For those in the know, NOMOS watches, with their sleek designs and beautifully decorated in-house movements, are beloved collector’s items. A practical timepiece that speaks to a luxurious idea and suggests their owner has a passion for design, quality, and longevity. NOMOS has developed a close-knit following amongst designers and creative individuals – and thanks to The Hour Glass, these watches are available in Sydney, Melbourne and Brisbane.
"The most important element in design is the people. We design for the people,” says architect Yann Follain, co-founder of WY-TO. With offices in Singapore and Paris, WY-TO works across a large variety and scale of projects from exhibitions, installations and interior design up to cultural, public, residential and mixed-use developments. But despite the size or typology of the project, the focus remains firmly on designing for the end user to improve their daily experience and quality of life. “Good design is not necessarily spectacular. You see what is big and loud, but often you have understated projects that are truly and sincerely changing the lives of people. And this is design you don’t see,” says Yann.
Yann established WY-TO in Singapore in 2010 and opened WY-TO in Paris in 2011 with co-founder Pauline Gandry. The pair met while studying at the prestigious National School of Architecture of Paris-Belleville, and while they joined different architecture practices after graduation, they also collaborated on small-scale interior design projects. In 2009, Yann moved to Singapore to work for studioMilou on National Gallery Singapore, laying the foundation for the future of WY-TO.
South East Asia not only provided a dynamic environment for Yann to explore different areas of architecture, but development in the region spurred the rapid growth of the practice. Museum and exhibition design was a flourishing field and Yann quickly established WY-TO as specialists. From his first exhibition design project, Andy Warhol: 15 Minutes Eternal at ArtScience Museum in Singapore, WY-TO has since designed the permanent collection exhibition at National Gallery Singapore and is working on museum projects in India and Indonesia.
While the studio and the scale of projects grow, WY-TO continues to work on smaller interior design projects, refurbishing and building homes and apartments. “Doing interior design projects, you learn about the way people live, their culture, their habits,” Yann says. He designs spaces specifically focused on usage, and to connect with the outdoors despite the high-density living and hot, humid climate. “We live under the tropics, so you need to be able to open the windows – that’s what I promote. To open the windows, the door, to feel the wind, to smell the rain, to feel the heat. That connects you to your environment,” says Yann. It’s certainly the way he likes to live, with lush green gardens at the front and back of his terrace apartment – his “cabinet of curiosities”, as he calls it – and doors and windows wide open at each end.
Understanding and designing for how people live on a small scale help WY-TO develop projects at a large scale. Yann describes this as an “inside-out phenomenon”. In high-rise towers, mixed-use developments or school campuses, WY-TO designs the single unit – an apartment, office or classroom – based on usage, views, light and ventilation, while at the same time developing the building or environment to consider the full user experience and passive solar principles, screening from the hot sun and opening to prevailing windows: “People’s wellbeing and comfort is paramount.”
This emphasis on designing for people is evident in WY-TO’s self-initiated humanitarian and community engagement projects. “It is a way of giving back and contributing to the people who are most in need and deserving of a better living environment,” says Yann. WY-TO’s first project, Living Shelter for Disaster Relief, exhibited at Venice Biennale of Architecture in 2016. The flat-pack capsule can be shipped and easily assembled to provide emergency accommodation for people experiencing natural disasters in tropical environments. Mobile Lotus, for which WY-TO was shortlisted in The Influencer category of the 2018 INDE.Awards is a floating platform that provides an infrastructure hub to support the communities living on Tonlé Sap Lake in Cambodia. These projects demonstrate WY-TO’s core philosophy that design must serve a cause and respond to genuine, human needs.
In 2016, Yann received a Europe 40 Under 40 award from The European Centre for Architecture Art Design and Urban Studies, being recognised as an important and promising emerging young architect. He continues to prove and build on that reputation, designing buildings and spaces to improve the quality of life for everyday people. “Being an architect is not being a star,” he says. “Being an architect is helping to change the world.”
WY-TO wy-to.com
Photography by Khoo Guo Jie
We also think you might like to read about Airbnb Head Designer Alex Schleifer abc 
Designed for the subtropical climate, Queensland’s vernacular architecture has an easy, breezy unpretentious style suited to the Sunshine State’s laidback lifestyle. Woods Bagot has taken the vernacular style – the distinctive Queenslander – as inspiration for the redevelopment of The Ville Resort-Casino in Townsville, creating a welcoming, sought-after venue for tourists and locals alike.
The existing nine-storey hotel built in the 1980s had little connection to the water. Woods Bagot updated the property to take connect with the scenery, climate, water and views, redeveloping the 194 guest rooms and combining an events space, pool, five restaurants and nightspot into one integrated offering.
“Our design was inspired by the natural and historic qualities of Townsville,” says Wade Little, Woods Bagot principal and global hotel sector leader. “The intention was to create a lush pleasure garden using unpretentious forms and materials to respect the laidback atmosphere and vernacular architecture of Townsville.” The Queenslander style also complements the mid-century aesthetic of the existing hotel.
