About Habitusliving

 

Habitus is a movement for living in design. We’re an intelligent community of original thinkers in constant search of native uniqueness in our region.

 

From our base in Australia, we strive to capture the best edit, curating the stories behind the stories for authentic and expressive living.

 

Habitusliving.com explores the best residential architecture and design in Australia and Asia Pacific.

 

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Great Dane Takes A Trip To The Stockholm Furniture Fair

Great Dane is a favourite in the Australian design community for a reason. Well known as the premier supplier of Danish and Scandinavian furniture in Australia, there’s little surprise the team are all over the latest trends and ideas in design. The Stockholm Furniture Fair is the biggest furniture and lighting trade fair in Scandinavia. Already in 2019 we’ve seen three iconic designs from design legend Jens Risom back into production from Fredericia, new colours of String shelving, and a host of new brands being showcased. Ever committed to the art and beauty of Scandinavian design, at the fair’s conclusion, Great Dane will be traveling throughout Denmark and Scandinavia to visit workshops and suppliers in the furniture and lighting worlds, getting hands on knowledge on what to expect in Scandinavian design for 2019. For the last few years, Great Dane has held a series of Stockholm Fair wrap up talks at their Melbourne and Sydney showrooms, as well as at Design Farm in Perth. These are first-chance opportunities for customers and clients alike to learn the latest in ideas and products straight out of Scandinavia, and what to look forward to in the coming year. In 2019, these talks will be held…

In Melbourne: 175 Johnston St Fitzroy – Wednesday February 20 6-8pm. RSVP and register for tickets here

In Sydney: 344 Oxford St Paddington – Thursday February 28 6-8pm – RSVP and register for tickets here

In Perth: Design Farm, 100 Hay St Perth – Thursday March 7 6-8pm – RSVP and register for tickets here

If you’re interested in what’s coming in the world of Scandinavian design – be sure to register for tickets for either of these events, and by following @greatdanefurniture and @greatdanecontract on Instagram. Great Dane greatdanefurniture.com abc
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Habitus Loves

Habitus Loves… An Art Deco Resurgence

District Rug by Kelly Wearstler for The Rug Company from Vela

The refined District design is inspired by Wearstlers affinity for mixing rich organic stone palettes and the tension of graphic inlaid pattern work. District is hand-knotted using fibre drawn from the bamboo plant, which has an appearance very similar to silk but at a surprisingly low price. VELA Habitus Loves Art Deco Resurgence district rug by kelly wearstler  

Ring Coffee Table by Minotti from Dedece

Challenging the rules of geometry, designer Nendo conceived Ring, a family of five tables that play with contrasts between straight lines and curves. The eye is attracted to the emptiness at the centre of the rings, with an effect of space and lightness, truly an Art Deco style. Dedece Habitus Loves Art Deco Resurgence ring coffee table by minotti  

Adularia Drinks Trolley by Marchetti from DOMO

The beauty of Marchetti is the combination of classical expertise with modern interpretations. This Art Deco-inspired drinks trolley known as “Adularia” is an ideal piece which is both “stylish and practical”. The structure is in solid Beech, the tops in solid poplar, the wheels are in chromed metal and plastic. DOMO Habitus Loves Art Deco Resurgence adularia drinks tolley  

Brick Screen by Eileen Gray for ClassiCon from Anibou

Fascinated by the beauty of traditional lacquerware, Eileen Gray learned her centuries-old craft from a Japanese artisan. More than just a room divider, this folding screen with its understated elegance commands the presence of a sculpture. ClassiCon Habitus Loves Art Deco Resurgence brick screen by eileen gray  

Tassel 19 by Apparatus from Criteria

The Tassel Series condenses the warmth and decadence of a traditional chandelier to a concise, modern conclusion. Emanating from a brass dome, the light is amplified as it refracts through mould-blown glass cylinders. CRITERIA Habitus Loves Art Deco Resurgence tassel by apparatus  

Beetle Chair by Gubi from Cult

The inspiration of the Beetle Chair Collection has been found in the insect world as GamFratesi has been looking closely at the anatomy and movement of the beetle. The result is a chair that cunningly interprets the shell of this four-legged creature. CULT Habitus Loves Art Deco Resurgence beetle chair by gubi  

Bibendum by Eileen Gray for ClassiCon from Anibou

It’s comfy, it’s curvy, it’s even downright friendly – just like the Michelin man it was named after. Nowhere in the history of design will one find an armchair that compares to this. It is captivatingly harmonious despite its size and unites a majestic impressiveness with charm and wit like no other. ClassiCon Habitus Loves Art Deco Resurgence bibendum by eileen gray  

