|Designed by: Art Hide Why we love it: Handcrafted from pieces of the finest Argentine hide, 'Gaucho' is all about laid back classic. We love how the natural hide patterns are arranged to create an earthy gradient. Where you can get it: arthide.com.au|
|Designed by: Benjamin Hubert for Fabbian Why we love it: An LED lamp with a pressed aluminium head and Ash timber stand. 'Paddle' has an axis of functional movement inspired by the 360-degree movement of a canoe blade through water, making it beautiful and highly functional. Where you can get it: greatdanefurniture.com.au|
|Designed by: Konstantin Grcic for Established & Sons Why we love it: Inspired by dustsheets thrown over furniture in hotels and country estates, 'Cape' has a sense of mystery and casual elegance about it. With an interchangeable overlay cover, it's also one of the most versatile sofas around. Where you can get it: livingedge.com.au|
|Designed by: Formstelle for Zeitraum Why we love it: The reclining angle and combination of upholstered shell with solid timber frame of these lounge chairs makes them very inviting! They also have a lovely lightness to them, with the solid body of the chair hovering on slender legs. Where you can get it: Insitu|
CX480 full FULL SURFACE INDUCTION COOKTOP
|Designed by: Gaggenau Why we love it: It has a touch display, exact timer function and acoustic signalling, and 48 micro inducters recognise the shape of the cooking implement on the surface, producing heat only where it is needed. Where you can get it: sampfordixl.com.au|
|Designed by: Skheme Why we love it: These decorative screens are making a comeback – the perfect way to create a sense of privacy without blocking off a space completely. Where you can get it: skheme.com.au|
|Designed by: Massproductions Why we love it: The basic concept was to create a range out of wire and the result is a refined, lightweight collection suitable for indoors and outdoors and in eight powdercoat colours. Where you can get it: Spence & Lyda / Luke Furniture|
HALF FULL STOOLS
|Designed by: Ross Gardam Why we love it: Made out of FSC-certified and sustainably harvested Oak, this range by Aussie designer Ross Gardam feature half-turned legs that attach to the table underside and pack down for easy transportation. Where you can get it: stylecraft.com.au|
It’s obvious that the Leo House has a calming effect on visitors, but it’s only on closer inspection that one gains greater appreciation for how this came to be.
The Leo House, designed by Indonesian architect Edy Hartono, was based around the client’s request for a home built in direct accordance with FengShui principles.
“FengShui believes that man, building and nature should live harmoniously in a positive synergy. The owner believes that by applying FengShui into his house it will increase the living quality for the whole household,” explains Hartono.
The resulting look is one of clean lines, fresh colour palette and geometric shapes – a house designed as though an ordered series of boxes.
Hartono’s true challenge arose in rethinking FengShui so that it wouldn’t restrict the design but rather work to compliment modern architectural styles.
“The whole zoning of the house is adjusted to the calculations of the FengShui master… [I] completed and translated them into architectural norms, so that a dialogue between FengShui and architecture could be tied in,” Hartono elaborates.
A standout feature are the numerous skylights positioned above staircases, incorporated into floor designs and in dining areas for a feeling of openness and peace.
Their clever positioning allows for interesting shadows to emerge and float across nearby walls as daylight changes.
The combination of warm timbers and transparent materials also compliment this feeling of order and tranquility.
Whether as a result of old or new techniques, Leo House has a certain energy that can’t be overlooked.
The Pilbara in the north-west of Western Australia is always associated with iron ore. And so it should. But not just because of the iron ore industry. This is a landscape formed 2,500 million years ago – yes, the statistic is accurate – and it owes its stunning rich red palette to all that iron ore.
The Karrijini National Park is one of the nation’s largest national parks and one of its most unique. Centred around the Hammersley Range, it is typically described as tropical semi-desert. And it is easy to see why.
Flat, except for where the range rises up, the landscape is a mix of red and dark grey, punctuated by a subtle range of green, much of it spinifex. This is rugged countryside, the surface littered with metal-rich stones of flint-like hardness.
But suddenly this flat, intensely beautiful desert landscape will come to an abrupt halt where it plunges sheer into deep gorges. Venture down and you find yourself in a tropical paradise of lush vegetation, crisply cold streams and ponds and a wonderful variety of birdlife.
Every gorge is different, but typically they will feature grand waterfalls and tropical swimming holes. The walls of the gorges tell their own story – of millions of years of layering of silica thrown up by volcanic explosions.
