Raf Simons is a name synonymous with iconic, globally renowned fashion houses across Europe and America. Since launching his self-titled label in 1995 he has gone on to direct the likes of Jil Sander, Dior, Calvin Klein and, as of April 2020, Prada. Yet the Belgian fashion designer and creative director originally studied industrial design.
Perhaps his early study is what inspired his wide-ranging interests in modern art, design, music, graphics and architecture. And perhaps his broad interests are what inspired his unique sense of style that over the years has continually spoken to and attracted the attention of Design Hunters across the globe.
It would come as no surprise then that Raf Simmons regularly engages in interdisciplinary design collaborations. In January 2014, the first Kvadrat/Raf Simons collection made its public debut sparking a long, fruitful and fashionable relationship between the famous designer and iconic textile company that continues to this day.
Over the years Raf has been fascinated by the limitations on the weaving and colouration process for furniture textiles and upholstery that due to the different uses and requirements on the fabric, do not extend to fashion industry textile process. “Because of the dense weave that is needed for furniture, the colouration becomes even more interesting, with almost a painterly impact,” he says.
The most recent release of Kvadrat/Raf Simons upholstery continues the bold exploration in colour for which the collection has become known. At once sophisticated and playful, Raf explores differently textured designs such as long fibred mohairs reminiscent of sheepskin, short pile velour, and soft irregular bouclés.
Whatever one’s interior design needs are, the textiles are designed as contemporary yet timeless pieces; tones weaves and textures that won’t date as we enter future decades. There are bold, neutral and muted colour themes as well as patterns that range from the obvious to the understated.
Kvadrat/Raf Simons kvadratmaharam.comPhotography by Casper Sejersen We think you might also like the Doodles collection by Faye Toogood and cc-tapis [gallery columns="4" size="medium" ids="103290,103293,103292,103291"]abc
Many know and love Ritzwell for the pillars it began with in 1992, pillars that are still central to the Japanese brand’s DNA today. Fundamentally, Ritzwell’s mission was and remains to create ultra comfortable furniture that exudes aesthetically elegant design. For almost three decades now the design team has met this brief by using high quality materials, exhibiting a meticulous attention to detail (for function as well as form), and drawing from historic Japanese design principles that reference their culture and iconic design aesthetics.
In place of a physical launch at Salone del Mobile this year, Ritzwell has unveiled four new designs digitally, accessing architects, interior designers and Design Hunters with unrivalled immediacy across the globe.
True to form and practice, the Rivage Lounge Chair, MT Bench and Mo Bridge Desk and Stool balance modern design principles and classic Japanese design sensibilities that echo those of Scandinavia. All the while comfort, form and function remain of the utmost importance.
The Rivage Lounge Chair is designed by Atelier D.Q. and evokes mid-century design characteristics alongside a modern, minimalist form. A solid steel frame ensures durability while distinct bow-shaped armrests carved from timber offer comfort. The armrests are available in solid Walnut or solid Oak with a natural, black or white stain finish. As standard, the frame comes in a black powder coated finish. Alternatively an acrylic urethane finish is available in six colours. Fabric or leather upholstery is available pertaining to preference and purpose.
Similarly to the Rivage Lounge Chair, the MT Bench offers a combination of traditional and strikingly contemporary design. At the hands of industrial designer Shinsaku Miyamoto, the slim lines of the slender steel frame are carried through to the flat yet detailed interwoven leather on the seat. However a soft cushion lies underneath so that comfort is not sacrificed. The hard leather is available in black, burgundy, taupe grey, dark brown or vinatge brown while the timber can be specified in solid Walnut or solid Oak.
