Events in 2012 were spread across Sydney from the CBD extending, north, south, east and west. Aside from traditional venues such as art galleries and museums, exhibitions and events were set in less formal venues such as cafes, pubs and Centennial Park. Most events are free of charge and include indoors and outdoors exhibitions, workshops, artists’ talks, open studios and a 2 day seminar. With the diverse range of venues, events and photography, Head On Photo Festivaloffered something for everyone.

See a full list of exhibitions and participating galleries for 2013 here: headon.com.au/events/all

Arum by Ilanel

Created by: Ilan El

Why we love it: Ilanel design studio is passionate about innovative design beyond the physicality of mere objects. Design is about experience – a philosophy that encompasses spatial relationships and the creation of touch points between people, artefacts and their evolving environments. It is with the same ethos that Ilanel was created. 

The Arum lights are inspired by the arum lily flower. Combining simplicity of form with a laborious and complex production process, each light is hand made from southern ice porcelain in collaboration with a local Melbourne ceramic artist.

Where you can get it: Ilanel

Bull Hifi by Alex Earl

Created by: Alex Earl

Why we love it: Alex Earl is a melbourne based custom lighting and furniture design company. From their workshop and showroom in Collingwood, they produce a range of designs which are available in stockists as well as direct. 

Where you can get it: Alex Earl

Jade by Zuster

Created by: Wilhelmina McCarroll 

Why we love it: Zuster stands for “Sister” in Dutch, a fitting name given that sisters Wilhelmina McCarroll and Fleur Sibbel, who run the business, have complimentary strengths across design and management. Zuster is recognised for the care, craftsmanship and genuine passion for their brand and business

Where you can get it: Zuster

Bucky by Christopher Boots

Created by: Christopher Boots

Why we love it: Christopher Boots is driven by a love of nature and light, expressed through designing and creating beautiful, unique lighting. All products are hand made in Melbourne using a broad variety of Techniques from a team of artisans including glass-blowers, coppersmiths, ceramicists, sculptors and bronze casters. 

Where you can get it: Christopher Boots

Lara from WGU Design

Created by: Studio Tipi

Why we love it: WGU offer contemporary, ergonomic furniture sourced from some of the world’s finest designers in countries such as Denmark and Italy and are favoured by interior designers, architects, businesses and home owners alike. With brands like Cane-Line and exceptionally restored furniture from WestGate Upholstery, WGU ensure that spaces are comfortable, stylish, affordable and tailored to clients’ specific needs.

Where you can get it: WGU Furniture

Tavolino 46 from Milk Furniture

Created by: Gianluigi Landoni for Vibieffe Italy

Why we love it: Milk opened its doors on Fitzroy Street St. Kilda in 2003 to provide functional and flexible furnishings. Over the years Milk’s collection has evolved to incorporate highly technical products from Italian companies such as Kristalia, Vibieffe, AntiDiva and Calligaris. The team at Milk is thrilled to have been a part of the thriving St.Kilda business community for almost 10 years. Milk has now moved on from their St.Kilda showroom, however it continues to provide beautiful furnishings on-line.

Where you can get it: Milk Furniture

Treviso Desk from Temperature Design

Created by: Ercol

Why we love it: Temperature Design was founded in 2005 by Grazia Materia & Vicki Corbett and has consistently worked with a strong belief that good design in furniture helps to raise standards of living and should be available to all budgets from a small residential to a large international project. The team at Temperature Design strive to lead in the creation, development and growth of their range through continuous improvement in products, quality, services and fair business practices.

Where you can get it: Temperature Design  

Wilfred Sofa by Jardan

Designed by: Jardan

Why we love it: A family-owned, Australian furniture business in operation since 1987, Jardan knows there is no machine that can truly replace the hand or the eye. Every Jardan piece is crafted to order in Melbourne, with care and precision, by hand. Investing in good design is an investment in a lifestyle, repaid to the owner through a lifetime of fulfilment. This is made possible by Jardan’s commitment to quality materials and craftsmanship. Jardan is a company run by three brothers, Nick, Mike and Matt Garnham that has grown from humble beginnings with only eight staff in 1997, to over one hundred today.

Where you can get it: Jardan

The project faced the substantial obstacle of a heavy, clumsy previous build that while never fully completed was large enough to make complete removal prohibitively expensive. Thus design firm Vibe Design Group were left with no choice but to incorporate it into the new design, a process deftly resolved by adding to and re-cladding the structure.

The façade and entry of the dwelling employs the symmetry and proportions of the neo-classical style, modernised by a floor-to-ceiling pane of smoked glass that displays two large artworks on either side of the doorway. Simple white walls throughout the interiors allow for further artworks to be elegantly displayed, creating a gallery-like environment.

