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Subtle Design Cues Borrowed From Asian Garden Designs

Despite an eager adoption of meditation, feng shui and herbal medicine, Westerners still have plenty to learn from our Eastern counterparts. While we scramble to foster calm, resilient outlooks in the face of chronic busyness and information overload, cultures in the East – having touted practices for harmonious, balanced living for centuries – remain more than a few steps ahead. Asian garden design is one area which, when done right, can level the therapeutic playing field. Outdoors inspired by the East often fall short. For many, the odd buddha statue placed in a barren lawn constitutes a traditional ‘zen garden’. But to create sacred, meditative spaces akin to those in the East, we’ll need to do better than that. Architects and landscape designers are leading this charge, creating pared-back asian garden designs that provide a spiritual connection to nature, sans distastefult cultural appropriations. Asian garden design This shift away from dull, formulaic aesthetics couldn’t have come soon enough for Janine Mendel, owner and designer at Cultivart Landscape Design. “I think an oriental look is better when it’s added [with] subtly, and when it’s inspired by the textures and architectural details of the country of origin,” Janine says. Janine took this tack when designing her own tropical garden in Perth, which focused on colourful plants and foliage that would create interesting textural contrasts. Howea forsteriana (Kentia Palms) Plumeria (Frangipani), Hibiscus, Nandina (Sacred Bamboo), Bromeliads, Cycads, Philodendrons and Star Jasmines were planted to delicately introduce a resort-style, Balinese quality to the space. “Planting needs to be lush and abundant with large leaves, contrasting texturally against finer foliage, to create that tropical feel,” she says. Director and landscape designer Georgia Harper also trumpets the importance of contrast in Asian garden designs. “A good Asian-inspired garden will feature a broad range of foliage sizes, from the moss on a rock to a broad-leafed palm,” Georgia says. “Lush foliage, texture and form are essential.” Both designers agree that the key to an elegant, Eastern-style garden lies in restraint. Perhaps this is why landscape designers so readily look to the custodians of order and simplicity, the Japanese, for guidance. Rooted in cultural meaning, Japanese gardens are usually the most difficult to get right, and possibly the most rewarding. “Japanese gardens require real design skill and an understanding of the spirituality of nature,” Janine says. “Planting is more controlled, less abundant.” Asian garden design Here, there’s no room for ornaments – every design move is deliberate, every feature has a purpose. Pathways meander to elude evil spirits which, according to myth, travel only in straight lines; pine trees that stay green throughout the seasons are an ode to perseverance; waterfalls are often concealed by foliage, adhering to the longstanding “hide and reveal” technique that allows visitors to hear the streams before they can see them. These thoughtful design elements give Eastern-inspired gardens a mysterious allure that more obvious Asian garden design features just can’t – their purpose, although once more meaningful, has chipped away with the purchase of each new faux stone lantern. While age-old archetypes fall out of favour, designers are now approaching gardens inspired by the East from a historic and cultural perspective. In doing so, they create spaces that act as a calming tonic to life’s stresses – authentic Asian garden design just may be the missing piece in the wellness puzzle. Asian garden design Asian garden design Asian garden design We think you might also like Ode To Eastern Bathroom Designabc
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Sydney’s Satellite Celebration – The Zenith INDE.Awards Viewing Party

After a year of build up, over 400 entries, and 14 countries from the Asia Pacific, it was all eyes on Singapore for the 2018 INDE.Awards gala - but it wasn't just the locals who got to celebrate. The INDE.Awards represent a major concerted effort to celebrate the design that makes our region special, and elevate Asia Pacific design to the global stage. For the 2018 INDE.Awards, we wanted to truly honour all that’s terrific about our region. The gala event in Singapore was a showcase and celebration of the specific contexts and responses of design in Australia and the Asia Pacific region. The INDE.Awards are the new benchmark for design accolades across our diverse and dynamic region, and we were thrilled to play host to the great design and designers once again. With a passionate and progressive spirit, the architecture and design community has played an enormous role in bettering our region – its economies, its material ecologies, and finally its political and socio-economic development – to break barriers of inequity. Pushing us to new frontiers and actively creating a better world, we looked to our region’s most forward thinking designers and brands to join us in celebrating the great work done in our corner of the world. With this in mind, we were thrilled to have the commercial design powerhouse of Zenith join us again as Platinum Sponsor, and bring Australia the official INDE.Awards 2018 Viewing Party - streamed live from Singapore. The Gala and Ceremony alike were broadcast from Singapore live to Zenith’s satellite party in their world-class showroom in Sydney. From Australia to South-East Asia, Zenith has ensured that the region is united, demonstrating their power of global mentorship for the visionary possibilities of design. Simply put, the 2018 INDE.Awards just would not have been possible without the care and generosity of Zenith. We're grateful to have partnered with them for the INDE.Awards to help ensure that our design scene is one that really matters, and is seen to matter on the global scale. Take a look below to see the fun that was had as we streamed, celebrated and partied silent-disco-style in Zenith's stylish Sydney showroom. And please join us in thanking Zenith for their ongoing commitment to celebrating and fostering no just the INDE.Awards, but the architecture and design community in large. Across our region, Zenith is there - and there is no one better to have been our Official Platinum Partner for the 2018 INDE.Awards Take a look… [gallery columns="4" ids="77217,77218,77219,77220,77221,77222,77188,77223,77224,77225,77226,77227,77228,77229,77189,77190,77191,77192,77193,77194,77195,77196,77197,77198,77199,77200,77201,77202,77203,77204,77205,77206,77207,77208,77209,77210,77211,77212,77213,77214,77215,77216,77230,77231,77232,77233,77234,77235,77236,77237,77238,77239,77240,77241,77242,77243,77244,77245,77246,77247,77248,77249,77250,77251,77252,77253,77254,77255,77256,77257,77258,77259,77260,77261,77262,77263,77264"]abc
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The INDE.Awards 2018 Gala: The Night That Brought APAC A&D Together

