The installation followed the presentation at Fuorisalone in April of the site-specific Glint installation designed also by Quayola for the Refin Studio spaces in Milan. Glint Variation is a collection of sculptural pieces in porcelain stoneware, an evolution and reinterpretation of the work presented in Milan, and a pure expression of the technical and material dialogue between the artist and the Refin laboratory.

The research path for the development of the Glint ceramic variation was complex and extremely stimulating. The real challenge for Refin was to be able to reproduce on the surface of the porcelain stoneware a structure that recreated the geometry developed by Quayola to represent the ripples of water. To do so, the company undertook a long process with the artist made up of tests, trials and continuous comparisons to explore new production techniques and a special ceramic mould was designed that allowed for the pressing of a bas-relief structure.

The result is a collection of sculptural pieces in 30cm x 30cm or 30cm x 60cm porcelain stoneware, 20mm thickness, with black glazed surfaces and edges. Glint Variation 30cm x 30cm is made up of four different subjects and can be inserted into interior design projects as a composition of pieces of art or to create scenographic full-wall coverings. Glint Variation 30cm x 60cm format is proposed as a single piece of art produced in a limited edition of 99 pieces and delivered with a numbered certificate of authenticity.

“Glint is first and foremost a research, a process. Both the sculpture Glint and the Variations document my study of the relationship between light and complex geometries. My idea was to crystallize the light effects on the surface of the water in a physical and tangible object. Glint Variations are like several works in one, there is no precise dimension. Being modular, the different pieces can be assembled together arriving at a scale, if you like, immersive” – Quayola

Quayola employs technology as a lens to explore the tensions and equilibriums between seemingly opposing forces: the real and artificial, figurative and abstract, old and new. Landscape painting, classical sculpture and iconography are some of the historical aesthetics that serve as a point of departure for Quayola’s hybrid compositions. His varied practice, all deriving from custom computer software, also includes audiovisual performance, immersive video installations, sculpture, and works on paper.

For more information visit https://www.refin-ceramic-tiles.com/

The Forum, to be held 10-11 April 2025, will include two days packed with events, including conferences, round tables and workshops, numerous international guests and a space created ad hoc in the Euroluce exhibition area.

One of the aims of the Forum concept is to offer the design community an increasingly wide-ranging and expanded event rounding off and fully complementing the commercial offering. Light will be the focus of an emotional and cognitive journey, offering visitors an immersive and distinctive experience. Light is addressed not just in terms of its technological potential, but also through a deep and philosophical reflection on its role as an expressive and innovative language.

The Forum will bring together an international panel of creatives, architects, designers, scientists and lighting industry professionals, to discuss highly relevant topics. The first names to be confirmed include DRIFT, specialising in sculptures, installations and experiential performances that underline the parallels between artificial and natural structures, A.J. Weissbard, a lighting designer and multifaceted artist of international renown; and Marjan van Aubel, a leader in the field of solar design for a sustainable, innovative and mindful future.

“Following the first transformation of Euroluce that we set in motion at the previous edition, rethinking the exhibition layout, we are proud to present another important innovation, this time concerning the content of the exhibition. Light is, incontrovertibly, an increasingly integral part of our lives. As a place where ideas and visions that lead to dialogue intersect, laying fertile ground for innovation, the Forum reflects the DNA of the Salone del Mobile.Milano, which has always been a generator and bearer of new ideas and formats for tackling contemporary challenges” – Maria Porro, President of the Salone del Mobile

A structured programme will provide an opportunity to dig deep into key issues such as the interaction between light and architecture and light and wellbeing, through an integrated and multidisciplinary design approach. The central role of light in integrated and sustainable design for public and private spaces, with quality of life and the future of our planet at its heart will be explored.

“Light not only makes things appear, it also creates atmospheres, depths and perceptions capable of interpreting architectures and open spaces, as in a pentagram. The role of the designer is increasingly similar to that of the conductor of an orchestra, who does not just execute a score, but gives a personal interpretation of it. It is with this sort of strategic role within the industry in mind that FederlegnoArredo’s Assoluce felt it was time to set up a dedicated international forum. I would therefore like to thank the Salone del Mobile.Milano for deciding to give shape to this idea with The Euroluce International Lighting Forum, confirming, once again, that our trade fair is not just the world’s leading design and furniture sector event but, uniquely in the world, is the home of entrepreneurs committed to designing the future of the sector they represent” – Carlo Urbinati, President of FederlegnoArredo’s Assoluce

For more information visit https://www.salonemilano.it/en/euroluce-international-lighting-forum

The entire real estate complex covers a total area of 46,700 square meters and includes 462 units, with five-star hotel rooms and apartments. The project encompassed the entire interior design of the structure, where MMA Projects’ focus was on the common areas: the extensive lobby, the service areas, the elevator lobbies of the common areas, the many restaurants, the tea room, the pool, the gym, and the spa. Meanwhile, De.Tales focused on the hotel rooms and residences, the presidential suite and executive lounge, the corridors, and the elevator lobbies on the guest room floors.

The leitmotif uniting the two studios is the slow flow, whose design concept draws inspiration from the ocean and the galaxy. The natural line floating through space and leaving a delicate mark on the interiors represents an architectural journey that guides guests through different scenarios, with a perfect blend of Italian and Chinese culture.

The interiors reflect the architectural lines of the buildings, ensuring uniformity and cohesion throughout the project. Principles like spatial continuity, hierarchical organisation, and focus on symmetry forge a strong connection between the exterior and interior spaces.

MMA Projects focused on, specifically, the grand 19-meter-high main lobby, all service areas and elevator lobbies, many restaurants, the tea room, the pool, the gym, and the spa. The design of the expansive main lobby aimed to scale down the immense dimensions to a human scale and enrich the space. Using curved bronze “screens” as decorative panels, both solid and perforated, was a notable aesthetic choice because they create diverse visual effects from different viewpoints. Given the impressive entrance size, the space was envisioned as a dynamic element: a walkway vertically divides the water feature, forming a central focal point with a fountain and a large stone reception desk. This walkway allows guests to cross the area and reach the piano bar area, where seating is positioned below the walkway level, creating the sensation of immersion in a pool.

The Chinese Restaurant offers public and private areas. In the private section, the curvature of the ceiling is accentuated by a series of undulating elements reminiscent of river pebbles. In contrast, in the public section, these gentle elements integrate into illuminated ceilings positioned above each table. Precious marbles adorn both the extensive round tables, accommodating up to 20 people, and the floor, where the curved motifs echo those on the ceiling.

In the Radisson Collection Lingang Shanghai project, light plays a fundamental role, with lighting elements conceived as floating luminous clouds that impart elegance, dynamism, and luxury to the space. The expansive triple-height hall features sweeping wings and pillars clad entirely in alabaster travertine, complemented by a floor adorned with an interweaving of curved lines crafted from various exquisite marbles. Predominantly, precious stones, bronze, and wood are used as primary materials.

De.Tales’ interior design approach is focused on creating fluid spaces with a contemporary, refined, essential, and functional style; catering to work, meetings, and relaxation; offering a comprehensive and tailored travel experience. Each area is designed for versatile use, with open flows that adapt to guests’ needs—a layered, multidimensional environment capable of transforming throughout the day.

For the hotel rooms and residences, De.Tales designed environments characterised by soft structures welcoming interior solutions defined by finishes reflecting Italian style and quality. The corridors, elevators, and elevator lobbies of both the hotel and residences feature linear, elegant pathways leading to the rooms.

The hotel’s Presidential Suite embodies institutional elegance suitable for an international clientele, embracing design that offers full spatial openness, contemporary flair, intricate details, and stunning views of Dishui Lake. The Executive Lounge, with its sinuous lines and functional spaces tailored for business clients, is designed to enhance interactions and visual appeal across different environments.

De.Tales is the Milan-based international architecture and design studio founded by Igor Rebosio and Giuseppe Varsavia. The studio interprets each project by crafting a bespoke design tale for the client, starting from the premise that behind every concept lies a story to be told and that details always matter.

MMA Projects was founded in 1999 by Marco Mangili, based in Barlassina (province of Monza and Brianza, Italy), and over the years has evolved into a “melting pot” of creative minds sharing the same vision. MMA Projects represents the synthesis of contemporary styles and expressions, where the interplay between design and scenography, architecture and technology, is tailored to the context and needs of the client, resulting in functional and poetic spaces.

GALA China, founded in 2014 and headquartered in Shanghai, is a wholly-owned subsidiary of the Italian group GALA. GALA China operates in the fields of architecture and design, specialising in urban planning, landscape design, architecture, and interior design.

For more information visit https://www.mmaprojects.com/ or https://detales.it/

Staron’s Sanded Mint brings a refreshing touch to the kitchen and is perfectly complemented by a carefully curated palette of colours. This colourful joinery is nestled within warm timber surrounds. This design captures the playful potential of colour and form, with geometric shapes that complement the home’s exterior. During the day, the lighting creates a soft inviting look while in the evening, the illumination brings a more dramatic effect. 

The brief for the home called for a focus on available materials that could help create an authentically unique space and current design and architectural trends were avoided with the home embodying the owners’ personalities and tastes.

In the bathroom, the same bold and vibrant theme can be seen with Staron’s California Poppy dynamic touch to the vanity and mirror. Moving beyond the traditional lines and tones often seen in bathrooms, the design showcases the playful creativity of the designer, capturing a fresh, nonconformist aesthetic. With this mass timber construction, the oblique angles and offset geometry provide the dwelling with a unique style that lends itself to the windswept coastal location.

For more information on Staron products, visit austaronsurfaces.com/staron-solid-surfaces/austaronsurfaces.com

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As a subtle and discrete electrical solution for interior design and architectural projects, ZETR 48 is able to be designed and configured to provide unique tessellations for each unit. The minimalistic, flush series was created following extensive industry feedback to meet the requirements for customisation and personalisation within power specification.

ZETR recognises that the landscape of power, data, charging and connectivity is evolving, with an increased need for innovative solutions that have minimal impact.

The flush design is achieved with proprietary mounting assemblies; fixed and adjustable, allowing for on-site cutting and trim-less installation using readily available tools – reflecting user demands. A single, circular product offers flexibility and configurability of an electrical system to the designer, facilitated by a series of mounting solutions that simplifies a complex process for the installer. Configure your way with 48; double pole flat pin, round pin and switch grids in matte or metal.

ZETR 48 provides a completely configurable single power and switch series, with no excess plastic, or excess product. User or specifier can design the layout that they want, in the most compact and minimal way possible. The 48 system considers proportion, scale and provide a subtle impact on the surrounding surfaces. With consideration of onsite installation, ZETR has designed the intricate product to be easily and neatly installed on-site with readily available tools. In addition, circular cut-outs can be achieved on site.

Thanks to its 48mm footprint, ZETR 48 brings power to the most compact of spaces and is compatible with a wide variety of options for switching and dimming, as well as data and control systems.

Grid, or tessellated layouts are possible with 48 Round, along with symmetrical patterns that can be aligned 45 degrees, extending the options for configuration out to hundreds more options.

Made from high quality matte finish polycarbonate, designed to blend with surrounding surfaces, ZETR 48 is available in a complementary series of flush fit metal faceplates in seven finishes; natural brass, aged brass, bronze, steel, mirror, brass and black steel. There is no need for an on/off switch, or internal double pole auto switch, leaving the faceplate as minimal as possible.

Designed for tight spaces; the 48 Mounting Assembly has a flexible, ‘breakaway’ frame suited to a range of size applications. Installation and removal can be achieved with standard and commonplace tools while the bayonetted locking system allows for quick installation of the outlet or switch which is fastened with a proprietary circlip for safety.

For more information visit https://www.zetr.com.au/round-single-outlet-flat-black

A patrician palace featuring an eclectic and retro style, home to Studio 2046, becomes the stage where surfaces interact with unexpected furnishing objects: crystal pots, chinoiserie, exotic objects, animalier seats, and inlaid fireplaces. The result is an ironic but extremely sophisticated match, a play of suggestions that shows FENIX® materials and Arpa® high-quality surfaces under a new light.

The project aims to raise curiosity among interior designers and decorators, disclosing how such cutting-edge materials – ideal for technical uses thanks to their features and performance–can also elegantly fit into the world of decor, product and furnishing accessory design.

Daniele Daminelli’s signature artistic research, made of rich and articulated aesthetics, recurs in the soft-nuanced scenography setup as well as in the material choices, stretching a common thread on this formal investigation.

“I test the gentle relationship between new generation products and objects belonging to past eras, in search of a sophisticated balance of different aesthetic codes. – Daniele Daminelli says – I bring fragments of history into the future.”

This project is presented as a three-dimensional mood board in which the brands’ materials and surfaces, taking linear but also curved and articulated shapes, dialogue with fabrics and more classic materials such as ceramic, glass, brass, and bronze.

Geometric and decorative elements, created using FENIX® and Arpa®, interact with a selection of objects belonging to different historical periods. Ancient statuettes, precious ceramics and ancient chandeliers are combined with coloured and material volumes that take on different functions and become plinths, frames, columns, and structural elements.

FENIX® innovative materials in seven colours – Giallo Evora, Viola Orissa, Argento Ducat, Oro Cortez, Blu Fes, Verde Kitami, Rosso Namib – are alternated, thus highlighting their properties like the extremely matte appearance and soft touch. Inspired by the history of architecture and worldwide landscapes, colours blend in a keen refinement together with a universal soul.

Arpa® surfaces are presented in a vast selection, including Smili White in Rorà finish, which varies according to the light orientation, Rosso Puraj, one of the 36 colours of the Colorsintesi family using Bloom, a technology that has increased the renewable content in the “core” of materials.

Arpa® also reveals itself through the Deep Surface Tuet combined with Caravella Dark decor, featuring an exclusive haptic effect, and through Nabu in Urban finish, which reinterprets stone, a particularly fine material. Nabu is part of the Vis Collection that is designed for wear resistance thanks to mineral components, and for a better tactile experience thanks to organic elements.

After the “Returning to Villa Casa Bianca” project, presented last year within the spaces of a historic villa in Como, thanks to Daniele Daminelli’s sartorial approach, FENIX and Arpa give shape to a strong charismatic crossover.

FENIX® and Arpa® are available in Australia through nover.com.au 

For more information on FENIX®, visit fenixforinteriors.com.au

For more information on Arpa®, visit arpaindustriale.com

Each piece in the collection features a rigorous design with minimal decorations, carefully conceived to serve specific functions. The modular concept allows each element to be adapted to the specific needs of any environment, ensuring a unique and distinctive result.

