Commercial and creative interests don’t always go hand-in-hand, and often a designer’s curiosity to truly change spaces and people is forgone for the more conservative or – more blatantly – cost-effective option.
June 15th, 2015
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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.
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.
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.
Yves Béhar collaborates once again with Herman Miller to create the first fully suspension back chair.
Expanding on his published collection of essays, Richard Francis-Jones curated a stimulating discussion about what elicits an architectural response.
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Designed by JPE Design Studio with Warren and Mahoney and cultural creative designer Karl Winda Telfer, Adelaide Aquatic Centre — Kauwingka — recasts civic leisure as landscape, gathering place and cultural story.
Led by SJB, Newcastle Quay is imagined as a mixed-use waterfront precinct where housing, hospitality, public space and heritage work together to reconnect Newcastle with its harbour.