Opportunities for a region-wide gathering of Asia Pacific’s leading architecture and design-industry identities don’t happen often. But on the evening of Friday 22 June 2018, a crowd of over 300 gathered in Singapore from far-flung corners of APAC for the second annual INDE.Awards Gala. They came together from countries including Thailand, Malaysia, Vietnam, Australia, China, Sri Lanka, Indonesia and of course Singapore to discover and celebrate the year’s most progressive projects, people and products from our region – and to show the world why APAC is a region to watch. The sense of a united regional creative community was a topic of discussion heard throughout the evening at the incredible JW Marriott Singapore South Beach ballroom. Prior to the Gala, a series of INDE.Awards fringe events had placed this theme front and centre by unpacking discussions about where A&D in APAC is heading. Look out for our coverage of the INDE.Awards VIP Insiders’ Night at Cosentino City Centre Singapore (where INDE.Awards judges ruminated on what makes work from APAC influential globally); the South East Asia Futures forum at Zenith Interiors’ Singapore showroom (featuring project presentations from six of our Shortlisted practitioners from the South-East Asian region); and the tour of the Gala venue (South Beach development) with Foster + Partners’ Singapore studio, which shared some key considerations for dense commercial developments in the tropical context with a group of Singapore and regionally based practitioners. The Gala itself had a celebratory tone – not just for the well-deserved winners, but for the opportunity that the event presented. New insights, new connections and new relationships were built, which brought deeper meaning to an important event on the architecture and design calendar. Emcees Narelle Yabuka (Editor, Cubes magazine and Indesignlive.sg) and Anita Kapoor (public speaker) opened the evening with an introduction to the challenging task faced by the Jury: weighing up the diversity that comes with over 400 entries from 14 APAC countries. Many members of the Jury were in attendance – Chan Ee Mun (WOHA) from Singapore; Luke Yeung (Architectkidd) from Thailand; Aric Chen (M+) from Hong Kong; Abbie Galvin (BVN), James Calder (Calder Consultants) and William Smart (Smart Design Studio) from Australia; Shashi Caan (SC Collective) and Stephen Burks (Stephen Burks Man Made) from the USA; and Indesign Media’s very own founder and CEO Raj Nandan (Australia). Also in the audience were Launch Pad Asia Jury members Hunn Wai (Lanzavecchia + Wai) and Priscilla Lui (Studio Juju) from Singapore. A number of them graced the stage during the ceremony. [caption id="attachment_106519" align="alignnone" width="1100"]The 2018 jury. The 2018 jury.[/caption] The first official address was by Raj Nandan, who made special mention of the wonderful support and working relationships enjoyed by the INDE.Awards with its official Partners. Aēsop, Asia Designer Communication Platform, Bosch, Careers Indesign, Colebrook Bosson Saunders, Cosentino, Cult, Dinosaur Designs, Dyson, Gaggenau, Geberit, Living Edge, Mafi, Schiavello, Sunbrella, Wilkhahn, Zenith and Zip – their support and dedication to the progression of the industry in our region make the INDE.Awards not only possible but powerful. Juror William Smart, the Founder and Creative Director of Smart Design Studio, was next to address the audience. Smart has experienced the INDE.Awards as an entrant and winner in 2017, and as a Judge in 2018. Last year he was very successful in the INDEs, winning The Building and The Luminary categories, as well as the Best of the Best award for the house Indigo Slam. In the Shortlisted projects from across the region, he noted some key trends emerging: a great connection to the outdoors, an appreciation of natural materials, and a strong representation of contemporary living. He said, “In my opinion, this is creating some of the most exciting architecture, interiors and products in the world. But the tremendous diversity doesn’t make judging an easy thing.” [caption id="attachment_106521" align="alignnone" width="1100"]William Smart, the 2017 INDE.Award Luminary and 2018 judge. William Smart, the 2017 INDE.Award Luminary and 2018 judge.[/caption] Reflecting on his success in the INDE.Awards 2017, he said: “Last year’s Luminary and Best of the Best awards were incredible for our practice. They elevated our profile, brought new opportunities and wonderful clients to our studio, and gave us the confidence to be stronger and more original in our architecture. Above all it gave our team a feeling of being established and appreciated.” He closed by noting the abundant enthusiasm and optimism within the architecture and design professions. “It’s this dedication and passion that feeds our industry, inspires me and I’m sure you and makes our profession the envy of many others,” he said. With that, it was time to begin the ceremony. See the full list of winners in our parallel coverage here. A second audience of over 200 people in Sydney followed the progress of the ceremony with a live streaming at the Zenith Interiors showroom. Before long, the ceremony had arrived at the final award, granted to the top-scoring project from the entire competition: The Best of the Best. Jury member Stephen Burks introduced the award. He said: “In one way, this project is one that touched my heart because of the simplicity of the structure, the sophistication of the materials, and the reflection of culture. What I’ve learned here in Singapore, and looking across the region overall being one of the judges for Indesign once again, is there’s obviously something going on here. Many of the buildings, interiors and products we’ve applauded tonight have a kind of legibility. What I mean by that is that they represent the construction, the materials and the culture of their own being in such a way that it teaches us something. I think tonight’s winning project is one such project.” The Best of the Best Award was won by Taylor & Hinds Architects with the camping shelter titled krakani-lumi. The project, located in Tasmania’s North East National Park, was created for the Aboriginal Land Council of Tasmania. Loud cheers erupted for Taylor & Hinds upon the announcement of their success. [caption id="attachment_106523" align="alignnone" width="1100"]Mat Hinds and Poppy Taylor (far right, second from right). Mat Hinds and Poppy Taylor (far right, second from right).[/caption] Mat Hinds, Co-Director (with Poppy Taylor) of Taylor & Hinds, silenced the ballroom with the studio’s acceptance speech. He said: “We didn’t expect this. Thank you very much. We had an opportunity to work with a client who for a long time, since colonisation, had been told they don’t exist. So we saw an opportunity in making a statement in what we do, where we could clearly help them say: ‘We are here. Can you see us? We are here.’ There was a trust in us, as non-Aboriginal people ourselves, to make something that would help them tell their story. They will be over the moon. Thank you very much.” That powerful moment was one of the many topics of conversation in the post-ceremony celebration that continued into the evening. From Indesign Media Asia Pacific, warmest congratulations to all the INDE.Awards 2018 winners, and thank you to all our Shortlisters, Jury, Partners and industry friends for making the INDE.Awards 2018 Gala in Singapore and in Sydney a night to remember! Join us again in 2019! [gallery columns="5" ids="76743,76744,76754,76755,76757,76762,76763,76765,76766,76767,76768,76769,76770,76772,76774,76776,76779,76785,76786,76790,76792,76793,76795,76796,76797,76798,76800,76801,76803,76810,76813,76817,76819,76820,76830,76831,76832,76835,76836,76837,76838,76839,76841,76843,76849,76850,76851,76853,76854,76855,76857,76858,76888,76876,76883,76882,76890,76871,76930,76939,76971,76967,76965,76964,76962,76961,76957,76953,76950,76947,76945,76943,76973,76919,76917,76916,76914,76910,76904,76903,76923,76894,76891,76975,76980,76982,76986,76987,76991,76994,76997,77000,77002,77006,77008,77011,77014,77016,77020,77024,77028,77033,77034,77042,77047,77054,77056,77066,77073,77076,77080,77083,77085,77087,77088,77090,77095,77097,77098,77102,77103,77108,77111,77112,77118,77120,77124,77127,77129,77132,77133,77135,77136,77137,77138,77140,77141,77143,77145,77146,77147,77149,77150,77152,77159,77161,77162,77163,77164,77165"]
Photography by Mark Lee.
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rD By Ross Didier Celebrates The Clarity Of Structure