ESSENTIA is composed of three independent patterns, seemingly disconnected from one another but strongly linked through their creative genesis. Each design stems from a contemporary approach, aimed at interpreting how we live and interact with the spaces around us. The versatile graphics and extensive colour palettes offer users the opportunity to create multiple aesthetic solutions, allowing for an imaginary and dynamic division of spaces, whether public or private.

The skilled hands of Giovanni De Maio, heir to a centuries-old tradition of working and enhancing ceramic surfaces, have successfully combined the precision of computerized designs born from Marco Piva’s creativity with artisanal techniques passed down through generations.

DOXA 

DOXA consists of four rectangular modules (two measuring 30×10 cm and two measuring 60×30 cm) which, through their different combinations, allow for virtually infinite compositional possibilities, exploring the contrast between the world of superficial perceptions and the hidden, deeper essence of forms. The minimalist, rationalist design reflects a pure aesthetic, where the simple decoration represents the sensible world, while the essential, functional, and perfect form highlights the search for a deeper truth beyond appearances.

EIDOS

EIDOS, composed of three rectangular 30×10 cm modules, plays with the perception of three-dimensionality achieved by juxtaposing static elements, which together create visual harmony. This embodies an ideal concept of symmetry and order, reflecting an ideal idea or form that transcends materiality. The aesthetic captures the essence of Plato’s Eidos, evoking the purity and perfection of the original idea through the medium of ceramics.

AUREA

AUREA consists of 10 square modules, five in the 30×30 cm format and the other five in 15×15 cm, representing the path of elevation from sensory perception (Doxa) to the understanding of pure ideas (Eidos). The undulating, curvilinear patterns, with fluid lines that harmoniously unfold across the tiles, create a sense of movement and continuity, allowing for infinite combinations. This design embodies the harmony of divine proportion and the progression towards knowledge.

For more information, visit studiomarcopiva.com/ or giovannidemaio.com

The two new collections are inspired by elements and shapes from the Orient: Kimono, in bold, vibrant colours, takes cues from the knots and folds of the traditional Japanese robe, and Wă suggests the architecture of rural villages in China with their uneven terracotta tiles.

The new products for 2024 were displayed in a contemporary, original staging featuring warm, earthy, contrasting tones that offers a tactile and visual experience of the new collections. Ceramics cover the walls and surfaces of the space, alternating with evocative photographic images illustrating the research and conception process behind their development.

“Decoratori Bassanesi is constantly committed to exploring the full potential of ceramics through innovative, audacious collections that meet the highest quality standards, – says Paolo Serraiotto, Founder and President. Those who choose our brand embrace a design-oriented approach – in fact, since 2008 the company has collaborated with international designers in the pursuit of new inspirations, welcoming new challenges and exploring the full potential of the material.”

The new products and the mise-en-scene for the latest edition of Cersaie demonstrate the brand’s aim to offer an ambitious concept of sophisticated, elegant ceramic coverings, continuing the evolution of aesthetics and form that Decoratori Bassanesi has been building together with art director Federica Biasi. 

Kimono – design by Federica Biasi

The Kimono collection designed by Federica Biasi is inspired by the composition of traditional Japanese kimonos, which involves a complex series of knots and folds almost like a sort of origami: the eri collar, the sode sleeve, the doura lining of the top part of the kimono all contribute to create geometric designs with different fabrics and patterns, which Biasi draws on in creating surfaces and ways of laying them. The collection also reprises some elements form the firm’s historical archive of patterns and colours.

“Decoratori Bassanesi‘s historical archive was a great source of inspiration, a point of departure for an exploration of colour, ceramic yield and glazing, while the geometric motifs and bold colour combinations of the Far East opened the way to new high-contrast laying patterns, – says Federica Biasi – The Kimono collection is a reflection on the infinite possibilities of colour and material, blending distant traditions and cultures.”

Kimono reprises one of the firm’s historic products, Millerighe, with references to the ceramics of the late 1980s. The project also revives a few finishes and processes typical of Decoratori Bassanesi’s early days, double-firing and enamel glazes, with their distinctive shiny texture and vibrant shimmer. With its sinuously smooth feel, Kimono offers that same sort of aesthetic effect, updated with new materials and contemporary workmanship. 

The result is a textured collection in bold, vibrant tones: 8 colours, two finishes – smooth and ribbed – and 2 different sizes – 5×15 and 15×15 –encourage designers to play with combining them in creative ways.

Wă, design by Federica Biasi

The design for the Wă collection by Federica Biasi carries us away to the Orient, taking cues from the designer’s travels in China, where she was inspired by the roof tiles of pagodas and typical dwellings in rural villages. 

In these buildings, irregular handcrafted terracotta tiles are layered and stacked atop one another in an interlocking system inherited from ancient, traditional Chinese techniques. The designer has translated her impressions of the patterns of these tiles into a design structure, giving rise to the Wă collection.

“Usually, it’s the simplest elements that catch my eye, straightforward images that call up a specific vision. – says Federica Biasi – For the Wă collection, the sharp, strong lines of the buildings, with their ties to history, ancient forms of craftsmanship and the use of natural materials, were a flash of inspiration that, over time, generated the creative process the design grew out of.”

The Wă collection has a harmonious, warm, vivid aesthetic that blends décor with functionality and comes in four natural tones ranging from hazelnut to caramel. As in a mosaic, each individual element is repeated in a 9.5 x 18.5-cm portion that makes up the new covering, in full-body porcelain tile.

For more information, visit decoratoribassanesi.it

Designed by Raffaella Mangiarotti, the WOD partition consists of a succession of elements in wood or felt, joined by hide hinges which allows it to full adapt to a linear or curved position.

Deceptively simple, it’s the simplicity of the system that makes it so clever, with the starting point of the project being a focus on reducing the complexity of such systems. Ideal for creating private areas on open-plan settings, the WOD Panel system easy blends into a variety of contexts including offices, hotels, restaurants and sophisticated home interiors.

Versatile by nature, the WOD Panel system is available in wood finishes (natural oak or bleached oak), open-pore lacquered finishes in various colours, as well as felt in various colours.

The system does not require the use of metal elements or screws but utilises a clever interlocking mechanism – the panels have a slot where a three-pocket cylindrical hinge is inserted, then fastened with three wooden dowels. Presented at Orgatec in a height of 180cm, the system allows the unit to be expanded to any width, making it highly flexible.

With its understated yet impressive design, the WOD Panel system showcases an innovative approach to aesthetics and design for interior spaces. WOD can easily be disassembled and can be fully recycled at the end of its life. Further ecological savings are made thanks to the ability to ship the WOD Panels as a flatpack which lowers emissions by saving on transport costs.

For more information visit https://www.lapalma.it/en

“This project took a bit of time to achieve the desired result, which is interesting because the inspiration comes from a simple gesture: rolling a piece of paper and placing it into a marble base. Our intention was to design a sleek, elegant lamp with a high-end craft perception. Developing the right lighting source, however, took considerable time.” Luca Nichetto explains. 

The lamp comprises a double-layer circular base in natural stone, the first component of which contains the USB charger while the second houses the dimmable LED light. A sheet of rolled paper is inserted into the base to form the shade, creating a soft, gentle glow.

The result is a miniature piece of sculpture that plays with the reflections of light and the fascinating juxtaposition of the unyielding, eternal stone and the ephemeral, delicate paper.

This year, Teo is available in a new selection of marbles with Bianco Carrara, Rosso Levanto and Verde Guatemala joining the existing selection of Crema d’Orcia and Pietra d’Avola. While the original versions were conceived to be paired with a classic white shade, the new variants combine with sheets of paper in a range of colours.

Part Teo lamp’s charm is the scope it offers for adding a personal touch, with the ingeniously simple concept making it easy to insert a plain or patterned sheet of paper to create a new lampshade. 

Demonstrating the infinite array of creative possibilities, Salvatori has also introduced a limited-edition version of Teo, with two original designs by the popular Venetian artist Lucio Schiavon.

“My starting point for the paper shades of the wonderful Teo lamp designed by my friend Luca Nichetto for Salvatori was the art form of Chinese shadow play. You see the magic of transparency when a black ink brushstroke loses its weight and dimension and becomes a faint shadow, coiled in a cone of light. The joy of seeing one of my designs illuminated is a revelation because as an artist, I rarely think about the usefulness of my creations beyond seeing them hung on a wall. But in this case, they are an intrinsic part of a beautiful design object,” says Lucio Schiavon.

For more information, visit salvatoriofficial.com 

TKBB spoke to Ryan Fritsch, CEO of Noveco Surfaces, about what this award means for this relatively young business.

“Winning an award of this size/prestige is incredibly exciting for us and helps bolster our credibility in the market of balancing sustainable, responsible manufacturing while also being design-forward,” he says. “As the design community is a significant stakeholder of ours, having this in our list of achievements, particularly in such a strong category in the awards, shows we are and will continue to become a more prominent organisation within the surfaces industry”.

Noveco Surfaces is an Australian-owned and -operated sustainable surfaces manufacturer, based in NSW. All its surfaces are entirely crystalline silica free and are made from up to 80% recycled materials. At the end of their lifetime, all products are 100% recyclable.

Ryan explains that the original concept came from a research project that was looking into waste glass as a problem waste material in Australia and investigating viable pathways for its use. Several years into this research, the team realised this waste product created the foundation for a high-quality surface product, first in the tile industry but, now with the ban on engineered stone, also as a replacement benchtop surface. “We are in the process of setting up a new factory to service this new segment, which we expect to be in production by December 2025 and fulfilling orders by January 2025,” adds Ryan. The new factory will provide Noveco Surfaces with 250,000sqm of production capacity per year.

The research and development into the base product was carried out over a number of years with specific trials and testing to ensure compliance with all construction and architectural Standards. It was important to the team that the newly-developed product met a number of criteria; to create a sustainable product that utilised the abundance of waste glass created, to address the health risks of products containing silica, and to create a reliable stream of product for the housing and construction industry.

For this purpose, a “micro” factory was established to test a commercially viable product before its launch to the marketplace. The success of the application for tile production provided the opportunity to expand production into benchtops, furniture, architectural elements and base construction pieces. “Our products aren’t just surfaces,” explains Ryan. “They’re crystalline silica-free statements of ingenuity”.

As with the development of any new product, the initial manufacturing stages have thrown up a few challenges along the way. “The fundamental step-change for the business was the transition, over several years of lab-format production, to bespoke designs for specific clients and into production at scale,” says Ryan. Ryan adds that, however frustrating, each set of challenges were essential in allowing the team to develop a high-performing circular product.

Glass for Noveco’s products is sourced as post-consumer glass but Ryan and the team are looking into expanding this to include other feed sources in 2025. “Post-consumer glass will always be the core of our supply, given the sheer volume in the Australian market that is not suitable for recycling,” explains Ryan. “When this glass is broken beyond a reasonable size it’s no longer feasible for it to be used through traditional recycling methods, in most instances. But we can”.

As production ramps up into 2025 it will be very interesting to watch the trajectory of Noveco Surfaces and see how its products are received and utilised by the design and building industry, so watch this space!

For more information visit novecosurfaces.com/

Hosted in the new Design Variations space, the staging showcased the brand’s new products to highlight its multifaceted, diverse origins. Woak has made a name for itself internationally as it draws on sills and techniques from various cultures, bringing woodworking traditions together with international designers, innovative materials and new manufacturing processes.

Designed by /àr-o/ studio, the Milan-based creative duo who are Woak’s art directors, Wood Pixel enchants with vibrant colors and rhythmic patterns, using similarities and differences to highlight the company’s special bond with its chosen material, wood. The graphic element printed on the space’s horizontal and vertical surfaces, designed by Peter Gregson, depicts the cross-section of a tree, reinterpreted in a blue-and-green pixelated pattern, reflecting the studio’s intention to highlight the intersectionality between the natural and technological worlds that underlies Woak’s philosophy.

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The Rudi stool designed for Woak by Zaven puts the accent on the beauty of the raw material: solid oak that seems sculpted in simple, clean lines. In high- and low-back versions, it’s a familiar object with a minimalist aesthetic based on a few interlocking geometric elements joined in meticulous yet primitive harmony.

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The Leon chair designed by Zaven is an assemblage of simple, delicate elements that create horizontal and vertical rhythms. Available with a leather-covered seat or a woven seat, it’s designed to offer comfort and practicality.

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The Snoop collection, the latest pieces designed for Woak by the Zaven duo, has a distinctive beam as the supporting structural element. Consisting of a table, bench and stool in wood, the collection is designed to adapt to a wide variety of rooms and environments, from public spaces to private homes.

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Flesso is a solid oak console designed by DWA Design Studio. Its curves and lines follow the passages of the detail-oriented craftsmanship and reveal its flowing design – a design that’s all about the details: the tray-like top surface with rounded edges, the legs with cylindrical heads, and above all, dialoguing with the geometric lines, two gracefully curved linoleum-clad doors create a harmonious tactile and expressive contrast.

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Wing is the new console table designed for Woak by Constance Guisset, part of the homonymous collection of pieces distinguished by solid yet light profiles. This sculptural object hides two shelves behind its wide base structure, making it perfectly suited to grace the entryway of a home, like a welcoming friend.

The new storage unit designed by /àr-o/ studio is part of the Repeta collection of side tables and storage units. The repetition of identically-shaped pieces like the teeth in gears refers to Woak’s industrial woodworking heritage, while the attention to detail and finish highlights the company’s handcrafting ethos. The result: sculptural, cylindrical décor elements in which solid wood dialogues harmoniously with other materials like metal and marble.

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Another product of the collaboration between Woak and /àr-o/ studio, the Wedge screen is made up of interwoven wooden elements that rhythmically overlap in an unexpected play of geometries. The natural raw material that is the focus of the composition is transformed into a sort of painting in the multicoloured version.

The Wherry chair is an achievement in fine cabinetmaking. The name comes from the traditional English boats that inspired the design, evoking in particular the shadows of oars on the hull. The square-section legs contrast with the softness of the upholstered seat. The thin panels that make up the backrest create a rhythmic wrap-around effect similar to that of traditional Windsor armchairs.

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Designed by Matteo Fogale, the Burly hanging cabinet expands the homonymous collection, which also includes bookcase and shelves. The idea behind the pieces is to highlight the strength and solidity of solid wood. In fact, the design plays with different cross-sections of the material, alternating thick and thin to create contrast between heft and lightness.

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The Radiata table by Marta Ayala Herrera is designed as an exploration of the most innovative expressions shaping contemporary design. Initially conceived as a creative exercise, the piece was developed following the designer’s self-imposed objectives: use only basic geometrical shapes to be combined, modified and rotated; explore the space by creating volumes; transform something useful into something frivolous and vice-versa, with a minimalist, functional approach. The result is an object the combines great simplicity with strong character, an exploration of the essence of rhythm, reflections and nuances.

