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Architecture
Happenings

Be inspired by the region’s leading thinkers at the inaugural INDE.Summit

What does the future of design look like in the Indo-Pacific? How are we - as a region - responding to an environment and a world that is rapidly changing, harnessing the power of architecture, design and infrastructure to create the future we both want and need? This is the central question that the inaugural INDE.Summit will be asking, where an overarching theme of “develop/undevelop” will guide a series of four dynamic discussions designed to explore the next progressions of our industry and our region. Consisting of curated panels featuring the leading minds from right across the Indo-Pacific, the INDE.Summit is a symposium dedicated to analysis and exploration, where each discussion provides its own roadmap to the architecture of the future.

Will you be there?

Join the likes of fjmtstudio, Milieu, Crown Group and Woods Bagot for a full day event designed to challenge, educate and inspire. Open to attendees from right across the region, the Summit will be held live in Sydney and broadcast live across the globe. Choose your ticket type and cater your experience. Summit beings: 8:30am AEST Digital Summit ends: 3:00pm AEST Physical Summit ends: 4:20pm AEST

Discover the lineup

 Finding & Financing Sustainability: Indo-Pacific Built Environment Case Studies Iwan Sunito, Crown Group Prof. Stephen Cairns, ETH Future Labratories Jeremy Smith, Irving Smith Architects Ecosystems of Commercial Space in the Indo-Pacific Simone Oliver, Architectus Rosemary Kirkby, Rosemary Kirkby & Associates James Calder, ERA-co Mike Day, RobertsDay Manifesting Culture, Place & Identity in the Indo-Pacific Leone Lorrimer, GHDWoodhead Goy Zhenru, Goy Architects Akshat Bhatt, Architecture Discipline Richard Francis-Jones, fjmtstudio Michael Mossman, USYD School of Architecture Design & Planning The Housing Balance: Design, Community & Economy in the Indo-Pacific Amanda Stanaway, Woods Bagot Palinda Kannangara, Palinda Kannangara Architects David Kaunitz & Ka Wei Yeung, Kaunitz Yeung Roderick Wiles, AHEC Shannon Peach, Milieu Property   Be there as the INDE.Summit unfolds, purchase tickets here. abc
Architecture
Around The World
Homes
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This Void House In Singapore A-Voids Prying Eyes

Living in a landed home in Singapore is mostly seen as a privilege, with the majority of the population residing in public housing flats. But in that privilege often lies the irony that privacy is not always a given. Houses sit side by side, separated only by a low boundary wall, one dwelling only a few metres away from the next – neighbours can sometimes be disconcertingly privy to what happens next door. The owners of this house, however, were adamant on claiming their privacy. Tightly wedged between neighbours at the end of a quiet cul-de-sac, the residence consists of three full storeys as well as a mezzanine and attic floor. All this rests behind a guarded screen of steel-framed wood panels, with little revealed of the 455-square-metre plot. What was originally a modest semi-detached dwelling with a large garden had been on the current owners’ property wishlist for years. Not least because it is adjacent to the house where the husband’s parents live. When the house was finally put up for sale, the owners, a couple with three school-going children, swooped in. They turned to FARM Architects to design their home and offered a succinct but seemingly contradictory brief for privacy, and bright and airy spaces – in that order. Implicitly embedded in the brief was also the call to negotiate what appeared to be an inefficient triangular site. Tiah Nan Chyuan, Director at FARM Architects, shares that the design genesis came in the form of a trapezoidal block abutting a parti-wall. Two other edges of the massing were extended out, protectively enveloping as much of the site as reasonably possible. From there, the sculpturing work began. A generous carving of space here for family and friends to gather. A precise slit there in the envelope to catch a long sightline between neighbouring houses. A void in an internal wall to allow conversations, both literal and figurative, to happen between rooms. And a more judicious hollowing out of spaces to bring in light. Each gesture scrupulously avoids unwanted prying eyes from the exterior. “Theoretically, we could have squeezed everything into a very tall building and kept the original garden, but [the owners] probably wouldn’t use the garden because all the neighbours would be looking into it,” says Tiah. “So we made the house bigger and internalised the gardens within the envelope.” Sheltered behind the building skin, these intimate gardens not only offer private views for most of the bedrooms, but also modulate light to gently illuminate them. Spaces open up to the outdoors with uncharacteristic abandonment at the back of the house. Here, a cavernous volume of air and light sets the tone for carefree outdoor living. A lap pool underlines a dramatic 12-metre- high, fair-faced concrete wall, which the owner delightedly shares, doubles as a projection screen on movie nights. Ushering both sunlight and languid locks of greenery down into the pool area is a cut-out in the soaring roof deck, where the dangling creepers sometimes play the unwitting host to a nest or two of birds. “The only reason we could open up the back is because it directly faces their parents’ home,” Tiah reveals, adding that the owners wanted the outdoor area to be a space that could serve both houses. A gap in the boundary wall between the two neighbours facilitates – indeed, encourages – visits both ways almost on a daily basis. The owner shares, “Sometimes you see one of my parents carrying their dinner plates over to eat with us, or we find out that one of our children has gone over to their grandparents’ home on their own.” When seen from the parents’ house, the back façade brings to mind a Rubik’s cube in motion – some spaces neatly locked in place, others frozen mid-twist – and offers clues to the organisation of spaces within. “With every floor, we introduced a shift in direction so spaces don’t become repetitive and the whole house feels much bigger,” says Tiah. Alongside this, the employment of staggered double and single volumes provides a variety of tableaux. The living and dining area on the ground floor looks into a small plot of greenery at the deepest end of the site. In the left wing of the mezzanine level, guest quarters are afforded views of the pool area. On the opposite end of the same floor, the pebbled Zen garden faces the front of the house and is a suitable complement to the adjacent kimono room where kimono- wearing classes and tea ceremonies are held. On the next level, a double-volume library rises to greet all who come up the stairs. One’s gaze is drawn out towards the back of the house and over into the pool area again, this time, the view delightfully embellished by hanging foliage. And on it goes until one reaches the attic and roof deck where a panorama of the neighbourhood serves as a reward. The climb up to the attic is surprisingly easy, with none of the tedium one might expect from moving up four floors. To this end, the staircase is segmented and punctuated by extended transitions at various landings.
The rise for each step is shorter than usual and its tread broadened ever-so-slightly to encourage a slow, restful rhythm up the stairs. Nuances like these are present throughout the house and testify to a thoughtful regard for everyday living. Beyond formal and spatial readings, the house is perhaps most accurately understood as a vertical landscape of experiences that range from the dramatic to the intimate within mere steps of one another. And while life plays out in the house easily and casually, it does so only because of a highly calculated design approach that negotiates the tensions between privacy and openness with exacting precision. FARM Architects farm.sg Photography by Khoo Guo Jie
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Architecture
ARC - Feature

