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Architecture
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Experience Magic In The Historic Saloon Of No. 92

For the last few months, chefs and restaurateurs have redefined the dining experience – introducing us to a world where take out is king. As the world plunged into lockdowns, self-isolation and social distancing, the hospitality industry have been forced to adapt and reimagine the way we experience delicious food in the comforts of our own home. In Australia, there has been an inspiring feat of support from the community throughout these unprecedented situations. And although we couldn’t sit and enjoy the usual atmosphere and service that these institutions are renowned for, our local cafes and restaurants have been constantly innovating in delivering new, exciting offerings. In an old boot factory in Sydney’s Inner West, the team of No. 92 are doing things a little differently. After opening as a boutique restaurant and wine bar earlier this year, owner Angela Kasimis’ plans for the space have taken a turn. For the last few months, the team at this historic corner spot have taken it in their stride to continue offering their customers a slice of No. 92 to go.With their innovative takeaway menu and hand-picked selection of cocktail kits, Kasimis offered a unique approach to the unprecedented situation, but awaited longingly to welcome back their customers to a dining experience that was much more than it’s food offering. In early June, Kasimis and the team were thrilled to open its doors to the public – inviting the community once again to experience the re-emergence of No. 92 wine bar and restaurant on the ‘dine-in’ scene. More reminiscent of European salons than your typical Inner West eatery, the space is unlike anything else in the city. Envisioning an elegant revival for the heritage terrace, Pattern Studio transformed No. 92 into an intimate bar and restaurant that pays homage to its history in a context that is decidedly modern. Downstairs, guests are greeted in an open, warm and timber-adorned space with expansive windows that invite guests to sit and watch the world outside. The muted, pared-back tones allow visitors to take in the intimacy of the space and breathe in the calm, refined soul of the restaurant. Site-specific works by Taiwanese-Australian artist Angie Pai swirl around the Victorian spaces while antique light fittings nod to the site’s history. A feature arch frames the main bar, where seasonally selected drops by the enigmatic new Sydney wine collective, Super Super have been curated to compliment the space and its menu. “The building had a certain elegance that we really wanted to preserve and enhance,” expresses Kasimis. “Fundamentally, it’s an immersive space that feels more like a congenially serviced private manor than hospitality venue – one that appeals to a sophisticated, young at heart adult market.” Upstairs, smaller, more intimate and exquisitely decorated dining rooms invite guests to lounge in old-world charm. Defined by a more luxurious direction, the dining and lounging experiences take place upon plush rugs, custom marble-surfaced tables, dramatic, broody and artful rooms across three different spaces. The second level celebrates a vintage splendour unique to No. 92 with a pared-back, yet intoxicating grandeur with a heightened residential appeal for guests. Pattern Studio’s intention was to create a space that stripped the overwhelming formalities of fine dining spaces and instead, celebrated the charming, inviting character and heritage of the building. Throughout the delicate details of the artwork, opulent textures, soothing tones and the fluidity throughout each space, the distinct story of No. 92 is prominent throughout. “In hospitality we understand it’s quite trendy that everything has to be dynamic and Instagram-worthy. Even though we wanted to design a space that appealed to everyone, we didn’t want the story of this building to get lost in the digital world,” Josh Cain of Pattern Studio expresses. “Each room and dining zone has a different feel that lends itself to the structural qualities of the building, but also it’s a homage to all the people, stories and purposes that have taken place here and we wanted to open that intrigue to our past and continue it naturally at No. 92.” “We wanted to deliver an experience that allowed the visitor to respond to the space in their own way,” adds co-designer, Lily Goodwin. “No. 92 is its own identity, just like every single person that comes in through those doors and dining here allows you to take some of No. 92 away with you while you bring some of your own story as well – it’s a special, unique connection.” As we slowly ease back into old routines, the story of No. 92 continues through its new June offerings. Open weekly from Thursday to Sunday, Kasimis and Lyons demonstrate a bigger focus on a revitalised dinner menu filled with elegant dishes and enticing drink pairings as well as a Sunday roast menu. For those who want to stop by for a drink or two, the bar menu is still serving some of its favourites. “The past few months have granted us invaluable perspective to reflect upon what our customers have relished the most since launching earlier this year,” Kasimis explains. “What has emerged is a strengthened dining option. Add the option to sit upstairs in one of three exquisite diing rooms with friends and you’re onto one special night out.” No.  92 is a story of history, connection and soul. None of us expected that the simple joys of eating out would be taken away, but No. 92 recognised those cherished moments and is back to savour these memories more than ever. Through the heartfelt passion of Kasimis, the design ingenuity of Pattern Studio and John Lyons’ culinary brilliance, the team have created a different type of dining destination – one that feels less like a typical bar, but more like a space to relax, enjoy and even take home with you. Pattern Studio patternstudio.net Photography by Traianos Pakioufakis abc
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Semi-Detached But Wholly Private