The sprawling layout of the resort takes advantage of the abundant sunshine and offers areas of shade. Interior and exterior spaces frame large-scale views of the water, while more intimate, small-scale moments connect guests to nature and greenery. Broad verandahs, brise-soleil walls and awnings are characteristic of the Queenslander, and timber and stone sourced locally where possible. Woods Bagot reimagined and repeated the circular motif of the original hotel throughout the resort: in the landscape, ceiling, floors, stairs, awnings and graphics.
The restaurants and bars take their design cues from the coastal location with blue-and-white stripe fabrics, cane furniture and summery colours. The venues face onto the pool and garden with views of Magnetic Island. Designed in collaboration with Daniel Baffsky of 360 Degrees Landscape Architect, the landscaped lawns and timber decking surround an elevated infinity pool with a swim-up bar, with palm trees adding to the tropical holiday vibe.
The guest rooms evoke a mid-century California spirit with leaf-print carpets, retro-cool furnishings and a clean palette of crisp white, calming grey and luxurious emerald green that echoes the tropical location.
“We have created a destination that is wholly connected to what makes the area beautiful, capturing breathtaking views of the ocean and framing the surrounding greenery,” says Wade. “It’s incredibly gratifying to hear from locals that the resort is not only welcome, but a fully-embraced part of the community that offers quality services that were missing from the town’s offering.”
Woods Bagot
woodsbagot.com
Photography by Simon Shiff
Dissection Information
Dining chairs and stools from Lincoln Brooks
Fermob Kintbury chair from Café Culture
Dining tables from Café Culture
Outdoor lounge chairs and occasional tables from Lincoln Brooks
Sunlounger and side table from Ledge Lounger
Ocean sunshade and visor sun lounger from Café Culture
Outdoor lawn chair from Feelgood Designs
Sun umbrella from Basil Bangs
We think you might also like Full Circle Café by X+Oabc
“Our design was inspired by the natural and historic qualities of Townsville,” says Wade Little, Woods Bagot principal and global hotel sector leader. “The intention was to create a lush pleasure garden using unpretentious forms and materials to respect the laidback atmosphere and vernacular architecture of Townsville.” The Queenslander style also complements the mid-century aesthetic of the existing hotel.
The sprawling layout of the resort takes advantage of the abundant sunshine and offers areas of shade. Interior and exterior spaces frame large-scale views of the water, while more intimate, small-scale moments connect guests to nature and greenery. Broad verandahs, brise-soleil walls and awnings are characteristic of the Queenslander, and timber and stone sourced locally where possible. Woods Bagot reimagined and repeated the circular motif of the original hotel throughout the resort: in the landscape, ceiling, floors, stairs, awnings and graphics.
The restaurants and bars take their design cues from the coastal location with blue-and-white stripe fabrics, cane furniture and summery colours. The venues face onto the pool and garden with views of Magnetic Island. Designed in collaboration with Daniel Baffsky of 360 Degrees Landscape Architect, the landscaped lawns and timber decking surround an elevated infinity pool with a swim-up bar, with palm trees adding to the tropical holiday vibe.
The guest rooms evoke a mid-century California spirit with leaf-print carpets, retro-cool furnishings and a clean palette of crisp white, calming grey and luxurious emerald green that echoes the tropical location.
“We have created a destination that is wholly connected to what makes the area beautiful, capturing breathtaking views of the ocean and framing the surrounding greenery,” says Wade. “It’s incredibly gratifying to hear from locals that the resort is not only welcome, but a fully-embraced part of the community that offers quality services that were missing from the town’s offering.”
Woods Bagot
woodsbagot.com
Photography by Simon Shiff
Dissection Information
Dining chairs and stools from Lincoln Brooks
Fermob Kintbury chair from Café Culture
Dining tables from Café Culture
Outdoor lounge chairs and occasional tables from Lincoln Brooks
Sunlounger and side table from Ledge Lounger
Ocean sunshade and visor sun lounger from Café Culture
Outdoor lawn chair from Feelgood Designs
Sun umbrella from Basil Bangs
We think you might also like Full Circle Café by X+Oabc 
What are the current trends for dramatic kitchens? And how do material and colour palettes come in to play? Mardi Doherty, director of Doherty Design Studio sheds some light on how a strong material palette, unexpected finishes, and fine detailing are key to achieving a statement kitchen.
Leanne Amodeo: What elements are important in creating a statement kitchen?
Mardi Doherty: The kitchen’s position within the house is a key consideration. We’re always thinking of the big picture when designing kitchens and thinking of how they fit with the rest of the home; the geometry, lighting and natural light, as well as the scale of the house itself. The kitchen’s surrounding spaces are important and so is working out what the essence of the house is and how we can embellish that through the kitchen’s joinery.
What’s driving the current trend for a dramatic or statement kitchen?
