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Artichoke — Australia’s interiors and design magazine

Celebrating the 2018 Australian Interior Design Awards

Issue 63 Aus $14.95

The Design Institute of Australia’s official magazine





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(33) Regulars Comment — Celebrating the wins (14)

Scope — In Brief (19, 23, 24) Maison&Objet Paris (26) Artichoke Night School (28) Marcel Wanders: Always give more than people expect (42)

Profile — Elliat Rich (33) Design inspired by the Red Centre

Essay — Examining the role of the exhibition designer (40) 10—11

In This Issue

(82) (90)

2018 Australian Interior Design Awards Jury (48) Premier Award for Australian Interior Design / Installation Design (52) Space & Time by Russell & George Interior Design Impact (58) Highpoint Shopping Centre North East Precinct Development by Grimshaw in association with The Buchan Group Sustainability Advancement / Public Design (64) Wynyard Walk by Woods Bagot Retail Design (70) L’eclisse by Chris Connell Design


Hospitality Design (74) Sean Connolly at Dubai Opera by Alexander & Co. and Tribe Studio Architects Workplace Design (78) The Customer Experience Company by BVN Residential Design (82) Canning Cottage by Bicker Design Residential Decoration (86) Curatorial House by Arent&Pyke Emerging Interior Design Practice (90) Ritz&Ghougassian Commendations (95) Best of State (105) Shortlist (111)

Issue 63


Issue 63 June — August 2018

Occasionally I’m asked to present to architects and designers on how to get published in design media. Among my tips, I always encourage architects and interior designers to enter their projects into awards programs. Just like updating your website and social media or preparing a project pitch, entering awards should be a regular part of your marketing strategy. By entering awards programs, you aren’t just throwing your hat into the ring – it can be the starting point for a raft of benefits, not least the chance to be shortlisted or even take home an award. In addition, you gain the respect of your industry peers, give your team the satisfaction and pride they’ve earnt from countless hours spent labouring over that special project, receive worldwide publicity and recognition, open your business up to new clients who’ve noticed your work from media coverage and, lastly, in your next company profile you can finally use that overused expression we all secretly love – “award-winning.” In this year’s Australian Interior Design Awards, we received a total of 623 entries – the most we’ve ever received in the awards’ fifteen-year history. In six of the eight primary categories, we had recordbreaking entry numbers. This year, every state and territory has been represented and Australian practices are clearly taking on the world, with projects entered from Asia, Africa, Europe, the Middle East and America. In what is a particularly ambitious and competitive year in Australian interior design, this year’s projects – award-winning projects, you could say – shine.

Editor — Cassie Hansen MDIA Editorial enquiries — Cassie Hansen +61 3 8699 1000 Editorial director — Cameron Bruhn FDIA Editorial team — Linda Cheng, Josh Harris, Melinda Knight, Mary Mann Production — Simone Wall Design — Metrik, Managing director — Ian Close FDIA (Hon) Publisher — Sue Harris MDIA General manager, events and administration — Jacinta Reedy FDIA (Hon) General manager, sales and digital — Eva Dixon Account managers — Lana Golubinsky, Victoria Hawthorne, Brunetta Stocco, Bianca Weir Advertising enquiries — All states: advertising@ +61 3 8699 1000 WA only: OKeeffe Media WA Licia Salomone +61 412 080 600 Print management — DAI Print Distribution — Australia: Gordon & Gotch Australia (bookshops) International: Eight Point Distribution Subscriptions — Four issues per year. Print: $55 Australia/ New Zealand (AUD). $78 Overseas (AUD). Digital: $35 (AUD). Subscribe online:

Cassie Hansen, Editor, Artichoke Share your thoughts — email me at

Follow us on Twitter — @Artichoke_Mag Like us on Facebook — “Artichoke magazine” Cover image — Space & Time by Russell & George. Photography: Paul Martin.

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Endorsed as the official magazine of the Design Institute of Australia. National office: 27 Derby Street Collingwood Vic 3066 GPO Box 355, Melbourne Vic 3001 1300 888 056 The DIA is the only multidisciplinary professional organization of designers in Australia with affiliations to major international design organizations. Statements and opinions expressed are not necessarily those of the DIA. All material is copyright. No responsibility is accepted by the publishers or the DIA for the accuracy of the information contained in the text, illustrations or advertisements. Artichoke® is published and owned by Architecture Media Pty Ltd ACN 008 626 686. Level 6, 163 Eastern Road, South Melbourne Vic 3205 +61 3 8699 1000 Member Circulations Audit Board ISSN 1442-0953


Celebrating the wins Words — Claire Beale (FDIA), National President, Design Institute of Australia

Awards programs celebrate the professional talent, creativity and sheer grit required in our industry and highlight the importance of recognition.

Now that we have reached the midpoint of our working year, shivering in the midst of another Australian winter, it can be difficult to maintain our enthusiasm and tempting to begin to wonder whether we ever get rewarded for our efforts. DIA is a proud convenor, participant and partner in many design award programs, including, but not limited to, the recent Australian Interior Design Awards (AIDA), the Australasian Graduate of the Year (AGOTYA) and the Industrial Design category at the Good Design Awards. While each program caters to a specific audience and life stage of a designer’s practice (in this case, architecture and interior practices, emerging designers and industrial designers respectively), each celebrates the professional talent, creativity and sheer grit required to not only survive, but thrive in our industry. There’s been a debate brewing in design circles in recent times about the seeming proliferation of design competitions, awards and other high-profile accolades, and the impact this may be having on our industry, especially as the wider community engages with design in more active ways. Social media platforms encourage us to “like,” “favourite,” “retweet,” “pin” and share content, enabling awards programs to attain a much broader reach and level of audience engagement than in the past. Participants, finalists and winners are urged to repost, promote and share their achievements within their own unique network of followers, furthering the message and building excitement. How do we ensure that the award program we enter has credibility? How do (and should) we differentiate between those we should strive for and those we should potentially avoid – for example,


those with a jury of peers and a rigorous selection and review process versus a people’s choice, vote-now-for-yourfavourite-entrant structure. Hopefully, for most of us in the design profession, the answer at first look is pretty obvious but here’s a hint: look for the awards program that has been endorsed by your professional association as a starting point. Critics argue that some awards programs are not really equitable; for example, that entry fees are costly, preparing your entry is time-consuming and, generally, it’s the glamorously photographed projects or products that win, and so those with the biggest budget have the unfair advantage. However, while some of the above (accurate or not) considerations may hinder many of us from participating, or perhaps give us a somewhat jaded view (indeed, some practitioners take a firm stance on never entering awards), could this also be stopping us from recognizing and celebrating success? Recognition can come in many forms, from the simplest of thank yous from a happy client to receiving a gong on the national or international stage. I’d wager that the feeling you get being on the receiving end is the same in both instances (just exponentially increased in direct relation to the size of your trophy, prize or novelty cheque). Warm fuzzy feelings aside, if we are honest with ourselves, we would admit that receiving an award from our peers reinforces our sense of professional worth. For a practice struggling to gain a foothold in a tough market, an award can be the motivation it needs to keep on plugging away and can give valuable recognition and awareness in the market. Established

designers and practices could find participating in awards programs to be a useful means of benchmarking against their peers, but also the inevitable preparation of documentation for the jury (projects and the practice’s design philosophy) provides opportunity to take the time to reflect and review their trajectory and purpose. A sort of temperature check, if you will. For the design community, it’s important that we are able to recognize and celebrate the achievements of our members, be inspired by their individual stories and understand the context in which they practise. Over time, awards archives have provided us with a rich vein of material to further our understanding of Australian design history, to learn how the profession has shaped itself and to help inform our future pathways. Examining the history of awards and their recipients will bring up issues, the most obvious being a lack of diversity, but it will also provide opportunities to address the imbalance in our current forms of recognition. As an advocate for the profession, the DIA has a stated purpose to grow Australia’s reputation as a “design nation”1 and to highlight the importance of design to Australia’s cultural identity and economy. The publicity and attention that awards provide give us the platform for championing the value of professional design in a way that is easily understood by the wider populace – who are, after all, the users of design. So celebrate your wins, whether they be public or private, because we all know how hard you are working, even if your trophy wall is looking thin. a 1. “Purpose,” Design Institute of Australia website,

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In Brief

In Brief The latest projects, products and people collated to inspire.

Turn stool from UCI

Ratio Cocoa Roasters by St. Style

Designed by Studio Trabaldo, the elegant Turn stool brings together functionality and versatility. The collection includes a fixed-height and an adjustableheight version, with or without a footrest. It is a versatile and practical piece that is suitable for use in breakout, hospitality, retail and private environments. The stool is available in solid ash timber with a natural, bleached or lacquered finish.

Melbourne studio St. Style has designed a restrained but warm interior for Ratio Cocoa Roasters, a new “bean-to-bar” chocolate shop in Brunswick. Ratio Cocoa Roasters uses traditional chocolate making techniques and sources high-quality single origin cacao beans to create individually flavoured small-batch, handcrafted chocolate bars. St. Style’s design foregrounds the chocolate making process, with back-of-house areas clearly visible to customers and a muted palette of grey, blue, white and timber ensuring that the chocolate stands out. Photography — Alex Drewniak


St. Style —

Make HQ by Tecture Tecture’s design for the headquarters of Make Ventures in Windsor is based on the client’s open brief of “brick, plants and ply.” The materials palette contributes to a fresh and youthful interior, befitting a young company. Subtle references to the client’s logo (a cross inside a quartered circle) have informed key design elements, including the breezeblock screens, meeting tables and credenzas. In response to the office’s modest size and its location on a main thoroughfare, the design is light and open. Photography — Shannon McGrath Tecture —


Issue 63


Acoustic panels by Glosswood Glosswood’s range of solid hardwood timber acoustic panels addresses unwanted noise in contemporary spaces. Modern, industrial-influenced design often calls for reverberative materials that can have a great impact on the amount of noise within interiors. Whether used in a restaurant, in a retail space or in a house, acoustic panels can help overcome this problem. Manufactured in Perth, Glosswood’s products achieve an exceptional acoustic rating. Glosswood —

Articolo’s new Melbourne showroom

Mr Fräg collection from Designer Rugs

Articolo has unveiled a new architecturally designed lighting showroom in Melbourne. The showroom’s design explores materiality and acts as understated backdrop for the brand’s contemporary yet enduring aesthetic. Articolo founder and creative director Nicci Green collaborated with architect David Goss of Studio Goss for the showroom’s design. It features concrete rendered walls, brass panelling, custom terrazzo flooring and timber – a selection of materials not dissimilar to that of Articolo’s lighting itself.

Each of the four hand-tufted rugs in the Mr Fräg collection from Designer Rugs are each named for different types of woodworking joints, such as the corner halving and mortice and tenon. The design of the rugs depicts these joints in an illustrative but abstract way, emphasizing both practical construction and symbolic expressions of craftsmanship and quality. A narrative of colour and form flows through the collection, capturing light and shadow using materials such as lustrous bamboo highlights, differing pile heights and mattifying loop pile textures.

