Broadsheet was launched by Nick Shelton 10 years ago (!), with the aim of giving a platform to Melbourne’s local food, culture and shopping scene (you can hear more about Broadsheet’s origin story in our podcast episode with Nick here!). Since then, the media mogul has expanded to cover Sydney Adelaide, Brisbane and Perth, and has undoubtedly become a huge part of Australia’s media landscape. A pivotal part of bringing these stories to life has been Broadsheet’s photography, which has captured the food, culture, style and design landscapes of Australian cities at this time. And now it’s the photographers’ time to shine!

This month Broadsheet have launched Broadsheet Editions, an online store, featuring over 100 photographic prints by exceptional photographers, who have shot for Broadsheet over the last decade. The idea is that Broadsheet Editions will be an evolving platform, frequently updated to include more images from a range of different photographers, that are available to purchase framed + delivered to your door by Format Framing.

Nick explains, ‘Broadsheet Editions is another way we can engage with our readers and enrich their lives in a tangible way – by allowing them to take a piece of their city home in the form of beautiful photography.’ All prints are available in five sizes and are printed on 300gsm 100 percent cotton rag stock.

The stellar line-up currently includes Linsey Rendell, Gareth Sobey, Kate Shanasy, Michael Woods, Jessica Wyld, Peter Tarasiuk, Rebecca Mansell, Jake Roden, Nikki To, Pete Dillon and Mark Roper, launching in a celebratory exhibition this weekend open to the public at Capi HQ in Windsor.

Check out their website to see the collection, or scroll through the Instagram account to watch as new photographers and imagery are added!

Broadsheet Editions framed photographs range from $220 to $2400 and will be available from mid-October, www.broadsheeteditions.com

Broadsheet Editions
11am-4pm
Saturday 19th + Sunday 20th October
Capi HQ
15 Albert Street
Windsor, Victoria

The Farnsworth + Miller exhibition at Fini Gallery sees photographer Derek Swalwell turns his camera lens on two mid-century architectural icons in North America. The celebrated Melbourne photographer describes the modernist era as a period that ‘never stops fascinating photographers’ due to the clean lines and elegant proportions that typify homes of this era – and this exhibition brings together two of the best!

The first port-of-call for this project was the Farnsworth House, a long-term-love of Derek’s. He explains ‘It just fascinates me, this super modern minimalist art installation sitting in the middle of these heavily treed woods, it’s just high art at its finest.’ While the internet is flooded with images of this sleek Mies van der Rohe weekender, that hovers in the landscape, Derek wanted to ‘shoot the house in the most pure, architectural language I could.’

Derek was granted two full days of access to the Farnsworth House, which allowed him to capture the changing light throughout the day, including the surrounding perimeter of trees, and the fall of dusk at the end of the day.

As a companion to the revered 68 year old Farnsworth house, Derek also captured Eero Saarinen’s Miller House in Columbus, Indiana. Here, the photographer captures a moment in time, that reflects the museum-like quality of this historic icon. Due to tours through the site, this shoot was a speedier affair, but still allowed Derek the opportunity to bring his exacting eye to another mid century icon!

Farnsworth + Miller
October 25th – November 7th
Fini Gallery 
51-57 Cubitt Street 
Cremorne 3123
Victoria 

It’s not often we come across a project where not a single structural or semi-permanent change has been made! Without so much has replacing a tap or painting a wall, Cedar + Suede have effectively revitalised this Brisbane federation home for a new era.

The owners of this late 19th century property in Toowong, Brisbane, wanted to retain the high ceilings, decorative windows and Queenslander doors, while introducing a contemporary feel suitable for their young family. ‘Homes of this period have character in spades, which takes the hard work out of the styling process,’ says Cedar + Suede director Carlene Duffy. ‘I love that the end result is a nod to the origins of the home, but with its own spin.’

