About Habitusliving


Habitus is a movement for living in design. We’re an intelligent community of original thinkers in constant search of native uniqueness in our region.


From our base in Australia, we strive to capture the best edit, curating the stories behind the stories for authentic and expressive living.


Habitusliving.com explores the best residential architecture and design in Australia and Asia Pacific.


Learn more



  1. Concrete Extension House by Polly Harbison Design | Sydney, Australia   PollyHarbison_WestChatswoodHouse_000016 PollyHarbison_WestChatswoodHouse_011070 PollyHarbison_WestChatswoodHouse_011187 PollyHarbison_WestChatswoodHouse_011453 Reconfiguration and plenty of concrete have transformed a ‘knockdown’ 1959 suburban house into a bush sanctuary that celebrates the outdoor Sydney lifestyle. With the house tightly bound by the street and neighbouring structure on two sides and completely open to national park on the others, it is a project of contrasts. Polly Harbison Design Photography: Brett Boardman Read the full story here
  2. Clifftop house on Great Ocean Road by Nik Karalis from Woods Bagot | Victoria, Australia ocean_stage_5 ocean_stage_7 Solid concrete makes a strong statement in this home, perched on a cliff on Victoria’s famous Great Ocean Road. A perfectly robust setting to observe the drama of the ocean from. One of the most coveted rooms is the main bedroom and ensuite, safely ensconced within the solid concrete form on the ground level. Featuring glazed walls and large sliding doors to a gravelled terrace, it is closer to the crashing waves than almost every other property along the Great Ocean Road. “Sometimes, the waves can be pounding. But you always feel quite protected here,” says resident Mary Cooke. Woods Bagot Photography: Tom Berry and Mary Cooke Read the full story here
  3. Garden Home by Welsh + Major | Sydney, Australia Garden Pavillion Welsh Major - Habitus Living Garden Pavillion Welsh Major - Habitus Living Garden Pavillion Welsh Major - Habitus Living Garden Pavillion Welsh Major - Habitus Living Garden Pavillion Welsh Major - Habitus Living For the extension of the house and reinvention of the garden, raw, sustainable and garden-complementary materials have been chosen. Concrete, limestone, brick and hardwood hold are the standouts, all chosen for their functional and attractive qualities. At night, the concrete ceiling reflects light to illuminate the room, and on the floor, limestone breaks the flow of concrete and connects the bathroom, where pale green pearlescent glass mosaic wraps the bath wall. Welsh+Major Read the full story here
  4. Binh Tanh House by Vo Trong Nghia Architects and Sanuki + Nishizawa architects | Ho Chi Minh City, Veitnam 52156a6ae8e44e7a180000bb_binh-thanh-house-vo-trong-nghia-architects-sanuki-nishizawa-architects_pic15-5f-terrace 52156a34e8e44e4ee30000a5_binh-thanh-house-vo-trong-nghia-architects-sanuki-nishizawa-architects_pic09-2f-living 52156a65e8e44e9a45000061_binh-thanh-house-vo-trong-nghia-architects-sanuki-nishizawa-architects_pic14-5f-bedroom 52156a94e8e44e7a180000bd_binh-thanh-house-vo-trong-nghia-architects-sanuki-nishizawa-architects_pic19-stair-1f-2f   In this house, designed for two families, pattern blocks are a major feature. As a space intended to accommodate two different lifestyles in a tropical climate; a modern and well-tempered lifestyle and a natural and traditional lifestyle, the blocks are fitting. Originally a popular shading device in Vietnam to get natural ventilation, here they are made of pre-cast concrete. Not only do they prevent harsh sunlight and heavy rain but also enhance the privacy and safety of the home. Vo Trong Nghia Architects and Sanuki + Nishizawa architects
  5. Bunker House by VaSLab Architecture | Lopburi, Thailand 1288297796-01-portada 1288297820-f-2 1288298014-f-23 1288298072-f-31 The house owner and architects of this bunker-inspired house both like concrete, along with the city's landmark architecture Pasak Cholasit Dam, and exposed concrete appearance. Thus, cast-in-place concrete became the house’s shell. VaSLab Architecture Photography: Spaceshift Studio
  6. Raw, Lean, Green by DRTAN LM Architect | Petaling Jaya, Malaysia   no18house_14 no18house_2 Incorporating minimalism, expansiveness, equilibrium and sustainability, this family home in Petaling Jaya, Malaysia accomplishes a remarkable range of functions with efficiency and finesse. Internally, the house is assembled from intersecting volumes, producing cavernous vertical volumes and intriguing openings to other areas, with the sustained material palette of concrete, interrupted with timber and brick. DRTAN LM Architect Photography: Lin Ho Read the full story here
Design Products
Design Hunters
Design Accessories