For more information visit https://www.woakdesign.com/

It’s estimated that around 65% of those living with dementia are currently living within the community and all reports say this is only set to increase.

TKBB spoke to Daniel Jameson from The Dementia Centre, which is part of Hammond Care, to explore the principles of dementia-friendly design and best practices for creating supportive living environments in Australia. He says that, with our ageing population and limited expected increase in aged care places, we will need more homes designed to cater for physical, cognitive and sensory impediments. “And dementia encompasses an element of all these three areas,” he adds. “Which makes it a unique situation and our goal is to help those living with dementia to remain enabled by supporting the knowledge base and response of those designing homes and interior environments”.

Understanding Dementia and Its Impact on Living Spaces

Dementia affects memory, cognitive function, and the ability to perform everyday tasks. It can also impact spatial awareness and increase the risk of accidents. As dementia progresses, familiar environments can become confusing, leading to feelings of frustration and agitation. Designing spaces that are simple, safe, and intuitive can help alleviate these challenges.

Key Principles of Dementia-Friendly Design

Designing for individuals with dementia involves creating environments that are easy to navigate, reduce stress, and enhance independence. Key principles include:

• Familiarity: Maintaining familiar elements helps reduce confusion and anxiety.
• Safety: Minimising hazards and supporting mobility is essential for preventing falls and accidents.
• Clarity: Simple layouts and clear visual cues aid in orientation and navigation.
• Comfort: Creating calming and soothing spaces can help manage agitation and stress.

“Having everything hidden away might look nice but it’s not ideal for dementia living,” explains Daniel. “Think about including open shelving or glass cupboards for items that are used or accessed regularly so they can be seen easily”.

Best Practices for Dementia-Friendly Interior Design

Simple and Intuitive Layouts

The layout of a home should be clear and easy to navigate. Open-plan living spaces with minimal barriers allow for easy movement and help individuals with dementia maintain a sense of orientation. Rooms should be organised logically, with furniture and items placed in predictable locations to reinforce familiarity and with plenty of circulation space.

Consider:

• Wide, uncluttered walkways to accommodate mobility aids.
• Visible sightlines between different areas to reduce confusion.
• Minimising visual clutter by keeping spaces organised and tidy.

“Those living with dementia can be overwhelmed by too much choice,” explains Daniel. “Therefore, clutter in a room can impair that person’s ability to locate and use items that they are wanting to use.”

Clear Visual Cues and Signage

Visual cues play a significant role in helping people with dementia navigate their environment. Using contrasting colours for walls, floors, and furniture can make it easier to distinguish different areas and objects. For example, a dark-coloured floor can help define a space, while contrasting doorframes or handles make doors easier to identify.

Consider:

• Providing space for frequently-used items in the kitchen to be stored in cupboards with glazed-glass doors or on open shelves.
• Achieving a 30% LRV contrast to define the space and make fixtures more easily seen. The toilet pan and the cistern against the wall and floor for example.

“We really need to think about how we use contrast in interior spaces,” says Daniel. “A typical white-on-white kitchen doesn’t facilitate an understanding of the environment or help with drawing boundaries. Think about creating contrast even within cupboards to help with visual location, and consider how you will highlight different fixtures and fittings – maybe a door handle – to help make them easy to see and recognise”.

Lighting and Ambiance

Good lighting is essential for individuals with dementia, as poor lighting can increase confusion and the risk of falls. Maximise natural light where possible, and ensure that artificial lighting is evenly distributed throughout the home. Dimmable lights allow for adjustments based on the time of day, creating a calming atmosphere during the evening.

“As a rule, you’ll want to double the lighting that’s normally specified,” explains Daniel. “Think about surfaces that create an even light (so, avoid gloss cabinetry, for example) and avoid strong patterns for benchtops or flooring as these can be easily misinterpreted”.

Consider:

• Motion-sensor lighting to guide individuals through the home, particularly at night.
• Installing brighter task lighting in areas like the kitchen and bathroom.
• Avoiding harsh lighting or shadows, which can cause confusion or discomfort.

“A key area for bathroom design is to ensure the pan can be seen from the bedhead,” says Daniel. “A sensor light in the bathroom is a great addition but it’s better to have a pencil light overhead that helps the resident see and locate the toilet easily overnight”.

Safe and Accessible Design Features

Safety is a top priority when designing homes for individuals with dementia. Common risks, such as slips and falls, can be mitigated through smart design choices. Flooring should be non-slip and even to avoid trip hazards. In bathrooms, grab bars, walk-in showers, and non-slip mats provide added security.

Consider:

• Installing grab bars and railings in key areas like hallways, bathrooms, and stairs.
• Using non-slip flooring in bathrooms and kitchens to reduce the risk of falls.
• Removing or securing rugs, cords, and other objects that could pose a tripping hazard.

“Mirrors can sometimes be a trigger for those with dementia as they don’t recognise their reflection,” explains Daniel. “And remember that sometimes items below the waist/thigh may not be seen clearly so be careful with your choice of items such as coffee tables or other trip hazards”.

Familiarity and Personalisation

Maintaining a familiar environment can help people with dementia feel more comfortable and secure. Keeping cherished personal items, such as family photographs, favourite furniture, or other sentimental objects, visible and accessible can provide a sense of continuity.

Consider:

• Decorating with familiar items that evoke positive memories.
• Displaying personal photographs or memorabilia in areas frequently used by the person.
• Avoiding drastic changes to the home’s layout or décor, as this can cause disorientation.

“It’s important that the items included make sense where they are and are as intuitive as possible,” adds Daniel. “A sensor tap might be great from a mobility perspective but they may not easily recognise the operational aspect of the fixture. People with dementia can learn new information but it’s harder to retain this as they progress”.

Calming Colours and Textures

Colours and textures play a significant role in creating a soothing environment for individuals with dementia. Soft, muted colours such as pastels or earth tones are often more calming than bright, bold hues, which can be overstimulating when used in abundance.

Consider:

• Using calming colours for walls and furniture.
• Incorporating natural textures such as wood and soft fabrics to create a welcoming atmosphere.
• Avoiding bold patterns or shiny surfaces, as these can cause visual confusion.

Designing for aging in place with a focus on dementia requires thoughtful planning and attention to detail. By creating spaces that are familiar, safe, and calming, interior designers can help support the well-being of individuals living with dementia and their loved ones. “Good design for people living with dementia is simply good design,” adds Daniel. “It shouldn’t look so different to what we expect from our interior spaces. It should look and feel ‘domestic’ but be designed really well with all these aspects in mind”.

With careful consideration of layout, lighting, safety features, and personalised touches, it’s possible to create homes that allow people with dementia to live comfortably, independently, and with dignity. The National Aged Care Design Principles and Guidelines came into effect on 1 July 2024 and provides guidance for residential aged care accommodation but many of the learnings and principles can be transferred across to residential home settings.

The Dementia Centre provides information, training, resources and consulting for those designing interior spaces, and is involved in supporting research and clinical trials in this area. It also leads a government-funded, national program through Dementia Support Australia (DSA).

The cabins were officially opened in June 2024 following four months of manufacture and assembly of the cabins at the MCF Bois workshop and seven weeks of preparation and assembly on site.

Architecture and interior design studio AW² is known for employing a customised bioclimatic approach in symbiosis with the surrounding environment. This approach to sustainable architecture echoes the values and environmental principles of Coucoo Cabanes, a company that advocates a living biodiversity and a better interaction between humans and nature.

The four cabins on the Grands Lacs estate are the first of what will be a series of collaborations between the studio and Coucoo Cabanes. The new cabins are designed over three levels housed in a protective “envelope”; the cabin’s design is reminiscent of a bud just before it blossoms with the external structure designed to open up to reveal interior spaces that are sheltered yet open to the surrounding landscape.

The first level, raised on stilts, opens onto the view and the gentle breeze. This vast, protected terrace allows guests to live outside, sheltered from the sun and rain. The second level houses the bedroom. The open bay windows allow the space to be naturally ventilated, while enjoying the views. The third level features a Nordic bath. This is where guests can unwind, immersed in the water and the treetops. At this height, the views are breathtaking. Whether by oneself or accompanied, the terrace allows guests to soak up the views whilst reconnecting with the ever-present natural world.

The AW²-designed cabins respect the existing biodiversity as they emerge from the trees on the periphery of the nature reserve. Whether open or closed, their facades – the two protective envelopes – offer unobstructed views of the forest and lakes.

The outer structure is either closed or perforated. It acts as a filter, providing shelter, framing views, protecting from the sun and wind, and creating a strong connection with the natural world in such close proximity.

The wooden furniture has been specifically designed to blend in with the architecture of the cabin. Positioned in the centre, the bed also serves as a space divider in the bedroom. The lounge area is created by a simple curved bench and a coffee table. Opposite, guests can find the coffee and tea amenities. Towards the back of the cabin, screened by the headboard, the washbasin and dry toilet have been integrated.

Finally, the wardrobe and shelving unit complete the layout in the opposite corner. Thermal comfort, provided by the high-performance insulation of the envelope, is enhanced by the openings on the opposing facades. This allows cross-air circulation, further assisted by a fan positioned above the bed. The space is optimised, predominantly open plan, and offers a constant visual connection with the landscape outside.

In this project, the choice of materials and construction methods accentuates the experience of total contact with nature. The location of each cabin is determined by the opportunities and vulnerabilities of the site. The aim is to protect the natural environment while creating the best possible experience for the guests.

The cabins were constructed by MCF Bois, a company specialised in timber framing, whose workshop is located just 75 minutes from the Grands Lacs site. The chosen type of wood was Douglas fir and the trees were felled less than 30km from the workshop. The cabins were prefabricated in the workshop, then transported to the site. This prefabrication process, together with the use of adapted lifting equipment, meant that the construction time on site was reduced (only four days per cabin) and the impact on the terrain was minimal, thereby helping to protect the site and its biodiversity.

The Coucoo Cabanes project supports the local economy, reduces its carbon footprint thanks to short transportation distances, and promotes the region’s traditional craftsmanship.

For more information visit aw2.com/en/

Photos: David Rosemberg, mikestravelbook

Comvita was established in the 1970s with its head office, in the small settlement of Paengaroa, once a local pub and shop. The challenge was to transform a dated building while paying homage to the history of the business and the aesthetic of the building.

Comvita staff had worked remotely during the pandemic which, as many businesses have experienced, caused a shift in the culture of the company. The design needed to reflect the essence of the global company as it is today as well as redefine the traditional notion of an office space. It was also important for the staff to find inspiration in a strong connection to nature and the headquarters’ natural surroundings.

Danielle Barclay, Founder and Creative Director of Blur The Lines, explains that “the budget was very tight and the buildings were disjointed, lacking any significant architectural features”. Two completely different buildings – the pub and the shop – were separated by an outdoor space and needed to be unified architecturally.

Danielle says the solution was based around taking a hospitality design approach, rather than focussing solely on the workplace environment. The introduction of various materials and a carefully-curated colour palette of cool greens and warm golden tones created dramatic spaces that were interesting and engaging for the nature-loving staff.

“The bold use of colour is something I love to bring to my projects,” Danielle says. “As well as the flip on traditional office design taking inspiration from hospitality and changing the way people work”.

The colour scheme is an integral part of the design solution with a commitment to the bold use of strong warm honey tones juxtaposed beautifully with the cooler shades of green foliage. Timber, terrazzo and terracotta add layers of texture and contrast for an amazing visual effect.

“On arrival, you are greeted with a warm wall of lit honey in lab vessels which creates an impactful focal point,” says Danielle. “In front is a 10-metre green upholstered bench seat with tables for perching with your laptop”.

She goes on to explain that the team worked with the existing concrete flooring and added a sage green stain to create drama and unify the spaces. The honey and green-tone walls are the perfect finishing touch.

Playful terrazzo in greens and honey drops is featured in the bathrooms and on the splashbacks while the large lunchroom space sees two-tone green cabinetry, with matching benchtop and seating zones, reflecting the nature-toned scheme. Throughout this project, natural greenery played a significant role with a large indoor tree as well as numerous potted plants adding an authentic connection to nature.

The end result sees the creation of flexible co-working zones with a central hospitality hub that foster connection and collaboration. A careful curation of memorabilia and artwork brings balance to the space and creates a cohesive interior environment. New photography from Comvita’s regenerated forest was commissioned to provide a contemporary edge. This further elicits an emotional response from workers and visitors alike, as well as a sense of pride in their workplace.

“A Whakatūwheratanga (opening and dawn blessing) was held to celebrate the opening of the spaces named Te Maru (The Shelter) and Tānga Manawa (the Place My Heart Rests), led by Tapuika, the local Māori iwi,” adds Danielle. “This ceremony signified a new beginning for the buildings”.

She says that, from the moment the new interior was opened to staff, the feedback has been overwhelmingly positive. Comvita reports a significant increase in number of staff working from the office and a broader use of the space across the different departments.

Danielle’s final word is on the element or space within the project that was her personal favourite: “the large open-plan kitchen space was the biggest transformation and has proven to be a favourite space for the staff,” she says.

For more information visit https://www.weblurthelines.com/

The Italian lighting company is known for its production and innovation – particularly in shape and materials – of stunning lighting designs.

A tribute to the beautiful harmony of organic forms peculiar to the natural world, this new sculptural design takes its inspiration from the sinuous waves of the Aurora Borealis and the moving silhouettes of Nordic cliffs.

The distinct concentric shell structure of this new design becomes a representation of a visual narrative of Slamp’s 30 years, through the three materials that have marked its evolutionary milestones.

Starting from the innermost surface, the first material used is Opaflex®, which, characterised by a gentle golden hue, represents the origins of the brand; in the central part appears Lentiflex®, introduced about 15 years ago, which presents a ribbed texture capable of creating fluid and unexpected iridescent effects; lastly, the outermost surface is made with a new technology introduced in 2023 that allows the cold application of a metallised foil whose texture, as it lets light pass through it, creates poetic effects of light and shadow.

In keeping with the versatility and adaptability of Slamp’s approach in recent years, Fiordlys’ finishes are highly customisable. Designed in two pendant versions, round and linear, and a wall sconce version, it is available in three colours: White, Gold and Silver.

“Slamp was born out of a desire to come up with something new that was able to put emotion, surprise, at the centre. After 30 years, the constant enthusiasm and desire for experimentation is still our lifeblood,” says founder Roberto Ziliani, who consolidated this 30-year milestone for the company with the awarding of the prestigious Compasso d’Oro Career Award.

