It was innovation and sustainability that saw architectural firm Breathe Architecture and developer Small Giants take out the top gong at the 2014 Victorian Premier’s Design Awards recently.
Winning for their work on The Commons apartments, the project was selected as the overall winner for its innovative approach to design, resulting in apartments that are generous, simple, affordable and sustainable.
With a design strategy previously unseen in Australia, The Commons is a vertical community where residents share rooftop gardens, solar hot water, electricity generation systems, a rooftop laundry, bike parking and communal beehives. The design, which the judges called “a working prototype for urban living,” has been a catalyst for bringing together socially responsible individuals who are now striving to give back, not only to their neighbours, but also to improve their broader community.
The annual Victorian Premier’s Design Awards celebrate the very best of Victorian design and innovation and provide a unique platform for Victorian designers and businesses to showcase their best work to a national and international audience.
Lilyfield Warehouse by Virginnia Kerridge Architects
This year’s winners of the Intergrain Timber Vision Awards don’t disappoint. Think a stunning warehouse conversion in Sydney, two holistically sustainable properties in Melbourne and a hybrid of art and architecture in Canberra.
Stonewood by Breathe Architecture
Created to celebrate the valuable role timber plays in Australian architecture and design, this morning’s awards breakfast saw four winners picked from over 100 entries. With winners in both residential exterior and interior and commercial exterior and interior, the competition was fierce, with many entries pushing the boundaries with their innovative use of timber.
Lilyfield Warehouse by Virginnia Kerridge Architects
The two residential award recipients demonstrated how timber could be used as an alternative to other materials with advantageous sustainable qualities. Stonewood by Breathe Architecture, took home the title for best residential exterior, thanks to the unique details of its surrounding context and taking inspiration from an 1850s Georgian cottage. The best residential interior went to Lilyfield Warehouse, a NSW property designed by Virginia Kerridge Architects and a home that has to be one of my favourites ever (you can read more about it here)! With seamless integration between old and new, the project was awarded for its honest and strong response to an old building, demonstrating creative timber adaptation to an existing industrial warehouse.
The Commons by Breathe Architecture
The Commons commercial space, also designed by Breathe Architecture, won best commercial exterior. The project was awarded for its holistically sustainable and functional aspects, designed to off-set the harsh urbanised conditions of its inner city location. Judged best commercial interior was the multipurpose building Nishi in Canberra, which I visited only last month when I stayed at Hotel Hotel. Designed by March Studio, believe me when I say that it is as amazing in real life as it is in photos!
Nishi by March Studio
For more information visit Intergrain’s website here.
The Australian House of the Year by Peter Stutchbury. Photo: Michael Nicholson
A hidden hilltop retreat, a new home that engages with its heritage context using imaginative brickwork, and a multi-residential apartment complex centred on community and self-sufficiency, were among the winners of this year’s Houses Awards, an annual celebration of Australia’s best residential design.
The Australian House of the Year by Peter Stutchbury. Photo: Michael Nicholson
There were winners in eight categories, with one project receiving the premier accolade of Australian House of the Year. For the first time ever, all states were represented in the shortlist.
The Invisible House. Photo: Michael Nicholson
A sight to behold, the Invisible House by Peter Stutchbury Architecture was named Australian House of the Year. The judges said: “There is something absolutely Australian about this project, not just its connection to an undeniably spectacular setting, but also its modesty, clarity, resourcefulness and consequential delight. Being (another) rural retreat with a jaw-dropping view, this project needed to convince the jury that all the moves made to create it are in harmony with its location, and that it is a great piece of architecture in its own right, and this it has.”
Inside the winning Invisible House. Photo: Michael Nicholson
We think the category winners are all pretty amazing:
New House under 200 m²
Dogtrot House by Dunn and Hillam Architects NSW
Dogtrot House. Photo: Killan O’Sullivan
New House over 200 m²
Invisible House by Peter Stutchbury Architecture NSW
House Alteration & Addition under 200 m²
Cabin 2 by Maddison Architects VIC
Cabin 2. Photo: Will Watt
House Alteration & Addition over 200 m²
Skylight House by Andrew Burges Architects NSW
Skylight House. Photo: Peter Bennetts
Apartment or Unit
Loft Apartment West Melbourne by Adrian Amore Architects VIC
Loft Apartment. Photo: Fraser Marsden
House in a Heritage Context (joint winner)
Middle Park House by Jackson Clements Burrows VIC
Middle Park House. Photo: John Gollings
and
Westgarth House by Kennedy Nolan VIC
Westgarth House. Photo: Derek Swalwell
Sustainability
The Commons by Breathe Architecture VIC
The Commons. Photo: Andrew Wuttke
Outdoor
The Garden Project by Welsh + Major Architects NSW
The Garden Project. Photo: Brett Boardman
The jurors for 2014 were: Brian Donovan, principal, BVN Donovan Hill (QLD), Maggie Edmond, founding director, Edmond and Corrigan (VIC), William Smart, creative director, Smart Design Studio (NSW), Emma Williamson, co-founder, CODA (WA), and Katelin Butler, editor, Houses magazine (VIC). Architectural advice in the heritage category was provided by Peter Williams of Williams Boag Architects on behalf of the Heritage Council of Victoria.
