The second showroom opening in under a year, Living Edge is committed to holding its position as one of the leading suppliers of designer furniture and lighting across Australia. More over, the brand is showcasing its dedication to the architecture and design industry not simply in the brands and designs it brings to our shores, but also the spaces in which these globally revered designs sit.
Designed by Bates Smart and located in Richmond, Living Edge Melbourne showroom shows its understanding of a new immersive shopping experience architects, designers and design consumers are increasingly expecting.
On display is a curated collection of furniture and lighting by world-renowned brands, including Herman Miller, Walter Knoll, Vitra, Muuto, BD Barcelona and Tom Dixon – the latter a recent addition. Each pocket of the showroom is a respectful coming together of Living Edge’s distinct visual identity and that of each particular brand. Each brand exists in harmony with another.
“Melbourne has always had a creative spirit with a thriving architecture and design community that’s world renowned,” said Aidan Mawhinney, CEO of Living Edge. “We were inspired to create an inviting and authentic showroom experience that would meet the needs of the growing industry and provide the ultimate platform to showcase our iconic collection that’s focused on authentic, sustainable and conscious design.”
For the special opening event, 400 guests gathered in a carpark transformed into a botanical haven, complete with hanging installations by Big Leaf Boutique from Byron Bay surrounding the new Tom Dixon Melt Copper lighting range.
An inspired menu was provided by Ed Dixon Food Design and complemented by a Colonial Brewery beer truck and flowing Chandon. Upstairs the new commercial showroom space offered Gundog Estate wine tasting paired with matching local cheeses from Harper and Blohm.
Living Edge is located at 650 Church Street, Richmond.
livingedge.com.au
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“Melbourne has always had a creative spirit with a thriving architecture and design community that’s world renowned,” said Aidan Mawhinney, CEO of Living Edge. “We were inspired to create an inviting and authentic showroom experience that would meet the needs of the growing industry and provide the ultimate platform to showcase our iconic collection that’s focused on authentic, sustainable and conscious design.”
For the special opening event, 400 guests gathered in a carpark transformed into a botanical haven, complete with hanging installations by Big Leaf Boutique from Byron Bay surrounding the new Tom Dixon Melt Copper lighting range.
An inspired menu was provided by Ed Dixon Food Design and complemented by a Colonial Brewery beer truck and flowing Chandon. Upstairs the new commercial showroom space offered Gundog Estate wine tasting paired with matching local cheeses from Harper and Blohm.
Living Edge is located at 650 Church Street, Richmond.
livingedge.com.au
[gallery size="medium" ids="99473,99474,99475,99477,99478,99479,99480,99481,99482,99483,99484"]
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Brick Kiln House by Made In Earth
For Shruthi, rammed earth is the clear ecologically-friendly construction method that does not harm the surrounding ecosystem and can be easily adaptable to cold and hot climates through simple modifications of the basic material composition; such as additional insulation to make rammed earth more appropriate in cold climates. “While there is no dearth of curiosity, many are concerned with the strength and durability of earth as a construction material,” notes Shruthi about the misconceptions of utilising the technique in the native country of India where Made In Earth primarily operates.
The firm’s four founders, brought together by their mutual commitment to making buildings built with natural materials desirable, durable and accessible, are pioneering the use of rammed earth in contemporary expressions that are both elemental and eco-friendly, with a drive to make the technique accessible, both culturally and economically.
As some limitations to the use of the technique persist to the present day, firms like Made In Earth are discovering a realm of possibilities for rammed earth applications through experimentation and innovation driven by their conviction in the sustainable and cost-effective advantages of the technique.
Ochre House by Made In Earth
With clay-rich soil, water and natural stabilisers such as bitumen the main ingredients in rammed earth composition, the availability of materials locally can bring the transportation and construction costs down, making it an attractive choice of building material in cities and regions where other materials may not be easily accessible. Other clear advantages include the insulating properties acquired via the thick sturdy walls constructed with the rammed earth technique that can create comfortable indoor conditions in hot climates and regulate indoor humidity.
With their significant thermal mass, rammed earth walls can keep a home cool during the daytime without the help of air conditioning, while additional insulation can improve the warmth of a house in cold climates, reducing the energy bill by using only one-third as much energy as a conventional home. Rammed earth’s high resistance to fire and rodents also makes the technique favourable from small to large-scale construction applications.
Having built with rammed earth for years, Made In Earth continues to utilise the technique in specific conditions of the studio’s projects, challenging the misconceptions that the technique is inferior to the more traditional building materials. “There is no need to make it relevant in this part of the world [India], but there is a need to experiment more with it, to build more with it, and to bring a freshness to the kind of architecture that we make with it,” says Shruthi about the constant process of innovating by learning and improving the technique.
