About Habitusliving


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


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


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


Learn more


This Sustainable House Puts Comfort First

Overlooking a creek, this unique block is tucked away in a quiet pocket of Blackburn, shielded from the busyness of the greater suburb by an atmosphere of country-style living. Upon arrival at the property, “you feel instantly like you’re miles away”, comments Clare Cousins of Clare Cousins Architects. Given the extraordinary nature of the location, client Oanh Harding and her family were looking for an architectural response that would be timeless and unique to the site, clever in spatial planning while also supporting their vision for a comfortable and sustainable family home. “With a modest budget and size, we needed communal spaces to work hard and multi-task without compromise,” says Oanh. The overarching concept was a north-west oriented block, with the front of the house facing the west. The site itself is fairly steep, the topography falling to the back of the block. “For us the natural progression was a long, linear, extruded form. We really wanted it to step with the topography and sit quite lightly with the landscape,” comments Clare. Inside, Clare has played with spatial efficiencies. To the back of the house are the bedrooms which line the long, north-facing corridor and spill out into the hallway and the garden beyond. To the front of the house – the main entry point, is the kitchen/dining zone, tucked smartly beneath a mezzanine level. The kitchen is neatly sandwiched between dining and living, connected by a “luxuriously generous” 8.6-metre-long bench. “This spans along the back wall from the dining area to the kitchen, providing traditional kitchen storage as well as homework space,” notes Oanh. Sustainable living is core to Oanh and her family’s home life. From an architectural perspective it called for a timeless design and clever spatial planning; day-to-day, it came down to the appliances used in those essential living zones of kitchen and laundry. “V-ZUG had the strongest sustainable credentials by far, which aligned for us,” says Oanh. “V-ZUG just ticked all the boxes for us; they were quiet and understated but the results seemed outstanding in both form and function.” On top of this, the appliances are electric rather than gas-run, allowing Oanh and family to ‘green power’ their kitchen using solar rays. The compact V-ZUG combi steam oven is the “beloved workhorse” of the kitchen and, aesthetically, fits well with the scheme of teal-green joinery (influenced by Eucalypt tones), and granite bench tops – selected for their lovely stone-like quality. The induction cooktop, too, integrates seamlessly, flush-mounted into the benchtop. The perfect integration of architecture and appliance. Together these communal living spaces create a sense of family retreat, with the kitchen dwelling at their very centre. “The house is like a getaway, allowing us to get through the daily grind in the most beautiful and warm spaces,” says Oanh. “As our home, it allows us to connect with each other and the natural environment in the most privileged way.” Taking this one step further, Oanh and family have also fit out their laundry zone with V-ZUG, whose laundry appliances are the most energy-efficient on the market thanks to an innovative heat pump feature. A full-circle approach to living comfortably and in the most sustainable manner possible. As Oanh comments: “This is our forever home and we couldn’t be happier with the fundamental choices we have made.” Clare Cousins Architects clarecousins.com.au V-ZUG vzug.com Photography by Tess Kelly We think you might also like Ruskin Elwood by Fieldwork Architects and HIP V. HYPEabc
Around The World

How Do They Make It Look So Effortlessly Resolved?