For more information, visit slamp.com

As the population ages and the desire to create inclusive spaces grows, designing kitchens that are both stylish and accessible has become an essential skill for Australian designers. Kitchens should be functional, safe, and accommodating for all users, including those with disabilities or aging-related mobility issues.

Understanding the Needs of Aging Clients and Those with Disabilities

Before diving into design specifics, it’s important to understand the unique needs of aging clients and individuals with disabilities. This includes considerations for mobility, reach, strength, and vision. The goal is to create a space that allows for independence and comfort while ensuring safety and functionality.

TKBB spoke to a number of experts in this area for their tips on designing a liveable and adaptable home. Liz Grimmett, designer and trainer with Designer Training Australia, says “Consider an even wider gap than the standard 1.2 metres between benchtops to allow for manoeuvrability of wheelchairs or walkers, and non-slip surfaces in the kitchen are a must. Lever taps are best for those with reduced hand function and I like to include power points and switches on a rocker which are easier to use”.

Clinton Norris, National Business Development Manager – Assisted Living for Hafele Australia, says that a liveable and adaptable home is one that can change with the needs of the occupants without the need for costly renovations. “We need to be thinking about the changing needs of individuals and enhancing the environment to facilitate independence. Independence is what gives us dignity and the design community has an opportunity to approach the built environment in a way that does not impede this independence,” he adds.

Best Practices in Accessible Kitchen Design

1. Layout and Space Planning

Traffic management

The main traffic pathway, connecting the sink, stove, and refrigerator, should be adapted to ensure ample space for movement and connectability between the spaces. Pathways should be at least 1.2 meters wide to accommodate wheelchairs or walkers, ensuring easy navigation and reducing trip hazards.

Manoeuvrable Benchtops

Incorporate benchtops at varying heights to accommodate different tasks and users. Look for motorised options that allow for moveable heights that allow the benchtop to be optimally positioned to suit the user and the function being carried out at the time.

Accessible Cabinets

Consider recommending options such as glass-fronted cabinets or open shelving that make it easier to see inside and reach items without the need for extensive bending or stretching. Pull-down shelves or motorised lowering and raising options can be installed in upper cabinets for added accessibility.

“You could also think about a 760mm section with no cabinets underneath to allow for wheelchair access,” suggests Liz. “But when you take away storage under bench you have to think about where else can you add it back in”.

2. Accessible Appliances

Side-Opening Ovens and DishDrawer Dishwashers

These appliances are easier to access than traditional models. Side-opening ovens prevent the need to lean over a hot door, while drawer dishwashers can be installed at a height that minimises bending which also assists with loading and unloading.

Induction Cooktops

Induction cooktops are recommended for older or less able users as they reduce the risk of burns, accidentally leaving the appliance on, or loose clothing being caught in an open flame. They add an extra layer of safety in that they cool down almost immediately.

Refrigerators with Pull-Out Shelves

These models allow for easier access to items without deep bending. French door refrigerators with a freezer drawer are also a good option as they minimise the need to lean down to access food.

Efficient Rangehoods

Ensure you specify a powerful rangehood to ensure cooking odours, as well as splatters from grease and cooking activity, are quickly whisked away.

3. Ergonomics

Lever-Style Handles

Lever handles on taps and doors are easier to use than traditional knobs, particularly for those with arthritis or limited hand strength.

Touchless Tapware

These taps are both hygienic and user-friendly, reducing the need for manual operation.

Low maintenance surfaces

Specify low maintenance surfaces that promote hygiene and reduce the need for over-zealous cleaning.

4. Lighting and Visibility

Task Lighting

Consider the positioning of installed lighting in and around work areas such as benchtops, stove and sink. Ensure general lighting is enhanced by task lighting that throws light directly onto the work surface, rather than from behind where it will cast a shadow.

“It sounds like a no brainer, but really good task lighting above workspaces in the kitchen can make it so much easier for everyone who uses that space,” says Liz. “Sensor lights are a great inclusion – both inside and outside the home – to help with navigating the space at night”.

Ambient and Natural Light

Maximise natural light through windows and skylights, and use ambient lighting to ensure the kitchen is well-lit. Dimmers can help adjust lighting to different needs and times of the day.

Contrasting Colours

Including strongly contrasting colours can assist those with vision impairments or memory issues to help identify work zones and more safely navigate around the kitchen space.

5. Storage Solutions

Pull-Out Shelves and Drawers

Full-extension drawer runners are a minimum requirement for a functional accessible kitchen but also investigate pull-out shelves for pantry areas to allow for full accessibility without bending or excessive reaching.

Rotating fittings

These can be installed in corner cabinets to make better use of space and provide easy access to stored items. Or consider rotating options that do not encroach on the usable space.

Adjustable Shelving

Allows customisation of cabinet interiors to suit the user’s specific needs and preferences, and is usually designed to suit particular items that need to be stored. Consider a motorised option for heavier kitchen appliances such as a stand mixer, so they don’t need to be lifted onto a benchtop for use.

“Our homes are often not designed to accommodate changing needs over time,” says Clinton. “The challenge is always to find the balance between architecture and practicality. And this can come down to something as simple as choosing a door – should it be a swing door, or a sliding door? Should the doors be automated? Will you specify a handle or a knob?”.

6. Integrating Style with Accessibility

Modern Design Aesthetics

Everyone deserves a stylish and functional kitchen, even in an accessible kitchen. Use modern, clean lines and high-quality materials to maintain a contemporary look. Integrate accessible features seamlessly to avoid a clinical appearance.

Custom Solutions

Customised cabinetry can be designed to accommodate individual items, such as the width of a wheelchair. Grab rails can be included (and double as handles, if needed) to assist with navigation. Internal organisational systems can make individual items easy to access, locate and pick up.

Stylish Safety Features

Grab bars, handles and other safety equipment can be specified that complement the kitchen’s design. Many manufacturers offer sleek, stylish options that blend with modern décor.

“When designing for accessibility it’s important to change the mindset to focus on how the environment can change over time,” adds Clinton. “The environment is what will hamper the liveability of the space and we all deserve an environment that’s conducive to our wellbeing and living well”.

Liz adds, “The Baby Boomer generation is a huge demographic and we want to encourage people to stay at home for as long as possible. This means our approach to the internal environment has to accommodate how our needs change over time – and that starts at the front door”.

As more Australians show a preference for living well in their own home, no matter their needs, it will become more important for the kitchen and bathroom design community to be aware of small inclusions in design solutions that can enhance lifestyles and play a vital role in allowing clients to stay at home for longer. These best practices will continue to evolve at home, ensuring that accessibility becomes a standard design consideration and that our kitchens are adaptable to the changing needs of users to support independence and enhance the quality of life for everyone.

In the world of high-end kitchen design, Australia has emerged as a leader by blending international trends with its unique sensibilities. Modern Australian kitchens are characterised by their seamless integration of global influences, resulting in spaces that are both innovative and reflective of diverse cultural inspirations. From European elegance to Asian minimalism, and American functionality, these influences are reshaping the look and feel of Australian kitchens, creating environments that are not only visually stunning but also highly functional.

As a regular visitor to international design shows, I’m always fascinated to see what’s being heralded as the latest in kitchen and interior design trends, and how these trends morph their way around the world, particularly when it comes to the adaptation within our unique Australian design aesthetic.

European Elegance and Craftsmanship

European design, particularly from countries such as Italy and Germany, has long been synonymous with luxury and sophistication. Australian kitchens increasingly feature sleek, minimalist lines, and those high-quality materials that are hallmarks of European style. The use of premium materials such as marble, porcelain, solid surface, and bespoke cabinetry crafted by skilled artisans adds elegance and aesthetic appeal to these spaces. European engineering, renowned for its precision and functionality, influences the incorporation of advanced hardware and innovative storage solutions, ensuring that Australian kitchens are not only beautiful but also highly efficient.

Scandinavian Simplicity and Sustainability

The Scandinavian design philosophy, with its emphasis on simplicity, functionality, and sustainability, has found a receptive audience in Australia. The clean lines, neutral colour palettes, and use of natural materials such as wood and stone align well with the Australian lifestyle and appreciation for the natural environment. Scandinavian influences encourage the creation of bright, airy spaces that maximise natural light, fostering a sense of calm and openness. The focus on sustainability is also evident in the choice of eco-friendly materials and energy-efficient appliances, reflecting a growing awareness of environmental responsibility among Australian designers and homeowners.

Asian Minimalism and Zen Aesthetics

Asian influences, particularly from Japan, bring a sense of tranquillity and minimalism to high-end Australian kitchens. The Japanese concept of ‘Ma,’ which emphasizes the use of space and the balance between objects, encourages clutter-free environments that prioritise functionality and simplicity. The integration of natural elements such as bamboo, stone, greenery and water features can create a serene, Zen-like atmosphere. Sliding doors, hidden storage, and multifunctional spaces are design elements that not only save space but also contribute to a clean, cohesive look.

American Innovation and Functionality

While we often don’t see too many correlations between American and Australian manufacturing, the American kitchen aesthetic is often characterised by its emphasis on innovation, practicality, and comfort. This influence is evident in the open-plan kitchen layouts that have become popular in Australia, promoting a seamless flow between cooking, dining, and living areas. The use of cutting-edge appliances, smart technology, and multifunctional islands enhances the functionality and convenience of the kitchen. American design also brings a focus on personalisation and customisation, allowing Australian homeowners to create bespoke kitchens tailored to their specific needs and preferences.

Fusion of Global Influences

One of the most exciting aspects of modern Australian kitchen design is the ability to fuse various international influences into a cohesive whole. This eclectic approach allows designers to draw on the best elements from around the world, creating kitchens that are truly unique and reflective of a global design perspective. Whether it’s the elegance of European craftsmanship, the simplicity of Scandinavian design, the tranquillity of Asian aesthetics, or the innovation of American functionality, the result is a dynamic and inspiring kitchen space.

With the information highway showing no signs of slowing down, it’s clear that global influences will continue to shape high-end kitchen design in Australia. We are known as a county that is open to diverse cultural inspirations and the absorption of knowledge from a wide variety of sources. By blending elements from different design traditions, Australian kitchens are not only setting trends but also redefining the standards of luxury and sophistication in the culinary space. Our standing on an international stage is further proof – if any were needed – that today’s Australian kitchens are at the forefront of design innovation, offering timeless elegance and unparalleled functionality.

From breathtaking architectural wonders to captivating interior masterpieces, each winner represents the epitome of excellence in hospitality design.

The submissions for the 4th edition of the LIV Awards closed at the beginning of February 2024, with an overwhelming response from professionals and students worldwide. The jury panel, comprising experienced architects, designers, and developers in the hospitality sector, reviewed over 540 applications from 43 countries to select the most outstanding projects in each category.

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In the Architectural Design of the Year – Eating Space category, Daewha Kang Design secured the title for The Grand Courtyard and Pavilion at the OWO.

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Richard Parr Associates triumphed with the Restoration of the Farmyard at The Newt in the Architectural Design of the Year – Living Space category.

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Gabriel Velasco, hailing from Savannah College of Art and Design, emerged victorious as the Emerging Architect of the Year with Relinquetur.

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For Interior Design of the Year – Eating Space, Run For The Hills claimed the top spot with Audrey Green & Larry’s Bar at London’s National Portrait Gallery.

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Lambs + Lions impressed the judges with OKU Kos in the Interior Design of the Year – Living Space category.

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In the Emerging Interior Designer of the Year – Eating Space category, Jiin Park from Art Center College of Design took the honor for Radiant (Wine Tasting Restaurant).

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Mihika Chatterjee from New York School of Interior Design clinched the title for Inter(Vo)ven- A Fashion Hotel in the Emerging Interior Designer of the Year – Living Space category.

The LIV Hospitality Design Awards proudly remain at the forefront of the dynamic hospitality industry, recognising designs that elevate the guest experience and redefine industry standards.

For more information visit livawards.com

The studio was created by architect Elisa Ciucciovè and designer Giorgio Di Cesare, and the couple were winners of the last edition of the Design Warm Contest.

Tree is sculptural with a strong stage presence but at the same time has a light and minimalist appearance. Its versatility allows for placement in any room, and it features a convenient pedal button ignition with fabric cable and eight different colour patterns, allowing it to become an elegant bathrobe holder for the bathroom or a stylish clothes hanger in the living room.

“The project of Tree has thrilled us since the first sketch that was presented by Elisa and Giorgio. And when we finally realised, it was love at first sight. It is a product that for size and thermal performance was missing to our design collection and of which we really felt the need. We are convinced that Tree has all the credentials to become another of our most representative products” – Sabrina Mora and Eng. Filippo Arbellia (Scirocco H).

“Tree was born from some gestures that are part of our daily life, not only in the bathroom context but also in the other rooms of the house such as the living room or bedrooms,” say Elisa Ciucciovè and Giorgio Di Cesare of Duesette. “We liked the idea of combining what is the archetypal freestanding coat rack with the magic of warmth and at the same time working on the nomadism of this object, both in the domestic context but also in a public environment such as a waiting room, a restaurant or an office. The name comes from the tree’s ability to adapt to all seasons by changing its dress, Tree, past the cold winter days, does not hibernate but continues to inhabit the space in its guise as a coat rack.”

With dimensions of 1600mm x 600mm (300mm at the top), Tree is available in 79 colours from the Scirocco H range, including the new matte shades: Cloud Gray, Cookie, India Blue, Frog Blue, Glaucous Green and Pink.

For more information, visit sciroccoh.it

With this collection, the Californian duo MC+ (Mattia Biagi and Cardenio Petrucci) explored the fascinating imperfection of nature with a system of iconic products conceived as functional artworks capable of illuminating the domestic scene with new reflections on living.

The Limited Edition Kitchen Suite is 100% made in Italy and is named for the Latin name for “disorder” to evoke the breaking of patterns and the entropy that drives the organic evolution of natural ecosystems. The design is pure, organic and dynamic. This concept combines refined design, the finest Italian craftsmanship and the best raw materials, forged to be durable and environmentally friendly.

The internal structure of the three islands is made of ecological panels produced from recycled materials and wood fibres obtained from renewable sources certified PEFC, FSC and CARB-P2 (low chemical emissions). The side and front panels are made of steel processed using jewellery techniques to obtain different surfaces and effects of light: two super-gloss finishes (dark gold and nickel tones, a tribute to the warm reflections of the sun), combined with a super-matt finish (brass tones, a tribute to the icy surfaces of icebergs).