Roattino by Eileen Gray for ClassiCon from Anibou

The elegant 1930s floor lamp impresses with its beautiful S-shaped steel tubing giving a feeling of airiness. A pivot enables various positions of the lampshade. This statement piece employs a sense of simplicity in every element. ClassicCon Habitus Loves Art Deco Resurgence roattino by eileen gray  

Camille Sofa by Anaca Studio

The Camille range is inspired by a love of Scandinavian style and modernist aesthetics. It has plenty to offer for those searching for a comfortable, elegant and low maintenance sofa. Camille is versatile and timeless with a high focus on comfort and details. Anca Studio Habitus Loves Art Deco Resurgence camille sofa by anaca studio  

Aztec Table by Vela

The Aztec marble dining table is an exquisite table featuring a sculpture detailed base and a luxurious Carrara marble top. VELA Habitus Loves Art Deco Resurgence | Aztec coffee side table vela    abc
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Australian Art Meets Artful Italian Design

A special exhibition and photographic campaign that celebrates contemporary Australian art, organised by the Australian arm of the Italian furniture brand Arflex, is set to launch at Poliform, Sydney, before travelling to Melbourne. The exhibition is a mélange of artists and designers from across the world and local talent. To curate and best convey such vastly different mix of design styles, colours, origins and inspirations, Arflex brought on board Dana Tomic Hughes, a local and well-known interior designer and curator, and the founder of Yellowtrace. Arflex Australian Art Italian Design Australia 2019 Campaign framing tables forest green art You might recognise historic designs such as the Botolo chair by Cini Boeri or the Elettra chair by BBPR. There are contemporary pieces, too, such as the Infinity table by Claesson Koivisto Rune, the Leafo armchair by Jamie Hayon and the Tellin armchair by Luca Nichetto. Sculptures by Australian artists Anna-Wili Highfield and Sean Meilak are dotted in amongst the mix of contemporary and long-standing furniture designs. “The concept was about exploring the complimentary, yet opposing nature of these uniquely Australian subjects,” says Dana, “with the boundary-pushing furniture designs that Arflex is internationally known for.” Arflex Australian Art Italian Design Australia 2019 Campaign design chair beige It’s a truly unique approach to celebrating Australian art through Italian design – and vice versa. The tagline to the campaign captures the sentiment poetically: celebrating contemporary Australian art and artful Italian design. The exhibition will be launched in Sydney on the 13th February and in Melbourne on the 27th February at the respective Poliform showrooms. In Melbourne, it will remain for two weeks, open to the public from the 28th February to 15th March. It has been captured on film by Daniel Shipp and Simon Davidson. Poliform poliformaustralia.com.au Arflex arflex.poliformaustralia.com.au Photography courtesy of Arflex Arflex Australian Art Italian Design Australia 2019 Campaign design details beige pink [gallery size="large" ids="85517,85516,85515"] [gallery columns="2" size="large" ids="85514,85509"] We think you might also like Bistecca by Tom Mark Henryabc
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Architecture And Nature Together As One