AMP Design Co. borrows from Japanese design elements to fashion a pared-back apartment with a serene ambience for this family. A minimalist aesthetic keeps the interiors easy to maintain. Meanwhile, warm oak and cool grey concrete accents lend a touch of character to the largely all-white space. The result is a tranquil environment that’s ideal to unwind in. The living room is open and airy, and features a cool palette of white and light oak. There is a series of floating display shelves by the TV feature wall. This design resembles a cascading Japanese waterfall, and brings a sense of calm to the neutral space. To further enlarge the space, a tinted mirrored sliding door conceals the entrance to the study area. The black trimming on this door serves has a sleek handle. The dining area is bright and open, and largely unembellished. This is per the family’s request for a minimalist home with subtle Japanese influences. Yet, instead of a banal setting, it comes off as quietly chic, thanks to the use of black framed kitchen windows and doors. They add depth and contrast, which breaks the monotony of the interconnected spaces. “Patterned tiles, with a rugged, concrete texture, were incorporated into the kitchen to offer a sense of playfulness,” say the design team, who opened up the space and improved ventilation with metal-framed glass bifold doors. This also improves the flow between the kitchen and the rest of the abode, and makes access easier. A suspended glass partition greets visitors at the foyer. The corrugated glass panel injects a sense of lightness and retains the spaciousness of the interiors while offering a sense of privacy. The half height shoe cabinet with recess handles and a bench seating serves a practical purpose, as seen in typical Japanese homes. The designer created an L-shaped wardrobe in the master bedroom to maximise storage space, and adorned it with custom made handles and white laminate fronts to brighten up the room. To keep the bedroom looking clean, serene and streamlined, the door to the en-suite bathroom is also concealed. Meanwhile, a side table/dressing table with display nooks for the bedhead wall is a space-savvy addition to the bedroom. Taking slightly more liberties in the bathroom, the design team employed a greater variety of tiles with concrete-like finishes and herringbone patterns – unified, nonetheless, by the same colour. Black-framed glass panels for the shower area and matte black-finished fittings inject a contemporary touch. AMP Design Co. amp-d-space.com abc

Three Years In The Making And Worth Every Minute

Three years after Coogee Pavilion opened its doors – to the ground and rooftop levels at least – Merivale revealed the highly anticipated middle level. Home to three venues, mimi’s the restaurant, a cocktail bar called will’s, and the wine and tapas bar Una Más, the middle level offering is simultaneously diverse and in inherently connected. This is thanks in part to Caroline Choker and Vince Alafaci of ACME. No strangers to hospitality design (The Grounds of Alexandria, The Grounds in the City, and the recently opened Matteo’s Downtown), nor are they strangers to working with Merivale (Fred’s, J&M Whisky Bar) mimi’s Coogee Pavilion marks their most recent collaboration with the hospitality juggernaut. The design team consisted of Caroline, Vince, Amanda Talbot, Justin Hemmes and Bettina Hemmes. Habitus had the chance recently to speak to the duo behind ACME on a reveal that can only be described as overwhelmingly positive.  

“As [Coogee Pavilion] gained success the mid-level attracted suspense and curiosity from visitors as it lay dormant for three years.”

  The Coogee Pavilion rooftop and ground level famously opened six years ago and has enjoyed unwavering success. What was it like to design a venue in the same building? Have you designed the three venues in the middle level to align or exist independently?  We had the privilege of working within the iconic Coogee Pavilion building. As the building venue gained success the mid-level attracted suspense and curiosity from visitors as it lay dormant for three years. This challenged and shaped our design strategy. Vertically connected via the central atrium dome, each of the three levels have their own distinct identity accessed independently from street level. Spatially connected at mid-level, the trio of Una Más, will’s and mimi’s each have their own personality and offering. With Justin and Bettina Hemmes and Amanda Talbot on the design team, was this a collaborative effort or did you have individual departments you were responsible for? The project was a design collaboration of ACME working together with the Merivale team, Snoop and executive chef Jordan Toft.  

“The material palette and tonality has been inspired by the coastal landscape.”

  You’ve worked with Merivale previously, how does this venue differ from Fred’s or J&M Whisky Bar?   Each of our projects is a response to a client brief, place and time. Coogee Pavilion’s ethos was its connection to the coastal environs and the offering. The material palette is rich and luxurious: marble, linen and beautiful upholstery making an immediate impression. Yet the colour palette pares it back with whites and neutrals. What was the design thinking here and what was the process like finalising colours and materials? The material palette and tonality has been inspired by the coastal landscape. Its paired back nature offers a sense of serenity, a calmness reflecting the beachside lifestyle. Sophisticated materiality has been overlaid in a restrained and unpretentious manner. Details highlight the materials natural properties allowing them to be sculpted into tectonic forms.  

“Vaulted, arched windows frame the ocean views; bi-folding apertures create connection; and open-plan kitchens and bars curate the experience.”