There’s been a gradual shift from kitchens looking like kitchens to kitchens now looking like beautiful pieces of bespoke joinery. The idea is that kitchens are considered just as beautiful as a walk-in robe or feature joinery element. A lot of suppliers are also designing appliances that are integrated, so exposed fridges and ovens are gradually being replaced with hidden ones and we’re seeing this continuation of streamlined joinery, where the kitchen doesn’t necessarily look like a kitchen any more.
We think you might also like the Top 4 Kitchens from Habitus House of the Yearabc
Elwood Residence by Doherty Design Studio
What was the concept behind the kitchen in Elwood Residence? We wanted to use the material palette to create a really simple scheme that was monochromatic yet quite dramatic. The drama of this kitchen lies with its materiality and so we wrapped the island’s stone benchtop towards the floor. But rather than connect with the ground like a traditional waterfall edge, we kept the stone floating and continued the flooring up the island bench instead. There’s a real play on geometry and form that places a dynamic and sculptural element at the heart of this kitchen. How did you arrive at the material palette for Beechworth Residence’s kitchen? This home was supposed to be a temporary residence for the clients while they built the main house on their holiday property. They had a local draughtsperson draw up the plans and after we got involved they told us about their time spent living in Japan and how they go back there every year. We spoke of the simplicity of Japanese living and the idea of a small footprint and how in Japan there’s an emphasis on quality rather than quantity. So we integrated these ideas into our design to better reflect a Japanese lifestyle. The kitchen features a lot of handmade elements, including the Japanese tiles and poured concrete benchtops, and where possible we tried to use local materials. The most interesting thing about this project is that the clients are now so happy with the outcome that they’re not going to build the other house anymore.
Beechworth Residence by Doherty Design Studio
Do you have strengths as a practice that are particularly useful when designing a statement kitchen? We’re always thinking about that sense of drama in a space and we make sure to choose our moments. Generally, our palette is quite pared back and refined, however, we’ll add a pop of colour or a material that will stand out. We always consider the addition of some sort of visual drama to every space we design. What is the next big trend in kitchen design? I think this idea of the kitchen as a seamless extension of the rest of the home’s joinery, rather than some isolated, utilitarian workplace, will continue to grow. And I also think designers are going to push the notion of the dramatic kitchen much further. Doherty Design Studio dohertydesignstudio.com.au Photography by Derek Swalwell
We think you might also like the Top 4 Kitchens from Habitus House of the Yearabc 
Symbiosis, the term, is defined as a close connection between different types of organisms that live in close proximity with mutual benefits. In Architecture, symbiosis is how the built environment intersects with the cultural heritage and future space of an area. It was the culmination of these ideas that led to Symbiotic House – a residence that preserves the identity of Taiwan’s regional culture, the uniqueness of the site and the symbolic sanctity of its occupants.
Located in Yilan, in north-east Taiwan, Symbiotic House sits in the centre of verdant rice fields, surrounded by high mountains and the Pacific Ocean.
Drawing design inspiration from the old Taiwanese proverb of “one step, one footprint”, C.H.I Design Studio approached the project in a natural and unprocessed manner. Much like how traditional Taiwanese farmers know that crops will flourish and thrive naturally with patience, the spirit of the design stems from this concept of patient harvesting.
With the intention of exploring characteristics of the site and translating that into design, the C.H.I Design Studio team ensured that the nature-loving occupants experience impressive scenery as the seasons change. Thanks to generous skylights and floor-to-ceiling windows, the residents can enjoy the picturesque landscape while the house embraces light, shade and shadow – creating a space that blurs boundaries between the inside and out.
Embodying a literal footprint to re-emphasise the ancient saying, the spatial layout of the house is unenclosed. The open-plan living space features neutral colours that perfectly harmonise with the scenery surrounding the home. Adhering to nature-inspired design, the walls of Symbiotic House are made from rice, straw and local diatomaceous earth – a naturally occurring soft rock that turns into white powder. Additionally, terrazzo tiling was locally sourced and specified as internal flooring in order to accentuate the relationship between the built and natural environment even further.
As far as design awards and award-winning projects go, Symbiotic House by C.H.I Design Studio differs starkly from the rest. Using traditional construction methods married with new design visions, the design team created an inspired house with a notably reduced ecological footprint. For this reason and its success in melding the interior and exterior, Symbiotic House was recently awarded the 2018 Golden Pin Design Award for Design Mark.
Established in 1981, Taiwan’s Golden Pin Design Award is one of the most influential design awards in the global Huaren (Chinese) community. Although each award category targets a different demographic, the purpose of each is to commend standing innovation in design. And as Symbiotic House shows, sometimes the most inspired innovation requires a look to our surroundings and the past.
C.H.I Design Studio
chidesignresearch.com
Golden Pin Design Award
goldenpin.org
Photography by Ivan Chuang
We think you might also like Pattern, Texture And Colour In Bathroom Tile Trendsabc
Drawing design inspiration from the old Taiwanese proverb of “one step, one footprint”, C.H.I Design Studio approached the project in a natural and unprocessed manner. Much like how traditional Taiwanese farmers know that crops will flourish and thrive naturally with patience, the spirit of the design stems from this concept of patient harvesting.