The desk and stool within the Mo Bridge line, also designed by Shinsaku Miyamoto share the same elegant and sophisticated good looks. The Mo Bridge Desk has tapered, solid timber legs atop which sit a bevelled edges solid timber desk. The timber is available as either solid Walnut or solid Oak in a natural or black or white stain, finished with a decorative yet practical desk pad in thick leather. The stool shares the same tapered timber legs of the desk and mirrors the interwoven leather details of the MT Bench. The stool is available in two sizes (one slightly more elongated than the other), and the same five colour ways as the MT Bench: black, burgundy, taupe grey, vintage brown or dark brown.
Full CPD-Live Program and Details
25 June, 9.00am – 10.00am AEST
“There has been a lot of uncertainty in regards to the Section J update in NCC 2019, this CPD should allow the attendees to start to feel more confident about designing a compliant building.” – Ross Baynham, National Specification Manager, Alspec
Session Synopsis:This CPD is designed to understand the requirements of Section J NCC 2019 and its implications on Window and Door selections. What are the impacts of different products on overall Façade performance and how they can affect building design.
Key Learning Outcomes:From attending this session participants will learn:
- The new requirements for External Facades in NCC 2019
- Understanding the performance of windows and walls
- The impacts of different products on overall facade performance
- The impacts of NCC 2019 on building design
25 June, 10.15 – 11.15am AEST
“On the 1st of June 2020, the ABCB released an update to the 2018 version of WaterMark Technical Specification WMTS-040:2020. This is one of the most significant changes to the specification in recent years – we’ll cover what materials are certified now and what are not” – Troy Creighton, Managing Director, Stormtech
Session Synopsis:There are major factors that should be considered with bathroom drainage, building compliance and building insurance with WaterMark Certification – Troy explains the implications and also details all of the drainage considerations you should consider in your projects.
Key Learning Outcomes:From attending this session participants will learn about drainage considerations including:
- Code requirements
- Design solutions
- Environmental aspects
25 June, 11.30am – 12.30pm AEST
Session Synopsis:How does Wellness & Health impact our working & living lives? With many new buildings under construction, how many of these can be described or certified healthy? Do we know how healthy buildings can lead to positive impacts on both immediate environments both internal and external? If so what are the implications? We need to understand how working spaces will be used and how connected they are to the natural & built environments. Can biophilic design achieve wellness and positive built environment outcomes? Can we achieve a sweet spot of living and working with increased health and wellness? How does timber and the use of timber in built environments achieve these positive outcomes? Are there existing examples of these to educate current design intents? How does the modern and post-COVID design paradigms allow us to eliminate a dichotomy of health & wellness with built environments?
Key Learning Outcomes:
- Understand what wellbeing is and why it matters
- Understand what is meant by ‘Healthy Buildings’ and ‘Healthy Materials’
- Explore the connection between wood and wellbeing
- Look to the future of wood & wellbeing
25 June, 1.00pm – 2.00pm AEST
We’re looking forward to sharing the latest technical developments from around the world that will provide architects with all they need to make an informed choice when specifying timber in their projects” – Rod Wiles, Director, American Hardwood Export Council Oceania.
Session Synopsis:The aim of this presentation is to give architects and designers an understanding of where American hardwoods come from, what they are, what their environmental credentials and impact are and how to use them and specify them realistically.
