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      A Design Evolution

      Bodyscape Yoga Studio Is Tranquil, Through And Through

      A House With Folding Levels And Layers À La M.C. Escher

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      Design Invites You To Live In The Art of The Everyday

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      Lush Is The New Luxe In Bangkok

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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.

 

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See some of the artists ARNDT represents in Singapore

  • by Editorial Team
  • 19 May
Above: Natee Utarit The Commitment, 2011 Oil on linen 100 x 150 cm | 39.37 x 59.06 in From Matthias' personal collection   NUGR0164 Eko Nugroho The Leg Goes To Law, 2013 Screen print, coloured STPI handmade paper 173 x 136 cm | 68.11 x 53.54 in Represented by ARNDT   NUGR0165 Eko Nugroho I Am A Worker 8, 2013 Relief print, coloured shaped STPI handmade paper 190 x 110 cm | 74.8 x 43.31 in Represented by ARNDT   SUWA0006 Agus Suwage Part of an Offering to Ego #3, 2008 Charcoal and graphite on paper 108 x 152 cm | 42.52 x 59.84 in Represented by ARNDT   UNTO0005 Ugo Untoro Untitled, 1998 mixed media on cardboard 27,5 x 20 cm | 10.83 x 7.87 in From Matthias' personal collection   UNTO0009 Ugo Untoro Untitled, 2008 mixed media on paper 29 × 42 cm From Matthias' personal collection   UNTO0015 Ugo Untoro untitled, 1998 mixed media on cardboard 30 x 26 cm | 11.81 x 10.24 in   WIHA0001 Entang Wiharso Powerless: Promising Land Story n.2 , 2010 oil on canvas 200 x 300 cm | 78.74 x 118.11 in From Matthias' personal collection   WIHA0028 Entang Wiharso The untold stories #1 , 2011 Aluminum cast 130 x 125 cm | 51.18 x 49.21 in This work exists in an edition of 2 + 1 AP. This work is edition no. 1 of 2 + 1 AP. Represented by ARNDT   ARNDT arndtberlin.comabc
Architecture
NOT HOMES

Found in Translation

  • by Editorial Team
  • 18 May
Having garnered a rapidly growing cult status all around the world, MUJI set its sights on the Australian market just two years ago – chosen for its “vast land and comparatively small population” – and are now about to launch store number three. “Our first Sydney store will be the biggest yet,” explains MUJI Australia’s managing director, Hisashi Takeyama. “We will have plenty of space to showcase and express the wonderful world of MUJI.” Muji_Emporium_758 Muji_Emporium_532 Muji_Emporium_505-V2 The success of the MUJI brand can be attributed to many things: the quality of its products, the minimalist aesthetic, its 30-year traditions and history, but more than anything the celebrity of MUJI comes down to their proven approach to market penetration. Muji_Emporium_101 Muji_Emporium_026 Muji_0139-V3 Where others might immediately try and blend with the local context, MUJI very cleverly follows a carefully branded template to begin with, so that the brand values are properly established from the start. From here, MUJI allows the regional flavour to develop and augment the brand organically over time. Takeyama explains: “Of course, one of our goals is localisation in each country. We’re planning for MUJI to be customised here in the future too. But MUJI’s philosophy is the same anywhere in the world and we believe it’s important for customers to understand MUJI first before we modify that image. Therefore we use the same platform globally. After studying and sharing our philosophy, we’ll proceed to the next stage; to further develop MUJI in Australia for the Australian people. We don’t think of MUJI as just a Japanese brand. MUJI was born in Japan over 30 years ago, but we believe our philosophy needs to be shared and developed all over the world.” Muji_0030 In addition, MUJI’s success is predicated on their emphasis of a strong in-store experience, believing that “in-store is the most important place for MUJI, because we can effectively communicate to our customers face-to-face,” says Takeyama. “This means our biggest promotion platform and communicative tool is in-store. We plan to further develop MUJI through our conversations with our customers. And further in the future, we also hope to hold events and activities to contribute to Australian society.” Acacia_Glasses PP_Storage_UnitMuji_0006   Muji muji.com/auabc
Architecture
Homes

