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


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Design Hunters
Design Stories
HAP - Feature

Redefining Boyd’s Australian Ugliness

A new book on Australian architecture responds to Australian architect Robin Boyd’s seminal text, The Australian Ugliness, as it takes a fresh look at the nation’s ‘ugly past’ through a series of critical essays by multiple authors. Co-published by the National Gallery of Victoria and Thames & Hudson Australia, After The Australian Ugliness features several authors including architectural historian Philip Goad, author and journalist Benjamin Law, artist Eugenia Lim, designer and founder of the National Aboriginal Design Agency Alison Page, and writer and founder of the Planthunter blog and Wonderground journal Georgina Reid. Boyd’s The Australian Ugliness, which was published in 1960, examined Australia’s architectural landscape as well as the negative forces he saw shaping the country’s society and culture in the mid-twentieth century. While highlighting Australia’s architectural flaws, he also offered design solutions that would change the architectural trajectory of its urban and suburban spaces. More than sixty years later, the new book explores the significance of Boyd’s influential volume with each author making Boyd’s work live in the contemporary moment as they examine how the Australian aesthetic has changed since 1960, and how other Australian ‘uglinesses’ as identified by Boyd, remain unchanged. After The Australian Ugliness is edited by Naomi Stead, professor of architecture at Monash University; Thomas Lee, senior lecturer in design studies at the University of Technology Sydney; Megan Patty, NGV head of publications; and Ewan McEoin, NGV senior curator of contemporary design and architecture. The new book features 18 essays by twenty authors, including architects and landscape architects, architecture and design academics, fiction authors, social commentators, curators, historians, publishers, archivists and editors. The visually rich publication features new photography by David Wadelton that captures the rapidly changing face of Melbourne’s built environment in evocative black-and-white images, a selection of drawings from illustrator Oslo Davis, who has reimagined Boyd’s satirical drawings from the original text and placed them in contemporary settings, and never-before-published photographs taken by Boyd himself, as well as a group of photographs by Melbourne photographer Nigel Buesst that originally appeared in the 1968 and 1971 editions of The Australian Ugliness. Tony Ellwood, director of the National Gallery of Victoria, said, “Robin Boyd was not just one of Australia’s great architects, he was also one of its most effective communicators. Boyd encouraged Australians not to look to Britain or America for inspiration in the built environment, but to the landscape around them. At a time when the influence of design was not widely understood in Australia, Boyd’s writing impacted the public consciousness in a way no architect has before or since.” Launched recently at Boyd’s Walsh Street house as part of the NGV’s Melbourne Art Book Fair, After The Australian Ugliness will be available from the NGV Design Store and select retailers from 1 April 2020. NGV Shop store.ngv.vic.gov.au We think you might also like to read this review of Sydney architecture, XXXLabc
Around The World

A Rock Climbers Dream Home

Sailom House is a four-storey home that accommodates members from three families. Designed by Bangkok-based Anonym, the home is designed to look and feel like a serviced apartment with flexible and functional spaces that each family member can use freely and separately on each floor. The ground floor consists of shared spaces like the living room and kitchen, while the upper floors comprise more private zones such as bedrooms, alongside additional living areas. Every floor is linked together via two internal courtyards that open up into a large void that runs from the ground to the fourth floor. An unconventional inclusion in the home is a rock climbing wall, which is positioned within the first courtyard. The climbing wall formed part of the brief from the owner who climbs as a hobby. The courtyard also includes a walkway for each floor, designed to overlap and bring interesting spatial variations. The void over part of the courtyard space facilitates airflow, while a transparent material ensures natural light flows down into the depths of the home. Even though the courtyards are enveloped within the confines of the building, the openings encourage wind and light into the living space adding an outdoor element to the indoor area. The façade on Sailom House is defined by a striking brick, built with a dynamic perforated pattern that allows natural ventilation. The façade pattern has been designed to cover parts of the home that would be exposed to excessive amounts of sunlight, while a denser arrangement has been applied to the ground floor where more privacy was imperative. Moving up the building the gaps become larger, allowing more light and air, and views to be afforded. The façade has also been designed without making any cuts in the bricks. This means the range between block, beams and lintels was calculated with precision, and any final adjustments made on site. “There is this element of craft to it as well,” says Anonym founder Phongphat. Given that brick can express such a solid form and structure, it has been broken down further through the insertion of openings, internal courtyards and the play with textures and materials throughout the interior. Like the house’s architecture, the architect’s approach and execution are somewhat more relaxed. Anonym is known for its immaculate details. “I like this house because it isn’t about the crisp and polished details. We did everything the way it could and should be done. I wasn’t too serious or trying too hard about making everything flawless, and that’s what I love most about it,” adds Phongphat. Anonym anonymstudio.com We think you might also like Villa Restoration in Auckland abc
Design Hunters

Exploring materials and manufacturing with Rhys Cooper

Habitus: What manufacturing and joinery techniques does the Cusp Collection use?

