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Could Architecture Help Educate Kids On Urban Farming?

With the development and sprawl of urban areas, city populations have become disconnected from their primary food sources, especially as convenience is often prioritised over cooking. However, a growing movement of urban farming and food production is seeking to restore this connection with the development of farming in unlikely places and interactive ways. In Hanoi, Vietnam, Farming Architects has developed VAC-Library, an open-air library and solar-powered aquaponic system for children to learn about urban farming, sustainable food production and renewable energy. With koi carp, vegetables and chickens, VAC-Library is based on the small ponds and planters people in Hanoi have in their own homes.  

VAC-Library is based on the small ponds and planters people in Hanoi have in their own homes.

  VAC is an acronym of the Vietnamese phrase Vườn-Ao-Chuồng, an integrated agricultural production system that includes gardens (crop production), ponds (aquaculture) and cages (livestock and poultry farming). The self-sustaining ecological system is a popular production model in rural communities in Vietnam, using natural energy resources and recycling by-products and waste. “The aim is not only effective use of natural resources, but also experimentation in using different types of plants and animal,” says An Việt Dũng, founder of Farming Architects. “The knowledge gained with VAC experimentation is shared among neighbours, creating know-how through independent exploration.” Farming Architects designed and implemented the VAC system in an urban area in Hanoi, integrating it with a library to appeal to and encourage children to learn. The modular wooden structure with a solar-panel roof is adaptable to different urban sites and uses, with various elements slotting into the grid framework. “This customisation capability fits well with the cultural aspect of Vietnamese people’s do-it-yourself approach,” says Dũng. At VAC-Library, there are light boxes, vegetable planters and bookshelves, and children can climb on the structure, curl up in alcoves and sit on the concrete steps.  

At VAC-Library, there are light boxes, vegetable planters and bookshelves, and children can climb on the structure, curl up in alcoves and sit on the concrete steps.

Children can also learn from the VAC production system, which combines conventional aquaculture with hydroponics. Koi carp in the pond provide nutrients to the plants, which purify the water in return, and chickens provide eggs to eat and manure to fertilise the vegetables. Solar energy powers the system as well as the lighting. “Children come here to play together, read books and learn about this ecological model. The children will know that Koi fish are not only pets to watch, but also how their waste will be carried on the vegetable planters, how the water is supplied to the vegetables and then filtered back to the pond. The chickens which are raised in that cage beside will lay eggs and serve for meals, their excrement is also good for gardening,” says Dũng. Farming Architects farmingarchitects.com Photography by Nguyễn Thái Thạch; An Việt Dũng We think you might also like Sukasantai Farmstay by Goy Architects  

The modular wooden structure with a solar-panel roof is adaptable to different urban sites and uses.

Design Hunters

Remembrance Of Our Regional Hero

Born in Ipswich, Queensland in 1934, the architect and one-time jackaroo, Gabriel Poole has died at the age of 85. A man of great humility, Gabriel transformed not just architecture in Queensland, but in Australia, as he pioneered a ‘regional’ architecture which responded to the climate, materials and culture of its place, not to mention the specific character and needs of the people who would live and work in his buildings. Gabriel studied at Queensland Technical College and the University of Queensland. He worked for prominent Brisbane architect, Robin Gibson, before a stint in London and later in Sydney. But Gabriel's career was otherwise focussed on Queensland’s Sunshine Coast and he has been credited with establishing the informal Sunshine Coast ‘school’ of architects (celebrated in Peter Hyatt’s 2001 book, Local Heroes) which included Lindsay and Kerry Clare who worked with him before establishing their own practice based on similar principles. In the 1970s, Gabriel established his own practice, Atelier-Two-Designs, in partnership with John Mainwaring and together they explored the new regional architecture. Later, in the early 1980s, he established a private practice in partnership with his artist wife, Elizabeth, the Gabriel and Elizabeth Poole Design Company. Together they pursued an architecture of place – lightweight houses that integrated with their landscape and with minimal impact on the environment. Their work included developing flatpack pre-fabricated systems for units and other residential types. Gabriel Poole House, Lake Weyba In 1990, Poole’s Eumundi House won the RAIA Robin Boyd Award and the Queensland Chapter Queensland Innovation and Robin Dods Awards. In 1998, Poole was the RAIA’s Gold Medallist. In more recent years, the Pooles worked on low-cost, affordable and modular design, emphasising practicality and appropriateness in, for example, multi-generational housing and aged care design. Practicality and simplicity were always feature’s of Gabriel Poole's design. In an important respect, his practice was an ongoing research project with the aim of developing structures, construction techniques and employing materials appropriate for the climate and landscape, as well as serving the specific purposes of the building. However, the aesthetics were equally important. The houses of Gabriel and Elizabeth Poole were crafted as beautiful objects in the landscape. At the same time, though, they were also shelters – refuges for those who lived in them, generating meaning and sustaining life. We think you might also like Tess Pritchard House by Max Pritchard Gunner Architectsabc
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A Garden City Residence For The 21st Century