Villa in the Palms is a sprawling four-bedroom house in the tropical coastal state of Goa in India. In designing the villa, Abraham John Architects preserved the existing landscape, creating a series of volumes that protrude between, wrap around and sit alongside 19 towering coconut trees. “Villa in the Palms appears almost village-like, nestled between 80-year-old coconut trees and nearly invisible from points further up the approach road,” says Alan Abraham, joint principal architect of Abraham John Architects. “The fact that the trees have existed for decades gives the house a very rooted presence.” Villa In The Palms Abraham Jon Architects north elevation exterior Home to a family of four with two teenage children, Villa in the Palms is comprised of a series of volumes carefully designed between and around the trees to avoid their removal. Decks, passages and bridges connect the fragmented buildings and meander over water and garden, like a traditional Goan village. Local laterite stone walls anchor the building to the site and have a rusty-red, textured appearance that further embeds the house in the landscape. There are views from every room without sacrificing privacy. The house is approached from a private road, and the front entrance opens to a deck between the living and dining area where the view widens with every step. The living, dining and kitchen overlook the deck and pool, while the sky-lit living room has an internal garden and glass-enclosed coconut tree. Villa In The Palms Abraham Jon Architects exterior An infinity pool separates the living areas from bedrooms, which are located separately between the trees. “The bedroom abutting the pool has a slit window along the floor that enables the ripples of water to reflect onto the ceiling. The last bedroom features a serene indoor-outdoor bathroom where light and shadow create everchanging landscapes,” Alan explains. Each bedroom has its own ensuite, rear garden, front garden and internal courtyard. Upstairs is a family room, study and master suite with views across the garden and neighbouring field. Local features of traditional Goan architecture are referenced in the building design, including the pitched roofs and screens made from 100-year-old recycled teak wood. The roofs pitched at different angles emphasise the disconnected nature of the building and visually integrate it in the landscape. Rainwater is harvested from the interstitial roofs, while the laterite walls provide thermal mass and privacy. Villa In The Palms Abraham Jon Architects view of swimming pool Villa in the Palms expresses Abraham John Architects design approach to connect architecture with nature. As boundaries are blurred between inside and out, and the coconut trees dictate the footprint of the house, Villa in the Palms becomes embedded in the landscape, bringing architecture and nature together as one. Abraham John Architects abrahamjohnarchitects.com Photography by Edmund Sumner, Atul Pratap and Alan Abraham  Dissection Information Local laterite stone walls Steel and concrete superstructure Poured concrete and reclaimed-teak wood floor Bespoke pieces and items handmade on site Villa In The Palms Abraham Jon Architects view from deck Villa In The Palms Abraham Jon Architects family room views Villa In The Palms Abraham Jon Architects exterior deck Villa In The Palms Abraham Jon Architects decking view exterior into living space interior Villa In The Palms Abraham John Architects living room views Villa In The Palms Abraham John Architects bedroom views Villa In The Palms Abraham Jon Architects detail of teak and stairs Villa In The Palms Abraham Jon Architects bathroom Villa In The Palms Abraham Jon Architects field views We think you might also like The Kumaon by Zowa Architectsabc
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The Armadillo & Co Foundation On A Mision In India

In 2009 Jodie Fried and Sally Pottharst established Armadillo & Co; a brand for the design conscious and design responsible among us; a brand who’s DNA is firmly founded on the combination of “aesthetics with ethics”. Since day dot each of their rugs has each been carefully crafted – by hand – from natural fibres and recycled materials. They have been staunch supporters of Fair Trade practices and go above and beyond supporting not only the weavers but their children and local schools, too.

In particular, Kantilal Vidya Mandir School in Uttar Pradesh. Located in the Carpet Belt region of India the school is attended by many of Armadillo & Co’s weavers’ children. Naturally, their involvement and support started off slowly and grew organically. Simple things, like giving the students new uniforms, saw the relationship bloom. “I know that sounds superficial,” says Jodie Fried, cautiously, “but with all these little changes you notice a greater sense of pride in the children. It’s about them wanting to go to school and inspiring other kids in the community to come to school.”

For 12 years Jodie has been working in the philanthropic sector. The first not-for-profit organisation supporting a small school in India she founded was the Anganwadi Project and Sally Pottharst was a board member. Evidently, the two women shared a passion and Armadillo & Co’s support continued to grow. In early 2018 it was decided upon to define and distinguish the two organisations.

“We decided to channel the philanthropic work that we were doing with our weavers and their children into the Armadillo & Co Foundation, which became a separate entity from the business and meant more people could be involved. It had its own identity in a way,” says Jodie. “We had the passion, the purpose, and the problems were there.”

Armadillo & Co Foundation India Sally Pottharst Jodie Fried signs

Setting the school up to be an effective place of education and a supportive environment has been the main focus of the Foundation with sustainable practices remaining integral to the process. This can be seen in the recently installed solar panels and a medical centre with a full-time doctor available to the students and their family during school hours. Additionally, the Foundation is building a small library for the school while repainting the buildings are next on the agenda – once monsoon season has passed.

It’s important to note that there is a board member of the Armadillo & Co Foundation based in India who has a “very close eye on the operations of the school”. He has been with Armadillo & Co for 12 years and acts as an advisor-slash-cultural correspondent to ensure the Foundation’s efforts are suitable and answer the community’s needs; to ensure good intentions don’t manifest as a cultural imposition. “We take his lead on a lot of what we need to be doing there and what is culturally appropriate,” says Jodie. “We really rely on him to be able to say this is what we need, this is appropriate, this is enough, or this is too much.”

For example, the board of the Foundation might have an idea to put in new tables and chairs while he could come back and advise against it as it may show too much wealth. Similarly, the idea to carpet the school is actually impractical as the school is susceptible to flooding during monsoon season – so pavers and an effective drainage system are a far better investment.