Rhys Cooper: The Cusp collection is made using contemporary joinery techniques such as solid mortise and tenon joinery along with bent plywood for the backrest and seat.

What was your approach and concept for designing the Cusp range?

I designed the Cusp range early in my career, the initial concept was simply to design a contemporary tub chair. The early stages of development involved a lot of model making and prototyping, with feedback provided by my peers. I then made the initial prototype and after some minor changes JamFactory agreed to produce the collection. [caption id="attachment_110052" align="alignnone" width="1170"] Photo by Andy Nowell[/caption]

How do you consider materials in your design process?

Material selection comes pretty early on in the design process and helps inform the direction, I find that if I don't decide on the material and production process I tend to jump between ideas too much. I work with a variety of materials, predominantly timber, but really enjoy working with ceramics, glass and textiles.

Why is Australian manufacturing important?

Without Australian manufacturing, we will continue to lose valuable trades and craftspeople, and before we know it the industry will be lost. People should support local manufacturing where they can. Jam j-a-m.com.au Rhys Cooper rhyscooper.com.au  abc
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Inside Sydney’s Most Well Endowed Home Office

Designed by Bureau SRH, the 1000-square-metre house, spread over four levels including basement parking, has two home offices for a couple with two children. It also accommodates grandparents, relatives and friends, many from Indonesia, where the couple was raised. “Our client (a businessman) has quite a large office just a short 15-minute drive from here, with views of the harbour. But he was keen to spend more time working from home, seeing more of the family and enjoying the flexibility this arrangement offers,” says architect Simon Hanson, director of Bureau SRH, who worked closely with his colleague, architect Daniel Putlin. There’s the main home office (approximately 50 square metres, or the size of a one-bedroom apartment) on the first floor. This is the client’s office with large angled picture windows, orientated to the north, framing the established street trees. The other, for his wife, is located on the top level and is used primarily for painting and crafts. “He also enjoys sitting at the dining table, after dishes have been cleared, and spreads his work across the table,” says Putlin.  

People are looking for a dedicated space in their homes, particularly those who have young children.”

  Unlike many home offices cranked to the rear of a home or even as a separate adjunct to the primary residence, the Bellevue Hill House is more akin to entering a grand lobby one could easily find in a corporate environment. The lobby/atrium has a ceiling height of approximately 11 metres, with large paintings curated as in an art gallery. And while colleagues or business associates often head to the office on the first floor, they are just as likely to first be offered something to drink in one of the living areas. The office on the first floor is certainly well endowed. There are built-in walnut bookshelves and also a large walnut desk. A skylight above brings northern light into the space. Bureau SRH also included a built-in window seat, finished in sumptuous leather, that complements the leather-topped desk. And below the window seat is additional built-in joinery to store files and general paperwork. There’s also a considerable amount of technology, including internet boosters and a 1.6-metre-wide satellite dish on the roof that literally picks up every channel on the planet. However, there’s also the ability to brainstorm by hand with a large whiteboard adjacent to the owner’s desk. “Normally, it’s completely full of notes, with thoughts covering virtually the entire surface,” says Hanson, who explains that it was only cleaned for the purpose of the photoshoot. While this well-appointed home office is unique, with its cathedral ceilings reaching up to five metres in height, there are a number of basic principles that create an idyllic home office. “It’s a space that you want to be in, not just because you’re told that it’s not the right time to return to the office,” says Hanson, who suggests this space should, if possible, include a seating area to offer another environment from which to work. “This space should also be acoustically separated from the rest of the house. Here, we’ve included acoustic batts in the walls and pressure-sealed all the doors to ensure sound doesn’t escape.” In the past, home offices were not often discussed in the initial briefing for a new home. Sometimes, there was the need for a small amount of space near a kitchen that could easily be screened when not being used. However, with the arrival of COVID-19, the home office has come to the fore or as Hanson says, “moved up the wish list”. “People are looking for a dedicated space in their homes, particularly those who have young children.” In the case of the Bellevue Hill House, the owner now works 90 per cent from home and the remainder from what was previously his main office: a 300-square-metre area comprising two rooms with unrivalled views of Sydney Harbour. “There are still face-to- face meetings, but here there’s the convenience of working from home, and importantly, enjoying every part of the house, be it for work or pleasure,” says Hanson. “It’s also part of the family’s culture to combine work and home life. With COVID-19, that culture is now integral to most of us.” Bureau SRH bureausrh.com Photography by Tom Ferguson Dissection Information Timothy Oulton study furniture from Coco Republic Oly study furniture from Coco Republic Bureau SRH designed joinery in oil finished Black American Walnut by Elan Construct Phoenix Aniline old Jamaica desk leather inlay from Instyle Poly Domino C/board doors by Elan Construct Dulux Ferrodor Natural Grey folded steel desk legs by Elan Construct This story first appeared in Indesign #83, the Workplace Progress issue of Indesign magazine, March 2021  