How can one conceptualise and create useful, functional furniture that celebrates design and adds something heretofore unavailable to design consumers. Let me tell you it’s a lot easier said than done, yet done it was by Melbourne-based furniture and lighting designer Ross Didier for James Richardson. rD By Ross Didier, so far, comprises of two parts: the Gunzel seating and tables collection, and the Helm modular sofa range. The Gunzel suite of furniture found its design inspiration in the “utilitarian luxury seen in the citizen led manufacturing eras, where the fine, handmade details were understated but poetic”. The pieces appeal to many not just visually but also functionally: the chairs, stools, armchairs, lounge, tables and bar tables were purpose designed for flexibility and adaptability in their use and layout. Likewise, the Helm modular sofa pieces champion flexible seating that speaks to a design-savvy audience as well as one concerned with longevity in design. “The Helm is not over designed, but quietly confident,” says Ross Didier. “The tight, five-piece collection has unique and distinguishable details such as the sculpted arms, pleat feature on the back face, subtle curves in the form and pinched upholstery seams nicely contrasting with the solid timber.” James Richardson Furniture jamesrichardsonfurniture.com.au/designer-furniture-brands/rd/ Photography by Sharyn Cairns Styling by Bek Sheppard  rD Ross Didier James Richardson Gunzel rD Ross Didier James Richardson Gunzel rD Ross Didier James Richardson Helm rD Ross Didier James Richardson Helm rD Ross Didier James Richardson Helmabc
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A Little Can Go A Long Way And Doesn’t Brad Swartz Know It

It’s not where you live it’s how you live. One architect who knows this better than some is Sydney-based Brad Swartz. Having established his eponymous architecture studio, Brad Swartz Architects in 2015 following roles with Marston Architects and Akin Creative, Brad has unintentionally – but very successfully – carved himself out a niche in the space of inner city living. This includes but is not limited to terraces, rear additions and apartments of all sizes. Without being bound to a specific sort of typology, his M.O. and that of his practice is to highlight how architecture and design can make small residences not just livable but desirable. Not just that, but to challenge the very Australian, and very stubborn, perception that bigger is better when it comes to space. So, while what has become his specialty in compact living wasn’t one intentionally pursued, it came about organically through a natural inclination towards working with like-minded people ­– people who won’t sacrifice hours in a daily commute for the sake of five bedrooms on a quarter-acre block. People who see compact living as a way to reduce their footprint on the earth through the need for less energy to run the home, no space for superfluous “stuff”, and the ability to reduce or remove the need for a car. Brad Swartz Architects Macquarie Street Apartment cc Katherine Lu Brad Swartz Architects Macquarie Street Apartment cc Katherine Lu Macquarie Street Apartment “Changing our culture in a positive way has kind of been our focus,” says Brad. And while it’s a big job, it’s certainly not a lost cause: “There’s definitely a shift in awareness that there’s good design available out there. I think it’s come with a stronger economy.” Off the back of a recent trip to New York, Brad’s motivation to educate and change current perceptions of what constitutes desirable living spaces is far from waning. “New York – which is fresh in my mind – Hong Kong, Shanghai, Berlin and London are some of the most amazing cities around the world,” he says. “And they’re really dense cities: people live in apartments and don’t think twice about it. It’s not a compromise.” On the other hand, in Australia there’s an unspoken yet universally acknowledged notion that it’s undesirable to raise a family in an apartment. And the architecture, new and existing, reflects this. Most two or three bedroom apartments have equally sized bedrooms inherently geared towards adult occupants rather than a family. So who are these spaces for? Brad Swartz Architects Milsons Point Apartment cc Katherine Lu Brad Swartz Architects Milsons Point Apartment cc Katherine Lu Brad Swartz Architects Milsons Point Apartment cc Katherine Lu Milsons Point Apartment “It’s not for down-sizers because they’ve got grandkids that come and stay, they want a bigger living area because [that’s what] they’re used to. It’s not for a family because families need a second area for the kids to play in, make a mess and let the toys be scattered around. Plus the kids don’t need standard sized bedroom.” So working on an apartment designed specifically for a family is high on the agenda. As is developing relationships with like-minded developers with a mind to create beautiful projects in the inner city that make the most of space in really clever ways. The feeling is good out there and the word is that the economy is in a strong place, so I’d hazard a guess that neither of these projects can be too far off. Keep your eyes peeled. Brad Swartz Architects bradswartz.com.au Portrait by Wesley Nel Photography by Katherline Lu Brad Swartz Architects Potts Point Apartment cc Katherine Lu Brad Swartz Architects Potts Point Apartment cc Katherine Lu Brad Swartz Architects Potts Point Apartment cc Katherine Lu Potts Point Apartment We think you might also like to read about Nick Harding of ha architectureabc
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Indoor-Outdoor Living Meets Mid-Century Modernism

