Created by: Coyuchi Organic Bedding
Why we love it: Coyuchi's organic cotton bedding sets the stage for deep sleep and sweet dreams. The stunning bedding collections surround you with natural colors and soft textures. Available in certified organic duvet covers in organic cotton, pure linen and lush blends, all designed to mix and match beautifully with the sheets, pillowcases and throws of the collection.
Where you can get it: Ecoluxe
Created by: Matteo
Why we love it: Staying true to the Matteo philosophy of ultimate comfort in bed, Thermal brings the coziness of soft cotton thermals to bedding in the form of a throw. Featuring a waffle weave common in apparel and a cotton twill tape binding, Thermal is garment washed for added softness.
Where you can get it: Dunlin Home
Created by: Frette
Why we love it: Complex, muscular geometric patterns on textured piece-dyed fabrics and sateen cotton jacquards create a cool, masculine look in smoky gray, gunshot metal, olive, red Cinzano, and dark polished wood. The Seventies Collection makes a quietly dramatic statement on its own that can also work beautifully in combination with softer pieces from Frette’s extensive luxury collections.
Where you can get it: Cavit & Co
Created by: Abode Living
Why we love it: Giza 45 cotton produces the ultimate in bed linen luxury. The fibres are longer, finer and stronger than any other cotton, and woven together to produce a fabric that is far superior to any other. Giza 45 is similar to silk for its softness and shine, and beyond the measure of traditional thread count. The fabric is expertly woven in Italy and made in Australia by Abode Living. Finished with a fine, double row of self coloured satin cord.
Where you can get it: Abode Living
Created by: Kip & Co
Why we love it: Vibrant, energetic and adventurous, the Confetti Storm collection of boutique bedlinen is a bold addition to the bedroom aesthetic.
Where you can get it: Kip & Co
Created by: Moss River
Why we love it: Part of Moss River's timeless Classic Collection, Damask combines value, quality and sophistication. The subtle white jacquard with floral design gets softer with every wash, and the collection range features tailored Oxford Borders on quilt covers and pillowcases. Damask is finished with a double row of pin tuck stitching on the quilt cover, flat sheet and pillowcases.
Where you can get it: Moss River
Created by: West Bengali weavers
Why we love it: This hand-made silk quilt is the elaborately embroidered in tussar silk, predominantly depicting trees and people. This is combined with a musky pink kimono silk detail and cream coloured noile (raw silk) backing, and the filling is cotton.
Where you can get it: Planet Furniture
Designed by: Sheridan
Why we love it: Palais redefines luxury, made with quality 1200 thread count cotton for ultimate next-to-skin comfort. Make a distinctive statement in the bedroom with the divine simplicity of this design, tailored with contrasting triple satin stitch borders.
Where you can get it: Sheridan
The fourth Art Month Sydney festival runs from 1– 24 March 2013, bringing together exhibitions in commercial galleries, artist-run spaces and public art galleries across the city including a world-class line-up of Australian and international artists.
Christie Torrington - meteorite impacted with candy floss
Building on the success of the inaugural event in 2010, Art Month 2013 is designed to engage newcomers and existing art lovers with a unique calendar of special events including tours, creative workshops, art bars and late night gallery openings. Art Month 2013 celebrates the talent, innovation and excellence of contemporary artists creating work in our city. Step into a gallery and be inspired, provoked, outraged or delighted by what’s inside.
Grant Stevens - Sonny Em
Of particular interest to us are a series of events exploring the interplay between art, architecture and design:
The Unity of Art and Life, a group show curated by Dr Mark Stiles, invited eight Sydney artists and designers to show new work in a tribute to Walter Burley Griffin and Marion Mahony Griffin, marking the centenary of their arrival in Australia in 1913.
21 March - 7 April at Incinerator Art Space
Mike Hewson's Polymorphia opens up a dialogue between art and architecture by questioning the nature of our relationship to civic spaces. Hewson is currently working on large-scale digital print installations on structures destined for demolition in the cordoned red-zone of Christchurch's CBD and recently held a residency with the Sydney Harbour Foreshore Authority.
20 February - 9 March at Firstdraft Gallery
Nicholas Fintan's Marrickville Paintings is a series of paintings and works on paper begun in 2009. "When I moved to Marrickville I started to use the local landscape as subject matter for my work" says Fintan of his work, "Marrickville's unique combination of urban, suburban and industrial architecture was a rich source to explore the fundamental issues of depiction that inform my work. In this series the landscape is abstracted and compressed into geometric forms and in the later works local plant life was added as an organic form to juxtapose this geometry."