  What did you personally find some of the more interesting or unique design elements of this project? This project is a narrative of form and material gestures. Through analysis of the existing pavilion architecture and its environment, we undertook an exploration of seamlessness, sculpting, forming, casting and extruding materials. Their details imbue calmness, warmth and tactility whilst allowing the location and offering take centre stage. Vaulted, arched windows frame the ocean views; bi-folding apertures create connection; and open-plan kitchens and bars curate the experience. What do you hope will be memorable among patrons? This elevated seaside pavilion is one of Sydney’s most immersive dining experiences. mimi’s merivale.com ACME acme-co.com.au We think you might also like our take on the Leading Australian Interior Designers   abc
Primary Slider

Where Horses And Humans Freely Co-Exist

Built structures are typically about containment – containing movement and living within walls and fences. Eumundi House, in contrast, is designed for freedom. “Freedom of choice, freedom of movement and freedom of living,” says Lynn Scott. Lynn and Ron Scott engaged Allen Jack + Cottier to design their home and horse pavilion in the Noosa hinterland. And while the brief captured Lynn and Ron’s functional and lifestyle needs, it most importantly focused on how Lynn wanted her herd of wild brumbies to live freely on their 75-acre property. “The cohabitation with me and my horses was a driving force in building a new home. I wanted them truly part of my life. A place where people, animals and the environment connect and freely co-exist,” Lynn describes.  

At 90 square metres, the one-bedroom house is compact but spacious, with every room enjoying a view and a connection to the outdoors.

  Architect Peter Ireland, principal of Allen Jack + Cottier, who had designed the couple’s previous house in Wamberal, visited their Queensland property to observe the horses. “The idea for the pavilion came from watching how the herd would congregate under a fig tree. They were sheltered but free to move, and to adapt to the weather and personality disputes within the herd,” says Peter. This provided the inspiration for the horse pavilion, with the functional elements centred in the core (the tree trunk), and the broad cantilevered roof (the tree canopy) sheltering the horses as they freely move around. “No fences, gates or corrals that typical farm buildings use to control the movement of animals,” Peter says. This gives the horses free movement and living, and the choice to wander up to the hill to interact with Lynn. “Our herd congregate regularly at the verandah waiting for me, and if I’m not up in the morning they’ll wake me. One of the greatest joys is having coffee with my horses on the verandah and steps of our home,” says Lynn.  

The horses enjoy free movement and living, and the choice to wander up to the hill to interact with Lynn.

  The form and materials of the house respond to the landscape and reference Australian rural vernacular architecture. Sitting along the contours of the hill, the house has a high roof gable framing a view of Mt Cooroy, and the structure is corrugated steel and timber, with a west-facing timber screen made of rough-edged planks. At 90 square metres, the one-bedroom house is compact but spacious, with every room enjoying a view and a connection to the outdoors. The use of space is highly considered, as are the interior finishes and furnishings, reflecting Ron and Lynn’s love for design. “Everything we’ve chosen is really unique and beautiful from a design point of view,” says Ron. Their enjoyment of art and design also extends beyond their home, as they support young up-and-coming artists, sculptors and designers, in the Noosa community. This year they worked sculptor Nick Warfield for an installation project that will be unveiled at the launch of the Noosa Art Trail. Eumundi House by Allen Jack + Cottier provides a free and unconstrained lifestyle for the Scotts and the wild brumbies. “The design has given the gift of freedom and choice in the essential structures needed for living. It’s a place where plants, animals, horses and humans have free rein to express their wildness,” says Lynn. Allen Jack + Cottier architectsajc.com Photography by Robin Riddle We think you might also like Edgar's Creek House by Breathe abc
Design Products
Fixed & Fitted

Design On A Global Stage

For more than 30 years Abey has been a leader in the Australian kitchen and bathroom market manufacturing locally designed hardware and supplying global brands. All this to ensure Australian architects, designers and their resulting kitchens and bathrooms are reaching a global standard of design. One of the company’s most celebrated contemporary brands, Gareth Ashton, has facilitated truly modernised kitchens and bathrooms across the country. The collection is a showcase of sleek lines, angular shapes, and organic curves. Consisting of tapware, showers, accessories, baths and basins, one can create a total look for a bathroom fit out. Alternatively, the collection has been designed to complement Abey’s extensive range of tapware such as the Poco, Stile, Madison Avenue, Lucia and Park Avenue collections, and the Abey sinkware range. In accord with the values of Abey, Gareth Ashton has been designed to showcase innovation and reflect a global culture of design. Furthermore, the collection is a line up of subtle yet impressionable design pieces that create lasting impression for residents and their guests. Abey abey.com.au abc
Primary Slider

Celebrating the Beach Hut

“The South Coast of New South Wales is, in my view,” says architect Peter Stutchbury, “the romantic coast. It is still largely nature-orientated compared to the north coast, and Guerilla Bay still has that raw or untouched quality.” 