Newcastle may not get that much attention from the design world, but times are changing, with the upcoming Design+ event aiming to shine the spotlight on the wealth of the NSW city’s design talent.
The one-day event, held across Islington and Newcastle West, is the perfect place to visit for both architecture and interior design professionals and members of the public. Showcasing the products, services and skills available right on Newcastle’s doorstep, the free event, which is now in its second year, offers workshops, talks, product launches and pop-up food stalls. There’s also free transportation to the event by tram, so you can navigate your way around all of the participating showrooms with ease.
The event kicks off with an opening celebration on Friday 29 August with Pecha Kucha Newcastle presenting a night of talks and food (from El Poco Loco food truck) and cocktails (from Casa de Loco) at Earp Bros Tiles. Tickets are limited so get in quick!
Originally beginning as the Australian office of one of London’s leading firms, Universal Design Studio, it wasn’t until 2011 that all the power (and the pressure!) was transferred to Damien Mulvihill and Mark Simpson, as the office transitioned to become their very own firm, DesignOffice.
Damien and Mark
“I never had any plans to set up my own studio but when the opportunity came up to join the new Melbourne studio of Universal it was too good an opportunity to miss,” explains Damien. “DesignOffice was a very natural progression a few years later and although we’re now a separate business, we still think of Universal as a sister company. It’s great to have a wider network of experience and support, both locally and globally.”
Having now run their own interior design and architecture practice for the last three years, they work across a range of sectors. For them, it’s all about meeting their clients’ needs, whether that be designing an exhibition at the Powerhouse Museum, working on the new store layout at Witchery and Mimco or creating a temporary bar for Space Furniture. “At their heart, our projects should be a direct response to the client’s brief,” says Mark. “This involves a process of listening, observing and questioning before creating what we hope to be original and authentic responses, tailored to their brief and brand.”
Mimco Melbourne
With a core team of four, they’re receiving some well deserved attention, including winning Best in State for Commercial Design at this year’s Interior Design Awards. And while they clearly have a strong connection with commercial and retail design, it is their recently completed residential development that they are particularly excited about. “We recently had a great experience working on our first residential development doing the interiors for the Park & Raphael Townhouses,” explains Mark. “The client, Kalex, genuinely wanted to challenge the notion of a townhouse development, tailoring the approach directly to the lifestyles of their target audience and it is these opportunities to respond to a client’s ambition which excite us.”
Park & Raphael TownhousesPark & Raphael Townhouses
With a style that has been called complex simplicity, their projects, while differing dramatically, have an underlying consistency that includes craft and materiality and a specific interest in colour and light. By keeping their studio small, they have also ensured that their style remains constant, with both Damian and Mark working on every single one of their projects. “We can be personally involved in every project,” explains Mark. “As well as this, we still get to work closely with the contractors and craftspeople who bring it all to fruition.”
Damian and Mark see their friendship as the most important ingredient in the success of their practice. “I would never attempt to run my own studio without a business partner who I genuinely respect and genuinely like — you will spend a lot of time together,” says Damian. “Running your own studio is incredibly rewarding, but also a lot of work, so two heads are better than one!”
When Asha Nicholas and Chris Stanley met one another while studying architecture at Melbourne University, they were determined to join forces. In 2007, that dream became reality, when they launched Splinter Society.
Asha and Chris
“Having our own studio means we can enjoy the freedom of exploring creative ideas directly with clients and being selective with what jobs we would like to work on,” says Asha. “However, the reality, economically, of running a design focused office where each project is different can be challenging.”
While it may be challenging, Asha truly loves taking on different projects, believing that the diversity of work combined with a great client relationship, are the two pivotal factors for success. “As an office we enjoy exploring new ideas. Our projects primarily include hospitality, commercial fit-out, workplace and residential design and we honestly enjoy this mixture of work. There are great opportunities in all typologies but almost more important than the typology is having a great relationship with the client. This directly impacts the work process and also the outcome.”
Park Street HousePark Street House
With recent works including: houses, apartments, a theatre and bar, plus multiple office fits-outs, Splinter Society do all the architecture and interior design work in-house. Some occasions even see that extend to landscape design, an impressive feat seeing as they’re only a team of five! “We’ve kept the studio small so that Chris and I can be quite hands on,” explains Asha. “Our network, however, stretches beyond the walls of our office and we love collaborating with a range of other creatives from a diverse array of backgrounds including fashion, music and graphic design.”
House in a WarehouseHouse in a Warehouse
Having been in business for eight years, Splinter Society’s projects have now begun moving in a fresh direction, something which Asha and Chris are very excited about. “We’ve had the chance to work on some larger residential projects recently, which are yet to be built, but have certainly created a fun, new direction for the office,” explains Asha. “That and some medium density development work, larger houses and retail, which are all new to us.”
