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Architecture
Homes

Finding Balance in Bali

The lives of this Bali-based family is a busy one. Man of the house, Widi Adnyana, is one of the founders and the principal architect of boutique design firm, Somia Design, while his wife Sulis – an experienced design consultant – also has a boutique consultancy of her own. Having lived, worked and met in Singapore before moving to Bali, Widi recalls “living in small apartments in Singapore, we had always dreamt of having a spacious home with a small working studio in Bali.” And that’s the dream, right? Being able to design a way of life for ourselves that perfectly satisfies our needs to work, live and play – but where do you start? For Widi, it began with understanding the daily routines of his family. And from there, the design needs of their dynamic started to become clear... Read the full story in Habitus issue #35, available now. Words by Sophia Watson Photography by Mario Wibowa SujivaLiving-HabitusLiving4 Sujiva Living | Habitus Living  abc
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Chardon-heeeeey!: A Lesson in Being Social

Late last fortnight, a group of international judges descended upon Melbourne in a groundbreaking development to the “World’s 50” Awards programme. Marking the first time that the “World’s 50: Best Restaurants” Awards have been hosted outside of either London or New York City, the presence of this jury in Melbourne – among whom are the likes of internationally-renowned chefs Heston Blumenthal, Daniel Humm, Brett Graham, Gaggan Anand and Massimo Bottura – represents a major coup for Australian gastronomic culture. And, while this year may be the first time the Awards is hosted in Australia, punters are touting this year to be the first time Australian restaurants will make it onto the “World’s 50” list too. In a new partnership with Tourism Australia, William Drew (Group Editor of the “World’s 50”) recently declared at a press conference, “we are thrilled to be moving to Melbourne, one of the great food cities of the world. […] Australia will undoubtedly be the place to be for those passionate about great food and inspired restaurants. We are looking forward to highlighting the country’s unique produce, brilliant wines and dynamic dining scene”. And while it is definitely becoming clearer each day that Australia has reached a point of gastronomic maturity to compete on the international stage, many of our top media personnel are also reporting that our viticulture is swiftly becoming integral to our national competitive edge too. Both deep in its roots and vigorous in its growth, Australia in 2017 has risen to become the fourth largest producer of wine world-wide, exporting a staggering 750,000,000 litres of wine per annum (equating to approximately $2.8billion of our Gross Domestic Product). Wine-Wall To say that viticulture is central to our collective social experience is not too much of an understatement. In the past thirty years, our winemaking prowess has risen to challenge even the most distinguished winemaking pedigrees of Italy, France, California and Germany. And, simultaneously, a level of wine connoisseurship has entered the Australian vernacular to such a vast degree that any of us could give Europe’s best sommeliers a run for their money. But, though it is undoubtedly true that we should give a round of applause to our gastronomes, chefs, winemakers and farmers from coast to coast, I find it odd that few are willing to recognise the sterling efforts of our A+D community in raising the calibre of Australia’s increasingly gastronomic and wine-centric culture. And, while wine may definitely be a social lubricator (that has never been in question!), our A+D community is proving to be uniquely positioned to assist enriching all elements of our social experience. From homes to restaurants, hotels to offices, schools to theatres, airports to stadiums – all quintessentially social spaces – our A+D community is fighting for a more inclusive, more intelligent and more compassionate approach to our collective creative practice. We’re fighting, that is, for spaces that can tell a relevant story of the people who interact and play within them, that can capture collective imagination and bring us together. 29h72091-1024x683 This very quality of sociability within the design-process is perfectly synthesised in elite, TO BE’s latest: the Libreria del Vino. Designed by Australian-born, Italy-bound brothers, the Libreria del Vino is inspired by the centuries-old vineyards dotted throughout Northern Italy. Redolent, equally, of both Tuscan charm and Milanese lustre, it operates as a lodestar of conversation, toasts, and intimate tete-a-tetes, it nonetheless bears its inherent drama with stylishly understated panache. Gracing many a home, winery, bar and restaurant alike, the Libreria del Vino represents the perfect coalescence of sociality, connoisseurship and cosmopolitanism so central to the Australian social experience. In the design-duo’s own words: “[i]n each land, a culture; and with it, the knowledge of its people. Feelings that come straight from the nature of the materials, for the form, the colours, the history of that place”. As a raison d’etre, elite, TO BE’s orientation to the romance of design could not be more beguiling. With an unimpeachable cosmopolitan flair, the design brains behind the brand unite truly international aesthetic and material influences from Europe, the Americas, Africa and Asia as the cardinal points of a journey “we have not only chosen, but that has always been a part of our DNA […]. The true essence of elite, TO BE”. libreria-del-vino-lifestyle-two Available exclusively through Living Edge, the Libreria del Vino is a timeless, impressive and customisable wine storage solution constructed entirely out of laser cut iron corten. Perfect for use in kitchens, wine cellars, wineries, restaurants, and even homes, the Libreria del Vino is distinguished by a minute attention to fabrication and material detailing. Available in six different modules, the options for optimum customisation are virtually endless. The modular bookcase is rendered with even more charm through the addition of the ladder supported by rolling casters, accompanying rails and softly diffused back lighting. Holding different bottle sizes and shapes, the Libreria del Vino is available in oak, suar wood, corten hard finishing, lacquered in white, red, burgundy, ivory, dark grey and black. Living Edge is truly at the vanguard of discerning taste. As one of this region’s foremost design destination for architects, interior designers, and design enthusiasts, the team has curated a remarkable collection through Living Edge’s promise to foster and support authentic design. With an all-encompassing, holistic service, each brand in this impressive portfolio is carefully selected for the quality and significance of its designs, its responsiveness to the Australian market, and an uncompromising commitment to social responsibility at the core of sustainable design practice. Living Edge offers narratives of comfort, warmth, elegance, and intimacy: design intended to bring people together. As the Official Partner for the 2017 INDE.Award for The Social Space, we want to raise a glass and toast team Living Edge! Living Edge livingedge.com.au   Words by David Congramabc
Design Hunters