Photography — Sharyn Cairns

Photography — Terence Chin

Articolo —

Designer Rugs —

Byron at Byron Resort and Spa by Luchetti Krelle Luchetti Krelle’s design for the refurbishment of Byron at Byron Resort and Spa has introduced a residential quality to the luxury resort. An expansive verandah reads as an extension of the living space while also inviting nature inside, and a flagstone breezeway offers a comfortable space for guests. A new copper island bar services the restaurant and verandah, while Italian furniture and European lighting contribute to a sense of luxury. Photography — Michael Wee Luchetti Krelle —


In Brief

Title Barangaroo by Make Creative Savannah outdoor collection from Nathan and Jac Designed by Nathan and Jac in collaboration with Bloomfield and Webber, the Savannah outdoor collection features a dichotomous colour palette inspired by desert droughts and lush grassy plains. Comprising a selection of cushions and outdoor beanbags, the collection is constructed from man-made fibres, making it vegan. Extensive emphasis has been placed on quality and the ability to surpass the harshest summer sun while ensuring aesthetic appeal. Nathan and Jac — Bloomfield and Webber —

On the ground floor of Durbach Block Jaggers’ R7 building, Title Barangaroo by Make Creative offers a curated selection of art and design books, music and film in an open, theatrical space. Simple, industrial-inspired joinery leaves room for the architecture to breathe and allows the book covers to become the focus. The rear of the store is lined with custom full-height shelving that forms a dramatic backdrop to the space, while a set of stairs provides an informal seating area for book launches, readings and performances. Photography — Luc Rémond Make Creative —

Zaza sofa from King Living The Zaza sofa, designed by Charles Wilson in collaboration with the King Living in-house design team, is comfortable and versatile, with a relaxed, organic form. Based around a uniquely engineered steel frame, it features a detachable back and arms as well as interchangeable legs. The steel frame is the functional core of the sofa that allows other elements to be easily assembled or reconfigured. Zaza sits lightly on its base, while its leaf-like arms and backrest are accentuated by double-edge etching. King Living —


Issue 63

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In Brief

Domaine Chandon by Foolscap Studio

Fred International’s new Melbourne showroom Scandinavian furniture brand Fred International has opened its new showroom doors in Collingwood, Melbourne. In collaboration with interior designer Angela Harry and stylist Simone Haag, the apartment-style concept showroom embraces the building’s heritage bones. Careful consideration was given to removing layers of previous renovations, and imbuing the space with a light, restrained approach to new materials and finishes.

Foolscap Studio’s design for the refurbished Domaine Chandon pays homage to the winery’s French heritage while accentuating the natural beauty of its Yarra Valley location. The space is at once casual and elegant, with luxurious banquet seating coupled with a playful, kinetic mobile centrepiece referencing the bubbles of Chandon’s sparkling wines. Australian materials such as spotted gum timber and Chillagoe Dreamtime marble contribute to a warm environment that celebrates its setting, while solid, mesh and perforated metal elements reference the alchemy involved in creating a bottle of sparkling wine. Photography — Tom Blachford Foolscap Studio —

Photography — Mark Roper Fred International —

Ishizuka by Russell and George Ishizuka is a new restaurant designed by Russell and George that is introducing the Japanese haute cuisine known as Kaiseki to Melbourne’s food scene. The sixteen-seat restaurant on Bourke Street has been designed with the same precision, balance and bespoke sensibility as eponymous chef Tomotaka Ishizuka’s menu. The design imbues the subterranean dining room with a mood of quietude, while unexpected and conceptually daring design elements reflect the restaurant’s aim to deliver an immersive, transporting experience. Photography — Felix Forest Russell and George —


Issue 63


Gray Puksand’s new Melbourne studio

HÅG Futu Mesh task chair from Flokk

EOS LED rectangular light from Sonic Lighting

Gray Puksand has completed its new Melbourne studio fitout with a design that focuses on agile working styles – moving away from static dedicated workstations to communal desks, collaboration spaces, formal and informal meeting areas, and retreat spaces. The existing office included an open-plan main floor and a mezzanine. The new fitout uses the same two floors, but dramatically alters the layout. On the ground floor two amorphous pod-like workstations allow staff to gather around and work in an informal, collaborative way.

The EOS LED rectangular light from Sonic Lighting is characterized by a slim frame around a completely transparent panel, which makes the luminaire unobtrusive in the room. The light appears to change its form when switched on, losing its transparency and transforming into a homogeneously distributed light. This elegant, eyecatching luminaire is suited to a wide range of applications and is also available in a circular form.

Photography — Tatjana Plitt

HÅG Futu is a high-performance task chair that helps the user stay alert and focused. Because of its streamlined dimensions, it also seamlessly blends into any working environment. Its soft-furnished look hides its precision engineering. HÅG Futu Mesh is the latest addition to the HÅG Futu family. The FutuKnit mesh has been technically developed to retain its tautness throughout extensive daily use. Each HÅG Futu chair is precision engineered, handcrafted and assembled by one of the skilled technicians at Flokk’s factory in Røros, Norway.

Gray Puksand —

Flokk —

Ilve Versa induction and gas cooktop The new Ilve Versa stylishly combines both induction and gas cooking. Australian homes have had a long term love affair with Asian cuisine so Ilve has cleverly combined its brass infinity wok burner with a four-zone induction cooktop so cooks can have the best of both worlds. The spacious 90-centimetre cooktop offers induction, which is fantastic for low simmers, and the powerful gas burner with wok is perfect for cooking stirfrys. Ilve —


Sonic Lighting —

Industry Insights — Kaynemaile —

Ahead of the curve At the Crowne Plaza Hotel in Christchurch, New Zealand, Kaynemaile’s Spacemaile mesh system has been used on the foyer’s ceiling to stunning effect.

Kaynemaile has reimagined two-thousandyear-old chain mail into a unique architectural product – manufactured with the company’s patented, award-winning technology. The polycarbonate mesh is now being speciied and installed around the world. Kaynemaile makes systems for both interior and exterior applications. One of the latest projects is a custom ceiling feature at the Crowne Plaza hotel in Christchurch, New Zealand, using Kaynemaile’s Spacemaile interior system. Inspired by a nearby winding river, the beautiful bronze coloured mesh ribbons wind through the foyer of the hotel, bringing warmth to the space as guests arrive and are welcomed by staf. The hotel was repurposed from an oice block signiicantly damaged during the devastating 2011 earthquake. With the hotel’s opening date locked in, Kaynemaile worked in collaboration with the interior designers at Designworks to ensure the systems could be installed

fast and allow other work to continue in the space uninterrupted. The elegant ceiling feature uses Kaynemaile’s standard hanging track, custom bent to suit the many curves each ribbon needed. The new development is now the largest hotel in Christchurch and makes the most of the 360-degree views of the city as well as the natural environment of the surrounding hills and Southern Alps. Kaynemaile architectural mesh gives approximately 80 percent airlow through the cross-sectional open area, allowing airlow compliance to be maintained. The company is built on collaboration – the Kaynemaile team thrives on working directly with architects and interior designers to realize challenging projects like this one. If one of Kaynemaile’s standard systems doesn’t suit the concept, its team of specialized designers and fabricators will collaborate with the client on a custom solution. For more information: 1800 231 153

Above — A custom ceiling installation of Spacemaile mesh in bronze adds warmth to the lobby at the Crowne Plaza hotel in Christchurch. Photography by Jason Mann.

Design practice — Designworks Installation — Kaynemaile Photography — Jason Mann


Maison&Objet In Brief A collection of the latest and greatest, direct from the January 2018 edition of the Maison&Objet fair in Paris.

Horoscopes textiles by Missoni Home These textile panels depict the twelve symbols of the Chinese zodiac reproduced from the works of Italian artist Piero Zuffi. In the 1980s, Missoni founder Ottavio Missoni purchased a set of boards by the artist, which featured the twelve zoomorphic figures along with ideograms designed with geometric precision and in bas-relief technique. The textiles can be made from printed cotton satin or embroidered with the reverse side in tones of variegated grey. Missoni Home — Spence and Lyda —

Sintra sofa by Noé Duchaufour-Lawrance Sintra by French interior architect Noé Duchaufour-Lawrance is his first sofa for Ligne Roset. “An object is naturally obliged to respond to a need, without creating others. From this absolute necessity, it must be a vehicle for meaning and emotions,” says the designer. The sofa combines a classic base with unique elegance and a strong personality. It showcases Ligne Roset’s skill in upholstery, with a base made from natural or anthracite-stained oak and finished in a range of fabrics, velvet (pictured) or leather. Ligne Roset — Domo —

Abstract cushions by Tom Dixon Textile artist Josephine Ortega’s cityscape watercolours are super-scaled and reproduced in a pair of cushions made using rug-making techniques: the watercolours are blown up in scale and separated on graph paper to create a grid. The cushions are a cosmopolitan mix of New Zealand wool hand-tufted by North Indian craftspeople and filled with Danish duck feathers. Tom Dixon — Dedece —


In Brief

Pixel washbasin by Paolo Ulian for Antoniolupi Pixel is a cylindrical freestanding washbasin by Italian marble sculptor Paolo Ulian. The concept for the design derives from the digital image, which is made up of point-like elements called pixels. The basin is covered with a layer of marble mosaic, where each piece can be chipped away and removed, creating unique, pixelated patterns on the surface. Antoniolupi —

Paris Ming tables by Arik Levy for Maison Dada “I don’t want unanimated furniture. I like them to have a soul, to tell a story,” says Shanghai-based French interior designer and founder of Maison Dada, Thomas Dariel. The furniture brand is inspired by the 1920s art movement Dadaism. In its latest collection, it has collaborated with Israeli-born designer Arik Levy to create a range of tables that look to Ming dynasty China for its ancestral DNA. “This project with Maison Dada is an observation and a reaction to the relationship between Europe and China in the last 50 years,” says Levy. Maison Dada —

Arco furniture by Masquespacio for Houtique Created by Valencia-based multidisciplinary design studio Masquespacio, the Arco furniture collection for new Spanish brand Houtique is a fun play on the postmodernist style of the 1970s. Described as a “love triangle between round bows, velvet and soft, coloured metal,” the Arco collection takes the cold industrial materials and “adds a touch of warmth to the design. The collection includes a sofa, chairs, tables and high stools, made of metal and upholstered in velvet that is produced and commercialized by Houtique. Houtique —

Cartesio rug by Elena Salmistraro for CC Tapis Designed by young Italian designer Elena Salmistraro, this rug pays homage to the 1884 novel Flatland, written by Reverend Edwin A. Abbott. “Triangles, lines, circles and squares overlap, meet and collide, becoming conscious of each other, just as they do in the novel, unaware of the colors and the magic they hold,” says the designer. The design is made in two versions, one is tactile and rough, the other softer and lighter. CC Tapis — Loom Rugs —


Issue 63


Colourful language Held in Brisbane, the March 2018 session of Artichoke Night School brought together four speakers to reflect on the consideration of colour in the design process and its impact on experience. Above — From left: Artichoke editor Cassie Hansen with speakers Georgia Cannon, Andrew McNamara, Sarah Cosentino and Felicity Slattery during the panel discussion at Artichoke Night School.