Key Learning Outcomes:
- Assess and integrate construction systems and materials consistent with the project brief
- Evaluate design options against values of physical, environmental and cultural contexts
- Apply creative imagination and aesthetic judgement to produce coherent design
- Investigate and integrate appropriate material selection for the project design
25 June, 2.15 – 3.15pm AEST
Session Synopsis:This session is intended to provide Designers with a comprehensive overview of the areas that effect the specification of plumbed in boiling and chilled drinking water appliances in the workplace. This seminar will focus on four key areas: Client Needs, Product Selection & types, Water Filtration, Installation More Details Here abc
Jackson House by Daryl Jackson, Mornington PeninsulaAt first, the eye takes in the landscape of ancient gums and pines, the creek and the ridge beyond. Then follows the appreciation of the rusticity of the house itself, achieved through its weathered timbers, bush poles and corrugated iron, and the way in which it references farm buildings in the area while retaining its own distinctive character. As [architect Daryl] Jackson comments, ‘It is a vernacular vocabulary, but in an urbanistic form.’ With discussion and greater contemplation comes a new level of understanding. How the concept of the expanded Australian ‘lean-to’ developed from the appreciation of the simple pioneer cottage already on the land, and how, as Jackson says, ‘the spatial revolution, perhaps modernism’s crowning achievement, remains a keystone to my compositional tactics. Cubism in particular.’ What you experience at first sight is undoubtedly confirmed, but often in ways you had not quite anticipated, which surely is the purpose of all good art. To escape at weekends, the Jacksons bought a farm block on the Mornington Peninsula. Jackson’s understanding of the landscape, and the power it commands, rendered him realistic about the task in hand. ‘The house had to contend with the landscape, with the pioneer timber slab-and-mud lean-to shed, and a 120-year-old cottage, with a marvellous white pre-Captain Cook eucalypt, on a hillside dropping away to a creek.’ As a starting point, his scheme evolved from what was already there – working into what existed in the European tradition, but in a quintessentially Australian context and form. ‘Building new to sustain the old became a leitmotiv in his work,’ writes Patrick McCaughey to describe his approach in the broader commercial context, but it is also true in this personal, domestic project. Jackson first stabilised and restored the cottage of stone slab, sticks and mud, which was virtually falling over after 30 years of cattle trampling through it. This sparked the idea for the house, ‘of abstracting from the lean-to shape, the humble back porch or filled-in verandah to become the whole dwelling’, he says. Combined with his ability to arrive at what he describes as ‘primary situations’, such as finding the essence of the house via the landform, this gave him a strong sense of place from which to create. Jackson is tuned into scale and the relationship of the structure to the landscape, how it integrates into the composition of the garden on one level and addresses the ridge and the valley at a larger level. He calls it a ‘topographic composition’. Jackson’s building is linked to the land in two ways. He explains: ‘A trellis sunshade becomes a fence separating garden and orchard from bush. The line it creates makes an important horizontal link between the house and stable.’ The entrance to the house is via a broad timber bridge creating an anticipatory journey to ‘the heart of the house’. Structurally, its openness is immediately evident. A series of platforms linked by open-tread staircases and the two-storey, glassed-in atrium reveal his preoccupation with geometry. ‘My interest in Cubism is based on ideas of taking apart and transforming, of reconstructing and opposing, with elements being redefined and renewed by the changing set of relationships,’ says Jackson. He admired the work of Picasso in this period with his ability to fundamentally alter the literal, representative nature of art by abstracting from life to produce a shift in perception and alter the accepted order of things. Yet the feeling of the house is by no means sharp and fractured. Jackson manages to sidestep the angular through his choice of materials, by the way in which the house has been fabricated, and through his ability to balance his passion for Cubism with another ‘ism’. ‘The key point about expressionism is the inner vision, portrayed as content. It uses the world of feelings and emotions as much as any rationale or functional stance,’ says Jackson. ‘These two threads are the constant, endemic to my work throughout my life.’ The importance of Daryl Jackson’s practice both in Australia and internationally cannot be underestimated. He has more than 100 awards to his name, is a RAIA gold medallist, holds an Order of Australia, an honorary doctorate at Ballarat University and, among his academic commitments as a professorial associate at Melbourne and Deakin universities, found time for many years to be a director of Essendon Football Club. Images and text from Iconic by Karen McCartney. Photography by Michael Wee. Murdoch Books murdochbooks.com.au abc
Putting aside the established trees, it must have been tempting to step the house down the site. Instead, the architects respond to the descending landscape not in elevation, but in plan, with a series of loosely connected pavilions in a gentle caravanserai across the site – responding to the creek below. This generates a kind of experiential narrative as one moves from inside to outside, from shadow to light, from private to communal, from introspection to outward contemplation. Apart from easy physical access and visual connection, the house sustains a relationship with the outside through its materiality – the pavilions are clad in raw Ironbark, the southern elevation is a rammed earth wall protecting the bedrooms from the winter cold and resonating with the sandstone escarpment below, flooring is re-cycled Tasmanian Oak, the brise soleil link is Grey Ironbark with Ironbark sliding doors, wet areas are finished in Australian Ironbark while the floor of the sunken living room is stone. There is an overall mood of simplicity, supported by the industrial tapware that is all raw brass and custom-bent copper pipe with polished concrete sinks and basins.