Once strictly two camps, landscape and interior design have been edging closer to the middle for the better part of 50 years. In 2017, the line between the two couldn’t be more precarious. Indoor-outdoor living finds its natural home in the Asia Pacific, where a temperate climate, striking natural surrounds and inventive architects make outdoor rooms the staple of a life well lived. One such group of torchbearers is architecture firm buckandsimple, who created a sustainable and striking outdoor living solution adjoined to a home in Sydney’s Northern Beaches. Inhabited by an active family with two lively boys and dog, Boo, the indoor-outdoor living space was to provide a closer connection to nature; create areas for socialising; and be conscious of – and actively improve – the existing environs. Though the grounds were generous in size, the redundant granny flat cut off the garden from the property. buckandsimple revised the floor plan to allow for a natural flow between the existing property and the backyard, creating a tiered system of outdoor spaces in the process. D+K House buckandsimple cc Simon Whitbread outdoor dining D+K House buckandsimple cc Simon Whitbread living The main living areas for the family were relocated to the ground floor – giving the homeowners direct access to the rear yard – while the upstairs deck with a green roof became a retreat of sorts. “We created a hierarchy of social living areas that allowed for quieter areas for things like reading a book and alternative areas for social interaction and entertaining,” says Kurt Crisp,  Co-Founder & Director of buckandsimple. Blending traditional building techniques with contemporary detailing, double brick cavity walls merge with custom timber-framed glazing throughout – making for subtle transitioning between the levels. Positive engagement with nature underpins every element of this indoor–outdoor living design. Downstairs, floor-to-ceiling glass doors can be opened up when the sun shines, and closed when a rare rainy day beckons. Beyond comfort and accessibility, the natural breezeway also reduces the family’s energy use significantly. D+K House buckandsimple cc Simon Whitbread fireplace D+K House buckandsimple cc Simon Whitbread timber brick Extending from the second-level deck, the sustainable green roof is the proverbial jewel in the design’s crown. The elevated natural outdoor space not only enhances the district and ocean views through low level planting, but also naturally mediates temperatures on the ground floor below. “It [the green roof] encompasses significant thermal mass, keeping ground floor temperatures down during summer, and reducing heat loss in winter,” explains Kurt. An ode to the natural environment in which it respectfully sits, this striking mid-century modernist addition meets all the requirements of contemporary indoor-outdoor spaces, and then some. buckandsimple buckandsimple.com Photography by Simon Whitebread Dissection Information Jetmaster 550 TRSi fireplace in living room Custom timber framed windows PGH Crevole and PGH Chatswood bricks Tallowwood timber flooring Caesarstone benchtop in kitchen Velux skylights D+K House buckandsimple cc Simon Whitbread rooftop garden D+K House buckandsimple cc Simon Whitbread succulent We think you might also like Seaberg House by Kerstin Thompson Architectsabc
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The Natural And The Constructed In South East Asia

The brief for Patom Organic Living was straightforward and this building offers an elegantly simple, (but not simplistic) response. Nita Yuvaboon and Prow Puttorngul, the founders of architecture practice Nitaprow were asked to create a largely transparent space that functioned as a showroom and a café for Patom’s organic body care products whilst maximising outdoor green space to accommodate a weekend farmers’ market and workshops for sustainable living. Located in a prime Bangkok neighbourhood, this small wood-framed glass building sits on a raised mound covered by wild grass and ferns, its glass transparency softened by the lush surroundings. “We were consciously designing with the brand's sustainable value in mind,” says Prow. “The building is a carefully crafted organic product. A modern concept of the brand that aligns with the building's environmentally conscious materials, composed in a modern glass box.” Patom Organic Living Nitaprow cc Ketsiree Wongwan store Patom Organic Living Nitaprow cc Ketsiree Wongwan cafe As a result all the structural posts and beams are made of reclaimed Redwood and Tabak Wood which were recovered from the owner’s old and abandoned houseboat. In addition, fallen tree trunks collected at the owner’s farm have been given a new lease on life as the bases of the brass display tables. Café furniture was refurbished from the client’s unused teak furniture collection. The strongest architectural element in the space is the composition of wood posts and the ceiling pattern. “These owe their visual reference to the scenic view of coconut trees and palm trees at Patom’s Organic farm,” explains Puttorngul. “Their tall slender trunks with branches that radiate around the trees’ zenith, form an inspiring gesture which initiated the design of the ceiling’s structural layout and the central wood post of the building.” Patom Organic Living Nitaprow cc Ketsiree Wongwan staircase Patom Organic Living Nitaprow cc Ketsiree Wongwan timber The team have artfully paired the aged timber with lots of clear glass, resulting in a well balanced contrast in materiality. “The building’s transparency and its modest size set out to unveil the expanse of the lush garden around,” Prow continues, “which in turn create a setting where passersby can catch a clear glimpse of the livelihood inside this glass enclosure.” Nitaprow nitaprow.com Photography by Ketsiree Wongwan Patom Organic Living Nitaprow cc Ketsiree Wongwan architecture Patom Organic Living Nitaprow cc Ketsiree Wongwan nature We think you might also like Caroma on Collins by Archierabc
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Tomorrow’s Greats: Presenting The Top Emerging Talent Of The Asia Pacific