A Barely-There Barwon Heads Beach House

It’s almost inconceivable to think that Barwon Heads House by architect Adam Kane was once a run-down weatherboard cottage. The reinvention of a dilapidated property into an expansive light-filled and updated home must be credited to Adam’s singular vision. “Many of the original 100+ year old cottages in Barwon Heads (a small coastal town about an hour and a half from Melbourne), have been replaced by new builds for permanent residents or are used as weekend holiday homes,” says Adam. “The original cottage presented a level of charm, and its history seemed a shame to disregard. With a site orientation running east-west and the original home close to the street, there was an opportunity to retain the original home and create an extension that took advantage of a long north facing aspect.” BARWON BEACH HOUSE kitchen Responding to the client brief for a contemporary addition that also made reference to the local gabled-roof architecture, Adam has restored the original cottage and linked it to an extension via a glazed link, with the original property only offering a mere hint as to the contemporary addition beyond. The cottage functions as an entry as well as a guest/children's wing comprising three bedrooms and a bathroom. After moving through the glazed transition, which offers glimpses to the garden, the mood shifts as one is brought into a dark and moody walkway. This space “conceals hidden rooms” including the rumpus, laundry, and stair to a mezzanine master bedroom. The denouement is then the unfolding of a grand space in the form of an oak-lined six and half-metre high living/dining/kitchen area. North facing, four and a half metre high double-glazed stacking doors blur the threshold of inside and out and facilitate a strong garden connection. BARWON BEACH HOUSE exterior This home’s pared-down restraint, reminiscent of a quintessential modernist interior, was inspired by the tones, textures and materiality of its coastal setting. "We also wanted to provide an abundant feeling of warmth and comfort in what is an ordered and strong architectural form,” adds Adam. “An unobstructed American Oak lined ceiling, burnished concrete floors, slabs of travertine marble, and custom scratched plaster walls, create balance and a holistic refinement and coastal sophistication throughout the space.” The resulting mood is one of restraint and calm. “The wholesomeness and considered approach of the architecture meant that we didn't have to clutter the spaces with unnecessary ornamentation,” Adam concludes. Adam Kane Architects adamkane.com.au Photography by Timothy Kaye We think you might like this story that showcases 5 homes that connect to nature BARWON BEACH HOUSE hallway BARWON BEACH HOUSE living BARWON BEACH HOUSE living room BARWON BEACH HOUSE dining BARWON BEACH HOUSE dining BARWON BEACH HOUSE living room BARWON BEACH HOUSE bathroom BARWON BEACH HOUSE bathroom BARWON BEACH HOUSE Adam Kane Barwon beach house adam kane architectsabc
Architecture
Homes
NOT HOMES
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What It’s Like Inside The Mind Of Smart Design Studio

Orama | 2015

 

“We wanted to pull the two structures apart to bring light into the centre. People think concrete will look industrial but it has a lightness.”

  Photography by Sharrin Rees
 

Crown 515 | 2016

On a prominent corner in Surry Hills, Crown 515 presents a dynamic form to the street, reinterpreting the traditional terrace in a contemporary design of angular shapes and shimmering tessellated tiles.  

