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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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Were You At The Annual Futurespace Party?

On Thursday 19th October Futurespace held their annual end of year party. Amidst friends, colleagues, collaborators and clients, the interior design and architectural agency celebrated the triumphs 2017 and the possibilities 2018 holds. Founding Director and Workplace Strategy Leader Stephen Minnet spoke about the origins of Futurespace and the derivation of the company name: “As you know the name Futurespace was derived from our passion for design and understanding how the future will affect our present.” He went on to recognise the success of the Melbourne team, Rebecca Daff who was appointed head of the Melbourne office in August, and the future to come. Namely, a focus on workplace design now extends to hospitality, education and retail projects. Futurespace Annual Client Party Futurespace Annual Client Party 3 Futurespace Annual Client Party 2 Futurespace Annual Client Party 6 Futurespace Annual Client Party 5 Futurespace Annual Client Party 8 Futurespace Annual Client Party 2  abc
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The Habitus Family Album

As a child of the aspiring middle class, I was often portrayed by my parents with the symbols of nascent status arrayed around me. Is this where my fascination with material culture comes from?

We all have defining moments, many lurking in the depths of the family photo album. In this inaugural Habitus Family Album we share a rare glimpse of seminal moments in the lives of some of our favourite creatives.

–Stephen Todd

Habitus Family Album Koichi Takada Khai Liew Charles Wilson

01 Koichi Takada, architect Skiing at Madonna di Campiglio, Italy, 2009.

I love being in nature, I draw a lot of inspiration from outdoors. Since I decided to be an architect, I have been traveling around the world to discover new sources of inspiration. Nature often appears grand yet it is so fragile. While I looked at such an iconic setting as the Dolomites in awe, I realised how the gracious mountains were affected by global warming. It is such a moment that poses the question of our responsibility in the face of imminent disaster, as well as the duty of architecture to respect nature.

02 Khai Liew, master craftsman Phillip Island, Victoria, 1971. aged 19.

This image is of my older brother, the great chef Cheong Liew (in front) and myself. It was taken on a very beautiful summer’s day, a year after I arrived in Australia. I had just finished my year of boarding school in Glenelg, South Australia, and I was reveling in a newfound sense of freedom of expression, the prospect of unbridled opportunity, and the sheer sense on wonderment and joy of being in Australia. There was so much to discover and enjoy. This feeling about the country has never left me, and as each year passes I love it more. I have found much inspiration in its historical material culture, its social and physical landscape. This sense of wonder about the country and its people continues to inspire me. I have been very fortunate  and feel so grateful.

03  Charles Wilson, designer At home in Central West NSW, dream vehicle, 1979.

I took this shot with my Kodak Instamatic sometime in the late 70s, 1979 I think. A family friend drove from Sydney to our farm near Forbes in his Ferrari 308. Mid-engine Italian sport-cars were such futuristic, alien objects back then and this car was the most exciting, beautiful thing I’d ever seen. A vision of the future had landed in the front drive. People sometimes ask if growing up in rural Australia influenced my designs but in truth it sometimes feels the opposite. Design for me has always been more like a fantasy of another time and place.

04 Charles Wilson, designer At home in Central West NSW, reality vehicle, 1990.

Taken during the great flood that affected much of New South Wales and Queensland, I would have been returning to Sydney College of the Arts after the Easter break. Here, Dad is taking me to the front gate via ATV where a rescue vehicle was waiting. My expression pretty much says, Get me the hell out of here!

Habitus Family Album Kerry Phelan Sue Carr Lou Weis William Smart

05 Kerry Phelan, interior designer Hitch hiking to Brisbane, 1979. Aged 19.

I must have been 19 or so and for some reason we thought it an adventure to hitch hike through Queensland having caught a bus and a train down from Darwin. Being in that place at that time made me question my notion of place. How different my highly charged life in Melbourne was compared to middle Queensland and the Northern Territory seen by train. It dawned on me how vast Australia is, how many countries there are within our single entity. I suddenly felt very small, and knew instinctively I had a long way to go, and that wasn’t just about the distance to get back to Melbourne. The memory of place has a fantastic imprint on imagination, and the silence and colour, the scent of the desert through which we travelled was truly incredible. I’m still wondering what on earth we were thinking hitch hiking through Queensland. What does that say about the designer I am today? Perhaps it’s something to do with an adventurous spirit, an enquiring mind.

06 Sue Carr, Interior Architect With Ken Lloyd, partner in Inarc at the Inarc studio, Flinders Lane, Melbourne, 1984.

I remember so clearly the time this photo was taken. I remember feeling not only was it the launch of a new studio but also the launch of an exciting new chapter in my life; I clearly recollect a feeling of confidence, conviction and excitement for the future. It was knowing that I could do it, that I could achieve a successful balance between commercial reality and creative excellence. I felt that finally clients were becoming more aware of the value of good design and the role it played – the importance of design in the creation of home as sanctuary, in the productivity of a workplace, in the hotel guest experience and the education of our students.

07 Lou Weis, creative director, Broached Commissions With sister, Sara at grandparents’ house, Howitt Road, Caulfield, Melbourne, 1978.