Artist and textile designer Shilo Engelbrecht

 Above photo by Sharyn Cairns Where her 2012 textiles collection Älv (Swedish for ‘river’) drew inspiration from Sweden’s natural environment Andamento evokes a visual sense of history through a creatively-induced patina.   “Andamento is defined as the visual flow and direction within a mosaic produced by the placement of rows of tesserae,” says Engelbrecht.   IMG_0134---photo-credit-Shilo-Engelbrecht. Photo by Shilo Engelbrecht   “I hand paint each canvas tile and arrange them individually on top of another painting. This stage takes hours. Once the painting is covered, I begin to remove the tiles to imitate natural deterioration until almost half the work has disappeared. It is not weathered by centuries but by my own hand.”   IMG_0147---photo-credit-Shilo-Engelbrecht IMG_0139---photo-credit-Shilo-Engelbrecht Photo by Shilo Engelbrecht   Since graduating from a fine arts degree in fashion Brisbane-raised Engelbrecht has received the Mercedes Benz Start Up and Emerging Designer of the Year awards both in 2007, the 2013 Cambridge Creative Kickstart Award, held a successful exhibition at London’s Anthropologies Gallery and had meetings with fashion and homewares behemoth Missoni. Her products are now sold by Douglas and Bec, AP Design House, Spence & Lyda and Koskela while award-winning British interior designer Kit Kemp used Engelbrecht’s vivid textiles to decorate the walls and elevators of London’s Ham Yard Hotel.     photocreditKaraRosenlund2---resized Photo by Kara Rosenlund Dividing her time between her Stockholm-based studio, the United Kingdom and Australia the artist and textile designer takes a multi-disciplinary approach to her work - on the one hand producing vibrant “painterly” textiles sold by the metre or as homewares and accessories and on the other, selling her eye-catching original oil paintings and undertaking private and commercial commissions. Engelbrecht established her first studio in Cambridge, December 2012, her creativity sparked by Cambridge’s arts history and its vast difference to Australia.


Photo by Kara Rosenlund

A lack of diversity in traditional textile design fuelled a desire to produce larger scale works – textiles as “mural-style panels” for wall mounting, upholstery and bedding.

“The intention with my first range was to enlarge my original oil paintings and transfer them onto linen, to allow more experimentation with their application in the home,” says Engelbrecht.

 “I found there was not much diversity and the traditional formula for textile design including repeating patterns, were not compatible with the scale and way I wanted to work.”

Working in her Stockholm studio has now ensured Engelbrecht can work to the scale she’s always wanted to – “big”. 

“I have 10-metre rolls of Swedish painting linen that I’ve hammered to every spare wall and floor space. This is a dream come true.”   PhotocreditKoskela Photo courtesy of Koskela  

Shilo Engelbrecht’s works will be available at The Design Files Open House, Melbourne in December and during November and December at the Älv Textiles by Shilo Engelbrecht exhibition and gallery shop, 131 Latrobe Terrace, Paddington, Brisbane.