Words — Tahnee Sullivan Photography — Ray Cash

Georgia Cannon, founder of her eponymous Brisbane-based design studio, opened this session of Artichoke Night School with an overview of interior and textile projects that have cultivated project-specific approaches to colour. Cannon’s design for Brisbane cafe Pitch & Fork is an example of a richly layered interior in a compact footprint. The grey-green stone counter, green velvet banquette seating and high-gloss green painted timber detailing delineate customer seating and service areas, while also giving a nod to the interior design of the cafe’s sister venue. In contrast, the stark white kitchen and storage wall define the functional zones accessed by staff. Cannon cited parameters such as corporate identity, saleability, context and landlord guidelines as pragmatic influences in the use of colour, however, she also highlighted the emotive aspect of colour. Client predisposition or cultural context can play a significant role in defining opportunities for colour in an interior. Felicity Slattery and Sarah Cosentino of Studio Esteta spoke about the importance of the client briefing process in determining the project trajectory, including the role of colour. They ask their hospitality clients, “Who are you?,” seeking to augment spatial and programmatic requirements with a genuine understanding


of their client’s culture and brand values. The studio embraces colour for its potential to express identity, evoke atmosphere and impart legibility. Studio Esteta’s design for Workshop Brothers restaurant in Melbourne delivers a contemporary fitout that takes cues from traditional Chinese colours and motifs. Concentrated measures of plum and gold are balanced by muted tones of beech and concrete. Tonal variations are also complemented with textural variations. Slattery and Cosentino observed that amenities are often at the mercy of budget cuts, however, a deep wall colour with a high-gloss finish can afford an unexpected sense of luxury despite a tight budget. Andrew McNamara, a professor at the Creative Industries faculty at the Queensland University of Technology, offered an interesting alternative perspective on the subject of space and colour. As an art historian, McNamara reflected on the history of colour in Australian art, in particular the early generation of modernists who influenced colour theory in Australian art. German-Australian artist Ludwig Hirschfeld-Mack, regarded as an early multimedia artist, sought a visual translation of music. Hirschfeld-Mack identified an affinity between colour and sound, and developed a method for teaching children musical harmony through colour

tone. Australian-born artist Roy de Maistre trained as both musician and painter. After being discharged from the army, he was engaged in decorating wards for shellshock victims, pursuing colour as therapy. Polish-Australian artist Joseph Stanislaus Ostoja-Kotkowski sought to capture the intensity of light and colour. He pioneered experiments with electronic light projections and sound, designing large-scale light mosaics spanning entire building facades. McNamara’s brief history of colour theory in Australian art reinforced the notion that colour can yield an emotional or poetic response. Spanning art, architecture and interior design, the conversation throughout the evening offered insight into the various intentions and strategies underpinning the use of colour, and its potential to elevate and affect experience. a The Artichoke Night School series is presented by Artichoke magazine in partnership with Space Furniture. This Night School session was held at Space’s Brisbane showroom. Want to know about future Artichoke Night School events? Sign up at

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Elliat Rich

Elliat Rich Designer Elliat Rich’s diverse portfolio can be read as an evolving examination of her Alice Springs setting. Words — Jill Pope

Above — Designer Elliat Rich. Photography: Justin Kennedy.


Issue 63


Above — The studio of Elbowrkshp, the collaborative brand of Elliat Rich and her shoemaker partner James B. Young. Photography: Justin Kennedy.

A tour of Elliat Rich’s Alice Springs studio includes glimpses of kangaroos roaming around outside, the building enveloped by the unmistakable light and rich colour palette of Central Australia. Her morning route to work is to “cross the river, follow the creek and cross the highway.” But despite the pastiche of Australian tropes in the environment where Rich lives and works, the decision to situate her practice in a regional location is anything but predictable. “Alice Springs has never not delivered,” Rich exclaims by way of justifying the choice. It’s impossible to ignore the influence that place, and this place, has had on Rich’s projects, which span exhibition-style limited editions, product-focused ranges, client commissions as well as collaborations with shoemaker partner James B. Young. Her diverse portfolio could be read as an evolving examination of place, informed by and revealing the nuance and specificity of life in the middle of Australia. Relocating permanently from Sydney to Alice Springs was prompted by what Rich describes as her and Young’s “weird, niche interests.” Rich wanted to complete an internship at the Indigenous corporation the Centre for Appropriate Technology (CAT) and Young wanted to pursue working with pack animals, more specifically camels: Alice Springs seemed like one of the only places that fit the couple’s adjacent profes-


sional mores. Ten years after Rich set up her own studio the pair opened their joint workspace in the town’s burgeoning cultural precinct. The studio is the physical manifestation of their collaborative brand Elbowrkshp, but also a place for their separate practices to coexist, accompanied by a steady cast of Alice Springs locals and visitors who are able to create and make from the enormous shared table that acts like a creative hot desk. Elbowrkshp products, which are locally designed and made, explicitly draw from the pair’s Central Australian surroundings; the recently launched Crescent bag range is even named after Hele Crescent, where their studio is located. Working here means Rich has had to adapt to “being resourceful in a remote setting” and consequently her work engages with materials and techniques born of these constraints. This resourcefulness is intrinsic to recent projects such as the Core collection, a range of sandstone vessels produced under Elbowrkshp. Wanting to explore this local material, Rich and Young built relationships with a second-generation stonemason, who quarried and cut the stone, and a team of core samplers used large drill bits, the tools of their trade, to carve out the objects. This constant dialogue between abstract concepts and the more hands-on emphasis on making is

Elliat Rich

Above — The Anerle-aneme chair (its name means “sit a little while” in local language) saw Rich work with a team of Aboriginal makers. Photography: Justin Kennedy.

Above — The Elbowrkshp Crescent range includes handbags, purses, caps and key rings made from kangaroo and bovine leather. Photography: Anna Cadden.

Top right and above — The Core Collection by Elbowrkshp is a range of sandstone vessels that can be fitted within one another. Photography: Noel McLaughlin.


Issue 63


Above and right — Place, which won the 2017 Australian Furniture Design Award, is part art, part ode to landscape and part furniture. Photography: Noel McLaughlin.

“Place renders a spatial sensibility into design that teeters on the brink of art, a sensory refraction of a Central Australian landscape, where velvet’s blurred texture and shimmer become the eucalyptus haze on the horizon.”

Above — Rich reimagined the traditional Australian billycan for Urban Billy. Photography: Grant Hancock.


Above — The Coolgardie collection reimagines the Coolgardie safe, which was invented on the Western Australian Goldfields in the late 1800s to store food.

Elliat Rich

Above — The Lichen tarp that Rich made in 2003 can transform into a swag or coat for the user. Photography: Alex Kershaw.

what leads Rich to describe the way she works as “more of a loop, than a one-step, two-step process.” Rich enjoys challenging people’s preconceptions of Central Australia – there is more to the Red Centre than just red dirt, she laughingly attests. The connection to her adopted home is taken quite literally in the case of Place, a sculptural vanity that won the 2017 Australian Furniture Design Award. Place renders a spatial sensibility into design that teeters on the brink of art, a sensory refraction of a Central Australian landscape, where velvet’s blurred texture and shimmer become the eucalyptus haze on the horizon. Rich reflects on tapping back into the wondrous nature of design with projects like Place, where designers are given carte blanche. She was happy to discover that this sensibility had always been within her and “I’m at the point, and the design world is at a point, where being a bit wild is acceptable and even celebrated.” Place goes beyond poetry and aesthetics to occupy a social responsibility in Rich’s work. She acknowledges the crosscultural complexity of working in a place like Alice Springs and how her and Young have “learnt to appreciate their own cultural and personal position in this space as relative to others,” such as the local Arrernte people, the traditional owners of this region. The respect and sensitivity Rich and Young have for the people who have welcomed them to their land, and their history, stories and


culture has led to collaborations such as the Anerle-aneme chairs. Meaning “sit a little while” in local language, Anerle-aneme saw Rich work with a team of Aboriginal makers from CAT, taking their craftsmanship to the national and world stage. Rich’s concepts stem from one of three avenues: previous ideas that have been waiting for the right moment to see the light of day, being seized by sudden inspiration, or research that interrogates the essence of a project. For Urban Billy, it was about examining the significance of a cup of tea, the occasion and space that is constructed by this everyday ritual. Listening to Rich describe the comings and goings at Elbowrkshp, there is the impression that creating welcoming places comes second nature, and that this has helped her forge meaningful relationships in this small community in the sometimes overlooked centre of Australia. The space and place occupied by Rich in Alice Springs is something she has created, but which could only ever exist here – a place that has given Rich and Young’s individual and collective practices the space to evolve and come together in unexpected ways. A place with a different rhythm and enough room to invite other people to share this creative environment. Seeing how Rich has harnessed the unique energy of Central Australia, while confronting its inevitable challenges, it’s easy to see why she has never left. A

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Blum’s Sink drawer – A bathroom must have Discover more ideas for your new bathroom at a Blum Showroom.

Visit for locations


Examining the role of the exhibition designer Exhibition design represents a diverse, rigorous and growing discipline and it’s time to examine the appropriateness of the title “exhibition designer.” Words — Dr Tom Hewitt

Above — Wild: Amazing Animals at Melbourne Museum designed by Museums Victoria. Massed exhibits are displayed on different levels with interpretation presented on operable screens, encouraging both individual participation and social interaction. Photography: Dianna Snape.


Exhibition design has received very little acknowledgement or media attention in the past but the inclusion of two museum exhibition projects in the 2017 Australian Interior Design Awards suggest that an examination of the discipline and appropriateness of the title “exhibition designer” is overdue. There is a fundamental difference between trade fair exhibitions, showroom interiors, retail displays and museum or interpretive centre exhibitions. For the former projects a commercial imperative exists, but in contrast, museums are cultural institutions which, according to the International Council of Museums, “communicate and exhibit the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.” The debate about terminology is not a new one. Since 2005 terms such as “experience designer,” “narrative designer,” “thematic designer” and “interpretive or interpretation designer” have been considered in the UK and USA. One of the leading topics discussed at the Chaos at the Museum international conference, held every year since 2014, has been how the term “museum exhibition design”

is outmoded and no longer represents the diversity and rigour of the discipline. In Australia, a university education in exhibition design is rare, however, in the UK there are now six universities offering undergraduate and postgraduate degree courses. The first UK university to offer a museum exhibition design course was the University of Lincoln and in 2000 then senior lecturer Richard McConnell wrote, “Exhibition design is the ultimate in multidisciplinary design. It is the one discipline that includes all the others and is the most dynamic and exciting of all because you are in control of so many elements.” In his 2010 book, Exhibition Design, professor of architecture David Dernie contended that making exhibitions was increasingly recognized as a significant form of creative expression and as a complex field it embodied all the other design disciplines, including interior architecture, graphic, furniture and lighting design together with scenography, film, fashion, advertising and media. Since the 1980s there has not been a period when a new museum or a substantial extension has not been in the planning or building stage in Australia. Two major museums are currently in the design stage – the Museum of Applied Arts