Baker Drofenik has brought new life to a red brick heritage house in Coburg, Melbourne. Located in Newlands Estate, a housing development informed by the principles of The Garden City, the house is part of one of the first large-scale housing projects of its kind in Australia. “The red brick is typical of the estate and formed an important part of our approach to adding respectfully to the existing modest house,” explains Baker Drofenik co-founder Sarah Drofenik. “The adoption of the recycled red bricks as the new external material allows the new building to connect with the original house and pays homage to the material feel of the larger estate.”  

“The red brick is typical of the estate and formed an important part of our approach to adding respectfully to the existing modest house.”

  The rear addition is separated from the existing house via a courtyard that not only acknowledges the integrity of the original house, but that also draws in valuable northern and western light into the new living, dining and kitchen areas. As a result, these newly formed primary spaces also enjoy a direct relationship to a garden, which includes an urban produce area with built up vegetable beds. “The existing house had a single living area to the front of the building which allowed little connection to the larger site. The new house reimagined the house as two distinct but interlocked elements,” Sarah elaborates. The architectural play on warm and intimate vs open and expansive is evident here in the physical and experiential distinction between the more intimate spaces such as the bedrooms and music room (complete with grand piano). In contrast is the light-filled, new living, dining and kitchen area. The new spaces feel like a peninsula within the larger site, underscoring the valuable amenity – both internal and external – that the extension has provided.  

Baker Drofenik has hit on a delicate balance between the original house and some contemporary flourishes.

  From a material perspective, Baker Drofenik has hit on a delicate balance between the original house and some contemporary flourishes. “As an architectural practice we look for simple and robust materials: brick provided this and complemented the exposed concrete floor and native Australian timber joinery and ceiling,” says Sarah. It’s also worth noting the positive client–architect relationship that underpinned this project’s outcome. “I believe that the owners valued good design and the contribution an architect could provide in sense of design and technical knowledge but also in leading them through the sometimes complex maze of council permits, builder choice and material and fittings selection,” says Sarah. “I think clients are often unaware of the benefits of the architects existing connections to builders, consultants and suppliers that can help facilitate a successful project.” Baker Drofenik bakerdrofenik.com.au Photography by Hilary Bradford Dissection Information Blackbutt Armourply by Big River Timber to internal walls and ceiling with Kunos Natural Oil finish by Livos Acorn Light by Northern Lights Platform Light by Inlite Deltalight One Linear by Inlite Oven, cooktop, and semi-integrated dishwasher from Miele Scala Tapware and accessories from Sussex Door Hardware by Designer Doorware We think you might also like House with a Tree Room by Studio Bright  

The courtyard draws in valuable northern and western light into the new living, dining and kitchen areas.