What's On

James Turrell: A Retrospective

  “How we see is as important as what we see” James Turrell   263692_b-(1) 263692_c Above: Sight unseen 2013. Ganzfeld: LED light / Villa e Collezione Panza, Varese (Italy). © James Turrell. Photograph © Florian Holzherr   The exhibition explores the artist’s work over almost 50 years, bringing together Projection pieces, built spaces, holograms, drawings, prints and photographs. Never before seen in Australia and showing only in Canberra, James Turrell is considered one of the greatest living artists of our time. His extraordinary light works have been specifically designed for the National Gallery of Australia and will change the way you see. A truly unique experience not to missed.   200287_b Above: Within without 2010. Skyspace: lighting installation, concrete and basalt stupa, water, earth, landscaping / National Gallery of Australia, Canberra. © James Turrell. Photograph: John Gollings   253344 Above: Afrum (white) 1966. Cross-corner projection: projected light / Los Angeles County Museum of Art. © James Turrell. Photograph © Florian Holzherr   Opens 13 December 2014.   Limited tickets available for each session so get in early at Ticketek National Gallery of Australia nga.gov.auabc
Design Products
Design Accessories

Hand-Crafted Sound: The Making of Bruns Acoustics

  1   This deconstructed image of our timbre speaker is a symbol of our commitment to only using premium components in the construction of our products. We are proud of what we make and want our customers to truly know what they are getting in every speaker.   2   We process our own timber, this Camphor Laurel log is being prepared to run through the timber mill.   3   There is noting like the smell of fresh cut Camphor Laurel.   4   Logs slabbed and ready for the kiln.   5   Preparing the Camphor Laurel for machining.   6   The jigs holds the timber in place while each piece is routed for interlocking airtight assembly.   7 8   This job is a labour of love, we hand sand each cabinet to get a the final pristine finish like a fine piece of furniture.   9   The completed cabinet ready to be oiled and waxed before assembly.   10   Each component of the Timbre powered speaker is chosen with quality in mind including the vegetable tanned hand dyed handle.   11.Timbre-Camphor-#1   The finished product   Brun Acoustics brunsacoustics.com  abc

Vertical Space

  Turning a chicory kiln (used for drying chicory dock – a parsnip-like root plant) into a home has its challenges, as the architects found out. The existing condition, as the many on Philip Island are, was poor, causing various structural issues. But the somewhat tricky conversion offers charm.   newHouse-For-Hermes-Andrew-Simpson-Architects-Habitus-Living-01   The vertical spaces might have been difficult to reconceive as “useable rooms”, but they also “led to a focus on the vertical transition and movement through the building”. The tall space is not only is attractive from the exterior, but it creates a spacious feel within.   House-For-Hermes-Andrew-Simpson-Architects-Habitus-Living-05 House-For-Hermes-Andrew-Simpson-Architects-Habitus-Living-07   What was the kiln is now an operable skylight or “thermal chimney” in the master bedroom, serving to create natural ventilation. Other passive design strategy adds to the sustainability of the house too; “cross-ventilation is achieved through the addition of operable timber louvers on the first floor of the building” and passive evaporative cooling is “harnessed through the use of old concrete water troughs (originally part of the chicory processing equipment) adjacent to the house which are now full of water.”   House-For-Hermes-Andrew-Simpson-Architects-Habitus-Living-12   The old kiln also prompted the architects to pay close attention to the location and its history. As Andrew Simpson says, “Chicory kilns are dotted throughout Phillip Island and play an important part in its heritage. The architectural response to this history is evident through the use of raw materials such as recycled timber, shotcrete, stainless steel bench tops, galvanized steel sheet canopies and steel and stainless steel stair balustrades – all used to celebrate this local industrial and rural history.” Looking closely, the worn timber is visible, creating texture and a sense of depth.   House-For-Hermes-Andrew-Simpson-Architects-Habitus-Living-09 House-For-Hermes-Andrew-Simpson-Architects-Habitus-Living-11   There is a more personal story within the house too. The ceiling panels are a re-appropriated artwork. “Six years ago, the client (and collaborative designer) produced a 100m² art installation made of etched plywood panels. It was exhibited at Tarrawarra Museum in 2007 and named A House for Hermes #1: The House of My Father.”   House-For-Hermes-Andrew-Simpson-Architects-Habitus-Living-10 House-For-Hermes-Andrew-Simpson-Architects-Habitus-Living-08   As a place to live, House for Hermes lends itself well to a family eager to appreciate the surrounding location and enjoy the space as a retreat. “The clients often talk about appreciating the quality of light and sense of spaciousness, even in a relatively small footprint,” says Simpson. “They enjoy seeing children use the space as the character of the house invites the use of an inhabitant’s imagination. There are several nooks and spaces which allow for a whole range of uses without being prescriptive.”   House-For-Hermes-Andrew-Simpson-Architects-Habitus-Living-13 House-For-Hermes-Andrew-Simpson-Architects-Habitus-Living-14
Photography by Peter Bennetts   DROPBOX
  Architect: Andrew Simpson Architects in collaboration with Charles Anderson Kind of project: Renovation Location: Ventnor, Phillip Island Victoria Parameters of project:1 bedroom, 1 Bathroom 125m² residence Date of project completion: May 2013 Andrew Simpson Architects asimpson.com.au/wordpress  abc