Exhibition Design

Far left — Bold colours, supergraphics, integrated film screens and custom-designed showcases combine to form the striking Yiwarra Kuju: The Canning Stock Route touring exhibition by Freeman Ryan Design. Photography: John Gollings This page — Wellington Museum, an adaptive re-use project by Hewitt Pender Associates. The left-side photo shows an accurate, period recreation of the 1895 Bonded Warehouse. The right-side photo shows how maritime history is presented in theme bays, which reference the original storage bays. Photography: Guy Robinson

and Sciences, due to be built in Parramatta, and the new Western Australian Museum in Perth. In 2018 we will see at least twentyfive new museums opening in countries such as the UK, Brazil, South Africa and the USA, but by far the greatest number of recent new museums are those in China. After 1978, “reform and opening up” policies in China saw a building boom, or reverse cultural revolution, which at times saw more than 100 museums built each year. The Chinese Museums Association states that Chinese museums, which now number 4,692, host more than 20,000 exhibitions each year and attract more than 720 million visitors. The museums industry is therefore considered an important contributor to the cultural landscape in China, something that could mean opportunities for Australian designers and universities in this growing cultural industry. Museums and art galleries attract significant numbers of visitors, and their exhibitions or galleries are created to appeal to and communicate with large audiences, but compared to other forms of mass communication such as television, film and radio they are undervalued. From visitor studies and surveys, it is evident that museum exhibitions have a


significant impact on society, with more than 130 million visits made each year to museums in the USA and more than 15 million visits made to Australian museums. Since the 1950s museums have evolved from being primarily places for scholarly activity to places for leisure activity. Working with subject experts, it is the designer’s role to ensure that both informed and casual visitors receive an appropriate reward – knowledge, discovery, satisfaction of curiosity, and an environment that encourages a shared experience with family or friends. Visitor study specialists John H. Falk and Lynn D. Dierking noted in their 2000 book Learning from Museums: Visitor Experiences and the Making of Meaning, “Good design draws the visitor in, engages all the senses and compels the visitor to investigate the topic at hand.” The designer of museum exhibitions and visitor attractions usually has an interest in people and behavioural psychology. In 2014 Mat Hunter, chief design officer of the UK Design Council, commented in an article on the Creative Industries website, “Designers are sometimes caricatured as self-obsessed, but the truth is that really great designers care hugely about the real people who will

use the product, service, building or experience they are developing,” and although it could be argued that this is typical of all design disciplines, it is possibly more so for museum exhibition design. In the 2003 book Designing Disney: Imagineering and the Art of the Show, world renowned architect Frank Gehry said this about Disney’s chief designer John Hench: “John knows that people respond to design on a deep level. It isn’t that difficult to make a movie that simply entertains or a building that simply provides shelter. But when you’ve got a love for people, you want them to have experiences that make them think differently when they leave. The quest for ‘great’ transcends genre.” Today the museum is an environment where entertainment meets education and where technology meets tradition. For the exhibition designer the possibilities for creating innovative and engaging experiences are endless. a Tom Hewitt is a Fellow of the Chartered Society of Designers (UK) and was inducted into the Australian Designers Hall of Fame in 2009. His doctoral thesis The role of design in the development of museum exhibitions in Australia was completed in early 2016.

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Always give more than people expect

Dutch designer Marcel Wanders visited Australia recently to discuss his latest hotel projects and reflect on the future of hotels.

Photography — Courtesy Marcel Wanders

Above — Mondian Doha hotel in Qatar, designed by Marcel Wanders in 2017, is a “fantasy-like environment” with intricate mosaic walls and oversized lights appearing throughout the space.

Above — The design of the Mondian Doha draws on local knowledge, materials and techniques, and weaves a collection of stories throughout the hotel.


Marcel Wanders

Marcel Wanders is mischievous. In Australia as a guest of Space Furniture Wanders, the Moooi co-founder and art director spoke at sold-out events in Sydney and Melbourne that explored the future of the hotel. Wanders’ opening salvo was classic Wanders: “I have no idea what the future of hotels is. I could tell you the past of me and what my studio has created, but if I did know [about the future of hotels], I wouldn’t tell you.” Wanders went on to share the story behind the seven remarkable hotels he has designed in locations such as Amsterdam, Majorca, Zurich, Hong Kong, Miami and Doha. With his hotel design, Wanders aims to create an exciting experience for guests – a coveted destination – and this is where he suggests the hotel is heading. “Interior design is a whole world – it’s about creating an ‘acceptable chaos.’ Make it so that it really draws people in, it inspires people, pulls them in and excites them. That’s what we want to do in our hotel design,” Wanders says.

Above — The Andaz Amsterdam Prinsengracht hotel, designed by Marcel Wanders in 2012.


After his presentation, Wanders was joined by interior designers Tracey Wiles of Make Architects and Jonathan Richards of SJB, where the three debated how hotel design might change in coming years. Wiles believes that with people travelling more and more, hotel design needs to become more localized and authentic. “We want to go somewhere where we have an authentic experience ... to go somewhere and feel like you are actually engaging with a space is magic,” Wiles says. Richards thinks service and personal interaction plays a big factor in the success of a hotel. “Beyond the design, how do people feel really special in an environment? I find that ... if you start to get bad service, [even at your favourite hotel] everything about it becomes irritating, even the design you thought you liked,” Richards says. While Wanders sidestepped the question of what the future of hotels looks like in his opening remarks, his concluding comments mused on the increasingly

entwined relationship of home and hotel. “We live in very interesting times. If you’d have asked me twenty years ago what the house of the future would look like I would have said, ‘it’s probably more individual, more personal, more specific, more expressive of that person.’ Twenty years ago that’s what we thought design was pushing forward. If you look at it today, the world is completely different. In fact, I think that at this moment the public terrain and the private terrain have almost swapped places. If you design a public place, like a hotel, you want it to be moody and nice and comfortable and to pamper people. But in a private house, more and more people want their house to be sold to someone else, or they want it to be Airbnb-able. So they want less and less of themselves in their homes. So it’s interesting that the private terrain gets less personal, but the public terrain gets more personal.” a Marcel Wanders was invited to Australia as a guest of Space Furniture for Moooi.

Above — The Andaz Amsterdam Prinsengracht hotel references the Golden Age, Dutch Delft Blue and the city’s vibrant, creative history and economy.

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Industry Insights — USG Boral and Asona —

Turning acoustics into a defining design feature At the award-winning student accommodation for the University of Auckland, designed by Ashton Mitchell and Alpha Interiors, Asona acoustic and decorative ceiling and wall finishes are an integral feature.

Above — In the study lounge, Asona manufactured and installed Triton Fabwall 40 in varying lengths, wrapped in Textilia Bond Leaf fabric.

Acoustic and decorative ceiling and wall inishes from specialist manufacturer Asona are an integral feature of the award-winning student accommodation built for the University of Auckland. The 55 Symonds Street project by architects Ashton Mitchell, Hawkins Construction and Alpha Interiors incorporates an acoustic solution for the diferent zones of the building’s entry and common areas, addressing noise control and contributing to the overall design language of the building. Asona manufactured a custom Triton 15 acoustic ceiling panel to span the full width of the corridor, creating a cleaner ceiling aesthetic with sound absorption beneits. The large open plan study/dining area required a high noise reduction coeicient (NRC) acoustic treatment to control sound reverberation. Asona Triton Cloud panels in 25-, 50- and 75-millimetre thicknesses were wrapped in four tones of fabric, producing

Above left — The rectangular modules of the facade inspired the main feature walls in the multifunctional, open-plan study lounge. Above — The acoustic and decorative ceiling products reflect a vibrant space students will enjoy being in.

an overall NRC of 1.00. These panels were installed in a 3D arrangement to efectively control the acoustics of the space, while also adding drama and interest to the ceiling. Importantly, the performance of these panels prevents transmission of sound to student accommodation directly above. For the reception area ceiling, Triton Baffle Beam 40 mm in white Sonatex glass laminate was applied to follow the curved wall leading into the study/dining zone. This design feature accentuates the curve of the building, provides additional acoustic control and creates a sense of low to encourage movement through the transit area. The external language of the building was also relected in the interior. The rectangular modules of the facade inspired the main feature walls in the multi-functional, open plan study lounge and games room space. Asona manufac-

tured and installed Triton Fabwall 40 in varying lengths, wrapped in Textilia Bond Leaf fabric with a 40-mm reveal around each rectangular panel. The varied lengths and wide reveals softened these two-storey walls, avoiding the overpowering efect of tightly itted panels. Ashton Mitchell architect Cliford Paul commented, “We wanted to create a vibrant space that relected the students using the facility, avoiding commercial inishes to maintain the feeling of a home. We use Asona products regularly to provide acoustic control and, in this project, to allow the use of fabrics and introduce subtle colours to the interior.” Asona has partnered with USG Boral as distributor to bring its innovative, high-performance decorative acoustic ceiling and wall inishes to Australia. For more information:

Design practice — Ashton Mitchell and Alpha Interiors Asona products used — Custom Triton 15 acoustic ceiling panel, Triton Cloud panels, Triton Baffle Beam, Triton Fabwall 40

AIDA 2018 46—47

2018 Australian Interior Design Awards

Awards founding partners:

In celebration of the 2018 Australian Interior Design Awards, this issue provides full coverage of the results: eight awarded projects, one emerging interior design practice, twenty-five commendations, twelve best of state recognitions, the best international project and 199 shortlisted projects, all from a record-breaking 623 entries For more, visit —

The Australian Interior Design Awards founding partners thanks the corporate supporters Premier Award for Australian Interior Design:

Award for Sustainability Advancement:

Awards for Retail Design and Workplace Design:

Award for Installation Design:

Awards for Residential Design and Residential Decoration:

Award for Public Design:

Award for Hospitality Design:

Award for Emerging Interior Design Practice:


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2018 Jury Host:

AIDA 2018

Awards for Australian Interior Design jury

Opposite page — Members of the 2018 Awards for Australian Interior Design jury (from left): Geraldine Maher, Dave Bickmore, Sonia Simpfendorfer, Tracey Wiles, Mark Simpson, Elizabeth Carpenter, Donna Wheatley, Hanna Richardson and Kieran Wong. Photography: Jessica Prince


From the jury — This year marks the Australian Interior Design Awards’ fifteen-year anniversary and like every year before it, the standard of entries is high. If there was any idea that the country’s architecture and design industry isn’t progressive, relevant or inventive, a quick glance at the 2018 shortlist will set that straight. These projects are characterized by conceptual rigour and compelling design expression, with a human-centric focus and strong desire to contribute new ways of thinking to their respective sectors and beyond. Indeed, innovation is well and truly alive across the board, although it manifests in different ways. Space & Time, the winner of the Premier Award for Australian Interior Design and Installation Design, is as compelling for its seemingly unprecedented spatial experimentation as it is for the important questions the permanent moveable installation raises. What is interior design today? How can designers and architects approach interior design in new and exciting ways? Now more than ever, conventions are being challenged and we’re seeing outcomes that, while still solution-oriented, are genuinely reinventing traditional typologies. The Customer Experience Company, winner of Workplace Design, pushes the idea of flexibility to the next level and in doing so, not only makes a powerful statement, but also gives us significant insight into what future workplaces just might look like. The idea that a project has influence is a dominant theme of this year’s awards and in an age of social media where anyone can make some sort of impact, seeking out those who do it with integrity, credibility and intelligence is imperative. Wynyard

Walk, the Sustainability Advancement and Public Design winner, is a game changer that uses interior design exceptionally well to elevate the public experience, shifting perceptions of public transport and encouraging socially sustainable practice. However, not all projects have to be ambitious in scale to be influential, as Retail Design winner L’eclisse demonstrates. The modestly sized shoe shop is exquisite in its detailing and proves that a compelling retail offering doesn’t have to be full of bells and whistles to engage customers or be memorable. And the tiny thirty-two-squaremetre Canning Cottage, winner of Residential Design, sets a new benchmark for what designers and architects can do with small spaces. This delightful residence is meticulous in its planning and detailing and exemplifies the fact that a good idea is nothing without exceptional execution. Hospitality Design winner Sean Connolly at Dubai Opera’s sophisticated craftsmanship elevates this principle through seductive palettes of sensual materials and rich tonal hues, while Residential Decoration winner Curatorial House does so through confident, restrained styling and decoration. Each project values the human condition and commits to not only address but progress human experience. And where there’s a challenge or provocation, it’s with a view to effect change for the greater good of many. Australia’s architecture and design industry is undeniably healthy; it’s rich in creativity, not short on originality and willing to try something different. These projects build upon this strong foundation by offering more food for thought, fostering ongoing conversation and debate that moves us well and truly forward.