Movers-and-Shakers: Prodigies of A+D

From many watching the progress of the INDE.Awards we’re hearing that finding out who will be the 2017 INDE Prodigy is hot on their list. This is hardly surprising. Celebrating the need to innovate, the quality to anticipate, and the prowess by which new trendsetters are creating designs that carry both solution and value, your INDE Prodigy will represent the perfect synthesis of skill and vision. Whether an individual or a small team, the shortlist for the 2017 INDE Prodigy Award serves as a standout reminder that the next generation of Asia Pacific design maintains an air of progressiveness in the combined attitude towards the imaginative practice of architecture and design. From skills to service, talent and expertise, the use of technology, and the fresh perspectives on materiality and big-picture thinking, all nominees hold these qualities, sharing them throughout the industry in a new knowledge economy based on collaboration, cross-disciplinarity and mutual opportunities to learn and grow. But, these are qualities shared by many emerging design practices. What makes these select people stand out – your 2017 INDE Prodigy shortlist – is an additional willingness to challenge accepted practice: to colour outside the lines, and to serve as a shining example for the Asia Pacific region’s experimental and rebellious approach to A+D. Dektonclay_Cosentino_Jara_Varela_8-1 As the official partner for the 2017 INDE Prodigy Award, Cosentino understand the importance of an entrepreneurial attitude coupled with uncompromising skill, drive and the necessity to embrace forward-thinking technology. Having begun in 1940 with quarrying and basic marble processing, Cosentino has since grown in size to become one of the largest providers of innovative architectural surface solutions to have graced the market. However, Cosentino has still maintained the same qualities seen in this year’s Prodigy nominees, despite their size. Committed to quality, safety, the environment, society, enthusiasm, seriousness and personal effort, Cosentino nonetheless remains an accessible brand to all involved – from clients to collaborators, suppliers and the public. This goal is made possible by pioneering leading brands in their respective segments such as Silestone, Dekton and Sensa by Cosentino – all technologically advanced surfaces for creating spaces and unique designs for the home and public areas. Of course, none of this would matter if Cosentino and our nominated Prodigies alike were not self-directed and flexible in the face of change. Being able to colour outside the lines is dependent on being able to identify where those lines currently exist, and where to push them in order to guide the rest of the industry forward. Pushing boundaries for the sake of boundary-pushing will, quite bluntly, no longer cut it in this deep-thinking sector. New challenges represent an opportunity to continuously improve our creative process, positively impacting those involved from drafting table all the way through to delivery. Seeking to foster the continued preeminence of design vision in this region, Cosentino frequently teams up with emerging design talent to help us all reimagine the limits of our creative practice. A recent collaboration at the 2017 Milan Design Week between Cosentino and ceramic atelier and Spanish design studio lead by Xavier Mañosa –  Dektonclay by Cosentino X Apparatu – explores the versatility of and seeks to discover new limits for the application of the ultracompact surface Dekton (pictured). In his own words, Mañosa and Cosentino sought to “discover new ways of working with Dekton, to find out how the material behaved under different temperatures or conditions of density, and to find out how versatile Dekton could be”. Dektonclay_Cosentino_Jara_Varela_12 Wowing punters all over Milan last week, the new project was lauded for innovative approaches to reconceptualising the kitchen, creating a collection of pieces that gathers cooking and eating through one material. Attracted by the idea of using the same material in every part of the kitchen, the collaboration resulted in an inspiring collection of table and kitchenware, furniture pieces and even a kitchen itself. The ovens, the kitchen top, the structure and all hardware were forged with Dekton, modelling, pressing, extruding, and firing, pushing the malleability of the material and reconceiving the breadth of its material dimension.