When architect Carla Middleton and her husband first bought this semi-detached house in Sydney’s east the young professional couple knew they wanted to make major changes. Some initial, superficial work bought them time but six years later Carla took on the project as a job for her recently launched eponymous practice, Carla Middleton Architecture. With one child and another on the cards, the brief was for a house that had lots of space for their family to grow. As it was the residence was both narrow and short. Thankfully, the site was long. Long lines prevailed in the architecture and Carla was careful to avoid anything that cut across the width. In direct contrast to the former plan that felt dark and gloomy and lacked connection to the outdoors, a desire for natural light and seamless indoor­–outdoor living spaces was paramount. Programmatically, Carla and her husband agreed on five bedrooms, three bathrooms and a home office. The front two bedrooms on the ground floor of Tama House remain while the third has been split into a bathroom and laundry. The placement of the kitchen is unchanged but has been extended under the stairs (care of a dedicated coffee nook) and flows openly to the dining area and down to the living room. “After entering the house with low ceilings and dark spaces, the pop up of space to 7-metres, drenched in northern sunlight, creates a dynamic living room,” says Carla. Skylights, picture windows, and large sliding doors out to the backyard let plenty of the desired natural light in at all times of the day. “I’ve noticed a change in my kids and they are very responsive to the natural light of the house,” says Carla. “They love to play at home and dependent upon what time of day it is they have many areas to occupy themselves.” At the back of the garden and completely independent from the house is the home office/studio. Upstairs are the three main bedrooms and two bathrooms. A cavity sliding door visually and acoustically separates the bedrooms upstairs from the living areas below. Roof windows add value on many fronts: not only do they offer natural light they provide privacy from neighbours in the densely occupied area and connect the family to the trees, rain, clouds and stars beyond. The gable roof of the original house is repeated in the extension in an asymmetrical form. Not only does this offer consistency within the context of the rest of the street, but also it allows the architecture to draw in light through the north-east-facing skylight. An architect doubling as client is always an interesting prospect. Carla’s husband put his implicit trust in her for both roles, his sole request being the dedicated coffee nook. Although he was happy for her to take “full reign on the design” Carla acted as she would with any other client. “I made sure my husband as the client was well informed throughout the process... I forced myself to present the project at each stage and allow him to provide feedback and comments,” she says. The final result fits perfectly within their individual and collective needs, and offers timeless and flexible design to move with the family through various stages of life. Carla Middleton Architecture carlamiddleton.com Photography by Tom Ferguson We think you might also like Annandale House by Baldwin & Bagnall abc
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Glowing From The Inside Out

Not too long ago when architect, Sam Caradus, had recently joined Crosson Architects, the residents of the Kawau Island House had also recently bought the block of land on which the house now sits. Sam knew the clients, having coached their children in swimming, and before long he was to become their project architect, too. The clients wanted to build a bach, but they wanted something unique to their tastes and different to what one might find in other areas of New Zealand – such as the distinct look and feel to the South Island, or the very modern aesthetic common around Auckland. More practically, they needed the bach to be robust and durable, not just because of the exposed location, but to withstand three energetic teenage boys and at times their friends.  

A double-height, central corridor runs off-centre from the front to the rear.

  Sam and the team at Crosson Architects were inspired by the locality and drew on the character of the island to inform the design. The final form has a boatshed-like shape as one would expect to find on a jetty. Similarly, Department of Conservation (DOC) huts scattered throughout New Zealand on walking trails, national parks and council properties, informed the form and materiality of the Kawau Island House. Both are very simple, very utilitarian and very resilient structures. Given they are not full-time residences, bachs are usually designed to be easily but effectively closed up. When the family leaves the process is to lean out each little wooden window, hook onto a device, and close down the outer skin on the building. Equally, on arrival there is delight to be had in the process of opening the bach up.  

DOC huts scattered throughout New Zealand informed the form and materiality of Kawau Island House. Both are simple, utilitarian and resilient structures.

  Though formally quite simple – “just a gable structure…and 150 square-metres over two levels” – Crosson has managed to inject a liveliness and dynamism to the plan. A double-height, central corridor with stairs to the upper level runs off-centre from the front to the rear. The result is four wedge-shaped areas across two levels. Downstairs the kitchen/dining area faces the living room. The corridor in between can be closed when desired to offer privacy or mitigate noise between two groups (parents and children for example). Upstairs, an elevated mezzanine peels off on one side to a bunk room that sleeps four and a second bedroom. On the other side is the main bedroom and ensuite. The elevated views upstairs look out to Harris Bay, framing the bay and boats as they come in and out. The understated shed-like form is playfully juxtaposed against large, over-scaled front doors in a way that is both thrilling and delightful. They easily slide open and around again offering a contrast, this time between their mammoth size and their ease of operation. The translucent corrugated front transitions into corrugated aluminum, wrapping around the rest of the bach like a skin. Inside, plywood lines the walls and ceiling and joining the solid Oak floor. The stair and mezzanine continue the use of solid Oak while the slatted design of the staircase allows the compact space to feel light and airy and maintaining sightlines wherever you are in the house. For the clients who wanted a small and intimate bach to be a respectful addition to Harris Bay, the Kawau Island House has been designed to offer a lightness of being through both its footprint and materiality. The configuration is playful yet practical, while materials are equally durable and modern – to the delight of parents and children alike. Crosson Architects crosson.co.nz Photography by David Straight We think you might also like Yolk House by Pac Studio abc
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How Might We Build/Renovate Houses To Mitigate Climate Emergency Impacts?