My paternal grandparents were Polish Jewish holocaust survivors. This beautiful, modernist house was a place of great warmth and love. It featured walls made from Jerusalem stone, a not uncommon gesture amongst Diaspora Jews wanting to illustrate their connection to the homeland. If I were to ask an architect to select a material that represented my social allegiances (my belief in pluralism, in urgently addressing climate change), what would they choose? For me every building is social, is political.

08 William Smart, architect Centre Georges Pompidou, Paris, 1992. Aged 24.

In 1992, with a degree, a one-way ticket and apparently a thick lump of hair I set off to travel and work in Europe. I wanted to work for someone amazing, learn a foreign language and explore all things foreign. This photo was taken during a month in Paris involving intensive French classes every morning followed by afternoons exploring the city with students from all over the world. The Pompidou Centre blew my mind on so many levels: the big audacious idea, the extraordinary resolution of details, the city’s investment in culture and how this edifice transformed a whole quartier. At that time, skinny pale kids in Levi’s would hangout, drink and smoke in the big plaza that leans towards this monument of new-modernity. When I look back I recognise that my five years abroad was a time of immense freedom and fun, and when I worked out what it was that I really, really loved to do.

Habitus Family Album Adam Haddow James Young Elliat Rich Tony Amos

09 Adam Haddow, principal, SJB At the family home, Ararat, Victoria, Easter 1978. Aged 5.

I’m sitting in front of the gas fire, on the cork floor at my family home. The house was built by my Dad, the blocks we’re assembling were made by Mum and the photo shows my cousins – Sarah, Libby and me – building a church. I guess my little brother Matt and cousin Angela were already in bed – the older kids were allowed to stay up late! I love this image, it is full of warmth and great memories of holidays with people I love. My childhood was generally split between Ararat and Shepparton and spent in houses in various states of construction. Both families built and made their lives – homes, curtains, furniture, stain glass windows, jumpers etc. – so holidays were invariably dotted with construction projects.

10&11 Elliat Rich & James Young, Somewhere between Menindee and Broken Hill, Winter 2001.

The longest stretch. The railway access road took us from Menindee to Broken Hill. We didn’t meet another person for five days, we did have the rhythmic coming and going of the Ghan on its way from Adelaide to Darwin and back, so silent until it was basically upon us. This did a good job of scaring the bejesus out of the animals who would flap around wildly on their tether ropes like balloons in the wind. Our trusty billy (which to this day continues to make us our everyday cups of tea) sits on the fire, a pack bag front right. Bought one, made the other. Both objects stood the test of time on the road, practical without the need for anything else, simple enough they can hold our memories. The camel and donkey trip was defining experience - and a good indication that our relationship was a goer!

12 Tony Amos, photographer At home in Seaford, Melbourne. Aged 5.

I was the youngest of five kids. Every day I would watch my sisters and brother go off to school, I was envious of them being out in the big, wide world. At last it was my turn, and here I am heading off to my first day in bubs at Carrum Primary School. Even today, nothing excites me more than being somewhere I haven’t been, seeing something I haven’t seen or making something I haven’t made before. My uniform is still a rainbow of greys.

Habitus Family Album Henry Wilson Jon Goulder Ross Gardam Adam Goodrum

13 Henry Wilson, designer At Tudor House boarding school, 9 years old.

I was sent to boarding school in the Southern Highlands when I was eight. This was taken in my dorm room in my second year. It was a boys’ school run by an old hippy headmaster and his wife. We were encouraged to build cubby houses, work in the wood shop, the pottery studio and generally get up to mischief. I feel like the foundation of my practical knowledge came from these years. I remember we were allowed a pocket knife with a blade length no longer than eight centimetres and were encouraged to go camping and make fires alone on weekends in the outlying paddocks. Just writing that now I’m almost in disbelief at how things have changed in the liberties of kids these days.

14  Jon Goulder, master craftsman At E W Goulder & Sons Furniture Upholsters and Furniture Makers, 1986.

This image is very precious to me, it shows my Pop teaching me my trade. My Pop was blind but he could still teach me the old ways of traditional upholstery. It was very important to him that I learn and that he teach me. This style of work is all about touch and feel.  He was very proud I was becoming the fourth generation furniture maker in my family, he told me I have a reputation to live up to. I bear that in mind every day.

15 Ross Gardam, designer At home in Barham, NSW, 1979 Aged 2.

Apparently I went through a period of wearing these blue plastic glasses without lenses, religiously. I believe the cardboard box is doubling as an Alfa Romeo GTA 2000. The image relates to growing up in an environment of making, not specifically design. My father and grandfather both had timber and metal workshops so there was always any number of projects going on and my father specifically involved the children to varying degrees. Some of the time I enjoyed the projects and others not so much, however these are times that I now hold close.

16 Adam Goodrum, designer At home, City Beach, Perth, 1975. Aged 3.

I’m three in this picture, seated outside our house right on City Beach with views out to the Indian Ocean and Rottnest Island. I was born in Sydney, but my parents drove us across the Nullarbor Plain when I was nine months old, to settle in Perth. I can still feel all the potholes in the unsealed road, rattling my young bones. The house was this modern masterpiece, single storey white brick, the double columns of the pergola make think of Carlo Scarpa’s comments that columns should act as vertical accents, always be paired so that one doesn’t get lonely on its own. I reckon my parents paid about $30,000 for the house back then, unthinkable today.