The home is replete with an enviable array of amenities and activity-based rooms including an elevator, walk in wardrobes, massage room, media room and gym – begging the question of when, if at all, its residents would ever need to leave. Spread over four storeys and 987 square metres, the dwelling is luxurious, expansive, and without a doubt was frightfully expensive.

Thankfully in this case the investment has yielded attractive results (unlike so many other homes in the same class), with a clean and simple interior colour palette, cohesive materiality including beautiful timber board flooring and joinery, and a reliance on furniture and artworks for decoration rather than gaudy trimmings.

A sculptural staircase spanning the full height of the house is a particularly successful feature, incorporating a semi-transparent timber screen to filter vision and sunlight, and showcasing the minimal forms of an ilanel black rain chandelier suspended in its internal void.

And, whilst the heavier, more rigid aesthetics of the exteriors are a matter of taste, the overall resolution of the home is such that it feels, warm bright and exceedingly comfortable.

Vibe Design Group
vibedesigngroup.com 

Photography: Young & Percival
youngandpercival.com.au

Today, as well as its use in scientists’ vernacular, the word ether refers to an imagined place beyond the earth’s atmosphere; elastic, intangible and comprising infinite potential for other-worldly manifestations. It is this – the allure of possibility in a realm unbound by the laws of physics – that the artists of Visions from the Ether explore in the multidisciplinary exhibition.

Comprising the work of Aaron Noakes, Dakota Gordon, David Crystalface, Jack Hammond, Mez, Nick Matthews, Oliver, Ox, Sebastian Grant, Slug and Tom Groves, Visions from the Ether is a collection of photographs, street art, digital works and pieces from other fine art media. The exhibition, which opens on Friday 17 May from 6 – 9pm, is spread across the two expansive spaces of aMBUSH Gallery and will launch with Oliver’s live jazz/hip hop production. Complimentary ice cold Little Creatures Pale Ale beer will be served on the night.

Visions from the Ether is proudly presented by aMBUSH Gallery and runs Friday 17 to Sunday 19 May.

aMBUSH Gallery, 4A James Street, Waterloo
Opening Night: Friday 17 May, 6-9pm | Continues 18 & 19 May 12-4pm
ambushgallery.com

Pawn & Co. champions this cause by immersing patrons in a helter-skelter collection of the pre-loved, discarded, forgotten, and plain weird. Rising from the ashes of the previous structure to inhabit the site (literally, it burnt down), the fit out is a skilled and playful demonstration of vintage aesthetics, exhaustive sourcing and up-cycling.

“The bar has been made out of five battered pianos that cost around $200 each and the other bar has been made from a beautiful old rowboat. I chose to have the ‘tiles’ painted onto concrete, as further example that I live up to the Channel V TV show that I write and host, called Freeshit Men, where we travel the world acquiring things for free like cars and even a house!” says Joshua Lefers, Creative Director at Big Dog Creative and driving force behind the project.

Leffers goes on to describe the process of design and execution as ‘incredible’, with a particular satisfaction coming from the solution found for the council’s demand of installing handrails throughout the interiors – rather than use the “awful” rails prescribed by the council, Lefers sourced 78 walking sticks and had the building team work them into handrails throughout the venue. “When we see observant patrons caressing them and laughing -okay maybe not caressing but you get the idea – there’s a sense of victory,” he gloats.

The net result, while revelling in its improvised, spontaneous feel, is nonetheless warm and inviting, with touches such as the colourful wall graphics and timber screens layering a pleasingly decorated dimension over the disparate furnishings. And so far the concept as been a successful one, as Lefers says, “It is rewarding to see that a simple, yet interesting concept is a drawcard for people. Witnessing a girl leaving at five a.m. with five old suitcases she had just purchased and another buying the baby grand piano at three a.m. was hilarious.”

Pawn & Co.
pawnandco.com.au 

Big Dog Creative
bigdog.com.au

Photography: James Newton
jnphotographs.co.uk

The stylistic feature of the iSpa collection is the rectangle – a shape that has inspired designers for thousands of years. The Gessi touch is the rounded corners, as if shaped by the water itself. The iSpa collection takes this vision and incorporates it within all accessories and features. The soft, sculptural, rounded design produces strong tactical attraction and communicates a relaxed sophistication and serenity to every space it inhabits.

And it functions as it looks: controls are minimal – a soft-touch mixer facilitates easy adjustment of water flow and temperature. Similarly to all Gessi innovations, iSpa is inspired by the notion of ultimate customisation of the modern bathroom – a place for an aesthetically and functionally rewarding experience that reflects the owner’s personality, the “I” (ego) recalled by the collection name and around which the environment has been designed.