21 March - 31 March Chrissie Cotter Gallery
Art Month 2013 is curated by Co-Artistic Directors Penelope Benton and Alexandra Clapham. Established innovators in Sydney’s emerging art scene, Benton and Clapham share a deep understanding of art and creativity with experience both as working artists and curators. They bring a fresh perspective and youthful vision to Art Month, presenting a program which engages all the senses. Audiences are invited to See, Hear, Collect, Play and Explore contemporary in new and interesting settings and involving leading artists, curators, gallerists and collectors from across Australia.
Andrew Ensor - Wear your words with pride
‘We hope to open new worlds and experiences for people within the exciting, compelling and vastly diverse range of contemporary art on view in Sydney. The 2013 program will be dynamic, participatory and above all inclusive. Art Month encourages Sydney-siders to experience contemporary art in a new way; everyone from regular gallery-goers to people who have never previously stepped foot inside a gallery can find something that interests them in this year’s program.’
There are few settings as evocative of ‘Australianness’ (in all of the term’s nebulous glory) as the beaches of Queensland’s Sunshine Coast. However as much as the state’s eponymous style of home oozes nostalgia, it’s refreshing and exciting to see residents of the sun-drenched strip building modern, innovative homes.
The project recently completed by Scott Falconer and Lee Foster of Aboda Design Group raises the bar in this category, bringing fresh, elegant and intelligent design to the hills above Coolum Beach. The house, a comprehensive, four-bedroom-plus-all-the-latests affair, perches on a steep hill, dropping in half-storey segments down the 1:4 fall and accessing magnificent views of the Coolum Bays and Noosa Heads.
Approaching from the street the first impression of the structure is of formidable solidity, with imposing, off-form concrete blocks flanking the door (reminding us vaguely of the protruding legs of the Sphynx) and suspending a lighter, steel and timber second storey. Upon penetrating this stern cladding the tone of the home shifts dramatically, tempered by warm timbers, bright, open volumes and the invitation of the expansive coastal panorama into living spaces. Coupled with discreet, separate private quarters, work and recreation areas, it provides a versatile and comfortable blend of prospect and sanctuary.
The home demonstrates the potential of challenging sites – in this case a steep gradient with a high risk of land slippage – as long as design and planning are carried out thoughtfully and sensitively. As Falconer points out, “The flow of this site and the sense of hovering over the Bays is brought into focus by the stepping arrangement of the living spaces and dramatic main roof which follows the contours of the site, guiding the eye from the front door out to the views of the beautiful blue Coral Sea.”
Indeed, we can imagine that with views like these, we would be letting our eyes be guided as much as possible.
Aboda Design Group
Photography: Paul Smith - Paul Smith Images
'Oh My God' was designed by Maurizio Duranti and made in collaboration with Lorenzo Damiani for IB Rubinetterie, one of Paco Jaanson's most celebrated brands. Entitled 'Oh My God', the range uses strong lines and geometrlc shapes to create an impressively modem tap ware collection.
Available in chrome, matte black and matte white finishes, the 8-piece collection represents a perfect harmony between design, form and function. The streamline shape and ergonomic design are the standout features of the 'Oh My God' collection - factors that are best experienced first band.
The sculptural nature of the designs means each tap ware piece can be appreciated both as an object and as the functional item it is intended to be. As a finishing touch, all the taps in the collection create a cascade effect when the water protrudes from me spout. It is these simple yet beautiful intricacies that make 'Oh My God' collection so unique and a true testament to Duranti's extensive design knowledge.
Spread over 650 square metres, the flagship beauty salon RLDA designed for Ambika Pillai in New Delhi’s South Extension combines a disparate palette of wood, steel, wool and glass. The space is a combination of mezzanine and double height volumes, purpose built for specific salon treatments.
Individually varied and collectively orchestrated through both material and planar elements, the spatial sequence has been choreographed to create a user experience that rests at the confluence of art, architecture and an industrial aesthetic.
The salon is instantly recognizable by its three, poster-red pods at the far end and the centrally located mezzanine, which organizes the space into a series of independent and self-sustaining functional bands. Saturated red air-conditioning ducts set against a receding exposed concrete roof are interspersed with the building’s sprinkler systems, and the linear fluorescent lights span the various functional bands below them, creating a coherent visual and architectural vocabulary.