In the last column we examined housing policies and regulations around sustainability and energy efficiency. However, many researchers argue that these are not sufficient to protect Australian homes from the predicted effects of climate change. “Ignoring future climate change in construction is likely to end with many buildings and infrastructure projects becoming redundant, expensive to run or maintain, or even uninhabitable, said Dr Georgia Warren-Myers, a Senior Lecturer In Property at Melbourne School of Design. “This creates a plethora of problems for current and future generations.” This past summer certainly sharpened our collective attention around bushfires, dust storms, hailstorms and floods, and we can expect more of these extreme events – including drought, heatwaves and cyclones – in coming years. So what can you do now – especially if you are planning to build a new house, or renovate your existing home – to ensure it will be healthy and comfortable (and benefit from lower energy bills while generating fewer greenhouse gases) in the years ahead? The Fern by Steel Associates is a new multi-residential in Redfern, NSW, that adheres to Passive House standard.  

Do your homework

Firstly, check the credentials of your experts and suppliers. According to research led by Dr Stephen Berry at UniSA, 80 per cent of new Australian homes built between 2016 and 2018 only just complied with the minimum six-star NatHERS standard, and just 1.5 per cent of new homes exceeded 7.5 stars. But many project homebuilders in Australia – who construct the vast majority of the 220,000 new houses and apartments built each year – advertise as if they are supplying high-performance homes, rather than just meeting the minimum standard, according to research by Dr Warren-Myers. So it definitely pays to undertake due diligence before deciding how to proceed, and which companies to entrust with your project, especially if you would like to actively reduce your carbon footprint and/or make your home more climate resilient.  

What about energy and water efficiency?

If you’re planning to build or renovate, you’ll need to consider your proposed spatial requirements – and how your family will use the rooms and outdoor areas you envisage – but have you paused to consider how your home might reduce energy and water consumption? The cost of those utilities will continue to rise, and energy use – from fossil fuel sources – is one of the biggest contributors to climate change. The National Construction Code (NCC) – which doesn’t currently address climate change – provides some hints about how to improve the liveability of your home, based on your location and climate. It divides Australia into eight climatic zones, where different weather patterns create varying performance requirements. For example, in Zones 1 to 3 – the tropical north – the code aims to reduce the need energy-intensive air-conditioning; while in southern regions – such as Zone 7 – it aims to reduce the need for winter heating.  

How does good design address climate?

The first step is to adopt passive design principles, which vary from place to place. In the tropics, it’s advisable to keep direct sun out of houses, and use louvres and doors to channel natural breezes through the home. In cooler zones, it’s advisable to position living rooms to face north – making the most of winter sun – while installing adequate eaves and seasonal shade structures to exclude summer sun. As we discussed in the previous article, most 20+ year old houses leak heat and coolness, making them less comfortable and efficient during seasonal extremes, so making good on this inefficiency should be a major focus for new builds and renovations. The issue of indoor comfort will become more pertinent as the climate warms, with heatwave events likely to increase. This is already happening in some places: Penrith in Western Sydney topped 48.9 degrees Celsius on early January; and Adelaide and Port Augusta reached 46.6 and 49.5 degrees Celsius respectively, in late January. Owl Woods House in Trentham, Victoria, by Talina Edwards Architect  

What about gardens and landscape?

It’s also worth considering the “urban heat island” effect, which exacerbates the impact of extreme heat. Hot surfaces such as roads and footpaths, dark-coloured roofs, bare ground and paved surfaces all compound this problem, so consider your use of materials – choosing light coloured and reflective roofs, and also plant trees, climbing shrubs, vines and natives (which have the added benefit of enhancing biodiversity). Landscaping elements are as important as buildings themselves, because they provide summer shade and cool the surrounding air through transpiration.  

Should I install solar power?

Homeowners and renovators can avoid rising power prices – and future brownouts and blackouts – by installing photovoltaic panels (and perhaps battery storage). Currently, 2.31 million Australian homes – that’s one-in-five households – has solar power; the highest take-up rate in the world. The payback period for photovoltaics has dropped to about three to five years, making them a worthwhile investment.  

Does size matter?

Consider the overall size of your home. Did you know that new homes average 250 square metres in Australia? These require more energy for heating and cooling than smaller houses, so try and reduce your overall footprint – or create zoned areas that you can easily shut down when not in use – to save on energy bills. A skilled Architect can help you devise a smaller but well-designed plan, which also saves money on upfront construction costs.  

Should I build using straw, timber or bricks?

Smaller houses reduce your carbon footprint by reducing embodied energy – as does material selection – because products such as concrete and steel are extremely carbon intensive. It won’t be possible to use these materials in the same quantities in future and to meet our Paris target obligations, designed to halt global temperature rises to 1.5 degrees Celsius over pre-industrial levels by 2030. Opt instead for recycled and renewable materials such as recycled bricks and steel, plantation timber and even hemp, which absorbs carbon as it grows and after it has been applied as a building material. Armadale House in Victoria, designed by Cameron Munro  

Is there a simple, easy answer?

Kind of. At the moment, the best single option is Passive House standard, which was developed in Germany and Sweden to counter the extreme cold of Northern European winters. Adapted for Australian conditions, Passive Houses generally rate above 7.5 stars – sometimes up to 10-stars – thanks to extra insulation; the fact they are tightly sealed against heat gain and loss; and the use of a low-energy mechanical ventilation system to bring in fresh air and expel stale air. They cost slightly more to build than regular 6-star homes, but Passive Houses deliver lower operational energy bills over time, and are more comfortable to inhabit, all year round. They don’t deal especially well with embodied energy yet, and that’s an area that requires further research and development in Australia. At present, only a few architects and designers are accredited to deliver Passive House standard homes in Australia, and builders are still learning the system too, but this is a growing movement, propelled by homeowners who are keen to avoid the worst impacts of climate change. The Passive House standard has been applied to new builds (see Talina Edwards Architect’s Owl Woods House in Trentham, Victoria); renovations to a weatherboard cottage in the city (Cameron Munro’s Armadale house, also in Victoria) and inner-city apartments (The Fern, in Redfern by Steele Associates). Expect to see more innovation and increased take-up of Passive House standard in future, regardless of what governments do to improve regulatory responses to climate change, as people invest in high performance homes that delivery comfort and financial benefits over the long term. Read the first of the two part series on housing here.abc
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Life In A Virtual World