Guerilla Bay – or Bay Guarella to use its indigenous name – is a wind-weathered world of its own fringed by woodland coastal forest of stunted Ironbark and Scribbly Gum. The client wanted a retreat from her busy professional life. “She wanted a simple house which would nurture her soul; a house that would connect her to where she is; she wanted privacy; and to be able to shut the front door when she went back to Canberra and not worry about the house,” says Peter. 

The client also wanted a house to share with others and that respected its place. Hence, the house is modest in scale (90 square metres)and sits humbly within its forested site just 30metres from the shoreline and aligned withBlack Rock, an isolated sacred rock in the bay. It rests on a sloping contour that runs the length of the house. Just one tree was removed during construction and it was milled on site and the timber used for decking.

“This building is a re-visit of the model of a beach house with all the finesse that architecture can bring,” says Peter. “I am exceptionally proud of it because it is a really wise little building. It has a purity and a clarity. A lot of people call it a temple. It has that sort of quality.”

Utilising the slope has, with just a little excavation, enabled two levels. The lower level is the bunkhouse. Accessed separately from upstairs, it can sleep eight people and has the easy flexibility and informality of the traditional beach house. Furthermore it is self-contained with a kitchen/living/dining space, laundry, bathroom and an outdoor shower.

Entry to the upper level is along a short timber bridge. Once inside, one is immediately faced with a three-way fireplace that can be opened to warm the entry, the living area, or one of the bedrooms. For Peter, the fireplace acts as a sign of the traditional beach house where the fire would be going all day in winter and sometimes late at night in summer. 

There are two bedrooms, separated spatially by the living/dining/kitchen area. Peter refers to them respectively as the sky bedroom and the earth bedroom because, once again, the slope offered an opportunity to generate character in the house. So, one bedroom is elevated with access to a verandah, the other is at ground level and opens on to an internal courtyard.

With skylights and fibre-cement shutters all round, the house opens up completely to the landscape and is filled with light, making it “emotionally twice as big”. With the shutters closed, it is fire-resistant. On the outside, the structure is expressed by 1200 millimetres, which not only contributes to the sense of beachside informality, but also helps the building merge with the landscape. “It’s like a rock sitting in the landscape,” says Peter, “with a series of trees planted around it. It doesn’t play any tricks or games with its architecture.”

Like the traditional beach hut, this house is entirely flexible and fully relaxed. But, unlike the beach shack of old, there is great refinement and Peter is quick to praise his local builders who are, he says, master craftsmen. So, it is a case of enjoying the beach hut in a civilised way.

“The principle of the beach hut is adequate shelter and a sense of community and freedom, and enough independence you can read a book by yourself,” says Peter. Accordingly, with this house the community is the central area that expands on to the deck, into the courtyard, and the whole wall of the kitchen opens on to the courtyard that has a fire and a barbeque. On the other hand, the bedrooms provide privacy, each seemingly a world of its own.

Peter Stutchbury feels that we have lost a lot by “shelving the beach house tradition”. This house re-visits the traditional typology and aims to be a new model of the beach house.

Peter Stutchbury Architecture peterstutchbury.com.au

Photography by Michael Nicholson

Dissection Information Paired hardwood post-and-beam with steelplates Blackbutt hardwood Compressed fibrecement cladding Hoop-pine plywood linings Galvanised steel Stainless steel mesh

