6 – 8 February 2013

Decoration + Design

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CTF: The Future of Design



Colour: Texture: Form – Living Surrounds was a curatorial blend of design, art and experimental culture, a return to invention, celebration of colour, pattern and eccentricities. A blend of hand-made product, integrated with modern technology, distilled within a group dynamic.


The CTF team

The installation was commissioned for Decoration + Design Sydney and was a key feature of the February event.




Curator Scott Lewis presented architect Anthony Dann’s unique cardboard tetris structure that housed integrated bespoke products and flora displays.

Applied artwork was contributed by Surface by Belinda Christie while Arron McKenzie and Scott Lewis provided the painterly contributions on the structure.




Curatorial selection and art direction by Adele Townshend Design, in conjunction with Scott Lewis and Belinda Christie completed the vision.

Comissioned product from Thread Architecture and new products from Ross Didier, Ash Allen and Lab de Stu added to the allure of this projected forecast vision of colour, texture and form.



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A touch of Tibet with Potala Designs…


Each time Sally Cousens travelled to Tibet, China or Bhutan, she fell in love over and over again with the unique colour, style and design of their homes and clothing.

Her unique collection of handmade pieces turned Sally’s home into a living museum and soon her friends were also making requests. Until finally in 2011, Sally turned her hobby into a business and launched Potala Designs, importing furniture, rugs and textiles from all three countries.

Named after the Potala Palace, the home of the Dalai Lama in Lhasa, Tibet, Potala Designs was a fitting name for the fledgling business.

The unique culture, colour and terrain of Tibet, China and Bhutan are a constant source of inspiration for Sally when sourcing designs for Potala, but it’s everyday outdoor spaces and gardening that truly influence her choices.

“I have always loved gardens and landscape,” said Sally. “It is colour, shape and natural design that I am attracted to. I love creating and tending to outdoor spaces, planning gardens that have colour, shape and design, yet are informal rather than contrived or pretentious. Instead of artistic curves, or grand geometry, I love an artfully designed irregularity.

“I lived for many years in Hong Kong and traveled as much as I could in Asia and especially to China. I was constantly attracted to the boldness, and colour of the design of traditional furniture, floor coverings, jewellery, ceramics and textiles that I saw. Surrounding myself with some beautiful Asian artisan products make me feel I am in a garden even when I am inside the house!”

Potala Designs allows Sally to continually travel and collect beautiful and unique products that have been proudly produced by artisans keen to preserve their traditional methods of production.

“I provide an export source for local Tibetan, Chinese and Bhutanese businesses, artisans and charities including the Tarayana foundation in Bhutan,” she said. “This Foundation supports rural women by encouraging them to develop and use their artisan skills as a means of supporting themselves and their families.

“I buy furniture and rugs made by Tibetans using traditional methods. I visit local markets in China to source textiles including embroideries made by Tibetans and ethnic minorities such as the Miao and the Hmong.”

Sally will showcase the latest Potala Designs at Decoration + Design, co-located with the Australian International Furniture Fair from 6-8 February at the Sydney Exhibition Centre.

While Sally enjoys collecting beautiful products for Potala Designs, sharing them and the stories of how they’re created, produced and came to be in Australia is her true passion.

“Visitors (to Decoration + Design) will see something special, made by special people – none of it is the same and all has been made to last a long time,” said Sally. “They will see examples of furniture, floor coverings and textiles for bed, living and dining ware that will provide focus and colour and create individual style.

“They will see hand painted wooden furniture and decorative pieces, and hand woven rugs from Tibet. They will see also Chinese embroideries that can be used for cushion covers, table runners and wall hangings and they will also see striped, plaid and patterned textile home wares made by Bhutanese weavers and sewers.”

Sally said visitors can also order products made to suit their specific purposes or spaces.

For more information, visit Potala Designs on Stand A14 at Decoration + Design. Visit decorationdesign.com.au

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At One With Nature…





The TRVM Lighting range mixes traditional forms with a pared down contemporary feeling. Timber is the primary material – in raw finishes that evoke a warm casual ambience.

This distinctive range of pendant lights, large feature chandeliers, and floor and table lamps are mainly handcrafted – using traditional wood working techniques such as the bentwood method, timber turning and hand carving.

TRVM are also acutely aware of their impact on the environment. Their product range is constructed using timber sourced from managed tree plantations. The timbers are FSC (Forest Stewardship Certified) or plantation species from various sources.

New designs are arriving next month. To view them, and the entire range, visit their website, trvm.com.au

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From Persia to Casablanca…






We love how Armadillo & Co photograph their rug collections strewn so casually against a branch or fence with nature as its backdrop, as though the rug was always meant to be there.

And it quite possibly could be, given the emphasis on `natural’ with a variation of undyed natural fibres used in the handmade weaving process such as hemp, jute and pure wool. All their rugs are hand woven on looms with manual gears and no mechanical assistance is used during their manufacturing process.