“Derived from the pitched roof forms of the surrounding structures and with a conscious nod to the vertical portals of the adjoining terrace typology, the architectural language of the building represents a challenge to the conventional terrace row.”

  Photography by Ross Honeysett  

Arbutus | 2020

 

“Using landscaping and distinct concrete spines, the extension to this family home appears as a single- storey addition.”

  Photography by Romello Pereira  

Indigo Slam | 2016

A piece of sculpture to be lived in. Indigo Slam is a home of distinction for an art collector. Behind the organic, curving concrete façade, serene living spaces and monumental halls create a dynamic spatial interplay of minimalist interiors in which the main decorative element is light.  

“The brief was for Indigo Slam to last 100 years. Materials were selected to wear and endure and the fittings to last. There was consideration for operable elements to be mechanically operated rather than digitally.”

  Photography by Sharrin Rees and David Roche  

Bourke Street Apartment | 2004

The Bourke Street apartment sits atop Smart Design Studio’s terrace conversion in Surry Hills. The building’s glass louvred sleeve extends above the old façade to create a light- filled rooftop dwelling.  

“It’s like a treehouse in the city; you feel like you have completely escaped. I love the very Australian aesthetic of the louvres; mostly they’re driven by aesthetics, but practically they’re a great way of ventilating the space.”

  Photography by Anson Smart  

Lamble | 2011

A pair of coastal homes that challenge convention, Lamble on the South Coast of New South Wales makes the most of the incredible views and expresses a simple but confident form.
 

“The strong natural light allows sun and shade to animate the architecture, making the house part of the ever-changing scenery of the ocean.”

  Photography by Sharrin Rees    

Tusculum | 2012

An extension of a turn-of-the-century terrace house in Sydney’s Potts Point, this renovation focuses on a grand and gracefully spiralling stair that forms the pivotal junction of the old and new parts of the house.  

“This house offers extraordinary spaces complemented by confident forms, understated design and exquisite detail.”

 

“We have broken the house in two, leaving the existing house as old and adding a modern extension grafted on via a glass link and a spiral staircase.”

  Photography by Sharrin Rees and Ross Honeysett  

Lena | 2020

“For us, there was no other material other than brick for the new addition. We needed a material that would complement the painted rendered walls of Paddington yet read in a contemporary way.”
 

A void gives so much more than it takes – providing incredible drama and making the rooms below feel very alive, airy and bright.

  Photography by Romello Pereira  

Arlington Grove | 2017

The architecture of Arlington Grove utilises carefully composed but long elevations, with principles borrowed from classical buildings, framed by articulated corners.
 

“The use of brick unifies each of the subtly different building forms, and provides a nuanced grain to the project, while its diversity and texture soften the exterior.”

  Photography by Ross Honeysett   Smart Design Studio smartdesignstudio.com This visual essay originally appeared in issue #50 of Habitus. We think you might also like to see the new Smart Design Studio HQabc
Interiors
Homes
Architecture
ARC - Feature

Contrasting Themes Glue Balnarring Beach House

Jeff Umansky is lost. The architect is with his young family, circa 2019, on a drive along Victoria’s coastline. Location? Somewhere on the Mornington Peninsula. Mood? Ecstatic. The surroundings are an exquisite image of land, sky and sea, with the coastal country town of Balnarring providing context to the visual that is within eyeshot. The 11 Dimensions Architecture founder eventually decides to stop for directions, and makes a mental note. Balnarring Beach. The beaches’ golden sand, black rocks and roseate seaweed would inform the Umansky’s future family home that only lies steps from the beach, and is directly inspired by its locale. The design approach to the house was one of a democratic nature, with all family members involved in the composition of the dwelling. Moving from a cramped two-bedroom unit, the overarching view of all family members was the need for personal space, but to not lose the feeling of connection amongst one another. Umansky’s work in constructing the floorplan centred around the implementation of two airways for cross ventilation, that created transparency through the house. One can be sitting in the study and can see through to the open plan living space, similar to the children’s bedrooms, where the kids can easily view the master bedroom down the hallway. Despite the house being of large proportions, the transparency and openness offered by the floorplan ensure that none of the occupants feels isolated within the walls, and the mere viewing of another family member increases the idea of connection throughout the house. Balnarring Beach House creates an interplay between masculinity and femininity amongst its internal and external features. On the outside, the honest, rugged charcoal cladding that lines the outer shell of the house is contrasted with the rose-pink qualities of the outdoor shower’s tiles and the green hues offered by the flora planted in various corners of the block. The interior plays host to the charcoal timber across the rear wall within the open plan living space, which is contrasted by chalk-white walls and rugs, as well as soft linen window curtains. This theme rings true throughout the kitchen, with Umansky mirroring the wall cladding within the kitchen cabinetry and colligating it with a white granite benchtop and a curation of small plants. A small nook that encourages the occupants to read is of a similar nature to the outdoor shower, with rose-coloured cushions and a window providing views of the surrounding landscape giving all family members a place to unwind. The bathroom doesn’t juxtapose masculine and feminine features as obviously as other parts of the house, but the charcoal window frames and cream coloured bath and wall tiles carry the theme into the wet areas to carry a congruence of theme throughout all spaces of the house. Reflecting contemporary principles, all bedrooms are subtly connected to green spaces outside, thanks to Umansky crafting four separate courtyards. The house is broken up by these courtyards, with a private garden at the entrance of the house providing additional privacy for the family and their guests, as well as a place that can be utilised at all times of the day. Three courtyards placed at the northern, southern and eastern points of Balnarring Beach House are home to intense green settings that change throughout the seasons, making for an intriguing visual in these spaces all year round. Umansky says the courtyards were born from a desire to not create a side of the house that was of a utilitarian quality. In using all of the available space on the block, the architect was able to create a house that is an escape from the hustle and bustle that lies beyond its boundaries. Citing reassurance from renowned architect Clinton Murray, Umansky has been able to craft a family home that he and his kin can flourish within. The chiaroscuro-esque qualities of light and dark witnessed in both the interior and exterior of the domicile, coupled with the four courtyards and the beach that lies a few steps away from the front door is reason enough for the house to be a truly ideal living space. Umansky’s thoughtful implementation of cross-ventilation and the floorplan itself marries sustainability and personal connection, within a home that exercises intimacy despite the distance. 11 Dimensions Architects 11dimensions.com.au Photography by Christine Francis This project made the cover of issue #51 of Habitus, the Kitchen and Bathroom special, with its eye-catching pink outdoor shower.  abc
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The Inherent Charm of Timeless Design