Not only does the Foundation support the school and its operations, but it also supports the children in their ability to attend. Specifically, through a recently launched scholarship program. “A very exciting part of the project which Sally and I launched earlier this year was setting up scholarships for the top four performing girls to go on to continue their education for nine years,” says Jodie.

Armadillo & Co Foundation India Sally Pottharst Jodie Fried gratitude awards

It is slightly unorthodox, as traditionally speaking girls will leave school once they get to the 5th grade to remain at home and support the family domestically. Before the scholarships were put in place the principal and cultural advisor were intrigued by the notion and suggested calling a meeting with the mothers of the school to gauge the level of interest and how it would be received. Only the mothers were invited to ensure they were able to speak openly and honestly.

“It was so overwhelming,” says Jodie. “All these women turned up. All illiterate. So committed, so passionate about wanting their girls to be able to speak English and to be able to have a career: to be able to go further than they had been able to go.” They were all for the scholarship program.

The first four girls to be offered scholarships started in June 2018 and each year, a further four will join the program; all supported in school fees, uniforms, textbooks and transportation.

Funding for the Armadillo & Co Foundation is found through various sources. A big portion is realised in Armadillo & Co sales with a set percentage of net profits going directly to the Foundation. There’s also the option for online customers to donate directly with automatic prompts at the checkout. And the internal team gets involved with company fundraising, too.

Armadillo & Co Foundation India Sally Pottharst Jodie Fried kids smiling foundaiton

It seems like a new chapter for Jodie Fried, Sally Pottharst and the Armadillo & Co team. But in some ways, it’s not. “It feels really timely that the Foundation was incorporated because it was always there. For seven years we’ve been working with this particular school it’s just now being highlighted because it has been separated,” says Jodie.

With the formalisation of their philanthropic work, the hope is that awareness and dialogue will increase. And with more dialogue around the Foundation increased support will hopefully ensue.

Armadillo & Co armadillo-co.com Armadillo & Co Foundation armadillo-co.com/foundation Armadillo & Co Foundation India Sally Pottharst Jodie Fried kids running foundation

 Photography by Darren Centofanti

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Loved Locally, Successful Globally, So Hope Richards & Spence

Think of Queensland’s architectural vernacular and it’s often white timber and corrugated steel that comes to mind. They feel as much a part of the local way of life as searing sunshine and lush tropical thunderstorms. But a walk down Brisbane’s high-energy James Street precinct and it appears that the tide is turning towards a material palette that feels decidedly more…resilient. Enter Richards & Spence. The Brisbane-based architecture practice has transformed this pocket of Brisbane’s Fortitude Valley one brick at a time, creating a collection of new structures that house some of the city’s most fashionable boutiques, restaurants and spas. With the recent opening of The Calile Hotel – the latest addition to the revitalised precinct, we thought it was time to sit down with Richards & Spence to explore its unique and transformative approach to design. With 175 rooms including 11 suites, an elevated central 27-metre pool and deck, an award-winning restaurant, day spa, cocktail bar and retail offering at both ground level and pool level, The Calile Hotel is a staggering brief to take on for any practice, let alone one that hadn’t yet explored a hotel project. But for Ingrid Richards and Adrian Spence, co-directors of their eponymous practice, it was a natural progression in their strong working relationship with Calile Malouf Investments, the company behind much of the James Street revival. The Calile Hotel Richards & Spence CC Sean Fennessy design brickwork title wayfinding detail “We have worked with (them) for many years now,” explains Ingrid. “With their trust, we were able to approach the hotel from the principles of: what is the point of difference for an urban hotel in Brisbane? How can we best address the needs of travellers? And how can we support the existing retail precinct and enhance the offering to the wider Brisbane community?” It’s this civically-minded view of how architecture serves the community that Richards & Spence have focused on, often expressed most visibly in the studios distinctive choice of materiality. “Developments that are loved locally succeed globally and so it was with a local identity in mind that The Calile Hotel was conceived. But we wanted to shift Brisbane’s civic identity from the nostalgic, domestic comparison to a Queenslander house or workers cottage to a more permanent, civic-minded built form,” continues Ingrid. It’s an approach, she says, that is rooted in the aim of contributing to the ‘future history’ of the city, and one that requires well-mannered buildings made with authentic, durable materials that respond to our climate. In short: buildings that add value beyond their location. Indeed, The Calile Hotel doesn’t look like anything that Brisbane has seen before. Its soft pink interiors, brutalist concrete exterior, breeze block detailing and decadent pool deck are more evocative of a Miami-meets-Morocco retreat than a Queensland resort. The Calile Hotel Richards & Spence CC Sean Fennessy exterior pool lable tiles The use of brickwork and concrete gives both the hotel and its surrounding precinct an air of legacy; an assuredness that the structure will weather the tests of time and change. The use of these materials, Spence explains, provides a durable framework with the capacity to age gracefully, as well as provide gravitas in a setting of ever-changing tenures. “Our intention is always to do as much as necessary, but as little as possible without being brutal,” he elaborates. Inside the rooms of The Calile Hotel, a bounty of contemporary detailing is luxurious in its juxtaposition to the building’s exterior. “As a counterpoint to a reductive material palette, we look for circumstantial opportunities to create charm without being kitsch,” says Spence. That charm is found in soft-serve tones of pastel pink, sky blue and caramel timber, punctuated by sensuously curved brass details and round, frosted sconces. For Richards, charm is also hidden in the invisible, functional elements of the design – an often overlooked yet important aspect of a luxury hotel. “We designed rooms with space big enough to unfold two suitcases, benches for shopping bags, vanities large enough for your own toiletries, operable windows to experience (Brisbane’s) great weather, operable walls to enable customisation of the space,” he says. “We often forget the layer that the guests themselves provide to a hotel room interior. The charm of a well-made, carefully planned interior is the most luxurious room that we can think of!” It may be that Richards & Spence look to global influences when developing its projects, but it’s with a uniquely Australian view of civically-minded design that the practice has brought life back to this pocket of Brisbane. The Calile Hotel is an expression, on a grand scale, of how design can transform the way we view a city – both literally and figuratively. “We have a long-term ambition to create buildings that are unselfconscious and dignified,” says Richards. A resilient sentiment to lay foundations upon. Richards & Spence richardsandspence.com The Calile Hotel thecalilehotel.com Photography by Sean Fennessy  We think you might also like Habitus' Top Boutique Design Hotels Across The Regionabc
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An Escape To The City By PanovScott