Habitus Family Album Nicole Monks Emma Elizabeth Tom Ferguson Holly Cunneen

17 Nicole Monks, designer In the backyard of the family home at Tarbuck Bay, NSW. Aged 3.

I grew up in two houses which were both designed and built by my family while we lived on site, hence the wheelbarrow and the half built path in the background. My parents where always inventive you can see the paperbark branches for fencing, and we always had a garden we could eat straight from, an old water tank for swimming and a chook pen for turning our scraps into eggs! This connection to the wider world around me and the idea of working together was very important. The inspiration for becoming a creative was definitely my parents.

18 Emma Elizabeth, creative director of Local Design Swansea, Wales. Backyard dress ups, 1989.

Like most children I loved dressing up, mimicking type cast personalities. I was always such a little tomboy, climbing trees, playing soccer, that sort of thing. We moved around a lot when I was little, from Sydney, to California, then to Wales in the U.K. This photo always makes me giggle. I was just playing a character and would have no doubt thrown the shoes and bag away immediately after the photo and climbed back up my tree. Creating characters, whether through a person or a room or a space, has always been something that has stayed with me as a stylist.

19 Tom Ferguson, architect and photographer At Harvard University in front of Le Corbusier’s Carpenter Center for the Visual Arts building. 1988.

After finishing third year at UNSW I took a year away from campus, working six months at Cracknell Lonergan to fulfill my practical experience requirement and then going on exchange to McGill University in Montreal. I joined a second year studio run by Ricardo L Castro, a “Colombian-born, Canadian architectural photographer, critic, and educator” to quote his Wikipedia page. I had a great time and while the design projects (being second year) weren’t particularly complex it allowed me to focus on other elective subjects which didn’t have a year bias.  Ricardo took us on a road trip to Boston to see all the classic works of architecture there including the Carpenter Centre shown in the photo.  Apart from all the buildings in Boston we also visited the Davis Museum at Wellesley College by Rafael Moneo and the Exeter Library by Louis Kahn so it was a pretty amazing trip.

20 Holly Cunneen, deputy editor, Habitus Seven Mile Beach, NSW, 1996. Aged 5.

This was taken on one of the many trips my parents took me, my younger brother and two older sisters on. My parents have such a quietly adventurous spirit and – what I now recognise to be – a deep-seated desire to explore their country. Our holidays, long weekends and birthdays were spent neatly (if not tightly) packed into a long white Holden Commodore road tripping up, down and across Greater Australia. Although we, as kids, loved to complain about the long hours on the road and nights spent in a tent or caravan park, I don’t think I have any fonder memories. And I don’t think I’ve ever properly thanked them.

Habitus Family Album Melonie Bayl Smith Megan Morton Nick Tobias Alexander Lotersztein

21 Melonie Bayl-Smith, architect At the David Maddison Clinical Sciences Building, University of Newcastle, September 1997. Aged 23.

This photo was part of the test shoot prior to my wedding, and shows a 23 year old with her future in front of her. Three months after the photo was taken I had completed my architectural studies, another month later I was married. Clearly I was in a hurry to get somewhere! Piers and I celebrate our 20th wedding anniversary this year. Without him, my practice would be nothing. When I look at this photo, I think about Ed the photographer. He said, “Mel, you’re gonna be one of these cool brides. You don’t want the sandstone arches that every other Newie bride wants. How about that shiny building Newmed 1?” And that was it. Yes, even on my wedding day, I found myself promoting great design and good architecture.

22 Megan Morton, interior stylist My grandmothers house, Kensington Sydney, 1980s.

I’m awaiting my date, Stephen Azaparti to take me to the Catholic debutante ball. I love voluminous dressing, even then, and clearly knew how to reveal/conceal – and the power of the neck! Just add a statement earring or chandelier but I wasn’t allowed to have my ears pierced! I also love a single focused posie and still don’t like to mix floral messages with various blooms. The real context is that everyone else had miniskirts on, pre-teen shoulder action and updo’s but I didn’t flinch and was totally happy with my look. First to arrive and the last to leave, I love an occasion with a colour-specific theme! It also proves that stylists are born not made, I found my getup from one of my cousins throw outs!

23 Nick Tobias, architect Medlow Bath, Blue Mountains, circa 1979. Aged 3.

This was taken at the Blue Mountains house that my grandmother maintained as a secret home away from home. She would steal me away from my parents and we’d hang out together at this house and be creative. This is where she handed me a sledge hammer and said, ‘Demolish the bathroom!’ It’s also where we’d make mosaics, play jazz, paint, do all sorts of fun stuff. My grandmother really nurtured my creative side and I owe her a big debt for it. That’s not her up the ladder though. That would be her cleaner-turned-friend Connie Ellero, who I would have been helping clear the gutters. Nothing’s changed really, I still spend my life assuring clear passage for waste.