Great Dane is Australia’s most prominent curator of Scandinavian design and is widely responsible for the country’s long-lasting infatuation with the Nordic aesthetic. However, alongside the enduring allure of the Scandinavian form, Great Dane has been an active advocate of the vital attributes that underpin design practices from this part of the world. The cornerstones of considered, quality materials, craftsmanship, attention to detail and longevity of design define Great Dane’s offering and sustainability ethos. “Curating design pieces that have been mindfully crafted with care and attention, and that use sustainably sourced, prime grade materials, enables us to create a selection of furniture that offers timeless charm, unique character and structural stability,” explains Anton Assaad, the founder of Great Dane. “Our pieces are bound to stand the test of time and be lovingly passed from one generation to another. That wonderfully tangible connection through space and time is one of the most essential expressions of our sustainability principles: encourage people to buy beautifully crafted furniture they love and will keep for the rest of their lives – and beyond,” he adds. The commitment to offer the Australian consumer timeless, masterfully devised and carefully crafted Scandinavian designs is inherently linked to Great Dane’s long-lasting relationships with local master furniture makers whose values represent quality, longevity, profound appreciation of materiality – and a patient sense of purpose. Great Dane’s ongoing collaboration with Snedkergaarden, founded by two Danish furniture makers Finn Bruun and Erik Skovgaard, is the epitome of a shared vision rooted in the classic ethos of careful craft, prime quality and enduring design intent. [caption id="attachment_111844" align="alignnone" width="1200"] Darling Street | Interiors: Hecker Guthrie | Photography: Shannon McGrath[/caption] The furniture studio behind one of Great Dane’s all-time favourite design pieces – the Johansen Table – brings a unique level of attention to detail that permeates every facet of their process. From the selection of sustainable timber to the thoughtfully engineered simplicity of form, and the exquisite quality of the finishing details, Snedkergaarden’s methods illuminate the structure, colour and grain of the natural materials in every piece. Crafting the furniture to take on a patina, Snedkergaarden’s makers create objects that grow more charming and character-filled over time, increasing their long-lasting appeal. The versatile Johansen Table, available in rectangular, round and oval shapes, is an excellent expression of that intent. Inspired by the engineering magnificence of suspension bridges, Mads Johansen’s iconic design combines structural stability, the intricate materiality of meticulously curated wood grains, and a warm visual and tactile appeal that evokes the delightful emotion of shared moments experienced around the table. [caption id="attachment_111850" align="alignnone" width="1200"] Graffiti House | Architects: Durack Architects | Photography: Katherine Lu[/caption] With a similarly grounding and attentive devotion to the unrushed art of craft, Miyazaki Chair Factory has mastered the skill of creating wooden chairs to perfection since commencing operations in 1969. Cautiously appreciative of the importance of natural resources, Miyazaki Chair Factory makes all its chairs to order ensuring they only use the materials they need, when they need them. The craftsmen’s singular focus on wooden chairs offers extraordinary quality, attention and joy that can be experienced through every single piece created by the talented team. The DC09 chair is no different, hence its immense popularity in Great Dane showrooms. “DC09’s sculptural curves, impeccable detailing and organic shape have been consistently favoured by our clients, designers and design enthusiasts,” says Jon Holland, commercial manager of Great Dane. In a beautiful fusion between the intuitive appeal of Danish form and Japanese precision, DC09 fulfils Miyazaki Chair Factory’s concept of creating ‘chairs nobody else can make’. Expressing the utmost craftsmanship and commitment to materiality, the organic form of the design has been carved entirely from solid wood. The thinly shaved seat follows the gentle, ergonomic shape of the chair, combining elegant lightness with structural stability. This minimalistic form has been sculpted to complement the shape of a human body as the ultimate expression of lasting relevance, while the smooth tactility entices a touch, and showcases the stunning texture of the wood with each stroke. “Designed by the Danish-Japanese duo Inoda+Sveje and masterfully handmade by the Miyazaki Chair Factory, this artfully fashioned celebration of materiality invites a slower, more relaxed, almost contemplative experience and appreciation of its careful craftsmanship,” adds Jon. Further fostering Great Dane’s commitment to offering mindfully crafted pieces of furniture that will stand the test of time, the brand works closely with dk3 – Scandinavian furniture makers that masterfully combine the heritage of traditional carpentry with a modern aesthetic. With most pieces finished and surface treated by hand, dk3 invests a remarkable amount of attention and energy into carefully treating the organic materials they favour, ultimately highlighting its universal, enduring beauty. Ten Table, a dining table designed by dk3 founder Jacob Plejdrup in collaboration with Danish designer Christian Troels, is a classically beautiful, yet playfully modern expression of dk3’s love affair with the natural materiality of wood. With no straight lines, the curved shape of the table highlights the irregular, yet precisely ordered pattern of the grain. The surprising lightness of the cube-shaped base – or the pronounced grooves of the legs, depending on the model – introduces a more defined texture that leads the eye towards the tabletop. This organic fusion of natural beauty and an incredible level of detail combines traditional carpentry techniques with the simple elegance of modern design – the perfect recipe for a timeless object that can be passed from one generation to another, endlessly enriching the lives of those gathering around it and exponentially enhancing the appeal of the table itself. “Our hand-picked and carefully curated selection of Scandinavian designs highlights the timeless quality of patiently crafted objects, and the importance of a considered selection and mindful use of resources with a genuine appreciation of materiality,” says Anton. Great Dane offers consumers and designers an unquestionable opportunity to invest in quality furniture that encapsulates the elusive moments of daily life for generations to come. Visit one of the showrooms or the online store for a timeless display of master craftsmanship and exceptional design quality. Great Dane greatdanefurniture.com For commercial project enquiries, reach out to Jon Holland, Great Dane's commercial manager Step behind the scenes and experience a world of Scandinavian craftsmanship in a replay of Great Dane founder Anton Assaad talking at Super Design Festival Lead image: Carpenter’s Square House | Architects: Architects EAT | Photography: Derek Swalwell.abc
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Colour Time Featuring Rogerseller