The ideal place for base camp is the Karrijini Eco Retreat. It has a range of accommodation from simple campsites to upmarket eco free-standing safari tents with their own bathrooms and toilets. The camp has a central facility where you can enjoy a meal, including continental or cooked breakfasts, as well as an alfresco licensed restaurant.
While you’re there, stop by the award-winning Karrijini Visitors Centre with its imaginative and informative displays explaining the geological and cultural history of the region.
Paul McGillick stayed at the Karijini Eco Retreat while on an expedition with New Zealand designer, David Trubridge, and Perth designers Adam Cruickshank and Nick Statham. There will be an exhibition at the FORM gallery in June next year as a result of this. Read about Adam in the next issue of Habitus 13, out 21 September.
Photography by Michelle Taylor
Bedroom photo courtesy of Karijini Eco Retreat
Karijini Eco Retreat
The brooch has been in resurgence for years, and indeed there are very groovy items out there for the modern lapel. But for me, the word still takes me straight back to the traditional sort made from gems and 18 carat gold, stored in musty boxes in my grandmother’s dressing table. I still have one of those beautiful and traditional brooches in my jewellery box, and it never fails to remind me of the dimensions of her amazing life.
This new exhibition at artisan gallery in Brisbane also takes me to that moment because it tells the personal and professional stories of 100 luminary Australian women, with contemporary brooches designed for the purpose by 100 of Australia’s most significant women jewellers.
Titled ‘Tinker Tailor Soldier Sailor’ after the old chant, it projects the past, when women may only have dreamed of such professions, onto a present where anything is achievable by women – even Australia’s top job. Fittingly, it celebrates the 100th anniversary year of International Women’s Day.
Darani Lewer’s angular confection in silver and white stones is crowned by a modest red rock, in its striking form and humility evoking the ordinary beginnings from which Julia Gillard (born 1961) has risen to Australia’s top political post in 2010, aged only 49; Sheridan Kennedy’s tribute to Elizabeth MacArthur (1766-1850) notes her seminal role in the Australian wool industry, utilising silver to embroider the ram and amend the (now defunct) Australian two dollar note to picture Elizabeth and not her husband John; Julia deVille, jewellery/taxidermist, has honoured Jane Catharine Tost (c.1817-1889), the first Australian woman taxidermist to be employed in a museum, in a poignant furry brooch with a bejewelled head.
The good news for other Australian cities is that this exhibition, with stories of Australian women both well and little known, will tour. Artisan CEO Liana Heath suggested that audiences throughout the country would be captivated by “the brilliance and ingenuity of great Australian women” – both the inspirational role models from our history and the jewellery makers who reflect them.
Tinker Tailor Soldier Sailor
Artisan gallery, 381 Brunswick St, Fortitude Valley
29 September to 12 November 2011
Contour GPS is a hands-free, pocket-sized video camera that easily attaches to helmets, motorcycles or mountain bikes, ideal for capturing adventures where both hands are needed on the wheel.
This model is equipped with GPS and Bluetooth technology, allowing it to track a journey while shooting footage, and adjust settings and check viewfinder via users’ smart phones.
Design Director of DESIGNsense, Michael Denton explains, “Contour were wanting to put GPS into the camera so they could expand the user experience [to allow] the display of speed, distance and tracking, using Googlemaps to plot the path of the video shot.”
The first hands-free video camera to record full HD video with integrated GPS, Contour represents a remarkable step forward in the field; merging innovative technology with efficient design.
“The core concept for the camera was to keep the functional interface as simple as possible as in most cases the user is operating blind,” says Denton.
Contour GPS weighs just 147 grams, features an elegant brushed aluminium body and a lens capable of 180 degree rotation to guarantee a horizontal shooting angle even when mounted on uneven surfaces.
Winner of the 2011 Red Dot Award for Product Design, Contour GPS need never leave the adventurer’s side… or helmet.
Severe design and formal harmony together for a highly versatile piece, which can live in the environments of the home and in offices and luxury hotels, demonstrating how the company is increasingly moving across various territories.
Armchair structure in black stained Ash, polyurethane sheetpadding foam, leather or eco-leather cover.
740mm w x 820 mm d 940 mm h
Photography: Andrew Pritchard
Architect: Iredale Pederson Hook
Gidgegannup is a semi-rural setting approximately 40 minutes north-east of Perth in Western Australia. Being located away from the city, the clients wanted to have all the necessary space and facilities to allow them to live remotely. The house needed to allow for two teenage children, who have a passion for music, a home office, communal living areas, a pool, a spa and a separate parents area.