At Indesign Media, we wish to thank Cosentino for joining our search to find your 2017 INDE Prodigy,

To view this year’s Prodigy Award nominees and to vote for the boldest of the bunch, click here.

Get close to greatness and join us at the inaugural INDE.Awards Gala on Friday 30th June in Sydney for the most exceptional awards ceremony the industry has seen.

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Architecture
NOT HOMES

Improving Lives and Landscapes in Melbourne

STREAT’s motto “Tastes good. Does good,” could now also read “Looks good,” with a new hospitality venue designed by architecture firm Six Degrees. The social enterprise provides a training academy that gives young people in need a hand to learn skills and gain experience as chefs, bakers and baristas. Its new flagship site not only helps improve lives, but also revitalises an historic property and industrial streetscape. STREAT’s training academy is housed in what once was a rundown two-storey Georgian building – leased to STREAT by a philanthropist for five dollars a year – with a parking lot and disused garden adjacent. Six Degrees substantially reconstructed the house and extended it with a cost-effective industrial addition with all works supported by grants and donations. “The brief was to repurpose the shell as a hospitality venue and to house the organisation's training, offices, cooking, baking and coffee roasting facilities in a simple, industrial-style building,” says Simon O’Brien, Director at Six Degrees. Streat | Habitus Living The repair and repurposing of the Georgian house required gutting of the interior and reconstructing the front façade which, painted white, is now a prominent and inviting feature in its industrial surrounds. It houses the servery and seating area, and is connected to the industrial extension via a largely transparent, lightweight link and landscaped garden. “This allows for the functions to be clearly articulated in the existing and new building volumes, while open verandas and walkways allow the spaces to breathe,” Simon explains. Expressing the values of STREAT, each space has warmth and transparency: the café retains the original bluestone and brick walls of the existing building; the outdoor courtyard is surrounded by the timber-clad extension; and expanses of glass maximise northern light. This openness not only reveals the many activities of STREAT, but it also promotes positive interaction and inclusion. “There are traces of history and people’s stories throughout the entire project,” says Simon. “It is a place where people can work and share the fruits of their labour.” Certainly Rebecca Scott, Founder and CEO of STREAT, agrees. “It provides a safe space to feel comfortable, work and rejuvenate.” STREAT streat.com.au Six Degrees sixdegrees.com.au Photography by Alice Hutchison Streat | Habitus Living Streat | Habitus Living Streat | Habitus Living Streat | Habitus Living Streat | Habitus Living Streat | Habitus Living Streat | Habitus Living Streat | Habitus Living Streat | Habitus Livingabc
Design Hunters
Happenings