Alluding to an aesthetic that is more characteristic of industrial spaces and processes, the salon’s design and spatial layout is heavily informed by a desire for procedural efficiency. As with many factories, the detailing of the space was minimal but purposeful. However the deliberate act of articulating key constructional moments in the design infuses the space with a deep sense of artisanal luxury. Crisp and exacting, the architectural detail unites the otherwise nondescript space and the illustrative exuberance of the graphic work on the glass partitions and colourful thread installation.
The icy white tile flooring helps reflect natural light from the building’s glass curtain wall deep into the space and provides a neutral setting for the graphically charged illustrations on the glass panels and locker systems. The vibrant and geometrically complex thread work installation, the immediately comprehensible illustrations and graphic design along with the engaging spatial layout and the visual articulation of the mechanical and electrical systems creates an industrial aesthetic deeply infused with an artisanal quality. Collectively, these elements render the space dynamic, while the judicious mix of perceptual complexity and immediate comprehensibility make for a salon that constantly stimulates the imagination.
Best known for his landscape paintings of the Tasmanian wilderness, Geoff’s second exhibition @ MiCK will focus on the picturesque lake district of Tasmania, Lake St Claire and Cradle Mountain.
‘This has been something I’ve wanted to do for a little while. It’s an area I haven’t explored in depth. It’s trying to tap something within myself to renew my own energy and it’s worked.’
Having drawn influence from his recent trip to France and inspiration from the raw and direct works of Courbet, Dyer delivers an exhibition of paintings fraught with extreme depth, a painterly style that is both mysterious and sublime. Along with the observant and textural paintings of “Lake Country”, Dyer has also included some magnificent fire paintings, a result of the tragic bushfires which swept through Southern Tasmanian in January and as a local landscape painter, were hard for Dyer to ignore.
Dyer is well know for his portraiture, including that of Tasmanian writer Richard Flanagan who was the subject of his winning Archibald entry in 2003. In 2011 Dyer was an Archibald Prize finalist with a portrait of David Walsh, owner and creator of Tasmania’s MONA. Portrait painting aside, his art is infused by the power and majesty of the natural world, witnessing the ancient landscape at the heart of the Tasmanian experience. Over the past decade he has covered the island, from the west coast to the rugged islands of Bass Strait and the dense timbers of the Franklin River.
In recent years his work has become increasingly abstract. Dyer’s ability to extract beauty within a seemingly barren and arid landscape bears testimony to his talent. His paintings are considered wonders of serenity and beauty, presenting a true celebration of Australia’s iconic landscape.
Multi-award winning Geoff Dyer has been a finalist in the Art Gallery of New South Wales’ prestigious Archibald Prize (for portraiture) and Wynne Prize (for landscape) – each 10 times. Dyer’s most recent award was winning The Kings School Art Prize in 2012. In 2012 Dyer was also commissioned to paint a portrait of the previous Tasmanian Premier, Mr Tony Rundle.
The exhibition will be in display from 5th March - 7th April 2013 at MiCK; 44 Gurner St Paddington
Moving from Berlin to Melbourne a year ago marked a new chapter in the life story of Matthias Arndt. It signified the same for his contemporary art gallery ARNDT (formerly Arndt & Partner), which has built a solid reputation through nearly 20 years as a protagonist in Berlin’s expanding art scene.
While ARNDT retains its space and activities in Germany, Matthias explores the art markets of Australia and Southeast Asia, and looks to build bridges between Southeast Asia, Australia and Europe.
The 2012 ‘Migration’ pop-up shows in Melbourne and Sydney, produced by Matthias and his Australian wife Tiffany Wood, brought the work of major international artists to Australia. Now, with ARNDT’s new ‘project space’ in Singapore’s Gillman Barracks arts compound, Matthias plans to contribute to the development of the Southeast Asian art scene – which he sees as “one of the most interesting art landscapes at the moment.”
The Gillman Barracks block in which ARNDT Singapore is housed.
“I call our Singapore location a ‘project space’,” he explains, “because I don’t want it to be too heavy or pretentious. I don’t want the space to drive me; I want to run the space.” The venue will function as ARNDT’s Asian office as well as viewing rooms. ARNDT Singapore will focus on art advisory and artist agency throughout Asia.
Views of the Light & Reflection exhibition at ARNDT Singapore.
Its location has been strategically chosen. “I like this idea of a hub,” he says of the Gillman Barracks context, where a cluster of conserved colonial barracks house galleries and creative businesses, and soon the Centre for Contemporary Art (CCA) (opening in 2013). “It feels a bit like Berlin, where we developed art hubs in different neighbourhoods.”