[The client] enjoys sitting at the dining table, after dishes have been cleared, and spreads his work across the table.”

  We think you might also like Stiletto House by EHKA Studioabc
Design Products

Characteristically Italian And Family Oriented

Offering the finest in craftsmanship and design, Baxter is a brand that, since its inception in 1990, draws on the tradition of Italian leather production and a desire to not follow the rules, while harking back to its family values – all of which have become the core of the brand itself. Now featured instore within the Australian and Asian showrooms of Space Furniture, Baxter is a combination of experience, passion and business nous. Founded by Luigi and Paolo Bestetti, Baxter is described as ‘the story of encounters, ideas, but above all of people’. Baxter Furniture Piaf Sofa The leather adopted by Baxter for their furniture is of the highest quality. Upon discovery of a tiny tannery in regional Italy, the founders decided it would become the alchemy for every collection since. The traditional tanners use a range of natural anilines that treat the material in a careful and natural manner, furthering Baxter’s mantra of the love of material. Bestetti says that the tanning facilities used by Baxter are more a place of magic, as opposed to a factory. "The tannery turns into an alchemist’s lab: you try, you experiment, sometimes you are wrong, but then you start again. From that moment we would study the full potential of materials which have become the core of Baxter’s research.” Baxter Furniture Bruxelles Leather Armchair The first Baxter sofa was made from a unique leather that was considered too thick by contemporary tanneries. It was this challenge that created the prototype for the Alfred, a sofa where the thick leather was the pivotal feature.  The Baxter family includes designer Paola Navone whose intuitive and unconventional working method is perfectly matched with the Baxter brand. It is Navone’s ability to open up new paths, her ability to manipulate leather, to make it come alive, and her design know-how that has shaped their collaboration.  Baxter Furniture Chester Moon Sofa Continuing to push the boundaries into the present day, the iconic furniture brand has an extensive collection of fine leather furniture pieces that are now available in the Asia-Pacific region.  The Tactile sofa, designed by Vincenzo De Cotiis in 2014, separates the seat and backrest from one another. Only conjoined in key structural areas the design is a clear attempt to outline the distinct parts of the sofa that are typically synonymous with each other. Baxter Furniture Chester Moon Sofa Navone’s very own Chester Moon is a reinterpretation of a classic sofa style, summing up the importance of shape and balance while keeping its own simplicity. It draws inspiration from past handicraft techniques that are necessary for its development, and accounts for the new century with its simple and neat lines. Versatile in its configurations and sharp with its modernist traits, the Piaf sofa is an annular setting that fits within any living space it is married with. Designed collectively by the Baxter team, the sofa reflects the values and quality of the furniture label. Baxter Furniture Chester Moon Sofa Both the Bruxelles leather armchairs and Liquid small tables are exquisite additions to living spaces that require a further touch of elegance. The surfaces of the Liquid tables created by hand as ‘pictures’ each item uniquely crafted to be distinctly different and unique. Like other brands within the Space collection, Baxter is more than a design company, it is a family-run business where the chemistry of friendship nurtures their success. Baxter Furniture Tactile Sofa Space Furniture spacefurniture.com.auabc
Design Hunters
Design Stories
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Jeff Provan Treats Collaboration As A Way Of Life

Jeff Provan works with some of Melbourne’s leading architects and designers. As one of the names behind residential developer Neometro, his inner-city apartments have collaborated with names such as MA Architects, Clare Cousins, BKK, KPDO, Carr, Fieldworks, Common Ground and DesignOffice to name a few. And he is currently working on a coastal residential developement with Robert Simeoni, Edition Office, Wolveridge, MAArchitects, Kosloff Architecture and Aires Mateus. So, it was not surprising that his main home, a Victorian terrace in a heritage precinct in Albert Park, was a collaboration with MA Architects, Clare Cousins Architects and of course, Neometro.

