Habitusliving.com |
- Mates Who Build Together Stay Together
- It’s Easy to Fall for the “Look” – In Conversation with Neil Burley
- The Colours That Will Shape Our Homes Next Year
- Light as a Pebble: Arper’s Eco-Conscious Adell range
- Design That Invites You To Live Honestly
| Mates Who Build Together Stay Together Posted: 31 Aug 2021 09:20 PM PDT  When Tim Fyffe's construction company built Patrick Jost's home about six years ago, it didn't take long for the pair to become good friends. In the years since, Fyffe and Jost have bonded over their love of fishing and the odd "session on the Kingies" outside Port Phillip Heads, so it came as no surprise that Fyffe asked Jost Architects to design both his family home in Richmond and his beach house.
Halfway up Richmond Hill, the Richmond House accommodates Tim and Nat Fyffe and their two young children. The original heritage brick home sits on a small and restrictive site with a heritage overlay, meaning the front façade and the two front bedrooms at street level were retained from the original building. Camouflaged with mirrored cladding and glazing that reflects the sky and streetscape around, Jost ensured the upper levels would not dominate the existing building or impact the heritage streetscape.
An old lean-to out the back was replaced with a three-level addition, navigating the site's steep slope. Internally, the living areas revolve around a central open staircase of steel, concrete and timber, that allows natural light and ventilation to flow through the home.
"Internal finishes such as the retained pressed red face brickwork, black steel, hard plaster walls and an amazing exposed timber board-formed concrete ceiling perfectly suit the industrial aesthetic of the suburb," says Jost.
It's easy to see the respect Jost has for Fyffe when he tells me how Bacchus Constructions "is renowned for delivering highly detailed architectural houses". It's this mutual respect that saw parts of the design become a collaboration between the two — just one example being the concrete ceiling that has been imprinted with wood grain, adding texture and warmth through the organic finish.
"The acid-washed cedar formwork in-situ concrete ceilings are pretty amazing. I had suggested using concrete floor slabs to squeeze the roof deck in vertically and Tim ramped it up with the finish. The acid creates a more expressed grain which comes out clearly in the concrete," Jost tells me. The pair's friendship also allowed Jost to pitch interesting spur-of-the-moment ideas. When double glazing for the front window was delivered with the wrong finish, Jost suggested it be used to cover the back door instead. "I very rarely design on the fly like that but it ended up almost being the perfect detail that completed the end of the building," says Jost.
The home's finishes were selected by the clients, along with a little help from Melbourne-based design practice Hecker Guthrie. Before having children, the Fyffe's had spent a few New Year’s Eves on the roof of the original house and they noted the amazing view of the skyline in their brief. To make the most of the special outlook, Jost incorporated a leafy rooftop deck that offers uninhibited views to the MCG and the city in one direction and Richmond Hill and St Ignatius Church in the other.
"The roof deck is a special part of the house where at night the city and MCG lights illuminate a spectacular view. It is so close and the photos don't do it justice," says Jost.
"When we were shooting the house, we had an amazing sunset with the whole city lit up and a giant flock of black cockatoos flew by," he adds.