The architects respond to the descending landscape with a series of loosely connected pavilions in a gentle caravanserai across the site.
The three pavilions are functionally specific – sleeping, bathing, living – with each framing a central courtyard.The three pavilions are functionally specific – sleeping, bathing, living – with each framing a central courtyard. All three are linked by the brise soleil which runs down the western elevation. It is an interstitial space with its own internal garden, mediating inside and outside, providing protection from the western sun while also ventilating the interior spaces. By breaking down the mass into three loosely linked pavilions, the architects are playing with the notion of refuge and prospect. Internally, there is a variety of experience and the sense that moving through the house is a journey, punctuated by surprise. The external prospect consists of a variety of edited views that sustain connection to the landscape, but also maintain the cosy ambience of a sanctuary. While Edgar’s Creek House is a loose assembly of three pavilions, it is nonetheless also thermally efficient. Double-glazed tilt-and-turn windows and lift-and-slide doors ensure that the house can be efficiently sealed, complementing the house’s passive solar orientation, which filters the western sun, and the rammed earth south-facing wall. The architects point out that Edgar’s Creek House is designed to be fossil fuel free. There is a 5,000 litre underground rainwater tank, an electric heat pump for hot water and provision for both hydronic heating and rooftop solar panels and battery storage. In addition, there has been an effort to use only recycled, recyclable locally sourced materials. Un-ostentatious as it is, there is also an elegance to this house, matching its ingenuity. For example, the way in which the kitchen-dining area steps down into a sunken L-shaped living area, defined around its perimeter by a timber banquette. The transition between the two spaces pivots around a two-way fireplace – the journey culminating in a grand, operable corner window. Or, the refinement of the timberwork without recourse to finishes. Edgar’s Creek House is a house of its place, but a house that also creates its own place: a sanctuary in harmony with its environment. Breathe Architecture breathearchitecture.com.au Photography by Tom Ross Dissection Information Earth Structures Peninsula Natural Sandstone and Rammed Earth wall Urban Salvage Reclaimed Tasmanian Oak Flooring Eco Outdoor Endicott Fillietti, Stone Flooring Australian Grey Ironbark and spotted gum decking and battens Binq Timber doors and windows Briggs Timber Veneer Recycled Messmate benchtop Mark Tuckey Egg Cup timber side table Vintage, architect's own outdoor chairs Clients own dining table and chairs Ambiance Lighting Surface mounted Downlights and Outdoor spike lights LedLux outdoor wall lighting Fisher and Paykel appliances Brodware and Par taps Rumbled brass tapware Copper kitchen sink Custom concrete bathtub We think you might also like Halo House by Breathe Architecture abc
With a record breaking 472 this year the Inde.Awards we saw a ten per cent increase from 2019. We received submissions from all across the region and with the diversity and impressive quality of the entries it has raised the design bar to yet another level. Indesign Media Asia Pacific CEO and Juror, Raj Nandan, praised the innovative and progressive nature of entries to the INDE.Awards this year. “The 2020 Official Shortlist is a reminder of the breadth of talent and expertise of the architecture and design professionals that exists in our region. The diversity and outstanding creativity of projects received this year was truly exceptional,” he said, adding that, “ We applaud all who entered the Awards, congratulate those who have been shortlisted and look forward to celebrating our 2020 Winners alongside our peers, supporters and stakeholders at the INDE.Awards celebration on the 14th August.” With projects submitted from a total of 14 countries the diversity was unparalleled. Architects and designers participating in this years INDE.Awards came from Australia, China, Hong Kong, India, Indonesia, Japan, Malaysia, New Zealand, the Philippines, Singapore, Sri Lanka, Taiwan, Thailand and Vietnam.