How to combine warmth and modernity in the city

  • by Editorial Team
  • 18 May
This original Edwardian cottage suffered from a lack of space and light; both strong requisites for a busy family of five. JFA_FenwickSt_1079_retina- JFA_FenwickSt_0304_retina JFA_FenwickSt_0217_retina So Julie Firkin Architects stepped in to create a warm, friendly home across two levels, with spaces both big and small plus living and garden areas that could be observed from the kitchen. JFA_FenwickSt_1109pan_retina JFA_FenwickSt_0978_retina “The original Edwardian weatherboard cottage, which addresses the street has been maintained while a two-level addition at the rear provides new kitchen and dining areas and a master bedroom,” she said. JFA_FenwickSt_0885_retina JFA_FenwickSt_0858_retina Contemporary in character and contrasting the Edwardian component, the addition is angular and tapered-in, with an overhanging upper level and variety of subtly overlapping spatial volumes. Large expanses of timber cladding spread out in hard, angular lines to demarcate each large or small space, bathed in northern light and allowing occasional moments of strong colour to emerge. “A generous triangular void over the dining area mediates between the single storey cottage and the two-storey addition,” Firkin said. JFA_FenwickSt_0820pan_retina JFA_FenwickSt_0700_retina JFA_FenwickSt_0624_retina The complexity in the project lies in its unusual shape, which is a direct response to the constraints of the context. But placing a considerable amount of the build on the second level provided for a smaller footprint underneath, allowing for the back garden in line with the client’s wishes. Large sliding doors and awning windows open up easily, and the kitchen counter can be accessed directly from the garden. “Since moving in it has been used as a ‘soup kitchen’ and an ‘ice-cream bar’,” Firkin says. JFA_FenwickSt_0412_retina JFA_FenwickSt_0356_retina The clients also wanted a strong sustainability component across the design. The living spaces face north, while the bathrooms and utility spaces are oriented to the south. Furthermore, the ground level addition is built upon a concrete slab, providing thermal mass. The overhanging upper level provides shade in summer while allowing in winter sun during cold months.. Dramatically, the new addition is clad in sustainably harvested Silvertop Ashtimber, which is also used inside on the feature ceiling and timber joinery. JFA_FenwickSt_0304_retina JFA_FenwickSt_0084_retina JFA_FenwickDusk_0093 “The cladding was sourced from plantation or temperate regrowth forests, using a process of radial sawing, which was specifically designed to maximise the recovery of sawn timber from smaller logs,” she says. Jule Firkin Architects j-f-a.com.auabc
Architecture
Homes

Pallet Racking House

  • by Editorial Team
  • 18 May

The biggest cost in projects is structure. Two major factors contribute to this cost — labour and Materials. Palette racking, a highly engineered and efficient structure, is incredibly affordable and looks great. It doesn't require a ute full of tools, nor a lot of man hours to assemble.

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You can then clad, insulate and line the building efficiently with one material — such as composite styrene panels. Colourbond either side of 250 millimetres worth of high-performance hard insulation provides all the benefits of water proofing, internal lining, good looks and incredible insulation quality — it also has its own structural spanning capabilities.

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Simply pin composite styrene panels to the palette racking structure and you have completed walls and roof instantaneously. Efficiency equals affordability.

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Andrew Maynard Architects' Pallet Racking House exemplifies this forward thinking design.

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abc
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Why Support Emerging Designers?