ARC - Feature

Neeson Murcutt Reframes The Past

We decided to wrap the place in landscape,” says architect Stephen Neille of Neeson Murcutt. In this case, a landscape that not only includes trees and plantings of flowering shrubs and creepers (such as the bougainvillea “borrowed” from the next-door neighbour) around three sides of the curtilage, but also the ‘wider context’ of Bronte’s pre- and post-war residential architecture. Landscape architect, Sue Barnsley, has in fact added substantial amenity to the public domain, especially to the cul-de-sac street that terminates in a delightful pocket park. This in turn becomes another example of the architects’ strategy of borrowing the landscape and drawing it inside the house. The street is part of an elevated bullnose formation affording the house a garden at its tip, beyond which is an unrivalled view down Bronte Gully to the Pacific Ocean beyond.  

The scale of the house remains consistent with its beachside neighbours, as do the white-painted brick and timber façades.

  It is this view and the roughly arrowhead shape of the site which has driven the planning of this re-configured and extended pre-war single-storey cottage. It is home to architects Rachel Neeson and Stephen Neille and their two children. Rachel had previously lived in Bondi and wanted to stay near the beaches, which also suited her all-year-round surfing husband and professional partner at Neeson Murcutt, Stephen Neille. The original cottage was entered from the ocean side and was of the railway carriage variety with a corridor down the middle and rooms off to either side on what is quite a deep block. The entry has now been shifted to the street, enabling what has become the living/dining space to celebrate the view through a bold feature window and its all-glazed companion door to the garden.  

The grand gesture which gives the house its name, Hole in the Roof House, is the creation of a courtyard by removing part of the original roof.

  This was part of an imaginative re-think of the original cottage to open it up and create refuge and prospect, a private yet light-filled home. The side street was walled off (apart from the front garden) with just a discreet entry door and the carport. The white-rendered wall is inflected by the timber entry door and the slightly extruded timber-framed windows of the kitchen and downstairs bathroom. Inside, the street can be observed from a generous lateral window in the kitchen and from the upstairs master bedroom. The addition element is a white-painted, two-level brick volume set back opposite to and overlooking the street side which on the ground floor provides a laundry and two bedrooms for the children. Upstairs is the magical master bedroom and ensuite, filled with light and enjoying splendid views into the front garden below and beyond to the ocean. The grand gesture which gives the house its name, Hole in the Roof House, is the creation of a courtyard by removing part of the original roof on the street side with a mature frangipani tree craned in to lend it some natural character. This becomes an extension of the living/dining space and serves as an outdoor dining and entertainment area, a handball court and an outdoor movie space – it even has a bath for outdoor bathing in summer. The scale of the house remains consistent with its beachside neighbours, as do the white-painted brick and timber façades, and its suggestion of the beachside shack. This is a house that seems to provide everything while never indulging in anything unnecessary. It has an easy, fluid plan with a variety of spaces, including the nooks and crannies of a true home. The fenestration is a delight and crucial to promoting both external and internal prospect with its constant variety of openings, including several generous feature windows, and a constantly changing edit of exterior views. The detailing and finishes somehow manage to look elegant and simple at the same time. Likewise, the house never loses sight of its origins in its scale and through its timber flooring and white-planked timber skin. The white and off-white palette is subtly enhanced by the odd accent such as the two dark-stained Disa pendant lamps in the living/dining space, and extruded dark timber window and sliding door frames.  

This is a house that seems to provide everything while never indulging in anything unnecessary.

