, like a stream within a forest floor.


The pavilion offers a simple relationship to nature. It allows one to experience the sun and rain, shadows and breeze. Experiences are amplified by opposites. The entry door is narrow and dark, so once you pass through, the studio feels larger and brighter. The mosaic tiles are both textured and smooth, and are best experienced barefoot.



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LIGHTING 2BY4 TIMBER LED Designed in Melbourne and crafted locally from Tasmanian oak, the 2by4 is a rectangular or round LED profile available in lengths of up to 2400mm. Custom-made at 10W per metre and dimmable if required, it comes with a choice of walnut stain, Black Japan or natural timber finish. The 2by4 is modern yet timeless – a practical and efficient light fitting, but also an object of design beauty that can help make your dream space just the way you want it to be, both now and into the future.

Main showroom/head office is: 175 Gertrude Street, Fitzroy, Vic 3065 Tel: +613 9417 4635 Email: Two other showrooms: 138 St Kilda Road, St Kilda, Vic 3182 Tel: +613 9534 4288 Email: 410 Botany Road, Alexandria, NSW 2015 Tel: +612 9318 0193 Email:

Italstyle Lighting Design is a sales and distribution company for specialised lighting products throughout Australia. We work with exclusive Italian lighting brands to provide a wide range of lighting solutions for the architectural market. With over 40 years’ experience, Italstyle’s unswerving commitment is to bring Australian consumers the very best the world of lighting has to offer. Since our modest beginnings we have been working with some of Australia’s most influential architects and designers, and made significant contributions in style and excellence on some noteworthy projects in Australia.

Showroom/office address: 284 Barkly Street, Brunswick Vic 3056 Tel: +613 9387 5842 Email:

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LIMBO Limbo Acrobat by Kenneth Cobonpue. As mesmerising as an aerialist mid flight, Limbo captures the delicate balance of a single moment. Intricately hand-woven gossamer wires give the illusion of delicacy, while the LED candles almost appear to sway amid their soft glow. This commanding piece bridges the gap between product and sculpture. Hermon Hermon Commercial imports and supplies designer lighting and furniture to retailers, specifiers, interior designers and architects throughout Australia.

Tel: +613 9429 8590 Email:

Mint Lighting is a professional lighting design consultancy specialising in family homes. We provide expert advice and solutions for beautiful, functional and sustainable lighting in any new builds or renovations. Our consultants convert your lighting needs into a clear design with everything required for purchasing and installation. Mint is independent from lighting suppliers and is based in Melbourne; however, we can provide services anywhere in Australia. Let us give you the luxurious lighting effect you deserve at home. ANYTHING IS POSSIBLE.

Contact name: Adele Locke Studio: 3 Corr Street, Moorabbin Vic 3189 Tel: +613 9555 2275 Email:


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WORKSHOPPED PARTNERS WITH SEE US ON PAGES 41 + 59 Establishing itself as a key voice in the Australian design scene after launching its first exhibition back in 2001, Workshopped has recently partnered with leading LED lighting company Brightgreen to launch its new range of architectural luminaires. Featured among the Australian-designed products in the Workshopped showroom, Brightgreen’s upcoming releases will be exhibited exclusively at Workshopped ahead of their market release in London later this month. Brightgreen luminaires feature market-leading Tru-Colour technology. By incorporating a broader spectrum of colours to closer replicate Australian sunlight, Tru-Colour LEDs are the ideal tool for ensuring designers can achieve an authentic Australian aesthetic and design experience. WORKSHOPPED SHOWROOM 755-759 Botany Road, Rosebery NSW Tuesday to Friday 10am–5pm Saturday 10am–4pm Sunday/Monday closed Tel: +612 9146 4353

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Gold winner at both the Sydney Design Awards and Melbourne Design Awards, the D900 S Curve surface-mounted downlight combines unmatched thermal eff iciency with a slimline aesthetic. It has an unimposing presence in interior spaces, making it ideal for general illumination in homes, off ices and commercial spaces. Featuring the highest quality components, including a pure aluminium unibody for passive thermal control, glass optics and Tru-Colour technology, the design is 90 percent more compact than standard surface-mounted LEDs. In addition to being Brightgreen’s first ever carbon neutral product, the D900 S Curve stands to drastically improve building energy ratings by eliminating the need for cut-outs and gaps in insulation entirely – an especially important factor in the hot Australian climate. Workshopped and Brightgreen – Australian design meets worldclass technology.



Opening up endless creative possibilities for ambient light artworks, the new Brightgreen wall light range features four new designs – offering both Curve and Cube options in two different sizes. Ideal for creating artful orientation lighting, as well as unique compositions using an array of luminaires, each of the new wall lights is cast from pure aluminium and hand finished. Offering unlimited adaptability with 360-degree gimbaling, each design can be adjusted with a simple touch – allowing designers to play with the balance of light and shadow like never before. Workshopped and Brightgreen – for ambient and artful interiors.