“Our client first introduced the project to us as a bolt hole in the city for his mum,” said Anita Panov and Andrew Scott of PanovScott, of their recently completed Bolt Hole House in Sydney. During the course of the job, PanovScott grew unexpectedly fond of the term, ‘bolt hole’. “It’s a relatively recent term, from the 1850s,” note Anita and Andrew, “originating in Britain and meaning a place of escape or refuge.” Hence, the overarching theme of Bolt Hole House is to provide a residence that allows the inhabitant to enjoy cosmopolitan life, while simultaneously providing respite from the city and a level of anonymity within. Bolt Hole House Panov Scott CC Murray Fredericks outdoor living The first brief given to Panov Scott was a simple interior renovation that extended to the garden. During a site visit in the early stages of the process, the whole team (architect and client) stood in the space silently and pensively to absorb it – and absorb what needed to be done. It was then that Anita and Andrew realised that perhaps more than a minor revamp would be required. The idea arrived to radically change the character of the house without moving too far afield from the initial brief. “Our client, to his credit, saw immediately the potential value of that change,” says Andrew. The most distinctive architectural elements within Bolt Hole House are not necessarily those that answered the brief, but rather the way the residence interacts with its locality and its neighbours, along with the expression of materials, and the way the house reflects the client’s personality. “Most distinctly though is the relation to the lane: the interaction enabled between the interior spaces and the immediately adjacent public space via the large window,” says Andrew. Bolt Hole House Panov Scott CC Murray Fredericks bedroom The public (living) and private (bedroom and bathroom) spaces were either side of the house and swapped during the renovation. The living space is now at the front of the house as you enter from the lane, marked by a large window and timber-batten sliding screen allowing different levels of engagement with the lane, light and air flow. The bedrooms are at the rear enjoying privacy and noise protection. “The other key strategic move was to externalise the centre of the dwelling,” says Andrew. “This hollowed core enables the inhabitants to live outside as they would inside, capitalising on the enviable temporal climate we enjoy in Sydney.” Bolt Hole House also champions the use of skylights – and not only because that’s in line with the solar passive principles to which the residence was designed. Each room bears a unique skylight: a horizontal triangle can be found in the corner of the living room; intimate rectangles in the bedroom; and the shower features a concealed glass frame roof. Bolt Hole House Panov Scott CC Murray Fredericks bathroom It is truly unique, and a highly theatrical, utilisation of architecture and design. PanovScott panovscott.com.au Photography by Murray Fredericks Bolt Hole House Panov Scott CC Murray Fredericks living and dining area Bolt Hole House Panov Scott CC Murray Fredericks living dining window ledge Bolt Hole House Panov Scott CC Murray Fredericks completely open window Bolt Hole House Panov Scott CC Murray Fredericks partially open Bolt Hole House Panov Scott CC Murray Fredericks closed We think you might also like Yeronga House by Tim Bennetton Architectsabc
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Taikoo Shing Apartment by Studio Adjective