The worktops are made of high-performance ceramics in a dark slate shade and a three-dimensional Vulcan effect surface, inspired by pristine solidified lava. The cooking island integrates concealed induction technology, exploiting the technical characteristics of the ceramic material that allow electromagnetic transfer even in the absence of a glass cooktop. The washing island is equipped with a hand-assembled single-material sink using traditional stone-working techniques.

The Limited Edition Kitchen Suite was displayed in the stunning setting of the Sala Stoppani at the Istituto dei Ciechi di Milano to create an evocative contrast between matter and time.

For more information visit tmitalia.it/en/

Photos: VivaioCreativo

Benetti’s planters are 100% natural and stabilised, not requiring any maintenance. They are effortlessly installed and thrive even in dimly lit spaces, eliminating the necessity for sunlight or water.

The Benetti Planter collection includes three distinct models, each curated to suit varying tastes and preferences. First, the Giulia range, simple and essential, represents the basic composition. The essences used are ivy and eucalyptus, inserted on a base of moss and moss spheres and providing movement and three-dimensionality. 

Next, the Sofia range symbolises originality and glamour and is created using different types of stabilised plants enveloping the flat moss base in a captivating display of style. 

Lastly, the vibrant and rich Francesca range is the most luxurious solution in the Benetti Planter collection. The planter is enriched with other plants, fronds, and foliage, in addition to the standard essences, achieving a very lush effect, perfect for those who want to create a green space without limits.

The three models can be enhanced with optional elements, such as black or white river pebbles and slate chips, allowing for the personalisation of the planter’s base. These eco-friendly expanded polystyrene planters are obtained through the use of recycled material and/or industrial waste. 

Additional optional features include loose bouquets of amaranthus and trailing ivy, which can be strategically placed along the edges of the planters to elevate the overall composition.

The plants and trees within the Benetti Trees & Plants collection are 100% natural and stabilised, preserving their beauty over time without any need for maintenance. They require no irrigation, substrate such as soil or fertiliser, light, or pruning as they do not grow. The trunks, made of real wood, undergo a fumigation treatment for maximum integrity and durability, to which the foliage is then applied.

The Benetti Trees & Plants collection is suitable for placement in designer pots or directly anchored to the ground. Each piece is unique, featuring varying heights and one-of-a-kind canopies. Ranging from smaller trees, such as bonsai or small ivy spheres, to palm trees, Benetti’s offering allows customers to find the ideal solution for any environment.

Complementing the collection, Benetti offers pot covers made of 100% regenerated plastic. Available in four colours and various shapes and sizes—including round, square, and rectangular—they allow customers to play with models and create personalised compositions that perfectly fit their style and design needs.

For more information, visit benettihome.it

Lincoln Sentry will be at Stand #744 with a stunning space designed by Studio Minosa which is set to inspire and captivate visitors with new concepts and ideas.

Visitors can expect to be impressed with the functionality and style of the latest hardware solutions with specialty products for the kitchen, wardrobe and laundry that will take your projects to the next level.

Of note are the new Blum REVEGO pocket door and LEGRABOX Special drawers, Gollinucci waste and laundry hampers, Hera lighting, DecoSplash panels, Franke appliances, OE Elsafe charging and power solutions, Oliveri sinks and Express Benches benchtops.

The Kitchen + Bath Show is being held in conjunction with the Design Show and ArchiBuild Expo to offer the industry the best in interior design and building solutions. With a focus on kitchen and bathroom design, innovation and inspiration, the Kitchen + Bath Show is a must-see for anyone in this industry.

Register today to attend and pre-book your guided tour of the Lincoln Sentry stand.

For more information visit lincolnsentry.com.au/page/kitchen-bathroom-show-2024

The exhibition was designed to present a selection of products that highlighted Lithea’s design heritage and reference the company’s strong ties to the Mediterranean, while underscoring its creative experimentation and artisanal mastery.

Anemone

Designed by Elena Salmistraro, Anemone is a marine landscape that interprets the mysterious creatures which inhabit the depths of the sea. Anemone is a modular decorative panel that grafts a stratification of plants, mollusks and living organisms onto a geographical grid to create a game of layers. The Anemone wall panel measures 300cm x 300cm.

Materials: Bianco Avorio, Rosso Diaspro, Grigio Tunisi

Porifera

The Marina collection, designed by Elena Salmistraro, also includes three Porifera coffee tables of various shapes and heights, created from stone and marble. Each is characterised by a pure geometry which is softened and smoothed to evoke the movement and softness of water. Through simple cuts and joins, complex objects are generated that maintain a close formal connection with the Anemone panel.

Materials: Bianco Avorio, Rosso Diaspro, Grigio Tunisi

Geografia

Designed by Martinelli Venezia, Geografia draws inspiration from the topographic maps to create an expandable and customisable system of landscapes. A tribute to the concept of infinite design inspired by Supertudio’s “continuous monument”, Geografia is a modular grid of square slabs measuring 6cm x 6cm, each three-dimensionally sculpted with stylised relief of the ground and seabeds particularly chosen from Sicily. These slabs are then reassembled in random combinations creating constantly different designs that convey a dynamic effect.

Materials: Bianco Fenice, Pietra Lavica, Verde Alpi, Calacatta

Arcipelago

To accompany the Geografia wall panel is the Archipelago collection, also designed by Martinelli Venezia. A table, a stool and two small tables are characterised by an essential and rigorous geometry. The collection is designed to be customisable and expandable.

Materials: Bianco Fenice, Pietra Lavica, Verde Alpi, Calacatta

Etna Bookshelf

Designed by Martinelli Venezia, Etna is a modular bookshelf that combines elegance with versatility. Meticulously crafted from iron and Pietra Lavica, each module offers both functionality and aesthetic appeal. Durable and luxurious, Etna ensures longevity while embodying timeless design and versatility.

Materials: Iron module, Pietra Lavica, Verde Alpi

For more information visit lithea.it/

The collective exhibition, entitled “Sil Trespolo” or “On The Perch” was curated by Claudia Pignatale, created by Secondome + Studio F, and presented at Rossana Orlandi gallery last month for Milan Design Week.

The basis of the curated exhibition was established by Claudia Pignatale, Secondome founder and art director, who challenged a number of selected designers by asking them to design a piece of furniture that answers the question: “If I tell you Sul Trespolo, what comes to your mind?”.

When asked to be inspired by the concrete and poetic concept of the perch, Serena Confalonieri responded by designing an out-of-the-ordinary piece of furniture, that grows on a vertical structure where the “perch” is a small component of the entire furniture piece.

Inspired by the typology of free-standing furniture pieces created around the 1960s, Birdie is a sequence of different functional elements which, laying one on top of the other, compose an irregular column of geometric shapes. The result visually evokes the image of a block construction game, where each module keeps its distinct identity – an identity that is underscored by the use of different wood essences, such as maple, cherry and canaletto walnut.

From the bottom, the elements in this furniture piece are: a container element, a small table, a mirror, the perch – designed to be also a hanger –  and two additional containers.

Birdie can be dismantled and divided into 3 interchangeable modules, just as can block constructions. Thanks to a threaded central support and cube shaped stops, this design allows you to transform and customise it, in order to adapt it to each individual habits and preferences.

For more information visit serenaconfalonieri.com/

Photos: Serena Eller Vainicher

Basoc is known for her use of colour, taking inspiration from the natural world of flowers and blossoms, from travel and exotic locations, from pop sensibilities and describes her work as always trying “to look at things from unusual angles, discovering new keys to interpret reality”.

The graphics she creates for SpaghettiWall encompass a soft universe, often with romantic or desaturated features, regularly featuring pastel shades and combinations that create an overwhelming sense of elegance. Her designs become delicate backdrops that have application within residential environments as well as corporate locations such as reception areas or retail spaces.

The recent ‘Wonderlust’ collection reiterates a singular stylistic code for which the designer has been known since her original collaboration with SpaghettiWall in 2019. Examples are ‘Herbal’, ‘Fragrance’, ‘Mirror Flower, Water Moon’, ‘Meadow’ or ‘Flower Serenade’, with their feminine poetics, the stylised representation of flowering fields in springtime, or the drawing of macro-scale corollas unfolding.

These graphics, each of which is available in different color variants and can be printed in very high resolution on different media, thus define Basoc’s signature debut, which, with the Wonderlust line, evolves with greater intensity. Within it, the subject ‘Eden’ is the most representative, with its depiction of an idyllic garden, where nature creates an atmosphere of peace and serenity: based on a refined concept of symmetry, the image is sized on the basis of the application wall.

Flower Thief’ is a dreamy kaleidoscope; ‘Bloom vibration’ takes up the flowering theme but reproduces it on a base with a fabric-like texture; while ‘Pop Sunset’ and ‘Palm Spring’  reinterpret urban landscapes and environments under the lens of desaturated colour filters.

Between elegant two-dimensional traces, photographic shots transformed into artistic suggestions and botanical tributes, Ana Basoc brings a light sensitivity to wallpaper and enriches the SpaghettiWall catalogue with a selection of ecstatic subjects, customisable in hues upon request. Enjoy a slide show of Basoc’s collection here:

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For more information visit spaghettiwall.it/en

The collaboration between Serena Confalonieri and Wall&decò continues, with a surface capable of transforming spaces and fully expressing the designer’s strongly identifying and graphic stylistic signature.

Fires is part of the Contemporary Wallpaper Collection 2024 presented in Paris; the new Wall&decò proposal composed of 52 graphics collected in 3 inspirational mood boards, each with its own balance of styles and colors: Mid-Century Glam, Mediterranean and Sunday Mood.

Wall&decò was founded in 2005 by Christian Benini, founder and creative director. Benini was originally an advertising photographer who, when reproducing an image with large leaves as a backdrop for a set, immediately recognised the high decorative value of the image and its potential application within the world of interior design.

Today, Wall&decò continues to work closely with architects and designers to refine the aesthetics of wall decorations with a precise and innovative philosophy: no more repetition of patterns and geometries (typical of traditional wallpaper), but enlargements and macro-images with a strong material effect.

Cutting-edge aesthetics, technical research and innovation are the pillars of Wall&decò on a daily basis. Wall&decò offers a design service with various levels of customisation, ranging from the adaptation of colours and sizes of the graphics in the collection, to the development of entirely new subjects created specifically for the customer, satisfying even the most challenging project requirements.

Serena Confalonieri completed her Masters Degree in Interior Design at Politecnico di Milano, then worked in many architecture and design practices, moving from Milan to Barcelona and Berlin. Now she runs her own studio in Milano, working on interior, graphic and textile design projects and collaborates with important companies in Italy and abroad.

For more information visit wallanddeco.com/en-us/ or serenaconfalonieri.com/

Kitchen Lain Antis

Designed by R&S Euromobil and Roberto Gobbo, this stunning creation is a new design experimentation for Euromobil that combines the features of the two well-known kitchens from which it takes its name, Lain and Antis.

The Lain kitchen has a thermo structured surface (TSS) structure in Calce Opus finish, with a 12mm thick Terra di Matera Laminam In-Side worktop with built-in sink. Integrated lighting in Terra di Matera Laminam Gres also enhances the splashback and shelves. The base units fronts are also in Calce TSS Opus finish. The island is juxtaposed with a 40mm thick breakfast table veneered with Naturale sanded-effect oak, with Leggera leg in 12mm thick extra-clear, transparent, tempered glass.

The Antis drawers of the main structure and island are in Natural Wood Caneté Plus with integrated Pro Up handles. With neutral and balanced tones, the Lain Antis kitchen shines with an all-natural light given by the combination of light finishes, wood and transparencies.

The Lain Antis kitchen will be on display at the Euromobil Flagship Store, Corso Monforte 30/3, 20122 Milan.

For more information visit euromobil.com/en

Zalf Freespace

Zalf presents the Freespace modular shelving system in the new TSS Opus finishes.

Pictured is the design with Plana push&pull doors, Gola doors and open corner unit in TSS Opus mattone finishes. Three niches with glass shelves, seat and corner respectively in Opus mattone, cemento and calce finishes. Bookcase in Opus calce finish. Freespace is available in different modules and finishes that create endless customisable compositions. In this way Zalf maintains and further develops the concept of furniture systems that become architectural structures, emphasising the design of multifunctional storage elements.

Opus from this year joins the large family of TSS finishes. Sturdy, scratch-resistant, easy to clean and with good qualities of resistance, Opus finishes are characterizsd by the marked materiality of the surface, with just hinted glazing and several exclusive shades with a plaster-like effect.

Dimensions: 270.2cm x 270.2cm x (h) 296cm.

During Milano Design Week, Zalf will present a special installation in Brera Contract space, in Foro Buonaparte 57 Milan.

For more information visit zalf.com/en

Rocky bookcase

Designed by Luca Roccadadria, the new modular Rocky bookcase from Cantori is constructed from tropicalised iron sheet for outdoor use.

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Rocky represents a real innovation for the brand from the Marche region that for the first time designed a bookcase suitable for outdoor as well as indoor use. It consists of a single module that can be flipped over to form the various compositions that best conform to different space requirements.

Dimensions singular module: 80cm x 26cm x 70cm (h).

“The side-by-side and stackable modules that I designed specifically for Cantori give the design product maximum functionality by adapting to any living environment. The bookcase is born from the design of a rectangle that is characterised in elegance and dynamism thanks to the particular inclined shelves. The upper and lower but opposite inclination of each shelf creates escape routes that combined with the positioning of objects give light and harmony.” Luca Roccadadria

For more information visit cantori.it/en/

Klark bookcase

The new Klark bookcase from Kriptonite, designed by Giulio Iacchetti, is a modular system with clean, minimalist lines, based on a composition of three simple elements: the base, bendable metal sheets and magnetic corner clamps.

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The interlocking system designed by Iacchetti can be assembled without wall mounts; the metal sheets are manually folded to form “C” shapes, and the corners are clamped together from the inside by magnets. The result is an extremely versatile, simple design that adapts to all sorts of spaces, and can be modified over time. Conceived as a freestanding element, the bookcase can be set up in any space, growing in height and width to suit any need, and at the same time boasts incredibly compact packaging size. In iron and available in four colour variations – white, black, green and terracotta – Klark offers infinite modular possibilities: in larger dimensions, it can be used as a divider between two spaces; in smaller ones it can serve as a low bookcase in a living space.

“Kriptonite is a company that I’ve always been drawn to for the way they consistently think up home organisation systems in metal that are compact and visually unfussy, but extremely efficient and functional. I’ve always thought about proposing a modular bookcase design to them, and over time it’s been perfected to become the product we see today. Klark is the onomatopoeic sound of sheet metal gently bending along perforated lines to be transformed into the bookcase modules, but it’s also the slightly-modified name of Superman’s alter ego (Clark Kent)… so it’s an homage to Kriptonite, a name that alludes to the only element that can beat the strongest man on the planet!” Giulio Iacchetti

For more information visit kriptonite.com/

Held during Milan Design Week 2024, the Design Duo Double Feature is an exploration work that combines FENIX® materials with the group’s other brands – Arpa®, Formica® and Homapal®.

