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THE ADELAIDE R EVIEW JUNE 2013

FORM

Brocante in the Barossa

D E S I G N • P L A N N I N G • I N N OVAT I O N

WONDER WORLD

RIDING THE WAVE

HOMEWARES FEATURE

Sean Humphries was one of five Oz architects selected for the Dulux Study Tour

Genesin Studio is flying high with national recognition for a number of projects

Showcasing South Australia’s best interior ideas for your home

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58 THE ADELAIDE REVIEW JUNE 2013

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WONDER WORLD The Dulux Study Tour offers five of the country’s emerging architectural talents the opportunity to travel the globe for 11 unforgettable days. Adelaide-based Sean Humphries was one of this year’s lucky recipients. BY LEANNE AMODEO

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hen I ring Sean Humphries it’s 7am in Barcelona and he is by his own admission positively frazzled. This comes as no surprise, after all, the Dulux Study Tour, of which he was one of five Australian recipients, only came to an end the day before and it’s a safe bet to say no-one got much sleep. Humphries may be tired and jetlagged, but he is also still buzzing with excitement from the whirlwind 11-day architecture tour of Shanghai, London and Barcelona. “One thing the study tour afforded us is access to places and people that you just don’t get under normal circumstances,” he reflects. That the group got to don hard hats and visit the construction site inside the very top of Barcelona’s La Sagrada Familia is impressive enough. But when Humphries lets me know that Herzog and de Meuron personally showed them through the newly completed Tate Modern II and its underground Tanks gallery I’m just as amazed as he is. Being taken on a tour through the project’s first phase development by the architects themselves was a highlight for Humphries. “There’s an absolute art in knowing what to keep and what to take away when you’re dealing with an existing building’s fabric,” he explains. “And Herzog and de Meuron executed the work with such skill and

craft; the spaces are just mind-blowing.” The renowned Swiss architects aren’t the only big names to whom the recipients were introduced. The group’s studio visits reads like a wish list that any emerging architect couldn’t begin to compile quickly enough: Zaha Hadid Architects, Carmody Groake, Foster + Partners, Studio Octopi, Neri & Hu to name a few. For Humphries, though, it was the meeting with Shanghai-based architects and designers Lyndon Neri and Rossana Hu that he found particularly inspirational because as he explains it, “They have managed to grow their practice while still producing really beautiful work.” What all of these studio visits did though was reassure Humphries that architects face similar issues the world over. “What I’ll take back to my own practice is a different way of approaching familiar tasks,” he lets me know. “And a different way of engaging with a project that I think will offer a greater sophistication to my work.” Humphries was also surprised to discover that the predominant design process across Shanghai, London and Barcelona is incredibly iterative. “The use of physical models as opposed to digital models is rife,” he explains. “I was amazed to see the work that goes into the multiple iterations of a design and how you have to bear with that to

Sean Humphries

get the client to understand the design process.” Humphries had hoped to expand his own personal understanding of architectural practice at the tour’s commencement, and by tour’s end it would seem that this has been accomplished. But it was also refreshing to hear him speak of how his experiences could benefit the profession locally. “There’s a conversation that happens between architects over in Europe that doesn’t really happen in Australia,” he reflects. “But the

five of us take back an understanding of these professional relationships and how we’re not out there to best each other; we’re actually there to support each other.” When Humphries returns to Adelaide in June he may very well need to sleep for two weeks straight, but following that I’m sure we will hear much more from him.

dulux.com.au/studytour

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The Adelaide Review June 2013 59

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Riding the Design Wave Ryan Genesin continues to receive recognition at a national level for a number of projects that have come to define Adelaide’s thriving interior architecture landscape. by Leanne Amodeo

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he design awards season is once again upon us. And the big name programs have either announced their shortlists or are gearing up to reveal the winners. In recent years there’s been one South Australian architecture practice that has been shortlisted enough times it’s made people stand up and take notice. Genesin Studio was one of the contenders for Emerging Designer at last year’s Interior Design Excellence Awards (IDEA) and this year the twoperson practice has two residences shortlisted in the Australian Interior Design Awards (AIDA). Not to mention the shortlisting of LAX, which has received abundant coverage in both print and online, in the AIDA’s Retail Design category.  Founder and principal Ryan Genesin is understandably excited at the announcement. “We’re riding a nice wave on those jobs at the moment,” he says. “LAX has especially turned heads.” But it is the shortlisting of TMK Residence of which he is most proud. “That project’s been my baby for quite a while,” Genesin laughs. “It was my first big residential job and I actually designed it in late 2008.”   Like many of his peers Genesin is aware of the importance in entering awards programs. As a small firm they are limited in what they can do in terms of marketing. And although the entry process is sometimes a costly one (once photographer fees and the actual entry fees are taken into consideration) the outcome can be extremely beneficial. “It’s about trying to give the practice more exposure,” Genesin explains. And with awards’ websites often being the first port of call for design editors and potential clients alike, it’s a strategy that will most certainly pay off.   TMK Residence’s shortlisting some five years after it was first conceptualised also reassures Genesin that his approach is as he had hoped. “TMK’s aesthetic isn’t of a particular time,” he reflects. “What I was trying to do was make it timeless and so it’s quite minimal.”   The Auldana home of a young married couple it is strikingly elegant in its simplicity. Genesin’s black and white colour scheme is effective, and

Genesin Studio – Hazelwood Park living room

his introduction of marble benchtops, carefully detailed cabinetry and timber stairs adds an element of warmth to the modest sized interior. It’s also possible to see the emerging architect’s influences. Joseph Dirand and Vincent Van Duysen are two architects Genesin looks to for their spare composition and sophisticated use of materials.