Hong Kong’s residential interiors are infamous for being diminutive. It takes innovation and sensitivity to create comfortable spaces that cater to living, cooking, eating and resting, among other daily rituals. The Taikoo Shing Apartment by Hong Kong-based Studio Adjective is an example of that innovation. The 528-square-foot, two-bedroom apartment was opened up to remove wasteful spaces such as a corridor, and create a feeling of flow and spaciousness. “The service area was taking up half the living space, potentially making the apartment smaller and creating a strong feeling of oppression,” shares Studio Adjective’s co-founder and Design Director Wilson Lee. Interior walls were removed and rearranged to incorporate a guest bathroom and dressing corner as requested by the client. The design also considers the client’s interest in Chinese architectural aesthetics and tea drinking. Specifically, Lee was inspired by the building principles of the siheyuan – a historic dwelling found throughout China that generally comprises a complex of rooms arranged around a courtyard, or layers of courtyards. A screen wall inside the gate is commonly positioned for privacy. Taikoo Shing Apartment Studio Adjective shelving dining details chair Taikoo Shing Apartment Studio Adjective kitchen bench In the Taikoo Shing Apartment, the kitchen and bathrooms are designed as ‘pavilions’ with overlapping clear and transparent layers to soften the boundaries between zones. “It also creates [increased] visual depth for the compact apartment without compromising functional needs,” says Lee. One enters the apartment into the living space with the dining on the right. A metal frame-and-glass partition loosely divides the teak-wrapped kitchen and dining area, while also storing tea-making equipment. “There’s no solid separation so one can view the tea-making process in the kitchen from the living area,” highlights Lee. The guest bathroom behind the dining table is demarcated by a structure of grey stone tiles and a screen of timber fins and fluted glass. Light penetrates the transparent shell, mimicking a lantern while providing additional illumination for the adjacent spaces. A light cove beneath this structure serves the same function in a neat, minimal way. Further in, the master bathroom is clad with metal and fluted glass. Light oak, found in the kitchen, echoes the wardrobes, platform master bed and cantilevering dresser – the latter of which aids in the creation of a feeling of lightness. Taikoo Shing Apartment Studio Adjective kitchen splashback Taikoo Shing Apartment Studio Adjective lighting on kitchen bench The varied material palette – grey honed marble flooring, stone-tile wall cladding and teak – was also influenced by traditional Chinese buildings. “We tried different gradients of grey in the space to deliver different textures and feelings when you touch [the surfaces].” Says Lee. The amalgamation of patterns and layers on the right side of the apartment contrasts with the more minimal living area, backed by the TV wall wrapped in dark, smoked oak, which Lee describes as “creating a flow between the living room and bedrooms, connecting the apartment horizontally while concealing the bedroom doors”. Typically, many would default to a white foil to create the illusion of space. Lee eschews that strategy for one that employs layers, contrasting light and dark planes, and the combination of materials in a fluid, bold manner, in order to enhance the spatial quality of the tight space. The result is a home that offers many points of interest and an intimate ambience that works with, not against, the original spatial structure. Studio Adjective adj.com.hk Photography by Studio Adjective Taikoo Shing Apartment Studio Adjective lighting skirting timber battens textures Taikoo Shing Apartment Studio Adjective corridor space efficiency Taikoo Shing Apartment Studio Adjective bathroom screens Taikoo Shing Apartment Studio Adjective vanity details stone counter Taikoo Shing Apartment Studio Adjective cupboards Taikoo Shing Apartment Studio Adjective dressing table We think you might also like this Warehouse by Lim+Lu.abc
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What Makes A Design Influencer?

How does design change our world for the better? In 2017 the INDE.Awards launched The Influencer category, to celebrate products and projects that represent leading examples of design that impacts the Indo-Pacific region, and its people, in positive and lasting ways. The Influencer demonstrates how progressive design can improve the world through a special focus on people’s needs. Here are three influential projects that are distinctive in concept and purpose, and have demonstrated real outcomes as a result of their design.