  There is also very satisfying detailing including discreet storage solutions (including use of the roof cavity), the subtle change in floor level for the kitchen, and the pivot door separating the living-dining space from the corridor leading to the private spaces. This is especially true of the windows. Here the architects developed what Stephen calls “flippers” – vertical slot openings with pivoting solid timber panels and flyscreens to provide insect-free ventilation, thus allowing generous, frame-free, non-opening windows to enhance the sense of connection with the outside landscape. There is an easy and restrained delight to this house with its combination of privacy and connection to its urban beachside context. It has grace and elegance that, unsurprisingly, is also discreet and unostentatious. Neeson Murcutt neesonmurcutt.com Photography by Brett Boardman Dissection Information Solid Tallowwood floorboards Bowral brick in Charolais Cream Sycon clad walls painted in Natural White Timber window frames by Acacia Joinery Maxi-ply and laminex kitchen joinery with stainless steel Flokati rug and dining table Ant dining chair by Arne Jacobsen for Fritz Hansen Artek stools, daybed and coatrack by Alvar Aalto Thonet B9 occasional chair by Le Corbusier Tio Series outdoor dining table and chairs from Mass Productions Disa pendant lamp by José Antonio Coderch AJ Floor lamp by Arne Jacobsen from Louis Poulsen Other pendants from Muuto and TILT Oven from Smeg Dishwasher from Miele Refrigerator from Fisher & Paykel Kitchen tapware from VOLA Washing machine and dryer from Miele Shower, mixers and bathroom tapware from Brodware Ceramic basins from Laufen We think you might also like this Design Hunter profile on Rachel Neeson, of Neeson Murcutt abc
Design Products
Fixed & Fitted

Concrete Nation Takes The Edge Off

One look at Concrete Nation and their basins, vanities, and freestanding baths and it’s easy to see why the handcrafted concrete pieces are coveted by architects and interior designers hailing from near and far. Based in Queensland’s Burleigh Heads, Concrete Nation is a collective of artisans, and concrete is their craft. Their specialty is custom-crafted concrete architectural fixtures, fittings, and furnishings that are the epitome of industrial chic. Offering an exclusive range of ready-to-order pieces as well as bespoke collaborative creations, the material reaches its full potential in the hands of Concrete Nation. The latest pieces to be added to the collective’s ready-to-order range are the Valencia freestanding bath and the striking Pod Collection of basins. Meticulously designed to fit two people and weighing in at a featherlight (in concrete terms) 180-kilograms, the new Valencia Bath is 100-kilograms lighter than Concrete Nation’s iconic Oasis Bath – which has been featured in a slew of award-winning architectural homes. “The popularity of the Oasis Bath has been overwhelming,” says Concrete Nation’s co-founder and General Manager, Kate Lett. “But we also wanted a freestanding bath that had a softer feel with more streamlined edges and double-ended so two people can enjoy a relaxing, luxurious bath together. We are so proud of the end result and have just shipped one of the first Valencia Baths off to St Tropez, France.”  

“We have just shipped one of the first Valencia Baths off to St Tropez, France.”

  Designed by Concrete Nation’s master craftsman Jason Lett and his team of artisans, the Pod Collection was inspired by the demand for powder-room/small space suitable variations of the brand’s much-loved Pod Basin. Featuring four bespoke designs – Core Pod, Rosa Pod, Luna Pod and Aura Pod – the Pod Collection is available in Concrete Nation’s 15 signature hues including dusty pink, nude, snow white and deep ocean. “For the past year, clients were constantly asking for our Pod Basin but in a smaller size as most powder rooms are tight on space,” says Kate. “We also love the softer, more rounded shapes and curves in the design space right now and wanted to create a Pod with curved edges to soften a space and inspire effortless flow in a room.” Concrete Nation’s handcrafted concrete pieces can be purchased online; through their head office; or through selected suppliers across the globe. Concrete Nation concretenation.com.au Photography by Jessie Prince We think you might also like Artedomus' Brisbane Showroom, Il Bosco  

The Pod Collection was inspired by the demand for powder-room-suitable variations of the brand’s much-loved Pod Basin.

Around The World
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Good Things Take Time

Going against the grain of designing and building a house for a houses’ sake, Kate and Daniel Sullivan – partners in life as well as their practice, Architects’ Creative – embarked on this project for the sake of doing some hands-on work together. It all began eight years ago. Architects’ Creative was in its infancy, and Kate and Daniel – pre-children at the time – were wanting for a side project. Be it fate, luck or just good timing, it was then that a dilapidated c1940s cottage happened upon Christchurch’s property market. “The appeal was instant as it presented an opportunity for us to apply our design philosophy: don’t move, improve,” Kate and Daniel recall thinking, in light of its derelict condition.  