24 Alexander Lotersztain, designer Venice, Italy, circa 2002.

I was living in Milan at the time, and my twin sister was in London so she decided to come to visit and we went to Venice for a few days. I’d lived two years in Tokyo before arriving in Milan, it was the start of my kind of ‘real’ design journey, finding my way in the global design hub. Venice was extremely inspirational, from the architecture and history the city to the way people lived and went about their daily lives. Like a journey back in time. I remember vividly walking through the backstreets and peeping into the window of a violin workshop, and the craftsman sanding his masterpieces. That trip made me consider ways of slowing down or re-booting, and of maybe finding the essence of the many reasons I became a designer.

Collage by Dina Broadhurst

Design Products

Aerial Acrobatics For The Domestic Circus

Porcelain Bear’s Acrobat series plays out the death defying tricks of an aerial performer in a collection of highly executed lighting pieces. The Acrobat series, modular to allow for ample choice in metallic finishes, is accented with opaque porcelain arms extending outwards. The beauty of each piece is in its refined form, which urges one to appreciate the poise and movement of the weightless and folding body suspended from a central trapeze. Coming in four different styles, the Acrobat series includes; the Flat Bar, a simple but elegant straight metal bar; the Back Flip, where the metal bar bends into a slick 90 degree angle; the Forward Bend, where the metal bar draped over into a 180 degree angle with both porcelain shades facing downwards; and the Double Act, which is a combination of two of the previous three styles balancing on a shared trapeze. Porcelain Bear porcelainbear.com Porcelain Bear Acrobat Back Flip 1 Porcelain_Bear Acrobat foward bend 1 Porcelain Bear Acrobat flat bar Porcelain Bear Acrobat double act 2abc
Around The World

A Clean And Elegant Canvas To Let Creativity Grow

Jessie Wong is the founder of Yu Mei bags based in Wellington, New Zealand. The brand’s collections are characteristically refined, synthesising acute detail into sleek designs. The founding concept for Yu Mei is to inject artistry into the everyday. And when the time came for Jessie to relocate her brand to a new space in Wellingotn’s CBD, she extended the same emphasis on functionality and community that she applies to her bags onto her workspace. The loft-style studio is open-plan and far-reaching, making up Yu Mei’s production team, office and photography studio. The latter is open to the general public and is Jessie’s way of offering what she can to help cultivate Wellington’s creative community. The studio upholds an open door policy. And alike Jessie, many of her friends work in the creative industries, transforming the studio into somewhat of a communal hub for conversation and collaboration. The studio is decidedly sparse. With polished concrete flooring and exposed ceiling, the main task was to paint the walls white – something that Jessie tackled with company over many late nights. Like Yu Mei bags, the design for the studio prioritises function over embellishment. It was designed to act as a blank canvas where Jessie and her team can submerge the space in the unique world of each season, before pulling it back to start over again with fresh eyes. The reductive nature of the space allows for great flexibility with wide sliding doors to open up or segment the space depending on use. The studio is minimal but not unfurnished, and luckily for Jessie, she didn’t have to venture far to find help with the styling. Her mother has previous experience in interior design and it was her role to piece together the furniture – the desks and chairs in the office coming from her mother’s own design store. Central to the space is a communal lunch table where the team come together everyday for a meal, and to bounce ideas around in a free and casual environment. Suspended above the table is a dried floral sculpture, delineating the overhead space in fragile foliage. It is actually the remnants of a floral arrangement from a previous collection launch. But so in love with its ethereal romance, Jessie plans to make it a permanent fixture of the studio – give or take a few refreshes. Jessie’s new Yu Mei studio shows how supporting clean, simple design with functionality can offer the open-ended landscape to help creativity grow. Mirroring the aesthetic and ethos of her designs, a paired back, blank canvas doesn’t necessarily equate to emptiness, but rather to “complexity resolved”. Yu Mei yumeibrand.com Dissection Information Eileen Gray Side Table Coconut Chair designed by George Nelson Noguchi Coffee Table Yu Mei table 2 Yu Mei Eileen Gray Glass Side Table Yu Mei coconut chair Yu Mei meeting table Yu Mei studio Yu Mei stationaryabc
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Planning For Perfection