It’s tough out there. And it’s especially tough for those trying to break into one of the most coveted and exciting of industries: the design sector. As costs continue to skyrocket for fledgling designers trying to get their best and latest work out there, it is becoming more and more difficult to see the future direction of our creative practice.   Worries to this end prompted a group of Asia Pacific’s design ecosystem to come together back in 2003 to attempt to make a real difference in the lives of up-and-coming A+D professionals. Through the care and consideration from leading architects and designers, to supply houses and design media professionals, Launch Pad came to fruition. The idea was simple: give new talent a platform to help ‘launch’ their careers. The process, however, was far from simple. How to connect tomorrow’s design professionals with today’s decision makers?   Thus, Launch Pad began to take shape as a key competition on the design world’s calendar, prompting hundreds of entries each year from fledgling talent all hungry to become the next big thing. The question, however, remained. What good is a competition to decide the next great star, if we also couldn’t also provide them with the tools for their ongoing success in a volatile and highly competitive market?  

The answer? Mentorship.

  Supporting continuing excellence is something that is very much at the core of Schiavello, one of Asia Pacific’s most-active suppliers of high-performing and highly-anticipated design products to the international market. It is little wonder, then, that Schiavello has joined Launch Pad as the Official Partner of the program, extending their influence in the design space to assist tomorrow’s talent. After all, talent is one thing – but knowledge is something else all together! Providing market insight, training, product development techniques and the latest research and development into industrial design, Launch Pad provides its winners each year with a journey to take a prototype all the way through to production, promising to make a splash in the market both on these shores and those abroad.   Returning in 2018 alongside a stellar lineup of Asia and Australia’s top architects, designers, suppliers, advocates and academics, Schiavello is proud to present the winner of this year’s Launch Pad competition, announced in Singapore for the annual INDE.Awards.

Presenting the winner of Launch Pad 2018:

Empathy

Yeo Yiliang

Empathy (pictured) is a coin bank, designed by Yeo Yiliang, that encourages the user to empathise with those in need. An internal separator splits the coins into personal savings (the opaque area of ABS and brass) and a charitable amount (glass base). Once the personal savings area is filled, additional coins will fall into the charitable area suggesting that once you have enough, you can afford to provide to others. The design was inspired by Zakat – the Islamic practice of almsgiving. Yiliang’s hope is that Empathy will encourage mutual understanding between religions. Beyond this, the prototype was praised for its considerate approach to humanising solutions to Asia Pacific’s rapidly expanding population and opaque levels of poverty.   According to our jury, Empathy “comes from a place of pure consideration”, and elevates the qualities of design to truly make material change in the world, in our community, and ultimately in the welfare of another individual.

Honourable Mention for Launch Pad 2018:

DLC-01, Dan Layden

  “Designing with purpose is a design principle for the future” was what our jury had to say about Dan Layden’s DLC-01. It was a unanimous decision that the design’s essential form expresses the future directions of our combined creative practices, borrowing architectural gestures, a luxurious and considerate approach to material selection, and a headfirst, bold stance about how design can help to reduce waste for positive ecological outcomes. Featuring striking tapered legs which offer a slender and overall delicate profile to the chair, DC-01 combines solid timber with a cane seat option, or upholstery. And yet, One of the stand-out forms of the DLC-01 chair is its sweeping u-shaped rail. A big motivation behind the design was to create a simple and elegant chair that reduces waste and environmental impact. This is achieved by donating a percentage of the profits to Rainforest Rescue in order to offset the timber use, thus creating a carbon-neutral product.

Launch Pad is part of the INDE.Awards

  Held on June 22nd in Singapore, the INDE.Awards Gala is dedicated to celebrating outstanding architecture and design across the Asia-Pacific region. This year, with over 400 entries, the calibre of projects, people, products and ideas push the industry to new frontiers, actively creating a better world through a narrative of excellence. Launch Pad provides an important leveraging point in this context insofar as it quite literally places tomorrow’s inspiring talent on the very same stage with today’s leading luminaries.   The INDE.Awards program is curated specifically to commemorate projects on the region’s own terms and not by the terms of the worlds other design centres, addressing sectors of design with significant and increasing relevance to the globe’s most populous region.    

Congratulations to Yeo Yiliang, winner of Launch Pad 2018 and Dan Layden, this year’s runner-up. Indesign Media wishes to congratulate all shortlisted Launch Pad nominees for their creativity, ingenuity and design bravery.

We also wish to thank Schiavello, Launch Pad’s Official Partner, for helping to nurture the future of our industry and placing Asia-Pacific design on the global stage.

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The Top Design Minds Of Asia Pacific Think These Designers Are The Next Big Thing!

Across the Asia-Pacific region, architecture and design professions are expanding their relevance. From considerations made to the context of projects, to sustainability principles and social design – the verymultidisciplinary and complex nature of the work required means that the approach is often brave, innovative and creative. The unrelenting appetite for the ‘new’ means that architecture is constantly projecting, speculating and theorising. With that in mind and within all pockets of the A+D industry, architects and designers have paved the way for awe-inspiring additions that consider the big picture.   Architects and designers occupy a position in the market that is more than just producing or improving a ‘building’. Rather, the job revolves around penetrating the ever-expanding market with a prevailing spirit and original responses for the todays and tomorrows of the industry.   Emerging prodigies with preternatural talent within the APAC region has undeniably inspired the industry with exceptional craft – while fearlessly forging their own trails to clear the path for others to follow. Within such a populous terrain, these individuals are a true reflection of being at the forefront of the industry – evoking reminders of its unyielding potential for growth and evolution.   The Prodigy honours emerging creative individuals who triggers trends, thinks differently and whose body of work pushes the boundaries of design.  