Throughout its 125-year history, Rogerseller has brought innovation and a select group of local and internationally designed products to Australian shores. Rogerseller collections are curated with the contemporary bathroom in mind, as a place of comfort and high-end design. Alongside colour options to transform and lighten up every kind of bathroom space.

Pastel pops

Falper, Claybrook and Catalano headline a list of brands whose products incorporate pastel hues and statement colours for the modern bathroom. Falper’s products are the result of collaborations with industry professionals that infuse a unique identity into each item. The personalisation possibilities are nearly endless thanks to the range of colours and natural finishes across Falper’s Cristalplant and Ceramilux ranges. [gallery type="rectangular" size="large" ids="112412,112411"] Citing a British understanding of quality and craftsmanship, Claybrook’s range contains an assortment of colours and finishes tailor-made for any bathroom project. The new Terrazzo collection is particularly colourful and on- trend, perfect for contemporary Australian bathrooms. [gallery type="rectangular" size="large" ids="112407,112408"]

Metallic muses

Catalano’s Colori collection gives new possibilities for personalising the bathroom, from basins to toilets and bidets. Colori is available in gloss white, matte white, matte cement grey, matte black, silver or gold, so you can choose to add subtle texture or make a strong statement. [caption id="attachment_112413" align="alignnone" width="1100"] Catalano Colori - Green Lux 40 Washbasin Gold & White[/caption] For those looking for a more natural, honest finish to their bathroom products, Fantini and Rogerseller’s own bathroom pieces are perfect, all combined with premium manufacturing practices. [caption id="attachment_112418" align="alignnone" width="3796"] Rogerseller Natural Elements - Standard Up & Down Bath Waste[/caption] Rogerseller’s Natural Elements range of finishes captures the textures and hues of raw, organic materials. The five finishes – chrome, graphite, matte black, brushed nickel and brushed gold – match perfectly to materials such as timber and natural stone, combining to create rich, tactile environments with a contemporary elegance. Fantini has been featuring colours in tapware design since 1977 when the iconic, pop art-inspired I Balocchi collection was born in collaboration with designers Paolo Pedrizzetti and Davide Mercatali. Today’s colour range spans from timeless matte black and matte white, sophisticated PVD matte copper, british gold and matte gun metal, to refinedgold plus and polished nickel. [caption id="attachment_112416" align="alignnone" width="1170"] Fantini Colori | Nickel PVD, Matt Gun Metal PVD, Matt Copper PVD, Matt British Gold PVD[/caption] Whether going left of centre with a pastel hue, or combining a classic metallic with other finishes, Rogerseller has a complete range of colours to lighten up your bathroom.
Rogerseller rogerseller.com.au [caption id="attachment_112419" align="alignnone" width="1170"] Catalano Colori[/caption]abc
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HAP - Feature
Happenings