The architecture and design community is nimble, resilient, and above all, determined. Examples are at every turn. We were shocked when Salone del Mobile was post-poned, but reality really set in when it was officially cancelled for the year. As the mood rapidly changed here in Australia we at Habitus we made the tough decision to hold off on the launch party for issue #47, the NGV announced its temporarily closure, and soon we were all working from home and socially distancing. Despite the uncertainty it seems no one had or sought a quiet moment. Instead, we put our heads down, embraced the increased efficiency of working from home (for most of us), and got creative. Architects and designers ploughed forward, the construction industry never stopped, and architecture media welcomed the challenge of new parameters to work within. Forced to completely rethink and overhaul our interactions with the industry, the products, programmes and projects that have resulted are some of the most innovative to date and it’s an exciting time to have so much on offer. “The world has changed, so have we” says Denfair, Denfair 2.0 that is. Originally planned to go ahead in the live format known and loved since foundation in six years ago, this year Denfair 2.0 takes place as a week-long, completely virtual event from 20-26 July. Collections from 40 local and international designers will be on offer alongside 3D virtual experiences, interactive videos, interviews and masterclasses from leaders around the world. Registrations for the new world-class digital design experience are open now. On Thursday 13th August the INDE.Awards will be hosting a global, live stream event announcing the winners of the 2020 shortlist. A fixture on industry calendars since its inception in 2017, each year, the awards brings together the wider architectural community in recognition of the people, practices and projects that put our region on a global scale. With more than 400 entrants across 15 categories, there was no shortage of outstanding projects to recognise and award, so it’s a welcome challenge to do so in a completely new – and globally inclusive – format. IndesignLive has confirmed the second CPD Live digital day program will take place on Thursday 1 October 2020. The first event took place 25 June and had more than 1700 registered attendees. Five content packed sessions will allow you to gain a full formal CPD-point for each. Around the world San Francisco Design Week has opened its first ever entirely virtual iteration of the festival, in fact the world's first city and region to announce transitioning to an entirely virtual design week. They've cited excitement around launching a digital event taking the opportunity as one to come together and reimagine how we gather, interact, engage and celebrate design. And in an entirely digital space Dezeen hosted Virtual Design Festival, the world’s first online design festival that ran for two months from 15 April to 10 July 2020. Locally and globally the design community displays a heavy investment not only in solution-driven design to better facilitate our lives and the way we live, but also the better our emotional experiences and ensure enjoyment and inspiration is always there to be had or found.abc
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Innovation Without Compromise: The Story Of V-ZUG

If words are dwarfs, then deeds must be giants. Or so the old Swiss adage goes. For Swiss boutique appliance manufacturer, V-ZUG, this universal truism is more relevant now than ever before. Because, while “lip service is easy”, says V-ZUG owner and CEO, Heinz Buhofer, “in an increasingly volatile, uncertain, complex and ambiguous world, the strength and culture of authenticity and sincerity are of eminent importance.” One of the core pillars of the brand is its commitment to design-led appliances. Here, the research, development and integration of modern technology inherent in V-ZUG appliances comes as the result of the company’s values. V-ZUG Melbourne Showroom, designed by Carole Whiting. Photography by Dave Kulesza.  Precision, innovation, exceptional design and superior products have been core to V-ZUG since its inception in 1913. Today, its in-house team of industrial designers, led by Martin von Freeden, heralds a pragmatic and iterative design process with a particular focus on an exclusive clientele. “Unlike many other brands, we’ve never been tempted by chasing volumes,” says von Freeden, “instead staying true to a design-led proposition for a discerning customer, architect, designer or developer who is seeking to differentiate their project from others.” V-ZUG boasts a carefully curated yet extensive range of integrated and discreet appliances for the kitchen and laundry. These include Combi-Steam and Combair Ovens, an array of cooktop solutions, energy efficient dishwashers, the Vacuisine vacuum drawer, warming drawers, coffee machines, and clean air extraction solutions. Soon, V-ZUG will complete the kitchen offering with the launch of Supreme refrigeration and wine conditioning. For fabric care, there are washing machines, dryers and the globally unique Refresh Butler. As assured as V-ZUG is in its boutique positioning and innovative, design-led offering, “the challenge is to stay at the forefront of the market”, says Buhofer. “We [are constantly innovating] to bring value to our customers and enable them to do more than was previously possible.” However, with technological advancement comes the challenge of user-friendliness. The V-ZUG solution is simplexity: to make good design and complex technology simple to use. V-ZUG’s in-house design team achieves this, in part, through analysing user behaviour and aligning this with sophisticated functionalities. Through a strong sense of social responsibility, V-ZUG embraced the principles of sustainability long before they were even in vogue. Like product design, it sees sustainability as a matter of precision, innovation, exceptional design and superior outcome. Living proof of the company’s genuine commitment to the greater good can be found at its one hundred per cent carbon neutral production facility in Zug, Switzerland. This flows through to its product offering which enables users to “play an active role in protecting our planet”, according to V-ZUG head of development, Jonas Honegger. “We encourage our customers to be conscious of the resources they use by providing transparent information about their daily consumption habits. Some washing machines and dishwashers, for instance, have built-in EcoManagement, which informs the user of resource consumption after each wash cycle,” says Honegger. There is also V-ZUG’s global industry-leading heat pump technology (present in its washers, dryers and dishwashers). “It is the most energy efficient way to heat up air or water,” he says. It also cuts down on 80 per cent of energy use in the process. V-ZUG takes great pride in being exceptional in every undertaking. As noted by Alberto Bertoz, V-ZUG’s international managing director, who says: “We do things differently to most others; often motivated by non-traditional business objectives. And we’re finding that there’s a growing group of customers wanting to join us on the journey.” Us included. V-ZUG vzug.com Pictured throughout: V-ZUG Melbourne Showroom, designed by Carole Whiting. Photography by Dave Kulesza. abc
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Back To Work, But Make It Fun