Architects’ Creative have rescued a rare still-standing piece of Christchurch’s architectural heritage and elevated it to meet modern living expectations.

  Savouring in the design and renovation process, Kate and Daniel approached the project in two stages, and with not a hint of haste. Over nearly eight years, work on 8m House happened when time was not needed working on client projects, running their practice, starting a family, or the occasional surf. As if all that weren’t challenge enough for them – as individuals let alone as a couple – Kate and Daniel lived in the house throughout all but six weeks of the renovation. Not many, if any, relationships would survive a test like this, least not build a house in the process, making 8m House an even more marvellous feat. As painstakingly prolonged as the journey to the rejuvenated 8m House may have been, it was well worth the wait. With design for longevity and sustainability front and foremost of this renovation, Architects’ Creative have rescued a rare still-standing piece of Christchurch’s architectural heritage and elevated it to meet modern living expectations and best practice design standards.  

A material palette of concrete and aluminium for the exterior has been selected in respect to the original structure.

  Working within the existing volume’s footprint, the only addition made to 8m House is the humble vertical extension that now comprises the main bedroom and ensuite. Downstairs, the programme has been reconfigured around the modern-day heart of the home; the social kitchen. A material palette of concrete and aluminium for the exterior and concrete, rimu, travertine, larch, and brass for interior spaces has been strategically selected in respect to the original concrete structure, the coastal environment, and materials that will age gracefully. The resulting spaces of 8m House are evidently the fruit of a labour of love – Kate and Daniel’s love for each other, their family, their craft, and the environment that surrounds them. Architects’ Creative architectscreative.co.nz Photography by Sam Hartnett Dissection Information Existing rimu timber floorboards Travertine natural stone tiles in light silver Siberian Larch cladding from Tongue n Groove Black stained American white oak veneer kitchen cabinetry by Prime Panels Stained teak veneer library cabinetry by Prime Panels Aged brass bench top and splash back Braid Weave rug from Armadillo & Co Noughts Weave rug from nodi Integrated fridge and dishwasher from Fisher & Paykel Oven and warming drawer from Miele Custom designed range hood from Ventech Tapware from VOLA Vero basins by Duravit Shower and bath by Duravit We think you might also like Paddington Terrace by Porebski Architects abc
What's On

There’s Been A Slight Change Of Plans

As you’re no doubt more than aware, recent world events are putting us all in a position to rethink the way we host and attend events. With Saturday Indesign on the horizon, we have been thinking a lot about how best to ensure that we can go ahead with a great event while making sure that everyone is kept safe during this pandemic. After much consideration, we have decided to push back the original date for Saturday Indesign from 20 June to 29 August 2020. Aside from the change of date, everything else will remain the same, if not better. In August, Saturday Indesign will be full of inspiring discussions and installations, the latest products, all with the same unique free-flowing showroom-based format.

The Silver Lining

While we have moved the date for Saturday Indesign our other platforms continue to thrive, Habitusliving and Indesignlive (AU/HK/SG) traffic is up almost 30 per cent in visitors from this time last year. This shows that while the industry across Australia is self-isolating, now more than ever is a time when the community is looking for connection and knowledge. While moving the date is sad news for so many in this industry wanting to attend and participate in Saturday Indesign we believe that with this change of date this will be the perfect event for our community to come back together after these difficult times. We see this as an opportunity to refine and improve an event that is already the most unique on the calendar. If you’ve got questions, feedback, ideas, let’s talk! Reach out to the team at info@saturdayindesign.com.au. Saturday Indesign saturdayindesign.comabc
Design Hunters
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The Secret Lives (And Private Collections) Of Art Addicts

There are some things in life that seem to transpire to certain people, as though they are hardwired for the happenstance – addiction is one of them. And an addiction to art is no exception. Lindsay Clement-Meehan, a corporate communications professional, was just fresh out of university when she had her first taste. “My first artwork was acquired about 12 years ago to mark my first job out of university,” she shares, “but then there was a very big break until about five years ago when I started to follow galleries on Instagram to try to acquaint myself with local artists.” Robert and Patricia Postema confirm that this is indeed a tale as old as time. For them, “it started small with sporadic acquisitions and, as is seemly often the case, became a fully-fledged addiction over time,” the Sydney-based professional couple recalls.  