Open Privacy: Neutral Bay House

  As their first build and personal family home, the project was a chance for Catherine and Daniel to embody some of their architecture ideas. While the original house floated off the ground, making no connection with the surrounding gardens, they've pulled it back down to ground level, turning the rental property in need of much love into a home that embraces its surroundings but also tucks away for times of rest and refuge. “We wanted the house to open up like a big veranda or close down when we were feeling a bit more introverted.”   05  
"Cats instinctively know sunlight and thermal comfort”
  01 03   Taking inspiration from cats and Japan, the final design does just that. The timber house is grounded, captures its “precious outdoor spaces by virtue of its planning and careful curation of its openings”, and has ample spots for rest in the sun. “We imagined our cat padding around the house. Where would he like to sit? Where might he curl up to sleep? Cats instinctively know sunlight and thermal comfort,” they say.   07   The angular forms come as a result of their time in Japan, “studying the amazing timber houses in cities like Takayama. Japanese courtyards, diagonal views across grids and proportional relationships were quite influential.” By opening up the house to the diagonal, the house is surprisingly open while retaining that level of privacy they wanted – a “delicate balancing act in a dense urban environment”.   11 12  
“There’s a lot of play with prospect and refuge. We love sitting in the dining nook and being on the periphery of the building and site."
  04 08   “We experimented with some simple ideas and thankfully they work,” says Catherine. “There’s a lot of play with prospect and refuge. We love sitting in the dining nook and being on the periphery of the building and site; there is the opportunity to watch the passing of the day almost unnoticed. It’s the same for sitting on the edge of the deck or having a shower in the Ensuite, you are occupying the very fringe of the building, yet you feel completely sheltered and protected by the house.”   09 10   And as their own, as architects, it's a constant learning environment. Just as the house ended up giving them ‘clues’ as to how to approach the design, it continues to teach them, “By living in our first project, we get to constantly reflect on what we did and what we could do better - it taught us a huge amount in the process of designing and building, and continues to teach us more every day."   14   02
Photography by Felipe Neves   DROPBOX
  Architect/design firm: Downie North Architects Kind of project: Rear addition to (approx. 80m2) and renovation of semi-detached residence Location: Neutral Bay, NSW Parameters of project: 3 bed, 2 bath, 150 m2 Final cost of the project: $275 000 Date of project completion (month and year): Dec, 2013 Stylist: K-A Jones Assistant Stylist: Corina Koch Downie North Architects downienorth.comabc
What's On