  • by Editorial Team
  • 18 May
  It seems pretty simple: if we support emerging designers we ensure our design culture stays alive. These are the designers that are going to be working 10, 20, 30 years down the track. But it’s much more than that. "Supporting emerging designers," says co-founder and director of Catapult Design Leigh Johnson, “means that we ensure a rich, vibrant, healthy design culture in Australia.” Young designers have the potential to shake things up and “feed the industry broadly, giving new inspiration,” notes co-founder and director Aaron Zorzo. And for us, as consumers, that means exciting product that – since it’s reflective of our current culture – we can really engage with. MrDJ_Assembly Catapult are one company that fully support emerging designers – if “their work, their process, their passion agrees with us” of course, says Johnson. They still believe it’s important to continue to support established designers, but they’re also quick to back new ones. Why? Because they realise the vigour they can provide the industry, and enjoy working with them. These young designers “supply the industry with new styles, new perspectives, new designs, new techniques, new technology,” notes Johnson. And being relatively new, they also become more like “family” than client. popperLabdestu-009 It’s also worth thinking about the designer, the one who actually designs these pieces we bring into our homes. What does our support mean to them? André Hnatojko of Silhouettica says that having support from Catapult allowed him to establish a name in the NSW market, which would have been much harder alone. “As an independent designer,” he says, “you can be a bit stuck. To expand into a territory can be quite a costly exercise, so to be able to give that to someone else and have them support me was very beneficial.” Being aligned with other designers, like Skeenhan Studio or Ben-Tovim Design, also helps. “It helps people trust in us,” he says, “and makes you feel more comfortable.” popperLabdestu-007 It’s not only new ideas that make supporting emerging designers worthwhile, however, it’s that they’re working with the latest technology and in turn producing products that as buyers we can feel especially good about purchasing. Technology is shifting and developing constantly and ever faster, with “environmental concerns rearing new and multiple”. Sustainability is often embedded within these designer’s ethos. “Those discovering their footing,” says Johnson, “are very well placed to exploit and incorporate [those technologies] into their ongoing practice.” For example, Mr Dowel Jones, the eponymous lamp designed by Dowel Jones, can be dismantled and easily reassembled, and fits into a relatively small and light box, meaning shipping it is as simple as putting it in the post. Thus, the carbon footprint is much smaller than, say “a lamp that needs to be shipped in its final form”. 4D6C0041 Ample energy for the vibrant future of design and a particular leaning towards sustainability are just two reasons why supporting emerging design is worthwhile. But regardless of that, as Zorzo says, “There is a wealth of excellent emerging design in Australia right now, so why wouldn't we want to work with them?”   Catapult Design catapultdesign.net.au Catapult are always on the lookout for new emerging designers. Get in touch if you think this might be you. abc
Architecture

Cells by Tribe Studio Architecture

  • by Editorial Team
  • 18 May
"Within a boundary of thin apartment buildings, individual and attached houses huddle against the cold. They are scatter-sited creating a residual network of small parks and intimate pedestrian public spaces, giving residents a sense of ownership, pride and identity. Within a wedge-shaped envelope of translucent insulation, masonry boxes house the private functions of living. Living (socialising, eating, cooking, growing) occurs in the residual spaces. In a cold wet climate, our families can live in bright, spacious, warm houses.   tribe studio architects make me a home   Houses are planned to accommodate changing family types. They are flexible in the internal planning. There are attached studios for elderly parents, teenaged kids, separated parents or for working from home. We plan to keep driving to a minimum. Mixed use on the Northern boundary gives residents access to childcare, a library, a convenience store within walking distance. Bikes are encouraged. Houses are tightly packed. The design of houses and apartments is based on the principles of the greenhouse. A translucent skin acts as a solar collector, and internal thermal mass stores the heat energy for slow release over the nighttime reducing the need for heating.   tribe studio architects make me a home The large roof forms collect rainwater for recycling and to supplement the solar heating in wet-backed fireplaces. In summer, the houses are cooled by thorough cross and stack effect ventilation and shading devices. Large portions of walls and roofs can be opened to create a truly ambiguous sense of indoor and outdoor. Northshore, an in-between place, becomes a series of enriched in-between spaces. Within a ring-wall of apartment buildings, The Northshore proposal creates series of interior and exterior residual spaces, connecting residents with their neighbours and the community at large.   tribe studio architects make me a home Inside houses and apartments, the spaces of living are the left-overs. They are void spaces made between bits of program. They are flexible in use, and their character is super-spacious, light-filled and quasi-external. In between houses, the residual spaces create lovely pocket parks and intimate pedestrian squares. Living in Northshore is about having intimate relationships. It's about sharing with your neighbours. It's about being a pedestrian. It's about light and trees. It's about the veggie patch, walks along the riverfront, kicking a ball around with dad."   See the full Home of the Future feature in Habitus issue 27, on sale April 23 Tribe Studio Architects abc
Happenings
What's On

Milan Review 2015 at Spence & Lyda

  • by Editorial Team
  • 15 May
 

Discussing what can Australian design + Architecture take from the world's biggest furniture fair - from aesthetic trends to commercial developments, were our panelists Emma Elizabeth, of Emma Elizabeth Designs; David Caon, of Caon Studio; Georgia Hickey, of SJB - led by Lorenzo Logi, Managing Editor of Indesign. 

It was a great evening of discussion and opinion, and good company. Thanks again to SPence & Lyda for being such wonderful hosts.