We think you might also like Kawau Island Bach by Crosson Architects

Design Products

The Perfect Home Office, Made Especially For You

When the world shut its doors earlier this year, we were forced to adapt to new ways of living. Within this, every industry across the world took the initiative to transition to working from home, creating a new type of dynamic and flexible workplace that we now call the new normal. For many, this abundance of time at home has given us an opportunity to hit the refresh button. As we explore the most efficient ways to navigate our new home workplace, we have reimagined the way we live, work and interact with our everyday spaces. This paradigm shift has inspired people to rearrange their daily routine with effective strategies, a touch of organisation and a well-designed space to support. As the boundaries between work and life are practically nonexistent, the team at CULT have been focused on refining their product offerings to inspire the design community in these times. CULT is one of Australia’s leading furniture destinations dedicated to providing the community with some of the most renowned brands in the world. With their unrivaled expertise in creating inspiring spaces, they believe that when it comes to working from home, functionality, comfort and personalisation are just as important in a residential setting. To ensure that people maintain high productivity levels and their health and wellbeing, CULT’s new initiative has been thoughtfully curated to give you the best experience of home-working. The ‘Ready-To-Ship Home Office’ by CULT is crafted to bring you the perfect combination of functionality, style and convenience. Featuring three different packages: The Virtual Meeting, The Webinar and The Zoom Call, each one boasts a collection of exceptionally designed pieces to take your set-up to the next level. Each one of the ready-to-ship edits comprise of a desk, a chair and a table lamp and have been specifically curated to meet a variety of interior styles and requirements. For the flexible employee, The Virtual Meeting’ is a comfortable package set-up that fits virtually anywhere. It features the easy-to-assemble Pyramid Desk by Ahrend, the About a Chair 20 by Hee Welling and the Anglepoise Type 75 Desk Lamp to complete the look. The desk and chair provide a relaxed and contemporary work environment, while being compact enough to easily move around the home if needed. Designed by Sir Kenneth Grange, the Type 75 is a modern interpretation of the iconic Anglepoise design. Its clean, refined lines and pared-back colour tone creates a freedom in where it’s placed – from the workplace and straight to the home office. Delivering the premium working from home experience is The Webinar. Curated with sophistication and a touch of elegance, this package features three distinct furniture pieces for a home office with a bold personality. Designed by Adam Goodrum, the Chameleon Desk is robust and tactile with its black base and large surface area to maximise comfort and productivity. Sitting on top of the tabletop is the beloved AJ Lamp by Arne Jacobsen; a lighting element that ties art and design function in one. Hee Welling’s About A Chair with Kvadrat upholstery ties the set-up altogether. The chair boasts a sculptural silhouette with a spacious seat base and high backrest that allows you to sit comfortably in style. Featuring three outstanding products, The Webinar seeks to bridge the gap between home and work. Aptly named after a phrase we’ve become very familiar with, The Zoom Call provides an exquisite backdrop for a day of long, constructive meetings. With the Pyramid Desk by Ahrend as the centrepiece, its dark streamlined legs and oak surface top perfectly balances functionality and extraordinary style. Named after its one of a kind adjustable backrest, SIA by Tom Fereday is the slender timber chair suited for any and every space in the house. Sculpted from solid natural timber, the curved support in the seat and articulated back complements the Pyramid Desk’s strong character. Great attention to detail is displayed through the Type 80’s captivating, graphic profile. Designed by Sir Kenneth Grange for Anglepoise, this table lamp was precision engineered to create an intimate and warm atmosphere. The Virtual Meeting, The Webinar and The Zoom Call are all available Australia-wide through CULT. Currently offered at a discounted price, the ready-to-ship packages by CULT bring the office ergonomics and functionality straight to the comforts of your own home. Shop the packages now at CULT. cultdesign.com.au  abc
Around The World