Jury Convenor, Awards for Australian Interior Design Geraldine Maher — Principal, Geraldine Maher Design (Vic) Geraldine has recently established her own design consultancy after several successful years as a director of Jackson Interiors and principal of Jackson Architecture in Melbourne. Her work is predicated on the belief that acknowledgement of the human circumstance is the driving force behind creative and inspirational architectural outcomes. She has a passion for civic projects that contribute to the fabric of society, are enduring and engage people.

Sustainability adviser John Gertsakis — Equilibrium Consultants (Vic) John is an independent sustainability practitioner. With over twenty years’ experience, he has worked across a range of product-oriented areas including design for sustainability, product stewardship strategy and environmental communications. John has served on the Australian Government’s Product Stewardship Advisory Group.

Hanna Richardson — Zwei Interiors Architecture (Vic) Hanna’s partnership with Katherine Kemp at Zwei Interiors Architecture (German for two) is driven by a joint passion for delivering projects that are simple and considered, yet experiential, meaningful, authentic and playful. Having graduated from RheinMain University in Germany, Hanna worked in Europe across exhibition, residential and retail design before relocating to Australia two decades ago.

Donna Wheatley — WMK (NSW) Donna is a workplace strategy and design leader. As a doctor of philosophy and a registered architect, she believes in embracing reason and intuition to make workplace strategy and concept design exciting and enriching. Donna carries projects from research and briefing to schematic design and post-occupancy evaluation. She has worked at top Australian universities and architectural firms.

Dave Bickmore — Studio-Gram (SA) One half of the creative brain behind StudioGram, Dave has spread his creative talent and style across Australia to award-winning acclaim. Since its inception in 2014, Studio-Gram has successfully delivered over thirty projects throughout Australia and Indonesia. Bickmore was named in SA Weekend magazine’s “Fastest Rising Stars Under 30” and received the Jack Hobbs McConnell Fellowship.

Sonia Simpfendorfer — Nexus Designs (Vic) Sonia determines the creative direction of each project, leading her awardwinning team of designers to deliver interiors that are highly personal, distinctive and enduring. She is entrusted with continuing the groundbreaking design approach established by Janne Faulkner in 1967, which has made Nexus Designs synonymous with Australian style.

Tracey Wiles — Make (NSW) Tracey’s international portfolio reflects more than twenty years’ experience leading award-winning retail, residential, commercial and hospitality projects across Europe, the UK and Asia. Now based in Sydney, Tracey leads Make’s interiors team on a range of premium developments in Australia, London and Hong Kong. Prior to joining Make in 2007, Tracey was a senior partner at Foster and Partners.

Elizabeth Carpenter — FJMT (NSW) Elizabeth is managing principal of FJMT and is the Sydney studio leader. She has led many multi-award-winning projects, including the Mint, Newcastle Regional Museum and the Concourse. Elizabeth was awarded the 2014 University of Sydney Alumni Award for Professional Achievement and the 2005 NAWIC (Australia) Stockland Award for Achievement in Design.

Mark Simpson — DesignOffice (Vic) Mark is the joint creative director of DesignOffice, a role shared with co-director Damien Mulvihill. Together, they oversee the architectural and interior design practice, working with their team to conceive confident and personable responses to client briefs. The Melbourne-based studio, established in 2008, creates buildings and spaces for the hospitality, retail, residential, commercial and institutional sectors.

Kieran Wong — Cox Architecture (WA) Kieran co-founded Fremantle-based practice Coda in 1997 and joined Cox as a director after the two studios merged in 2017. Kieran’s portfolio of projects includes educational and public buildings that have been awarded by the Australian Institute of Architects. Kieran’s work is underpinned by his belief that good design can influence positive outcomes for individuals and the wider community.


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AIDA 2018

Award for Interior Design Impact jury

Members of the 2018 Award for Interior Design Impact jury (from left): Geraldine Maher, Sue Wittenoom, Roger Poole and Robert Backhouse. Photography: Timothy Burgess

Jury Convenor, Award for Interior Design Impact Geraldine Maher — Principal, Geraldine Maher Design (Vic) Geraldine has recently established her own design consultancy after several successful years as a director of Jackson Interiors and principal of Jackson Architecture in Melbourne. Her work is predicated on the belief that acknowledgement of the human circumstance is the driving force behind creative and inspirational architectural outcomes. She has a passion for civic projects that are enduring and engaging.

Roger Poole — Roger Poole Architects (Vic) Roger is the former chair of Bates Smart and has over forty years’ experience as a design architect and strategist. Since his retirement he has formed his own practice, Roger Poole Architects, an architectural design and development adviser to private and government clients. Roger has a particularly strong commitment to collaboration between interior designers and architects to create a unified design solution that is thoroughly considered, innovative and timeless. He is a Life Fellow of the Australian Institute of Architects.

Robert Backhouse — Hassell (Vic) Robert, chair of Hassell, has built a reputation for design innovation and leadership on major projects in Australia and Asia over the past two decades. His work includes some of the world’s largest and most complex workplaces as well as unique apartments and houses. In Australia, he’s been involved in transformational workplace design projects for clients including ANZ, Medibank and Lend Lease. Rob is a Fellow of the Design Institute of Australia.

Sue Wittenoom — The Soft Build (NSW) Sue is founder of the Soft Build, a consultancy that focuses on the renewal and reinvention of buildings, spaces and people. Over the past thirty years, her work has evolved from architecture to project management, program design and strategic consulting. As a former director of DEGW and former technical director of AECOM’s Strategy+ in Australia and New Zealand, she helps clients think about how the relationship between people and place shapes organizational performance.


From the Award for Interior Design Impact jury — Every strong design project makes an immediate impact but that is not the objective of this award. This award views impact from the user’s viewpoint. Projects are judged on the way they perform over time. The great joy of being part of the Award for Interior Design Impact jury is the opportunity to hear the clients’ perspective, both the commissioning client and the end users. We look for the impact that the project has made to their “world” and we review the evidence they present to support their claim. The 2018 winner is the result of a brave client commission and the jury recognizes the GPT Group’s bold design strategy. For the GPT Group, the real commercial risk was an expanding asset that straddled different customer end markets. The new fashion and fresh food precincts needed to reposition the whole centre. Strong performance over consecutive cycles has seen annual turnover reach $1 billion. The $300million expansion has underpinned an increase in Highpoint Shopping Centre’s valuation from $246 million in 2012 to $2 billion in 2018. That is evidence for high impact design.

Photography by Raquel Betiz

Left to right: Nicholas Eldridge, AGDA CEO; Cathy Veninga, DINZ CEO; Claire Beale FDIA, DIA National President; Jo-Ann Kellock, DIA CEO; and Dave Giles-Kaye, Executive Director of the Council of Textile & Fashion.

Good news for designers Everybody is excited about the results of the 2017/18 DIA Fees and Salary Survey, released during Melbourne Design Week in March 2018. The DIA Survey is just one of the many benefits that DIA members receive from being a part of Australia’s peak professional design body. Get your free survey results and support your design profession by joining the DIA today.

Contact the DIA National office to become a member: 1300 888 056


Designers and industry leaders came together to discuss important trends and insights from the DIA survey – provided free of charge with a detailed analysis and accompanying Practice Notes to all full DIA Members.

AIDA 2018

Winner Premier Award for Australian Interior Design / Installation Design Designer Russell & George

Premier Award for Australian Interior Design supported by:

Award for Installation Design supported by:


Space & Time


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AIDA 2018

Design statement — The experience of space isn't static yet our interiors generally have static functions. What if space responded to mood in a human sense and changed based on what the general feeling was at the time? Dinner, breakfast, lunch, exercise, work, party, special event, art, experience, workshop, making, creating, going to the movies, gardening, socializing. These activities can all occur in this space – all within a framework that adapts specifically to each use. The space is designed to nurture, by stimulating a sense of possibility. This is Space & Time. One space, multiple functions, multiple business, multiple human experiences governed by only one factor – time of day. Use of the space drives the reconfiguration and adaptation of the interior, using dynamic and reusable elements. Spaces are never left idle and unused – simple and mobile elements are endlessly reconfigurable and have multiple functions. An overhead lighting system – a combination of diffuse sunlight and smart LEDs that can adjust to ambient conditions and colour tones – is used along with custom furniture designed and manufactured in house specifically for this project. This project is all encompassing and designed to be a complete interior work.


Space & Time


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AIDA 2018


Space & Time

Jury comment (Premier Award for Australian Interior Design) — The jury unanimously agreed that Space & Time is deserving of the Premier Award for Australian Interior Design, selected from a field of outstanding contenders. While the project challenges the idea of how we use space, it also shakes up the status quo by asking important questions that need to be asked. What is interior design today? Is temporality key in contemporary interior design? How can designers and architects approach interior design in new and exciting ways? This project is as unexpected as it is rigorous and its design sets a new precedent for encouraging innovation and not merely copying what’s been done before. The jury was impressed that Space & Time feels like a genuine laboratory and as one jury member commented, “There’s a sense that stuff can be truly invented here.” It tries to push the envelope and succeeds and for this reason the project could hold its own at an international level. The jury also commended its experimental nature and the way light is used to great effect in transforming the space and transporting visitors to another place.


Jury comment (Installation Design) — The jury commended this permanent moveable installation for being an infinitely flexible, incredibly unique project that isn’t easy to categorize. Space & Time straddles a number of different typologies and can be configured as a workplace, retail or hospitality offering. Each setting has its own distinct character that is genuinely experiential, with a single ceiling treatment (comprising thousands of LEDs) the interior’s one unifying element. The colour of these lights can be adjusted depending on the event or occasion and the overall effect is incredibly dramatic, with each surface serving to reflect this expansive feature. Space & Time’s capacity for creating different environments is what sets the project apart, making its potential for change truly exciting. The jury was impressed by its unlimited configurations and resulting ability to genuinely surprise. Visitors who keep on going back will be greeted with something different every time and this is what makes the project so relevant and intriguing.