As they say, practice makes perfect. The resident of the Swan House knows this too well, spending 14 years carefully developing and dissecting the design of his idealistic home near Cronulla just south of Sydney. Admittedly, he was in prime position to learn the tricks and changes in the home trade. At 14 he started his apprenticeship in construction and by age 19 he founded his own company, Futureflip, designing and building luxury new homes. And so, it is no wonder that he spent so many years studying and fine tuning his own plans, learning what works and what truly suits his own lifestyle. In 2014 the resident bought the plot of land that would eventually become his future family home in the suburb of Lilli Pilli. Despite the onerous nature of the site – cutting away into a dramatic cliff face – the panoramic views over the Port Macquarie River and the Royal National Park made the choice an easy one. The Swan house submerges into the earth with three storeys and a basement with a garage that is large enough to fit a full-sized truck. Underground storeys in a residential setting are usually condemned as dark and cold spaces. Yet, the clever layout of the house allows for ample natural light to infiltrate every level, including the basement. Thus, the house is able to maintain a modest presence despite the very generous floor plan. Futureflip Mitch Fong photography living room The Swan House is designed in reverence to the rock that it sits on, as a surreptitious structure that will exist proudly far into the future. Due to the site’s close proximity to the river, the materials used would have to be able to withstand high levels of salt and wind. In response, concrete and Blackbutt timber cladding dominate the exterior, while emphasising the exposed and undressed feel that is carried within the home. The reliance on stealthy materials allowed for the house to be easy to maintain. There is virtually no need whatsoever to use either heating or cooling. The southern side of the house, being cut into the rock, allows for southerly winds to sweep across and throughout the building. While the benefits of the rock-hugging site extend also, with the lower floors stretching eight metres underground, this allows for the earth to maintain the interior temperatures. While light and warmth is invited in via the north face where large double-glazed glass, filtering sunlight into the depths of every single storey. With the heavy use of raw materials, the preparation for the build was critical. Angles needed to be exact and measurements to the Nth degree, as there was no cover up to hide any sin in the calculations. Yet, the end result is a home that is as bold as it is modest; one that is not afraid of the difficult site and one that defies expectations of underground spaces. And after 14 long years of finessing, the resident can comfortably say that the final structure is no brash build, and rather the best that it could be. Photography by Mitchell Fong Futureflip Mitch Fong photography Futureflip Mitch Fong photography lounge Futureflip Mitch Fong photography pool Futureflip Mitch Fong photography master Futureflip Mitch Fong photography balcony 2 Futureflip Mitch Fong photography exteriorabc
Design Products

Satelight – The Language Of Light

Light is a universal experience the world over - as day breaks and sun sets, our surroundings’ mood changes and evolves with light. But in design, lighting doesn’t just happen; it is thought, crafted, created and realised. The award-winning designers at Melbourne based Satelight know this, and embody the changing language of light in all its forms, creating bespoke custom lighting solutions for commercial, office and hospitality design. New from the team are the Lavalier and Symbol solutions Translated as ‘necklace’ in French, the Lavalier (above) features a distinctive, handcrafted shape that mirrors an ornamental necklace, with a softly delicate form. “Lavalier is the French word for necklace and we’re playing with this idea of what we call a pendant light, meaning a necklace and pendant as well,” Satelight founder and director Duncan Ward says, “It becomes a sculptural element that becomes the story of the space too.” As part of the range, the pendant is available in two variations: a hand-thrown ceramic or hand-blown glass lampshade. By adding the unique characteristics of the artisans’ hands into the manufacturing process means that every pendant light is individual with no two lights being exactly the same. In a unique pairing between space and jewellery, Symbol (below) is inspired by the shape and style of stud and drop earrings, providing a beautiful point of difference with a unique narrative style. “The Symbol is about creating objects that are big, bold and brassy but that offer feminine beauty in the detail,” says Ward The Symbol Pendant is designed to hang sideways, and has a hand-brushed brass, disc shape that reflects light from the light bulb to create a glorious halo effect. To contrast with the front side of the dish, the reverse has been finished in hand-burnished black. Satelight satelight.com.au abc
HAP - Feature

Last Night With Adele Bates

On Thursday 19 October, MAIÀ Restaurant & Bar in Docklands, Melbourne, was a sea of colleagues, clients and friends within the architecture and design industry celebrating the success of Adele Bates design. Founded in 2012, the studio today stands as a multi-disciplinary design practice working across residential, multi-residential, hospitality, retail and commercial projects. The entire studio shares Adele’s experience in design – offering a range of specialties – and a love for collaboration that extends beyond the internal team to external collaborators and clients. Indesign Media, together with Schiavello, Cosentino and Signorino, were proud to partner with Adele, as they’ve each done many times over, to produce the event. Alice Blackwood, Co-Editor of Indesign, introduced Adele as she took to the stage to reflect on the past, celebrate successes, thank friends, colleagues and collaborators, and herald the beginning of an exciting future. Floral arrangements by Lulubird Photography by Ben Swinnerton [gallery columns="5" ids="64988,64989,64990,64991,64992,64993,64994,64995,64996,64997,64998,64999,65000,65001,65002,65003,65004,65005,65006,65007,65008,65009,65010,65011,65012,65013,65014,65015,65016,65017,65018,65019,65020,65021,65022,65023,65024,65025,65026,65027,65028,65029,65030,65031,65032,65033,65034,65035,65039,65042,65043,65044,65045,65046,65047,65048,65049,65050,65051,65052,65053,65054,65055,65056,65057,65058,65059,65060,65061,65062,65063,65064,65065,65066,65067,65068,65069,65070,65071,65072,65073,65074,65075,65076,65077,65078,65079,65080"]  abc