While the existing character of the home offered plenty in the way of decorating inspiration, this also proposed some challenges. Instead of the open-plan living spaces we’re accustomed to today, the layout of this home contains defined rooms, that can be tricky to furnish without disrupting how residents naturally move throughout the space.

‘The abundance of doors and windows actually limited me in terms of furniture placement, so I had to think smart,’ Carlene says. ‘I wanted to maximise seating in the living room without making it feel cluttered, and the sofa had to fit to the millimetre. The round dining table was key to promoting fluidity in the space, and the fact that we found one in the perfect size without having to have it custom made, was a real win.’

Carlene was also inspired by the home’s location, which was similar to an area she daydreamed about as a child. ‘There was something so familiar about this Queenslander in its treelined suburban setting that felt like home to me,’ she says. ‘The quaint sized house on the large block with big backyard triggered happy nostalgia.’

Prints by local photographer (and TDF contributor!) Kara Rosenlund feature in the bedrooms, setting the colour scheme and tone for each space. ‘I love Kara’s Australian themes and the fact that she’s a Brisbane local is a bonus,’ Carlene says. The addition of cane furniture further pays homage to the north Queensland climate and its laidback aesthetic’.

This now complete home is perfectly described by Carlene on her Instagram, where she writes: ‘This home is special in its unpretentiousness. It reminds me of a simpler time. It feels like the home has opted out of the bigger and better race and is entirely comfortable in its own skin – stoic and unperturbed by the fast world and changes happening all around it. It makes me want to take a big deep breath.’

For creative couple Andrew Beveridge and Gabrielle Beswick of Coburg North-based furniture design studio Fomu, the transition to working together full time was organic. Andrew was the first of the pair to pursue furniture design, a decision that Gabby supported wholeheartedly. ‘I really loved the idea of us having a business together, and for Andrew to be able to do what he loved every day’, she says.

When Andrew started working on his first few designs, he would often come to Gabby (who had been working in the fashion industry for several years) for another perspective. ‘As I was already interested in designing, I naturally just started helping out’, Gabby explains.

Today, Andrew and Gabby are co-creative directors/designers of Fomu Design. Drawing inspiration from creative disciplines, such as visual art and sculpture, the pair have produced a refined collection of seating and side tables, with a memorable, contemporary yet understated aesthetic. A Fomu piece has that timeless quality that will make it instantly at home, wherever it is!

While the signature Fomu stools and side tables reflect the core of the brand’s collection, the Odie chair – a stackable American Oak chair with rounded edges and distinct arched shapes – is surely the standout piece from the young brand. This deliciously soft, supple yet sturdy silhouette recently earned the Odie a commendation in the Furniture Design category in last month’s TDF Design Awards: an achievement that reminded the couple just how much they had achieved, together. ‘Sometimes you can easily forget how far you have come and it really reminded us of how hard we have worked’, Gabby elaborates. ‘We spent so many hours developing The Odie chair and it was a truly amazing way to be recognised’.

All Fomu products are made in Australia, and the materials are ethically sourced – a key priority for the brand. ‘Our products have been designed to create very little wastage through smart manufacturing’, Gabby explains. The timber used in Fomu ranges are sustainably sourced through selective harvesting, ‘this means a smaller numbers of trees are harvested per hectare, allowing remaining plants to naturally regenerate the forest’, Gabby explains.

With a focus on simple form and function, Andrew and Gabby are ultimately ‘designing a lifestyle’ – both for their customers and themselves. ‘We’re designing pieces for someone to enjoy for a long period of time’, Gabby tells. ‘I just fell in love with what we created together and the life we wanted to create for ourselves’.

Look out for Fomu’s new collection, to be launched early next year!

This garden in Bellevue Hill by Spirit Level Design started with a very simple and clear brief from the client. Director Hugh Main describes how the first engagement with this owner came with the succinct statement ‘I have a garden that is not really working, can you help?’ From this humble request, the landscape designers brought the garden to life, to reflect the Japanese minimalism of the home, with an Australian twist.