Interior of Ochre House by Made In Earth
The slew of rammed earth projects in Made In Earth’s expanding portfolio is a testament to the versatility of the construction method in residential and commercial applications. With the studio’s projects including a built-by-hand school, a denim research and design studio, and a cosy private residence, it is popularising rammed earth construction at sites where other techniques such as cob and compressed earth blocks are not possible due to challenges of space and time.
Such is the case for one of the firm’s latest residential projects, Ochre House, where Made in Earth used rammed earth to build a three-storey high residence with load-bearing rammed earth walls and natural finishes to create a sustainable solution on a compact site in West Bangalore.
“Rammed earth construction was a very relevant technique to adopt due to the compactness of the site and challenges of working within a city,” explains Shruthi. “The soil of Bangalore gives the typical red shade to the walls.”
Similarly, the firm’s other rammed earth projects unveil site-specific, sustainable solutions that revolve among locally abundant materials. Shruthi brings up another recent example: “In one of our projects, there was an excess of soil excavated for the foundation but not enough to complete all the rammed earth walls for the project. Therefore, we decided to combine it with other local sources of soils to make layered rammed earth walls.”
Aditi Organics Office by Made In Earth
Though still facing the challenges of limited skilled labour knowledgeable in rammed earth construction, Made In Earth is continuing to build capacity within their internal team by diving into construction sites, testing out new techniques and training their mason teams. Currently working on a large college campus (Samvada Baduku Community College), the team hopes to popularise rammed earth construction beyond its reputation as a niche technique.
Says Shruthi: “We hope to become a vector for reinforcing and nurturing the bold future of earth in architecture and look forward to building more and more public spaces, schools, colleges, hospitals as landmarks for people to discover these construction alternatives as viable and desirable options for all.”
Made In Earth
Aditi Organics Office by Made In Earth
Little Green Cafe by Made In Earth
Indigo Lab by Made In Earthabc 
From its base in Spain, architectural surface manufacturer Cosentino has been at the forefront of this ever-evolving design and development process. Adopting a ‘think global, act local’ mindset, the family-owned company are continually hot on the pulse of macro-scale technological advances as well as local interior design and aesthetic trends.
Among the latest and greatest of Cosentino’s products to be introduced to Australasian shores is Dekton Slim: an inimitable range of ultra-fine profile surface solutions. Specs-wise, it could very well be the holy grail of surfaces, measuring 4-millimetres in thickness and weighing in at 10-kilograms per square metre, without sacrificing on durability.
Making its debut to market in nine classic colours, Dekton Slim can be imagined in any flavour of minimalist interior, no effort needed. Varying from indulgent to industrial in aesthetic, Dekton Slim surfaces are perfect for cladding, furniture, and joinery applications in either an indoor or outdoor space.
Dekton Natural Collection emulates the elegance and beauty of natural stone with a faithful reproduction of the veining formed by geological processes. Kelya offers a dark shade, presenting like black marble with soft veins. Opera is inspired by elegant Carrara marble, while Kovic is inspired by natural stone with veins in clear grey over a neutral background.
Dekton Industrial Collection is ideal for modern, contemporary and industrial-style settings. Inspired by classic concrete flooring, Kreta has a calm appearance with a uniform and restrained design and a background that smoothly blends dark and light grey. Sirius from the Dekton Solid Collection provides a strong, simple surface with a solid black, leather-like finish.
With Cosentino looking to build out the Dekton Slim range of architectural surfaces and finishes to eventually include a variety of special edition colours, this doesn’t end here.
Cosentino
“You don’t need to justify your ideas ... This can be both good and bad, as the process of articulating an idea allows it to develop. So I tasked Charlie to be rigorous in her critiques,” adds Terry.
The couple decided to add a contemporary pavilion that is strongly connected yet distinctly separate to the existing heritage dwelling.
The new Albert Villa embraces views of the area, ensuring a beautiful outlook to Mount Coot-tha to the west. It also contributes positively to the aesthetic of the street, working with the unusual three-street frontage of the site, while maximising living spaces in what is a small site.
The scale of the home has been considered in relation to other taller buildings in the neighbourhood. Terry was conscious of ensuring Albert Villa doesn’t look too small in its location. And the new design literally stops people in the street, with impressed passersby sharing positive feedback with Terry and Charlie.
One of Terry’s favourite features is the landscaped central courtyard; their own urban oasis was important. “It’s lush and green and gives the sense of a backyard, it's pretty special.”