Milan, The Week That Was

As the 56th annual Salone del Mobile drew to a close and the 300,000 design aficionados giddily packed their Goyards to head home, I got to wondering who would take out all the empty champagne bottles. Which by even the most conservative estimate would have to be at close to a million. Who would be expected to cart all the Campari and Vermouth and Cinzano bottles to the dumpster once their aromatic contents had been drained into hundreds of thousands of Duralex Negroni glasses. And who’d have to clean the squillions of dinky white plates from which ravenous punters would slurp superlative little antipasti – which at the Swarovski lunch time cocktail on Thursday to announce their lineup of designers at Design Miami/Basel (next June!) were particularly delicious. (The event was at the infamous Giacomo Arengario restaurant, and the scallop céviche with pickled citrus and bone marrow carpaccio are worth putting up with the faux Art Déco décor for.) Now that we all have smart phones, it seemed the entire city (including the supremely coiffed 1,251 million locals) were out on the perilous donkey track streets and spaghetti strap sidewalks with their heads down mindlessly following Googlemaps to the next party, cigarette in one hand, the rising inflection of Grindr beeps palpable in the air. The Milanese do have a knack for excellent eyewear though, glamourous mafiosi to a man. Tom Dixon succumbed to the megalomania that’s been simmering within him for some time and actually converted a rundown arcade on the Via Manzoni into his own ten store Multiplex in which to display what felt likes his entire back catalogue and also a few new brainwaves including a textile collection and a top-knotted bloke mixing up black chewing gum in a steel cauldron to illustrate Mr Dixon’s desire to also design tyres for Pirelli. The black ridged patterns are actually quite lovely – though the OH&S folk are worried about designer road accidents. airbnb took over Leonardi da Vinci’s old digs, the Casa degl Atellani on the Corso Magenta and had Martina Mondadori curate Passeggiata, filling it with beautifully conceived and crafted pieces by the likes of Fay Toogood, Formafantasma, Mattheo Thun, Wieki Somers and Dimore Studio. Nothing by Tom Dixon as far as I could see. To celebrate his tenth anniversary in the trade, Lee Broom gave the vaulted basements of Mussolini’s fascist wedding cake Statzione Centrale a clean sweep and installed a few of his favourite things from his past decade’s output reworked in white and available in a limited edition of ten. I had a great time chatting with Paola Antonelli, Design Curator of MoMa – a job she found advertised in a trade magazine in 1993. You’ll be hearing more about that at a later date. On the advice of Didier Krzentowsi of the Kréo gallery in Paris, Konstantin Grcic made a rather lovely new sofa (his first) for Cassina. I’ll fill you on that too sometime. IKEA took over a warehouse in the outer burbs but I stayed home and washed my hair so you’ll hear zip from me on that. Nilofar Depot was unusually dull, but I guess it’s difficult to master to flow of good vintage. Bethan Laura Wood told me she was exhibiting there, so I did make the trek and she’s only done two small coffee tables in her trademark (as in, not new) cassati laminate. Formafantasma we’re exquisitely brilliant as always. Later. Studio Swine installed a beautiful giant blossoming sculpture for fashion brand COS. Oh, and Henry Wilson unveiled a few additions to his sexy sand cast brass and bronze sconces – at the Aesop store he designed in the Brera in 2015. I took the opportunity to buy a new flacon of Tea Tree Oil Facial Exfoliant only to learn that I’d been using it wrong – I’d been adding it to water, not to a dollop of viscous Gel Nettoyant Etonnant pour le Visage and wondering why it just dissolved in my hand. You’re welcome. Words by Stephen Todd   airbnb at the Casa degl Atellani airbnb_001083 airbnb_001087 airbnb_001108 airbnb_001072 airbnb_001053 airbnb_001042     Highlights from Tom Dixon's ten store Multiplex Fan-Chair-and-Table Mass-Dining-Table Screw-Tables-with-Slab-Chair Textile-Lifestyle-3---Check,-Boucle,-Soft-with-Wingback-Micro-and-Melt-Surface-Copper Textile-Close-up---Soft,-Fleck,-Boucle   Local Design: Aussies in Milan FSP_LD_20170403_331 FSP_LD_20170404_353abc
Design Hunters
Happenings

