ApatoRichmond’s Apato brings some of Japan’s finest brands and furniture from across the sea to Australian design lovers. A range of Japanese design from artisans and designers is available exclusively in Australia thanks to its carefully curatorial eye. The Apato furniture collection features products by a range of designers, from the heavyweights of the contemporary Japanese design scene – Naoto Fukasawa, Motomi Kawakami, Kiyoshi Sadogawa, Riki Watanabe – to emerging and innovative young designers including nendo, Inoda+Sveje, Torafu Architects, Keiji Ashizawa, Mikiya Kobayashi and more. [gallery columns="2" size="large" ids="76699,76697,76698,76696"]
HWKRHungry for something more than food? Since Melbourne’s Eq. Tower opened it’s been an eye-catching highlight of the city’s skyline – but it’s what’s inside that counts. HWKR is a Japanese market-style restaurant and in its short life has already won the hearts (and stomachs) of locals. The food-driven offering is unique for its rotating tenancies – with different vendors taking up temporary, pop-up space to offer their own food to customers dining in the fusion Japanese design inspired space. [gallery columns="2" size="large" ids="76700,76701,76702,76703"]
MujiTokyo headquartered retailer Muji has been a favourite in the Japanese design scene for years now. Originally founded in 1979 and specialising in paired back minimalist aesthetics in stationary and clothing, the brand now has hundreds of stores around the globe and offers everything from pens and notepads to furniture, whitegoods and even automobiles. What separates Muji from the pack, is the design cohesion – a Bauhaus-reminiscent, functional minimalism that encompasses all products, store design and branding. Lucky for us, there are already four Muji stores in Australia, with more to come. [gallery columns="2" size="large" ids="76704,76707,76706,76705"]
The Rabbit HoleThe Rabbit Hole is a Sydney tea café designed by Matt Woods Design that pairs an original building's industrial features with a Japanese design aesthetic and numerous whimsical elements. The Rabbit Hole is influenced by the Japanese art of Kintsugi, which is based on the celebration of the imperfections in ceramic objects. Matt Woods has created a counter from shards of crushed tiles and a display made of balancing bowls to channel this feeling. "The Japanese art of Kintsugi forms the foundation of the new design elements," Matt says. "This is most apparent in the speciality tea display where, like spinning plates on top of a circus performers pole, custom designed Kintsugi bowls sit delicately above turned oak timbers." [gallery columns="2" size="large" ids="76708,76711,76710,76709"]
MimotoMimoto is an independent online business based in Melbourne, specialising in simple, modern and traditional goods and accessories of Japanese design and origin. Mimoto is drawn to the raw and simple beauty of Japanese design, arts and crafts, and its products celebrate both the traditional and the modern. Mimoto's product range has been carefully curated to showcase the best of contemporary Japanese craftsmanship and aesthetics. Mimoto has created a range of products available online and in-store to showcase Japan's extraordinarily developed design intelligence and integrity, but also the quirky sense of design humour. [gallery columns="2" size="large" ids="76713,76714,76715,76716"]
MogaMoga is a restaurant located in the iconic restaurant hub of Rosalie Village, in Brisbane’s Paddington. Moga is informal Japanese dining with a robata grill, market fresh sashimi and Japanese tapas style dining. Moga translates as Modern Girl and comes from the 1920s phenomenon in Tokyo. The Modern Girls appeared on the city streets of Tokyo with short bob hairstyles and Western-inspired dress. This fusion of east meets west Japanese design culture is present in the design of Moga. The interior design of the space has taken inspiration from historic eateries seen in Kyoto with wood panelled walls, timber furniture and the warm glow of dimly lit lighting. This, combined with world-class sushi and sashimi, makes Moga an easy way to scratch that Japanese design itch. [gallery columns="2" size="large" ids="76717,76718,76719,76720"]abc
I. “They should generate possibilities…”
“For me, a palette is more than a selection of different colours that can adorn a situation. They should generate possibilities – just like matching ingredients from a recipe to a more complex scene, all the while being singularly good-looking.” – Giulio Ridolfo.Earlier this year I had the pleasure of learning the complexity inherent in using colour from Giulio Ridolfo firsthand. And during our conversation, I found it impossible not to catch his infectious enthusiasm. For Ridolfo, working with colour is one and the same as playing God – the truest articulation of the human spirit’s desire to create. As such, it isn’t difficult to see why he has been recognised by our A+D community as the maestro di colore. It’s an accolade that has followed him from Kvadrat to Tod’s, Vitra to studio Heinle and, now, it has followed him to Australian shores in the form of a recent collaboration with Schiavello. Working alongside the Australian brand to develop the new suite of palettes for ColourLab, Ridolfo and Schiavello both understand the wealth of possibilities in design direction that can be achieved through expert use of colour. And although hailing from Italy, it is clear that Ridolfo was influenced by the beauty of the Australian climate in creating these new palettes for ColourLab. Proving in very real terms that not only “should [colour] generate possibilities”, but also that it can evoke entire worlds, ColourLab instantly conjures everything that is unequivocally Australian. A pallid spearmint swatch sits alongside a robust ochre, and instantly my mind is thrown back to road trips through Australia’s heartland, with a red dusty road stretching out interminably into the distance, edged on either side with a phalanx of grey-green gums. Elsewhere, washed out blues and silvers are offset by pinkish hues or oranges – suggesting the underside of galahs as they fly overhead, or the effect of the first raindrops punctuating sun-bleached tin roofs as showers begin to confuse rust setting in aluminium. Vivid yellows and antique creams, when paired together on Ridolfo’s palette boards, remind me of my Queensland childhood at the beginning of summer holidays when Erigeron glaucus (fondly known as ‘seaside daisies’) open their buds each morning as the sun hits sand dunes. Elsewhere, soft beiges, buttery fawn and rich chocolate browns suggest jersey cows dotting a hillside at the height of the February dry season. Everywhere, I have the odd feeling that I am viewing a simulacrum of my own memory, expressed solely in the visual and neuroaesthetic language of colour. Evidently, I appear to have a highly nostalgic relationship with colour. And yet, perhaps even more evident is Ridolfo’s hand in all of this. Not only has ColourLab brought to life physical aspects of the Australian experience, but it has brought to life temporal ones too – reminding me of snapshots of my childhood and, appropriately enough, a dream-state version of this country that if not vanished already, will never be the same again.