The iSpa bathroom collection marks an important step in Gessi’s history, as it is the first time a complete collection for the bathroom is released. “We wanted to express our concept of design, innovation and creativity in one of the most important parts of the house. We wanted to also create a unique space where all the objects are in symbiosis,” said Luca Poletto, Managing Director, Gessi.

The collection spans from the taps proposed in numerous high-tech models,accessories, wellness systems, ceramic-ware, mirrors, up to the first bathtub and toilet designed and manufactured by Gessi.

Gessi is exclusively distributed by Abey Australia.
abey.com.au
 

Architect, Ilana Kister and partner Eytan Mazza were living in a city apartment with their two young daughters, Jade and Emily. Although the Melbourne home was relatively spacious, newly born Emily was left with a corridor as her bedroom. “Her cot was on wheels,” says Kister, who knew it was time for the next move.

While the couple knew they needed more space, they were at odds about what they were looking for. Mazza was searching for a house with a garden. Kister preferred something urban, like an inner-city warehouse. Miraculously, a warehouse in Fitzroy came on the market, complete with generous back garden (on a site of just under 600m2). “It’s almost impossible to find both in the inner city,” says Kister, after spending nearly two years on the hunt.

Once a mechanic’s workshop, the 1920’s warehouse style was previously used as an office. 

The warehouse, in a wide, leafy street, was originally built at the turn of the last century. Used as a storeroom for a nearby supermarket, the red brick building was converted into a mechanic’s workshop in the 1920s. When Kister purchased the building, it had been used as offices since the mid-1980s.

“I loved the rawness of the space, as well as the generous volumes,” Kister says, pointing out the 4.5-metre ceiling height in the open plan kitchen and living area. “And Eytan could see a garden in the making. He’s in the process of building the girls a cubby house,” she adds.

The building’s exposed brick walls add a rustic finish to the sleek, contemporary interior.

The only major structural alteration made to the Fitzroy warehouse over this time was the addition of a mezzanine. The previous owners had also raised the floors to ensure unimpeded views to the street. Although this arrangement was ideal for employees, creating a home with privacy required a different response.

“One of the main changes we made was lowering all the floor levels. You can still see the trees from every room. But, you don’t feel like a goldfish in a glass bowl,” says Kister, who was still able to create different levels in the warehouse to delineate the spaces.

Retro light fittings and vintage wallpapers in the corridors add a personal touch to the industrial aesthetic.

As well as the generous voids and spaces (the warehouse is 325m2 in area), the owners appreciate the rich textures in the building. Exposed timber beams and bluestone and red brick interior walls are highly valued. “People get used to plasterboard, but there’s something quite magical about these rough walls,” Kister says. On the downside, many required filling with mortar to eliminate draughts.

Kister’s client for this project was Mazza. And her parents also provided feedback on her initial schemes. “Initially, Eytan gave me this substantial wish list. I was able to oblige in most instances. But there were a few cutbacks,” Kister says, pointing out a cantilevered plaster beam in the living room, designed eventually to provide a landing for an additional stair to the mezzanine. “The budget also didn’t allow glass balustrades on the mezzanine,” adds Kister, who simply added steel wire to the original steel balustrades.

Left: the main corridor receives natural light from the generous windows.
Right: the bathrooms feature a combination of both contemporary and vintage finishes, such as tiles from the 1960’s and 70’s.

While Kister was keen to retain the open plan feel of the warehouse, she had to include two children’s bedrooms, a main bedroom, ensuite and walk-in robe, together with a second living area. The mezzanine space also had to be large enough for Kister’s office.

One of the largest spaces in the warehouse is the living area, loosely divided between a lounge for the parents and play area for the children. On one side of the room is a beautifully crafted late 1960s sideboard by Dario Zoureff, together with one of his coffee tables. Murano glassware frames this space. The other side of the room is filled with toys, including a miniature toy car. “The room isn’t strictly divided between adults and children. We’re quite relaxed about the girls and their friends riding their bikes around the place. It’s far from precious,” Kister says.

The walls of the children’s bedrooms are enlivened by wall graphics.

One of the most challenging aspects for Kister was ensuring that ample natural light entered the core of the building. Fortunately, she discovered a concealed highlight window in what’s now the powder room. Likewise, Jade’s bedroom lacked sufficient light. Kister created a highlight glass window between the two children’s bedrooms, borrowing light from Emily’s bedroom for her sister.