“The projects were fantastic this year. The diversity of talent and range of expertise was a joy to review. I am also impressed with the caliber of projects from such places as Thailand. There was some very elegant work!”
– INDE.Awards Juror, Shashi Caan
As entries to the 2020 INDE.Awards represented the diversity of the Indo-Pacific region so too did our esteemed jury who came from all corners of the world bringing a global insight and expertise to the judging process. We would like to thank the sixteen members of this year’s INDE.Awards jury. Winners of the 2020 INDE.Awards will be announced on August 14th and we look forward to sharing this very special occasion with everyone. In the meantime, congratulations to the shortlisters!
“There were some very inspiring entries. The focus, particularly in The Building category, on distilling the essence of the brief into high quality, reductive design solutions that were carefully considered from a sustainable point of view, was, at times, breath-taking and exciting.”
– INDE.Awards Judge, Leone Lorrimer
The Living Space | Proudly partnered by Gaggenau[gallery size="medium" ids="102333,102325,102334,102327,102332,102330,102335,102324,102326,102331,102329,102328"] A U-Shaped Room Atelier tao+c, China Bardolph Gardens, Breathe Architecture, Australia Clinker Brick House, Studio Bright, Australia CLT House, FMD Architects, Australia Eclipse House, Green Village, IBUKU, Indonesia Edgar’s Creek House, Breathe Architecture, Australia Expandable House, Urban-Rural Systems (Future Cities Laboratory, Singapore-ETH Centre), Indonesia Laurel Grove, Kirsten Johnstone Architecture, Australia Mermaid Beach Residence, B.E Architecture, Australia Three Stories North, Splinter Society Architecture, Australia Up Side Down Akubra House, Alexander Symes Architect, Australia Wallis Lake House, Matthew Woodward Architecture, Australia
The Multi-Residential Building | Proudly partnered by Bosch[gallery size="medium" ids="102316,102313,102317,102318,102320,102314,102321,102319,102322,102323,102315"] 537 Elizabeth Street, Woods Bagot, Australia 97 Mathoura Road Toorak, Carr, Australia Elm and Stone, DKO Architecture, Australia Fenner Hall Student Accommodation ANU, BVN, Australia Gillies Hall, Monash University, Jackson Clements Burrows Architects, Australia Mary Lane / The Westin Brisbane, Woods Bagot, Australia Mermaid Multihouse, Partners Hill with Hogg & Lamb, Australia Napier Street for Milieu, Freadman White, Australia Pine Ave, Cera Stribley and The Stella Collective, Australia Scarborough and Welkin, Justin Mallia Architecture, Australia The Fern, Steele Associates Architects, Australia VIEW, Fuse Architects, Australia
The Building | Proudly partnered by Alspec[gallery size="medium" ids="102277,102278,102279,102280,102281,102282,102283,102284,102285,102286,102287,102288"] Burwood Brickworks, NH Architecture with Russell and George, Australia Garden as Before – Gallery and Studio of WYS, officePROJECT, China Harbour Kiosk, LAAB Architects, Hong Kong Marrickville Library, BVN, Australia Nelson School of Music, Irving Smith Architects with Ian Bowman Architect and Conservator, New Zealand North Bondi House, James Garvan Architecture with Lisa Tackenberg Interior Design, Australia Parks Victoria Albert Park Office and Depot, Harrison and White with Archier, Australia Point Nepean Residence, B.E Architecture, Australia Renovation of Tianjin Tractor Factory, Archiland with Tianjin Architecture Design Institute, China Samsen STREET Hotel, CHAT Architects, Thailand Up Side Down Akubra House, Alexander Symes Architect, Australia Welcome to The Jungle House, CplusC Architectural Workshop, Australia