Project — Space & Time 18–24 Baillie Street North Melbourne Vic 3051 Design practice — Russell & George 18–24 Baillie Street North Melbourne Vic 3051 +61 3 9038 3240 Project team — Ryan Russell, Byron George, Rowan Hutchinson, Brady Hallam, Kim Wright, John Mackenzie, James McAllister, Roger Banks, Wendi Kinerman Photography — Paul Martin

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AIDA 2018

Winner Interior Design Impact Designer Grimshaw in association with The Buchan Group

Design statement — The North East Precinct Development at Highpoint Shopping Centre provides Melbourne’s west a premium retail, food and experiential offer through aspirational and sustainable design. With marketleading concepts to create a sense of place, the expansion delivered a modern retail centre that has established Highpoint as a leading destination outside the CBD. The expansion at Highpoint creates a shift for Melbourne’s west, with a retail and food experience that recognizes the transformation of the region. This impact was guided by an elegant and aspirational design concept, inspired by the west’s diversity. With clear legibility in form, structure and materials, the design creates a series of unique spaces that reflect the different programs of the centre. Since its opening, the precinct has continued to perform well and attract internationally leading retailers, with Uniqlo and Sephora opening in the centre in 2017. The expansion has also contributed to the centre’s role as a dominant regional centre in its market. Reflective of the impact of the development and its contribution to the positioning of Highpoint, the centre’s value has increased from $246.7 million in 2012 to over $2 billion in 2018. From a design perspective, the community sought an outcome where Highpoint reflected the surrounding environment and the creative and resilient spirit of the west. In response, the malls feature natural materials and exposed beams that celebrate the site’s history as a quarry with the use of bluestone in the floors and furniture. The eco-spine roof structure was inspired by the ebb and flow of the nearby Maribyrnong River. This transparent roof, designed to let in natural light and fresh air, flows throughout the mall before opening up to a grand new entrance and public space. In contrast, the fresh food precinct comprises two simple spaces to reference the functional aesthetic of traditional food markets in the west.


Highpoint Shopping Centre


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AIDA 2018


Highpoint Shopping Centre

Jury comment — If you can order everything you need online, why would you go to the trouble of visiting a shop? The world of retailing is in turmoil. The retailer’s definition of “destination” shopping has to go up a notch. When the GPT Group created the brief for the 30,000-square-metre expansion of this massive regional centre, the client team saw the need for fresh thinking about the quality of the shopper experience. GPT’s strategy was to combine city infrastructure and the placemaking playbook. The Grimshaw design team recalled its surprise at being asked to take on the commission. The original design of Highpoint belongs to an overseas retail model – the centre as a tall white atrium flooded with natural light. Long runs of shopfronts are punctuated with nodes and escalators, but the spatial experience is still largely unvaried from end to end. The new north-east development at Highpoint stands apart from the rest of the centre. The new precinct plays with light levels across the spectrum – from the compressed, muted threshold at the connection to the existing mall, to the translucent roof light sweeping down to the new entry forecourt.


Spatial sequences provide a sense of the unexpected around the corner. Three new precincts have developed distinct stories around their markets to make sure their retailers succeed. Global fashion and lifestyle flagships don’t want to dilute the CBD ambience in suburban centres. The crescent-shaped mall mediates the transition to the new, ecologically sensitive precinct with its ambient air and fresh produce. The market hall is airy and well lit, but also full of timber and character. Like the online strategists who manipulate our attention, good retailers know that the more frequent the shopper contact – and the longer they stay – the better the sales. For the visitor this requires considerate and thoughtful design. An outstanding parents’ room means that you don’t have to go home to breastfeed a baby while you distract a preschooler with interactive screens. There are plenty of places to wait comfortably if tolerance for your partner’s shopping is running low. You know that you’ll be able to get in and out quickly to prepare dinner. Highpoint manages all this and then gives Maribyrnong families a deckchair in the sun next to running water, coffee and an adventure playground. Top that, Amazon!

Issue 63

AIDA 2018

Project — Highpoint Shopping Centre, North East Precinct Development 120–200 Rosamond Road, Maribyrnong Vic 3032 Design practice — Grimshaw in association with The Buchan Group (Masterplanner: Civitas, Construction Partner: Probuild) 21 Bouverie Street Melbourne Vic 3053 +61 3 9321 2600 Project team — Grimshaw: Keith Brewis, Neil Stonell, Jason Embley, Tim Cox The Buchan Group: Bruce Dickinson Photography — Peter Bennetts (page 59, page 61 bottom), Michael Kai (page 58, page 60 top, this page top), Cam Conwell (this page bottom)


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AIDA 2018

Winner Sustainability Advancement / Public Design Designer Woods Bagot


Wynyard Walk

Design statement — Wynyard Walk is a fully accessible pedestrian link designed around the concept of flow. The design challenges the perception of a transport interchange, shifting the emphasis from efficiency of travel to the quality of experience, with the forms optimized to capture the largest volume of space and ease pedestrian movements through its curved profiles, rounded corners and sinuous forms. Providing a highly functional and practical connection, the design is focused on the quality of the customer journey, allowing pedestrians to travel from Sydney’s Wynyard Station to the Barangaroo waterfront in approximately six minutes. Linking Wynyard Station to the western corridor of Sydney’s CBD, Wynyard Walk consists of a series of aboveand below-ground urban interventions, including a nine-metre-wide pedestrian tunnel, a bridge, a plaza and a new civic building. The design concept of flow draws on the natural geology of the Sydney Basin, with its landscape of deep cliffs, gorges, beaches and estuaries carved by erosion. The design references the movement of water through a “fluid flow” of pedestrians – like water, people follow the path of least resistance.


Award for Sustainability Advancement supported by:

Award for Public Design supported by:

Issue 63

AIDA 2018

Jury comment (Sustainability Advancement) — This project’s environmentally sustainable design features are impressive and range from a 100-year lifespan to the use of LED strip lighting throughout and the substitution of glass reinforced concrete panels for precast concrete. Wynyard Walk also received high praise from the jury for being socially sustainable, especially within a highly visible urban environment. As a design strategy it makes public transport obvious and attractive and encourages people to use it. And in so doing, it’s encouraging ethically considered behaviour that has environmental benefits, beginning with the reduction of each individual user’s carbon footprint. Wynyard Walk’s exposure to many means it will have impact and influence that is far reaching. The jury also applauded the wisdom and vision of the client, Transport for NSW, in supporting the advancement of ethical boundaries within the public realm. Certainly, the project would not have been executed with this level of intelligence, resolve and inventiveness had the designers and client not been collaborating with a shared commitment to effect change.


Jury comment (Public Design) — The jury applauded Wynyard Walk for being a genuine public project of infrastructural significance, noting that the 180metre-long pedestrian link connecting Wynyard Station with Barangaroo uses interior design exceptionally well to elevate the public experience. This project encourages the use of public transport through a celebration of movement and while it’s undeniably dynamic, it becomes all the more animated with people in it. There’s detail at every scale and the jury was particularly impressed by the surface treatments, which range from sandstone to aluminium. The robust material palette makes the interior incredibly tactile and this cleverly plays on ideas of connection and engagement. Light is another simple device put to great effect and the use of repetitious fluid curves in a space such as this simply makes good sense. Neither the concept nor the aesthetic feels compromised and the designers are to be commended for delivering an ambitious project that is compliant, user-friendly and timeless. Wynyard Walk demonstrates the way design can change behaviour by shifting perceptions of public transport.

Wynyard Walk


Issue 63

AIDA 2018

Project — Wynyard Walk Wynyard, Sydney NSW 2000 Design practice — Woods Bagot 60 Carrington Street Sydney NSW 2000 +61 2 9249 2500 Design team — Domenic Alvaro, John Prentice, Zig Peshos, Rob Wright, Martin Fox, Dennis Hwang, Alex Herran, Milan Bogova, Marissa Looby Photography — Trevor Mein


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AIDA 2018

Winner Retail Design Designer Chris Connell Design

Award for Retail Design supported by:

Design statement — The core consideration of the brief was to display shoes and create a space that speaks to the bespoke nature of the artisan quality and detail of the handmade shoes. Existing structures and a tight budget posed limitations but also provided the opportunity to create a series of spaces within the existing envelope. Collaborating closely with client and builder, the design team had a similar aesthetic and love for detail to the client. The design team focused on the idea of a calming, almost meditative space and a place to escape. The integrity of the design was achieved by the minimal use of materials, each selected to fit its purpose, which also complement the detail in the products on sale. Each element evokes luxury and quality to customers, from the custom shelving of folded blackened steel, fixed to walls with machined brass fittings, to the handmade “shag” rug. These elements, married with the raw finish of the concrete floor and polished plaster walls, celebrate beautiful craftsmanship. The almost twelve-month construction time allowed possibilities and solutions to unfold organically and this contributed not only to the store’s aesthetic, but also to the quality of the build.


Jury comment — Retail design needs to “go somewhere different” to stand out from the crowd and this project does exactly that. The jury was impressed by this genuinely innovative fitout, exquisite level of detailing and single clear concept. L’eclisse presents as an art gallery seductively showcasing the brand’s meticulously crafted shoes as objects of art. And customers are invited to discover each item as they move through a non-traditional sequence of spaces. This sense of exploration is heightened by the fitout’s fine custom detailing, which encourages closer examination of the shoes’ craftsmanship. L’eclisse’s well-considered details lend the design its quirky, eclectic personality and reveal the passion and devotion of the designer. The jury unanimously agreed it’s a beautiful interior with a compelling colour palette. It could just as easily be a shop in 1970s Venice, such is its timeless appeal, and, in this respect, the project has a strong international sensibility. Its design very much helps sell the product, making the customer feel they’ve walked away with something special.



Issue 63

AIDA 2018

Project — L’eclisse 1059 High Street Armadale Vic 3143 Design practice — Chris Connell Design 78 St Kilda Road St Kilda Vic 3182 +61 3 8598 2222 Photography — Earl Carter


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AIDA 2018

Winner Hospitality Design Designer Alexander & Co. and Tribe Studio Architects


Sean Connolly at Dubai Opera

Design statement — The conceptual framework of this project revolved around chef Sean Connolly’s oceanic food vision. Conceived as an underwater salon, the bistro explores the colours and tones of the sea, oysters, sea cliffs and coastal escarpments. Coupled with this were architectural reference points to twentieth-century modernism, which was a personal interest of Sean Connolly’s. The design team studied geometries from Eero Saarinen’s TWA Flight Center and Jørn Utzon’s Sydney Opera House as well as classic Persian tile work and vaulted ceilings within their historic buildings. These, combined with classic interior pieces by Serge Mouille and Norman Cherner and more traditional bistro and brasserie design, including fluted glasswork and brass window frames, results in an underwater brasserie that feels like being lost within an oyster.


Jury comment — Sean Connolly at Dubai Opera is sophisticated and sensual, with a maturity that’s also lively and playful. The jury commended the interior’s meticulous detailing and immaculate planning and simply loved everything about it. Each detail has a high level of intelligence and custom elements are beautifully resolved, from terrazzo benches with leather cushions to elegantly understated, and quite often concealed, lighting. Maintaining an architectural integrity in the fitout’s complex geometry has also been masterfully accomplished. This design skilfully navigates a large, difficult space by creating intimacy in the plan, allowing guests to experience a range of distinct settings. One juror noted that the highly emotive character of the interior conveys a sense of being transported elsewhere, such is the design’s compelling experiential qualities. Add to this the nuance and depth of the material and colour palettes and Sean Connolly at Dubai Opera is a worthy award recipient that sets the bar high for future up-market hospitality offerings, both nationally and abroad.