Project Details Architecture — Jost Architects Enjoy reading about The Richmond House? You might also like Stealth House in Sydney by Bijl Architecture The post Mates Who Build Together Stay Together appeared first on Habitusliving.com.  |
| It’s Easy to Fall for the “Look” – In Conversation with Neil Burley Posted: 31 Aug 2021 07:24 PM PDT  With an exhilarating career that has taken Neil Burley from architecture and graphic design to interior design and furniture, the founder of architecture and interiors practice Burley Katon Halliday and furniture store Anibou is undoubtedly one of the prominent Renaissance men of the Australian design scene. This extraordinary fluidity in mastering a variety of disciplines and design genres has seen him stimulate and excite the national design arena in a myriad of ways. Having dropped out of the architecture degree he started in 1961 at the University of NSW to pursue his passion for graphic design, young Neil already considered the transition between fields natural. "There's a very strong relationship between some elements of any type of design," he explains. "Graphic design may just be two dimensional, but good layout is very much like rational planning in architecture." This ability to appreciate the intricate parallels between various design genres enabled him to morph his flourishing graphic design business into a broader operation, including interior and product design. That's how Neil Burley Design was born. Neil continued to develop the practice, which was renamed to Burley Katon Halliday in 1989 to acknowledge the involvement of Neil's partners: David Katon and Ian Halliday. The same year, Neil's interest in furniture culminated in the establishment of Anibou. The store originated as a distributor of European materials and products, only to grow into a renowned platform for emerging and established local designers, who – it was obvious to Neil at the time – were significantly underrepresented. While Anibou is not under Neil's leadership anymore, the premise he so intentionally set in motion almost two decades ago continues to define the store's direction. Taking into consideration Neil's multifaceted design expertise, profound appreciation of local talent and the distinct sense of pragmatism he's developed throughout his career, it is only fitting he found himself a part of an esteemed panel of judges in the inaugural edition of Gaggenau Kitchen of the Year Design Contest. "Food preparation is really the heart of any place where people live," he explains. With his sensible approach to the role of a home – which for him is synonymous with safety, protection and easy access to the outside while using minimum energy – his thoughts on kitchen design trends are practical too. "While many of the entries were large and luxurious, I'm still more interested in a kitchen's relationship to the rest of the house than trends," he says. "Easily the biggest change of the last 30 years is that the kitchen, and therefore the cook, is now very seldom locked off in a separate room but is central to where most living takes place," says Neil. "I really doubt that this will reverse," he predicts. Neil adds that he hopes we see greater emphasis on durability of both appliances and finishes. "It's too easy to fall for a 'look' and overlook maintenance," he sums up, highlighting the inherently functional character of the kitchen space. View the full shortlist of Gaggenau Kitchen of the Year 2021 projects here. The post It's Easy to Fall for the "Look" – In Conversation with Neil Burley appeared first on Habitusliving.com.  |
| The Colours That Will Shape Our Homes Next Year Posted: 31 Aug 2021 04:07 PM PDT  Responding to humanity's current era of uncertainty, one in which the home has become expected to accommodate all aspects of our personal lives, education and work, the Dulux Colour Forecast has predicted three palettes to shape the tones of our walls, fittings and furnishings in the year to come. The forecast is determined by collaborative research between Dulux colour and communication manager, Andrea Lucena-Orr, colour forecaster and stylist, Bree Leech, and the Dulux Colour Marketing Group. The outcome? Tones that inspire feelings of authenticity, empowerment and hope, to reflect what humans have been looking for in recent times. "The impact of the pandemic is undeniable; it is the predominant influence on everything, from global trends to domestic concerns," says Lucena-Orr. "Naturally, it has impacted the Dulux Colour Forecast 2022 too, and the resultant palettes highlight the colours we need as a collective community and as individuals: calm, optimism and empowerment." RestoreComforting, luxurious and natural, the Restore palette is determined by earth-based colours and whites and neutrals with warm undertones. The selection is driven by the concept of interiors as a cocoon and a place to practice wellness and self-care rituals, according to Lucena-Orr. "We seek comfort above all else, are choosing less however making better choices, driving our appreciation of the power of simplicity. Minimal but meaningful," adds Lucena-Orr. Using hues like Dulux Natural Flora and New Penny along with soft furnishings and elements of stone and ceramics, tactility plays a major role in this palette, highlighting textural interplay between natural materials.
FlourishBold, decadent and somewhat hedonistic, the Flourish palette provides a dramatic statement. The colours of deep Dulux Kenepuru Sound blue, grounding Basic Coral and warm Red Terra, says Lucena-Orr, celebrate the human potential for creativity and expression. Being slightly more adventurous and inventive than Restore, Flourish is rich, sensual and a little surprising, thanks to pops of Gold Vintage. "These colours can reflect that uncertainty doesn't always equate to a loss of power when it comes to our ability to celebrate life," says Lucena-Orr.