To Dine For: Melbourne Hosts the World’s 50 Best Restaurants

On Wednesday 5 April, Melbourne’s grand old Royal Exhibition Building was dressed to the nines to welcome a cavalcade of international gastronomic stars to the World’s 50 Best Restaurants Awards. The evening was as convivial and indulgent as one might expect, when the world’s most discerning tastebuds are in attendance. Guests were spoiled with a seemingly endless, lavish array of Australian seafood, meat and produce masterfully prepared by local culinary heavyweight Neil Perry. The chef and his Rockpool catering team were stationed within a striking wireframe installation at the heart of the historic building, a riot of flora on an industrial scale by award-winning designer and passionate sustainability advocate Joost Bakker. Each stall representing event sponsors, including the likes of Miele, Etihad and Lavazza, held an abundance of delicious morsels or finely balanced cocktails for passers-by. Following last year’s event, held in New York, this is only the second time the prestigious award has traveled anywhere outside of London – and the Aussie crowd certainly relished the opportunity to show their patriotic support on home soil. The Australian flag was represented by two celebrated restaurants from this year’s host state: Ben Shewry’s Attica in Melbourne’s south east (also named The Best Restaurant in Australasia), and new entry Brae, helmed by Dan Hunter in regional Victoria. Entertaining the audience with her humorous acceptance speech, the self-trained Ana Roš of restaurant Hiša Franko, Slovenia, was named The World’s Best Female Chef. Septime in Paris was the recipient of the Sustainable Restaurant Award, sponsored by Silestone. On taking out the Diners Club® Lifetime Achievement Award, epicurean alchemist Heston Blumenthal offered some deeply considered foodie philosophy for the crowd to chew on, echoing his memorable sentiments on an appearance on The Project earlier this week. But the night truly belonged to this year’s overall winners: the talented team from Eleven Madison Park, in New York. The restaurant’s co-owners, Will Guidara and Swiss-born chef Daniel Humm, gave heartfelt speeches in gratitude to the rest of their team who had gathered to watch the livestream back in their hometown. Words by Sandra Tan Photography by Johnny Angel Worlds-Top-50-Restaurants-2017-HabitusLiving19 Worlds-Top-50-Restaurants-2017-HabitusLiving23 Worlds-Top-50-Restaurants-2017-HabitusLiving22 Worlds-Top-50-Restaurants-2017-HabitusLiving21 Worlds-Top-50-Restaurants-2017-HabitusLiving20 Worlds-Top-50-Restaurants-2017-HabitusLiving16 Worlds-Top-50-Restaurants-2017-HabitusLiving15 Worlds-Top-50-Restaurants-2017-HabitusLiving18 Worlds-Top-50-Restaurants-2017-HabitusLiving14 Worlds-Top-50-Restaurants-2017-HabitusLiving5 Worlds-Top-50-Restaurants-2017-HabitusLiving13 Worlds-Top-50-Restaurants-2017-HabitusLiving7 Worlds-Top-50-Restaurants-2017-HabitusLiving4 Worlds-Top-50-Restaurants-2017-HabitusLiving3 Worlds-Top-50-Restaurants-2017-HabitusLiving10 Worlds-Top-50-Restaurants-2017-HabitusLiving9 Worlds-Top-50-Restaurants-2017-HabitusLiving17 Worlds-Top-50-Restaurants-2017-HabitusLiving6abc
Design Hunters
Happenings

Salone 2017: The Marni Playland

Don’t you just love it when fashion and design cross-over? Particularly at Milan where the spectacle factor is nice and high. Reflecting on the concept of play, Marni invites the public to forget predefined rules and structures and interact with the surrounding space and the intriguing elements it contains. The Marni Playland is a stretch of sand, which is the perfect backdrop for a series of extraordinary objects and furniture sculptures that have cast practicality aside to embrace their playful side, leaving them open to interpretation. The playground features toys to be showcased and toys to play with, storage containers perfect for basketball, colourful cones to stack rings over and baskets with parts that are so out of proportion they highlight the irony of the creative approach. Lying next to them is the new limited edition of Marni home furnishing accessories. This year, the collection features seats, stools, rocking chairs with holder armrests and chairs with roofs that create a comfortable haven to snuggle up in. As always, Marni’s contribution to the Salone del Mobile is open to the whole city, being the public’s involvement integral to its story. Visitors are able to interact with the items on display, rest on picnic blankets especially designed for the occasion, devise their own interpretations of the furnishings and, of course, buy the products. The Marni Playland reaffirms the brand’s commitment to children charity initiatives as part of the proceeds from the sale of the limited-edition design products will be given to the Only The Brave Foundation, owned by OTB group which supports numerous charitable institutions. This year the donations will benefit Associazione Piccolo Principe (www.piccoloprincipe.va.it ), that through its Orso Baloo center hosts children in need aged from 0 till 6 in the district of Milan. MarniPlayland_Milan2017_05 MarniPlayland_Milan2017_06 MarniPlayland_Milan2017_02 MarniPlayland_Milan2017_01abc
Design Hunters

Salone 2017: Lee Broom Celebrates The Decade Mark With ‘Time Machine’