But why Singapore? He explains, “My recent focus – artistically as well as commercially in terms of developing new markets – has been Asia. And that’s nothing new; I’m not the first to have this idea. Most of the people of my league would go to Hong Kong, but I’ve been building connections to Southeast Asia over the last three years. Singapore is the hub for Southeast Asia.”
Views of the Light & Reflection exhibition at ARNDT Singapore.
In terms of art production, Indonesia, Thailand, Vietnam and Cambodia are among the countries that have captured his attention. His endeavours have not been without challenges, however. “Organisationally, [the Southeast Asian art scene] is completely different to Europe. There are very few institutions of Western design that work outside the market. It’s very commercial and competitive. It’s a money-driven market – more so than others.”
Heinz Mack, Untitled, 1959, resin on burlap on wood, 33 x 43 x 2 cm | 12.99 x 16.93 x 0.79 in
“In the West (whether it’s in Australia or Europe), where I’m showing the work, the market [for Southeast Asian art] still needs to be built. Commercially, I’m making a very daring endeavour. But artistically, it’s really interesting and exciting, and more people are joining me in thinking the same way. The market is definitely expanding.”
He adds, “Australians are finally looking at Indonesian and Southeast Asian art, which I thought they must have done ten years ago. But no, it’s happening now.”
ARNDT’s first Singapore show, titled Light & Reflection, brought Western work to Asia. It featured work by Otto Piene, Heinz Mack, Lucio Fontana and Yves Klein from the years 1958 to 2012. “We sold new work and had a huge attendance for the opening,” says Matthias, “plus excellent press and a steady flow of visitors. So I feel we will do very well.”
Matthias Arndt. Copyright Bernd Borchardt
ARNDT also presented work by a number of artists from the West and the East at the Art Stage Singapore fair in January: Jitish Kallat, Heinz Mack, Maha Malluh, Eko Nugroho, Otto Piene, Chiharu Shiota, Agus Suwage, Entang Wiharso, Qiu Zhi Jie and Australian artist Mike Parr. ARNDT is collaborating with Parr for a solo survey show in its Berlin gallery later this year.
ARNDT Singapore’s second show, featuring Filipino painter Rodel Tapaya, will open on 5 April 2013.
Top image: Otto Piene, Struwwelpeter 2, 1990/1991, oil on canvas, 200 x 200 cm | 78.74 x 78.74 in
All images courtesy of ARNDT.
The exhibition represents a cross-section of current creative practices, modes of thinking and relationships to this fundamental material and combines furniture and functional objects, sculptural works (including wood carving by indigenous artists), interiors and architectural work. The objects look at the use of wood through three lenses: place and intensity, sustainability and ecology, craftsmanship and technology.
Art, Design and architecture are rarely brought together in a single exhibition, but doing so allows a broader exploration of our relationship to wood and how we engage with it in our everyday lives. Wood is inseparable connected to the human condition. From mankind's earliest manipulation of sticks for warmth, shelter and gathering food, the increasingly sophisticated ways that we have used and understood this material reflect the history of civilisation itself. This landmark exhibition will examine our ever evolving relationship to wood through its use art, design and architecture today.
The exhibition furniture for WOOD: art design architecture has been designed by Stephen Goddard in cinjunction with JamFactory's Furniture Design Studio. The interpretive materials - labels, wall texts interactive digital media - will provide an insight into the meaning of the work and the use of the material. A significant 250 page catalogue, also designed by Stephen Goddard with commissioned essays will accompany the exhibition.
The exhibition features work by contemporary Australian artists, designers and architects including Alexander Lotersztain, ARM Architecturem Billy and Lulu Cooley, Brian Hooper Architect & m3architecture, Catherine Truman, Christina Waterson, Damien Wright, Drew Heath, Duncan Meerding, Greer Honeywill, Hossein Valamanesh, John Quan, John Wardle, Jon Goulder, Khai Liew, Lionel Bawden, Mance Design, March Studio, Marcus O'Reilly, Paul Morgan, Peter Walker, Sherrie Knipe, Simon Ancher, Tom Mirams, TreeHorn Design, Nawurapu Wunungmurra, Gary Warner and Zeljko Markov.
Before embarking on a national tour this groundbreaking exhibition can be seen in Adelaide from February 15 to April 6 across two venues: JamFactory and the Santos Museum of Economic Botany at the Botanic Gardens of Adelaide.