If TMK Residence has a timeless sensibility then Genesin’s second AIDA Residential Design shortlisting is completely of another time. “Hazelwood Park Residence definitely references the 1950s,” he says. “Together with the client we tried to create a nostalgic aesthetic geared towards that period.” The result is an inviting interior that perfectly balances blonde timbers against white walls and marble accents.

Genesin Studio was one of the contenders for Emerging Designer at last year’s Interior Design Excellence Awards (IDEA) and this year the twoperson practice has two residences shortlisted in the Australian Interior Design Awards (AIDA).”

As the AIDA winners are announced in the beginning of June, Genesin begins work on the redevelopment of the Myer Centre Adelaide’s food court and a new burger bar on The Parade. He also continues to build his residential portfolio with a new house in North Adelaide and a renovation in Port Elliot. It’s an exciting time for the studio and one in which they may very well be sending a number of trophies straight to their pool room.

australianinteriordesignawards.com genesin.com.au


60 THE ADELAIDE REVIEW JUNE 2013

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The Adelaide Review June 2013 61

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62 The Adelaide Review June 2013

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Milan 2013

This year’s Milan Furniture Fair again proved why it is one of the biggest events on the design calendar. From the hundreds of products launched we’ve selected some of the best in show. by Leanne Amodeo

T

he importance of the annual Milan Furniture Fair has been questioned in recent times. But the Salone Internazionale Del Mobile and its Fuori Salone satellite events still manage to draw the big crowds, even with New York Design Week and the London Design Festival giving them a run for their money. The Milanese are well versed in putting on a spectacle, after all, and in this the 52nd year of the Salone they continued a fine tradition. Big name suppliers, manufacturers and designers descended on the Italian city and for five days in April it was a blur of parties, product launches, exhibitions and installations. Tom Dixon’s MOST was again this year a popular design destination and his Rough and Smooth furniture collection was a highlight. But the real crowd pleaser was Moooi’s Unexpected Welcome exhibition in the Tortona district. Featuring large-scale photographs by Erwin Olaf the furniture brand’s showcase was moody, opulent and deliciously immersive.   But, of course, the Salone’s most significant influence is as a trend-forecasting platform, and this year saw a number of new key trends emerge. Colour dominated across the board and textured fabrics were popular in furniture upholstery. Many designers revisited their classic designs and reworked them to develop new pieces, while lighting design showed a strong movement towards LED. This is just a taste of the many hundreds of products on show.  

Tobi Ishi by Barber Osgerby for B&B Italia The London-based design powerhouse of Edward Barber and Jay Osgerby are always names to watch. They presented a new coloured lacquer version of their Tobi Ishi table, which was originally shown at the London Design Festival 2012. Inspired by the pebbles found in Japanese gardens this table’s bold form is now equally matched by its fire engine hue.   New Antiques by Marcel Wanders for Moooi   This new product from the Moooi stable reinforces Wanders mantle as a masterful designer with quirky appeal. His New Antiques barstool mixes Pop, Classical and Baroque sensibilities to resemble a playfully oversized chess piece. The barstool’s multiple colour offerings also reinforce its fun aesthetic.  

Clap Armchair by Patricia Urquiola

Oasis by Atelier Oi for Moroso This Swiss architecture and design studio created quite the buzz in Milan this year. It debuted a range of inventive designs that included chair and sofa collection Oasis. Each piece can be customised using any type of fabric, which is then locked in place with framework that works in much the same way as an embroidery hoop does. 

Corallo by Campana Brothers for Edra Renowned Brazilian designers Fernando and Humberto Campana showcased five different bed designs at Milan this year and each one was more fantastic than the next. Corallo is based on their 2004 chair of the same name and features a jumbled frame of golden-coated wire. True to the Campana spirit the bed is an opulent celebration of what can be done with the most ordinary of materials.  

Clap by Patricia Urquiola for kartell Spanish designer Patricia Urquiola is a long-time Milan favourite and this year she introduced her Clap armchair. This neat and compact addition to the Moroso stable is a reassuringly practical design that is also comfortable. It would work well in either a home or office environment.  

Chest of Suitcases by Maarten de Ceulaer This storage system by the Belgian designer is custom made and able to be installed in a number of different configurations. This flexibility lends it playful appeal while its leather upholstery gives the Chest of Suitcases a refined, elegant appearance.  

New Antiques Barstool by Maarten de Ceulaer

Wireflow by Arik Levy for VIBIA Resembling line drawings suspended in mid air these strikingly elegant pendant lights by the Paris-based designer received a lot of attention. Made from thin black rods and LED lamps Wireflow’s geometric forms are eye-catching for their unembellished simplicity.  

»»2013 Milan Furniture Fair Tuesday, April 9 to Sunday, April 14   cosmit.it

Chest of Suitcases by Maarten de Ceulaer


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FORM section of the June 2013 Adelaide Review  

FORM section of the May 2013 Adelaide Review FORM is a monthly section within The Adelaide Review that is dedicated to the world of design...

FORM section of the June 2013 Adelaide Review  

FORM section of the May 2013 Adelaide Review FORM is a monthly section within The Adelaide Review that is dedicated to the world of design...

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