A Tropical Landscape Hidden In Sydney’s Urban Mass

Untied restaurant and bar, from Melbourne-based Technē Architecture + Interior Design, is a soothing, tropical-infused space that manifests the glamour and otherworldliness of vacation in Sydney’s Barangaroo. The interior needed to amplify and harmonise with Untied’s menu, which is a fresh-focused spectrum of contemporary Australian cuisine. And so the brief was to create a space that was refined and sophisticated while retaining a casual friendliness to welcome patrons in off the street. Technē drew on the site’s spectacular views overlooking Sydney harbour, entwining a natural palette of tones and materials to bolster the outside environment, while creating an entirely new and decadent world inside. “We wanted to create a rooftop haven that would accommodate a variety of patrons and provide respite from its urban surrounds,” says project interior designer, Kate Archibald. The space is sectioned into two distinct zones, the more intimate internal dining area and the louder, more vibrant rooftop space. These two sections are delineated through the use of different formed furnishings, visually representing the transition between spaces and atmosphere. The internal dining area is moodier in tone. Warm timber coats the floor, black marble mosaic wraps around the seating areas and deep, spindly greenery acts to sculpturally carve into the space. Graphic wallpaper awakens the walls, but its adherence to single complimentary colours ensures that the space retains its sleek and glossy feel. Technē balanced the lush feel of their distinctly Australian tropical theme with accents borrowed from residential spaces. Internal seating is voluptuous and inviting to sink into. Merging elements of resort with home comfort helps to ease Untied, becoming an escape that you can enjoy in the everyday – a lunch break or after work drink, just as much as a celebratory dinner. “We wanted to recreate the feeling of walking into a house party, stripping back the formality and focusing on achieving a sense of intimacy and vibrancy through design,” says Kate. Technē veer away from gimmicks to create a space that physically and mentally offers a space to escape. And in Sydney, where sometimes it feels as though the Harbour and sky are sinking beyond the urban mass, it is a welcome experience to reconnect to the natural world. Technē Architecture + Interior Design techne.com.au Photography by Tom Blachford Technē Architects Untied chairs Technē Architects Untied chair Technē Architects Untied interior v1 Technē Architects Untied chairs V2 Technē Architects Untied interior Technē Architects Untied bathroom  abc
What's On

Sydney Open, Presented by Sydney Living Museums, Returns

If you’re not already familiar with the annual event Sydney Open, which returns this year November 4-5th, you’re late to the party. Very late. For 13 years Sydney Living Museums has presented the two-day event celebrating impressive and iconic feats of architecture spanning from present day to all the way back to previous centuries. This year the festival returns to again unlock to the doors to more than 60 of Sydney’s most historic and architecturally inspiring buildings and spaces. Many of which are not usually accessible to the public. In addition to the return of some of the most favoured sites, there are a handful of new additions such as Carriageworks, St James Road Banco Court, King Street Court Complex, Grimshaw 333 George Street, and DKO Architecture Studio/the old Redfern Post Office. To round out the experience there are a series of talks not to be missed. On Sunday, there will be a drop in talk at Carriageworks with Tim Greer, director of Tonkin Zulaikha Greer Architects who were charged with the adaptive reuse of the space in 2006; and Diane Jones, executive director at PTW and Adjunct Professor FBE UNSW, will be hosting a talk on the history and architecture of the courts at the King Street Court Complex. At 50 Martin Place, Felicity Fenner from UNSW Art & Design, will be talking about the Macquarie Group Art Collection based around the theme of The Land and its Psyche, now in its 30th year; and throughout the day there will be a tours of the Sydney Observatory, led by MAAS educator staff, including areas not habitually open to the public. But these are just highlights so check the schedule to make sure you fit it all in. Sydney Open sydneylivingmuseums.com.au/sydneyopen cover image: USyd Business Building [caption id="attachment_64928" align="alignnone" width="1170"]Sydney Open Photo Dan Hocking Sydney Open Redfern Post Office Photo by Dan Hocking | Habitus Living[/caption] [caption id="attachment_64925" align="alignnone" width="1170"]Sydney Open Government House Sydney Open Government House | Habitus Living[/caption] [caption id="attachment_64933" align="alignnone" width="1170"]Sydney Open sydney centre Sydney Open Sydney Masonic Centre | Habitus Living[/caption] [caption id="attachment_64935" align="alignnone" width="1170"]Sydney Open Photo Daniel Boud Sydney Open The Clothing Store Photo by Daniel Boud | Habitus Living[/caption] [caption id="attachment_64923" align="alignnone" width="1170"]Sydney Open court 2 Sydney Open King St Court | Habitus Living[/caption] [caption id="attachment_64932" align="alignnone" width="1170"]Sydney_Open_QVB_Dome Sydney Open QVB Dome | Habitus Living[/caption] [caption id="attachment_64927" align="alignnone" width="1170"]Sydney Open Photo Brett Boardman martin place Sydney Open Martin Place | Habitus Living[/caption] [caption id="attachment_64926" align="alignnone" width="1170"]Sydney Open observatory Sydney Open Observatory | Habitus Living[/caption] [caption id="attachment_64924" align="alignnone" width="1170"]Sydney Open george street Sydney Open George St | Habitus Living[/caption] [caption id="attachment_64922" align="alignnone" width="1170"]Sydney Open carriageworks Sydney Open Carriageworks | Habitus Living[/caption] [caption id="attachment_64931" align="alignnone" width="1170"]Sydney Open Photo James Horan bridge Sydney Open Photo by James Horan bridge | Habitus Living[/caption] [caption id="attachment_64929" align="alignnone" width="1170"]Sydney Open Photo Pamela Amores Court Sydney Open St James Court Photo by Pamela Amores | Habitus Living[/caption] [caption id="attachment_64930" align="alignnone" width="1170"]Sydney Open Photo Stuart Miller Sydney Open St James Tunnels Photo by Stuart Miller | Habitus Living[/caption]  abc
Design Products
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The IKEA x HAY Collection Is Here