Exhibition | Emily Floyd: The Dawn

Above: An open space 2011 (detail) Private collection, Melbourne © courtesy the artist and Anna Schwartz Gallery. Photo: Mark Ashkanasy   The exhibition traces Emily Floyd's, renowned for her text-based and modernist-inspired sculptures, career and will feature some of her earliest sculptures as well as several new works commissioned for the exhibition, such as a colourful, temporary library where visitors can relax and read texts that have inspired Floyd’s creations.   EXHI028045_RGB Above: A Human Scale (Maquette) 2014 Collection of the artist, Melbourne Commissioned by Dexus CPA Trust Pty Ltd and Cbus Property for the 5 Martin Place Trust © courtesy the artist and Anna Schwartz Gallery   EXHI026707_RGB Above: It's because I talk too much that I do nothing 2002 (detail) powder coated steel, stained wood dimensions variable installation at Anna Schwartz Gallery, Melbourne Private collection, Melbourne © courtesy the artist and Anna Schwartz Gallery   “Emily Floyd’s text-based sculptures and pedagogically inspired works stimulate debate about various social, cultural and political ideas and explore intersections between art, education and play,” said Tony Ellwood, Director, NGV. “Emily Floyd is one of Australia’s most exciting artists and her work will no doubt delight visitors of NGV Australia over summer.”   EXHI026700_RGB Above: Steiner rainbow 2006 (installation). Queensland Art Gallery, Brisbane Gift of the artist through the Queensland Art Gallery Foundation 2011. Donated through the Australian Government’s Cultural Gifts Program (2011.175a-i) © courtesy the artist and Anna Schwartz Gallery   Floyd’s sculptures playfully experiment with shape, colour and text to engage the viewer and prompt discussions about cultural, social and political ideas. The upcoming exhibition takes its title from The Dawn: A Journal for Australian Women, a women’s newspaper established in Sydney in 1888 by the poet, suffragette and enterprising businesswoman Louisa Lawson, mother of Henry Lawson.   EXHI026688_RGB Above: An open space 2011. Private collection, Melbourne © courtesy the artist and Anna Schwartz Gallery. Photo: Mark Ashkanasy   Emily Floyd: The Dawn is the result of a close collaboration between the artist and Jane Devery, Curator of Contemporary Art, NGV. The exhibition is generously supported by the Loti and Victor Smorgon Fund, Tim Fairfax AC and Gina Fairfax, the Truby and Florence Williams Charitable Trust and Wine Partner Seppelt.   EXHI026686_RGB Above: WORKSHOP 2012. Lyon Collection, Melbourne © courtesy the artist and Anna Schwartz Gallery. Photo: Jamie North/Pardalote Photography   Where: The Ian Potter Centre: NGV Australia at Federation NGV International When: 21 Nov 2014 – 01 Mar 2015. Hours: 10am-5pm, closed Mondays. Entry: Free NGV Australia ngv.vic.gov.au  abc
What's On

Tandem Opening Night

  The Tandem Project is about collaboration – but not exactly in the usual fashion. Over six months, seven designers developed two products – one individually and one in tandem with another designer of their choice.   [gallery ids="39313,39314,39315,39316,39317,39318,39319,39320,39321,39322,39323,39324,39325,39326,39327,39328,39329,39330,39331,39332,39333,39334,39335,39336,39337,39338,39339,39340,39341,39342,39343,39344,39345,39346,39347,39348,39349,39350,39351,39352,39353"]   The Tandem Project is initiated by Christel H + He Made She Made   abc