Jeff Provan and his wife Mariko collaborated with two architects when renovating their Albert Park home

Established in the mid-1980s, Neometro began by developing townhouses in laneways in suburbs on the city fringe – Richmond, South Yarra, St Kilda and later, Fitzroy. One of his first homes, located in West Hawthorn (sold in the early 1990s) was certainly memorable. “I think it was the punchy Bougainvillea front door that most will recall,” says Jeff, who initially completed an engineering degree at RMIT University before studying architecture for a couple of years. What Jeff didn’t learn at RMIT, he has certainly crystalised over the decades. But wearing a developer/client ‘hat’ requires a slightly different skillset to renovating a terrace in virtually original condition.

The original balustrade is one of the elements alluding to the original home

While the front part of the house was retained, together with the bedrooms and bathroom on the first floor, the former rudimentary extension was replaced with a brutalist-style living, dining and kitchen area.  

The Albert Park house, now designed for a couple of empty nesters, is beautifully layered with objects and artefacts found on travels, many from Japan where the couple regularly visit.

  Rather than the typical glass-box solution to the north-facing garden, which has been done by landscape design studio MUD OFFICE, the extension is chunky with a gentle barrel-vaulted concrete ceiling and concrete-rendered masonry walls. And rather than one open-plan space, the kitchen, scullery and pantry are concealed behind a raised tiled island bench at one end and a timber battened wall at the other.

The new extension is barrel-vaulted and concrete, filled with personal treasures and art, including Upright Wood Sculpture by Bruce Armstrong

“Mariko and I have found that this allows the dining area to feel more intimate, particularly when you have friends over, creating a ‘veil’ as the meal is prepared,” he adds. The ‘knuckle’ or ‘threshold’ between the past, with its turned timber balustrade, and the present, the new wing, was one of the dilemmas in the renovation. “We wanted to create a sense of expansion at the end of the original passage,” says Jeff pointing out the curved concrete walls that ‘slip’ between the two eras. Jeff, and those working with him on this renovation, also appreciate his commitment to a strong idea and a love of materials that age gracefully rather than simply losing their sheen after a couple of years.

Traditional heritage details have been maintained in some parts

Carrara marble appears on the kitchen splashback, as well as on benches and even on the floor (although timber was used for the living and dining area). “I have a saying that materials should ‘wear in’ rather than ‘wear out’, getting better with age and developing their rich patina over time.”  

"Houses should continually evolve as new things are discovered” – Jeff Provan

  The Albert Park house, now designed for a couple of empty nesters, is also beautifully layered with objects and artefacts found on travels, many from Japan where the couple regularly visit. Each one has their own penchant for certain objects.

Objects and touches of personality adorn surfaces around the home. Artwork L-R: Untitled by Long Tom Tjapanangka and Tingari Cycle by George Hairbrush Tjungurrayi

Jeff fondly points to a Tin Tin rocket on the timber shelf in the living room, while Mariko owns up to the large Star Wars character on the same shelf. Other objects provide joint pleasure, such as the Indian tribal masks, the numerous books burgeoning on the library shelves or the found treasures displayed on the Kaidan Dansu (Japanese-style storage that has a stepped effect). Jeff also enjoys collecting chairs, partially as he explains “they’re one of the most difficult things to design”. Surrounding the dining table is a combination of Thonet and Hans Wegner.

With a passion for chairs, Mariko and Jeff Provan have collected a range of designer pieces. Artwork: Cowboy Silhouettes by Denis RoparWith a passion for chairs, Mariko and Jeff Provan have collected a range of designer pieces. Artwork: Cowboy Silhouettes by Denis Ropar

There’s also a side chair by Patricia Urquiola in case an additional seat is required at the dining table, and the whimsical bright red Gaetano Pesce chair is ideal for when grandchildren come over. The large Bruce Armstrong sculpture would certainly also attract their attention. However, history comes full circle in this home with a chandelier in the library that has moved from the Hawthorn house to the Le Corbusier-inspired house in Toorak (also designed by Jeff ), before finding its resting place here.