During Milan Design Week, award-winning UK designer Lee Broom is celebrating 10 years of work with an installation set inside a derelict vault in the famous and historic Milano Centrale train station. The vaults, which have been unused for over 30 years and previously never been opened to public, form the brand new Ventura Centrale Design District in the heart of Milan. Lee Broom’s collection is presented on a dramatic and modernist interpretation of a fairground carousel, placed right in the centre of the vault, rotating to represent the evolving life cycle that the brand has journeyed through the past decade. LeeBroom_Milan2017_TimeTravel_05 “I decided I wanted to recreate pieces I had designed over the past 10 years in a single colour palette and with new and different finishes which would give a cohesion to the presentation. I then explored interesting ways to present my designs which document the journey of the past decade in a thought provoking way,” says Lee Boom. The designer is known for his surreal and dramatic presentations and this one is no different. Spanning more than 340 square-metres (his largest exhibition to date), the space is lit solely by the light of the carousel, thus creating a stark contrast between the derelict environment and the purity and playful serenity of the installation. In line with the subject of time as well as the reimagined collection, Lee Broom is also unveiling an exclusive grandfather clock design. Handcrafted from Carrara marble, the monolithic structure features a traditional engineered clock mechanism with a solid brass pendulum, weight and hands. LeeBroom_Milan2017_TimeTravel_10 “Set within one of the most exciting spaces I have seen in Milan, I hope that this will be a memorable show for everyone, [offering] a look at the past with a glimpse to the future,” says Lee Broom. Both the grandfather clock and reimagined designs will be limited editions. Only 10 of each will be produced. Words by Janice Seow Photography by Luke Hayes LeeBroom_Milan2017_TimeTravel_01 LeeBroom_Milan2017_TimeTravel_03 LeeBroom_Milan2017_TimeTravel_05 LeeBroom_Milan2017_TimeTravel_06 LeeBroom_Milan2017_TimeTravel_07 LeeBroom_Milan2017_TimeTravel_08 LeeBroom_Milan2017_TimeTravel_09 LeeBroom_Milan2017_TimeTravel_02  abc
Design Hunters
Happenings

For its 45th Anniversary Year, the Biennale of Sydney Returns

Ai Weiwei, Laurent Grasso, Haegue Yang and Eija-Liisa Ahtila. These are some of the first 21 artists that have been announced to take part in the 21st Biennale of Sydney by Mami Kataoka, artistic director. This lineup of leading artists and industry grandee’s not only cements the Biennale’s place as one of the Asia Pacific’s leading contemporary art events, but also provides insight into the themes of the 2018 edition. The initial list of artists is as follows:
  • Eija-Liisa Ahtila (Born 1959 in Finland, lives and works in Helsinki)
  • Ai Weiwei (Born 1957 in China, lives and works in Beijing)
  • Brook Andrew (Born 1970 in Australia, lives and works in Melbourne)
  • Oliver Beer (Born 1985 in England, lives and works in Paris and London
  • Anya Gallaccio (Born 1963 in Scotland, lives and works in San Diego)
  • Laurent Grasso (Born 1972 in France, lives and works in Paris and New York)
  • S. Harsha (Born 1969 in India, lives and works in Mysore)
  • Mit Jai Inn (Born 1960 in Thailand, lives and works in Chiang Mai)
  • Kate Newby (Born 1979 in New Zealand, lives and works in Auckland and New York)
  • Noguchi Rika (Born 1971 in Japan, lives and works in Okinawa)
  • Nguyen Trinh Thi (Born 1973 in Vietnam, lives and works in Hanoi)
  • Ciara Phillips (Born 1976 in Canada, lives and works in Glasgow)
  • Koji Ryui (Born 1976 in Japan, lives and works in Sydney)
  • Semiconductor (Ruth Jarman, born 1973 in England, and Joe Gerhardt, born 1972 in England, live and work in Brighton)
  • Yasmin Smith (Born 1984 in Australia, lives and works in Sydney)
  • George Tjungurrayi (Born c. 1943 in Australia, lives and works in Kintore)
  • Nicole Wong (Born 1990 in Hong Kong, lives and works in Hong Kong)
  • Wong Hoy Cheong (Born 1960 in Malaysia, lives and works in Kuala Lumpur)
  • Yukinori Yanagi (Born 1959 in Japan, lives and works in Hiroshima)
  • Haegue Yang (Born 1971 in South Korea, lives and works in Berlin and Seoul)
  • Jun Yang (Born 1975 in China, lives and works in Vienna, Taipei and Yokohama)
  Of the selection Mami, who is Tokyo-based and also the Chief Curator of the Mori Art Museum, said: “Next year’s Biennale will explore multiple viewpoints in search of a state of equilibrium. With a holistic view, the 21st Biennale of Sydney will also seek in-depth engagement with individuals and communities while exploring a range of perspectives and meanings of abstractions. Rather than focusing on a specific concept or theme, the exhibition will suggest multi-layered perspectives of the world and its histories simultaneously. In July this year [2017], the exhibition title will be announced along with details of the themes and concerns informing this edition.” “Since its inception in 1973, the Biennale of Sydney has showcased the work of nearly 1,800 artists from more than 100 countries, building a reputation as one of the leading international art events,” added the event’s organisers. For twelve weeks, between 16 March and 11 June, 2018, and over multiple locations, contemporary artists from across the Asia Pacific region will be exhibiting new works, recent commissions and unseen pieces. Biennale of Sydney (2018) biennaleofsydney.com.au Words by Holly Cunneen 03.Ai-Weiwei-Forever-Bicycles-Taipei-Fine-Arts-Museum-2011 Ai Weiwei Forever Bicycles 2011 25.NS-Harsha-Charming-Journey-Tokyo-2017 NS Harsha Charming Journey 2017 10.Mit-Jai-Inn-at-Deaths-Door-2016 Mit Jai Inn at Deaths Door 2016 09.Mit-Jai-Inn-Junta-Monochrome-1-2016 Mit Jai Inn Junta Monochrome 1 2016 04.-Brook-Andrew-Splinters-of-Monuments-2014 Brook Andrew Splinters of Monuments 2014 05.Brook-Andrew-Guardians-of-the-galaxy-the-motherhood-number-2016 Brook Andrew Guardians of the galaxy the motherhood number 2016 20.Semiconductor-Earthworks-2016 Semiconductor Earthworks 2016abc
Architecture
NOT HOMES