The Prodigy People’s Choice Award 2018 is presented to David Nuestein and Grace Mortlock from Other Architects/Otherothers

  The practice of architecture and design is generally assumed to be stable and defined because of the apparent immobility and solidity of structures. However, as the social, cultural, economical and environmental implications surrounding the A+D industry are in a continual flux, Other Architects is committed to engage in ethical speculation of the future as a response to the needs of the present.   As its name suggests, Other Architects is an architecture firm inspired by the idea of the ‘other’ – one that attempts to seek out ‘other’ solutions at the core of its practice. The unpopular, the contrary, the out-dated or the alternate are solutions that are often shied away. But adopted in the right manner, and it frees design from the predominant focus on novelty. Additionally, otherothers is a parallel design organisation that undertakes research, competitions, events, exhibitions and communication – operating beyond the scope of conventional design; the focus is on incorporating design culture with urbanism and public engagement.   By exploring ‘other’ paths and possibilities, other Architects director David Neustein and Grace Mortlock manages change by ethically – and creatively – accommodating uncertainty. Both directors are involved with curating university programs, contributing to design magazines worldwide and have participated in the Venice Architecture Biennale because of their ability to challenge conventional wisdom, popular opinion and architectural trends.   “We realised that we were tired of seeing architecture that dominated its setting like the loudest person at the party. We have since decided that want to design not the foreground, but the background. That is easier said than done. It is much easier to make something loud or complicated than humble and refined.” – Grace Mortlock, director of Other Architects.  

INDE.Awards 2018 Gala

  Commemorating skilful creativity across the Asia Pacific region, the calibre of over 400 entries for the INDE.Awards this year sets a new benchmark for diverse and dynamic design – on the region’s own terms and not by the terms of the worlds other design centres.   Pushing the industry to new frontiers, people, projects, products, and ideas address sectors of design with significant and increasing relevance to the globe’s most populous region.  

Cosentino Proudly Sponsors 2018 The Prodigy Award

  A true prodigy itself, Cosentino partnered up with the INDE.Awards to honour individuals from the APAC region, who sparks trends and thinks differently; whose work pushes the boundaries of design beyond expectations.   Cosentino Group is a family-owned Spanish company that manufactures and distributes high value innovative surfaces to the A+D industry worldwide. With over 20 facilities controlled and managed by the group, they are currently distributing their products and brands to over 80 countries.   Relinquishing challenges and flexible to constant changes, Cosentino Group approaches the market with a focus on solving the problems of today while anticipating (and addressing) the problems of tomorrow. Over decades, the company has risen to the forefront of the industry by demonstrating a bold, resilient spirit that sets them apart from their competitors. With a strong emphasis on R+D in a future-oriented design process, Cosentino is admired for its ability to predict the upcoming wants and needs of the global market.   With the priority of “innovating with responsibility” at its backbone, Cosentino Group is an exemplar sponsor for The Prodigy category of this year’s INDE.Awards.  

Cosentino + Indesign Media Congratulate the Shortlisted Nominees and Grace Mortlock and David Neustein for Winning The Prodigy People’s Choice Award 2018.

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The Five Best New Lighting Designs

  Jolly by Kate Stokes for Cult’s NAU There’s perhaps no more perfect name for Kate Stokes’ new lighting collection for Cult’s NAU brand than Jolly. The range is playful in concept and delightfully bulbous in form, echoing all the visual appeal of her hugely popular Puku ottoman. Jolly also draws on Kate’s love of Japanese aesthetics and embodies that stylistic spirit as an elegant, minimalist object of art. Featuring translucent hand-blown glass juxtaposed against coloured metal rods and shades, it’s available as either a single or double rod pendant or wall light. Jolly’s metal fixtures come in different finishes, including black, burgundy or eucalyptus, ensuring they’re well suited to any kitchen, lounge or dining setting. [gallery size="large" ids="76637,76627,76628"] naudesign.com.au    

Typography by Studio Truly Truly for Rakumba

Typography recently won Best International Product at Denfair and it’s easy to see why. The new lighting system by Netherlands-based Studio Truly Truly for Rakumba is simply stunning. It comprises seven different lighting fixtures that can be configured in any way along a thin rail. Other rails can also be added either horizontally or vertically to the central axis, resulting in different formations, from wall sconce to chandelier. The designers were inspired by the way characters form words and so each configuration reads as a language of sorts, expressing the individual’s personal style and taste.

[gallery size="large" ids="76624,76636,76623"] rakumba.com.au Photography by Haydn Cattach Styling by Marsha Golemac   Filigrana by Sebastian Wrong for Established and Sons at Living Edge Sebastian Wrong returned to Established and Sons last year as Design Director and has recently overseen the launch of the British brand’s newest furniture collection. The range features five products, including the Filigrana light that Sebastian designed himself. It comes in four different shapes and three colour options and is distinct for its striped pattern, which playfully references boiled lollies. Most impressive, Filigrana is handmade from Venetian glass, using a method that originated from Murano. Its surface is acid etched and really does represent the best of traditional craftsmanship, with each mouth-blown piece a truly unique form. livingedge.com.au     Standley by Jon Goulder for Rakumba Jon Goulder’s Standley bollard and wall sconce are rugged statement pieces that reference the beauty of Australia’s landscape and contemporary architecture. The lines are crisp and each form is monumental and for this reason, both are well suited to indoor or outdoor settings. While the wall sconce’s facade is gently illuminated, the freestanding bollard is lit across both sides. However, Standley’s most striking attribute is its hard-wearing material palette, with the facades available in oiled weathering steel, Bluestone, Carrera marble and powder coated options. rakumba.com.au Photography by Haydn Cattach     Leggero floor lamp by Nicholas Fuller Leggero debuted at Local Milan no 3 during this year’s Salone del Mobile Milano and was then launched in Australia at Denfair. Its pared back minimalist aesthetic belies the complexity of the internal componentry and machining, which are manufactured to the highest level. In concept, Leggero references early weighing instruments with its fine tolerance and accuracy and easily changeable height, achieved by adjusting the product’s counterweighted pivoting arm. Adelaide-based emerging designer Nicholas Fuller is a name to watch and this piece proves his fine attention to detail and inherent understanding of craftsmanship. [gallery size="large" ids="76629,76630,76631"] nicholasfuller.com.au   We think you might also like Café Lighting Designabc
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Can You Guess What Was Voted As The Best Living Space In 2018?