“Buy what you like and don’t worry about what others think.”

Lindsay Clement-Meehan with pieces from her personal collection exhibited at Shapiro Gallery, Chippendale For others, the addiction has its origins in the workplace. Nicki Townsend started collecting in her early twenties while working part-time for a commercial gallery in Glebe. “The first exhibition I was involved in was the first exhibition for the artist Wendy Sharpe,” she muses, “I brought a work on paper from the show which took me several months to pay off. That was the start of my addiction.” Today, Nicki cannot fathom her life or home without art. “Art is an essential part of our day to day life. It is the soul of our home, floor to ceiling,” she professes. Richard Perram and Stephen Cassidy have long lived, breathed, and worked in the world of art and design. As such, they take their collecting quite seriously. “[We both] have had careers intrinsically linked with the creative arts including visual arts, design and architecture,” Richard and Stephen share. The latter has spent the last 26 years working for esteemed international designer furniture and architectural design product importer, dedece, meanwhile the former’s long and varied career in the public arts sector saw him awarded with an OAM in 2014 for services to the visual arts.  

Richard Perram and Stephen Cassidy have long lived, breathed, and worked in the world of art and design. As such, they take their collecting quite seriously.

Around the Corner 1 (2019), Charles Nodrum Suffice it to say that the arts play a very big role in both Richard and Stephen’s lives. So much so that the couple’s apartment – part of the award-winning Moore Park Gardens development designed by Alan Jack + Cottier – underwent a substantial redesign about ten years ago for the sole purpose of making it a space in which their extensive art and design collection could be done justice. Richard and Stephen aren’t the only ones to have had their home redesigned for the sake of creating the perfect backdrop for their art collection. The Postemas (Robert and Patricia) purchased a terrace in Paddington about four years ago that was in dire “need of TLC,” as they describe, but ticked their boxes in terms of having plenty of wall space for hanging art and being in a vibrant location. While the exterior of the terrace retains the house’s heritage character, “we adopted the ‘European approach’ to modernising the interior to create a ‘white cube’ gallery feel,” Robert and Patricia describe. Like a blank canvas, the stark white interior spaces enable their collection to speak for itself.  

“Bringing your passion and politics into your collecting decisions really creates a stronger affinity with the work.”

Ultrapilgrim (2012), Juan Ford And speak for itself it does. “We are attracted to works that have something to say or convey about contemporary life,” say the Postemas “we especially like Ultrapilgrim by Juan Ford for its representation of the millions of people on the move globally and the baggage of modern life that we all carry around as a burden.” Not to mention the photorealism of Juan’s masterful use of light and the tongue-in-cheek nature of the faceless ‘self-portrait’. Though there is no one-size-fits-all when it comes to artistic preference – in fact, Robert and Patricia’s number one piece of advice for any collectors in the making is: “buy what you like and don’t worry about what others think, you are not collecting for them” – collecting pieces of social/political commentary seems to be a common thread amongst these art addicts. “I don’t look for anything specific,” shares Nicki, yet often finds herself “drawn to works that use wit to convey social/political commentary.” Similarly, Lindsay professes, “I think bringing your passion and politics into your collecting decisions really creates a stronger affinity with the work.” Personally, Lindsay – herself the epitome of a strong, independent, successful woman – is proud to be able to say: “I have supported some really exciting women who are doing incredible things in their careers.” ReSister (2017), Jemima Wyman Another piece of wisdom passed from one ‘fully-fledged’ art addict to a budding one is to research, explore and discover. “Go to exhibitions on a regular basis – it will help you hone your eye to what speaks to you,” says Nicki, “when you can, listen to artists’ speak about their practice. Buy what you love. Trust yourself and enjoy the journey.” Although much of Art Month Sydney 2020 has been called to a halt in light of the current social climate, speaking to Stephen, Richard, Nicki, Robert, Patricia and Lindsay has certainly in some less than small way given us the art dose we craved. The Collector's Space exhibition will be on display at the Shapiro Gallery, Chippendale, until March 28. Art Month Sydney artmonthsydney.com.au Images courtesy of Art Month Sydney We think you might also like this Design Hunter profile on Studiopepe abc
Design Products

