Herman Miller’s Singapore launch of Yves Béhar’s SAYL Chair on Tuesday 15 February was complete with models and ballerinas en pointe, demonstrating the lightness and ease of movement of the chair’s revolutionary design.
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In the first instalment of our three-part series exploring what it means to sit your best, we pose the question to Gray Puksand’s Dale O’Brien, who discusses the importance of ease and majority rule when it comes to sitting and reveals why specifying a task chair is not unlike choosing a Volvo.
In the second instalment of our performance seating three-parter, we turn to DKO’s Michael Drescher and Jacob Olsen to peek behind Sayl’s confident architectural form and explore the ideas of inclusivity, adaptability and freedom to move as hallmarks of what sitting your best actually means.
Stepping into Intuit’s Sydney workplace certainly doesn’t feel like walking into an office. Why? In this film, we discover that, when joy takes precedence as a design driver, even a high-performing commercial CBD headquarters can feel like an intuitive wonderland that invites employees to choose their own adventure.
In the last instalment of our three-part performance seating series, Alex Bain from Architectus explains why sitting well shouldn’t feel like sitting at all and explores an unexpected success metric of the hybrid workplace: the grounding power of emotional support.
With an increasing focus on yong designers, green design and conferences, ICFF in an inspirational event.
Kumamoto Artpolis is an ongoing project in architectural culture begun in 1988 in Kumamoto Prefecture, Japan. Exhibition at Queensland University Technology, until 27 July 2008.
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Phaidon’s ‘Atlas of Never Built Architecture’ is a thought-provoking romp through the counter-factual architectural imaginary on a global scale.
As Saturday Indesign prepares to return to Sydney this September, architects, designers and exhibitors reflect on what has kept the event relevant for more than two decades.
Aeron Chair’s new shades, Nightfall and Jasper, arrive with a sense of quiet cohesion – no bells and whistles, no loud technicolour; just two timeless, perfectly versatile near-neutrals. But the new hues aren’t just about colour – and their significance is much more profound than their surface-level subtlety might suggest.