Perhaps the first buildings humans ever designed or built, living spaces are an omnipresent facet of our lives the world over. One of the best indications of progress in our times has been the shifting landscape of our living spaces. Where perhaps fifty years ago an electric oven and a television set was considered the height of high-tech, and only thirty years ago did the first computers enter our homes, today seemingly every aspect of modern living is coloured by our digital reality. From inner city apartments, to multi-storey rural houses, today our homes no longer act as the mere repositories of our more basic needs, but as truly dynamic reflections of our unique personalities, which is why the Living Space award exists to honour these designs.  

Presenting the Winner of the 2018 Living Space INDE.Award:

Room Without a Roof, HYLA Architects

  It’s with this celebration of great design and designers in mind that we proudly announced the 2018 winner of the Living Space award. While we received an undeniably high calibre of entries for this coveted award, and the shortlist alone showcased a range of varied, inspired designs, it was ultimately Singapore’a Room Without Roof designed by HYLA Architects that won over our judges. A huge congratulations is in order for what is a huge success of a living space. The house takes the form of a two-storey brick home, having the archetypal form of a gable-roofed house with an unusual twist – part of the form is actually an external courtyard that contains a swimming pool. This ‘room without a roof’ became the central focus of the design, and blurring the distinction between inside and out. It also gives the house privacy by controlling the views both from and to the house. The swimming pool itself extends beyond the house, reaching into the landscape. Internally, smaller pockets of green continue the blurring of the inside and outside. The staircase is a cantilevered structure with a triangular section facing a tiered landscape wall, and the attic lounge has its own planting strip and is a continuation of the courtyard space vertically. The inspired continuity in the structure and landscape is a method of immersing humanity into nature. This project re-examines the relationship of a house with its external surroundings. It shows that you can have a richness of space with a very simple form. Typically, external spaces are outside the form. By making the space inside external, the result is a blurring of the boundary between internal and external spaces and celebrate the life lived outside.  

Highly Commended:

Pittugala, Palinda Kannangara Architects

The Artist Retreat at Sri Lanka’s Pittugala, designed by Palinda Kannangara Architects, takes home our highly commended recognition for so many reasons. A relatively low budget and a brief from two contemporary artists to create a multi-use residence, work space, art storage space and gallery is a tough ask, but the resulting design is a living space that inspires and surprises. The architecture serves as a backdrop to the artists’ simple lifestyle, offering a close connection to the natural environment. The entire ground floor has the feeling of garden pavilions, roofed but open to the natural environment. These spaces act as work and gallery areas, lacking doors and windows. The ground floor comprises the living space, dining-cum-studio area, as well as a kitchen and garage. The upper floor contains the more private and secure spaces of the residence: three bedrooms and a rooftop lily pond, which serves as a meditative zone. This is design that shows that a living space need not just be for living – but for creating and experiencing the beauty of life.  

The Living Space INDE.Award is Proudly Presented by Gaggenau

  No great home is complete without a great kitchen. In many ways the heart of home – a kitchen is a place to create, to reflect and to appreciate what makes a house a home. For Gaggenau, the world’s oldest kitchen appliance brand at 335 years young, the inherent enjoyment and luxury experience of cooking, has always been at the heart of their unique approach to product design. For more than three centuries, Gaggenau has been a key driver for change in the design of kitchen appliances: uniting the best in modern technology and high-quality materials; uniting the best in streamlined functional design and svelte architectural forms; The brand understands that the kitchen is – and will always be – the emotional core of the home. Which is why when it came to partnering for the 2018 INDE.Awards Living Space category, there was no one to look to but Gaggenau. They’ve seen kitchens evolve over three centuries, and know better than most what makes a Living Space truly inspired.  

The INDE.Awards 2018 Gala

  For the 2018 INDE.Awards, we wanted to truly honour all that’s terrific about our region. From the event in Singapore, to the satellite celebrations across the Asia Pacific, this was about creating a bigger and better event than our first year. Australia and the Asia Pacific’s best came together to celebrate great design, which is what Indesign Media Asia Pacific is all about. The event was launched last year with the intent of recognising Asia Pacific’s most exciting and forward thinking design on the global stage – and promoting our region as a true design hots pot globally. Our many contexts are unique, and so are the designs that respond to them. The INDE.Awards are the new benchmark for design accolades across our diverse and dynamic region, and we were thrilled to play host to the great design and designers once again.   Living Spaces are areas we do much more than simply exist in. They’re areas for contemplation, relaxation, creation and more. This year’s INDE.Awards saw a showcase of the various kinds of beauty we can experience in varied living spaces. We thank our sponsor Gaggenau and give sincere congratulate all shortlisted entries, and a huge round of applause to our very deserving gold medal winners HYLA Architects, who show that a living space is truly a space for life.  