Learn more about their process and natural philosophy at armadillo-co.com

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Design Futures Colour Visions at Decoration + Design 2012









These vivid images from Genty Marshall’s fourth installment of Design Futures, `Colour Visions’ at Decoration + Design just arrived and we had to share.

The popular feature area was a highlight of the Melbourne trade event as was Genty’s aural presentation for the International Industry Seminar Series in which she delved into the process and science behind why colour is such a powerful tool for the interior stylist, furniture and furnishings designer. WATCH our video chat with Genty HERE.

To see more images from the recent trade event, head to our Facebook pages for Furnitex and Decoration + Design.

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VIVID 2012 – Celebrating 10 Years of Vibrant Visions in Design…

Australia’s hottest young and emerging design talent converged from across the country to celebrate 10 years of VIVID – Vibrant Visions in Design at this year’s Furnitex and co-located Decoration + Design.

Over a 100 of the best products in categories, student, concept and commercial along with a fourth award for the most sustainable product, were showcased at the recent trade event ensuring it was the biggest and most exciting drawcard of the fair, pulsing with creative energy and talent.

There was a definite ‘lightness of being’ theme among the VIVID finalist designs this year. Clean lines, airiness, a touch of playfulness, refined execution, all very fitting for celebrating 10 years.

A huge congratulations goes out to all the winners. Overall we had 53 designers with 62 products vying for the awards with a prestigious international judging panel that included;

• London Design Festival curator, furniture designer and author, Ms Suzanne Trocme
• International trend forecaster and stylist, Ms Milou Ket
• Style director at Australian House & Garden, Ms Janet James
• Melbourne furniture designer and also previous VIVID participant, Mr Justin Hutchinson of Justin Hutchinson Design

So it is with great pleasure we highlight the VIVID 2012 winning line-up;

Winner VIVID Student Award – Tryst Stool designed by Tate Anson, RMIT



Designer Profile: Tate Anson recently graduated from RMIT Industrial Design, receiving the 2012 Graduate of the Year Award. Tate exhibited in April 2012 at the Milan International Furniture Fair, showcasing his stretched timber products with Melbourne Movement.
Product Description: This stool capitalises on the elegance and strength of timber to achieve a delicate yet durable product – marrying modern machining and traditional wood craft. European beech.
Inspiration: Material exploration.

This category was particularly difficult to judge with a high number of contenders with products ready at commercial standard.
Short-listed for the award were also: Ash Allen with Arc Chair, Bradley Prestipino with Kite Table, Callum Campbell with Holiday Table and Dusko Lapcevic with Iris Lighting Range

Winner VIVID Concept Award – Unfold Desk designed by David Hardwick, Hardwick + Cesko


Designer Profile: Having graduated with a design degree from UNSW David has worked in the furniture industry for over 12 years before launching out on his own in 2010. David believes the best design challenges people’s perceptions and is made to last a lifetime.
Product Description: A laptop/tablet workstation with concealed desktop which opens to expanded workspace with built-in speakers, cable management and storage. Bamboo board, aluminium + mild steel.
Inspiration: A percieved gap in the market place.

Short-listed for the award was also: Barry Magazinovic with Obelia Light

Winner VIVID Commercial Award – Popper Pendents Light designed by André Hnatojko, RMIT


Designer Profile: André Hnatojko is fascinated with the way things work and how they are made. Studying design at RMIT university and business/entrepreneurship, his aim is to find new explorations within the world of design, eager to experiment and create with the unknown.
Product Description: POPPER PENDENTS’ are made from a single ‘convertible’ mould – this increases efficiency, reduces waste and allows for savings to be passed onto customers. Made from recycled aluminium (up to 40%) this conscious design is coated in paint which wont effect the re-recyclig & is designed to hide the ugly transformers of florescent bulbs. Recyled aluminium, bio power coat & lighting components.
Inspiration: Like a party popper, this light explodes where you point it.

Short-listed for the award were also: Edward Linacre with Weave Pendants and Damien Hipwell with Woodstock Table

Winner VIVID Green Award – Sticks and Stone Stool designed by Ash Allen, RMIT


Designer Profile: Ash Allen is a mechanical engineer studying furniture design at RMIT. Inspired by natural forces, eye-catching similicity and sustainability are fundamentals in his design philosophy.
Product Description: A contemporary stool for indoor / outdoor use, designed for disassembly + flat packing. No glue is used in the joinery. Salvaged Tasmanian Oak dowel + recycled rubber tire crumb.
Inspiration: A stone skipping on water.