The idea of a carmaker and a furniture manufacturer working together makes complete sense when both companies take the lead in providing the best possible designs for urban life. Collection Director Claus Ditlev Jensen from BoConcept explains: - To me, a smart is not just a car. It is a statement of urban living and the perfect city car in terms of beautiful, functional design. Both smart and BoConcept have years of experience within each of our industries, and we put our knowledge and understanding to great use in making urban life easy. We share the commitment to and strong, strong focus on urban life which results in intelligent design that is cutting-edge and beautiful to look at.
No compromises are made in the development of designs to urban life. As the world’s big cities continue to grow one major challenge in urban living is the limitation in space. BoConcept and smart deliver intelligent solutions that save space, but never compromise on look and quality. The challenge of limited parking space is solved by the clever city car that requires very little space, and multifunctional pieces of furniture help to optimise limited living space.
Both companies’ customers look for customized solutions to express their personal style. And they have lots of options when it comes to personalising their smart car and designing their BoConcept furniture. – Basically, the smart car and the BoConcept furniture have a strong character that is also expressed by the type of customer who buys it, explains Martin Hülder, head of smart marketing and product management.
The Design Process
The BoConcept design team and the smart design team have worked closely together in the creation of the smart fortwo BoConcept signature style as well as the new smartville collection of furniture and accessories. During the process, the designers have shared and exchanged their knowledge and experience and introduced each other to new materials and ideas some of which have become part of the design of the car as well as the smartville collection.
-The first premise of smart is to make life more colourful and stress-free in the cities. For us this job is done when people arrive happily and safely at home. And right on the doorstep, BoConcept takes over. Together we offer people the perfect solutions for urban life - for busy streets and cosy living, says Martin Hülder from smart. Claus Ditlev Jensen continues: - For BoConcept, the car industry is a business that we like to follow and seek inspiration from. Their technology, use of materials and ideas on shapes can be transferred to the home. And just like us, smart also has to ensure function and comfort so they benefit from our inputs to achieve a cosy interior without losing the edge in the appearance of the car.
The design process was very much about exchanging the best of both worlds. Both teams worked closely together to bring the cosy, welcoming comfort of a home into the smart car and vice versa to take the speed and pace of the city into the home with smartville furniture and accessories from BoConcept.
Designed by world-renowned hospitality design firm Hirsch Bedner Associates, the Indigo Hotel features a mix of modern and authentic design, contrasting traditional Chinese pieces with distinctive contemporary local finds. Located at the south end of the historic strip of buildings at Shanghai’s Bund, the hotel reflects the energy and flow of its diverse and dynamic neighbourhood with a decidedly youthful design, giving travellers a clear alternative between restrained elegance and playful stylishness.
Four local themes are interwoven in the hotel’s design: The Huangpu River, Pier 16, the historic Bund and the modern Pudong skyline. The movement of the Huangpu River is reflected in the flowing lines and the ever-changing patterns in the hotel lobby. A sculptural wall creates a swirling, rolling effect and flows like a wave toward the reception desk.
Pier 16 is evoked through nautical elements, also in the hotel’s reception areas, which features a raw steel ellipse, patinaed with rust, and studded with LED lighting. Shaped like a ship’s funnel, it serves as an introduction to the nautical art and accessory theme. Two pieces of “found art” populate the lobby: an old rickshaw and bicycle taken from the docks prior to their refurbishment, and a deconstructed retired Shanghai riverboat. Once cut and cross-sectioned, pieces of the boat were installed as a wall sculpture referencing local history.
The Bund history features predominantly in the guest rooms where whimsical artefacts and genuine furniture pieces vary from room to room. Wide, distressed grey panelling, with characteristic Shanghai woodworking details, polished plaster walls and iconic grey Shanghai Shikumen bricks provide a natural tone palette, an ideal canvas for the colourful and lively carpets. Custom designed silk print wallpaper, influenced by those that decorated grand old Shanghai houses, brings a flash of vibrant blues and pinks. Rooms also display a selection of Chinese lanterns, ceramic pieces and antique accessories. The canopy bed, an original design, was inspired by traditional Chinese wedding beds, but reinterpreted though a contemporary lens.
The dramatic Pudong skyline is mirrored in the minimalist and contemporary guest bathrooms. The sleek design includes baths with a glass wall framed in polished steel, looking out onto the river.
Fusing elements of past and present Shanghai, the Indigo not only embodies its city, but hints at its future.
Photography: Andrew J Loiterton - AJL Photography Ltd