Jeff Provan believes houses should continuously evolve as new treasures are added. Artwork L-R: Wings by David White and Without a Splash by Matthew De MoiserJeff believes houses should continuously evolve as new treasures are added. Artwork L-R: Wings by David White and Without a Splash by Matthew De Moiser

“Houses should continually evolve as new things are discovered. It’s certainly not static,” says Jeff, whose passion for architecture is only rivalled by his love of cycling along the beach front, extending for miles. “I had to be near water. That was a given,” he adds. Neometro neometro.com.au Photography by Ben Hosking

This story first appeared in Habitus #50, the Anniversary Special issue, March-June 2021 We think you might also like to see artist Hedy Ritterman in her natural habitatabc
Around The World
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Architect Rich Naish’s Climate Responsive Play Place

Tāwharanui is a rural area north of Auckland renowned for its wildlife sanctuary and marine reserve. The indented coastline of small bays and headlands cradles parks, campgrounds and baches of quintessential NZ bach design, attracting people from Auckland and Warkworth for weekends and holiday stays. Located in the horseshoe-shaped Kawau Bay, the site for this holiday bach is positioned only 20 metres from the high-tide mark and two to five metres above sea level. Many people would shy away from the proposition, especially with the added complication of an overland flow path through the site. But architect Rich Naish of RTA Studio has embraced its challenges and built his family bach in the form of a ‘boathouse’ on poles to deal with both the ephemeral stream and potential coastal erosion. “The beauty of it is also the danger of it, which is what was really interesting about the project,” says Rich. “Whatever we did, we couldn’t rely on a dry or fixed ground plane. Climate will challenge its occupation, so we approached it as an experimental project to create a resilient structure that could be inhabited for generations to come.” Building responsibly in the bay not only required consideration of weather events, but also the visual impact of a new building close to the shoreline. The boatshed typology offered an answer to both. Raised above the site by three metres at the highest point, timber piles extend 12 metres into the ground, so that while the coastal environment below the house may alter, the living space is lifted safely above. But it is certainly no ordinary boatshed, with apparently simple white-washed cedar siding wrapping a dynamic geometric form. Approximately three metres wide and seven metres tall at the landside, and seven- metres wide and three metres tall at the seaside, the building shapeshifts from a rectangle on its end to a rectangle on its side. From the verticality of bush to the horizontality of the sea, construction lines converge in section and diverge in plan to frame the ocean. The sculptural shape creates a fun and energetic interior, while still managing to look fairly conventional from the outside. “It’s probably the first new house to be built in the bay for more than 30 years,” says Rich, “So we wanted it to feel in keeping with the style and scale of the old baches.” As seen from the sea, the front elevation could be mistaken for one of the original houses. Screened by Pohutukawa trees and featuring small windowpanes – not the usual frameless glass of contemporary architecture – it feels almost vernacular. ‘Almost’ because its geometric playfulness is unmistakeable.  

Climate will challenge its occupation, so we approached it as an experimental project to create a resilient structure that could be inhabited for generations to come.”

  Access to the interior from the driveway is via a roller door and into an actual boat garage. To the left, a ramp rises gently through the full length of the house. Partway up, there is a door to a bedroom and bathroom before the ramp reaches its destination inside a double-height living space on the midfloor. Instead of the ubiquitous external deck, a set of large bi-folding windows and a deep overhang create a similar effect but bring the ‘deck’ space inside. Its elevation above both the beach in front and public reserve along one side provides a degree of privacy and creates the effect on being up in the tree canopy. Materials and details are raw and unpretentious, detailed in familiar, low-tech timber construction. Band-sawn pine planks line the walls and ceiling, oiled cedar plywood and battens add a deeper colour on the back wall, and built-in seating maximises the use of space. The architect has avoided custom details to create a casual and relaxed atmosphere, with the only obvious ‘city’ elements being the plate steel balustrade and kitset steel kitchen by IMO. At the back of this large shared space is a short flight of stairs to the top floor (stacked above the bedroom and bathroom below), which contains two bedrooms and a multi-use room. The main bedroom features two hatches to overlook the living room and out to sea, while the third bedroom faces westward towards the valley and is characterised by the vertical proportions of the landside elevation. Nautical themes can be spotted in the slot windows down both side elevations – like an ocean liner – and in the external spiral stair painted bright orange like a buoy. “I saw the house as part boat and part shed, as well as a boatshed,” says Rich. So these elements create a tongue-in-cheek analogy with a beached vessel. Sustainability calculations show the home is embodied carbon zero. With only a few steel connections and foundation concrete, the house is mostly timber. The site has rainwater tanks, on-site stormwater and septic tanks, and exotic landscape species have been replaced with 400 native plants and trees. “It’s an experimental and very personal house in a lot of ways,” says Rich. “Not just in terms of climate change and carbon zero, but also in terms of doing something that I don’t usually have the opportunity to do for clients; to push the boundaries formally, functionally and environmentally, while finding a responsible way to occupy the site.” RTA Studio rtastudio.co.nz Photography by Patrick Reynolds Dissection Information Cedar shiplap exterior cladding Pineboard interior cladding Resene whitewash coating Band-sawn oak floorboards Mr Bigglesworthy Ercol timber furniture ECC lighting IMO kitchen Fisher & Paykel appliances BathCo white oak mirror unit Metrix ‘Alape’ bucket sink and sink shelf Metrix ‘Elio’ mixer  