Having no strict aesthetic style, Splinter Society is more interested in the design process than anything else, and while they may lean toward some materials more than others and strive for good sustainable outcomes, a lot more of their focus is on briefing and really getting to know their clients. “Through this attitude we are able to develop a good understanding of the people we work with, what they value and what excites them.”
Howler
With their work continuing to get more and more recognition, (just this year they were shortlisted for three awards including the Australian Interior Design Awards), Asha and Chris are very thankful that they took that leap and set out on their own. And for anyone who was in their situation eight years ago, their advice is simple: “You have to make something out of every job that comes along. No job is too small or too simple.” Because after all, you’ve got to start somewhere!
Being one of the oldest architecture practices in the world, Bates Smart has a very impressive 162-year history! It’s safe to say they’re one of the most respected in Australia. With projects spanning from the Australian Embassy in Berlin, the Crown Towers Hotel at City of Dreams in Macau and the New Royal Children’s Hospital in Melbourne (which alone won a whopping 23 awards!), no project is too large.
35 Spring Street display suite
Jeff Copolov is one man who knows this all too well. As Bates Smart’s interior design director, he leads a team of 45. Working at the firm for the last 20 years, he joined after a stint as a set designer at the ABC and Channel 9, before deciding interiors was the way he wanted to go.
Jeff Copolov
Working across commercial, health, hospitality and residential, Jeff believes Bates Smart’s point of difference is their ability to fuse interior design with architecture: “In our office, we deliberately don’t have one floor with interior designers on it and one with architects,” explains Jeff. “In fact, we see that as a fundamental part of how we do our interiors; it’s a seamless process where interior designers are on the job from literally day one. They’re not decorators, they’re interior architects, first and foremost that’s really what they are.”
Crown Towers Hotel, City of Dreams, MacauCrown Towers Hotel, City of Dreams, Macau
An acclaimed interior designer in his own right, Jeff took out the IDEA Gold Medal in 2013 and won IDEA Designer of the Year in 2010. And while he has worked on a myriad of projects (he normally overseas 20 at a time!), Jeff always finds his latest projects the most exciting. “I know it’s a corny line and everyone says that their latest projects are always the most interesting, but it’s true. It keeps your mind active and if you become jaded by it, you might as well give up.”
Currently working on such projects as a nursing home, a high-end multi-residential project called 35 Spring Street, Heston Blumenthal’s latest restaurant at The Crown and the new Club Stand for the Victoria Racing Club at Flemington, Jeff loves that design allows him to explore areas he previously knew little about. “The great beauty of working as an interior designer or architect is that you get a glimpse and an insight into the workings of a diverse range of organisations,” says Jeff. “I didn’t know much about nursing homes before, but now I know a lot more about the people, how it works, what the priorities are and what the health department is after.”
While Jeff does find it hard to name a favourite project, he does admit he’d be remiss not to mention the New Royal Children’s Hospital. “We produced a really outstanding product that changed the way people looked at hospitals,” explains Jeff. “We really looked at the recuperative benefits of natural healing through the introduction of the natural environment. So we brought in a lot of natural light, soft colours of the landscape and a lot of courtyards. As much as possible, we tried to bring in the benefits and healing processes of nature into the hospital and make it a nurturing and relaxing environment.”
The New Royal Children’s HospitalThe New Royal Children’s Hospital
Working on such large projects from the initial masterplans to the final soft furnishings, Jeff sees the high calibre of projects he gets to be a part of as the biggest benefit of working for Bates Smart. With a style that is contemporary, forward-looking and clear of any gimmicks, all of their work is of the highest quality, which is why Jeff believes they continue to win such exciting projects. “I think we also have a strong niche: a combination of architectural rigour, relentless attention to detail and producing interiors of lasting quality. I think our interiors feel significant, they have substance and depth and I think that speaks for itself.”
In a world that is sometimes quick to favour the discipline of architecture over interior design, Scott Walker, head of interior design at HASSELL, is determined to dispute that belief.
Claremont Apartments
“One aspect of our studio we are most proud of is that we are not an architectural practice with a few interior designers or landscape architects scattered throughout as a mechanism to tick the ‘we are a multidisciplinary design firm’ box,” explains Scott. “Our disciplines have strong voices within our culture. For example, we are one of the larger firms of architects and yet our managing director is an interior designer. Very few design firms in the world would give such a voice to often marginalised design disciplines.”
Adelaide Zoo
Originally studying architecture himself, Scott deferred after a couple of years to get some real world experience at a small architectural practice. Two years later, he returned to university, but this time with a clearer idea in his mind as to where he fit in the design world, beginning a degree in interior design at Melbourne’s RMIT.
HASSELL’s head of interior design, Scott Walker
He has worked at a range of practices, but has been at HASSELL for the last ten years. A respected international firm, Scott’s role as head of interior design has him oversee 15o designers located throughout Australia, China, Hong Kong, Singapore and the UK. As a result he travels extensively, something he marks as both the biggest benefit and the biggest challenge of his job.
