Review: John Wardle installation in Venice

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By Penny Craswell

If the purpose of architectural installations is to explore ideas, experiment with new materials and test new forms, then the installation “Somewhere Other” currently on show in Venice has well and truly achieved its brief. John Wardle Architects was one of only two Australian architecture studios (along with Room 11) selected to show as part of the 16th International Architecture Exhibition at the Venice Biennale of Architecture and worked with a range of collaborators on this work.

Somewhere Other by John Wardle Architects and collaborators. Image: Peter Bennetts

The exhibition theme this year, across both this exhibition and the whole biennale, is “Freespace”, through which curators Yvonne Farrell and Shelley McNamara of Irish studio Grafton Architects raise questions about how people relate to buildings and vice versa, what is private and what is public space, and what is the architect’s role in this equation.  Read more →

Object Stories: Jolly light by Kate Stokes

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By Penny Craswell

The new Jolly light by Melbourne designer Kate Stokes is all about round, joyous geometries. Translucent hand-blown glass forms a bold half sphere, while its solid metal shade creates a more introverted profile in matte black, eucalyptus, burgundy or polished brass. In the wall light variety, this shape hugs the wall, whereas in the pendant variety, it sits at a jaunty angle from straight metal rods.

Jolly light by Kate Stokes was launched at ICFF in New York alongside SIA chair by Tom Fereday. Photo: Mike Baker

 

Launched at the recent International Contemporary Furniture Fair (ICFF) in New York, the light is produced by Australian design brand NAU, which also launched the SIA chair by Tom Fereday at the same event, presenting an Australian design showcase to the world stage.  Read more →

Review: Hope to Nope: Graphics and Politics 2008-18

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Guest contributor and European correspondent Lara Chapman visits the ‘Hope to Nope: Graphics and Politics 2008-18’ exhibition at the Design Museum London.

A visual cacophony of objects including memes, posters, videos, balloons and even a fortune-telling machine come together in a narrative of power and protest at this exhibition. The eclectic collection of pieces traces the turbulent political climate of the past decade and the graphic milestones that have shaped, defined and resisted events in this period. The exhibition also charts recent technological developments and their effect on the production and dissemination of media. Graphic design is presented as a tool that can be harnessed by both the most powerful corporations and the most marginalised groups of society.

Women’s march Washington DC, January 2017. Part of Hope to Nope exhibition at Design Museum London. Images: Chris Wiliams Zoeica

The title of the exhibition references the iconic ‘Hope’ poster designed by Shepard Fairey for Obama’s 2008 election campaign and various appropriations of this, including the viral ‘Nope’ memes of Trump. Between these two moments of American politics, the world has been shaken by a series of charged situations including the Occupy Movement, The Arab Spring, refugee crisis’, LGBT rights, and climate change, which are all represented in the show. Read more →

Garden Wall installation + NGV Triennial

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By Penny Craswell

Visiting the National Gallery of Victoria during Melbourne Design Week and the NGV Triennial of Art and Design last month, I was struck by the investment in design, architecture and art that is currently ongoing at the NGV, and the NGV Architecture Commission, now in its third year, is a case in point.

“Garden Wall” by Retallack Thompson and Other Architects, NGV Architecture Commission. Photo: John Gollings

Designed by Retallack Thompson and Other Architects, this year’s installation / architectural insertion is called “Garden Wall” and features a simple white fence that runs 250 metres and divides the garden into a series of “rooms” – each rectangular and permeable due to the perpendicular, semi-transparent character of its mesh walls. Read more →

Object Stories: Potter DS Lights by Bruce Rowe

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By Penny Craswell

Designed by Bruce Rowe from Melbourne’s Anchor Ceramics, the Potter DS is a series of lights made by hand in the studio using traditional pottery techniques.

Potter DS wall light designed by Bruce Rowe of Anchor Ceramics. Photos: Haydn Cattach taken for Rakumba Lighting

A simple vertical cylinder of clay forms the wall format of the Potter DS, with a subtle indentation in its body giving it the appearance of having two segments. A slit provides an opening to the light source within that glows against the wall behind. Read more →

Watermelon Sugar digital art by Pamm Hong

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By Penny Craswell

Singapore-based designer Pamm Hong spoke at the Museum of Applied Arts and Sciences as part of the Sydney Design Festival earlier this month.

Watermelon Sugar by Pamm Hong, Sydney Design Festival


A digital artist whose work spans design, technology and science, Hong’s latest work, Watermelon Sugar, is a digital artwork created through a scientific approach to data collection. Read more →

Review: Little Bonny’s chicken shop

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By Penny Craswell

A French-style interior in a chicken shop and cafe in Sydney uses layered geometries to create an inviting space for diners. Interior design studio Luchetti Krelle were appointed to bring a fresh and modern take on the classic Australian chicken shop in this suburban shopping mall in Menai in Sydney’s South.

Little Bonny's chicken shop by Luchetti Krelle. Chairs by Design by Them. Read more on The Design Writer
Little Bonny’s chicken shop by Luchetti Krelle. Chairs by Design by Them. Photo: Anson Smart

Their approach makes use of a variety of textures and colours layered to create a sense of elegance that is also calm and inviting. Concrete, terrazzo, timber and copper all feature in this interior, with bespoke lighting, joinery and upholstery adding to the character of the space. A white backdrop is given depth thanks to pale pink, navy blue, duck egg green and warm mustard yellow. Read more →

Object stories: Beraking table by Jack Flanagan

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By Penny Craswell

This unusual design replaces traditional table legs with three large balls that allow the table to roll across the floor. Perth furniture designer Jack Flanagan was inspired by ball bearings, and in particular by the spherical stones that make up the gravel roads in Western Australia and create a slippery surface for rally car drivers.

Beraking table by Jack Flanagan. Photo: Toby Peet. Image: The Design Writer
Beraking table by Jack Flanagan. Photo: Toby Peet

“[These stones are] completely unique to the south west of Western Australia,” Flanagan explains. “I was interested in the way in which, when driven on, it becomes very slippery due to the spherical stones rolling over the hard compact base. I became well experienced with this sensation in my past as a rally driver.” Read more →

The history of violet: Artificial Regality by Naama Agassi

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By Penny Craswell

The history of the colour purple has led to its high value prior to synthetic production, meaning it has had long associations with royalty, the church and power. This is the subject of designer Naama Agassi’s latest colour research, called Artificial Regality.

Imperial Purple by Naama Agassi. Photo: Talia Rosin

According to Agassi: “In the past, the purple was a coveted colour used to denote wealth and power. This is because until it became artificially manufactured, its production was a lengthy and laborious task. It took as many as 250,000 snails to yield just one ounce of usable dye. As always in design, supply and demand generate desire and prestige. Read more →

January reading list: Design and architecture

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By Penny Craswell

January is an excellent time of year to catch up on reading, including those design and architecture books you accumulated during the year but didn’t have time to read, or those you were given for Christmas. Here’s my list.

My January reading list, 2018, Penny Craswell, The Design Writer
My January reading list, 2018

Hello World by Alice Rawsthorn (2013)

At 288 pages, this is a book that can be read straight through like a novel, or dipped into as you like. With chapters like “What is design?” and “Why design is not – and should never be confused with – art”, the book addresses the basics of design in a style that is both straightforward and instantly engaging, but Rawsthorn’s examples are its true strength. Her journalism background means she draws from every element of life, describing, for example, how the pirate flag was an example of early communication design (page 29-30). Thought-provoking reading. Also don’t forget, her new book Design as an Attitude is out this year. Read more →