Architect, designer and entrepreneur Zahava Elenberg is well-known amongst the architecture and design community. In 1998 while still a studying at RMIT in Melbourne she co-founded the award winning practice Elenberg Fraser Architecture. In 2002 she launched Move-in, a company providing complete furniture packages catering to residential and hospitality venues. By 2003 she was recognised as the Australian Telstra Young Business Woman of the Year and Ernst & Young Southern Region Young Entrepreneur of the Year in 2005. Faced with the countless challenges 2020 has had to offer, Zahava has tapped into her experience and skillset to create yet another business, Clikclax. This time, the goal is to create products enabling a safe environment for people to return to the office. Clikclax is a new mobile system enabling teams to stay apart while working together. The system is flexible, modular and comes in a range of colourful or neutral colourways. Suitable for offices of all sizes, Clikclax consists of a series of 10 interlocking Perspex sheets of varying shapes and sizes, plus six bases that all combine to create an easily assembled kit.   Habitus recently spoke with Zahava to get the full story.

Clikclax was initially conceived as a bespoke design solution for your office once they returned from WFM. What made you think to offer it commercially and did that mean the initial design needed to be changed/refined?

I was in the studio working out how we could all come back together safely and in accordance with the recommended physical distancing guidelines – I was imaging screens hanging from the ceiling, or some kind of divider that was not a ghastly sneeze guard, and then I was like, hang on, we need Playplax, just on a bigger scale. I figured if we needed it, then everyone else was going to need it too…and I decided to think beyond my office and design something that was fun and easy and could take over the world!

Tell us about the inspiration behind Clikclax, being Playplax, and how you’ve drawn from the toys to make your own unique design?

I had been reminiscing about my old Playplax set for some time. I remember sitting on the living room floor at my grandparent’s house when I was about five, amongst their Featherstone furniture constructing towers and forts with my grandfather, who was an aeronautical engineer. I thought I might design a range of furniture for one of our student accommodation projects using it as an inspiration and wanted to get my hands on it. I found two sets: the squares came from London and circles from Manhattan. They arrived and sat on my desk for a while. When I had my lightning bolt moment in the office, they came out to play. The whole thing came together very intuitively after that and the idea grew from there, and we were live three weeks later. Clikclax is also a throwback to the plywood dinosaurs that I used to make with my dad, and the set of the Eames House of Cards, so this is really an amalgamation of childhood memories.  

The whole thing came together very intuitively after that and the idea grew from there, and we were live three weeks later.

 

Tell us about the different colour stories. Are they designed with personalities in mind, or style preferences, or architectural movements? 

I had seen some beautiful images of Australian animals being cared for after the disastrous fires we had at the beginning of this crazy year; a galah, a wombat and a baby grey kangaroo. They became the starting point for the colour range (we are donating $5 from each kit sold online to an Australian charity to assist with the recovery off these animals). I didn’t really have anyone in particular in mind; I just loved the idea of drawing from the bush and making something flexible and fun and colourful – like a mixed bag of Perspex lollies. We developed a funny tone-of-voice, with reference to Australian slang and humour; and the whole Clikclax style and story become symbiotic and fluid. We had a lot of fun with the branding and wanted to bring a sense of fun and joy to these strange times and this new normal.

The system is very appealing and the pieces highly modular; do you picture Clikclax in residential work environments too?

I can see it in all kids of spaces where people need to come back together but need to keep apart, both physically and psychologically. This is a spatial divider, a system of screens that shape space in an interesting and dynamic way. It’s perfect for schools, on desks, in workplaces with 1000’s of people; it looks amazing on bar tops separating winers and diners; art galleries and boardroom tables. Clikclax is so adaptable – you can make it work anywhere at all, and the colours bring spaces to life in unexpected ways. I see Clikclax as both a noun and a verb. It’s a beautiful object, like desk jewellery, as well as a fun thing to do.  

A galah, a wombat and a baby grey kangaroo became the starting point for the colour range.

 

Clikclax can be configured in numerous ways, which is great, it’s highly versatile. But sometimes too much choice can be just as limiting as not enough. What are some of the standard configurations and do they relate to specific ways of working, or space available? How can the user easily find what’s right for them?

In our office, we have set it up as a series of simple screen dividers between workstations, then I built a little corner element with the leftover bits on my desk. Depending on the distancing requirements Clikclax can be configured as a stand-alone cubical, as a series of screens, or as a continuous barrier. It’s great for anyone who likes to think spatially and creatively, and just as good for people who like to follow instructions! We have some of our favourite set-ups on our website for inspiration too. The great thing is that it is not static - you can keep changing it around depending on how you feel or what you need it to do.  It’s an adult size desk toy.