“Distance and the sheer amount of work continue to be a juggle,” says Scott. “Whilst the internet makes us all more connected, there’s nothing better than working face to face, so travel is fundamental to being international. Australia is too far away. Having said that, the challenge is also the benefit. Travel in itself, visiting international cities is an obvious benefit, which fuels inspiration.”
Claremont Apartments
Working across all sectors: residential, hospitality and commercial, Scott’s primary role is focusing on improving the design quality of HASSELL’s projects and improving the processes amongst their teams: “Put simply, my role is to make everything we design, excellent.” While he is based in Melbourne, he is involved in all the overseas projects and is particularly enjoying working on a new residential build in Singapore. “This project involves our architecture and landscape architecture teams,” explains Scott. “Having the opportunity to develop interiors from the project’s inception and then integrate the design with our landscape team means that we are constantly working beyond the bounds of what people normally consider interiors.”
Flinders Street StationFlinders Street Station
Always favouring his current job: “My favourite projects tend to be the ones l’m working on now. I’m not sentimental!” He has to confess that the Flinders Street Station competition, which last year saw HASSELL’s design be unanimously selected as the winner for the redevelopment of the historic site, was a very exciting project to be a part of. “Flinders Street Station is so central to Melbourne’s psyche and the development of the site and the station itself would place Melbourne ‘out there’ in international terms. Flinders Street could do for Melbourne what the Guggenheim did for Bilbao and at the same time be instrumental in helping fix our public transport issues.”
While the project is yet to get the go-ahead to be built, the win is certainly one of HASSELL’s biggest achievements (alongside the more than 850 awards they have won!), especially for a firm that refuses to prioritise profit. “Through the GFC and the general issues to do with the running of a largish practice, we have remained committed to designing a range of projects at various scales,” explains Scott. “We have not let the commercial aspect of running a business overtake the idea that it is design excellence that will drive success, not large profits.”
Are you looking to renovate, build or extend? Chances are you may be looking to use the services of an architect to make your dreams, pencil sketches and magazine cuttings a reality. Knowing what to expect of the relationship can not only ensure your experience is a smooth one, but that your project turns out how it should.
Photo source: design studio 22
Here are some questions to ask yourself, and prospective architects, to help you to make a rather important decision.
Are they like-minded?
Trust and communication are a large part of any successful architect/client relationship. This means being on the same page on the design solution appropriate for your project. So, if you do not click when you first meet an architect, perhaps think twice. Ideally, you should also have fun while you see you dreams become reality. That means having a sense of humour, particularly when things are perhaps not quite going according to plan.
What is my budget?
It is important to know realistically what you have to spend on your project. Architects will roll their eyes at the champagne-taste-and-beer-budget mindset. They will be able to help you detail all the costs associated with your project — including some you may never have even thought of.
What is your style?
All architects have a distinctive style that you need to be comfortable with. Looking through their portfolio, or better still, viewing their portfolio of previous work, will give you a good idea if you share a vision. You also need to match their area of specialisation with your needs. On a practical note, if you have a heritage listed property, then you need to have an architect well versed in all the regulatory aspects associated with this type of job.
How much do they charge?
Architects typically work on a flat fee sliding scale based on anticipated costs and required services, but they may also charge an hourly rate. It is therefore imperative that you have complete clarity before work gets started, and have this detailed in your written terms of engagement or client/architect agreement.
Are they qualified?
Don’t forget to check that any architect you engage is appropriately qualified and registered with the relevant local or national regulatory body. They are not allowed to advertise their services without this accreditation.
– Craig Gibson is online editor of hipages.com.au, the most visited site in the building, renovation and home improvement sector. If you have a dream project that requires an architect, simply post your job and three local architects will be matched to your project.
Christopher Polly struggles to pick a favourite project: “That’s a bit like choosing a favourite child!” But when pressed, he does admit that four of his most recently completed residential projects hold that special place in his heart.
Christopher Polly
“Our Cosgriff House, Elliot Ripper House, Darling Point Penthouse and Haines House are our favourite completed projects to date,” explains Christopher. “Each project provided potential to explore various ideas for individual design responses, which were brought to fruition with good clients and builders.”
Cosgriff House
These four projects have also been shortlisted for many awards, including the Australian Interior Design Awards, Houses Awards, Interior Design Excellence Awards and House & Garden Room of the Year, a feat which is made all the more impressive by the fact that Christopher is a one-man show. His firm, Christopher Polly Architect was established in late 2005, when he decided to take on a large mixed-use commercial project at Sydney Olympic Park; a job that became the catalyst for establishing an office in a full-time capacity.
Since then, he has gone on to complete commercial, hospitality and residential projects, where he is involved in the design process from architecture all the way through to landscaping. “We have a holistic detail, design and process-led approach for each project and site, entailing architecture, interior design and preliminary landscape advice. Depending on the project and client, and when requested, we also offer advice as to selection for furniture and furnishings.”
Elliot Ripper HouseElliot Ripper House
Currently, Christopher primarily works in residential, something he favours for its ability to: “allow a broader depth of opportunity to explore and test ideas.” Working on a federation house in Petersham, a 1960s brick veneer house in Woolooware and a terrace in Newtown, he has several renovations on the go, all transpiring in hugely unique ways.