The first to be released from the upcoming range of Brightgreen Linear Series LEDs, the Tru-Colour T900 H Linear track light provides gallery-grade illumination and unparalleled precision for architectural lighting design. Featuring interchangeable optics and a constant friction hinge for seamlessly smooth adjustments, the pared-back track light provides the minimalist style and flexibility to adapt to interior changes over the years. With a variation of lumen outputs becoming available over the coming months, the T900 H Linear track light is sure to become a favourite with Australian designers who are looking to better control how their projects are lit up. Workshopped and Brightgreen – see your design in Tru-Colour.

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Ben Russell Electrical Co (BREC) is an award-winning electrical contracting company based in Melbourne. We specialise in architecturally designed commercial and residential spaces with a focus on sustainability. With an energetic and experienced team, we operate efficiently with all the latest advancements within the electrical industry. In collaboration with our clients, we can work through the design and planning stages, all the way to project execution and completion, ensuring all projects are delivered on time and on budget. BREC is a proud NECA member and EcoSmart accredited.

Tel: +613 9380 5964 Email: Instagram:

MADE BY PEN Pen was established to support and promote Australian designers, underpinned by a strong ‘design local’ ethos that embraces both onshore and offshore manufacturing opportunities. Pen is a vehicle to enable and support authentic design and ethical practice, it also simply fuels a love of good design. Pen’s first product is a clever reinterpretation of the traditional dog kennel and is expressed in an elegantly simple form reminiscent of a child’s typical line drawn representation of home. The Dog Room is in keeping with Pen’s ‘slow movement’ philosophy, the same environmentally conscious approach that will be applied to subsequent collaborations with multi-awarded Australian designers Nick Rennie and Jim Hannon-Tan. “We’re constantly looking at what’s missing in the market and thinking about ways we can improve it. A problem’s not a problem, it’s a challenge that needs a solution.”

Studio: 8 Hilton Street, Clifton Hill Vic 3068 Email:

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This new collection of furniture and lighting is informed by the process of making, the beauty of materials and the craftsperson’s attention to detail. It is produced in Australia through a network of local manufacturers and highly skilled artisans. Based in Adelaide, South Australia, JamFactory is an entrepreneurial not for profit organisation supporting good design and fine craftsmanship through its studios, galleries and shops. All purchases from this furniture collection directly support JamFactory’s acclaimed training and exhibition programs. Design by: Daniel Emma, Adam Goodrum, Jon Goulder, Henry Wilson, Karen Cunningham, Rhys Cooper and Daniel Tucker.

19 Morphett Street, Adelaide SA 5000 Tel: +618 8410 0727 Email:

SEVENTY7 PROJECTS Seventy7 Projects is a Melbourne-based residential building company specialising in the construction of architecturally designed houses. It has worked with leading Melbourne architectural practices on renovation/extension projects and new home constructions. Seventy7 Projects also works with architects and clients under a company developed D&C (Design and Construct) model to maximise architectural design, while staying within the client’s defined budget. The Bluestone cottage extension in Fitzroy by architects Robert Nichol and Sons was built by Seventy7 Projects. Photography by Itsuka Studios.

8 Hilton Street, Clifton Hill Vic 3068 Email:


SEE US ON PAGES 35, 40, 41, 53


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3 2

4 1

Sorrento Beach House overlooks Sullivan's Bay in Sorrento, Victoria, positioned between two coastal landforms known locally as The Sisters.


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The main bedroom is sited in the most advantageous part of the site with immediate views of the bay as well as both the eastern and western Sisters, and, at the clientâ&#x20AC;&#x2122;s specific request, Arthurs Seat beyond. The internal walls are the exposed concrete face of thermomass panels, with textural carpet and natural timber acting as a warm counterpoint to the concrete. Windows on either side of the main opening extend wide views to the east and west, cross-ventilating the space, and timber screens regulate privacy and screen the sun. The room combines bedroom and ensuite to avoid compartmentalisation of the plan, and to maximise the stunning vistas when moving between both functions. The main bedroom is intended to be a comfortable retreat for the owner, a place to read, to survey the landscape, to wash, sleep, listen to the sounds of the sea and feel a close connection to place.


The master bedroom opens onto a large stone terrace that forms the roof of the single-storey living space below.


The room accepts morning and afternoon light through timber blades, which also filter wider views of the neighbouring landscape.


Thermomass concrete panels are chosen for their excellent passive thermal qualities and their natural concrete finish.


Pale timber is chosen to build a connection to the colours of the sand.


The diagonal line of a pitching ceiling draws the eye across the visit to the east upon entering the space.


The line of the walk-in robes (out of frame) connect to the bed head joinery and draw the eye out to the water.



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OUTDOOR FERMOB FURNITURE Fermob Furniture is a stylish but robust range ideally suited for commercial and domestic use. It can be found across the globe from parks and public gardens to hotels, museums, universities, train stations and restaurants; e.g. Royal National Theatre London, Gare du Nord Paris, Le Jardin du Luxembourg Paris, Times Square New York and Harvard University. Fermob has a wide range of products that have the great benefit of being able to be ground attached. Renowned for its palette of 23 colours, whether classic, contemporary, natural or intense… it will create a certain joie de vivre!