Hugh explains that the design of the garden reflects the restraint of the home, but with softened edges, and nestled into the hillside. He describes ‘we have translated elements from a zen garden, and created a space that is tranquil and quiet.’ In addition to reflecting the mood of the architecture in the garden, the design encourages connection between inside and outside with expansive doors that connect the outdoors with the dining room, living room and kitchen. Hugh highlights ‘once the doors are open, it feels as though each room has its own framed view of the garden.’

In the garden, local sandstone is used for all paving and walls, softened by organic farms of planting. The garden is entered by walking through sandstone walls to a courtyard of smoke bush and ivy. Moving through the home and into the backyard, the space opens out to the glow of a turquoise pool, and ‘the garden wraps around the space, offering privacy and intrigue’. Hugh describes how the recurring forms of grey, silver and green ‘blur the lines between the house, pool and the property boundaries.’

The design offers plenty of space to lounge on the daybeds by the pool, or have a drink of the terrace outside the bedroom and enjoy the view over the garden, rich with Helychrisum petiolare, Raphiolepis intermedia, Raphiolepis Oriental Pearl and Elaeagnus pungens. The green, grey and silver foliage of these plants shimmers together, providing a serene outdoor experience.

After living in this 1960s single-bed apartment perched on the Clovelly cliff tops for a few years, architect James Garvan decided to take matters into his own hands. ‘We loved its intense connection to the ocean and landscape, but the internal configuration drove us mad’ he says! James and his partner had already embarked upon some major life milestones in their almost-dream home – they were married in the front yard – but just before the arrival of their first baby, James and his wife gave their seaside gem a complete overhaul, to ensure many more memories to come.

‘Being your own client is HARD’, admits James. ‘Suddenly, all your decisiveness goes out of the window and a simple exercise like choosing a loo-roll holder becomes agonising!’ Despite the challenges (the loo holder being the least of concerns, considering this extensive modification was made to a first-floor unit in a four-storey building!) James has created a serene space to nourish his growing family.

The inspiration and references for this project were born out of its cliff-top context, and the way that the couple like to live; ‘connected to the landscape, socially active and sometimes reclusive.’ In order to completely reconfigure the floorplan, ten of eleven load-bearing walls were removed and replaced with expressed steel beams. These beams are left exposed, a nod to the remnants of the previous floor plan.

A functional joinery wall with a series of ‘secret’ pivoting panels divides the private spaces from the public spaces, and anchors the kitchen/dining/living spaces against the ocean view backdrop. While the bedrooms and bathrooms are immediately adjacent to the living spaces, these panels cleverly conceal any clues of what lies behind – a genius solution for clear zone delineation on a small footprint!

The original 1965 floorplan was a classic reflection of its era – the kitchen was at the back of the house, rooms were small and compartmentalised, and access to the ocean views was limited (can you imagine NOT making the most of these views!?). The new floorplan prioritises the living spaces and creates a strong connection to those spectacular vistas, as well as ample access to natural light.

Limited floorspace in the 62sqm apartment (and the fact that existing windows could not be modified) required some seriously efficient ideas to maximise every inch of space. James incorporated joinery units throughout the home, with every unit either displaying objects or concealing them. An additional layer of personality is brought to the project via the various object displays throughout the home. The central joinery display that nestles between the steel beams overhead not only provides an opportunity to showcase treasured pieces, but softly divides the dining and lounge spaces, without losing connectivity between them.

‘This project was an opportunity to strut my stuff, to create something that embodied my design principles and ambitions,’ tells James. ‘But ultimately, I just wanted a home that intuitively felt good’. And what a triumphant result!

Graphic designer and gallerist Holly McCauley, and her cabinet maker husband Nich Zalmstra had lived in the ‘rainbow region’ (Northern Rivers of NSW for the uninitiated!) since 2010, and are committed fans of the area. After initially seeing this place on a drive-by scouting mission, the pair both agreed ‘it wasn’t worth even going to the open house, it was such a dump.’ It was only once they realised the limitations of their budget, that they reassessed the property, and saw the potential of making this humble shelter into a home.