With the intention of exploring characteristics of the site and translating that into design, the C.H.I Design Studio team ensured that the nature-loving occupants experience impressive scenery as the seasons change. Thanks to generous skylights and floor-to-ceiling windows, the residents can enjoy the picturesque landscape while the house embraces light, shade and shadow – creating a space that blurs boundaries between the inside and out.
Embodying a literal footprint to re-emphasise the ancient saying, the spatial layout of the house is unenclosed. The open-plan living space features neutral colours that perfectly harmonise with the scenery surrounding the home. Adhering to nature-inspired design, the walls of Symbiotic House are made from rice, straw and local diatomaceous earth – a naturally occurring soft rock that turns into white powder. Additionally, terrazzo tiling was locally sourced and specified as internal flooring in order to accentuate the relationship between the built and natural environment even further.
As far as design awards and award-winning projects go, Symbiotic House by C.H.I Design Studio differs starkly from the rest. Using traditional construction methods married with new design visions, the design team created an inspired house with a notably reduced ecological footprint. For this reason and its success in melding the interior and exterior, Symbiotic House was recently awarded the 2018 Golden Pin Design Award for Design Mark.
Established in 1981, Taiwan’s Golden Pin Design Award is one of the most influential design awards in the global Huaren (Chinese) community. Although each award category targets a different demographic, the purpose of each is to commend standing innovation in design. And as Symbiotic House shows, sometimes the most inspired innovation requires a look to our surroundings and the past.
C.H.I Design Studio
chidesignresearch.com
Golden Pin Design Award
goldenpin.org
Photography by Ivan Chuang
We think you might also like Pattern, Texture And Colour In Bathroom Tile Trendsabc 
Enrico Taglietti’s contribution to Australian architecture is difficult to overstate. His thoughtful detailing, aesthetics and sense of place have helped to shape Australia’s national capital, which is why in 2018, DESIGN Canberra is hosting the Enrico Taglietti Symposium.
Speaking at the symposium is author, editor and all around architecture expert Karen McCartney. HabitusLiving spoke with karen ahead of the symposium to discuss what makes Enrico Taglietti such a fascinating subject.
HabitusLiving: What is special about Enrico Taglietti’s role in Australia, and Canberra’s, architectural history?
Karen McCartney: Taglietti felt that to be a modern architect it was necessary, ‘to sever oneself totally from the past in order to ask questions as though nothing existed before’. It was a radical move given his life in Milan, which was not only steeped in history, but was also at the forefront of technological advances and architectural experimentation. He embraced the very unformed, even embryonic nature of Canberra in the 1950s and he has been a tremendous influence in shaping the aesthetic of public and private buildings alike for the past 60 years.
Why do you think Taglietti’s designs have stood the test of time?
Taglietti has always followed his own architectural path and his unique vision has created work that is timeless and enduring. There is a certain exuberance of form in his work, which is always married with an intelligent use of space to facilitate the functional.
Why is now the right time to re-evaluate his work in the symposium?
Taglietti was awarded the RAIA Gold medal in 2007 and so if anything it is well overdue. It is, however, an inspired initiative of DESIGN Canberra Festival to shine a spotlight on his work and create a forum for discussion and renewed appreciation. In the broader community some buildings, such as Flynn Primary School, have been threatened with demolition and this creates discussion about the contribution he has made to the city. I also hear a new generation of architects referencing the impact of his work on their own – there is a wonderful, enduring legacy.
How has Taglietti influenced your own practice or appreciation of architecture?
Taglietti’s most inspiring attribute – rather like David Attenborough – is an ability to maintain a constant curiosity late into life. His daughter, Tanja, admits to years of coming home from school never quite sure of what she might find – a new void here, an experiment or an alteration there. A new workroom in his own home, off the main living space, was only built a couple of years ago. It is a functional addition lined in hoop pine ply, the geometric window openings framing views of nature, with raw and artisanal desking imparting the experimental vibe of a young architect rather than someone in his ninth decade. This, married with strong opinions, a formidable intellect and acute sense of humour make him a role model for a lifetime of passionate engagement with architecture.
Do you have a favourite Taglietti design or trademark idea?
One of his greatest preoccupations is the impact of light and shadow on a space. He is an advocate of architect Louis Khan’s sentiment, ‘The sun never knew how great it was until it hit the side of a building’. Taglietti’s phenomenal contribution to the architecture of Australia is predominantly about the manipulation of form – his buildings such as the Dickson Library (1968) and the Australian War Memorial Annex (1974) - are assured, sculptural and emotive - the result of his love of how concrete can be expressively shaped.
What else are you personally looking forward to in DESIGN Canberra Festival 2018?