440 High Street, Prahran Vic 3181 Tel: +613 9510 4561

coshliving Cosh Living specialises in the importation and local production of contemporary furniture for both indoor and outdoor. Catering for the middle and upper market segments Cosh supplies to the residential and contract sectors. It has showrooms in Sydney, Melbourne and Brisbane.

MELBOURNE 7-13 Rupert St, Collingwood, Vic 3066 SYDNEY Unit 14-15, Level 1, 69 O’Riordan St, Alexandria, NSW 2015 BRISBANE 8 Wandoo St, Fortitude Valley, QLD 4006

Designing outdoor features and urban art… At Lump Sculpture Studio we design and manufacture metal screens, sculptures and original contemporary custom art works and accessories for public, urban and private outdoor spaces. We thrive on collaborating with artists, designers and architects to realise and construct their visions. Lump Sculpture Studio distributes all works Australia-wide and internationally with a strong commitment to high quality craftsmanship and local manufacturing.

235 Johnston Street, Abbotsford Vic 3067 Tel: +613 9489 4766 Email:

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Outdoor furniture – customised with bespoke fabrics, ultimate comfort and durability in mind. Outside Envy offers custom, locally designed and Australian made furniture pieces, with the largest range of outdoor fabric designs sourced from around the world, all in one showroom. Each piece is handcrafted and carefully constructed with three things in mind – durability, comfort and style. Heights, depths, widths and superior materials take all of these into account. Pieces range from armchairs to chaises, lounges and modular units. We have the ability to customise designs for residential, commercial and hospitality. Our furniture may look like it belongs indoors, but its capabilities allow for it to be used outdoors. OUTSIDE ENVY SHOWROOM 103/1 Silver Street, Collingwood Vic 3066 Tel: +613 9417 2139 Email:


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EXTRAORDINARY MAXIMUM PRESSED PORCELAIN PANELS: OUTSTANDING NEW COLOURS MAXIMUM has introduced two beautiful new colours to its outstanding Marmi range. Pietra Bronze (pictured) and Cristallo are the latest additions to the extensive collection of more than 40 incomparable colours and finishes. Innovative MAXIMUM large format (3000 x 1500mm), fine profile (6mm) porcelain panels are strong, light and made entirely from natural materials, allowing you to experience the sophisticated style of natural stone without its practical limitations. Developed and made in Italy using leading technology, MAXIMUM panels are cost-effective and offer complete architectural sustainability and unprecedented design flexibility for interior and exterior applications, from bench tops to floors and walls. To find out more or find a distributor call or visit the website.

Tel: +612 9521 7200


Tel: 1300 696 726

Available in a wide range of timbers and profiles, Screenwood linear timber systems are ideal in any space from health and education to hospitality fitouts. Screenwood is made to order using only select grade timbers to ensure the highest quality finish, and can incorporate fine-tuned acoustic backings to maximise sound absorption. Screenwood is designed for ease of installation and quickly transforms a room by bringing the texture, warmth and timeless appeal that only natural timber can. Offering a complete solution, Screenwood is PEFC certified, acoustically rated, fire and VOC tested and made in Australia.

LIGHTBOOK LAMP The graphic curve and sweet silhouette of the Lightbook lamp is both discreet and elegant. Created to easily connect to a wall socket, this model can be fixed to a wall or headboard, providing a scattering or more structured focused light, depending on choice of shade. Its lightweight and flat design can slide simply under your favourite books and can be moved around to your preference. It is created to showcase your bookshelves with multiple points of light. There are numerous options of both shades and cords; choose either our standard range or create your own bespoke model. To contact your local salesperson head to our website.

Melbourne, Sydney, Brisbane, Perth, Adelaide, Canberra, Hobart

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SAVANNAH HAYES Savannah Hayes is a Pittsburgh-based textile designer creating patterns through hand-painting, block printing and layered paper cut work with an urban, graphic aesthetic. Printed onto 100 percent premium Belgian linen, Hayes’ collection features over 60 pattern and colour combinations showcasing her signature graphic style that is elegant yet intimate. The Savannah Hayes collection includes graphic black and white through to subtle, soft gossamer greens, powder blue, indigo, ochre and blush pink hues. The fabric collection is suitable for soft furnishings, cushions, drapery and lightweight upholstery, and also offers a stunning range of coordinating heavy weight cotton knit throw blankets. QLD Style Revolutionary – Head office and Queensland showroom Email: | Tel: +614 1898 9838 VIC Fluent Interiors Email: | Tel: +614 0727 7929 ACT Cloth & Paper Studio Email: | Tel: +612 6280 8646

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Now available for your next project are a range of architectural timber products salvaged from the depths of Lake Pieman on Tasmaniaâ&#x20AC;&#x2122;a wild west coast.

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