Not only have you incredibly quickly responded to working needs in the face of the current pandemic, but you’ve done so working simultaneously at Elenberg Fraser Architecture and your original side hustle: Move-in, a furniture and fit-out company. How do you manage your time and balance projects?

After establishing Elenberg Fraser 20 years ago, I am no longer involved with the practice. I am primarily focused on Move-in, where we specialise in full turn-key fit-outs for hotels, serviced apartments and student accommodation projects – and now Clikclax. I am also on the Board of the Melbourne International Film Festival (MIFF), which I love and gives me great pleasure. I love being able to participate in the world of ideas. I have three amazing children that are growing up way too fast, but keep me motivated and on my toes. There is no work life balance it is just a crazy fusion of elements that make life so interesting and unpredictable and challenging and rewarding. As long as you keep doing, thinking, talking and experimenting life is good and the balance sorts itself out. Kind of. Clikclax clikclax.com We think you might also like these new releases from Living Edge abc
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A Global Education

Fresh out of design school, Katie Lockhart landed a gig most grads would only dream of: design assistant for Karen Walker. Working under the inimitable fashion designer, one of the most stalwart figures in New Zealand’s design industry, may be a few degrees removed from interior design, but Karen, her husband and their house had a profound impact on Katie. “They lived in a little concrete art deco house on a hill in the middle of nowhere, with an infinity pool hidden amongst the trees, where we watched films projected on bed sheets by the open fire,” says Katie. “It was a romantic way to live.” Karen and her husband Mikhail had been inspired by Casa Vogue, the interiors supplement that accompanies Vogue Italia biannually. Having grown up with Design Hunter parents (who collected pre-1900s colonial New Zealand furniture) and keeping company with friends whose parents were architects, Katie’s affinity towards interior design was built in. But it was the introduction to Casa Vogue that truly ignited Katie’s passion for interiors and ultimately inspired her to move to Milan. “I wanted to work alongside those that created and curated these interior dreams,” says Katie. “I wanted to learn from those who I considered to be the best, to understand what they were seeing, to know all that they did about furniture, designers, and style.” And so, it was. Katie traded her life as design assistant for Karen Walker in to pursue new experiences abroad, and it was her time in Milan that she considers as her true design education. “The editor of Casa Da Abitare at the time showed me around her newly renovated house. She had a yoga room with tatami mats. I had never seen anything like this,” she remembers. “I loved how Italians could dream up realities.” The next destination on Katie’s big OE was London, where she assisted interior designer Suzy Hoodless in her eponymous practice. Though, thanks to her parents’ penchant for period pieces, Katie was no stranger to coveting furniture – “we used to spend Saturdays trawling antique stores” – her time in London became a significant part of her education in the realm of traditional and contemporary furniture design. “Suzy had some Swedish clients, this meant I became very knowledgeable on important historical Swedish furniture and dealt with wonderful dealers such as Paul Jackson and Nina Yashar which only drove my interest even more,” she says. By 2007 Katie had returned to New Zealand, richer and wiser from her experiences, to open her own eponymous interior design practice. Thirteen years on and Katie Lockhart Studio is going strong, with one of its most recent projects featured in Habitus #48, the annual Kitchen & Bathroom issue. The influence of Karen, Mikhail, Suzy, Milan, London, her parents and the countless other creatives that have touched her life culminate in Katie’s practice today, which focuses on collaborating with local artisans and curating homes that are rich in character. Katie Lockhart Studio katielockhart.com We think you might also like Bainaabc
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How Did Chareau And Le Corbusier Influence This House In New Dehli?

Palm Avenue is home to a family of five across three generations. Located in Vasant Kunj, an affluent neighbourhood within New Dehli and at the foothills of the Aravali mountain range, Palm Avenue offers its residents and visitors an atmosphere of restrained luxury and coveted simplicity. “Wrapped in meticulous timber grids, the exteriors are carefully planned to reflect the gradual ageing process one sees in nature,” say the architects. The pitched roof, notable only from the inside, has multiple large skylights that run the length of the apex, supporting 6-metre windows in the formal living and formal dining rooms to let in natural light in the cool winter months. During summer the skylights are covered.  

“Wrapped in meticulous timber grids, the exteriors are carefully planned to reflect the gradual ageing process one sees in nature.”

  Without appearing gauche or unoriginal, Architecture Discipline’s inspiration found in Villa Petit by Le Corbusier is tastefully acknowledged throughout the interior. Likewise, the four pillars most important to the clients are addressed on numerous occasions throughout the architecture and design. Those being: natural light, clean air, an open floor plan and luxurious interiors. Upon entry, the ceiling is deliberately kept low. To the left, as one enters the formal living, the ceiling dramatically escalates from seven feet to 22. Glass doors extend 6-metres upwards like double height windows and lead out to the large lawn equipped with toddler play areas and custom seating. Large amounts of natural light flood in from this south end of the block. Lemongrass and seasonal flowers have been planted along the boundary fences of the property offering both a connection to nature but also inoffensive means of privacy from neighbours and passers-by as the flora grows. Inside the fence herbs and vegetables used frequently are also growing.  

Glass doors extend 6-metres upwards like double height windows and lead out to the large lawn.