I am taking part in the bus tour Enrico Taglietti and the ‘Invisible City’ and I am also doing a talk about my new book ‘The Alchemy of Things: Interiors Shaped by Curious Minds’ which features Taglietti’s home – the first time it has been featured in a publication.
The Enrico Taglietti Symposium takes place Friday, November 16 at the James O Fairfax Theatre. The event is sure to be a sell out highlight on a calendar of highlights for DESIGN Canberra 2018, so if you're interested, get those tickets now!inabc
The Enrico Taglietti Symposium takes place Friday, November 16 at the James O Fairfax Theatre. The event is sure to be a sell out highlight on a calendar of highlights for DESIGN Canberra 2018, so if you're interested, get those tickets now!inabc
Observational studies and research show that the 20th century separation between the kitchen, dining and living areas has progressively been broken down. This is clear in any modern home where the kitchen has evolved to become a space where a wider range of day-to-day tasks and activities takes place.
In answer to this, Fisher & Paykel has designed a suite of appliances that can be distributed throughout the kitchen to support different patterns of use. With this, designers and design lovers alike can fully configure and customize their kitchens to perfectly suit the way they work and live.
This designer couple created warmth and intimacy with a striking, minimal all-black kitchen set into a soaring space painted all white.
Set among mature redwoods on the bank of the Austin Creek in Cazadero, the cabin is nestled amongst a small, former logging community in western Sonoma County, CA. The timber A-frame cabin is a classic of its kind, combining a small footprint with high, sloping ceilings and large internal spaces.
“The redwoods are both wonderful and terrible, because they’re so majestic but they block out the sun,” says Daniel, who is a design director with bicoastal studio Rapt. “The cabin is also built out of redwood timber, which is very porous, so over the years it had soaked up the smell of smoke, dog, and who knows what else from along the Bohemian Highway.”
Brit, who founded the architectural studio PLOW, opened up the rear wall of the cabin, which overlooks the deck and river, with large areas of asymmetric glazing to bring in more light. The couple then repainted the entire interior white, effectively creating a blank canvas to bounce the light off.
“Having this brilliant white box in the woods allowed us to maximize the effect of any sunlight we could bring in,” says Daniel. “So that became the shell within which we were working, and we could play with contrasts or soft tones of color.”
The metal they chose for the visible surfaces within the kitchen was both an economic decision and an aesthetic one, says Daniel. “We wanted to find an inexpensive way of doing a really terrific kitchen. The metal, which is a cold-rolled sheet of blackened steel, is a unique material that will develop a patina over time, but also be super durable, and again very cost effective.”
After the dark colour, the most immediately noticeable difference between this and a traditional kitchen is the lack of a standing fridge and the addition of two wall-mounted ovens, a conscious decision on the part of the designers.
Being primarily the spot of a weekend away, the appliances are distributed around the kitchen for flexibility. The use of the two separate CoolDrawers™ under the counter in different spots in place of one fridge is a unique and arresting design choice. Wine can be chilled, or weekend food can be stored, while the two ovens allow Daniel and Brit to, for example, bake bread and roast meat at the same time.
“It just works really well for us,” says Daniel. “Our counter space is at a premium, and we just didn’t need a giant refrigerator. This way, we can have the L-shaped counter. That was a very strategic decision. It doesn’t need to be more than what it is.”
And then, there’s the table. A weighty, sculptural piece made of blush-coloured Rojo Alicante marble, at first glance it could easily be mistaken for part of a contemporary collection from a Bay Area design studio.
In fact, it’s another inexpensive kitchen hack. “I bought it off Craigslist for $200,” laughs Daniel. “It was really a diamond in the rough. Originally it was a rectangle shape, in a weird, 90s, Italian kind of style, covered in a thick, resin-like finish that made it look almost orange.”
Fisher & Paykel
fisherpaykel.com/au
abc
What if we designed a kitchen around the way we cook?
The modern kitchen is as much about socialising or relaxing as it is cooking or preparing food. For Fisher & Paykel this led to the development of the concept of the distributed kitchen. Essentially, this means separating the basic components of a kitchen, which in turn allows for more flexibility and easy movement within the space. For example, the savvy designer might install a CoolDrawer™ Multi-temperature Drawer for drinks near the dining table, and perhaps a DishDrawer™ dishwasher for crockery by the sink, with another one for glasses by the bar.The Cazadero A-frame
Design-savvy couple Daniel and Brit Epperson redesigned the small, awkward kitchen of their rustic cabin in the woods to better cater to their particular needs and lifestyle. The result is a charming, unconventional design, with two ovens and two separate CoolDrawers in places of a single refrigerator.
This designer couple created warmth and intimacy with a striking, minimal all-black kitchen set into a soaring space painted all white.
Set among mature redwoods on the bank of the Austin Creek in Cazadero, the cabin is nestled amongst a small, former logging community in western Sonoma County, CA. The timber A-frame cabin is a classic of its kind, combining a small footprint with high, sloping ceilings and large internal spaces.