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Stay tuned for more coverage of the events in the next issue of DQ and Indesign Magazine.    Photography by Fiona Susanto  
Spence & Lyda spenceandlyda.com.auabc
Architecture
Homes
NOT HOMES

Insider Outsider design a very small creative space

  • by Editorial Team
  • 15 May

Dave Brodziak has turned an old doorway alcove in Mayfield Street into a little cosy space to work. It is just 2.1 metres high, 1.6 metres wide and 1.14 metres deep.

insider-outsider0585 insider-outsider0588   The space is the result of having looked at the City of Melbourne’s planning scheme, which rates the CBD’s laneways according to potential, and around 63 small spaces in 50 of the council’s ‘worst’ laneways. Brodziak wants to draw these spaces into what he calls The Metropolitan Small Space Register - a way to make them useful.     insider-outsider0589 insider-outsider0590 insider-outsider0591 “It’s about bringing together all the spaces that potentially could be used and making them available," he says. "It would be a database that anyone could access and then people could come up with proposals for how they want to use the space. Whether it’s short or medium or long term. Whether it’s a little commercial venture or just a work space or for display.” insider-outsider0602 insider-outsider0603 insider-outsider0614 insider-outsider0631 Insider Outsider insideroutsider.netabc
Design Products

Ever thought that fine craftsmanship was a dying art?

  • by Editorial Team
  • 14 May

Singgih Kartono is by far one of Indonesia's better-known designers.

Since the launch of his Magno brand, back in 1995, he has won countless fans and an equal amount of accolades and awards around the globe, including the 1997 International Design Resource Award and the 2008 Japan Good Design Award.

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The most renowned Magno product is a small portable timber radio – the ‘IKoNO’.

A radio styled on the classic brands of the 40s and 50s, like Emerson or Truetone. However this version is made completely of hand selected timbers such as Sonokeling, Mahogany and Pine. The production method employs a basic sustainable model of use and re-plant. With many new trees planted locally, some through a seed-to-sapling initiative with the local junior high school.

IMG_3242

Singgih’s unique brand of design centres on a passion for ecology and a love for his hometown Temanggung, just outside Yogyakarta. Each product is lovingly hand made by a dedicated team of Javanese crafts-people, specially trained in the art of custom assembly and finishing. Something he refers to as ‘New Craft’, which is loosely defined as a manufacturing process that uses both traditional craftsmanship as its main means of production and modern management techniques.

klok micro_radio magnifying-glass

The results pretty much speak for themselves. A workforce of 50 or so, capable of producing a small range of beautiful timber products for an audience worldwide.

Radio1

The simplicity of each item in the Magno lineup evokes connection with a broad demographic. From the nostalgic baby boomers, who might remember the days when radios were the main source of entertainment; to the most serious of cool hunters, who constantly crave the unique and even right down to a 5 year old who may find interest in one of the toys.

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Singgih believes “......that the relationship between a user and a product is not merely a relationship between a subject and an object. It is a relationship where a product is an integral part of our life.”

production

radio-in-box

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If you are lucky enough to own a Magno product you will understand this completely.

Magno magno-design.com

abc
Architecture
Homes

Blowhouse Life Support Unit by Paul Morgan Architects

  • by Editorial Team
  • 14 May
  Climate change has affected Australia’s environment so dramatically that the interior desert now meets the south east Australian coastline. Average temperatures have increased, the sea level has risen and rainfall has dropped. Many animal and plant species are now extinct. The island continent is in terminal drought. In this context, the challenge is how to survive the environment. Blowhouse, a speculative residential proposition by Paul Morgan Architects, is a ‘life support unit’ located on Australia’s southern coastline.   view-1- The Blowhouse project is a kind of lung. Strong prevailing winds blow across its curved skin, raising and lowering it. In effect, the building is breathing. Solenoids attached on the underside of the roof transform the energy produced by the roof’s movement into static electricity. Streamlining also supplies air to linear wind turbines. Photovoltaic cells on the rear louvres generate energy from solar radiation. stitched-interior-copy Conceived as a modular type, habitants could repeat the Blowhouse around coastal locations. The profile simulates the aerodynamic and phototropic growth patterns of indigenous scrub that nestles into crevices along the coast. The window ‘water bags’, inspired by succulent plants that survive in these conditions, thermally insulate the Blowhouse. interior-2 interior-1 Flutes on the shell harvest water, which then flows into an internal glass water tank located in the kitchen ‘bridge’. The water temperature remains at around 21 degrees, and ambiently assists in maintaining the internal air temperature at this level. A heating element sourced from the photovoltaic panels keeps the water temperature warm during the cooler months. aerial-view- The bioengineered Blowhouse is an energy neutral life support unit that utilises the environment’s kinetic potential. surface-diagram-with-annotationPaul Morgan Architects  abc
Architecture
Homes