The Undeniable Appeal Of A Freestanding Bathtub

Distinguished, classic and always elegant, a freestanding bathtub can be the final piece in completing the look of a contemporary bathroom. Functional and stylish while also raising the value of the entire home, freestanding bathtubs are the bathroom design piece that never goes out of style. The freestanding bathroomware from Antonio Lupi includes a range of bathtubs, as well as matching freestanding sinks available in styles, shapes and sizes to suit any home.  


Mastello, designed by Mario Ferrarini, is an ergonomic freestanding bathtub that is stylish and functional to a tee, thanks to the comfortable integrated seat and edge that rises gently towards one end of the tub. [gallery type="rectangular" ids="100125,100124"] While politely small in size to suit the constraints of modern living, Mastello can actually accommodate people up to 195-centimetres tall. A micro oasis of relaxation for everyone with a well-being guaranteed – all within the stylish designer pleasure of a freestanding bathtub. Designed using Antonio Lupi’s Flumood material – composed of a hard-wearing mix of aluminum hydroxide and synthetic resins – the freestanding bathtub is designed with fluid lines, soft shapes and candid surfaces that develop without interruptions. The Mastello freestanding bathtub perfectly accompanied by a series of Antonio Lupi accessories…  


Born in with a Carrara marble and then realized in Flumood, the Paolo Ulian designed freestanding sink Plissè is the perfect partner to any freestanding bathtub. The deep thicknesses of marble is an eye-catching feature of the basin, with its waterjet cutting through the design in a pleasing fashion. With aesthetics based on the spontaneous beauty of imperfection, irregularity of rhythm, and of randomness, this is a basin where light and shadows play with the design, resulting in a design that is as stylish as it is functional.  


Vitreo is a single Cristalmood block that seamlessly expresses all the elegance of the material and the classic geometry of the sink shapes. A decagonal shape, the characteristic design of the sink does not fight with the leading role of water, rather enhances it. Available in 10 colours, Vitreo can suit any contemporary bathroom aesthetic and thanks to the Cristalmood material, no two sinks will ever be identical thanks to the slight differences in colour, size, and thickness of each build.  


Perfect geometrical shapes have always been popular in interior design, and antoniolupi’s Circus mirror reflect that – literally. The perfectly circular design of this mirror satisfies any aesthetic, and as it is available with or without LED-lighting, this mirror is the perfect solution for any bathroom aesthetic. AllAntonio Lupi collections are elegant, contemporary and vibrant – the perfect freestanding bathtub and accessories to suit are just a moment away. Antonio Lupi antoniolupi.it/enabc