“The redwoods are both wonderful and terrible, because they’re so majestic but they block out the sun,” says Daniel, who is a design director with bicoastal studio Rapt. “The cabin is also built out of redwood timber, which is very porous, so over the years it had soaked up the smell of smoke, dog, and who knows what else from along the Bohemian Highway.”
Brit, who founded the architectural studio PLOW, opened up the rear wall of the cabin, which overlooks the deck and river, with large areas of asymmetric glazing to bring in more light. The couple then repainted the entire interior white, effectively creating a blank canvas to bounce the light off.
“Having this brilliant white box in the woods allowed us to maximize the effect of any sunlight we could bring in,” says Daniel. “So that became the shell within which we were working, and we could play with contrasts or soft tones of color.”
The Kitchen
Though still modest in size, the kitchen was originally only half its present size. An awkward partition under the mezzanine created an internal hallway to the bathroom along its inner wall, which the couple quickly removed. Structurally, the kitchen was built out of Ikea cabinets that Brit and Daniel hacked by using the framed box and building their own custom front and side panels faced with Valchromat, a recycled engineered wood product.
The metal they chose for the visible surfaces within the kitchen was both an economic decision and an aesthetic one, says Daniel. “We wanted to find an inexpensive way of doing a really terrific kitchen. The metal, which is a cold-rolled sheet of blackened steel, is a unique material that will develop a patina over time, but also be super durable, and again very cost effective.”
After the dark colour, the most immediately noticeable difference between this and a traditional kitchen is the lack of a standing fridge and the addition of two wall-mounted ovens, a conscious decision on the part of the designers.
Being primarily the spot of a weekend away, the appliances are distributed around the kitchen for flexibility. The use of the two separate CoolDrawers™ under the counter in different spots in place of one fridge is a unique and arresting design choice. Wine can be chilled, or weekend food can be stored, while the two ovens allow Daniel and Brit to, for example, bake bread and roast meat at the same time.
“It just works really well for us,” says Daniel. “Our counter space is at a premium, and we just didn’t need a giant refrigerator. This way, we can have the L-shaped counter. That was a very strategic decision. It doesn’t need to be more than what it is.”
And then, there’s the table. A weighty, sculptural piece made of blush-coloured Rojo Alicante marble, at first glance it could easily be mistaken for part of a contemporary collection from a Bay Area design studio.
In fact, it’s another inexpensive kitchen hack. “I bought it off Craigslist for $200,” laughs Daniel. “It was really a diamond in the rough. Originally it was a rectangle shape, in a weird, 90s, Italian kind of style, covered in a thick, resin-like finish that made it look almost orange.”
Fisher & Paykel
fisherpaykel.com/au
abc 
Ricci Bloch Architecture + Interiors
riccibloch.com.au Architect Ricci Bloch only established her eponymous studio in 2016 and has already built a notable portfolio of quietly sophisticated projects. The small practice’s residential work is particularly memorable for capturing a quintessentially Sydney aesthetic that’s bright and breezy, effortless and elegant. Natural light floods interiors, material and colour palettes are tastefully pared back and the connection between inside and outside is always strong. Ricci and her team eschew superfluous detail for clean lines and sharp angles and in delivering their characteristically minimalist style, reveal a knack for making even the most compact of spaces function super efficiently. [gallery columns="2" size="medium" ids="82280,82282"] [gallery columns="4" size="medium" ids="82281,82283,82284,82285"]Sharp House, Dover Heights Photography by Tom Ferguson
Ritz & Ghougassian
ritzghougassian.com The Melbourne-based dream team of Ritz & Ghougassian has created quite the buzz of late – and with good reason. Co-directors Gilad Ritz and Jean-Paul Ghougassian are responsible for designing some of the most exciting hospitality and residential projects to come out of the Victorian capital in the past three years. Their recently completed Highbury Grove House exemplifies the practice’s dynamic grasp of materiality, which heroes the singular material palettes that have come to define their distinct aesthetic. Concrete blockwork is the dominant material in the Highbury Grove project and it gives rise to an austere appearance that’s tempered by timber joinery and the use of white lightweight curtains. While Ritz and Ghougassian may take their architecture very seriously, they also have an infectious sense of humour that informs everything they do, ensuring their approach is peppered with playfulness and open conversation. [gallery columns="2" size="medium" ids="82286,82288"] [gallery size="medium" ids="82287,82289,82290"]Highbury Grove House, Prahran Photography by Tom Blachford
Ha Architecture, Product and Environment
h-a.com.au Originally from Adelaide and now based in Melbourne, Nick Harding established multi-disciplinary studio Ha in 2012. Since then, the architect and practice founder has been consistently building a body of residential work that exemplifies an understanding of affordable housing strategies and a commitment to sustainability in architecture. Ha’s small team is as well versed in delivering compact apartment renovations (see Yarra’s Edge Apartment) as it is in working with heritage constraints to design an addition to a classic Edwardian weatherboard (see The Kensington Cathedral). Strong spatial and material sensibilities prevail – regardless of the project’s size and scale – as does an intelligent design approach that never forces the outcome.