Placing an offer – without even seeing inside – was also hastened when the couple learnt they were expecting their first baby! This excitement was a little dampened once they received the keys, as Holly describes ‘we hated the look of it!’ Over the past 3.5 years, thought, Nich has put his apprentice cabinet making skills to the test, transforming this gloomy 80s fibro kit home into a place the whole family loves.

The initial tasks were taming the garden, dismantling a rotting backyard yurt (!), adding a fresh coat of white paint, creating a new deck and removing the old carpet. After that, Nich arduously polished the concrete slab with a hand grinder (!),  added new kitchen storage and a new bathroom, and paneled all the interior walls with VJ board. While the family hasn’t made any major structural changes yet, with baby number two on the way, they are hoping for a loft bedroom in the near future.

At 60sqm, the small footprint of this home makes it more like a granny flat than a family house, but Holly explains that is it ample for their living style. The interiors balance the simplicity of plywood, white paint and concrete with the couple’s vibrant collections of mexican blankets, artworks, surfboards and special trinkets. Holly highlights ‘I don’t know what kind of category it fits into, but I like to think our home reflects us, where we have been and how we like to live.’

After a childhood of moving about and many years hovering in share-houses, it took Holly a moment to feel settled in being settled! But she describes that the sense of home is ‘now what I feel most grateful for.’

The family definitely feel fully settled here, both in their small home, and in the region as a whole. Holly concludes ‘There is something pretty magical about this part of the world beyond its pretty beaches and easy lifestyle – and we try to embrace all of it, as often as possible. We met each other here and are raising our kids here – this pocket of the world certainly has our hearts.’

Natural light is always going to make a space look beautiful, but we can’t all have gorgeous big windows and actually, some spaces are just perfect when they are full of shade and mood – and lamp lighting is a great way to achieve that.

I’m afraid that downlights are absolutely not the way to light your home; let me explain. If there are a grid of downlights on the ceiling, they light up the floor and not the room. A light source from above casts a shadow over our heads and that’s not a flattering light. So rather than lights from overhead, light from the side is a much better solution. It also creates a textured lighting effect in a room, which means atmosphere and all the feels.

Living Room

The living area is a space for many activities; reading, entertaining, watching TV or just hanging out, so we need different types of lights to suit.

The main types of lighting are: task, ambient and accent light. We need task lighting for reading, ambient (or general) light for creating atmosphere and accent light to highlight a gorgeous artwork on the wall. As well as providing light in the space, lighting adds a beautiful decorative element and should look beautiful when on or off.

1. Cesta lamp, Sant & Cole

This lamp gives off the most gorgeous warm glow from its organic shaped glass globe, encased by a handmade cherry wood frame. It’s a perfect, timeless lamp!

Available from Ajar.

2. Kizu table lamp, New Works

This special lamp combines solid marble with glass in a way that they seem to defy gravity!

Available from District.

3. Honey lamp, Coco Flip

The perfect compact lamp to fit on a shelf, designed and made locally!

Available from Coco Flip.

4. Semi Circle lamp, HK Living

This eye-catching lamp has a ribbed marble base and unusual semi-circle shade and snuggles in brilliantly on a narrow shelf.

Available from House of Orange.

5. Column lamp, Menu

If you need a light in the middle of an open-plan space, but don’t have access to a powerpoint, then cordless lamps are the perfect solution. The column lamp by Menu is chargeable!

Available from The Apartment by sisalla.

6. Buds 2 table lamp, Foscarini

The rounded silhouette of this gorgeous lamp paired with its warm glow adds a beautiful softness to any space!

Available from Space Furniture.

7. Theia lamp, Marset

The Theia lamp is absolutely irresistible to play with. The two half-spheres swivel on an axis, which allows you to point it towards you for use as a reading lamp, or towards an object or a wall, creating a subtle, indirect light that immediately warms the atmosphere.