II. “The reflective phase…”“I’d say that my work is somewhere between intuition and anthropology”, says Ridolfo. It’s a statement that warrants further investigation. Springing partly from personal experience, the subconscious and the human creative impulse (“intuition”), Ridolfo’s design process for ColourLab is also equally influenced by community, collective expression, common identifications, the design imagination of the group, and the entire global history of ornamenting our world (“anthropology”). When one combines this with the practice of architecture and the built environment, colour then steps forth as one of the most impactful elements of design on our daily lives:
“The reflective phase of colour and texture was tempered with a constant and balanced perception of our contemporary environments. The perception of light was a strong theme that captured an awareness and intensity, and provided the focus to begin the process of finding families of colour.” – Giulio Ridolfo.Recognising that colour is just as much a psychological miracle as it is a physical one is potentially ColourLab’s greatest strength. Wherever your eye looks at ColourLab’s array of tones, it is clear that each and every iteration represents hundreds of hours of research. Whether looking at how colour is registered by a viewer both psychologically and physically (think: the effect of certain colours on the healing process when used in hospitals, for instance), or how particular hues will react with a host of different applications – applied as dye for leathers and textiles, or hard surfaces such as laminates or timber and beyond – Schiavello and Ridolfo have ensured that ColourLab is a true resource to the practicing designer in many more ways than one. Using red and blues as one of the prevailing pigment profiles, many have noted how Schiavello’s ColourLab is a further iteration of the company’s investment in escalating design for critical success factors in the commercial space. With this red/blue base, ColourLab investigates a recent study conducted by the University of British Columbia. Testing the output of surveyed respondents working in a room coloured largely red, and another coloured largely blue, researchers noted that while the red room instilled greater proprioception and alertness, the blue room more than doubled creative output and lateral cognition. Combine this with the increased investment for design thinking in the commercial space, and ColourLab becomes a not only a resource for practicing designers but also an important tool for commercial clients.
III. “…be open…”The status of the individual remains central to the human-centred values of our times. As such, and in keeping with Schiavello’s activity in the commercial landscape, ColourLab recognises the power of colour to elevate the experience of our built environments. So, when Ridolfo says that one needs “to be open to accept that there is no rigid way to se colours”, his words ring true to for designer and end user alike. It is commonplace now to note that colour can have a profound effect on not only our professional output, but patient recovery time, and also effective learning behaviours. With ColourLab, both Schiavello and Ridolfo herald a new wave of recognition for colour’s central position as a driver of good in the world. Harnessed to the pursuit of design, ColourLab ensures that the use of colour no longer remains merely decorative. And, what’s more, used in the built environments across Schiavello’s Asia Pacific market, ColourLab finally offers our A+D world the chance to not only “generate possibilities” for successful projects, but allow these projects to enter “the reflective phase” – speaking to our identities, our communities, our desires and our memories. Schiavello schiavello.com abc
Mitchell Street Residence
Hero image : photography by Brooke Holm, styling by Marsha Golemacabc
Photography by Brett BoardmanThe building façades were carefully considered by Fox Johnston Architects in relation to the passive solar and ventilation principles of building orientation. In particular, heat build up on the west and north sides, and heat loss on the southern side, has been mitigated in the form of sun shading devices, double glazing and low-E glass. So for a room like no other, in a location heralding convenience like few others, Felix Hotel in Mascot might just tip the game. Fox Johnston Architects foxjohnston.com.au Space Control spacecontrol.com.au Felix Hotel Sydney felixhotel.com.au Photography by Tom Ferguson unless otherwise stated
Photography by Brett BoardmanWe think you might also like The Collectionist Hotel by Amber Road, Pattern Studio, Willis Sheargold and The World is Round abc
*House A was recently awarded an Architecture Award in the Small Project Architecture category at the Australian Institute of Architects 2018 WA Architecture AwardsDissection Information Built by Talo Construction Landscaping by M&B Johnston Building and Landscapes Loose furniture by Mass Productions from District Stools by Guy Eddington Sofa and timber storage boxes custom designed by Whispering Smith Kitchen/laundry cabinetry by Raw Edge Furniture Steel Mesh laundry by Wilding Welding Concrete Benchtops by M&B Johnston building and Landscapes Tapware in kitchen and laundry from Astrawalker Tapware in ensuite from Brodware Windows custom steel design by Whispering Smith, made by Wilding Welding Art by James Turrell, Meghan Plowman, Ben Hosking and Steven Christie Washer/dryer from Miele Cooktop and rangehood from Bora Lumen8 adjustable spotlights supplied by Alti lighting Lysaght Hi Strength Kliplok and SIPS industries panels on roof Ampelite Easy Click polycarbonate screens We think you might also like Is Western Australia building a sustainable future?abc