[gallery columns="5" size="medium" ids="82274,82273,82272,82270,82271"]
The Kensington Cathedral, Kensington Photography by Dan Hocking
[gallery columns="2" size="medium" ids="82277,82279"] [gallery columns="2" size="medium" ids="82276,82278"]Yarra Edge’s Apartment, Docklands Photography by Dan Hocking
Trias
trias.com.au Earlier this year, Trias’ Three Piece House picked up an award in the Residential Architecture – Houses (New) category of the 2018 NSW Architecture Awards. Not a bad achievement for the Sydney-based practice, which was only founded two years prior to the win by Jonathon Donnelly, Casey Bryant and Jennifer McMaster. The Co-directors bring a diverse range of skills and experience to the studio, which takes its name from Vitruvius’ principles of architecture, defined as firmness, commodity and delight. In adopting these values, they aim to create buildings that are solid, simple and beautiful. Truth be told, they’ve already achieved this goal and with projects currently underway in both Australia and the UK, it’s well worth waiting to see what they come up with next. [gallery size="medium" columns="4" ids="82294,82292,82291,82296"] [gallery columns="4" size="medium" ids="82293,82295,82297,82298"]Three Piece House, Newcastle Photography by Ben Hosking
Zuzana and Nicholas
zuzanaandnicholas.com Architects Zuzana Kovar and Nicholas Skepper met while studying at the University of Queensland and in 2013 the couple established Zuzana & Nicholas. Their Brisbane-based studio has a reputation for creativity and innovation, with both co-founders also maintaining an active research and exhibition practice. Along with their growing residential portfolio, this has made them the darlings of Australia’s vibrant emerging architects scene. Zuzana & Nicholas’ projects may vary in size, but all are characterised by a fresh interpretation of Queensland’s classic architectural vernacular. Interiors are light and bright, material palettes are stripped back and spatial considerations are informed by clear connections to the outdoors. They’re very much interested in the way people live and how to facilitate the best outcome for each of their clients.
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Norman Park House, Norman Park Photography by Toby Scott
[gallery size="medium" ids="82301,82300,82299"] [gallery columns="2" size="medium" ids="82302,82303"]Monash Road House, Tarragindi Photography by Toby Scott
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Sydney’s Skheme is known in the design world for being one of Australia’s premier tile and stone suppliers, and now they’ve got the showroom to match.
The custom designed showroom in Rushcutters Bay marks a move for the Skheme team from their original home in Rozelle, now situated in the heart of Sydney’s Design and Architectural community.
“The design brief was to make the showroom simple, architectural, engaging and easy to navigate in complete cohesion with our website,” says Skheme Director Marco De Clerico “We drew inspiration from the architect Mies Van Der Rohe”
Knowing the value of great collaboration, the showroom was designed using a range of contractors, such as as GP2 Projects who did the design and construction, Man of Steel, Premium Joinery and Ellerman Tiling.
The Showroom features purely custom designed features including a workbench clad in natural stone Flutes, the Farrago table designed inhouse, and the Cupboard Door Colour Range, showcasing a vast range of tile and stone products.
Upon launching the showroom, Skheme held an exclusive party for some of the local design community’s best and brightest. The evening was a great success and a great sign of things to come for the team’s new showroom. We gladly raise a glass to Skheme and can’t wait to see the projects that come from this great showcase of fine tile and stone.
Skheme
skheme.com
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Driven by the desire to design for function in a world of expensive electronics that quickly become disposable, Jake Dyson, Research and Development Director and Chief Lighting Engineer at Dyson introduced the CSYS light. Dyson elevated LED globes, reworking them into an electronic treasure that lasts close to a lifetime. When LED bulbs were first introduced to the market, it created a buzz worldwide as an energy-efficient solution. Unfortunately, as LED bulbs are exposed to heat, they get damaged and lasts only three months instead of the projected year.
Aimed at creating an efficient solution based on an existing product, Jake utilises heat pipe technology, evident in computers, to cool LEDs. This is evident in the CSYS task light, which lasts over 145,000 hours or in other words, more than 37 years. A seamless marriage between technology and functionality, CSYS task lights are integrated with touch-sensitive, precision dimming that smartly remembers user’s most recent light level setting. Additionally, each of the eight LEDs is housed in a conical reflector to reduce glare and provide warm, white light.
The 3-Axis Glide Motion allows users to position the light exactly where they need. Inspired by a construction crane, the counterweight pulley system allows the arm to steadily move vertically. Differing from other conventional desk lights that rely on springs and pivots to stay in position, the zinc alloy base of CSYS is weighted to increase stability as it rotates 360-degrees. Uniquely screaming “good design”, CSYS moves up and down with frictionless ease.
CSYS Desk Task Light Range comes in black, silver, or white. Alternatively, it is also available as a floor lamp and a clamp.