Nautical themes can be spotted in the slot windows down both side elevations – like an ocean liner – and in the external spiral stair painted bright orange like a buoy.

HAP - Feature

INDE.Awards Mixer – A Night To Celebrate And Reconnect

Last year, we took the INDE.Awards digital: combatting an environment of restrictions with an event that was inherently without them, with a virtual gala offering unprecedented global access to industry’s most anticipated event. Looking back, the INDE.Awards digital gala was a triumph, an opportunity to bring the wider architecture and design community together in a time where so many of us were forced apart. It was an evening to celebrate and to reflect, to pay homage to the outstanding achievements across the Indo Pacific. Along with this digital event, we committed to holding a physical get-together, a mixer that would (at the earliest possible opportunity) allow the partners, jury, shortlisters and winners of 2020 to be together in the same space. Last week, this idea came to fruition, with the Australian National Maritime Museum playing host to a cohort of the INDE community. In what was a rain-soaked Sydney evening, the INDE team welcomed many of our 2020 community into the harbour-front space. Against a backdrop of Darling Harbour, we reflected on the year and programme that was, with addresses from Indesign CEO and Founder Raj Nandan, Editor and INDE.Awards Programme Director Jan Henderson and INDE.Award Ambassador and past winner David Kaunitz (Kaunitz Yeung Architecture). For many in attendance, the mixer was their first physical event in 12 months, a much-anticipated opportunity to catch up with familiar faces and feel – once more – part of the largest architecture and design communities in the region. It was also an opportunity to look forward to this year’s programme, with so many fantastic entries already received. In exciting news, we announced an official extension to the 2021 entry period! Above all, the mixer was a chance for us to recognise everyone who made the 2020 INDE.Awards the success they were. From the jury and ambassadors who donated their time and expertise, to all the entrants who created such an exceptional calibre of projects and the partners who believed in our vision for an immersive digital event. Thankyou to all who braved the weather and joined us for such a spectacular evening. We appreciate your ongoing support and commitment to such a progressive, innovative and creative industry. We look forward to connecting again with our hybrid INDE.Awards, coming this August. The INDE.Awards team would like to thank our partners for 2020: AHEC, Alspec, Bosch, Gaggenau, Haworth, Herman Miller, James Richardson Furniture, Living Edge, Luxxbox, Maxton Fox, Tongue n Groove, Verosol, Wilkhahn, Woven Image, Zenith and Zip Water. We are looking forward to continuing the INDE journey into 2021, alongside AHEC, Alspec, Autex, Bosch, Gaggenau, Haworth, Herman Miller, Milliken Ontera, Woven Image and Zenith. Here’s to INDE 2021! [gallery ids="109941,109940,109939,109938,109937,109936,109935,109934,109933,109932,109931,109930,109929,109928,109927,109903,109926,109925,109924,109923,109922,109921,109919,109918,109917,109916,109915,109914,109913,109912,109911,109910,109909,109908,109907,109906,109905,109904,109902,109901,109900,109899,109898,109897,109896,109895,109894,109893,109892,109891,109890,109889,109888,109887,109886,109885,109884,109883,109882,109881,109880,109879,109878,109877,109876,109875,109874,109873,109872,109871,109870,109869,109868,109867,109866"]abc
Design Products
Fixed & Fitted
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The Habitus Edit On Supreme Cooling and Luxury Swiss Design