Space To Cultivate Confidence, Wellness And Beauty

Easy on the aura as well as the eye, Pelci Brisbane is a holistic skin and beauty clinic in Brisbane designed and branded by Collectivus. The brainchild of ‘skin queen’ Morgan Letherbarrow, Pelci, formerly The Philocalist, offers a suite of skin and beauty treatments tailored to individual client needs. Priding itself on an uncomplicated approach to skin and beauty treatments, Pelci lives by the motto: good skin, good mood. Now with a new space and brand identity to match that mood, Pelci has become a destination for anyone who takes their self-care seriously. The genesis of Collectivus’ design is the physical and aesthetic embodiment of the company’s founding values – authenticity, passion, knowledge and confidence. These qualities shine through by means of organic curves, bespoke joinery and textural elements bound by a tonal base palette accented by hints of lavender and a generous splash of classic blue – Pantone’s colour of the year for 2020. Materiality-wise, Pelci Brisbane appreciates the raw and unadorned. Hand-trowelled Venetian plaster walls make for a uniquely textured backdrop for the space. Handcrafted clay tiles wrap one pillar of the base of Pelci’s bespoke stone counter, while the other is clad in timber panelling. Accents of brass, foliage, soft curtains and plush furnishings offset the bold interior, bringing an authentic sense of warmth and luxurious simplicity to the space. Each treatment room is fitted with brass fixtures and handcrafted concrete basins by Concrete Nation atop terrazzo benchtops, upholding aesthetic fluidity throughout the space whilst also catering to treatment requirements with quality finishes and innovative design solutions. Together, Pelci and Collectivus are forging a new direction for the beauty interior design space, moving away from the traditional norms of design and towards new ideals that promote wellness, authenticity and confidence. Collectivus collectivus.com.au Pelci pelci.com.au We think you might also like Moss Bros by Collectivus abc
Around The World
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An Architectural Nod To The Culture Of Uluwatu, Bali

Ocean View 5 in the Uluwatu Surf Villas’ expansion joins existing villas that sit perched on the coastline of Bali overlooking the ocean. “[We used] the rustic elements that the current resort buildings have and continue these elements in a freshly formulated and cultivated way,” says Bali-based architect Alexis Dornier. Alexis works from the tropical Ubud in the hill of Bali; designing his architecture projects under the theory of tropical-tectonic language – raising the bar of construction into a work of art, through the lens of the landscape. Aperture House is thus, a product of site, mirroring the ‘barefoot luxury’ ethos of Uluwatu’s surfing heritage. Made by a team of master Javanese carpenters, the house is compact while feeling spacious, thanks to a simple ‘stack’ of three storeys that all open out to the external elements. “All façades are more or less equal, layered by exterior shading elements made of re-claimed teakwood,” says Alexis. “The reconfiguration of those elements throughout the day and night gives the small building an ever-changing appearance.” The first floor provides an open plan living, dining, kitchen area with timber flooring that extends out to the private pool encouraging flexible indoor/outdoor living. The pool and deck area features limestone that, along with the reclaimed timber throughout, runs as a continuous narrative in the entire villa complex. “The southern tip of Bali consists of limestone formations and the stone used for this project comes from the quarry close by,” says Alexis, explaining the connection to site and material. On the second floor, the master bedroom can be entirely opened by sliding glass doors giving a panoramic view of the Indian Ocean, while vertically slatted screens can be moved to provide passive cooling from the intense Bali sun. A spiral staircase runs through the entire house and captures cool air from the top floor down the building. A ground floor is tucked under the house with a garden bedroom that is surrounded by luscious greenery, internally framed by black slate adorning the walls and floors, juxtaposing soft textural elements and timber furniture. “The beds, tables, desk, teak picture frames, were all built from inspirational photos online and then replicated with some slight modifications in our wood shop,” says developer Tim Russo. “Most of the inspiration came from old mid-century modern furniture.” Essential to Alexis’ design methodology is sustaining eco-architecture, using natural materials that can be regrown or reused. This is true for Aperture House, with reclaimed teak and ironwood, local limestone, and energy-minimising technique — mediating between his philosophies of tropical modernism and industrial architecture. “We want to pursue a design culture where we combine specialist knowledge with new ideas stem from all type of fields." Alexis Dornier alexisdornier.com Photography by @kiearch Dissection Information Kitchen table and chairs by Walk the Plank Custom built sofa by CCM Custom joinery and building by Uluwatu Surf Villas & Bali Construction Beds, side tables, desks, picture frames by Uluwatu Surf Villas & Bali Construction We think you might also like Mosman Residence by Daniel Boddam abc