Award for Hospitality Design supported by:

Issue 63

AIDA 2018

Project — Sean Connolly at Dubai Opera 19 Sheikh Mohammed bin Rashid Boulevard Dubai Design practice — Alexander & Co. Level 3, Studio 306 53–59 Great Buckingham Street Redfern NSW 2016 Project team — Alexander & Co: Jeremy Bull, Scott Williams, Sam Birtles, Anna Trefely, Jess Mason, Rouda Taouk, Jay Sethasastrakorn, Amber Gallen, Madison Fay Tribe Studio Architects: Hannah Tribe, Emanuele Ratazzi, Jeff Grant, Javier Saiz, Miriam Green Photography — Brooke Holm


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AIDA 2018

Winner Workplace Design Designer BVN Design statement — The Customer Experience Company’s (CEC) philosophy applies design thinking to business problems to achieve innovative outcomes and better customer experiences. Given that a principle of CEC’s business is “different thinking equates to different outcomes,” CEC was prepared to challenge traditional workplace notions, pushing the boundaries when it came to its new workplace. CEC occupies a vibrant studio of 400 square metres in Macquarie Place, Sydney. A key component of CEC’s environment was spaces that could be easily modified for various purposes: quiet focused work, ad hoc team collaboration, large-scale events and client workshops. The space was designed to maximize the functionality of the small studio. CEC employees are fully agile, working on folding tables with retractable power, reconfiguring layouts daily based on project needs and specific tasks at hand. Jury comment — The Customer Experience Company is an innovative workplace design that delivers exactly what the concept sets out to achieve. Ways of working have been rigorously questioned and the outcome implements a model of flexibility that the jury believes will have long-term impact and influence. The design allows for the 500-square-metre interior to be completely reconfigured via a series of stackable whiteboards suspended from a ceiling-mounted track that zigzags through the space, depending on employees’ needs. It has the wow factor in demonstrating pure agility, while being an on-brand representation of the company’s progressive office culture and business ethos. The jury was impressed by its compelling plan and innovative thinking in changing perceptions and mindsets about how we work today. CEC’s designers have also introduced a new level of spatial informality to the workplace by erasing the distinct threshold between entry and actual work areas. This is a carefully considered, creative design that is anything but ordinary.

Award for Workplace Design supported by:


The Customer Experience Company


Issue 63

AIDA 2018

Project — The Customer Experience Company Level 6, 7 Macquarie Place Sydney NSW 2000 Design practice — BVN Level 11, 255 Pitt Street Sydney NSW 2000 +61 2 8297 7200 Project team — Ninotschka Titchkosky, Sally Campbell, Alessandra Colusso Photography — Brett Boardman


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AIDA 2018

Winner Residential Design Designer Bicker Design

Design statement — The brief for Canning Cottage was to create a self-contained dwelling for a family member while respecting the heritage fabric of the building. Originally built in 1874, the thirty-two-square-metre worker’s cottage measures eight metres by four metres, with a central bathroom pod, northfacing living areas and a private bedroom to the rear. The cottage is positioned to the front of the site, with a strong connection to the street and community. A central courtyard will separate the cottage and a contemporary new dwelling to the rear of the site. Functionality was the priority, with floor-to-ceiling storage and custom joinery included throughout. The open wardrobe creates visual breathing space. Oak shelving allows the clients to display their personal objects and provides additional storage. The irrigated garden above the bathroom pod introduces greenery without taking up valuable floor space. Natural light was increased through the vaulted ceiling, large skylights and crisp white paint. An important aspect of the design was to add interest through texture and materiality. The balance of hard and soft materials, sharp lines and soft curves creates a harmonious interior. Jury comment — Canning Cottage is an extremely strong project that demonstrates effective planning in a small space measuring only thirty-two square metres. Every design move has been well considered, with materiality, spatiality and detailing displaying equal strengths in a scheme that is simply immaculate and undeniably innovative. There’s a real delight to this project, from its conceptually pure diagram to the uncomplicated, polished resolve of its aesthetic, making it a thoroughly welcoming, playful little gem of a house. The jury unanimously agreed that Canning Cottage is going to be influential in creating a benchmark for what architects or designers can achieve with small spaces. And while it questions the possibilities for residential design in inner-city Australia, it positively promotes Australian interior design on a world stage. The beauty of Canning Cottage lies not only in its elegant detailing and thoughtful layout, but in its ability to effect change by setting an outstanding example.


Canning Cottage

Award for Residential Design supported by:


Issue 63

AIDA 2018

Project — Canning Cottage North Melbourne Vic 3051 Design practice — Bicker Design Project team — Jenna Densten, Josh Densten Photography — Nikole Ramsay


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AIDA 2018

Winner Residential Decoration Designer Arent&Pyke

Design statement — Overcoming the disparity between the original house and its 1980s extension, the design of Curatorial House returns gravitas to the home through carefully considered weights and balance. Key is the relocation of the kitchen to the centre of the ground floor and the creation of a bespoke fireplace in the lounge. The home’s engagement with the garden has also been addressed with a new balcony, defined doors and windows, and a brass rail that is compliant without compromising the original architectural bones. Pared back to a monochromatic palette of black and white, the richness of heritage detailing and the spatial volumes provide foundational bones, while decoration and design bring movement and a sense of dynamism. The design respectfully nods to the glamour of the era and the avant-garde nature of the P&O movement.

Award for Residential Decoration supported by:


Jury comment — Curatorial House is confident in its restraint and the jury was impressed by the project’s refined detailing, where motif is suggested rather than shouted. Black is used effectively throughout to punctuate the interior and along with white walls provides a neutral backdrop for the family’s thoughtfully edited collection of art, objects and furnishings. The jury commended the project for being a very liveable home that’s not static, but rather allows change through a palette that is flexible. One jury member imagined the family travelling and bringing back new objects for the home without upsetting the current arrangement, but rather adding to it. In this respect, Curatorial House is full of narrative and a sense of emotional connectedness; although it is immaculately styled, it’s very much a lived-in home that’s used. This project demonstrates self-assuredness in the category through a boldness that quietly champions a less-is-more aesthetic.

Curatorial House


Issue 63

AIDA 2018

Project — Curatorial House Pymble NSW 2073 Design practice — Arent&Pyke 286 Devonshire Street Surry Hills NSW 2010 +61 2 9331 2802 Project team — Sarah-Jane Pyke, Juliette Arent, Shannon Dogon, Dominique Brammah Photography — Felix Forest


AIDA 2018

Winner Emerging Interior Design Practice




Profile statement — Ritz&Ghougassian was established in late November 2015 by architect Gilad Ritz, aged thirty-two, and interior designer Jean-Paul Ghougassian, aged thirty-one. After graduating with honours from Monash University with a Bachelor of Interior Architecture, Ghougassian cut his teeth at Hassell, working across both residential and commercial interior design. Ritz also spent his first few years as a graduate architect at one of Australia’s most revered studios, Woods Bagot, before moving across to Room 11. The studio has completed more than fifteen projects that range in size and complexity. The projects are diverse, ranging from hospitality to retail, workplace, residential and multiresidential architecture and interior design.


Jury comment — The breadth and maturity of Ritz& Ghougassian’s portfolio impressed the jury, especially as the Melbourne-based practice was only established in late 2015. Co-directors Gilad Ritz and Jean-Paul Ghougassian’s refined, architecturally rigorous work is notable for its strong adherence to a set of shared design values and its avoidance of anything faddish or trendy, making them very deserving award recipients. There’s consistency and originality across each project, regardless of typology, and each displays genuine innovation and sophistication. This is especially evident in two of the practice’s most recent projects, the highly polished Highbury Grove residence and Fitzroy’s stylish Bentwood cafe. Ritz&Ghougassian’s commitment to build upon the architects’ combined experience working at Hassell, Room 11 and Woods Bagot makes it a name to watch. The practice is already prodigious in delivering over fifteen projects and, as one jury member commented, what makes this young practice particularly refreshing in an age of social media is that its co-directors are “designing by principles not Pinterest.”

Issue 63

Award for Emerging Interior Design Practice supported by:

AIDA 2018

Design practice — Ritz&Ghougassian 5/589 Malvern Road Toorak Vic 3142 +61 3 9824 0051 Project team — Gilad Ritz, Jean-Paul Ghougassian Photography — Page 90–91: Highbury Grove. Page 92: Bentwood. All photography by Tom Blachford.


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Hospitality Design

Jackalope — Designer: Carr Photography: Sharyn Cairns

Chin Chin — Designer: George Livissianis Photography: Tom Ferguson

Shobosho — Designer: Studio Gram Photography: CR3 Architecture Photography


Viet Next Door — Designer: Genesin Studio Photography: Jonathan VDK

Issue 63

AIDA 201 8

Installation Design

Watchmaker — Designer: Folk Architects Photography: Peter Bennetts

Maticevski: Dark Wonderland — Designer: Studio Wonder Photography: Tom Blachford

Myer Autumn Runway "It's Not Just Fashion" — Designer: Gloss Creative Photography: Lucas Dawson



Workplace Design

The Agency — Designer: Redgen Mathieson Photography: Romello Pereira

Pepper Sydney — Designer: Hassell Photography: Nicole England

Hordern House — Designer: Studio Kate Photography: Maree Homer Photography


Issue 63

AIDA 201 8

Retail Design

Acne Studios, Sydney — Designer: Acne Studios Design Team + H&E Architects Photography: Richard Glover

Bec & Bridge — Designer: George Livissianis Photography: Tom Ferguson

Space & Time — Designer: Russell & George Photography: Paul Martin



Residential Design

Nightingale 1 — Designer: Breathe Architecture Photography: Peter Clarke

Highbury Grove — Designer: Ritz & Ghougassian Photography: Tom Blachford

Coogee House II — Designer: Madeleine Blanchfield Architects Photography: Robert Walsh


Darlinghurst Residence — Designer: SJB Photography: Felix Forest

Issue 63

AIDA 201 8

Residential Decoration

Elwood2 — Designer: Robson Rak Architecture & Interiors Photography: Eve Wilson

Beach House — Designer: SJB Photography: Felix Forest



Frenches Interior — Designer: Sibling Architecture Photography: Christine Francis

Stables House — Designer: Robson Rak Architecture & Interiors Photography: Shannon McGrath

South Yarra Mirror Apartment — Designer: Golden Photography: Sharyn Cairns


Issue 63

AIDA 201 8

Public Design

Bunjil Place — Designer: FJMT Photography: John Gollings

Guardian Early Learning Centre Barangaroo — Designer: Collins and Turner Photography: Katherine Lu

Emerging Interior Design Practice

Pattern Studio — TDE Melbourne Flagship (pictured) Photography: Sean Fennessy


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Art choke

Dunalley House by Stuart Tanner Architec Photography by Brett Boardman.