Cultivating Connection With Habitus #51

[caption id="attachment_112499" align="alignnone" width="1170"] Birchgrove House by TZG. Photo by Nicole England.[/caption]   Kitchens and bathrooms have long been heralded as the key spaces of value for a property going up for sale. But it’s a value that reduces them to their mere financial returns. What about the things that transcend such a calculated purview? The satisfaction that comes from cooking in a kitchen where everything has just the perfect spot, all within reach. The way a cupboard handle feels when being opened. The ease of bedtime baths with the kids when the space has been configured in the right way. Or simply the joy that a beautiful handmade tile can bring when looking at it every day. [caption id="attachment_112493" align="alignnone" width="1170"] This bathroom in Ballarat by Moby Architecture is all about creating a private cocoon. Photo by Rhiannon Taylor.[/caption]   A well-resolved, highly detailed and considered kitchen and bathroom can add a lot more to your life than the obvious monetary returns or resale value. They can create a sense of ease, and moments of calm in everyday life – qualities that should not be understated as the world emerges from a global pandemic. It’s these less overt characteristics that make a kitchen or bathroom unique for each person using it, and these are what we investigate in this year’s annual Kitchen & Bathroom Special of Habitus magazine. From kitchens that inspire connection, or are designed to blend seamlessly in the home, to bathroom inspirations taken from tropical resorts, every story in the pages of this issue considers how kitchens and bathrooms can cultivate a way of life rooted in design. [caption id="attachment_112494" align="alignnone" width="1170"] Ripple House by FMD Architects. Photo by Peter Bennetts.[/caption]   Featured in this issue are bathrooms and kitchens designed by FMD Architects, Onion, HYLA Architects, Moby Architecture and Studio Prineas. We have profiles with DKO's Michael Drescher, a home tour with Marc Tan and Amy Lim of Studio Periphery and we visit the new Home of the Arts gallery ahead of its big launch with CEO Criena Gehrke. Projects cover the gamut from a home by Brian Zulaikha of TZG in Sydney, to a contemporary landed home in Singapore by Park + Associates. Order your copy of Habitus #51 today and subscribe by 31 August 2021 for your chance to WIN a Didier Liqueur table. Aleesha Callahan Editorabc
Architecture

The Places where we Live

The 2021 INDE.Awards shortlist for The Living Space is an exemplar group. Each and every one ticks every box for style, form and function with detail and design finesse at their heart. Houses with views inside and out vie with homes that offer sanctuary and serenity – and everything in between. This year it appears that every project is a winner. As supporter of The Living Space, Gaggenau knows all about being the best.  With products that speak of luxury and outstanding functionality, Gaggenau understands what it takes to create spaces that are future ready for life today. [caption id="attachment_10472" align="alignnone" width="980"] Federal House. Photography: Ben Hosking[/caption] Olya Yemchenko, Senior Brand Communications Manager of Gaggenau Australia reflects on the shortlist and the future of residential design in the Indo-Pacific commenting, “Today’s residential design places greater emphasis on sustainability, whether this is the interaction between house and garden, renewable electricity or choice of materials. Consideration has been given from boundary to boundary, providing a holistic experience of a home. The created spaces feel much more generous regardless of their physical footprint. What stands out is the use of raw, natural surfaces from exposed brickwork, natural stone palettes to timber, steel and glass. All the little details come together to create a full picture.” [caption id="attachment_10514" align="alignnone" width="980"] Garden House. Photography: Derek Swalwell[/caption] As inspirational as these homes are, there is a continuum between the group and that is their tailormade design for those who live within the walls. More and more our homes not only reflect ourselves and our lives but the way we wish to live now. Yemchenko explains, “We have previously emphasised that when looking to design The Living Space, the end result is informed by many factors – incorporating the individual needs of the occupant’s lifestyle and aesthetic proclivities. It is really inspiring to see how residences today are taking on the form of their own enclosed oasis, where individuals have the ability to fully immerse themselves within their home environment. Embodying the essence of a private retreat.” [caption id="attachment_10500" align="alignnone" width="980"] Striated House at Rajagiriya. Photography: Ganidu Balasuriya[/caption] While each home in the shortlist exemplifies great residential design, there were a few that caught Yemchenko's eye as stand outs and they are, “Federal House where the dark finishes contrast with the space, greenery and vastness of the outside world. Garden House is a residence that perfectly marries the transition between indoor and outdoor living and Striated House where space and light is amplified.” .