Like Minds

  The process of transforming what was a worn deceased estate into a vibrant living space was a true meeting of minds, with contributions from three creative people each armed with a different skill. Their canvas was a two-storey semi-detached house, built in 1921 in a bayside Melbourne suburb. When the current owners, interior designer Leigh Ellwood and her husband Stephen Carpenter, bought the house four years ago, a hastily executed patch-up job by the previous owners did little to hide the house’s neglected state. “I’ve always referred to it as a bit of a ‘fugly’ house,” says Leigh, “but even then, it had something nice going on, it still had its charm.”   33broadway009 33broadway008   Apart from the generous room sizes and decorative plaster ceilings, the pair of panelled front doors, each with a quarter-circle of frosted glass, which could have been designed by Charles Rennie Macintosh, was a major drawcard. After removing the nylon cream carpet, re-stumping and then polishing the hardwood floorboards, little else needed to be done to the main downstairs living rooms than to fill them with Leigh and Stephen’s classic mid-century furniture and hang their extensive collection of modern Australian art on the walls. “It was a house that hadn’t been loved,” says Leigh. “But when we put furniture in it that had something going for it, and some nice, contemporary light fittings it started to shine again.”   33broadway007   The service rooms, however, required a bit more work and Leigh called in a friend and sometime collaborator, fellow interior designer Donald Holt. “I admire Donald’s work so much I wanted to let him loose on the planning of the next stage of the house – essentially a re-fit of the upstairs bathroom and a new kitchen area downstairs,” Leigh explains. “I had very fixed ideas about what I wanted and Donald’s role was to step in from a removed perspective to add aspects and a way of planning that we hadn’t considered. Together we worked to form a master plan.”   33broadway011   Because the plans for the back of the house involved extending slightly beyond the existing footprint, council approval had to be sought. In the meantime, work started on the bathroom, which was completely stripped out and re-fitted. What was a poky and dated room is now a refined contemporary space. Clever tricks such wall-mounted basins, built-in storage, concealed lighting and a sliding entry door that’s hung outside in the hallway, extend the room’s compact dimensions.   33broadway010   Bespoke stainless-steel fittings, a recycled Oak floor flush with the hallway boards and a sculptural chrome-plated radiator suspended over one end of the bath all lend a luxurious, tactile quality. “I just adore the bathroom,” says Leigh. “All those things that designers get cranky about have been thought through, which makes it so well resolved and such a happy place to be. It’s a very beautiful, considered space.”   33broadway013   Holt also designed the five-metre long wall of storage that lines one side of the hallway leading to the new bathroom and third bedroom. The necessary space for the cabinetry – featuring chestnut doors and vertical handles of recycled Ebony – was cribbed from the adjacent, already generous second bedroom.   33broadway015   On the far side of the back garden, beside a double-car garage that leads off a cobblestone lane, Holt designed a new laundry. Taking his cue from old concrete laundry tubs, the room’s walls and ceiling were lined with untreated cement board. Custom-designed stainless steel rails were added for airing clothes and a painting was hung on the opposite wall. “There’s always room for another painting,” says Leigh with a laugh.   33broadway014   While the interior was being planned work was already underway on the front garden, which is where landscaper and furniture maker Greg Hatton was called in. “I had an idea of how I wanted to travel through the garden but Greg came up with how to achieve it,” says Leigh. A new path of slate crazy paving was laid in a sweeping curve from the front gate to the entry porch. Privacy was already afforded by clipped Cypress hedges to the south and west, and tall plane trees planted in the street sheltered the garden from the hot summer sun. “I decided something vertical was needed to draw your eye up, but if we did it with plantings it would close the garden off and there would be no sense of depth,” Greg explains.   33broadway017 33broadway016   After talking it over with Leigh he decided on an installation, and a Christmas gift of old-fashioned pick-up sticks provided the inspiration. Some tall Eucalypt poles left over from another job were positioned in place after burning selective areas to produce blackened bands. The effect of the totem-like poles surrounded by native groundcovers, grasses and succulents is dramatic, imbuing the front garden with a mystical quality. When approval for the downstairs extension was finally granted it was too late. By then Leigh and Stephen had found another project to move on to. And it looks like the same creative team will again be employed to effect another transformation.   33broadway006  
Photography by Lizette Bell   DROPBOX HOLT.CLIFFORD/DESIGNERS holtclifforddesigners.com Greg Hatton greghatton.com Builder: Robert Leddingham Carpentry: Edward Hyde Bathroom/Hall Joinery: Fineform Joinery HVAC: Hub-Air abc
Design Products
Design Accessories