How Not to Overdose in Nostalgia, by Biasol

Tribute design can be a tricky game to play, all it takes is a client brief that mentions New York Deco and suddenly you’re replicating the Chrysler building. There is a fine line between modernising a traditional design archetype and flat-out copy-pasting it. In their recent effort for hospitality space No.19, local Melbourne studio Biasol have successfully produced a nostalgic design with subtle design cues – without overplaying their cards. Having already designed one café for clients Domenic and Diana Caruso, the duo asked the studio to find them a property for their second venture. No.19 Biasol | Habitus Living No.19 Biasol | Habitus Living Australia has a rich and diverse immigration history, where cultures from all over the world came seeking opportunity. This has impacted our design heritage immensely, where immigrants from Mediterranean areas of Europe in particular – such as Italy and Greece – meant that they brought with them their own aesthetic traditions that quickly became blended with a kind of Australi-ana twist. "Our concept was inspired by the Greek delicatessens that flourished around Melbourne in the 1950s," Team Biasol notes. "Materially, concrete surfaces – the counter, walls and floor – give the space a warmth and sophistication." Though certainly inspired by vintage Greek-Australian eateries, Biasol worked to inject elements of nostalgia into the space while still producing a more modern, refined space in line with current hospitality culture. No.19 Biasol | Habitus Living “Its 4.5-metre-high ceilings and skylights allow daylight to flood the space throughout the day,” says Biasol, “while the rectangular layout offers a variety of possible layouts. We chose to combine pale concrete surfaces with warmer elements such as brass and wood. The concrete service counter is definitely the heart of the space, accented with the hand-painted teal tiles, which were sourced from Morocco to add a level of Mediterranean authenticity. “Brass lamps sit atop of the counter, with a footrest in the same material snaking around its base. The golden material is used again for a sink set into the concrete surface, where customers can serve themselves water.” No.19 Biasol | Habitus Living No.19 Biasol | Habitus Living "We took an integrated approach to this project, to make sure the architecture, interiors, branding and products worked well together, and produced a cohesive and memorable dining experience," added the team. "The minimalist concrete surfaces give the interiors an elegant and sophisticated feel, offset by a vibrant colour palette, beautiful upholstery and a little greenery to make it feel welcoming." Guests sit at timber-topped tables, with bench seating and chairs running the length of the space. Upholstery adds colour in shades of teal, grey and pink – a soft but playful palette commonly associated with those areas of Europe. Biasol biasol.com.au Words by Sophia Watson Photography by Ari Hatzis No.19 Biasol | Habitus Living No.19 Biasol | Habitus Living No.19 Biasol | Habitus Living No.19 Biasol | Habitus Livingabc
Design Products
Accessories

Planning a Healthy Home

In the current day, we all spend a significant amount of time our homes that also play host to a multitude of potentially harmful triggers - including dust mites, mould, pets, volatile organic compounds, and so many other chemicals.