  Back inside, accessed via a bright blue metal circular staircase, the formal dining room is visually and physically connected to the formal living below. Despite its minimal aesthetic, the dining room can comfortably host up to 40 people. Like the formal living below, this space overlooks the lawn, which is lush and green, a source of calm to counterbalance lively family dinners or dinner parties. At the bottom of the blue spiral staircase – “inspired by the renowned architect of the modernist movement Pierre Chareau’s dynamic and delicate sense of design” – is a generous basement fitted out as a rec room. “Equipped with a home theatre, giant cellar and replete with storage, it is the perfect extension acoustically treated for loud parties, disconnected from the rest of the house and accessed through an elevator,” say the architects.  

“The project presented an opportunity to its residents to live in their own diverse ways yet unified in spirit.”

  The family’s bedrooms are all located at the north end of the ground floor, while two guest bedrooms are upstairs, also at the north end. The kids’ room has a colourful floor and geometric textile designs. The adult rooms are, as you’d expect, larger and more mature. The beds in the adult rooms are oversized and placed on giant platforms, reminiscent of a traditional Indian palang. “The project presented an opportunity to its residents to live in their own diverse ways yet unified in spirit,” say the architects. Despite a modest build on a sizeable block, three generations to house, and clearly demarcated public and private areas, Palm Avenue offers an extraordinary amount of flexibility to its residents. Flexible partitions and systems can be moulded to increase or decrease space as needed and bare walls offer space for the family to etch their experiences and memories as the years progress. Architecture Discipline We think you might also like Inside Out House by Gaurav Roy Choudhury Architects abc
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The 2020 INDE.Awards Is Coming To You (Literally)!

Get ready to dig out your tuxedo and dust off your martini glasses because you’ve got the best seats in the house to this year’s INDE.Awards! That’s right – 2020’s most anticipated event is coming straight to your living room, with an exclusive stream that will put you right in the action as we celebrate architectural excellence in the Indo-Pacific. Long regarded as the region’s foremost celebration of architecture and design, the INDE.Awards has been a fixture on industry calendars since its inception in 2017. Each year, the awards brings together the wider architectural community as we join in recognising the people, practices and projects that put our region on a global scale. This year, for the first time, the awards will be celebrated far beyond the gala itself, with a live stream that will screen each award and every speech into the homes, offices and parties of architecture and design lovers across the sub-continent. In a year that has seen us forced apart, the INDE.Awards will bring us back together, as we unite to celebrate the achievements of an industry that is pioneering innovation and design across the globe. Whether you’ll be with us as part of our gala or joining us digitally, we encourage everyone to participate in the INDE.Awards experience. So pull your ballgown over your activewear, research recipes for your favourite hors d’oeuvres and invite your friends and colleagues (within acceptable distancing guidelines of course!) over for an INDE.Awards viewing party! With the most competitive shortlist the INDE.Awards has seen, plus the inclusion of two special “best of the decade” categories – 2020 promises to deliver an awards evening like never before. We look forward to welcoming our largest audience yet and can’t wait for you to see what we have in store!

INDE Awards Gala 2020

Thursday August 13th Screening begins from 6:30pm AEST (as the ceremony beings) abc
Architecture
Homes
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Pandolfini Conducts An Architectural Celebration Of Music

The relationship between architect and client is, necessarily, an intimate one. One that requires mutual openness, trust and appreciation. Not to mention, an architect’s deep empathy for the aspirations, inspirations and bugbears – down to even the most mundane details – of a client’s daily life. It is as close as a relationship can come to living together, without actually living together. In the case of this terrace renovation by Pandolfini Architects, in Paddington, Sydney, that relationship blossomed through a love for music. Pandolfini Architects’ client was a private man, nearing retirement; a man of few words, but with a deeply felt affinity toward the musical expression. Having purchased the Victorian-era terrace, now dubbed Concert Hall House, in the 1980s and lived there since, the house was in a condition best described as worse for wear. Worse still, it lacked sufficient space for the client’s pride and joy: his piano, stereo and extensive music collection.  

Conceived to sit comfortably in its heritage context, a new, concrete addition responds to the scale and pitched roof forms of the adjacent houses.

  Headed up by Dominic Pandolfini, the architects were tasked to upgrade the c.1880s house with modern amenity and create a space in which the client could comfortably live out his retirement, in celebration of music. “Initially a very private man, we got to know [the client] as he shared his music collection with us,” says Dominic, adding that this was as much a conduit for getting to know one another as it was for the development of the project brief. A full restoration of the principal building form was undertaken with the original fabric being retained and refurbished wherever possible. Conceived to sit comfortably in its heritage context, a new, concrete addition responds to the scale and pitched roof forms of the adjacent houses; the smooth, off-form concrete and complete lack of ornament presenting an unmistakably modern counterpoint. A large skylight which spans the width of the site articulates the new and old volumes and allows natural light into the long, narrow site.  

On the ground floor a central pod conceals the staircase and amenities, freeing up the rest of the interior space and delineating the piano and listening rooms.