“They all involve significant additions and alterations to the existing fabric of each house,” says Christopher. “The particular pattern of development in the street and the strength found in the existing individual formal qualities of a building always define the parameters for a uniquely appropriate and differentiated design response for each project.”
Haines House
While Christopher does acknowledge the fact that having your own firm comes with its economic challenges, being the sole driver of each design response far outweighs any negatives. “Having autonomy in the exploration of ideas and being master of your own design direction was, and still is, the overriding benefit of having your own firm.”
Darling Point Penthouse
With business in no way slowing down, Christopher feels very fortunate to be in his position, though it’s certainly not something that’s come easy. Rather, he sees hard work as the key to his success, and would recommend all emerging designers get their hands dirty if they want to make it in the business. “My advice would be to work extremely hard, with an unwavering commitment and focus to achieving great outcomes!”
Writing for Interiors Addict, I see my fair share of drool-worthy homes, but never have I ever been so set on moving into one, as I am for Virginia Kerridge Architect’s project, Lilyfield Warehouse.
Virginia Kerridge
A creative adaptation of a rendered brick industrial warehouse building into a family home, the heart of the design is the central garden. Visible from most areas of the house, it is the pinnacle of indoor-outdoor living and most simply just looks effortlessly cool!
Lilyfield WarehouseLilyfield Warehouse
It is therefore not surprising that it is one of Virginia’s favourite projects, winning four awards, including the AIA Interior Architecture Award and two Houses Awards. Yet it is a favourite of Virginia’s for another reason, and that’s the clients. “My dream project is any project where the client, architect and builder are on the same wavelength,” says Virginia. “So my favourite projects are always for my favourite clients and most recently the Lilyfield Warehouse was a favourite project, not least because of the lovely clients!”
Lilyfield WarehouseLilyfield Warehouse
Another two projects close to her heart for the very same reason are the Taylor Square Warehouse and the House in Country NSW. The Taylor Square Warehouse in particular, being a catalyst for a style that would end up being synonymous with Virginia Kerridge Architect. “Taylor Square Warehouse began an interest in adaptive re-use projects,” says Virginia. “From there it was the House in Country NSW, which was the design of three houses in the country including ancillary sheds in the surrounding area. Achievements in architecture are always related to the most successful projects and this was a very special project.”
House in Country NSW
With a focus on adapting spaces to suit different needs, Virginia will always design with nature and the property’s surrounding land, in mind. Her projects are very detailed and one-off, tailored to the clients and very place specific. While this design style works very well for residential, Virginia also enjoys branching out into the hospitality and commercial sectors.
House in Country NSW
Currently designing several new houses in Byron Bay, a hotel in Cabarita, an eight-storey apartment building in the Gold Coast and alterations to individual houses, Virginia is by no means slowing down, but that’s exactly how she likes it.
In fact it was for that very reason — being able to pick her own projects and choose how much or little she worked — that Virginia started her own firm almost 20 years ago. “You have more freedom,” says Virginia. “You have a choice in what you design and who your clients are. That’s what I enjoy!”
Spending 15 years as one of Australia’s top professional ballroom dancers, Taras Wolf has an incredibly diverse background. From painting to graphic design to owning his own dance school, his career has spanned many artistic endeavours; yet he believes they’ve all contributed towards his favourite venture thus far, his architecture firm, Wolf Architects.
“It’s this broad background in all things artistic that gives Wolf Architects its greatest edge,” says Taras. “We are more unconventional and better communicators because of our history. Our team consists of people, like myself, who also have diverse creative backgrounds.”
Bruce Street
Starting Wolf Architects almost ten years ago, Taras now leads a team of around 15. Together, they have made themselves known as leaders in Melbourne’s residential design scene, an area of architecture Taras favours for the fact that it is ”emotional work”.
“Our passion for residential work comes from my belief that the family is where we establish our ideals in life,” explains Taras. “Thus a home designed to nurture these ideals is a microcosm of all greater architecture. Understanding how to design a home helps me to understand life.”
The Wolf House
Along with designing homes, Wolf Architects also has an art, sculpture and furniture side of the business, which Taras believes is intrinsically linked to their success as architects and designers. “That side of the business keeps us creative, energetic, refined and different,” he says. “All buildings must function perfectly but further to that, they need to also be beautiful and inspiring. An appreciation and understanding of art, sculpture and furniture helps us to make buildings more than just functional.”
Wall Art
Currently working on a mix of new homes, unit developments and renovations, Taras is constantly striving to satisfy his clients. For him, the best reward is seeing the elation in his clients’ eyes. “Winning awards is nice but I don’t believe it’s a clear reflection of how good the work is. Our work is incomplete if it does not deliver joy to its users, despite any awards or recognition it may receive.”
That being said, Wolf Architects have won their fair share of awards, receiving honours at the HIA-CSR Australian Housing Awards, IDEA Interior Design Awards, Asian Pacific Architectural Excellence Awards and the Bangkok Design Awards.