The Living Space

Proudly partnered by Gaggenau [caption id="attachment_10492" align="alignnone" width="980"] Limestone House. Photography: Dianna Snape[/caption] 8 Yard House Studio Bright Australia Coopworth FMD Architects Australia Cumulus House Chris Connell Design Australia Envelope House ASOLIDPLAN with Solid Architects LLP Singapore Evelyn Myers Ellyett Australia Federal House Edition Office Australia Garden House Austin Maynard Architects Australia K House Renato D'Ettore Architects Australia Limestone House John Wardle Architects Australia PONY WOWOWA Architecture Australia Striated House at Rajagiriya Palinda Kannangara Architects Sri Lanka Terracotta House Austin Maynard Architects Australia . Be there as the INDE.Award winners are announced. Register for your 2021 digital ticket. #indeawardsabc
Design Hunters

Exceptional Design Studios

Throughout our region the variety of studios within the architecture and design community is almost limitless. The shortlisted practices in The Design Studio in this year’s INDE.Awards differ in size and make up, offering and output, structure and process but the continuum is exemplary work enhanced but collaboration and connectivity both in the studio and outside with other creatives. Each studio in this category is a leader, sure of itself and its power to produce outstanding projects for a client that will enhance the reputation of the studio. [caption id="attachment_11375" align="alignnone" width="980"] Russell & George. Photography: Sean Fennessy[/caption] To create the very best in design is uppermost in the minds of all the practitioners in The Design Studio, as it is for the supporter of the category, Woven Image. Since its establishment in 1987, Woven Image has been at the forefront of design providing commercial textiles and acoustic finishes for walls, ceilings and space dividing for the interior. As the company looks to the future through innovative products, so too do those shortlisted for The Design Studio as they represent their own particular practice models developed through experience and over time. Alan Heath, Sales Manager, Woven Image perused The Design Studio shortlist and commented, “The design studios that are represented in the INDE.Awards are all exceptional practitioners. We can see that design is alive and well in our region and that connection and collaboration are foremost. All the shortlist practices are responding to their local and indeed a global environment but it's obvious that collectively they are providing great design for their clients and community. [caption id="attachment_11376" align="alignnone" width="980"] Christopher Boots Studio. Photography: Guy Lavoipierre[/caption] So many of the practices are design leaders in their country and throughout our region and each is to be congratulated for the work they produce, Heath, observed, “The inspiration that comes from the shortlist is the variation of designs and the differences between the material use in the architecture. The shortlist and their projects oscillate from hard concrete and glass through to timber and earthy tones and the use of monochrome is fabulous as is the multi-colour school in India.” Asked if there were particular practices that stood out from the group, Heath mentioned three practices in particular. “Standouts for me were Russell & George. There is a fantastic look and feel to their designs and the material ceiling and the multi-coloured baffles in retail projects are just wonderful. Another stand out is Christopher Boots for his lighting that utilises crystals that are fantastically intricate. And, of course Alexander & Co, who designed the newly renovated Harbord Hotel in Freshwater – which is our local! [caption id="attachment_11374" align="alignnone" width="980"] Alexander &CO. Photography: Anson Smart[/caption] Now we know the shortlist, the next event will be the announcement of the winners in Sydney on 5 August at the INDE.Awards gala and Heath commented, “I’m looking forward to face-to-face networking and celebrating the amazing achievements of the A & D community throughout the Indo-Pacific region, both to make up for last year and in celebration of this year.” .

The Design Studio

Proudly partnered by Woven Image [caption id="attachment_11377" align="alignnone" width="980"] RAW Architecture (Realrich Architecture Workshop). Photography: Bacteria Photography[/caption] Alexander &CO.  Australia B.E Architecture Australia Christopher Boots Studio Australia Myers Ellyett Australia Nathan Yong Design Singapore OKU space Australia Park + Associates Singapore RAW Architecture (Realrich Architecture Workshop) Indonesia Rocco Design Architects Associates Hong Kong & China Russell & George Australia Sanjay Puri Architects India Smart Design Studio Australia . Be there as the INDE.Award winners are announced. Register for your 2021 digital ticket. #indeawardsabc
Interiors
Homes
Architecture
ARC - Feature