Indesign Media and Gaggenau Congratulate HYLA Architects and Palinda Kannangara Architects on the Best Living Spaces of Asia Pacific in 2018

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Approaching ‘Future Architecture’: The Best Buildings Of Asia Pacific In 2018

With the unmistakeable signs of development punctuating Asia-Pacific skies, new and reinvented methods of design processes and outcomes shine as great examples of the region’s experiential and rebellious approach to architecture.   Though arguably conventional, emphasis is given to the critical role architects, planners, and designers have in shaping the future of the region. As a response to the rapid increase in population and technological advancements, awareness for the need of creating inclusive spaces that appeal to locality has increased. More than ever, today’s architecture is fuelled by an acceleration of technology, material science and a ‘down-to-try-it’ attitude.   Particularly over the last two decades, the construction industry has been subject to substantial changes, paving the path for a future in which an increasing number of buildings not only address the needs of its users by function but also aim to incorporate public and commercial amenities. Likewise, sustainable architecture holds the key to an environmentally positive future. A greater, holistic approach will promote architecture’s pivotal role in the culture, sustainability and economy of our region.  

The Building award is granted to a project that facilitates architecture of the future and its ability to respond to place-specific, cultural needs.

    The INDE.Awards are about assessing Asia Pacific’s designers and designs on the regions own terms, and not the terms of the world’s other design centres.   Categories in the awards this year address sectors of design with significant and increasing relevance to the Asia Pacific region, thereby enhancing the fortitude of the awards as a barometer of progressive design around APAC. Celebrating talent across the region and with over 400 entries, the diverse range of projects, people, products and ideas push the industry to new frontiers.  

The 2018 Building Award is presented by CULT.

  CULT partnered up with the INDE.Awards to present The Building award to a project from the Asia-Pacific region that personifies the future of architecture with a response to its local place, cultural necessities, and sustainability.   Established in 1997, CULT’s collection of brands celebrates architectural thinking, but at a slightly smaller scale. While not building designers, they provide a combination of high-level customer service and exceptional designer furniture. Being a leading purveyor of the best in international design, quality, authenticity and craftsmanship are fundamental to the CULT offering – without any compromises.   The aim for CULT goes beyond just selling and providing furniture - they also enrich the Australian design culture by investing in local communities, artists, designers and architects. With these attributes, CULT is the most suitable partner for The Building Award.    

2018 ‘The Building’ Award is presented to:

krakani-lumi by Taylor and Hinds Architects

  The act of architectural storytelling is important to the building of spaces that convey sincere and expressive messages. Narrative architecture generally derives from an introspective exploration of a client’s mission or passion, the building’s prospective function, the site context and often its place in history.   Located 240km away from the south of the Australian mainland, Tasmania is known worldwide for its national parks – 42 percent of which are deemed protected by the World Heritage Sites in recognition of their unique natural and cultural values. Designed for, and entirely owned and operated by the Aboriginal Land Council of Tasmania, krakani-lumi translates to a ‘place of rest’. With modernistic features using local and cultural symbolism, the self-sustaining camp serves as a two-night stopover for a four-day guided walk through the ethnic landscape of Tasmania’s North-East National Park.   The project commenced as a result of two architects who were exposed to the vast midden that forms an entire promontory of coastline – ‘human-made over countless millennia.’ As an initiation to the spiritual and cultural aspect of the landscape, that was passed through an accumulation of cultural knowledge and wisdom, the project served as the perfect means to tell a story. Here, materiality, structure, form and detail become the vehicle to impart the message, distinctly as a means to retell a story of the landscape’s creation.   Upon arrival, the charred Tasmanian timber on the exterior resembles a series of dark pavilions that camouflage into the dense banksia. Robust, concisely detailed and equipped with materials that are resilient to sea-salt, configuration of the standing camp derived from the site and qualities of traditional seasonal shelters of Tasmania’s first people. Each ‘building’ exposes a ‘barren half-domed blackwood-lined surface’, supplemented with wallaby fur and the aroma of Maleleuca ericifolia (a flower locally sourced, that was traditionally used to aid sleep) – a method of using the interior to hone what the surrounding landscape has to offer.   Portraying how the terrain’s depth and history enlivened the area centuries ago, amplifies the experience. Concealing and revealing cultural experiences rooted in the landscape of Tasmania was an important rationale for the design narrative.  

Congratulations to Taylor and Hinds Architects, Winner of The Building Award!

 

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Highly Commended ‘The Building’ Award

Marina One, by Ingenhoven Architects with Architects 61

  At present, more than half the population of the world live in cities. In the next three decades, that number is projected to increase by 20 per cent (http://www.un.org/en/development/desa/news/population/world-urbanization-prospects-2014.html) . Inspired by global considerations on human migration and the aim of being an international role model for living and working, Marina One is a high-density building complex that integrates a variety of different uses and functions - spanning over 400,000 square-meters.   Marina Bay, located by the entrance of the Singapore River, was a port established over two centuries ago. The island’s constant population increase has prompted the architecture and construction industry to respond to a high demand of homes and services. Projects such as the Marina One are built for the future - with four high-rise buildings accommodating for offices, residential and retail functions, as well as places that can be used for other social interactions. Providing a living space that coexists with nature, there was a 125 per cent increase in the usable area of the original site surface area.   Underpinning the intention of the project, a shared central space (the “Green Heart) is the result of the geometry of the building and facilitates natural ventilation, generating an agreeable ‘microclimate’. The shared public space that extends over several levels is the largest public landscaped area in the Marina Bay Central Business District of Singapore. Containing over 350 types of trees and plants, the landscape architecture resembles a green valley with natural variations in weather conditions according to level.  
"Inspired by Asian paddy field terraces, the green centre formed by the four towers – with its multi-storey three-dimensional gardens – reflects the diversity of tropical flora and creates a new habitat.” – Ingenhoven Architects
  All four buildings are related to one another, in an architectural and material sense. The harmonious atmosphere, with lots calm and earthy bronze shades, inspired the colour scheme and material palette within the interior.   The project is part of a master plan that will continue to develop – and when it does, Marina One will act as an anchor, centralising the Bay area.    

CULT + Indesign Media congratulate the 2018 ‘The Building’ Winner

krakani-lumi by Taylor and Hinds Architects

and Highly Commended Marina One by Ingenhoven Architects

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