The Social Space | Proudly partnered by James Richardson Furniture[gallery size="medium" ids="102372,102373,102374,102375,102376,102377,102378,102379,102380,102381,102382,102383"] Alila Villas Koh Russey, STUDIOGOTO, Cambodia Choui Fong Tea Cafe 2, IDIN Architects, Thailand Di Stasio Citta, Hassell, Australia Fang Tang Hotel, A9Architects, China For Our Country, Edition Office and Daniel Boyd, Australia In Absence, Edition Office and Yhonnie Scarce, Australia Little Shelter Hotel, Department of Architecture, Thailand Mountain House in Mist, Shulin Architectural Design, China Sukasantai Farmstay, Goy Architects, Indonesia The Link at Chadstone, Make Architects with Cera Stribley, Australia Voids Cafe – Grace Espresso, Studio SKLIM, Singapore Woodcroft Neighbourhood Centre, Carter Williamson, Australia
The Work Space | Proudly partnered by Woven Image[gallery size="medium" ids="102365,102361,102367,102371,102368,102362,102363,102369,102360,102370,102364,102366"] Albert Park Office and Depot, Harrison and White with Archier, Australia Anti Chamber, Chain10 Architecture & Interior Design Institute, Taiwan Australian Unity, Bates Smart, Australia CBA Axle, South Eveleigh, Woods Bagot, Australia Hallmarc Offices Collins Street, Hallmarc with Malcolm Elliott Architecture, Australia IDIN Architects Office, IDIN Architects, Thailand Munupi Art Centre Workshop, Kaunitz Yeung Architecture with Di Emme Creative Solutions, Australia Norton Rose Fulbright Sydney, Carr, Australia South Terrace Mezzanine House, Philip Stejskal Architecture, Australia The Launch Pad, The Studio* Collaborative, Australia The Work Project – Asia Square, Hassell, Singapore Treasury Wine Estates Melbourne, Carr, Australia
The Shopping Space | Proudly partnered by Zip Water[gallery size="medium" ids="102354,102352,102355,102353,102356,102357,102358,102359,102349,102350,102351,102348"] Aesop, 1 Utama, FARM, Malaysia Beautysaur Organics / ‘Eclectic Bodies’, Bean Buro, Hong Kong Chiseled Hair Melbourne, ElvinTan Design with OLSK, Australia Guiniang Experience Store, Ippolito Fleitz Group, China In Good Company Jewel Changi Airport Store, Produce, Singapore K11 MUSEA, LAAB Architects with KPF, JCFO, Speirs & Major, ABconcept, Hong Kong Ozlana Flagship, Pattern Studio, Australia Salon X Papas, Hogg & Lamb, Australia Superette International, DesignOffice, New Zealand The Green, M.R. STUDIO, China Urbnsurf Precinct, Pattern Studio with MJA Architects, Melbourne V-ZUG Showroom, Carole Whiting Interior + Design with Cera Stribley, Australia
The Learning Space | Proudly partnered by Zip Water[gallery size="medium" ids="102243,102244,102241,102245,102246,102247,102248,102249,102242,102251,102250,102252"] Architecture Library, Chulalongkorn University, Department of ARCHITECTURE Co., Thailand Bardia Public School, TKD Architects, Australia HKU Li Ka Shing Faculty of Medicine Main Lobby, Atelier Nuno Architects, Hong Kong Marie Reay Teaching Centre, ANU, BVN, Australia Marrickville Library, BVN, Australia Molecular Horizons, University of Wollongong, Jacobs and Denton Corker Marshall, Australia Pathfinder, Zarch Collaboratives, Singapore Richmond High School, Hayball, Australia The Ian Potter Southbank Centre, University of Melbourne, John Wardle Architects, Australia The Swift Science and Technology Centre, McBride Charles Ryan, Australia The Wallflower Music Hall – Alliance Primary School Extension, Groundwork Architects & Associates, Hong Kong University of Melbourne Veterinary School, Werribee, Billard Leece Partnership, Australia