Six pairs of designers have been invited to design furnishing elements with a dual use. The products will also be presented within the context of a double set-up – indoor and outdoor – created by the design duo Studioboom.

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Selected by curator Federica Sala, CARA\DAVIDE, DWA Design Studio, Martinelli Venezia, Næssi Studio, mist-o and Zanellato/Bortotto will give life to objects that explore new multifaceted functions, juggling transformability, mobility, sustainability and versatility.

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Like the furnishings, the design of the installation created by Studioboom also interprets the theme of doubles. The contrasting textures and sophisticated colour combinations of the surfaces accompany the itinerary in a layout that winds its way between indoor and outdoor spaces, creating six areas in which to explore and experiment.

For FENIX® and the other Broadview brands, the project becomes an opportunity to explore the field of furniture design along with Italian and international designers, proposing surprising uses of surfaces and original solutions.

“I have always been fascinated by how, in architecture and design to a greater extent than in other disciplines, a number of creative duos are active. A creative couple, whether their relationship is purely professional or also extends to their private life, have to perfect the difficult art of dialogue and mediation in order to successfully combine the input of two different minds in a single design solution. To illustrate the exceptional versatility of FENIX®, either alone or in combination with other materials, we decided to multiply the number of minds involved in the project to encourage lateral thinking and, consequently, double projects: in form, function, transformation…” Federica Sala

Fenix products are available in Australia through Nover Australia. For more information visit nover.com.au/fenix-panels or fenixforinteriors.com/en-NZ

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Kate describes herself as having always been creative as a child and it seems to run in the family. “Mum was a crazy decorator back in England,” she explains. “Every two years she’d redecorate the house and my sister was also very creative and artistic so I grew up in this incredibly inspirational environment”. When Kate was 10 years old her sister married and moved out of home, leaving Kate with a large double bedroom all to herself.

She describes the feeling of freedom and excitement at the chance to decorate the space on her own. “I made curtains, ‘borrowed’ some Lloyd Loom chairs from another room, grabbed a coffee table and my record player and set up my own hideaway,” she says.

Moving to Australia as a teenager in 1967 was a culture shock and after six years she briefly returned to England in the early 70s. But the move to the antipodes eventually led to Kate meeting her husband Ian who was studying architecture. They purchased an 1867 terrace house in Rozelle, Sydney and spent four years renovating it, with Kate rolling up her sleeves and doing much of the work herself. This process gave her the realisation that not only was she hugely interested in design, but she was also very good at it.

“I was lucky,” Kate muses. “I was keenly interested in what Ian was doing and he taught me so much. And that, coupled with the course I was taking with the New York School of Interior Design really helped me work out what I wanted to do”. Kate also took on an architectural drafting course which she credits with helping her hone her knowledge in structural design and understanding the relevance and application of building codes. “In those days you did a lot of learning on the job,” she laughs.

Kate even lived for a year in Lucca, Italy in 1981 and she describes this time as magical, and a place to which she returned often in the ensuing years. “That experience really kick-started my whole love affair with Italy,” she says. “It was amazing and I will never regret it”.

Throughout her career, Kate has always had an interest in and a wish to pursue sustainable design and an opportunity arose in the early 80s to move to Northern NSW and build one of the country’s first solar houses. As it was one of the first of its kind, there were very few templates to follow so Kate was learning while doing. “I did a lot of the building work myself and was on the tools most days,” she remembers. “We built it together and much of the work we did ourselves. It took around 18 months in total and then we lived there for a while before heading off for our next adventure”.

A move to Brisbane saw Kate working for many of the top designers of the time and she is grateful for the opportunities they gave her to take on more responsibility and gain a wide variety of experience. In 1987, she and Ian took the plunge and established their own business – The Design Works – which enjoyed 10 successful years before the recession of the late 1990s particularly impacted the Queensland market.

Kate describes those years as busy and challenging but ultimately hugely rewarding as they worked on high-end residential, hospitality, health and aged care, and retail projects as well as partnering with a number of high-end construction companies.

Another move saw Kate back in Sydney where she obtained her Certified Kitchen Designer accreditation (then through HIA) and was working for a number of kitchen companies, as well as doing some training for HIA. And, then, a wonderful opportunity arose to contribute to a magazine called Luxury Home Design, produced by Universal Magazines (now known as UMCo,) which Kate did for a short time before applying for the job as Editor when the incumbent resigned.

This fortuitous event sparked a relationship that would span more than 16 years and see the launch of many highly successful publications under Kate’s leadership including the renowned Grand Designs Australia magazine. “My philosophy has always been that everybody has the right to experience good design,” she says. “It’s not just for those with means. I really wanted our readers to understand about the benefits of using a qualified designer and I was fabulously lucky to be able to use the magazine as a vehicle for that message”.

Kate also made her mark with Luxury Home Design (now known as Home Design) because she took the approach of covering not only the who’s who of the design industry but also profiling up-and-coming talented young people. She quickly established a reputation as a talent spotter and the magazine was not only gaining popularity with its readership but also with advertisers.

It was important to Kate that she not lose touch with her designing roots, so she continued to take on projects now and again – either for herself or for someone she knew. She mainly stuck to her core interests of kitchens and bathrooms and this meant she stayed in touch with the industry as well.

Another fortuitous meeting came when Kate was asked to give a talk at Enmore TAFE to students studying interior design. She was asked to talk about her own path into the industry and to give the students some ideas about different sectors of the industry. Catherine Whitting was teaching at Lidcome TAFE at the time (now at Enmore) and, following Kate’s retirement from Universal Magazines, she and Kate went on to establish a very successful venture as St James Whitting. This new partnership took on interior design work but also branched out into fabric and rug design, art, and a wonderful collaboration with Resene to develop new paint colours.

Having had such a broad career, Kate struggled when asked to pinpoint one thing she was most proud of. “I’m proud of so many achievements,” she explained. “I loved my time working in health and aged care/retirement villages as these can be very challenging and really require you to have a lot of specialist knowledge. And building my own house was fantastic – it was such a learning curve but I got so much hands-on experience. And my later work with the rugs, fabrics and paint has been so rewarding”.

Kate also believes in giving back to an industry that has provided her with such an amazing career. Over the years she has held a number of voluntary roles including Chapter Convenor of the Design Institute of Australia, President of the Australian Architecture Association and Board Member of the Australian Institute of Architects. She says these roles might be hard work and sometimes time consuming but it has been worthwhile to be able to contribute to promoting professional design.

Kate says that working in a creative field often doesn’t feel like “work” and the satisfaction that comes from finding a fabulous solution is like nothing else. “Every building has to start with a plan,” she says. “You have to have an idea but you also have to get it right – there is a lot to consider – and it has to be practical as well as beautiful, and designed for longevity”.

When asked what advice she would give to young designers starting in the industry she makes a number of points. “Get the best qualifications from the best place you can,” she emphasises. “Then join an industry association such as the Design Institute of Australia – get behind the industry that supports you. Get involved in networking events, go on design tours, and continue your education. Keep in touch with what’s going on in the world – read books, magazines and online publications”.

Kate is well-known in the industry for her commitment to mentoring and also feels strongly about the role designers play in their client’s lives. “You absolutely must leave your ego at the front door,” she says. “Be prepared to take feedback and criticism and be prepared to ‘do’. Remember that you are in someone’s home, and they must live in that space so it’s not about what you want, it’s about them and their family”.

For more information and to stay in touch with Kate visit facebook.com/stjameswhi/

The exclusive collection of wallpapers and digital panels blend together the elegant Parisian style that enhances the refined taste of the Maison, the tradition of Italian craftsmanship, the attention to detail and the richness of materials, in pure ELIE SAAB style.

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A remarkable characteristic of the collection is three-dimensionality, emphasising embossing and relief, recalling the meticulous textile work used in the Brands creations. The wallpaper itself acquires a three-dimensional aspect in the production process, creating a tangible textured effect, a longstanding distinctive feature of Zambaiti Parati.

The collection is organised in four distinctive lines, ranging from classic ornamental to geometric inspired by Art Déco, from marble-effect designs to thematic representations of the tropical world of nature.

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Including wallpapers in standard sizes of 10 square meters and a wide variety of digital panels, the collection is specifically designed for luxury residential and contract environments. Decorative digital panels are custom-made in terms of both dimensions and personalisation, following the client’s request.

Technically, the collection features a waterproof, durable, and fire-resistant coating, available in a wide range of colours harmoniously linked with the furniture pieces of the ELIE SAAB Maison collection.  From contemporary and elegant whites, blacks, and a scale of greys to vibrant and natural greens and blues.

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The ELIE SAAB Wallpaper Volume II Collection was presented in January during Paris Déco Off at the ELIE SAAB Maison Showroom in 39 Av. Pierre 1er de Serbie, Paris.

For more information visit zambaitiparati.com

Designed to be printed on glass, the new patterns designed by Lidia Covello for OmniDecor’s Pure Lines collection feature simple and understated designs, distinguished by slim, square and rectangular lines. The decorations that gently emerge create a bewitching three-dimensional effect, which is embellished by the interaction with light, imbuing the surrounding setting with a sense of balance.

The collection, which supplements the DecorFlou Design family of glass, includes nine separate patterns, each one developed in a transparent version and in a more block coloured satin finish, thereby expanding the usage possibilities in interior design projects. Devised – in their translucent version – to accommodate the need to separate indoor spaces in the hotel industry and – in the matt version – for use in furniture, the variety of finishes fosters an extensive range of glass applications, guaranteeing flexibility and adaptability to various market needs.

Indeed, with Pure Lines, customers can decide to use the same decoration in the transparent variant for a specific portion of a room, for instance the shower enclosure glass, and then use the matte variant – which guarantees greater privacy thanks to the satin finish process – for other elements in the same room, such as the bathroom door.

With Pure Lines, OmniDecor satisfies the growing need for modern solutions with the versatility afforded by the diversified range of patterns, which blend in seamlessly with both residential and contract settings. The elegance of the decorations, combined with their simplicity, fits like a glove in a wide variety of settings, adding a touch of refined modernity.

OmniDecor offers an innovative interpretation of glass as a construction material, emphasising its aesthetic and functional characteristics. Pure Lines provides an insight into the role flat glass can play within the architectural world, guaranteeing an extraordinary visual impact.

For more information visit omnidecor.it/en

The Marmilla lamps are designed by Donata Mariasole Betti. The floor-standing version features a Carrara white marble base that contrasts with its linear stem. The ray of light cast up to the marble lampshade from the base is not only an unusual design element but also brings out the veining of the marble, further accentuating the beauty of this collection.

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The Marmilla lamp is available in floor, pendant and table versions, with the table lamp also available in a rechargeable version (via USB) and a metal stem made of aluminium. The light refraction highlights the play of geometrical components, creating a soft, warm and adjustable beam of light. The suspended “lightness” of the “hat” is a clever visual trick which is enhanced by the upward-facing light beam projected onto it.

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Continuing the company’s focus on natural stone, Intarsia is a collection of marble inlays and mosaics which are fully customisable in size, material and compositional design. The elements serve to reinterpret marble in a contemporary fashion, featuring compositional designs that include serialised geometric characters and eclectic surfaces that have an almost dreamlike dimension. The collection harnesses inspiration from the world of nature with both free-flowing formations as well as distinct shapes that represent different creatures.

Bettisatti srl was established by Donata Mariasole Betti, Michele Citti and Valentina Satti and operates from premises in Tuscany, Italy. The studio specialises in projects across a huge scale and focusses on designing spaces for art and for living.

For more information, visit bettisatti.it

TKBB spoke to Jo Clarke, Commercial Relationship Manager for Haymes Paint, about the company’s Artisan Collection and asked her opinion about the hottest colour and surface trends for 2024.

Jo predicts a continued strong demand for unique finishes in 2024 with specifiers and designers responding to customers who are looking for a more personalised interior finish. “The cut and polish Venetian plaster look will continue to make waves with design-conscious consumers,” Jo says. “I’m also keen to see more of the Scumble Wash and Artisan Collection Surface Bloom being utilised as an alternative for those looking for a softer, more subtle finish”.

Jo also pointed to textures and metallics likely to have a big year in commercial and retail spaces, with Artisan Collection Metal Trace Smooth expected to be in hot demand in 2024. “We know the lustrous shades of silver, gold and bronze will always be popular,” Jo says. “But we’ve been working on projects that have seen the Metal Trace finish used with reds and yellows providing even more possibilities for a custom metallic finish”.

As a qualified interior designer, Jo is in a unique position to understand the needs of specifiers and is proactive in finding solutions to tricky challenges. “What sets the Haymes Paint team apart is that we work closely with specifiers and architects along with our lab team to find that special finish that’s needed to make a project truly unique,” she says.

Jo is seeing a huge increase in the use of special finishes as a tool to create a bespoke effect, particularly in the residential space, but also trending through commercial and retail settings. “People are loving the idea of the softer bronzes, silvers and golds,” she says. “You can layer other things on top to create depth and subtle metallics bring a beautiful warmth to the home, making you feel almost cocooned”.

Jo says we are definitely not seeing much shine through our interiors, more layered sheen levels that bounce environmental reflections around the room and she’s excited for the possibilities this offers to subtly align the paint finish with the other materials and textures.

On the horizon, Jo says she sees a continuation of our need to be nurtured and this will drive the colour and surface choices we make in the home. “It was interesting seeing the Peach Fuzz as Pantone’s colour of the year,” she says. “This fits with the popularity we’re seeing with matte finishes bringing warmth into the walls, darker colours with more earthy undertones, textured carpets and rugs, with fewer bright whites”.

Jo believes good design takes into consideration the play of light and shade to create texture and contrast and it’s here that the walls are often an opportunity missed. She says layers of texture on a wall can be incredibly effective to introduce a more adventurous finish to an interior while still maintaining that sense of cocooning that we seek.

“We really want to have a big warm hug – our home is our sanctuary,” she says. “So, the more designers can play into that, the more opportunity we will have to introduce these new wall finishes that are so effective”.

For more information visit haymespaint.com.au/

The floors in the living area and kitchen are tiled with the Beton porcelain stoneware collection in the light Pearl colour and the 75.5×75.5cm and 75.5×151 cm sizes, while the Dark colour was chosen for the bathroom, in the 75.5×151 cm size, making a total of 146 square metres.