Short-listed for the award were also: Dale Hardiman with Klag Chair, Edward Linacre with Weave Pendants and Mart Hughes with Syntax Clock

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WATCH: Milou Ket on Interior Trends for 2013/14 at D+D

On her 6th trip to Australia, internationally acclaimed trend forecaster, Milou Ket returned to a packed design crowd at Decoration + Design eager to learn from her global travels and explore the emerging design themes for the 2013/14 home.

Milou shared her inspiring vision of future materials, structures and form in product development, including bedding, bath, ceramics and more.

We took five with the inspiring styling and design forecaster post-seminar to chat further on her latest book; scouring the globe from Paris to Shanghai to source new trends and design content; and her own home that sticks to a minimalist, clean aesthetic.

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WATCH: Thomas Hamel on `Global Cross Pollination’ at D+D…

While his origins are in the US, Thomas Hamel has been working as an interior decorator from his Sydney base for over 20 years. It’s fair to say he has mastered the art of cross-cultural design.

So it’s fitting then that his seminar at Decoration + Design today was on the topic of global cross pollination.

It’s this unique cross over of cultures that has also awarded Hamel an inimitable design aesthetic, one that combines influences from both his Sydney base, American heritage and regular travels across the world, with commanding results. Hamel seamlessly finds ways of bringing various cultures together in a harmonious way.

To read more on Thomas Hamel and his cross-cultural design process read our Furniture Online interview, furniturefaironline.com.au

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WATCH: Beau McClellan discuss`Designing on an Epic Scale’ at D+D…

Melbourne design enthusiasts were delivered a heady dose of inspiration at Decoration + Design this morning as international lighting designer, Beau McClellan presented his seminar `Designing on an Epic Scale’.

The charismatic `wild fire’ was buzzing on stage as he spoke about his experience working on the largest luminaire in the world – Reflective Flow. He examined the design process from commission through to concept and completion, which explored new advances in LED technology to push the boundaries of lighting design.

We took five with McClellan post-seminar to chat further on his passion for LED design, the challenges he came across during the process of Reflective Flow, and his desire to fuse traditional craftsmanship techniques with contemporary design.

Learn more about Reflective Flow and witness its stimulating beauty in action via the video below;

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The Evolution of Colour


Excerpt by Melinda Ashton Turner via her blog The Colour Field

Colour is a funny thing. On one hand it appears ubiquitous, even mundane, and the other a unique, individually crafted, piece of history. We rarely consider it as the historic relic it is. It may sometimes occur naturally and that’s how we think of it. Although what we experience as colour is a product of man’s imagination.

It’s something we completely take for granted. We are so used to being surrounded by colour, from the lurid pink of neon to the deep indigo of jeans that we don’t see the invisible hand that created this sensation.

This feature isn’t meant to be comprehensive or explain the whole spectrum. All colours are equal, however, some colours are more equal than others- to paraphrase another quote.

On a slightly different note, many birds can see colours we can’t; a visual equivalent to the high pitched sounds dogs hear which we don’t. The extra colour vision does have a definite purpose. To be able to fly over water, see a fish, swoop down, and make it lunch demands that you be able to distinguish between fractional differences in colour. Being existential about it, that suggests the world we see isn’t exactly as we think it is.

Photography by Grant Turner

Black

Black’s just black, right? Maybe, if you didn’t have Lamp Black, Carbon Black, Vine Black and Bone Black.

Carbon black goes back to pre history. Basically it’s made from burnt wood or plant material. Carbon is the most basic form of mark making and artists from cave painters to contemporaries have used carbon black, ranging from it’s basic form or a modern manufactured version. Carbon Black has great covering properties and is used in photocopiers still use carbon in black toner cartridges to create the image on paper.

Bone Black: Nothing too clever here, or even unrelated to Carbon Black. Bone Black is made from charring bones. Like Carbon Black it has great covering ability and was used in a significant way by Egyptian, Greek and Roman artists. Used in pre-historic paintings and right through to Rembrandt. He often used it in his portraits, specifically for black clothing, this enabled the subject to be prominent even on a dark background. A good example of this would be Rembrandt’s portrait of Aechje Claesdr.

Bone Black’s close relation is Ivory Black which was originally made from grinding charred ivory in oil.

Chinese Ink/Indian Ink: Another form of black that was traded from India but with it’s origins in China. This colour has a rich depth that was extensively used in China for calligraphy and ink paintings and dates back to Neolithic China.

Chinese Ink is made from soot and gelatin. The soot was originally made from burning pine with later versions using oil. The use of gelatin or animal glue as a mixing agent enabled the ink to set sold. After allowing it to set in a bowl, or as ink sticks, it could be used with a wet brush to write or paint.

The Tang dynasty considered colours vulgar and artworks were often made just using black and grey variations. A whole range of greys could be made by added different amounts water to the ink and combined with different weights of stroke a whole tonal range could be achieved.

Read Melinda’s description of Red, White and Blue at her blog, thecolourfield.net

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