One Smart Design Manoeuvre After Another

When merchandiser Denise Thomas bought this conserved Tiong Bahru walk-up apartment, she knew it was going to be a major renovation exercise. “I bought it from the original owners. Given the spatial configuration, it was really dark inside and you couldn’t even read in the living area during the day without turning the lights on,” she recalls. The designers from HABIT were enlisted to help Denise realise her vision of a bright, open and airy home – one that still remained connected to its history and heritage. “We managed to keep a portion of the original mosaic flooring in the balcony. We also cleaned up and whitewashed the old ventilation blocks, along with the walls and ceiling to make the space appear bigger, wider and higher,” says HABIT’s co-founder Li Yanling. Elements such as terrazzo-look homogeneous tiles, louvred panels, and a colonial-inspired white and dark wood scheme also allude to the apartment’s rich past. In the foyer, the apartment’s original platform area has been transformed into a cosy nook to house a shoe cabinet; the steps leading up to this raised level are also storage cabinets. To achieve the spacious and light-filled home that Denise desired, the designers from HABIT have taken down the walls leading to two of the bedrooms, turning one of them into the living area, and the other into a yoga zone. With this new arrangement, the original, modestly-sized hall/living area now serves as a dedicated dining space, and all three zones and balcony are seamlessly connected. Yanling shares that they had originally intended to build sliding doors between the living area and yoga space, to ‘open up’ the apartment even further. However, a low-lying structural beam that they discovered during the renovation process meant a trip back to drawing board. “Tiong Bahru flats are not identical, and each one comes with its own set of challenges,” laughs Yanling. “You won’t really know what to expect until you start hacking the walls.” As an alternative, the designers built in its place a sleek TV console flanked by glass panels, which still allow light and views through. Panels of textured glass louvres offer ventilation and further the see-through quality between the spaces, whilst ensuring privacy when needed. “When we designed this home, it was with the idea that the owner could possibly wish to rent out the apartment some day,” Yanling reveals. “As such, the yoga space can be easily converted back into a guestroom should the need arise, simply by fixing a door at one end, and sliding door panels where it leads to the balcony.” In the master bedroom, one wall has also been replaced with textured and clear glass louvres to encourage more light through the apartment. Beyond that, the room has been made slightly smaller to allow for a wider common corridor that can accommodate a storage cabinet cum extended wardrobe space. The original walk-through bathroom that led into the kitchen was dark and narrow. The designers shortened the length of the separate shower and WC cubicles, thus carving enough room for a good-sized vanity – which had previously been non-existent. Overall, this Tiong Bahru walk-up apartment exudes a quiet and laid-back aura. “I like the idea of negative space, and this house has that,” says Denise. “It’s comfortable, and a calm oasis to return to at the end of the day.” This story first appeared on Lookbox Living Issue 59, May-July 2019. HABIT Photography by Wong Weiliang We think you might also like... is living large out of vogue? abc
Design Products

Elliat Rich’s New Collection For Stylecraft Is Open To Interpretation

In 2017, Alice Springs (Mparntwe)-based designer Elliat Rich was awarded winner of the Australian Furniture Design Awards for her sculptural vanity called Place. In the years since, Elliat has been hard at work in collaboration with Stylecraft on the recently launched collection, Different Thoughts, which resulted from that iconic first piece. Comprising a credenza, floor light and rug, the Different Thoughts collection is the physical manifestation of Elliat’s exploration into what connects one person to another. “The intention of Different Thoughts was to see if I could translate a philosophical proposition into a three-dimensional ‘diagram’ of that idea,” says Elliat. “The propositions encompass experiences of time; the practice of empathy; and the deep relationships between ‘body’, matter and our planet.” Balancing function with narrative is core to the collection and turned out to be one of the key areas for which a collaborative approach was most successful. Elliat describes her practice as constantly moving between conceptual objects in her personal work and client designs that respond to a specific brief. She credits a strength of the collaboration between herself and Stylecraft as the ability for each party to monitor and uphold the desire for functionality and narrative, ensuring a balance remained between the elements and, if it was disturbed, was ultimately rectified. In the annual Habitus House of the Year edition, we spoke to Elliat to learn more about Different Thoughts. The issue hits stands October 22, make sure you pick up a copy, or subscribe here, to hear this thoughtful and insightful conversation. Stylecraft stylecraft.com.au abc
Design Hunters
DH - Feature

Gidon Bing On Designing Daily Rituals

Gidon Bing Ceramics have been steadily making its way onto Australian shores, infiltrating hearts and homes with the brand’s celebrated utilitarian approach and simple aesthetic. A cult following that is verging on widespread recognition, chances are you’ve seen the citrus juicer (a personal favourite), the twin wall insulated ceramic tea and coffee cups (a crowd favourite), and bone crackle bowls and platters around the traps more than once or twice. From his base in Auckland, Gidon Bing (the man behind the brand) is the principal of his eponymous creative design studio working across homewares, product design, sculpture and, increasingly, interiors and architecture.  