On the ground floor, a large open-plan area features the living room, the dining area, screened off with a masonry partition wall, the master bathroom, a study separated from the rest of the home by a sliding panel made of wooden boards, and an outside area. Above this floor are the mezzanines, a typical feature of loft apartments. The whole living space is characterised by the contrast between the white floors and walls, the black iron and décor elements and the warm allure of the birch wood furnishings.

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To obtain a larger, more regular surface area, and to make the most of the height of the building, the renovation project involved the removal of the wall dividing the two long, narrow parts of the industrial construction, as well as the construction of three metal carpentry mezzanines. On one of the mezzanines is the bedroom, with a jacuzzi and a small bathroom; on another is a lounge area, while the third is used as an area to host guests. Under the larger mezzanines is the entrance to the apartment, decorated with wallpaper, as well as the walk-in-wardrobe, main bathroom and the study, which has its own entrance.

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To add a dynamic edge to the whole place, the stairs up to the mezzanines have been designed in different shapes and colours. The lighting has also been studied with great care to create a distinctive atmosphere for each area and their different functions.

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Lastly, a part of the roof has been removed and closed off on two sides with large sliding door frames, to create a private outdoor area, make the whole home brighter and allow for a smooth transition between indoors and outdoors.

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Concrete effect porcelain stoneware is one of the top trends for fans of a metropolitan or urban chic style. This innovative ceramic material takes concrete and gives it a soft, stylish, cloudy look with an appealing colour effect. This offers a striking response to the evolving requirements of contemporary living styles, and is the ideal choice to shape enchanting, sophisticated living spaces with plenty of character.

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The Beton porcelain stoneware collection by Casalgrande Padana features neutral tones and soft spatula effects, making it a perfect complement for a variety of styles: from the metropolitan style typical of loft apartments, to a more modern, contemporary Nordic look. Beton comes in a natural surface, and is available in five shades (Dark, Ivory, Mud, Pearl and Sand) and five sizes (30×60 cm, 60×60 cm, 37.5×75.5 cm, 75.5×75.5 cm and 75.5×151 cm).

For more information visit casalgrandepadana.com/

Text by Sara Costi for Casalgrande Padana | Photos by Jana Sebestova

The company has become an established player in the global ceramic tile scene and, this year, presented Wald, Cross, Fluted and Stick – new tile collections with almost limitless application.

Wald

Wald is a new collection that, with its rich graphics, replicates and reinvents the wood effect through the magnifying glass of stoneware by capturing its essence and recreating a living material. Wald pays homage to the majesty of wood while maintaining its aesthetic qualities with the enrichment of the most advanced technology.

Cross

Created by Paolo Cappello & Simone Sabatti, Cross brings the three-dimensional geometry of the square to white-body, giving rise to a completely handcrafted product that transforms the classic 10×10 square into a sensory experience.

Fluted

Fluted, on the other hand, is a decorative design element that juxtaposes colours and 3-D shapes in a complementary way: a collection of white-body tiles that gives the wall covering its own symphony of 13 enveloping colours that provide visual continuity, a collection of proposals that celebrates movement, volumes and colours.

Stick

Finally, Stick is the debut in the kitkat mosaic universe where the protagonist is the chromatic variety that is expressed through a palette of as many as twenty-seven different colours, 15 in a matt finish and 12 sought-after nuances in a glossy finish. Stick is provided in 29 x 30cm sheets, chosen to allow as much flexibility and agility as needed to cover curved areas such as columns or counters.

For more information visit terratintagroup.com/

This year the organisers have chosen to re-think the layout strategy and rearrange the pavilions in what they describe as ensuring “the most efficient times and ways for visiting as well as optimising the routes through the spaces to enrich the experience and ensure maximum visibility and accessibility of all exhibitors”.

EuroCucina and FTK – Technology for the Kitchen

This biennial exhibition is the industry’s guiding hand when it comes to trends in design, materials and application. Leading international kitchen manufacturers and design houses come to Milan to showcase the latest ideas for the kitchen space. The overwhelming focus is on sustainable material selection, highly technical solutions and creative design solutions for this space with it sown specific demands. FTK will showcase the latest in smart elements and home automation in the section devoted to domestic appliances and high tech applications. This year you will find EuroCucina and FTK in pavilions 2 and 4.

Salone Bagno

Also known as the International Bathroom Exhibition, this year Salone Bagno will be based in pavilions 6 and 10 (the pic above was taken in 2022 when the exhibition was in pavilions 22 and 24). The focus of the exhibition is trends and ideas in the name of relaxation and wellbeing, where new functionality meets technology with the overall goal to improve the quality of life of the users. Sustainability discussions are at the forefront of the exhibition, with an emphasis on innovative solutions. Form and function are still important, shining a light on options for water saving to reduct consumption and ways to lower environmental impact without sacrificing efficiency or aesthetics.

Salone del Mobile.Milano/International Furniture Exhibition

Pavilions 14 and 18

These pavilions will focus on the best of the best in Italian design with leading names on one side and emerging designers on the other. A number of topics will be covered in these spaces – from hospitality to design and innovation in the office space. The centrepiece of this area will be the arena designed by Formafantasma – the design duo Andrea Trimarchi and Simone Farresin. Given over to attendees, the arena is a multifunctional space for meeting, gathering, talking and networking or resting/taking a break during visits to the show.

Pavilions 22 and 24 & 9 and 11

These pavilions will showcase new projects in collaboration with some of the finest designers in the world who will explore the relationship between design and technology as well as the ties between form and functionality with a focus on contemporary design. These halls will contain the “furniture” portion of the fair with a wide variety of items within the broad spectrum of the definition.

Pavilions 13 and 15

These pavilions also showcase “furniture” in all its forms with a focus on a classic style for a modern world. The common thread of the exhibitors in these halls is the care paid to material choices and the attention to detail in the creation of objects that combine design and high craftsmanship.

Pavilions 5 and 7

SaloneSatellite marks its 25th anniversary this year and is known for its celebration of young and emerging designers. 600 talented young designers and 22 design schools are invited to participate and this year’s theme is “Connecting Design Since 1998”.

For a full list of exhibitors visit salonemilano.it/en/exhibitors

The Mentors of Design is a consultancy service which provides a range of services to homeowners, businesses and other designers worldwide. One of the most important is Shopping Assistance as it is a service that can be provided remotely.

Michele and Leonardo have lived and worked in Milan for many years and know the city intimately. They thrive on making new relationships with designers in other countries and enjoy learning about new cultures and visions. Their Shopping Assistance consultancy was developed, above all, to allow them to search for pieces for unique design opportunities that enhance domestic spaces and beyond.

“Today, more than ever, Milan is a city full of opportunities and it is easy to access if you know how to get around. Within a relatively limited space you will find a concentration of designer furniture, lighting, home décor shops and art galleries that are truly unique. It is our goal to open these spaces to designers and homeowners around the world,” they say.

The Shopping Assistance service is there to support the international designer to curate the best design response for their client. Michele and Leonardo bring their understanding of design and architecture to ensure their expertise enhances each project. They can assist in making purchases by being on the spot to locate the perfect piece, provide advice on what to buy (and, sometimes, what not to buy), they will listen to your design brief and your client’s needs, and provide in-depth knowledge of the furniture and interiors sector. They can conduct research and provide local knowledge that adds value to your project.

The Mentors of Design apply their professional gaze to each project and can assist with unbiased opinion and advice that supports the needs of a designer located overseas. Their connections within the Milan design world span from furniture and accessories to home décor elements and works of art. In addition to his other qualifications, Leonardo also has specific skills as an Art Advisor and Art Consultant.

Michele and Leonardo personally oversee the purchase of each piece and will look after the entire process, from negotiating discounts to order management, from logistics to shipping and tracking.

If you will be in Milan for the upcoming Salone del Mobile.Milano in April please reach out to schedule a “design day” with The Mentors of Design. “Milan has its own specific soul and hidden beauty,” say Michele and Leonardo. “The insights provided by local experts can make a big difference in the success of a project”. Or, reach out to The Mentors of Design to discuss your upcoming project.

Michele and Leonardo can be reached at info@thementorsofdesign.com

Depicting simply sketched seashells, hand drawn by Abigail, Shells Wallpaper invites you to rediscover the uncomplicated joys of listening to the whisper of the waves whilst collecting shells on the beach. A visual collection of moments spent by the shore. Subtle hues of peach, oyster and sandy neutrals, evoke the tranquil colours of the coast.

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From afar, the wallpaper appears to be composed of playful stripes as the shells float in their mollusc groups, but on closer inspection, the delicate forms of the individual shells become clear, and intricate patterns of scallop shells and cockles emerge mixed with spirals of nautiluses amongst a treasure trove of other seashells.

Shells Wallpaper is available in four colourways: Scallop, Cockle, Ocean, and Watercolour (printed from the original watercolour pencil sketch). Rolls are 10m long and 52cm wide.

“Shells Wallpaper is inspired by shells collected on family holidays over the years, each shell holding a myriad of happy, carefree memories” 

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Abigail Edwards was one of the first companies to embrace ECO grade wallpaper. Made from 79% renewable raw materials, including 59% wood pulp fibres. The oil based PET fibres have been replaced with renewable PLA fibres, created from fermented plant starch. The remaining 21% is a water based latex binder. PLA fibres produce approximately 30% less greenhouse gasses during the manufacturing process compared with PET fibres. Printed in the UK using non-toxic water-based ink. A tree is planted for every roll of wallpaper sold.

For more information visit abigailedwards.com/

The company’s latest and most iconic collections are displayed in large panels inside a space that is spread over two levels but is treated as a single “architectural box”, designed by the Calvi Brambilla studio.

The location was carefully chosen, in such a strategic location, to underscore the company’s commitment to maintaining its position as one of the leading Italian players in the ceramic sector. Founded almost sixty years ago, today Ceramica Sant’Agostino continues its path in the pursuit of creativity on the Italian and international design scene.

Taking inspiration from Franco Albini’s design for Line1 of the Milan subway, the graphic sign of the red handrail has been reinterpreted in Calvi Brambilla’s design. Not one, but two horizontal lines, architecturally rendered with dark titanium finish tubes, become the hanging supports for the display panels of Ceramica Sant’Agostino’s collection.

The result is pure visual effect with the parallel tubes running along the entire perimeter of the showroom ground floor and, from a functional point of view, enabling a very flexible display of the product: the tubes, in fact, allow for a variable modularity of the panels, adaptable to different sizes, but also adjustable in number depending on the presentation that one wants to display. The frames supporting the product can decrease or increase as in an evocative museum system.

Large display frames were designed to hold both slabs with a single finish as well as tile compositions in smaller formats to best showcase the solutions that the ceramic product can offer within different architectural solutions.

In the centre of the exhibiting floor, adjacent to the system of tubulars and wall frames, three “totems” take pride of place. These are compositions of different volumes and collections, covered in porcelain stoneware and enhanced with other materials such as lacquer and glass, which combine to create real three-dimensional mood boards.

The lower floor, designed as a more operational area, houses the material library, organised on a fabric wall system displaying the entire catalogue, and two large tables to explore samples and create pairings.

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Architects, designers, planners, those lovers and curious about ceramic products will be able to enter this exhibition venue not only to view Ceramica Sant’Agostino products, search for the best solutions for their projects and receive advice and technical assistance, but also at exhibitions and events dedicated to architecture, which will make it a culturally vibrant meeting point throughout the year.

For more information visit ceramicasantagostino.it/en/

Photo credit: Luca Cioci

Known for its bathroom furniture products, Artlinea is now expanding into mirror processing with a focus on stylistic research and a high tech finish. Using a laser to etch into the rear part of the mirror, the company is able to create patterns and images that are seen in the surface of the mirror.

As described by designer Davide Vercelli, the mirror collection plays with the idea of image and reflection, named for the “scratches” or “graffio” that are used to create the patterns.  “A graphical representation of the sun, the star par excellence, the symbol of strength and rebirth”, Davide says.

“Scratches (graffi) are marks in the mirror silver plating, micro-breaks tearing the plating and blocking the perfect reflection, thus aiming to disturb the image that we expect from ourselves,” Davide adds.

A designer and engineer, Davide Vercelli established his own firm in 2005 dealing mostly with product design, growth, communication and networking. A multidisciplinary and cross-cutting approach allows the studio to provide global consultancy services in product design, brand design, brand strategy and exhibitions.

Artlinea, established in 1962 originally as a glassware and handicrafts workshop with a focus on glass and crystal. Today it has established an international reputation for glass vanities, mirrors and worktops. The company now employs 70 employees and focusses on glass as a recyclable and eco-friendly material, within a model of production that is aimed at zero environmental impact. Artlinea products are designed to appeal to a high-end audience with an appreciation for “Made in Italy” excellence.

For more information visit davidevercelli.it/ or artelinea.it/en-gb/home

In the company’s expert hands, the laundry room becomes more than simply a secondary utility space but takes on a new identity as a place to design, equip and accessorise with practical, versatile and aesthetically-coordinated solutions.

The I Wash system includes a number of features such as doors and drawers with a J-shaped groove grip for easy opening that gives the furniture a modern, clean look. The combined washbasin and washtub can be fitted with a removable washboard for anyone keen on handwashing clothes.

The I Wash solution includes white metal trolleys on wheels that act as laundry baskets which are easy to move as well as pull-out laundry baskets that provide a practical accessory to the room. Mix and match with an above-basin clothes airer as a practical, space-saving solution to hang wet washing or shelves with metal sides that are available in two widths and a variety of finishes to add functionality and style.

The furniture options include floor-standing base units that are available without a plinth to provide an aesthetic solution that also, practically, makes use of all the space inside the units. Fitted tall units are also available with organised interior compartments in which to store brooms and vacuum cleaners separately to cleaning products.

It is also possible to customise the laundry room with niche units featuring two doors and a unit that is recessed into the wall to maximise the use of space. Or visible, open structures with spacious compartments and additional shelving for storing a range of domestic appliances and cleaning products.

Within the I Wash family, choose a peninsula worktop with its chunky sides and top with a handy base unit with drawers to create the ultimate practical area. Or, add a bench combined with clothes hanger – a multifunctional inclusion that provides comfort, order and design. Metal hangers can be added to a wall or tall unit for extra hanging space.

Arcom offers a number of complete solutions to personalise every detail of a design project while staying on-trend with today’s styles and themes.

For more information visit arcombagno.com/en/products/i_wash/

Perfect for both wet and dry areas, as well as inside and out, the designs are routed directly into Staron Solid Surface with all CAD files processed in-house, eliminating the need for complicated documentation.

Because of the inherent properties of Staron Solid Surface, MR Walls lend themselves perfectly to backlighting, thereby creating a visually engaging element within the design space.