The Wolf House
One such project that received a lot of that attention was The Wolf House, a space that does triple duty as their office, Taras’ home and a show home for potential clients to visit. With a focus on connecting the architecture to the interior to the landscape, The Wolf House is a prime example of Wolf Architects’ interest in creating holistic projects from start to finish. It’s the reason it’s one of Taras’ favourite projects.
For Taras, the clients can make all the difference to his work and fulfilment: “Working with clients who have passion for their lives and know how to express those lives within their home, that’s my dream project!”
She may be the director of an award-winning architecture firm, but humble Mel Bright still sees herself as an emerging designer: “Building a practice and good reputation takes time – each project takes about two years so seven years go by very quickly. For me, I’m still very much an emerging designer, which is all about thinking big, finding a life balance and working hard.”
Photo credit: Martina Gemmola
The founder of MAKE Architecture, Mel and her team of four work primarily in residential. With more of an interest in process and approach rather than style, the outcome of all their projects is driven by the client’s brief and the site itself.
“A site-specific response is an important starting point for us,” says Mel. “This happens at the scale of the city and also at the smaller scale of the specific site context. Much of the work we do is renovations to existing residential buildings in Melbourne so the existing heritage of the house plays an important role in forming our design response.”
House Reduction. Photo credit: Peter Bennetts
Believers in quality not quantity, MAKE focus on the way buildings can make our lives better, an idea that is particularly evident in their award-winning project, House Reduction. The first project that saw them gain national recognition, House Reduction was a novel idea that saw the interior of the house actually be reduced in size. “The brief was to help this family remain living in the inner city but give them a larger garden,” explains Mel. “So we removed their 80s extension and rebuilt that part of the house in a much more efficient way. The idea being that maybe we can design smarter rather than larger.”
House Reduction. Photo credit: Peter Bennetts
The property also comprised another of their projects, Little Brick Studio; a studio garage at the rear of the site. MAKE didn’t stop there, also designing the landscape and the pool to create an integrated overall design concept, something which Mel believes is pivotal when creating a home.
“I always feel disappointed if the landscape’s not done at the same time as the rest of the project. I don’t understand how you can have a beautiful house but then look out onto a patch of dirt and broken fences. So we are really trying to push our clients to finish the project and that’s not just finishing the architecture and the interior but finishing the landscape as well.”
Little Brick Studio. Photo credit: Peter Bennetts
With many projects in the pipeline, Mel is particularly excited about a house and studio in St Kilda and house in Balaclava. Here they are exploring some new materials, as well as having to work within the tight parameters of a site that has two huge trees which are in the way of the planned extension. But it is this idea, of working with the site, rather than against it, that has always been MAKE’s approach, something they count as their niche.
“We believe good design shouldn’t just look good it should be useful and it should last,” she explains. “We also like the idea of process rather than style, of drawing on the materials and details in the existing house to inform our design response and reinterpreting and responding in a contemporary way.”
Balaclava Tree House
While MAKE have taken out the top prizes at the Houses Awards and the Think Brick Awards, Mel is most proud of the fact that she has done all of this while being a mother. “I am very proud that we have done all of this while I have juggled two small kids (now five and two) and that we manage to work sustainable working hours. I think it is so important in our industry that we strive to achieve excellence within sustainable working hours and with a work life balance!”
It was late last year that Zoë Geyer realised she had too much work to do it all alone. Having started her architecture practice in 2009, her portfolio was rapidly increasing and she was starting to be recognised on a national platform, winning the Heritage award at the 2013 Houses Awards and being shortlisted for residential design in the 2013 Australian Interior Design Awards.
East Melbourne House. Photo credit: Dianna Snape
So, she took the plunge and got herself a team of two, and since then she’s never looked back. “Their individual skills have brought more diversity and strength to the studio,” says Zoë. “I can clearly see the benefits of our combined skills and experiences. The workplace is a fairly light-hearted environment and much more stimulating with the insights of three architects.”
Zoe Geyer
Working primarily in residential, the Melbourne-based firm Zoë Geyer Architect (known as zga) aim to create spaces unique to the individual and the environment they live in. “There is such richness to the connection between people, their private world, and the site, landscape or urban neighbourhood that they live within,” explains Zoë. “I am so inspired by how we as individuals, families and groups choose to live and what we seek from our environments.”
East Melbourne House. Photo credit: Dianna Snape
This notion is particularly evident in one of Zoë’s favourite projects, the East Melbourne House, which as a National Trust listed home, prohibited external changes to the building. “I see design as a comprehensive approach,” says Zoë. “As a type of problem-solving, and with this project our limitations ended up being the strength of our solution. The alterations responded to the cues and narrative of the existing building, embracing the honesty of a modern approach to interventions, while avoiding nostalgia or imitation.”
East Melbourne House. Photo credit: Dianna Snape
Going on to win her first award (in the Houses Awards) for the East Melbourne House, it was also the first project that Zoë saw through from beginning to end and as a result was a pivotal moment of “validation and recognition as an emerging design practice.” Moreover, it was a chance to truly realise the goal for her firm, to approach designing holistically, working across the entirety of a project.