1. Microlibraries by SHAU

Microlibraries by SHAU.

Microlibraries by SHAU.

Described by the INDE.Awards 2018 Jury as a project that “brings imagination and innovation to a crucial educational challenge”, Microlibraries are a series of public library projects. These were initiated by architecture and urbanism practice, SHAU, in 2015 in Bandung, Indonesia. SHAU sees Microlibraries as a design laboratory to test ideas about community, materiality, construction, sustainability, typology and small-scale building. The practice’s scope in each Microlibrary project goes beyond that of typical design consultants. This includes conceptualisation and realisation, as well as securing project funding, sites and various city administration requirements. In addition to winning The Influencer from INDE.Awards, the Microlibraries have expanded to three more locations. Read more here.   2. Century of Light by FARM
Photo by Studio Periphery.

Photo by Studio Periphery.

The aim of Century of Light (conceived by FARM for the National Gallery Singapore in 2017), was to challenge the way we perceive art in an art gallery. Why not appreciate the space itself, just as much as the artworks? A quasi-exhibition behind an exhibition, the sprawling project uses colour and geometry to make the gallery itself as worthy of attention as its contents.
Photo by Studio Periphery.

Photo by Studio Periphery.

“Exhibition design in general, and especially so for such a show with visually powerful and important fine art pieces, has to tread a fine line between designing for the space and allowing ‘space’ for the artworks to breathe and shine through,” says FARM. “Although it’s important for the design to be as ‘invisible’ as possible, it should also add an additional layer to the quality and ambience of the space.” FARM has employed arches to frame and re-frame key artworks and guide the visitors’ orientation. “Using the simply archetypal archway, we warped and skewed its geometry and form to create something unfamiliar, yet refreshing.” Century of Light was shortlisted for The Influencer 2018. Read more here.   3. MPavilion by OMA Australia
Photo by Timothy Burgess.

Photo by Timothy Burgess.

MPavilion, initiated by the Naomi Milgrom Foundation, is a temporary pavilion structure commissioned to an architecture studio to encourage design debate and cultural exchange. MPavilion by OMA Australia took up residence in Melbourne’s Queen Victoria Gardens (summer 2017-2018) as a design and cultural laboratory. The pavilion played host to a series of talks, workshops, performances and installations. The brief aimed to create an architectural space and container of ideas incorporating the highest level of design thinking, innovation, experimentation and engagement for Melbourne. MPavilion acted as a centrepiece for a free public program of cultural events and activities; it stimulated tourism and visitation to Melbourne. After its initial season, the temporary pavilion was gifted to the people of Melbourne and relocated to a permanent site.
Photo by Timothy Burgess.

Photo by Timothy Burgess.

Beyond the design, the MPavilion commission is a thought-leadership initiative – a risk-taking, experimental, and innovation space showcasing different approaches to design and architecture. Read more here. Want to see more Influencer projects? Explore the 2018 Shortlist for The Influencer.  

Enter your project or product into The Influencer category now

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Close To Nature: Tree Houses In Australia

There is something magical about having a hideaway amongst the trees. As children, tree houses were fantastical places of escape and imagination. As adults, tree houses are peaceful places of sanctuary and retreat. Set amongst Australia’s native bush and trees, these five tree houses embrace their natural surroundings, offering a private paradise within a leafy wonderland.  

Bush House, Archterra Architects, Western Australia

Located in an existing clearing within remnant jarrah-marri bushland, Bush House in Western Australia is a tree house evokes the feeling of camping beneath a tarpaulin. Rooms face north to take advantage of the sun, except the main bedroom. “It faces the southwest views and enjoys spectacular sunsets filtered through the vertical trunks of the surrounding tree canopy,” says Paul O’Reilly of Archterra Architects. The roof pitches upwards to the north to provide a view of the sky and treetops, and two decked areas provide alternative ways to experience the outdoors. The covered deck to the east provides protection against rain and sun, while the open deck to the north allows for winter sun and star gazing. Corrugated steel and timber speak to the Australian “shed” vernacular. A rammed earth wall extends indoors and out; recycled jarrah decking is milled from large dismantled warehouse roof beams; and Australian Hoop pine plywood ceilings continue outside to the decks and eaves to accentuate the indoor-outdoor feeling. Bush-HouseArchterraArchitectsTreeHouse_landscape [gallery size="large" ids="85284,85277,85278,85282,85283,85281"] Photography by Douglas Mark Black Archterra Architects archterra.com.au    