When backlighting, it is generally advised to use standard White Melamine HMR particleboard or White MR MDF and build a lightbox however, the final solution will depend on your plans for lighting, application and installation. The standard frame lightbox recommendation is for 100mm overall depth, that is a 16mm back panel, 70mm internal panel, 2mm silicone and 12mm Staron panel.

The outside end panels should be fitted flush with the front of MR Wall panels or can rebate to the side of the box, allowing you to slide the MR Wall panel within the 6mm side.

Acrylic standoffs are required for support between the lights and at the join then fix the top panel with clear or translucent silicone. Fix the panel around the perimeter with silicone and hotmelt glue to hold the panel in place while the silicone sets. Joins should be finished where required with Staron adhesive (recommended to do this a small section at a time) and a special applicator will be required.

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Austaron Surfaces recommends LED strip lighting bet set at approximately 125-150mm spacing and that this lighting be installed in conjunction with an aluminium profile/heat diffuser that is fixed or rebated into the lightbox. This will allow access in the future if replacements are needed.

For more information visit https://austaronsurfaces.com/mario-romano-walls/

He recalls his first woodworking project was a wooden clock, made with his grandfather, which sparked a love of the craft. He soon progressed to more complicated structures including putt putt golf courses and picture frames. But by far the most challenging piece Nick created was a roll top desk which was made at age 16 for his Industrial Technology HSC major work.

“Everyone told me it was too complicated – my teachers and even the guy we purchased the plans from,” he laughs. “But I made it anyway. And the HSC markers didn’t believe at first that it was all my own work but I was lucky my teachers had my back”.

Following his school years, Nick undertook an apprenticeship in Cabinet Making through Lidcombe TAFE and he feels lucky that his employer at the time was able to expose him to a wide variety of residential and commercial projects. “It was great to have so many different things going on,” he explains. “I showed lots of interest and asked lots of questions, so they started letting me get involved in more exciting things”.

After 10 years or so in the industry, Nick decided it was time to start his own business.

Pedulla Studios was established in 2016 in the same premises that it operates from today. Nick applied his years of experience working in a variety of factories to ensure this studio was set up in a way that’s perfect for his business. Today, Nick combines client work with filming for his YouTube channel which he uses to document his work and has been steadily climbing in popularity since it was launched.

In 2023, Nick entered a new project – the Vigne Bench – into the ACFA Industry Awards and was proud to win the “Best Free Standing Furniture” and “Design of the Year” categories.

The Vigne Bench is made from solid American ash, which was chosen for its flexibility and colour, and is so called because the structure of the curved elements reflects the way a vine grows around its trellis. The main seat structure uses a stacked lamination technique to build a solid foundation which is then carved into its final shape. Starting with the idea of the project first, Nick had an image of what he wanted to create but then had to work backwards to reverse engineer the design and manufacturing process.

“This was the first time I’d ever created something on this scale and it worked out better than I could have ever expected,” he says.

Incredibly, the most challenging aspect was not the curved elements themselves but how to join the curved elements to the bench. Nick found that trial-and-error was the only way to find the solution.

“I had to build up sections and then chip away at it until it was right. Which was frustrating as I prefer to calculate first and then cut, but it was too difficult with all the angles,” he adds.

Another part of the challenge is the piece’s application as a 3D structure – no one section looks the same as another.

Nick was also highly focussed on the practicality and usability of the piece so his main goal was to hide the functionality within the beauty. “I knew I wanted it to look good but it had to also be usable,” he laughs. “I was hoping the tension within the curvature would be enough to make it rigid and the two additional curves inside the curved leg act as a support structure as well as enhance the overall design”.

Nick is best known for his following on YouTube where he loads videos of him creating his amazing pieces. The channel was started organically, as a way of Nick documenting his work, but it quickly grew in popularity and has now amassed a substantial audience.

For more information visit pedullastudio.com.au/

The collection is the result of a fascinating journey taken by Glamora to discover and explore Japanese culture and its reflections in the European world. A tribute to Giacomo Puccini’s opera of the same name, the Madama Butterfly Collection aims to convey a calm, rarefied elegance by evoking the emotion of an encounter between East and West.

Finding a balance between contemporaneity and tradition, the collection showcases compositional freedom offset with rigorous geometry thanks to a range of materials that create different effects.

The figure of the geisha, Madama Butterfly, is the main character who brings the scene to life. An imaginary silhouette that moves in architectural spaces defined by soft tones and precise rhythms, interrupted by variations in sequence and invigorated by natural stylistic features. In an intense, muffled universe between inside and outside, everything is governed by a precise order and an original harmony, which make this collection timeless.

Madama Butterfly Collection consists of five patterns whose names evoke some of the most poetic verses from Puccini’s opera. Each one is made up of a combination of elements in different materials that dialogue with each other thanks to the presence of a thin golden joining line. The result is a wallcovering collection with predefined dimensions, all three metres in height, but with different widths, allowing professionals great compositional and decorative autonomy.

The cornerstone of the project are the materials, with a natural soul, that the brand has specially developed. Surfaces that evoke the essence of birch, the softness of velvet, the porosity of cork, the irregular density of paper and are combined with each other, or with pre-existing materials such as GlamPure, a non-woven fabric made of pure linen and viscose, and GlamSatin, viscose with mineral powder characterised by a special iridescent finish that evokes the sheen of silk.

The colour palette that emerges is a symphony of grey, pink, ivory and cream tones, ideal for refined and contemporary interiors in a constant dialogue between minimalism and taste for decoration.

For more information visit glamora.it

Hettich is thrilled to announce that expressions of interest to pre-register are now open! Hettich, a renowned leader in furniture and cabinetry hardware, is inviting you to be a part of an extraordinary experience that combines cultural exploration, design inspiration, and an exclusive behind-the-scenes look at their state-of-the-art production facilities in Kirchlengern, Germany.

Experience the Highlights of Your Journey

Your adventure begins in the picturesque town of Bad Oeynhausen, nestled in the heart of Germany. But that’s just the beginning. Your journey will also take you to the city of Hannover as a captivating blend of history, culture, and modernity. As you stroll through its bustling streets, you’ll find a seamless fusion of architectural marvels that tell the tale of its rich past, from the medieval Market Church to the opulent New Town Hall. You’ll also be taken to the breathtaking shores of Lake Como, Italy, known for its stunning landscapes and luxurious villas. Finally, you’ll arrive in Milan, the fashion and design capital of the world.

The focal point of your adventure is undoubtedly the Salone Del Mobile fair and EuroCucina. These two events are a design enthusiast’s dream, showcasing the latest trends and innovations in kitchen design, furniture, and home decor. The Salone Del Mobile fair in Milan will set to surprise you from cutting-edge design showcases to the ideas, ambition and energy from everyone on the street. You’ll witness firsthand how Hettich’s products and solutions play an integral role in shaping the future of modern living spaces.

As part of this extraordinary experience, you will also have the exclusive opportunity to explore Hettich’s state-of-the-art production facilities located in Kirchlengern, Germany, nestled in the scenic East Westphalia region. You’ll get a behind-the-scenes look at their innovative manufacturing processes and learn about the craftsmanship that goes into creating their world-class products.

Don’t Miss Your Chance

Whether you’re a designer, architect, or someone passionate about innovative home solutions, this journey will leave you inspired and enthralled. Seize this chance to explore the heart of Europe, immerse yourself in design, and discover the craftsmanship behind Hettich’s exceptional products. Don’t wait; expressions of interest are now open. Secure your spot and prepare to embark on the adventure of a lifetime with Hettich. Experience the intersection of design, culture, and innovation in a way that only Hettich can offer.

For more information, click here for the full brochure.

Terms and conditions apply. Flight arrangements return for this tour Australia to Germany are NOT included. Hettich recommends all delegates full travel insurance to be taken out prior to departure.

Given the significant duration we inhabit enclosed spaces often surrounded within technologically driven conditions, biophilic design emerges as a vital link between the constructed environment and the natural world. Through the incorporation of features such as flora, daylight and organic substances, biophilic design forges a deep-seated bond with nature.

Recently added to the range of product offerings from Austaron Surfaces, Organoid Natural Surfaces is a refinement of natural elements. With a pragmatic and environmentally-conscious approach to interior design, Organoid’s collection of surfaces is a symphony of elements that resound with the essence of sustainability.

Organoid Surfaces are made in Austria using organic materials that are responsibly sourced from farmers through direct trade and product upcycling. The organic materials used are not only featured within the unique visual appearance of Organoid Natural Surfaces, but also in backing surfaces which feature a mix of flax and FSC paper, illustrating Austaron’s commitment to using natural renewable resources.

Organic materials such as real Alpine hay, colourful flowers, herbs and leaves are transformed into fragrant natural surfaces which retain the integrity of their original characteristics. These untreated natural fibres are preserved throughout the production process and evoke memories of immersive natural experiences through their look, feel, and scent.

Carefully selected backing materials coated with natural fibres ensure that the process and application is entirely carbon neutral from start to finish. In the intricate tapestry of sustainable design, Organoid’s Natural Surfaces serve a dual role. They fuse ethical production and conscientious practices with design principles centred around the human experience, forging novel pathways in the realm of sustainability. This comprehensive approach addresses not only the planet’s wellbeing but also the wellness of individuals.

The collection offers versatile applications with its different backing materials, serving as both wallpapers and decorative veneers. Additionally, the range includes options for flooring and acoustics. Organoid natural surfaces are ideal for a variety of indoor applications, such as interior walls, joinery, and furniture design. Designs within the collection are also suitable for privacy screening and lighting design, offering both opaque and translucent choices.

Austaron Surfaces has a reputation for offering innovative products which empower the building industry to explore new frontiers in design. Supporting a range of brands that seamlessly complement each other across project design, products by Austaron Surfaces strike a delicate balance between enduring aesthetic value and high-performance functional solutions.

For more information on the Organoid collection, visit austaronsurfaces.com/organoid

Made with natural materials which are carefully applied to various backing materials, Organoid® surfaces are made in Austria and are 100% carbon neutral. The natural properties of the raw materials are preserved for unique visual, tactile and olfactory experience.

Organoid® surfaces are untreated in line with the philosophy of Biophilic Design. The company’s wallpapers and veneers improve the indoor climate, enhance relaxation and promote health – and allow for unique interiors to be created. In rooms with purpose-oriented design, Organoid® surfaces create a welcome contrast and a nature-focussed interior concept that promotes wellbeing.

Natural raw materials such as real Alpine hay from the Tyrolean region (where the company is based), moss from upcycling, flower petals, lichen and herbs are carefully applied by hand, mixed with an ecological binding agent and pressed into a thin layer. This is then applied to various backing materials with strict quality controls that ensure a result that meets the highest standards.

The applications of Organoid® surfaces are far reaching – from public buildings, offices, health centres, hotels, restaurants and cafes to all residential interior rooms. Organoid® surfaces can be applied as a unique wallpaper, as an acoustic element, in combination with wood in interior design, or even as a flooring.

The company’s philosophy is to bring the beauty of nature indoors in the most literal sense possible and provide the scope for designers to apply a distinctive look and feel to the interiors they create.

At this year’s Interzum, five new designs were released.

Almwiesn light – blooming alpine meadows in a delicately light version featuring loosely scattered regional hay, delicate marguerites and flower petals. The breathable flax fleece is part of the design while the airy surface is particularly well-suited to large-scale applications.

Lawendl medium – delicately fragrant lavender stems and blossoms, with its calming look and breathable flax fleece, the surface features lavender which is known to reduce stress and anxiety. The surface is produced by using leftover products from lavender farming.

Weinblattla medium – autumnal vine leaves on natural flax fleece creates a colourful reflection of autumn with vivid hues of red reminding us of relaxing walks outdoors during this popular season. The red also recalls the hues of wine and great culinary experiences.

Mous Mix – experience the forest floor indoors with light green and dark green moss mixed for a naturally-textured look. The moisture-regulating properties of the moss bring a real freshness and well-being into the room.

Skelettblattla on gold paper – real skeletonised leaves from rubber trees make a luxurious statement against the exquisite gold paper for a natural elegance and lightness in any room. The shimmering gold background emphasises the filigree structure of the leaves for an immediate visual effect.

In exciting news, Organoid® natural surfaces will be available in Australia and New Zealand from July 2023 exclusively distributed through Austaron Surfaces.

For more information visit https://austaronsurfaces.com/ or speak to your local Austaron rep.

With societal changes and the current global political situation, the expectations we have of future design are also changing. Interzum 2023 will showcase the exciting innovations presently in development and demonstrate the potential they offer the supplier sector.

The Interzum Trend Stage is one of my favourite places to visit at the show and, this year, the trade fair was lucky enough to secure the services of Katrin de Louw, owner of TRENDFILTER®, as an independent curator of the Trend Stage.

The programme she has compiled will shed light on the most important developments and future themes for furniture, materials and interior design. The programme offers a thematic range for the industry, extending from the waste and circular economy through bio-based materials, the digitalisation of processes and coming colour trends to sustainability, mattress recycling, targeted product simplification or 3D GCI.

“The main topics are, of course, sustainability, in particular the circular economy and innovative materials, as well as digitalisation”, the trend expert explains. Renowned experts in these fields have been invited to share their knowledge with visitors. In this context, the programme of the Trend Stage corresponds with the trend forums “Materials & Nature”, “Function & Components” and “Textile & Machinery”, which show how creatively the furniture supplier industry is reacting to sustainable requirements.

Neo-ecology will feature as a leading theme of Interzum 2023 on the Trend Stage. Here, both well-known experts and young designers and start-ups aspiring to create a transparent, regional and sustainable circular economy are given a platform.

Since the majority of a product’s ecological impact is determined by its design, there is enormous potential here for the transformation towards circularity. A number of presentations on the Trend Stage specifically address how circular-economy products are designed and manufactured. However, circular design presents an opportunity not only for more sustainable product design, but also for new business models.

In our fast-paced times, however, design must also adapt to current requirements changing more rapidly all the time. The Trend Stage will explore how societal trends are influencing our habits, or how various lifestyles are having an impact on interior design. Psychological factors also play a part here, as do the latest furnishing trends.

Digital transformation provides another area of focus in the programme of the Interzum Trend Stage. Refined technologies open up new possibilities in design and in the production of furniture components. Through the use of 3D technology, high-quality surfaces, for example, can be produced without the use of chemical materials. Digital processes are also automating the production of images and ensuring that they can be made available for individual customer requirements and product variants. Thus, with augmented reality, for example, furniture can be positioned three-dimensionally in space without having to actually be on site.

You can find the current programme of the Trend Stage here.