Showcasing design in a spellbinding, ephemeral way, the Lexus Design Pavilion at the Melbourne Cup never fails to disappoint, as Annie Reid reports.
November 23rd, 2017
Rising high above the rest in Flemington’s Birdcage this year, the 2017 Lexus Design Pavilion proved once again its racing pedigree.
There was plenty of marquee competition too: Mumm’s 59-foot yacht opposite and Kennedy’s $2m worth of diamonds, which were not far away. But for sheer, sophisticated glamour and lush luxury, Lexus’ contribution this year was a cut above; soaring three levels high.
Seasoned Birdcage visitors will have recognised its impressive structure. It was the third year – and final, we believe – featuring eco-warrior Joost Bakker’s Futurecave design.
The modular skeletal design offered full-glazing on level one, transitioning to openable, louvred windows on level two, which allowed for cross-flow ventilation.
But it was level three where the sustainable design really took flight – consisting of an open space with a rooftop terrace that harnessed energy and nutrients to grow food, as well as mitigating heat island effects and stormwater run-off. Bakker is currently working to create more Futurecaves in the small Victorian town, Kallista, next year.
Studio Etic’s Emilie Delalande created the interiors inspired by the richness and concepts found within the new Lexus LS sedan, which was displayed on level one for the first time in Australia.
Delalande took guests on a visual journey through the space with a sensual array of materiality including three-dimensional wall panelling and a colour palette of deep plush and gold elements, each level oozing with lashings of velvet bathed chairs and banquettes.
A series of floral installations by floral artist Dr Cooper was also inspired by the craftmanship of the interior and exterior finishes of the Lexus LS. Textured feathers encircled a flowery sculpture on the first level to set the scene, referencing Flemington’s garden roses.
Finally, industrial designer Henry Wilson created a colourful custom light installation within the double height stairway, inspired by the cut glass, brass and leather upholstery finishes of the car. Wilson is also a Lexus Ambassador; after attending the Lexus Design Exhibit during Milan Design Week.
As the guests flocked and the champagne flowed, food was never far away thanks to the restaurant on ground two. Those lucky enough to secure an on-the-hour booking were treated to a four-course meal by Attica’s Ben Shewry, and executed by Zac Nicholson, head chef of Rockpool Melbourne.
While the strawberry mascarpone cake was the clear highlight – a Neil Perry signature Rockpool dish – the outward facing dessert bar by Caroline Khoo of Nectar & Stone was also bathed in complementary touches of pink and gold.
And it’s clear that 2017 was a job very well done indeed.
INDESIGN is on instagram
Follow @indesignlive
A searchable and comprehensive guide for specifying leading products and their suppliers
Keep up to date with the latest and greatest from our industry BFF's!
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.
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.
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.
Rodney Eggleston, Australian architect and founder of March Studio, designed one of Milan Design Week’s standout installations in 2026 as Aesop took over Santa Maria Del Carmine for its ‘Factory of Light.’
Arts writer and editor Victoria Hynes reports on the breadth of this year’s Venice Biennale, drawing out highlights from national pavilions including Australia, Morocco, India and the UK.
The internet never sleeps! Here's the stuff you might have missed
Somewhere in the rush toward efficiency, we lost something beautiful.
Twenty years after its founding, Muuto used 3daysofdesign to look beyond the idea of novelty and towards a more reflective future for Scandinavian design.