Barcode Room by Studio 01

  • by Editorial Team
  • 14 May
  Placing functional elements such as storage and furniture into these walls, only to be pulled out when in use, also allows for more of the floor area to be used by the inhabitant and guests, thus creating a space where one is able to both comfortably live and entertain a different number of guests easily.   01_barcode_room_doublebedroom 02_barcode_room_lunch Through the use of the furniture-wall, or bars, barcode room takes the typical studio space made for a single resident and allows it to be transformed into a space where one can live and friends can gather. Each furniture-wall is a combination of selection from 12 types of components to make a single bar. Depending on the combination of components, various types of bars can be created, such as a living bar, kitchen bar, or sleeping bar. Just as each object in a store has it’s own barcode, each usage of the apartment has its own layout, or barcode.   The composition of the various components into different bars, as well as the position of these bars, allows the user to create their own unique collection of barcodes for their life. 03_barcode_room_side_dinin 05_barcode_room_movienight 04_barcode_room_singlebedr Additionally, when different furniture are unfolded or pulled out of the walls, windows through the space are created as both sides of the wall become connected by large openings. The dynamic quality of the space’s changeable size and continuity create a feeling of connectivity through the space which seems to virtually enlarges the small floor area. By utilizing only a ceiling rail to guide movement and wheels below to allow it, this versatile system can be installed not only into new studio apartments, but also in existing apartments as well. 12_barcode_room_interior With continued development of these bars, we wish to create a product that will allow customers to choose what type of bar they desire so that they can freely change the size of space within their room. Furthermore, if components within the walls can also be customized in terms of size and location as well as the size of the walls themselves (to match a given setting), then customers can truly daily redefine the space in which they live, play, and work. In addition to the domestic use of the furniture-walls, by developing a larger variety of components to be embedded into the walls, the bars could be used in a range of spaces including offices, galleries, stores, restaurants, etc. 16_barcode_room_interior Studio 01 blog.studiozeroichi.comabc
Design Hunters
Design Products
Furniture

Saving the Industry from the Replica Plight

  • by Editorial Team
  • 14 May
Above: Rabbit Chair by SANAA. Available from Seeho Su   In an attempt to avoid liability, replica furniture sellers are usually careful to expressly refer to products as "replica" and include disclaimers that the product has no association with the original. This will usually be enough to avoid a breach of the Australian Consumer Law, which prohibits the making of false or misleading representations that goods have a sponsorship, approval or affiliation of another person or company. However, replica products are often accompanied by detailed stories of how the original designer came up with the design concept, as if to imbue the replica product with the same qualities as the original. Representing that a replica product is essentially the same as the original product, despite being constructed differently or made of an inferior material, could contravene provisions of the Australian Consumer Law which prohibit false or misleading representations regarding the standard, quality, value, grade, composition or performance characteristics of goods. Furthermore, despite common misconceptions, the qualification of the word "replica" and the use of disclaimers will not necessarily provide a defence to trade mark infringement. A registered trade mark provides its owner with the exclusive right to use and authorise others to use the trade mark for specified goods and services. It is highly recommended that trade mark registration is sought for the name of a designer, the names of his or her designs and the overarching brand under which designs are offered. It is our view that, depending on the circumstances, a registered trade mark can be relied upon to prevent the use of the name of a designer or a design to invite buyers to purchase an unauthorised product, even if the product is expressly marketed as a "replica". Whether out of respect or fear of litigation, most Australian businesses would not dare market a product as "replica Coca-Cola" or "replica Louis Vuitton". Why should trade marks associated with designer furniture or lighting be relegated to a lesser status? It is up to furniture designers and brand owners to demonstrate the value they place in their trade marks by registering and enforcing them in the same way as other industries do. Explore this topic more at the Vivid event GET REAL – DON’T BE FAKE: the importance of supporting authentic design, held at Stylecraft June 2nd. Tickets available here.
  K&L Gates klgates.com   Please contact us if you would like to discuss the most effective method of protecting your designs. Christine Danos, Senior Associate, christine.danos@klgates.com; Gregory Pieris, Senior Associate, gregory.pieris@klgates.com; Chris Round, Partner, chris.round@klgates.com  abc
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