We’re design lovers here of course, but when selecting products for the home, it’s important to not only think of form, function, and aesthetic, but also health.

Housing components can influence and change the indoor environment you spend your life in, and some furniture will be better for you than others. We all know that when buying a bed, you look for comfort and looks, but your breathing while you sleep is equally important. You would do well to also consider a mattress that is friendly to your lungs by being unfriendly to dust mites.

The quality of indoor home air is influenced by ambient local air quality, as well as everything within the home. It’s not all bad news though, with a number of products, such as dehumidifiers or air purifiers, being able to make positive contributions to overall air quality of a home.

One thing to keep in mind when selecting the next furniture piece for the house is what the design is actually made from – some cabinets and furniture, especially those made from particle or fibreboard, may contain harmful formaldehyde resin; a known respiratory nasty.

The National Asthma Council’s Sensitive Choice® program is a great resource for the air quality conscious design lover – it recognises products and services that may benefit people with asthma and certain allergies.

National Asthma Council sensitivechoice.com

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LIVE FROM MILAN! In Conversation With… Emma Elizabeth

Emma, this is the second year you’ve produced Local Milan, taking Australian designers to the world’s most prestigious – and frantic – furniture fair. Which designers have you decided to show this year? I’ve gone with eleven established designers. Tom Fereday, Anna Varendorf, Kate Banazi and Ryan McGoldrick, Tom Skeehan, Ross Gardam, Adam Goodrum, Christopher Boots, Dowel Jones, Charles Wilson, Jon Goulder and myself. How did you arrive at that selection? Last year the lineup was pretty much on the cusp of high and low, and this year I really wanted that more developed feel across a wide spectrum of lighting, soft furnishings and furnishing. But also one of the things I find really hard is to locate and represent women. Kate Banazi and Anna Varendorf are on that edge of design and art, which I feel is the way the furniture world is going anyway. So they’re not so established in the furniture world but their work lends itself to that kind of platform. Do you think that Australian design going more to the fine arts end, or perhaps towards the bespoke? Yes, perhaps it’s more about the bespoke. I feel that in the face of so much mass production, people are really wanting to understand the story about the designer. It’s not just, ‘Hey, look at my chair’. It’s got the backup, the knowledge behind it to be able to speak to people who come to one’s home, or who come to a commercial project. People really want to buy into the person, the designer, the story behind a piece, much more than just ‘Oh here’s my pretty chair I bought at some store somewhere’. Why and how are you getting that feeling? I think people are just bored and over it. It may be more of an investment to purchase a quality piece by an acknowledged designer, but at the end of the day it’s about longevity. By investing in a quality piece you’re getting something that speaks about you as a person, and reflects your taste and understanding of the whole industry. People do that in the art world, and to a lesser extent in the fashion world, but I think that just because it’s so much about mass production there’s a real rejection of that now. What’s happening with Local Design? We’re chugging along very nicely. We’re in a new studio in Camperdown, [Sydney], it’s the old studio of the Anaesthetic lighting guys. After moving around a bit these past years we’re planning to stay here for a while. What we’re finding now is that we’re getting a lot of the commercial guys, be they builders, specifiers or interior designers, because they’re being pressured to specify Australian design but they’re a little bit time poor. So they come to us to get X, Y and Z from local designers. So in that respect it’s quite interesting. And we’re also finding that we’ve become seen as a really viable platform for commercial collaborations. For instance, we’re working with Kvadrat Maharam and Denfair in June which is really exciting. It’s an installation of their product, but also a celebration of Australian design, which is awesome. Brava on this year’s installation, let’s check back in once the fair is over to see how things progressed. Emma Elizabeth was In Conversation With... Stephen Todd at the Milan Furniture Fair.abc