  The unadorned exterior of the concrete addition contrasts with the sculpted interior which has been carefully formed to provide an optimal acoustic experience. The pleated concrete walls and ceiling of the new addition have been specifically calibrated for the space and the client’s audio equipment; a full height wall of folded aluminium panels completes the sound stage and rotate to reveal an extensive music collection. On the ground floor, a central pod conceals the staircase and amenities, freeing up the rest of the interior space and delineating the piano and listening rooms. The floor level steps down into the main listening area, following the slope of the natural ground level to maximise the height in the main living space and creating a fluid connection to the external courtyard. Having lived in his new and improved Concert Hall House for seven months now – including the intensive COVID-19 lockdown period – the client is thrilled with the result. “He’s now able to have friends stay at the house and has been treating a long line of guests to his piano,” says Dominic. Pandolfini pandolfini.com.au Photography by Rory Gardiner Dissection Information Wood Cut European Oak floorboards Bluestone Crazy Paving Euro Marble Carrara Marble, honed finish Zinc cladding Signorino Terrazzo Tiles in Vienna, honed finish Bisazza Mosiac Tiles in Marilyn FLOS architectural lighting from Euroluce Bocci 14s Surface mounted light fixture from Hub Articolo Duo Collection Wall Sconce with Kick Gessi Oxygene Sink Mixer Franke Bolero stainless steel sink Fisher & Paykel Integrated Combi Fridge and Dishwasher Miele Induction Cooktop, Microwave Combi Oven and Built-In Extractor Brodware built-in stone basin and Halo Wall Set Kaldewei Vaio Duo Oval bath We think you might also like Reed House by Beth George abc
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What Does Energy Efficient Housing Really Look Like In Australia?

As global temperatures rise, and the likelihood of extreme weather events increases, the topic of sustainable housing design and energy efficient housing is going to become more relevant to homeowners and renovators. Unfortunately, at this stage, renters are largely locked out of this discussion, although tenancy advocacy groups have run campaigns such as Make Renting Fair and the One Million Homes Alliance, to argue for change in the rental sector. So what is energy efficient housing, and what regulations and standards exist in Australia to tackle these issues? Firstly, let’s talk about energy efficiency and performance. According to Choice, Australian homes account for about 11 per cent of Australia’s total carbon emissions, so household energy efficiency improvements are one of the cheapest ways to cut national carbon emissions.

There is a spectrum of sustainable housing design that ranges from less than 1 to more than 10 stars, but if you undertake a new build or renovation – and just meet the minimum standards – your resulting home is likely to occupy the middle of that spectrum.

  Basically, there is a spectrum of sustainable housing design that ranges from less than 1 to more than 10 stars, but if you undertake a new build or renovation – and just meet the minimum standards – your resulting home is likely to occupy the middle of that spectrum. At the lower end – and this includes most homes, because the vast majority of Australia’s existing houses score just 1- and 2-stars – they tend to be poorly oriented, designed and constructed; and often have substandard insulation and ill-fitting windows and doors, making them leaky. Taken together, these factors mean that most houses are inefficient to operate, leading to high cooling bills in summer and high heating bills in winter (pertaining to location and climate, of course). These homes also produce more carbon emissions than higher performing homes – unless they generate solar power from photovoltaics – thereby contributing further to climate change effects. In the middle of the spectrum are newer homes, especially those built after the NCC’s (the National Construction Code) energy efficiency standards were upgraded in 2010, when minimum standards were lifted to 6-stars (or equivalent, depending on the method used to demonstrate compliance).  

Research conducted by the CSIRO found that about 1.5 per cent of new builds nationally failed to meet the declared standard.

  What many consumers don’t realise, however, is that the star rating is assessed during the design phase of residential projects, and there is currently little in the way of post-completion checks. In fact, research conducted by the CSIRO found that about 1.5 per cent of new builds nationally failed to meet the declared standard, and this problem was especially pronounced in Western Australia, where the non-compliance figure was 15-20 per cent. Conversely, the best performing new homes are located in the Australian Capital Territory, again according to CSIRO research, and there’s a good reason for that. In 1999, the ACT government introduced mandatory Energy Efficiency Ratings (EER) for houses at the point of sale. Where ratings exist for rental homes, they must be declared when the property is listed for lease, and last year, as part of its Climate Change Strategy, the ACT government unveiled plans to introduce minimum energy efficiency standards for rental homes by 2022-23, again leading the country in terms of regulation. In the two decades since the EER policy was introduced, it has helped to create greater consumer awareness about the benefits of higher ratings, which has translated into a price premium for houses that score between 7- and 10-stars.  

The vast majority of Australia’s existing houses tend to be poorly oriented, designed and constructed; and often have substandard insulation and ill-fitting windows and doors.

  Last year, the federal government announced plans to introduce similar EER ratings for the real estate market across Australia, through its Trajectory for Low Energy Buildings – Existing Buildings, and the Addendum announced in November 2019 , but there is no agreed timeframe on that policy yet. The government has also flagged the possibility of lifting the minimum energy efficient housing levels via the NCC, which is due to be updated in 2022, although the scope of any proposed changes is not yet known. And, like has happened in the past when new regulations have been mooted, some residential builders and developers are likely to actively resist increased standards, even in the face of changing weather patterns and climate emergency effects, such as the past summer’s bushfire crisis. In 2018, the sustainable housing advocacy organisation Renew, kickstarted a new campaign called Climate Resilient Homes, to coordinate and lead a national coalition of 65 consumer and community organisations. Together, these organisations are advocating for policy changes to improve the energy performance of all Australian homes, as a way of providing improve equity around energy efficiency measures for renters and homeowners alike. In part 2 of this article, we’ll look at specific steps homeowners can take when building or renovating a new home to ensure it will be healthy and comfortable – and benefit from lower energy bills and generate fewer greenhouse gases – in the years ahead.abc