WonderLast, but certainly not least, Wonder is playful yet also embraces a hint of serenity. The light, fun and experimental palette is reminiscent of bright spring bouquets, and includes a variety of pastels such as Dulux Pinkham, Ice Lemon and Celery Green. "Expressing our reconnection with the natural world and the sheer joy of Spring and Summer, of light and warmth, the Wonder palette is uplifting and hopeful," says Lucena-Orr.
Styling — Bree Leech The post The Colours That Will Shape Our Homes Next Year appeared first on Habitusliving.com.  |
| Light as a Pebble: Arper’s Eco-Conscious Adell range Posted: 31 Aug 2021 01:00 PM PDT  The Adell collection’s natural presence and gentle rounded curves are "plush yet supportive, substantial yet lightweight," according to Barcelona-based designers Lievore + Altherr Desile Park. Featuring a curved shell that is manufactured from 80 per cent recycled polypropylene, the materials are intentional, allowing long-lasting and ergonomic designs, while also considering the cost. After significant consideration, polypropylene became the designers’ obvious choice for a few reasons.
"It is a robust and durable material that is great for outdoor use, it is a perfect base for upholstery, and, versus wood, it is a much more affordable option for fabrication. Plus, the slight flex in the polypropylene makes the overall effect more comfortable instead of the rigidity of wood," say the designers. By delving into material research, Lievore + Altherr Desile Park worked consciously to find the most sustainable way to use the materials. Initially, the designers considered using bioplastic, but discovered it came with "an entirely different set of concerns". Instead, the studio decided the most sustainable way forward would be to use recycled polypropylene. Adell's polypropylene shell is formed with an organic texture that evokes the concentric patterns of a tree trunk's rings. This allows surface scratches to dissolve in the texture, rather than look like wear, extending the life of the chairs.
"The shell shape can be created in post-industrial polypropylene, which means it can be both recycled and reused," say the designers. Due to the customisable nature of the collection, the pieces' pure materials can be fully disassembled — "the only way to ensure it is fully recyclable". The chair was designed to fill a "more lightweight and comfortable" niche missing in Arper's previous offering. Taking a 360-degree approach to the design, Lievore + Altherr Desile Park aimed to create a system that adapts to different uses, expressions and price points.
The chair comes in a variety of tones that were specifically chosen to reflect organic materials – think olive green, bark-toned brown and ivory – rather than artificial colours. Different upholstery options are also available, allowing the chair to be imagined in varying environments. The fully upholstered version, for example, would suit hotels, restaurants or airport lounges. The extra soft front cover elicits a more relaxed mood, suited to homes or co-working spaces. The durability of the polypropylene shell on its own makes it suitable for education or healthcare environments where surfaces must be easily cleanable, and finally, the soft cushion option is ideal for outdoor gardens. The legs are also interchangeable, with four leg, sled and timber base options.
"Adell's singular, friendly shape suggests an effortless use in all sectors, but is especially well suited to relaxed seating areas," say the designers. In Australia, Arper's Adell collection is exclusively available at Stylecraft. Arper is one of Stylecraft's longest-running European brand partners, having forged a relationship that has spanned two decades.
Enjoy this article? You might also like our article on Stylecraft’s J5 Credenza. The post Light as a Pebble: Arper’s Eco-Conscious Adell range appeared first on Habitusliving.com.  |
| Design That Invites You To Live Honestly Posted: 30 Aug 2021 07:04 PM PDT  Anaca studio is a boutique, Melbourne-based furniture design practice that focuses on creating beautiful, timeless pieces that inject both fun and sustainability into the lives of their owners. Since 2012, owner and designer Anne-Claire Petre has been committed to working with consumers to create personalised pieces that will be cherished for years to come. 2021 has seen the introduction of the elegantly whimsical Zola range of ottomans and tables to anaca's furniture family. With four sizes of the plump, curvaceous piece, available in custom colours, this range is the playful addition you didn't know you needed. Following this release, we at Habitus sat down with Anne-Claire Petre to talk about all things anaca studio and contemporary design.