Carthona House By Daniel Boddam Studio Looks Quite Contrary

Taken at a glance from its suburban streetscape, Carthona House could be two neighbouring abodes; a humble red brick heritage home and a contemporary black box standing side by side yet worlds apart, in character and expression. When in fact, the dual forms – one part heritage Australian federation bungalow; one part contemporary nod to Brazilian modernism – consummate as one whole house. The latter volume is a modern and elemental recent addition to the former, by Daniel Boddam Studio. The clients engaged the eponymous studio of Sydney/Byron Bay based architect-designer Daniel Boddam to realise a breathable, light-filled and well-crafted addition to a humble, Federation-era red brick bungalow. The brief specs fit the description of your typical residential Australian alterations and additions project, seeking extended living space with a seamless flow between indoors and out. Meanwhile, the project’s more obscure design objectives included maximising the clients’ lifestyles; maintaining a sense of comfort; ease and flexibility conducive to family life; and a sympathetic approach that respects the historic legacy of the house. Daniel’s curiosity in the dualities of form inspired a ‘complement by contrast’ approach between old and new. The traditional qualities of the Federation-style frontage are boldly juxtaposed by the striking blackened silhouette of the extension. As incongruous as the old and new aspects of Carthona House appear on the façade, the interiors are quite the contrary. The principal living spaces embrace a warm and relaxed tone. Luxe and hand-crafted materials come together with expressed bagged brick walls and charred timber cladding offset by the crisp articulation of a honed marble and matte lacquered cabinetry. Relaxed furnishings, combining Australian and iconic European pieces, harmonise with the clients’ coveted collection of art and objects. Upstairs, a private sanctuary offers district and city views, with operable Yakisugi charred screens opening the interior to the elements. The garage roof is topped with a pebbled succulent garden, creating a pleasant outlook from the master suite and encouraging wildlife to interact with the architecture. Throughout, spaces are thoughtfully composed to celebrate the elemental experiences of living, bathing, dressing and sleeping. While the palette is intentionally restrained, subtle nuances create curious moments of grain and tactility, with a focus on the hand-crafted and artisanal. Informed by Brazilian modernist architecture, with which the client has a deep connection, “the extension has been designed as a crafted lantern”, says Daniel. “The façades open and close as breathable skins allowing for sunlight or shadows, privacy or connection”. Open volumes and voids allow dappled, dancing light to be cast through the interior, tethering the experience of home to natural circadian rhythms; a poetic and resonant quality. Daniel Boddam Studio danielboddam.com Photography by Pablo Veiga abc
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DH - Feature
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People

Sue Carr’s Brilliant Career Honoured

A stellar career has been recognised in this year’s Queens Birthday Honours List. Sue Carr has been awarded an (AM) of the Order of Australia (General Division) for significant service to interior design, to education and to women in business. On receiving the news of her appointment Sue responded, “When I co-founded my first design practice fifty years ago, I did so with the firm belief that interior design could stand alongside architecture as an equal contributor to the built form. For interior designers, it is about space, form and light, the sensory experience, the materiality, and the subliminal parts rather than the obvious or the superficial.” Throughout her 50-year career, Sue Carr has been an instigator of change and an icon of the design community in Australia, receiving a multitude of accolades in recognition of this. In a time when women were seldom on a building site, Sue was leading her own revolution, and in doing so, has helped pave the way for women in architecture and design today. As Founder of Carr, her eponymous architecture and design practice, Sue has guided her team through five decades of sometimes tumultuous economic and political upheaval in Australia, adapting to the circumstances of the day and always becoming stronger. Now in 2021, the business is perfectly positioned and Carr is recognised as one of the most respected practices in the country. Sue established her first design studio, Inarc, in Melbourne on 10th May 1971. At that time interior design was regarded more as an after-thought rather than integral to a project but Sue had very different ideas, constantly evolving the business and moving forward creating exemplar projects through the relentless pursuit of quality. [caption id="attachment_112437" align="alignnone" width="1170"] Courtyard House, photo by John Gollings[/caption]   From Inarc and the transition of the practice to Carr, the studio has become a force within the architecture and design community. Transitioning from solely interiors, the studio today encompasses an integrated interior design and architectural service where both disciplines, along with the business team, work together as equals. Over the past 50 years, Sue has achieved something that many before her have only dared to dream – longevity in her profession, a successful practice and, through the force of her presence, the ability to change the face of an industry. As Sue herself says, “We’re very fortunate in Australia, where success can be possible through passion and hard work – something I've always applied to what I do. No matter what it is.” [caption id="attachment_112438" align="alignnone" width="1170"] House Around A Pond, photo by Timothy Kaye[/caption]   In so many ways Sue has been a driving force within the changing face of design. Her talent and determination have paved the way for her success concurrently ensuring that the design industry she loves has also been brought to greater prominence. Her presence, skill and determination have, in no small part, led the way for the acceptance of woman in a once, primarily male-dominated profession. We are in awe of the triumphs Sue has achieved over the years and the heights that she has attained and this award is another indicator of the esteem in which she is held by her peers, the architecture and design community as a whole and indeed the wider public. Our heartfelt congratulations Sue. Rather than the crowning glory to an incredible career, this award must be the impetus to keep doing what you do best, design and lead, as without you, our industry would be very different indeed. Trailblazers such as yourself are brave and strong and you are indeed a guiding light for all who attempt to follow in your footsteps. Sue Carr has been a great friend of Indesign Media for many years and participated in the inaugural INDE.Awards jury and subsequent years, only relinquishing the role in 2021 to concentrate on the celebrations of Carr’s 50-year anniversary and now, of course, this singular honour. We think you might like this story about Carr's Red Hill Farm House project [caption id="attachment_112439" align="alignnone" width="1170"] Mathoura Road, photo by Ross Honeysett[/caption]abc