However it is arguably the varying shapes and spaces that make this project so unique and the home so liveable – from the angular modern forms of the pavilion to the original style of the front verandah, to the breezy outdoor connection between old and new buildings, and the fact that when you cook in the kitchen with the windows open, the homeowners feel as though they are outside enjoying a barbecue.
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Launching with the Place shelf in July 2018, Waltz’ budding collection has since expanded to include the Place hook and Ceremony range of candle and incense holders. Perhaps an ode to Surya’s inclination toward function over form, Waltz’ aesthetic is streamlined, minimalist and timeless. Meanwhile Lindy’s desire to design for longevity is apparent in Waltz’ mindful choice of robust and recyclable materials such as stainless steel, sheet metal and brass.
Each Waltz product has been inspired by a genuine need of Surya or Lindy’s and performs its own unique function, while as a collection they are connected by a shared sense of purpose; to contribute positively to the lifestyle of the people that use them.
For instance, the Place hook and shelf are designed to keep the things you need close at hand, or perhaps showcase those items to which you have a deep connection. Meanwhile the Ceremony range serves as a reminder to slow down, take some time for yourself and to honour the everyday.
It’s important to Lindy and Surya that they strive to keep well-designed, Australian-made products accessible and affordable. Staying true to this virtue means Waltz manufacture locally in small batches and products can only be purchased directly from their online store. And with no desire to be driven by trends or to enter mass-production, the plan is to keep things that way.
Lindy and Surya continue to practice in their respective fields and look forward to growing their Waltz offering organically over time in response to any needs that arise in their home life, their studio, and their family.
Waltz
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Ironically, in its demand to be seen, the façade serves the dual function of ensuring things are not seen. There for much more than aesthetic impact, the perforated metal screens of the façade provide guests with privacy and sunshade during the day.
“This dual-function approach is always a high priority for Wallasia, at once addressing design issues while maximising space,” says the architect. The awning suspended from the height of the first floor is another example of this in practice. Doubling as a reservoir for wastewater it contributes to the passive solar design of Oui J’aime Hotel while offering guests a tranquil pond view from the rooms above.
Likewise, the trees inset into apertures in the building’s façade and walls enhance the sense of space internally while bringing elements of biophilia into the design and maintaining guests’ privacy.
Oui J’aime Hotel is the result of enlightened solutions and meticulous planning on behalf of Wallasia. In responding to spatial restrictions and unconventional site dimensions, every element of its multitasking design does more than meets the eye.
Wallasia
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As a result, very little has been done to the exterior of the warehouse, with the bulk of the changes occurring internally. Fundamentally, the conversion seeks to retain all the industrial warehouse particularities, serving the client’s fundamental desire to live in a Redfern warehouse versus a Redfern house.
From a planning perspective, Ian leveraged the gridded layout of the brick piers supporting the existing trussed roof-space to apportion bedrooms and associated spaces. The lower level houses the garage, an equine laboratory, a self-contained guest suite and a landscaped, internal courtyard – complete with lap pool(!). As a result, the main house occupies the entire upper level. The removal of a single bay of roof at the northern end has allowed for a terrace off the living area, while the bedrooms are located at the southern end, with the bathrooms, a tv/study room and the laundry situated on the western side of the building.
Functionally and from a sustainability perspective, the house integrates a number of sustainability measures, all of which work cohesively to weather-proof the house. Hot water is supplied via evacuated tube solar heating on the eastern half of the roof, which also heats the pool. Solar panels on the western half of the roof provide power to the house, including an electric vehicle charging point in the garage.
“Rainwater is collected from the roof and stored in a tank in the garage for garden irrigation, toilet flushing and topping up the pool, and all north and west facing glazing is shaded by adjustable external aluminium louvres and all glazing is high performance glass,” adds Ian.
The large natural cork floor sheets (which include a grey solid colour pigment) are worth dwelling on, not only for their sleep concrete-like appearance, but inherent properties. They are soft underfoot, provide good acoustics (even when it rains), are cool in summer and warm in winter, and set the tone for the house’s restrained palette.
“The clients did not want to include any overly precious materials and finishes, so no marble or timber veneer,” explains Ian, which also explains the exceptionally white finish palette and stark overall aesthetic. (The clients also requested no black finishes.) Hence, all new steel elements are coloured in a similar grey to the flooring which also distinguishes from the original brick walls and white roof trusses, leaving the large-scale furniture pieces as the only splashes of colour in this carefully curated, yet surprisingly practical family home.
Ian Moore Architects
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