Ikea has been collaborating with many well-known international designers recently, and one collection that we’ve been looking forward to seeing is the much talked about Ypperlig collection designed by Danish design company Hay. The affordable collection is made up of basic, everyday contemporary products, and includes larger pieces such as sofas and coffee tables all the way to smaller accessories like mirrors, and even an updated version of the iconic blue Ikea bag. Some products worth noting! With the Ypperlig sofa bed, the design team wanted to achieve a product that not only looked great, but that would ensure a good night’s sleep. Getting the right construction and stability was a challenge but they solved it by using a spring mattress as a seat! Plank tables form a big part of Scandinavian furniture tradition. Hay has created a modern take on it. Using the latest board-on-frame technique that offers extra durability, combined with solid wood legs and a metal under-frame, the outcome is a stable, white stained ash veneer table with a natural look. Hay’s co-founder Rolf Hay chats to Janice Seow, our South East Asia editor, to tell us more about Ypperlig. How has this collection been designed for modern day living? This generation is always searching for new opportunities and is constantly moving. Now more than ever it is important that the furniture and the elements at home reflect this mentality. I hope when younger people are buying our product they care more about each individual piece; that is, the object should mean something to them and they should believe that they would want to live with it for many years. Then the quality of the space becomes about living in an environment where everything is a piece you care about, and that is essentially how the collection relates to modern living. What was it like working with Ikea? Working with Ikea means also working with some of the finest tool makers in the world, the best engineers, and the best producers. Throughout the entire process Ikea has been completely open to sharing ideas and techniques; they never said anything was a secret. The open atmosphere and constant sharing of knowledge has been something truly special and definitely one of the most exciting parts of the project, and something we hope Ikea feels the same. We hear that the Monobloc chair is one of your favourite pieces. Tell us why. What I like about the Monobloc chair is that it is an honest product. What you see is what you get. It is light and transparent, and paired with high comfort. You can also decide to buy an upgraded version of the chair with upholstery. So, you can look at the chair from many different angles – it can be an outdoor chair but it can also be a comfortable indoor dining chair and a lounge chair. YPPERLIG IKEA HAY chair 2 We also hear more from Marcus Engman, Head of Design at Ikea. Why did you choose to collaborate with Hay? All of our collaborations start with a topic, something we want to change or solve. And then we team up with people who we believe we can make something good with. With Hay we felt that they are a very curious company like us. They dare to try out new things and we wanted to explore everyday basics for the home and how to use new production techniques to make things better. What key trends do you observe in how people live today? How is Ikea responding? There are several, but one big movement is how people look for more personalised furniture, and this is a big question for us. If we produce large scale, it will [all] be alike. If we produce things that can't be updated or changed, it will [all] be alike. So to give you two examples of how Ikea is responding to this; we are look into mass produced uniqueness together with Piet Hein Eek who is a great craftsman and well known for creating uniqueness. We’re working on new production techniques and ways of using material that will result in a variation. And we [are looking] into a new way of making sofas with Tom Dixon. An open platform that offers endless possibilities as you can click things onto the frame, change the shape, size or colour [based on] your personal references or ever-changing needs. I do believe that this will prolong the life of this product a lot and thereby lead to a more sustainable solution. IKEA x Ypperlig ikea.com YPPERLIG IKEA HAY mette rolfabc
Around The World