For Iredale Pederson Hook each project is a specific and particular response to the requirements of the brief and the site. In this case the critical influences were the magnificent site, the expansive space requirements and the very tight budget.
This house is about attention to detail at the scale of the landscape, at a scale of metres or even kilometres. Adrian Iredale describes it as a “delicate line in the landscape occupying the space between the ground and the sky”.
A series of platforms was created which has its own particular connection to the landscape. Each platform relates to a key functional area of the house. There is the children’s wing at ground level with its own bathroom, study and a separate entry from the outside.
The family living area containing the lounge, dining and kitchen is also at ground level. But by the time you reach the kitchen, you are in a highly elevated position, facing north with magnificent views out over the country. This platform culminates with the parents’ bedroom with private balcony. Here is an intimate space that puts you in touch, literally with the canopy of magnificent eucalyptus trees. Embraced by these two platforms is a swimming pool pointing out towards a saddle in the landscape and the horizon through the trees.
The house is made of standard elements and materials. There are in effect no ‘details’ here, yet it is a highly thoughtful and carefully crafted house.
Here is an example of a highly contextual home. It establishes connections to the traditions and character of the site and location almost as a form of archaeology. A place of delight and comfort that enhances everyday life.
Iredale Pederson Hook
(61 8) 9322 9750
Sir Richard Branson has extended his broad portfolio of business, leisure and adventure activities, proudly adding superyacht, Necker Belle, to his list.
The 32 metre long vessel, launched in 2003 and then re-imagined through a mega two and a half year refit in Australia, is available to venture tailor-made itineraries all year round. The international client worked with exclusively with craftsmen from Newcastle, Azzura Marine, and Stewart Pinkerton Cabinetry, on the project.
Necker Belle features four cabins (each with own en suite and bathroom), exterior sunbeds that transform into tented areas with lanterns and the world’s first underwater aircraft, Necker Nymph.
Designed with distinct reference to Branson’s own personality and lifestyle, Necker Belle has been imbued with a combined sense of adventure and serenity.
Interior Architect Jodie Duddington explains, “Sir Richard lives his life one experience at a time and I wanted to draw reference to his Necker Island residence yet express a more contemporary and pared back approach with the interior… so that the ocean and the experience of sailing become the ‘hero.’”
Reflecting Branson’s tropical residence, Duddington cleverly integrated beach tones into the yacht’s design.
Bleached silver timbers mimic the sun kissed beach shack aesthetic, Quartz carpet in the master cabin en suite imitates sand and the personally crafted artworks of Necker Island are typical of those found in a 60’s surf shack.
Duddington describes, “It is a cheeky, fresh and open interior scheme that has some interesting features when you look closer. A subtle quirk around every corner."
Brisbane-based furniture designer Fukutoshi Ueno met iconic fashion designer Akira Isogawa at a private lunch with mutual friends in 2001. They immediately began talks of a joint project.
Some time later, ‘Dress Code, ’ a multipurpose object that can be used as a side table, shelving system, stool or decorative piece, emerged and spoke elegantly of its creators’ common vision.
“Rather than focus on the differences in our creative processes, we tend to look at the dimensions we have in common: our traditional Japanese culture and our new lives in contemporary Australia,” explains Ueno.
Crafted from heirloom woods and inspired by 11th Century Japanese literature, vivid kimono designs and vibrant seasonal colours, Dress Code seems to have been brought to life by the designers’ childhood memories.
Yet the clever integration of contemporary wood surface processes instill a sense of modern taste into the pieces and reimagine traditional customs.
Isogawa comments, “When I first came to Sydney in 1986, I remember looking at kimono fabric and I realized how different it appeared under the bright intensity of the Australian sun. I began to see the kimono as a modern idea, not just something buried in tradition.”
Ueno is currently exhibiting special art collection pieces of Dress Code at SGAR in Brisbane. Constructed out of high-density acrylic instead of wood, Ueno creates the illusion that Isogawa’s patterns are frozen within the material.
Ueno adds, “I remember as a child looking into pieces of glass and seeing reflections. In this way, I feel like Alice and her looking glass, peering back into the past and returning me to the fantasy and magic of my childhood.”
(61 7) 3876 4422