Describing his approach to design as reductive, the Gidon Bing pieces you see dotted throughout the home are visually stunning in their simplicity.

  With academic origins in the fields of history and archaeology, it seems fitting that his design work is deeply concerned with human experience: for himself as creator/maker and for others as end-user. “My practice is informed by a passion for materials and material process,” says Gidon, “and a drive to create works that are understated, simple, and deeply connected to us through tradition [or] nature.” That is to say, the process is as much a source of inspiration as other work. Amidst his exposure to antiquity and primitive artefacts, he counts practices such as bronze casting, mold-making, foundry work, and woodbending – or Magewappa as it is known in Japanese culture – as such inspirations. Describing his approach to design as reductive, the Gidon Bing Ceramics pieces you see dotted throughout the home are visually stunning in their simplicity, exude subtle elegance, and avoid the superfluous. Just as importantly, each piece has a clear function. In fact all his designs, be they object, sculpture or interior, are designed to be utilitarian and “invulnerable to the transience of fashion”. In essence, it is hoped that each piece becomes deeply meaningful to its user, and gradually a part of their daily routine. Under the hat of his interiors practice, design in the kitchen morphs from objects that adorn the space to designing the space as a whole. For Gidon, his interest lies in kitchens that are sensitively modulated, compressing or decompressing flexibly and creatively: “Spaces that take into consideration the human experience – not just how it will look,” he adds. Access to natural light, a balance between privacy and connection, a connection to nature, and creating intimacy are key elements Gidon seeks out when planning a kitchen or bathroom – in residential and commercial projects alike. “These are very traditional principles,” he says, “but they are just as relevant now if not more so.” A comprehensive practice across multiple design disciplines, one thing remains notably consistent, and that is Gidon Bing’s honour of craft and respect for materials. Creating objects, art or interiors, design decisions are made with intent and a clear purpose is always paramount. The forms are uncomplicated, the functions are clear, and the final pieces are ready for a long future with their new owners. Gidon Bing Ceramics gidonbingceramics.com Photography by Greta Van Der Star and Larnie Nicholson We think you might also like the sense and sensitivity of designer Thomas Coward abc
Design Products

Award-Winning Modern Masterpieces

For those of us looking for the silver lining in a year characterised by the new and now well-overused term “unprecedented times”, we need look no further than the Axia collection from Phoenix Tapware. Released in February the minimalist range of hardware for our design-led kitchens and bathrooms received immediate acclaim from Design Hunters, and before long the sentiment was echoed amidst peers in the industry who were quick to recognise the collection with a Red Dot award and Red Dot Best of the Best award. [caption id="attachment_105727" align="alignnone" width="1170"] Axia Wall Basin / Bath Curved Outlet Hostess Set (180mm) - Phoenix Tapware[/caption] The Axia collection is a contemporary embodiment of minimalist design with crisp detailing and – despite its visual simplicity – a memorable presence. Combining form and function, the statement tapware range is highly functional with fine precision etched grooves for easy operation and control. More recently, Phoenix Tapware has added to the Axia collection with the Axia Wall Basin/Bath Curved Outlet Hostess Set. The Axia Hostess Set is an extension of the ultra-modern, minimalist design language evident in the wider Axia collection and as such relates perfectly to any contemporary interior. Made from brass, it’s available in three finishes: chrome, brushed nickel or matte black and features 3/4 turn ceramic disc spindles and breech assembly. [gallery size="large" type="rectangular" ids="105730,105729"] Alternatively, the Vivid Slimline Plus Wall Basin/Bath Hostess Set is similarly contemporary in form, yet contrastingly linear in design. Like Axia, the Vivid Slimline range is an elegant yet understated tapware design perfectly suited to sophisticated, design-orientated environments. Iconic to the design is a subtle teardrop shape on the side of each handle, transforming into the crosshair detailing as part of the handle. [caption id="attachment_105731" align="alignnone" width="1170"] Vivid Slimline Plus Wall Basin / Bath Hostess Set (180mm) - Phoenix Tapware[/caption] The Vivid Slimline Hostess Set features coloured hot and cold indicators, five finishes – chrome, brushed nickel, gun metal, matte black, brushed gold – and brass construction. As per the Axia Hostess Set, Vivid features 3/4 turn ceramic disc spindles and breech assembly. [gallery size="large" type="rectangular" ids="105732,105733"] Both the Axia and Vivid Slimline collections champion finding beauty in the every day, and furthermore, creating beauty for the utilitarian nature of our most functional spaces. Phoenix Tapware phoenixtapware.com.auabc
Design Hunters
HAP - Feature
What's On