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Issue 63

Best of State

Victoria — Residential

Victoria — Commercial

Space & Time — Designer: Russell & George Photography: Paul Martin

Canning Cottage — Designer: Bicker Design Photography: Nikole Ramsay

Tasmania — Commercial

Pumphouse Point Shorehouse Addition — Designer: Jaws Interiors and Jaws Architects Photography: Adam Gibson


Issue 63

AIDA 201 8

South Australia — Residential

South Australia — Commercial

Millswood House — Designer: Studio Gram with Kate Russo Photography: David Sievers

Viet Next Door — Designer: Genesin Studio Photography: Jonathan VDK

Australian Capital Territory — Commercial

Canberra Airport – International — Designer: Guida Moseley Brown Architects Photography: John Gollings


Best of State

Western Australia — Residential

King George — Designer: Robeson Architects Photography: Dion Robeson

Western Australia — Commercial

Dentsu Aegis (DAN) — Designer: Woods Bagot Perth Studio and Schiavello Construction Photography: Dion Robeson


Issue 63

AIDA 201 8

Queensland — Residential

Crescent House — Designer: Deicke Richards Photography: Christopher Frederick Jones

Queensland — Commercial

259 Queen Street Main Lobby Refurbishment — Designer: Cox Architecture Photography: Christopher Frederick Jones


Best of State and Best International

New South Wales — Residential

Coogee House II — Designer: Madeleine Blanchfield Architects Photography: Robert Walsh

New South Wales — Commercial


Wynyard Walk — Designer: Woods Bagot Photography: Trevor Mein

Sean Connolly at Dubai Opera — Designer: Alexander & Co and Tribe Studio Architects Photography: Brooke Holm


Issue 63

Original design Infinite possibilities

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Hospitality Design

Studio Esteta — Fonda Mexican, Bondi

George Livissianis — Chin Chin

Hachem — Piccolino

Studio Esteta — Workshop Brothers, Glen Waverley

Jaws Interiors and Jaws Architects — Pumphouse Point Retreat

Jaws Interiors and Jaws Architects — Pumphouse Point Shorehouse Addition

H&E Architects + Etic — Barangaroo House

Studio-Gram — Shobosho

Techne Architecture + Interior Design — Brunetti Flinders Lane

Alexander & Co and Tribe Studio Architects — Sean Connolly at Dubai Opera

Foolscap Studio — Highroad

Span Design — Wagaya

Carr — Jackalope

Biasol — The Budapest Cafe


Issue 63

AIDA 2018

Hospitality Design continued

Genesin Studio — Viet Next Door

Woods Bagot — West Hotel

Jackson Clements Burrows with John van Haandel — Longsong

SJB — Kingsleys Woolloomooloo

Bergman & Co — Angus and Bon

Adele Bates — Q Le Baker

Russell & George — Ishizuka

Foolscap Studio — Domaine Chandon

Breathe Architecture — Paramount House Hotel

DKO — Monroe

Facet Studio — Raku

Hassell — Larmont Hotel

DKO — Four Points by Sheraton Docklands

Hecker Guthrie — Mitchelton Winery Hotel

Ritz & Ghougassian — Bentwood

Jolson Architecture & Interiors — Point Leo Estate

IF Architecture — Cutler & Co.

Craig Tan Architects — HWKR Food Centre

Peckvonhartel — Collins Street Undercroft



Hospitality Design continued

Byrne Architects — Wickens at the Royal Mail

Williams Burton Leopardi — Bowlsome

Chris James Studio — Above Board

Retail Design

Foolscap Studio — Domaine Chandon

The Stella Collective — Redroaster

Studio-Gram — Melt

George Livissianis — Bec & Bridge

Woods Bagot — Stylecraft

Pattern Studio — TDE. Melbourne Flagship

IF Architecture — Jardan Sydney

Studio Edwards — Left

We Are Triibe — Aje Adelaide

Chris Connell Design — L'eclisse

NH Architecture — T2 Departures – Luxury Retail

Span Design — Hairo

Landini Associates — Sarah & Sebastian Flagship

Acne Studios Design Team + H&E Architects — Acne Studios, Sydney

We Are Triibe — Aje Perth


Issue 63

AIDA 2018

Retail Design continued

Russell & George — Space & Time

The Stella Collective and Thomas Coward Studio — Casa Artedomus

Cox Architecture — Masons Flinders Lane

Turner with Gellink + Schwämmlein Architekten & Heller Designstudios — AMG

McCartney Design — The Tea Centre

Karen Abernethy — Craft

Landini Associates — David Jones Food Hall Bondi Junction

FJMT — Bunjil Place

Woods Bagot — Wynyard Walk

Public Design

Studio Y. — Milligram

BVN — Australian Embassy Bangkok

Cox Architecture — Sir Louis Matheson Library

Fox Johnston — Waranara Early Learning Centre

DesignInc — The Spot Student Spaces, Faculty of Business & Economics, Uni of Melb

Collins and Turner — Guardian Early Learning Centre Barangaroo

Cox Architecture — 259 Queen Street Main Lobby Refurbishment

Cox Architecture — Presbyterian Ladies College Performing Arts Centre

Chaulk Studio — Frankston Primary School Early Learning Centre



Public Design continued

NAAU — Latrobe Regional Gallery

Silver Thomas Hanley in collaboration with Bates Smart — Bendigo Hospital

Guida Moseley Brown Architects — Canberra Airport – International

Russell & George — Space & Time

Gray Puksand and Greenedge Design — Goodstart Early Learning Adelaide Street

NH Architecture — T2 Departures – Luxury Retail

Hot Black — Vision Australia

Redgen Mathieson — The Agency

Hassell — Lendlease HQ

Hassell — Pepper Sydney

Architects EAT — Tract Office

BayleyWard — Chessell Street

Ellivo Architects — Ellivo Studio

BVN — Stockland Workplace

Studio Kate — Hordern House

Siren Design — The Commons, South Melbourne

Architects EAT — K&K Office

Deicke Richards — Stella Maris Catholic Church, Maroochydore

Workplace Design


Issue 63

AIDA 2018

Workplace Design continued

Dreamer — Norton Legal

Carr — Red Energy

BG Architecture — LPA Headquarters

Wolveridge Architects — Building 2

The Stella Collective — Memocorp

Conrad Architects — Cremorne Studio

BVN — The Customer Experience Company

Hassell — Deakin Downtown

Woods Bagot — Plenary Office Fitout Melbourne

Woods Bagot Perth Studio and Schiavello Construction — Dentsu Aegis (DAN)

Hassell — Roche

Walter Brooke and Associates — Design Studio

GHDWoodhead — Barwon Water

Baumgart Clark Architects and Nexus Designs — VAGO Project

Collectivus — The Cove Workspace

The Bold Collective — Pernod Ricard

Gray Puksand — Gray Puksand Melbourne

PTW Architects — PTW Office Fitout

Fouché Architects — Newstead Studios



Workplace Design continued

Tecture Architecture and Interior Design — Make HQ

Architectus — Architectus Melbourne Studio

Grimshaw — Grimshaw Architects Office Fitout

Williams Burton Leopardi — WBL Studio

Ellivo Architects — AJ & Co.

BVN — Space & Co

Studiomint — Yamaha Music Australia HQ

Installation Design

Gloss Creative — Myer Autumn Runway 'It's Not Just Fashion'

BVN — Energy Corporation Workplace

Russell & George — Space & Time

Cox Architecture — The Project – Stormtech

Cottee Parker Architects — Obsidian

Make Architects with LAVA on behalf of HPG — One Sydney Park Display Suite

Folk Architects — Watchmaker

Design, Museums Victoria — Ground Up: Building Big Ideas, Together

Studioplusthree — This is a Voice Turbine Hall Installations

Studio Wonder — Maticevski: Dark Wonderland

SJB — Paragon


Issue 63

AIDA 2018

Installation Design continued

Woods Bagot — Beyond Hurstville

Fabio Ongarato Design — W Shanghai

Etic — Lexus Design Pavilion 2017

Hassell — Footprints

Edwards Moore — Invisible Bars

DesignInc with ENESS — Cabrini Paediatric Ward

SJB — Beach House

Hare + Klein — City Fringe

Sibling Architecture — Frenches Interior

Simone Haag — Armadale Residence

Arent&Pyke — Treetop House

Arent&Pyke — Amarelo Terrace

Matt Gibson Architecture + Design — Mixed Use House

Robson Rak Architecture & Interiors — Stables House

Madeleine Blanchfield Architects — Centennial Park House

Madeleine Blanchfield Architects — Coogee House II

Simone Haag — Toorak Residence

Russell & George — Space & Time

Residential Decoration



Residential Decoration continued

Robson Rak Architecture & Interiors — Elwood2

Doherty Design Studio — Beechworth Residence

Nina Maya Interiors — The Glasshouse

Justine Hugh-Jones Design — Taylors Bay Residence

Golden — South Yarra Mirror Apartment

Tom Mark Henry — Bondi Residence

Infinite Design Studio — Fairlight Crescent

Residential Design

Matt Gibson Architecture + Design — North Melbourne Terrace

Fiona Lynch — Elsternwick House

Arent&Pyke — Curatorial House

SJB — Beach House

Hare + Klein — City Fringe

Nina Maya Interiors — The Glasshouse

Made By Cohen + Penny Kinsella Architects — East Malvern House

Brad Swartz Architects — Loft House x2

Madeleine Blanchfield Architects — Centennial Park House

Conrad Architects— Hornsby Residence

Susi Leeton Architects and Interiors — Hawksburn House


Issue 63

AIDA 2018

Residential Design continued

Bicker Design — Canning Cottage

Fox Johnston — The Rochford, Eskineville

Taylor Pressly Architects — Oreo House

SJB — Clark House

Madeleine Blanchfield Architects — Coogee House II

Rachcoff Vella Architecture — Wildcoast

B.E Architecture — St Vincents Place Residence

Breathe Architecture — Nightingale 1

Studio [R] Architecture + Design — QP Residence

SJB — The Riley

CoLAB Design Studio — Aberfeldie Cellar

SJB — Darlinghurst Residence

Fiona Lynch — Paddington House

Handelsmann + Khaw — Woollahra House

DKO + SLAB — Campbell Street

Studio Griffiths — Pool Pavilion

Ritz&Ghougassian — Highbury Grove

Tom Mark Henry — Bondi Residence

Carole Whiting Interiors in association with Brayshaw Architects — Netherlee



Studio Griffiths — Main Ridge House

Travis Walton Architecture — Armadale Residence

Tecture Architecture & Interior Design with Swee Design — Concrete Conceal House

Jackson Clements Burrows — York Street

Inarc Architects — The Eyrie

Carr — Red Hill Farm House

Deicke Richards — Crescent House

Studio-Gram with Kate Russo — Millswood House

Brooke Aitken Design — Crown Street Apartment

Hecker Guthrie in collaboration with Woods Bagot — Elwood House

Splinter Society Architecture — Kawaii Platypi

Architect Prineas — House Pranayama

Alexander & Co. — Iluka House

Daniella Rowles Design — Newmarket Residence

Studio Edwards — House 28

SJB — North Bondi Penthouse

Austin Design Associates — Gordon House

Molecule Studio — Triangle House

Robeson Architects — King George

Taylor Knights — Brunswick West House


Issue 63

Interior architecture and design — Explore the inner workings

Artichoke — Australia’s interiors and design magazine

Celebrating the 2018 Australian Interior Design Awards

Issue 63 Aus $14.95

The Design Institute of Australia’s official magazine

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