East Melbourne House. Photo credit: Dianna Snape
Currently zga are working on a house for fashion designers in Melbourne’s East, a young family’s coastal-inspired house in Hampton and a sustainable green-roof project in Fitzroy. They have also recently completed their own studio and in keeping with their style, worked with the space rather than against it. “It’s in a Collingwood warehouse, hidden behind an old roller door,” says Zoë. “We’ve kept the crumbling brick walls and soaring trusses in original condition, and inserted a simple, clean plywood plinth and walls to provide a no-fuss framework for our studio.”
The zga Studio. Photo credit: Tina Inserra
Five years on from zga’s launch, Zoë can still remember the original hurdles that she had to overcome. But she still has no regrets about leaving a large company to start out on her own: “While I was competent in the role of architect, starting my own studio required a whole range of other skills and business strategies, so it’s been a steep learning curve. However, there’s an excitement and freedom in designing under my own guidance. I find it very fulfilling, and have no regrets.”
While many architects do not bother, Albert Mo of Melbourne firm Architects EAT, sees creating physical models as a fundamental step in his design process.
Albert and Eid
“I love physical models,” says Albert. “We still build them for every residential house that we do in the office. With the model, I can kneel down, squint with one eye, and visualise and feel the space. And then we start designing.” A visual thinker through and through, Albert begins each project by imagining what his client will see, touch and smell when in their space. No design solutions are rushed and as a result, it often takes a couple of weeks before pen is put to paper, but for Albert, it is pivotal he has the feel right before he commits.
Slab House physical model
It is also this way of thinking that gives him a rather unique answer to what his favourite projects are: those that were never built! “The reason is because we can only dream of how good they can be,” explains Albert. “In our mind these projects keep on developing, kind of like an eternal design development. Projects like the Puzzle House, Slab House, Drummond Apartments, and more recently Surry Hills B&B and Cherry Hill Visitor Centre.”
Puzzle House
Founded with his co-director Eid Goh 14 years ago, Architects EAT now has a team of 16. Popular recipients at design awards, this year alone they have been shortlisted for the Dulux Colour Awards for their Pabu Bar and shortlisted for the Australian Interior Design Awards, the Australian Institute of Architects Victorian Awards and the Houses Awards for their Three Parts House.
Three Parts House
Yet it is not the awards that they are most proud of, it is the business itself and the fact that after all these years they’re still flourishing.
“We are still amazed year after year that we are still going,” says Albert. “At the beginning it was really all about trial and error and starting from scratch. The thing is when you start to work on real projects, you realise that you really know so little and that forces you to learn from the people around you: builders, tradesmen, engineers etc. For us we learned and absorbed things very quickly.”
Specialising in residential and hospitality, Albert spearheads a team concentrating on houses and multi-residential apartments, while Eid leads a team focusing on hospitality and shopping malls.
Pabu Bar
Currently working on a massive nine restaurants, seven apartments, five houses, three shopping mall interiors and two office buildings, there is still a dream project Albert and Eid are yet to try: hotels.
“The reason I say hotels,” explains Albert. “Is because it is one of the few typology of buildings whereby Eid and my skills can be combined to produce some beautiful spaces, something meaningful and functional at the same time. So if any hoteliers are reading, please give us a break!”
Robson Rak Architects are, as director Chris Rak calls them: “a one stop shop.” Him an interior designer and wife Kathryn Robson an architect, they bring together the skills to take a project from initial designs to the final furnishings.
Chris and Kathryn
“We have a holistic approach,” explains Chris. “With our clients, they don’t need to go anywhere else, we can go right down to the decoration, down to the tiny little details.”
With a fine arts background, Chris also has the skills to design and make furniture, which harps back to his love of providing a complete service. A sculptor for many years, Chris worked primarily in steel, which can now be seen through his custom-made pieces, such as tables and beds and of course, some of his signature sculptures. “There’s always some piece of furniture I’ve made in our projects,” says Chris. “Anything from a table we couldn’t find the right proportions for or an internal wall sculpture.”
A favourite of his projects and one that features his custom joinery is the Toorak Residence: “There was so much to do in this project, from designing the carpet and rugs to making all the furniture. I literally made all that because I wanted a certain look and feel and I thought it’d just be easier for me to get into my studio and build it.”
Toorak Residence
Joining forces in 2007, Chris and Kathryn see their partnership as the primary reason for success. Both bringing different strengths to the firm, they don’t believe in separating roles but blurring the confines of architecture and interiors. “There’s no separation in our work,” explains Chris. “We are constantly in each other’s boundaries which I think is important. There’s also no egos, as we are husband and wife, which makes things a lot easier. We are very much synced and in tune with the end result.”
Merricks Residence
Their partnership has the awards to prove it works, being shortlisted twice in the residential design category of this year’s Australian Interior Design Awards. They’ve also got many projects in the pipeline, undertaking a mix of new builds and renovations, always trying to push the boundaries of design.