From Wall to Floor

  It is always exciting to see seemingly disparate worlds collide. One discipline learning from another, joining forces to create something new. With the recent launch of Revive, a hospitality collection from Tai Ping, this is exactly what we see. For Moose, the entry into the commercial world is a happy first, “I’m delighted to be working alongside 1956 by Tai Ping to cerate a collection as exquisite and intracitely patterned as the natural surfaces I normally work with,” he says. And for Tai Ping, its equally fruitful, having the chance to create a collection that blends the traditional with the organic and industrial that graffit art offers.   Moose-   At the centre of this collaboration, is a shared love for patterns and process. Revive draws its inspiration from Moose’s innovative method of “reverse graffiti” – a process that involves meticulously cleaning and removing layers of dirt and other natural discolourabtions from existing surfaces to create images in striking relief.   close-up-   Adapting this slightly, Revive embellished rather than peels away, via a three-level design process that features complementary foundations and layers created in 1956 by Tai Ping in the style of Moose’s work. The layers are then highlighted by one of several overaly finishes designed by the artist himself.   blue-close-up   As with all Moose’s art, the interplay between the primeval and man-made worlds is a central theme to the collection, marked by designs that metaphorically illustrate nature’s inevitable and unstoppable reemergence in ancient and neglected spaces. And as an international brand, the collection’s colour palette has been refined for such, suiting any region and any space. Because of the three-layer approach, designers can customise the carpets with ease. And that’s successful collaboration.   close-up-1   Above Left is the Australian distributor for 1956 by Tai Ping. Above Left aboveleft.com.au Tai Ping Carpets taipingcarpets.comabc


  A concept store for international fashion house BEIGE – newly opened in the Tamagawa Takashimaya shopping centre in suburban Tokyo – has been crafted by minimalist heroes, Nendo, as a multi-functional space that would accommodate multiple uses; a shop for selling interior goods, a library space for book-lending and a gallery space for regular events and art exhibitions in addition to the main clothing retail space.   BEIGE,-concept-store11_takumi_ota BEIGE,-concept-store10_takumi_ota   It should come as no surprise to hear that consumer behaviour over the past year in particular has adopted a strong movement toward highly-interactive and experiential brand environments. Users and consumers are demanding much more than mere product – they are demanding experience, a story; something abstract and intangible beyond the product that they can connect with.     BEIGE,-concept-store03_takumi_ota BEIGE,-concept-store02_takumi_ota   The reason for this shift has largely been driven by clever retailers and executed by designers post-GFC, who came to the realisation that product alone was not enough to secure repeat, loyal customers. To curb this trend, many brands have been quick to establish “the brand experience” to compliment the product they supply. In the case of BEIGE for instance, complimenting the fashion experience with engaging activities that pair-well with the overall identity of the brand itself – such as the library and gallery space – encourages the targeted consumer to make a lasting connection with the brand beyond its merchandise.   BEIGE,-concept-store06_takumi_ota BEIGE,-concept-store08_takumi_ota BEIGE,-concept-store07_takumi_ota BEIGE,-concept-store05_takumi_ota   Nendo of course, created some stunning design solutions to realise these goals. “We considered a zoning approach with specific areas for the shop’s different elements,” explains Nendo, “then decided that subdividing the already small space any further would simply clutter it. To avoid this, we chose to stratify the space vertically instead.” BEIGE by Nendo should serve as a strong reference point for suppliers trying to recapture and strengthen their relationship with their market, and for designers creating solutions for their clients outside of just specifying product.   BEIGE,-concept-store01_takumi_ota BEIGE,-concept-store04_takumi_ota  
Photography by Takumi Ota NENDO nendo.jp BEIGE beige-comma.comabc