We Are Thrilled To Announce Our 2020 Habitus House Of The Year Jury

Ahead of the announcement of our official, Habitus House of the Year 2020 selection on 22 October, we are thrilled to welcome back members of the 2019 jury to our 2020 programme. Joined by our convenor of the jury, Paul McGillick, we are looking forward to getting together at a socially distanced round table for a vibrant discussion exploring our shortlist of 20 projects. Ultimately, the jury will decide on an overall winner for Habitus House of the Year, and awards for Interior Architecture; Interior And Exterior Connection; and Architecture And Landscape. Following the release of the special annual Habitus House of the Year print edition, we invite you, our loyal republic of Design Hunters, to cast your vote for the People’s Choice award. We are thrilled to have Architecture Editor / Author / Curator Karen McCartney; Consultant Architect Howard Tanner AM; Founder of Burley Katon Halliday and Anibou Neil Burley; and Design Editor / Commentator / Curator and Publisher David Clark return to the Habitus House of the Year independent jury.  

Karen McCartney

Karen McCartney was the founding editor of Inside Out and remained at the helm of the title for ten years. She has since published eight books on residential architecture and currently resides as the architecture editor of Belle and weekly design columnist at Good Weekend. Alongside business partner Jayne Ferguson, Karen launched a creative and commercial strategy consultancy business, Edit’d, for premium design brands, sharing the expertise she had acquired along the years in her various roles.  

Howard Tanner

In his decades of practise as an architect Howard Tanner built himself a reputation specialising in the residential, educational and heritage market. He founded his own architecture practice called Tanner Architects in the 70s and it grew and evolved with new Principals Alex Kibble and Robert Denton. The firm became Tanner Kibble Denton Architects in 2012. Although he has passed on the baton officially at TKD Architects, he keeps himself in the midst of the industry as a consultant architect.  

Neil Burley

Neil Burley has spent his career firmly within the architecture and design industry. However, he’s had a number of different focal point. Neil Burley Design was established as a graphic design studio that quickly bled into the spheres of interior and product design. In 1989 David Katon and Ian Halliday joined as partners and the business was renamed Burley Katon Halliday and exists as we know it today. In 1995 Neil left to run Anibou, the great purveyor of European bentwood such as Artek, full time. In recognition of local talent, Anibou quickly extended its offering to include local designers, emerging and established, such as Tomek Archer, Frank Bauer, and Caroline Casey.  

David Clark

David Clark is perhaps most well known for his decade-long tenure at Vogue Living as Editor in Chief. Since leaving the title in 2012 he has continued his career as a Design Editor, consulting to private clients, design businesses and organisations. He has been a Guest Curator for the National Trust of Australia and currently sits on the board of the Design Institute of Australia. David’s history in architecture, design and decoration consistently informs his contribution to the dialogue and discussions in the industry.  

And Paul McGillick, Convenor of the Jury

Paul McGillick is a prominent, Sydney-based writer and editor in the fields of architecture, art and design. He was formerly Editorial Director at Indesign Media for over 12 years where he edited Indesign magazine (specialising in workplace design) and was founding editor of regional architecture, art and design magazine, Habitus.   For a full recap of what’s coming for House of the Year 2020, click here You might also like to revisit the 2019 Habitus House of the Year Judging Day Habitus House of the Year wouldn’t exist without the support of our friends, colleagues and regular collaborators in the industry. We would like to extend our sincerest thanks to our Major Partners Gaggenau, StylecraftHOME and Zip; Supporting Partner Rocks On; Design Hunter Partners About Space, Didier, Euroluce, Phoenix Tapware, The Green Room, Top3 By Design; and our Trophy Partner Axolotl. abc