The Wellness Space | Proudly partnered by Zip Water[gallery size="medium" ids="102336,102337,102338,102339,102347,102340,102341,102342,102343,102344,102345,102346"] ‘Fundamentals of Foundation’: Tzu Chi Humanistic Youth Center, Grey Canopy with Kyoob Architects, Singapore ActiveSG Park @ Jurong Lake Gardens, Zarch Collaboratives, Singapore Basecamp Power Yoga, Studio 11:11 with Cheshire Architects, New Zealand Chifley Lifestyle, Gray Puksand, Australia EKH Children Hospital, IF (Integrated Field) with S:CSB, Thailand Gandel Wing, Cabrini Malvern, Bates Smart, Australia Holism Retreat, Studio Tate, Australia Rebuilding Neuropsychiatry Hospital, Wooyo Architecture, Taiwan RISE at 101 Collins Street, Gray Puksand, Australia Royal Melbourne Hospital Stroke and Neurology Unit, ClarkeHopkinsClarke Architects, Australia walu-win Wellness Centre, Kaunitz Yeung Architecture, Australia Wellness Retreat at Habarana, Palinda Kannangara Architects, Sri Lanka
The Design Studio | Proudly partnered by Woven Image[gallery size="medium" ids="102265,102275,102266,102267,102268,102269,102270,102271,102276,102272,102273,102274"] AIRLAB Singapore: Architectural Intelligence Research Lab, Singapore Alexander &CO., Australia BENSLEY, Thailand and Indonesia Biasol Studio, Australia Cera Stribley, Australia Foolscap Studio, Australia Interval Architects, China LAAB Architects, Hong Kong RAW Architecture – Realrich Architecture Workshop, Indonesia Russell & George, Australia studioplusthree, Australia Taylor Cullity Lethlean, Australia
The Influencer | Proudly partnered by AHEC[gallery size="medium" ids="102229,102230,102232,102233,102234,102235,102236,102237,102238,102239"] AIRMESH, AIRLAB: Architecture Intelligence Research Lab, Singapore Burwood Brickworks, Russell & George with NH Architecture, Australia CBA Axle, South Eveleigh, Woods Bagot, Australia KOODAARAM: The Kochi-Muziris Biennale Pavilion 2018-19, Anagram Architects with B L Manjunath and Studio Wood, India Love Bonito, Wynk Collaborative, Singapore MPavilion 2019, Glenn Murcutt, Australia Riverbend, Bambu Indah, IBUKU, Indonesia Shinta Mani Wild, BENSLEY, Cambodia Sukasantai Farmstay, Goy Architects, Indonesia Welcome to the Jungle House, CplusC Architectural Workshop, Australia
The Object | Proudly partnered by Haworth[gallery size="medium" ids="102254,102255,102256,102257,102258,102259,102260,102261,102262,102253,102263,102264"] Avion, Keith Melbourne Studio, Australia Edo Wall Lamp Collection, ISM OBJECTS, Australia ARMALUGI Collection, Emmanuel Mastio for Classique, Australia Fenster Collection by GibsonKarlo for DesignByThem, GibsonKarlo for DesignByThem, Australia Horizon Vase, Chris Connell Design, Australia Jeanette Range, Tom Fereday Design, Australia Place Lounge Collection, Ross Gardam, Australia Puffalo, Didier, Australia Sakuru, Haworth through CoCreate with Gavin Harris, Australia Stack, nau, Australia Tait Scape Collection, Tait with Adam Goodrum, Australia Triplex Stool, Studio RYTE, Hong Kong
Best of the Decade | The Living Space | Proudly partnered by Living Edge[gallery size="medium" ids="102302,102303,102301,102304,102305,102306,102307,102308,102309,102310,102311,102312"] Brick Cave, H&P Architects, Vietnam Clovelly Apartment, James Garvan Architecture, Australia Croft House, James Stockwell Architect, Australia House68, Design Collective Architects (DCA) with Essential Design Integrated (EDI), Malaysia Indigo Slam, Smart Design Studio with Khai Liew, Australia Planter Box House, formzero, Malaysia PROJECT #13, STUDIO WILLS + Architects, Singapore Redfern Warehouse, Ian Moore Architects, Australia St Vincent’s Place, B.E Architecture, Australia Studio Dwelling, Palinda Kannangara Architects, Sri Lanka Tower House, Austin Maynard Architects, Australia