Aligning its values with that of its home country, V-ZUG proudly carries its heritage within its name.  Not only do V-ZUG products make everyday life easier, they also excite and inspire customers through simple, individual and premium solutions that provide a lifetime of enjoyment. Defined by expert craftsmanship, elegant materials combined with long-lasting Swiss values, V-ZUG paves the way for the future of home cooking.  In this issue of the Habitus Edit, we explore the Supreme Cooling range by V-ZUG. With signature V-ZUG luxury, the V6000 Supreme Cooling range delivers the ultimate in food preservation and wine conditioning with superior, forward-thinking Swiss design. Each product in this unique range delivers on capacity, flexibility and performance through stand alone or side by side options with an option of fully integrated or robust stainless-steel choices, to best suit your home. Product-led and editorially curated, the Habitus Edit offers a unique perspective on the exceptional designers and brands across the Into-Pacific region. Dive in and explore the Habitus Edit on Supreme Cooling from V-ZUG.abc
DH - Feature
Design Hunters

The Secret Life of Clay

Adelaide’s JamFactory has been supporting authentic Australian design for more than 45 years. Aligned with Melbourne Design Week 2021, JamFactory has launched a new range of accessible design products – Jam – by a slew of local creatives, and all manufactured here in Australia. We talk with JamFactory Alum and head of ceramics Stephanie James-Manttan about her process and new pieces that have been released as part of Jam.

What drew you to ceramics?

When I saw the potential multidisciplinary aspects and business opportunities of working with ceramics, it was a no brainer. Opportunities such as exhibition, commissions, production, retail, markets, teaching, e-commerce, the list goes on. I was confident that I could create a practice solely dependent on my creative skills as a clay practitioner, and there aren’t many creative disciplines that allow you to do that. Of course, I was also drawn to the materials and the multitude of applications you can adopt.  Visually, it’s a chameleon and a contradiction; it can be transformed into something that it’s not.  In archaeology, a piece of shard can define cultures and place civilisations in time. You can lose yourself in processes and sciences behind them. Clay is really very fascinating stuff.

What are things about working with clay that people may not realise?

There are three different kinds of clay, earthenware, stoneware and porcelain. It’s very important to know what clay you’re using, because each clay type vitrifies at different temperatures. If you fire (or bake) an earthenware clay object in a porcelain kiln firing, the object will melt. You need a lot of dexterity in your hands and arm, especially when wheel throwing. It’s very hard to see this when you’re watching an artisan that has been working with clay for a long time. Left hand knows where right hand is, they should always be touching; equal pressure from both right and left and when not, they are compensating; with consistent and confident hand flow movements, it’s magical to watch. Clay has memory. Plastic clays, which are what we get buddled up in bags ready to go and (without getting technical) is basically made from dirt and water. Once you’ve made something out of clay, that shape has a memory. As water is released during the drying and firing process it starts to lose its memory. This is a common cause for warping, the more placidity the greater to warpage.

How do you approach the craft process?

Material plays a huge part in my design philosophy, especially working at JamFactory. Not saying form or function doesn’t, but if you have an understanding of materials, everything cohesively falls into place. For me, material responds to numerous sensors such touch, sight and emotion. You can instantly see when an object has consideration for material; you feel it, see it and you’re overwhelmed by it. Material is also the making process, and the inherit nature of clay, it can undoubtedly make you smile, but it can equally make you cry. It’s a material that can never be underestimated and keeps you constantly on your toes.  

What is the production process for the Jolley Light shade?

The Jolley Light is made using a method called jiggering and jollying (USA) or depending on where you come from jiggering and jolleying (UK). I obviously prefer the latter, hence Jolley Light, because the Jigger Jolley machines were designed and perfected during the great industrial revolution by Wedgwood. The Jigger Jolley machine allows the studio to produce products exactly the same each time which is what you need when working with commercial products such as lighting. The process refers to pushing soft clay onto a spinning plaster mould, which forms the outer shape and engages a tapered template to form the inner profile. It’s different to other mould making methods such as slip casting and it allows us to be more playful with our materials.

What is the production process for Bump serving ware?