The kitchen also lacked sufficient light and required new skylights. To increase the light in the kitchen further, Kister included mirrored splashbacks and black stone benchtops. The 2-pac painted joinery also creates a lighter feel to the kitchen even though it is all black. “I didn’t want the kitchen to detract from the texture of the bluestone walls,” Kister says.

Black laminate joinery is juxtaposed with original red brick walls to create an industrial aesthetic. Exposed light bulbs add to the rawness of the warehouse.

Although Kister has created a contemporary response to this fit-out, she has included elements from the past. Wall tiles in the powder room, for example, were found in the 1970s apartment of a friend who was renovating.

“I’ve always enjoyed re-working elements from the past. If it’s done selectively, it can create quite an interesting layer,” Kister says. She also enjoys seeing how spaces in the warehouse change with the light in the course of a day.

“The light is continually changing. It always makes you look at the spaces quite differently,” she adds.

Exposed bluestone walls are a feature of the main bedroom, and to increase natural light, Kister included highlight windows.

Kister Architects
kisterarchitects.com.au

Photography: Justin Bernhaut
bernhaut.com

What you do: Director of Fanuli Furniture

Your latest project: Sophia and Mark’s Residence in Mosman. A project that spanned six months and encapsulated all living areas. The abode was a restored federation house with a contemporary extension.

Who are three people that inspire/excite you:

1)  Nelson Mandela
2)  Antonio Citterio
3)  Mary Mackillop

What is your favourite…

Car/bike/plane/boat model: Alfa Romeo GTV 2000

Chair model: The Elephant Wood by Neuland for Kristalia

Residential space: Palazzo Ducale (Venice)

Commercial space: Triennale di Milano

Decorative product: Coral Light by Pallucco 

Functional product: ‘Box’ by Kristalia 

Handmade good: Tortellini

Mass-produced good: Fiat 500

Meal: Pesce Al Forno

Restaurant: Cipri Restaurant – Paddington

Drink: Prosecco

Bar: Dolce & Gabbana bar in Milan

item in your studio: Feel Good Alto by Citterio (Flexform)

piece of technology: iPhone

historical figure: Michelangelo

fictional character: Guido Orefice from Life is Beautiful

Vice: Dark chocolate

Virtue: Patience

What does the term ‘Design Hunter™’ mean to you? The quest for original, beautiful & functional ideas that enhance, enrich and inspire.

Incorporating new and past collections, the stand was delicately divided by semi-transparent surfaces of coloured steel mesh, allowing each collection to be viewed individually without overly compartmentalising the space. 

The star of the new releases from the Iberian outdoor furniture brad was the Village chair by Jasper Morrison: a chair for all outdoor situations, from village house to grand café. The lightweight aluminium structure allows easy handling while the neutral language of its form takes nothing away from the scenery. This chair pays respect to the long standing codes of metal stacking outdoor chairs while gently refreshing the look.

Kettal is available in Australia from Dedece in Sydney and Melbourne and Mobilia in Perth.
dedece.com/showrooms/Kettal
mobilia.com.au/brand/kettal

The redesigned interiors were commissioned by the Royal Crown Property Bureau and carried out by Rightman Co. The first encounter with the interior space via the double-height entrance foyer reveals a non-conformist design language which contrasts with the humble physical form of the exterior shell, and the grand proportions of the seamless, elongated timber that runs from floor to ceiling frame the backdrop of the LED signage screen.  Upon entering the exhibition proper, each area becomes a new entity with its own aesthetic, celebrating the history, communities, ceremonies, art, and architecture of the Thai capital.  

The interior arrangement avoids the open-plan approach typical of an exhibition space; instead, the exhibit has been divided into nine small-to-medium sized enclosures containing audio and video displays, with two routes by which to navigate. This space division divides the exhibition into multiple short sequences, preserving the visitor’s attention span and allowing for a more fruitful and informative experience. Furthermore, the less predictable circulation, coupled with some creative and playful surprises, sustains the visitor’s sense of curiosity throughout their journey.

Not every stage follows an intensely educational rhythm, with welcome pauses coming at the view from the corridor of the second floor, and the top circular viewing deck with café, which offers a sweeping panorama of the surrounding city, including the neighbouring Pavilion Court with the world’s last remaining metal castle (Loha Prasat), the old city wall fortification, and the Golden Mountain Temple in the distance.            

Bangkok itself is a complex city, thickly layered and rich with paradox, and to acknowledge the value and meaning of a city is often a time-consuming process. The Rattanakosin exhibition is more than just a “time-killer” with which to escape the humidity or evening monsoons, it is central in establishing a meaningful connection with the city.   

Rightman Co.
rightman.co.th