Tent House, Sparks Architects, Noosa

Tent House is located down a winding bush track in a pocket of rainforest clearing in the Noosa hinterland. “It acts as a threshold between the constructed world and that of the clearing, a place remnant of early settlement in the region; a camp,” says Dan Sparks of Sparks Architects. Views of the sky help the house feel light and open rather than confined by the northern wall of 40-metre-tall tropical trees. However, this scale and density of vegetation reduces winter sun penetration and creates a micro-climate within the limited clearing. The design pairs a long one-room-wide insulated box with a tent-like cover to cater for cooler and warmer months. All rooms face north for views and winter solar gain, with the doors, windows and roof sliding open for light and ventilation. With the roof open, the tent provides a translucent layer. And with the doors and windows open, the forest wall becomes another architectural layer. “A dual mode of habitat is achieved: an enclosed and sheltered mode, and the other open and expansive allowing a direct relationship to their natural surroundings,” says Dan. Tent-HouseSparks-ArchitectsNoosaTreeHouse_tentshade [gallery size="large" ids="85302,85304,85301"] [gallery columns="2" size="large" ids="85305,85300"] Photography by Christopher Frederick Jones Sparks Architects sparksarchitects.com     

Ozone House, Matt Elkan Architect, Sydney

Ozone House by Matt Elkan Architect was carefully designed around existing trees to ensure none were removed in its development. Located down a long driveway in Freshwater, Sydney, Ozone House is built on the footings of a dilapidated cottage formerly on the site in order to preserve the mature angophoras and sandstone rock shelves. The form of the house steps in and out amongst the trees and narrows in the centre to make way for an angophora. This central area with kitchen and dining room bridges the two ends of the house and serves as the main gathering point for family and friends. The timber and steel frame is clad with vertical weatherboards and batten-jointed fibro, and many of the external finishes are used internally. “Simple, humble materials were used for their association with basic beach cottage construction, Japanese minimalism and tropical Australian architecture, and deliberately give the house a low-tech feel,” says Matt Elkan. Ozone-HouseMatt-Elkan-ArchitectTreeHouse_yard [gallery size="large" ids="85290,85291,85285,85288,85287,85286"] Photography by Simon Whitbread Matt Elkan Architect mattelkanarchitect.com.au    

Taringa Treehouse, Phorm Architecture, Brisbane

Taringa Treehouse is a weekend retreat in the Brisbane backyard of a couple who enjoy spending time gardening, looking after their ducks and basking in the sun and shade. “The Taringa Treehouse is designed to offer a different mode of living within the site,” says Paul Hotston of Phorm Architecture. “Like an adult cubbyhouse climbing up into the branches of the tree gathering the filtered light and childhood experiences.” The building is carefully sited and has a restricted footprint so as not to consume the backyard. It nestles into the back of the property, with a thin wedge slicing along the side boundary. The internal spaces and courtyard are oriented to a large deciduous tree. Each side of the building is different in materials and detailing. Metal on the western face manages the afternoon sun; a translucent screen on the southern face allows views of the neighbouring forest; and the east-facing hypotenuse accentuates the shadows cast by the tree. TaringaTreehousePhormChristopherFrederickJonesTreeHouse_climb [gallery size="large" ids="85297,85298,85294,85295,85299,85296"] Photography by Christopher Frederick Jones Phorm Architecture phorm.com.au    

Treetop Studio, Aileen Sage Architects, Sydney

Treetop Studio in Paddington, Sydney, is a creative space for a writer and musician. Sitting above an open carport, the gabled studio offers a peaceful environment amidst the dappled light and branches of the tree canopy. The clients engaged Aileen Sage Architects to create an inspiring light-filled place to work. Set at the back of the property, the carport and studio are separated by a courtyard from the main house. “The form shifts and skews towards the front terrace house creating a playful and unexpected structure of layered angles and reflections,” says Isabella Toland of Aileen Sage Architects. A red steel-plate stair leads from the carport to the studio, where birch ply provides a light and natural environment. The studio faces back towards the house with views through the timber-batten screens creating the sense of sitting amongst the trees. AileenSageMaryStStudioTreeHouse_interior [gallery columns="2" size="large" ids="85275,85274"] Photography by Tom Ferguson Aileen Sage Architects aileensage.com   We think you might also like this Home Among The Peppermint Trees by Meaghan Whiteabc