Our Bump Serving Ware Range is made on the pottery wheel, which is my favourite method of making and is one of the most disciplined and highly skilled making processes in ceramics. To be able to produce the distinctive Bump rim, we designed a die/jig that we push down onto the rim whilst the form is wet. It’s a tricky process and requires a lot of skill, the wall and rim thickness must be precise every time because if it isn’t things get a little messy. Fun Fact: Pottery wheels have been in use since 3,000 BCE. They’re not like the ones we see today, but made of stone and operated by either pushing it with your foot or a stick. Jam j-a-m.com.au Photography by JamFactory We think you would also like our round-up of things to see as part of Melbourne Design Week 2021 [caption id="attachment_109835" align="alignnone" width="1170"] Photo by Andy Nowell[/caption]abc
Design Hunters

INDE.Awards Entries Extended to April 1st!

You’ve asked and we’ve listened – you now have 2 more weeks to enter the INDE.Awards! Have your entry submitted by April 1st to join the 2021 cohort. Since opening entries last December, the INDE.Awards have been flooded with entries from all corners of the Indo Pacific. As an event that shines a spotlight on the extraordinary achievements of local and regional design, the current calibre of entries is a testament to the progress and innovation of the wider region. However, with many countries, economies and business still finding their feet after 2020, we are aware that entry processes are taking more time than they ordinarily may. In response to the requests coming through to us from our network, we are excited to offer all potential entrants an additional two weeks to enter, ensuring everyone has time to be part of the INDE.Awards program for 2021. So get your photography ready and your project details in order, because you’ve got until April 1st to get your entries in! This is your chance to get your team and your work noticed on the global stage, to celebrate all that you’ve achieved in the last year and reconnect with the wider industry in a night to remember. https://youtu.be/rxQhHzWI5wM


Your five entry essentials

Entry Guide – everything you need to know

Category List – choose which category you’ll enter

Category Criteria – the big picture vision

Entry Pricing – scaled entry fees for the entire region

Contact us – we’re happy to help

Design Products

MiPlank By Polyflor Is What Your Floor Deserves

MiPlank is the latest flooring solution from Polyflor, that is suitable for multi-residential floors that deserve a finish that is both bold and versatile. Created by a team of local interior experts, MiPlank is centred around durability and quality, MiPlank’s design is purpose-built for Australian families. With longer, thicker planks, the product is quiet underfoot and easy to install. [caption id="attachment_109758" align="alignnone" width="1170"]Polyflor MiPlank Sassafras Sassafras[/caption] Designers looking to add a finishing touch to any home or apartment will be impressed by MiPlank’s coating, which is backed by a Polyflor lifetime polish free guarantee ensuring for a surface that doesn’t lose its quality over time, as well as a heavy duty commercial wear layer. [caption id="attachment_109760" align="alignnone" width="1170"]Polyflor MiPlank Red Heart Gum Red Heart Gum[/caption] Accounting for a multitude of aesthetic and flooring options, there are 15 natural timber-inspired planks to choose from, each featuring unique knot and grain detailing. Many of these planks mimic native Australian timber, with Grey Gum, Paperbark, Red Heart Gum and Tasmanian Myrtle directly inspired by their natural counterparts. 8 of the 15 colours available come with acoustic backing, which is a result for multi-residential spaces or for busy families with young kids and pets. With a 5mm gauge and a thick 0.55mm wear layer, MiPlank is able to withstand high traffic residential spaces, making it ready-made for Australian families with kids and pets running around all day. The longer planks that are the defining feature of the MiPlank range adds a feeling of spaciousness to any room irrespective of size. [caption id="attachment_109762" align="alignnone" width="1170"]Polyflor MiPlank Spotted Gum Spotted Gum[/caption] The flooring range is recognised as being environmentally preferable. Being a member of the Green Building Council of Australia, Polyflor is a major leader in sustainable flooring solutions. [caption id="attachment_109763" align="alignnone" width="1170"]Polyflor MiPlank Wattle Wattle[/caption] Polyflor strives to create products that are both beautiful and functional. Launched in Australia in 1963, the company offers a wide range of flooring solutions for a multitude of different industries, including aged care, retail, residential, healthcare and residential. [caption id="attachment_109764" align="alignnone" width="1170"]Polyflor MiPlank Silkwood Silkwood[/caption] All flooring surfaces should be cleaned and cared for properly with a product that doesn’t contain harsh chemicals. PureFlor by Polyfor is the ideal surface cleaning product for the Australian family home. To read our article about the cleaning product, click here.   Polyflor polyflor.com.auabc