____ Habitus: What inspired you to start the journey of anaca studio?Anne-Claire: I have been involved in the furniture industry for over 20 years, but there came a time when I wanted the freedom to create my own products, brand and artistic direction that was guided by my own ethics. I envisioned a brand that would focus on good design, be environmentally aware and locally manufactured. I can trace these values back to my childhood in France. Both of my parents were small business owners, and my mum always valued having nice things around the home. So, from a young age I had good design instilled in me and I wanted to incorporate these into my business and brand. Sounds like creativity has had a special place throughout your life.I've always had a creative spirit, but my love of furniture came much later. I started my studies in industrial design, but I wasn't inspired by the products. I couldn't connect to the process until I started to explore objects – where emotion comes into play, and I became fascinated by our attachment to furniture.
How did you use this love for furniture to define the vision and goals for anaca studio?My goal for anaca studio is to deliver well-designed, high-quality personalised products and a second to none service to my customers. It's critical for me to carry my personal ethics into my business and brand, where environmental awareness, local manufacturing and good design standards are front and centre. My vision was (and still is) to build a brand that would represent what we can offer here in Australia in design and manufacturing and be a voice for a more sustainable future in the furniture industry. I want to design for longevity, comfort and well-being. I believe design is not just about how a product looks, but how it feels and how it makes you feel. I believe that details are important, the look is key but it should not be more important than the use or the comfort. With the ever-changing nature of our living spaces, the demand for stylish, functional and versatile pieces has increased. How have you instilled this vision across your products?When I was dreaming up the Toulouse sofa, I wanted to design something that was easy to maintain and I know (from experience) that my customers are busy people. They don't always have time to fluff cushions or tend to fabrics. It's why the cushions on the arms of the sofa are fixed (so they won't flop around) but you still get the impression of a detached pillow.
I opted for a narrower and higher back sofa, where the cushioning feels soft but still offers a great support. It also has a beautiful and sculptural slanted back, which did bring a manufacturing challenge and was a non-negotiable but one that my upholsterer resolved beautifully and seamlessly. So understanding people and the way they live, interact and connect with different objects has helped in shaping your creative direction.Definitely, it’s been an integral part of the design journey. For many years I worked as a showroom manager and spent a lot of time with customers, finding out their needs and how they use the furniture, what comfort level they preferred. So I use all this gathered knowledge when designing new products. Designing the Camille sofa, I considered all my years of customer feedback, which led me to finding the right balance of comfort and ergonomic support. It was an idea that, over the years, came up again and again: in a previous showroom we were often making these custom changes to sofas, so I took the lesson and ran with it.
Providing customers with a truly personalised experience, giving them a beautiful product or design service that fits their needs and taste is a top priority. When we connect with our customers, we can create a product that is distinctly for them – something they'll enjoy and cherish in their home. Something that surpasses the tests of time and trends.Exactly. It's easy to get carried away with aesthetics. With some products that's okay, however when it comes to comfort, I think there needs to be the right balance – making it effortlessly timeless. What role does anaca studio play in the current Australian design landscape?My hope is for more Australians to start understanding the value of investing in better quality products. I make it a priority to promote the value of original designs and educate [potential] customers on why buying from small local businesses makes sense. At the same time, I love creating custom designs for interior designers and architects. There's been a few over the years and I'm keen to do more. I feel like design isn't a solo experience because to get a finished product there's a lot of collaboration that happens. anaca studio is more than just me, it also supports a community of manufacturers, makers, artists and artisans. I am proud to say that the network of people I work alongside all value integrity and doing the right thing. It's just as much about being environmentally friendly along the way as it is about being true to myself, being honest and living authentically.
anaca studio The post Design That Invites You To Live Honestly appeared first on Habitusliving.com.  |
| You are subscribed to email updates from Habitusliving.com. To stop receiving these emails, you may unsubscribe now. | Email delivery powered by Google |
| Google, 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States | |
No comments:
Post a Comment