Crossing Cultures

As you enter Longrain Tokyo, there’s a warmth that echoes its Australian sisters restaurants. A certain familiarity to the interior design. The big differences that jump out are one large bespoke lighting feature over the bar, and the panoramic views of Tokyo below. Luchetti Krelle recently unveiled Longrain Tokyo, sitting on the 39th floor of Yebisu Garden Place; their first project in Japan. The 160-seater restaurant has a contemporary yet classic feel, with a bespoke lighting feature at the bar bringing a sense of occasion to the high-rise space. The interior design studio won the project in March 2016, their small, hands-on team chosen because Longrain's founder and owner Sam Christie is a long-time admirer of their work, such as on Momofuku in Pyrmont, Sydney. At the beginning on the project, lead designer Stuart Krelle remembers using the Melbourne and Sydney restaurants as a starting point. “Our brief was to capture the essence of Longrain, not reinvent it. At Longrain Sydney, we were inspired by the cross bracing of the warehouse ceiling joists, and the ‘Woven Wall’ pattern.  At Longrain Melbourne, it was the red brick of the heritage building on Little Bourke Street China Town, and the green fish scale tiles. Luchetti Krelle Longrain Tokyo dining table 3 To mark the idea of cultural crossover Luchetti Krelle also used a subtle ‘X’ symbol through the Longrain Tokyo venue. This not only references the Australian warehouse framework, but represents an intersection of cultures: Australian, Japanese and Thai. “Like its Australian sisters, there are Mid-Century Modern references in the new Longrain Tokyo, with a subtle nod to the post-WW2 period when Western and traditional Japanese styles and techniques were mixed,” Stuart says. “From Australia we have the artwork supplied by Christopher Hodges, and the iconic tiles from the Melbourne restaurant make another appearance. These come from South Australia. The dining chairs are from the US, bar stools from Denmark, and lighting from Italy. Interestingly, when the Tokyo-based tradespeople lay the green fish scale tiles above waiter’s stations and in the private dining room, they turned them up side down in the shape of a fan, the emblem of Tokyo. In Melbourne fans of Longrain will note that the tails point up. Quirky elements like this are just one outcome that you could say got ‘lost in translation’. “The opportunity to design Longrain’s new restaurant in Tokyo was very exciting. It did however pose a challenge,” admits Stuart. “How do you export a Sydney and Melbourne institution that’s an Australian take on Thai food in Japan? Neither the Sydney or Melbourne restaurant aesthetic hints toward a Thai inspired venue. So we had to navigate how to maintain this design direction while communicating to the Japanese clientele what’s beyond the front façade. Luchetti Krelle Longrain Tokyo interior “Another design challenge related to the site itself: unlike its Australian counterparts that are housed within lovely voluminous ground level warehouse settings, Longrain Tokyo is perched 39 floors above the Tokyo skyline inside a commercial tower.” To give the feeling of back home Luchetti Krelle worked with materials. “Timber has played a big part of the palette as in all the venues. We have combined walnut with bronze metal detailing, concrete and white marble. Brickwork has been introduced, paired with sharp, blackened steel details around the apertures,” continues Stuart. The colour palette is classic and muted with plenty of concrete grey, red brick, pond green, timber and black. Tokyo guests gravitate toward the spectacular views. While guests from Australia will be drawn toward the comfortable bar dining. The white ceramics and lighting lift the rich palette and balance the space. While the bright colours of the food, rare groove sound track and friendly service make it feel very Surry Hills. Luchetti Krelle  luchettikrelle.com Photography by Nikki To Luchetti Krelle Longrain Tokyo dining bar 2 Luchetti Krelle Longrain Tokyo lights Luchetti Krelle Longrain Tokyo interior 3 Luchetti Krelle Longrain Tokyo staff    abc

Painting With Light And Form Rather Than Colour

A muted palette does not equate to an uninspired space. The Theresa St Residence in Victoria is a gorgeous example of this. Here light, tone and form are focused on to add their own element of interest without disturbing the restful spirit of the house. Previously, the space was far less elegant. An unnecessarily wide hallway barrelled through to the living room, forcing other living spaces to the periphery. Bathrooms and mezzanine levels felt closed in. Sonelo Design Studio were called in to reconsider the space and create flow in what was a disjointed and confused home. Sonelo’s renovation worked to a very modest budget. Yet, from adversary comes ingenuity. This limited surplus of funds ultimately inspired the simple but effective alterations that capitalise on naturally occurring elements such as light and texture. Firstly, the task was to reallocate spaces. The kitchen, dining and bathroom spaces were moved into the centre of the home, which was previously reserved for the mammoth and underused hallway. Although the narrow dimensions of the house risk to make the house feel limited, Sonelo’s attention to continuous form exudes a sense of spaciousness. Within the kitchen, this is evident in a seamless tying together of the island and dining table. Both pieces extend across and exaggerate the length of the kitchen, offering a subtle sense of grandeur in a neat space. The unity of these help to segment the kitchen and give a sense of order, marking which is the place for cooking and which is not. Sonelo Design Theresa St Residence kitchen Similarly, in the bathroom the mixed use of materials – tiles are cut off mid wall to be met with white painted timber panels – allows for the design to visually dissect the space and guide one’s eye. The line that traces the join of these materials extends also onto the mirror and into the off ceiling height of the shower. When in a bathroom that is illuminated by a gaping skylight, the shift to further enclose the shower allows for a welcome sense of privacy and protection. Beyond, the vertical white timber panels and corresponding white fixtures, bounce and enhance the airiness of the bathroom. The stairways have also been transformed from utilitarian structure to an impressive – and simple – geometric feature. Each has been covered in a solid timber frontage, simultaneously hiding the tangle of steps while carving graphic shapes onto, and out from, the behind wall. The obtuse angulation of each casts moody shadows, playing with light direction and tone for a dramatic effect. The material and colour palette is decidedly calming. Soft, cool timbers climb from the floor up through the staircases. While colour is used sparingly – such as the soft marine square tiles in the bathroom and the same in baby blue within the kitchen – it acts only to warm and cool the broader neutral tones. Marble is also used on the dining table, where the ripple of veining dark hues add interest while adhering to the organic and relaxed appeal of the house. Theresa St Residence illustrates how attention to the interaction of tone, texture and forms can create a stunning affect without the use of loud colour or object. It is Sonelo and the resident’s restraint in palette that allow for a gracious – almost meditative – space, while retaining its interest and impact. Sonelo Design Studio sonelo.com.au Photography by Peter Bennetts Sonelo Design Theresa St Residence kitchen V3 Sonelo Design Theresa St Residence kitchen table Sonelo Design Theresa St Residence entrance Sonelo Design Theresa St Residence bedroom Sonelo Design Theresa St Residence bathroom_V3 Sonelo Design Theresa St Residence bathroom Sonelo Design Theresa St Residence staircase Sonelo Design Theresa St Residence staircase V2abc