Dale House – Shortlisted at Australian Interior Design Awards
But for Chris, it all comes down to one thing and the core quality he believes all designers need: hunger. “You need to be passionate about interior design, architecture, fine arts, in fact all of the arts equally. They all play a part, you can’t separate them, you have to be passionate about all of them.”
My scheduled chat with Kevin McCloud in London was delayed by a mere five hours due to his non-stop schedule but he was, of course, worth the wait. The inimitable Grand Designs host arrived with some new sustainable materials made from old air bags and car tyres, capable of making furniture. “This stuff is going to change the world,” he tells me, excitedly. And I think it’s this infectious enthusiasm which is one of the things which makes him so likeable on TV.
A regular visitor to our shores for Grand Designs Live Australia the past three years, Kevin is amazed by and grateful for his popularity on the other side of the world, with more people watching the show in Oz than in the UK. He has a real fondness for the country and its people, telling me the story of how he almost was Australian (his parents had tickets booked but then found out his mother was pregnant with him and decided not to go).
“It’s actually amazing how popular the show is in Australia,” he says, joking that some of the re-runs are so old he has a lot more hair in them. “I’m very, very grateful. Here, Grand Designs is successful and everything else I do is two-thirds as successful. In Australia, Grand Designs is even more successful and everything else I do is just as successful too.”
Kevin, who was appointed MBE (Member of the Order of the British Empire) for services to sustainability in this year’s New Year’s Honours list, says he’s seen more passion in the decoration of houses in parts of Melbourne than he has in the UK. “I’ve probably seen more delight and wonder in Sydney and Melbourne than I have here.” He’s been blown away by Queenslanders (the houses) in Brisbane and loves how the architecture can be so different between states and territories, but always uniquely Australian due to our climate. “I’m really fond of some of the 19th Century and early 20th Century stuff, ” he says.
So, what is Kevin’s own home like? “It’s as shambolic, autobiographical, worn around the edges and unplanned as anybody else’s in truth! You and I know that the rooms we see in mags are highly engineered to meet the demographic and advertisers of that mag. Sometimes I look at those homes with a single pineapple in a bowl on the side and think where’s their toaster?! When we’re filming for the show, I always prefer the homes which are a little more shambolic, they’re more interesting.”
If Kevin was invited into your home he’d probably go straight to your library (if you’re lucky enough to have one) or bookcase (more likely), which he believes gives a great snapshot of someone’s life.
I couldn’t resist asking him how he deals with being an unlikely sex symbol, to which he joked it was a but a myth touted by journalists like me. I think we all know that isn’t true! Certainly not judging by the number of readers who tell me otherwise… “Nobody’s ever thrown their knickers at me anyway, ” he adds.
I was lucky enough to meet Kevin a couple of years ago at a media dinner in Melbourne. I can vouch for him being a thoroughly charming, polite, fun, clever and interesting man. He’s exactly as he seems on the telly! I totally meant to tell him that my husband and I watch an old episode of Grand Designs most nights before bed but I’m not even sure that’s a good thing…
This year will mark Kobe Johns’ third as exhibition manager at designEX, Australia’s original design and architecture event. And with a new home and 10,000 industry professionals set to attend, Kobe promises this year’s event will be the biggest and best yet.
“Being at Sydney Exhibition Centre at Glebe Island, which is actually a peninsular, is a great opportunity for us to present the event in a new way,” says Kobe. “It has allowed us to be more flexible in our thinking and planning and I can’t leave out that it has a great view. Those travelling by ferry are in for a treat, it’s the real Sydney!”
With a strong focus on Australian design, women in design (from here and abroad) and a seminar series focusing on the broader design team, such as scientists, engineers and healthcare workers, the May event aims to refresh the design conversation. “The team and I have relished being able to present this longstanding institution with fresh and innovative content and work to reinvigorate the event,” explains Kobe. “Definitely the fact that we are carrying on a tradition of design events in Australia, I see this as a great responsibility.”
With the event soon to launch, Kobe has had a lot of time to consider the upcoming design trends and for her it comes down to four pivotal things: homeliness, comfort, warmth and design that is not for design’s sake. “Objects, furniture and lighting should mean something and enhance our domestic lives when at home,” says Kobe. “This carries over to commercial design and interiors where sustainability and smart building is key, against lavish and gratuitous. Materials, methods and approaches need to be specified for a reason of provenance or sustainability.”
In terms of an Australian design standpoint, there are particular trends that Kobe believes we are pioneering: “In furniture and object I can see a beautiful theme coming through by Australian designers of mixed materials and finishes; particularly of using polished brass and matte finished timbers or block colour, woven fabrics and light coloured timbers.
“The overall theme is of quality and consideration for the materials as well as the end user’s sensory experience including touch, where there is the contrast of cold metals and warm textiles, the smell of leather and visually beautiful colour combinations.”
designEX’s inaugural show at the Sydney Exhibition Centre, Glebe Island will be held from 28-to-30 May 2014. For more information.