Dyson
dyson.com.au
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As a long-time Habitus contributor, what strongly draws me to the title is how it is regional rather than local or international. It puts a lens on this part of the world and offers a dynamic discussion about the architecture and design of Southeast Asian and Australasian. Through its careful curation and interest in experimental architecture, it’s packed with a very diverse range of projects and points of view.
From sub-Antarctic Queenstown to tropical Singapore, the climates, landscapes, structures, materials, forms, cultural and spatial differences present a fascinating cross-section made all the more interesting for their contrast. The different approaches represented challenge us to consider architecture for its cultural and economic expression as much for its design and aesthetics.
Beyond ‘real estate’ – that disturbing view of housing as a commodity – Habitus asks us to consider architecture in a deeper way. So for me, Habitus House of the Year is a celebration and recognition of the cultural and artistic diversity we have in our region. How close we are geographically, yet how different our contexts and design sensibilities are.
The five houses that represent New Zealand architecture in the 2018 House of the Year selection provide a glimpse into a New Zealand œuvre. Our deference to the natural landscape; the need to protect interiors from the harsh sun, heavy and frequent rain; and a love affair with timber and natural materials.
We have featured Bossley Architects, Strachan Group Architects, Guy Tarrant Architects, Studio2Architects and Paterson Collective Architecture covering coastal, rural, suburban and city fringe sites.
The houses represent architects and clients who are interested in ideas-driven architecture, authenticity and integrity of construction. All very different in materials, form and setting, the similarities are in an understated exterior, casual family spaces and experimentation with materials.
Three of the projects connect with humble rural typologies (even Strachan’s city house), while the Tarrant and Bossley houses break residential typologies and appear more like civic or industrial architecture.
As a selection, they offer a fascinating view into New Zealand architecture in the age of personal mobile devices, as family life disperses and collects in a wider range of settings.
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The Arts and Crafts movement emerged in the nineteenth century as a reaction to industrialisation, as theorists and designers placed value on craftsmanship and natural materials and looked to nature for inspiration. Calibre is a new multi-residential development designed by Koichi Takada Architects – and much like the Arts and Crafts movement, it responds to the mass-produced, standardised and impersonal architecture of many modern apartment blocks, by focusing on craft and nature to create a more human relationship between residents and their environment. “Today we are so exposed to the fast pace of living and we long for the opposite. Calibre is a representation of that,” says architect Koichi Takada himself.
Developed in Surry Hills, Calibre is surrounded by dense urban buildings. However, Surry Hills is also a leafy inner-city neighbourhood with views of the city skyline, and these two characteristics influenced the design. “Most of the trees are taller than the terrace houses in Surry Hills,” Koichi explains. “We wanted to embody the trees rather than the surrounding buildings, and to connect to the landscape rather than the cityscape.”
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The nine-storey building has an undulating façade with timber-batten screens to evoke the natural shapes and vertical lines of a forest and tree canopy. Dappled light filters through the timber-slatted screens to mimic the surrounding trees. There are 18 north-facing apartments each with deep balconies and floor-to-ceiling glazing. The lower apartments have timber battens around the balconies for privacy, while the higher apartments have glass so as not to obstruct enviable city views. The apartments are designed to feel light and open, rather than confined by the solid massing of the wall. “This also relates back to nature and the way in which tree canopies are supported by one large trunk,” Koichi says. There is a strong focus on details and materials, which include terrazzo, brass, natural stone and timber laminate, ensuring timelessness in both looks and longevity.
Koichi describes Calibre as a smaller scale of what his practice aims to achieve in its taller towers, allowing an even greater focus on craftsmanship. Inspired by Calibre, he is now working on an even smaller scale project designing and crafting chopsticks, for instance. “The more I work on bigger buildings, the more I crave working on smaller objects. Chopsticks require a very human touch; you use your fingers and your hand and you feel them,” he says.
Working to this very small scale to understand the relationship between user and object will no doubt continue to influence the design of Koichi’s larger projects as, like Calibre – and the Arts and Crafts movement – the architectural practice seeks to craft a more personal and human relationship.
Koichi Takada
koichitakada.com
Photography courtesy of Koichi Takada Architects
We think you might also like Namly View House by Wallflower Architecture + Design
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Koichi describes Calibre as a smaller scale of what his practice aims to achieve in its taller towers, allowing an even greater focus on craftsmanship. Inspired by Calibre, he is now working on an even smaller scale project designing and crafting chopsticks, for instance. “The more I work on bigger buildings, the more I crave working on smaller objects. Chopsticks require a very human touch; you use your fingers and your hand and you feel them,” he says.
Working to this very small scale to understand the relationship between user and object will no doubt continue to influence the design of Koichi’s larger projects as, like Calibre – and the Arts and Crafts movement – the architectural practice seeks to craft a more personal and human relationship.
Koichi Takada
koichitakada.com
Photography courtesy of Koichi Takada Architects
We think you might also like Namly View House by Wallflower Architecture + Design
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