Best of the Decade | The Work Space | Proudly partnered by Wilkhahn[gallery size="medium" ids="102290,102292,102293,102291,102300,102297,102299,102294,102295,102296,102298,102289"] ANZ Centre – Interior, HASSELL with Lendlease Design, Australia Carpe Diem Community, International Towers, Tower Two, Geyer with International Towers, Australia CBA Axle, South Eveleigh, Woods Bagot, Australia Medibank Place – Interior, Hassell with K.P.D.O., Chris Connell Design, and Russell & George, Australia NAB 700 Bourke Street, Woods Bagot, Australia Paspaley Pearls, Richards Stanisich, Australia PDG, Studio Tate, Australia PwC Barangaroo Sydney Client Collaboration Floors, Futurespace, Australia PwC Experience Centre, Siren Design Group, Singapore PwC Melbourne Client Collaboration Floors, Futurespace, Australia Space & Time, Russell & George, Australia The Great Room at One George Street, Hassell, Singapore
The Prodigy | Proudly partnered by LuxxboxDavid Flack & Mark Robinson Flack Studio Australia Goy Zhenru, Dessy Anggadewi & Sam Loetman Goy Architects Singapore, Indonesia & Thailand Phillip Nielsen & Aaron Nicholls Regional Design Service Australia Rafael Arsono & Margareta Miranti Rafael Miranti Architects Indonesia
The Luminary | Proudly partnered by VerosolAndra Matin Andramatin Indonesia Jonathan Richards and Kirsten Stanisich Richards Stanisich Australia Juan Du IDU and The University of Hong Kong’s Urban Ecologies Design Lab Hong Kong Ross Gardam Ross Gardam Australia abc
Matt Blatt is infamous amongst members of the architecture and design industry. Since foundation in 1981 by Adam Drexler many have taken issue with its business model selling replica furniture to knowing and unknown consumers alike. Herman Miller even sued the company in 2011 - unsuccessfully in case you missed it.
Despite the controversy the national retailer was going strong with 12 brick-and-mortar stores across Australia, an e-commerce site and a strong advertising and marketing presence. Until recently that is, alongside Myer, Target and David Jones, Matt Blatt is officially one of the retail industry’s biggest COVID-19 casualties.
Drexler is also the director of Badam Trading Co., the company that owned Matt Blatt, and chose in late March to close all 12 of the Matt Blatt retail stores.
“We felt that with all shops closed, and no income, no sales, it would be a hard slog to recover,” said Adam Drexler to Inside Retail in an article written by Heather McIlvaine and published online 8 April. “I personally believe that things won’t return to normal. There will be a big recession for many years, and that’s when a lot of companies will struggle.”
Matt Blatt is undergoing liquidation by David Solomons of Sydney firm dVT Group. Solomons was appointed liquidator by Drexler 22 May.
It is understood that at the time of collapse $11million was owed to creditors, $4million to another company under the Badam Trading Co. umbrella, $1million to the tax office and $600,000 to staff.
Although revenue was up by 8.5 percent in FY18 compared to FY17, the cost of wages, rent and freight has reportedly resulted in a year-on-year decrease in before-tax profit by a balking 82.3 per cent.Habitus sourced information for this article from Inside Retail, The Guardian Australia, and the Sydney Morning Herald.abc