Available from Ajar.

Entry

A gorgeous lamp at the entry gives a stylish first impression when friends come over. It says, ‘you’re a real adult now’. A light here needs to be functional so that you can find the important daily stuff that gets stored here, and it also needs to look fab. A sculptural light here works really well.

8. Atollo lamp, Euroluce

If timeless style is something you want to exude in your entryway, then this is it! The Atollo looks equally stunning placed on an fine French Louis XV commode as it does on a contemporary design. The reduced geometric shapes are perfection.

Available from Euroluce.

9. Prometheus IV table lamp, Christopher Boots

A light in the entry like this Christopher Boots stunner is guaranteed to make you smile every. single. time you come through that front door. Another stunning made-in-Melbourne design, too!

Available from Christopher Boots.

10. Attalos table lamp, Marz Designs

This stunningly restrained light with classical architectural lines is made with a solid brass base in Australia by Marz Designs.

Available from Marz Designs.

11. Helios Table Light, Workstead

A gorgeous brass and marble lamp that is the perfect combination on a sculptural form and functional light.

Available from In Good Company.

Bedroom

If you read in bed, then you’ll know how difficult it is to find the prefect reading lamp. It should direct the light with a narrow beam, so that it doesn’t affect your partner, yet shouldn’t look like a weird desk lamp. It needs to be dimmable and adjustable.

12. Phare lamp, Menu

The Phare lamp is a simple yet stunning lamp with a small footprint, perfect for a petite bedside table.

Available from the Apartment by sisalla.

13 & 18. Flowerpot, &tradition

The Flowerpot has the right amount of whimsy and design cred. It provides soft, indirect light and comes in gorgeous colours.

Available from Great Dane.

14. Don Giovanni, India Mahdavi

A gorgeously feminine design that will be the centrepiece of your bedroom – you’ll feel happy every time you see it!

Available from ALM Studio.

15. Chipperfield lamp, Eurolace

This is the perfect bedside lamp, it suits the bedtime reader and it also looks stunning. The light can be dimmed and directional so it doesn’t disturb your partner.

Available from Eurolace.

16. AJ Table lamp, Louis Poulsen

A sleek twist on a classic shape, the AJ Table lamp was originally designed in 1960 for the SAS Royal Hotel Copenhagen. Emitting downward directional light, the angle of the shade can be adjusted to optimise light distribution. Win win!

Available from Cult.

17. Moni lamp, Articolo

The lamp that started it all for Melbourne lighting studio Articolo, the Moni table lamp shape is both modern and timeless!

Available from Articolo.

Every Basil Bangs product has initially been inspired by a problem. The brand’s signature beach umbrellas, for example, came about when the co-founder Krista Huebner was seeking a stylish solution to remaining sun safe while watching her husband and fellow co-founder Mike Durante surf. Later, after the couple married and had children, they began designing spill-proof tablecloths, and totes to suit everyday parenting and weekends at the beach. ‘My three personal criteria when assessing our designs is to ask if it’s going to be a workhorse, be easy to clean, and make me/you look good,’ says Krista,

After almost 10 years in business, Krista and Mike wanted to do something extra special ­– and boy have they delivered! The label has recently teamed up with Sydney icon Ken Done to produce a limited-edition beach umbrella and ‘love rug’ collection featuring the artist’s 2001 December coral garden print.

‘An artist print collaboration with Ken Done has been on the top of our wish list for years…We can retire now!’ says Krista. ‘His work encapsulates for us everything we feel is an Aussie summer: optimism, sunshine, vibrant colour, and being near the water.’ 

December Coral Garden was selected for this collection based on its strong, happy colours. Ken says this artwork was originally inspired by various snorkelling and diving trips to reefs around the world. ‘I hope it captures some of the wonder that you feel when you are under the sea,’ he says.

Like all Basil Bangs products, this collection has been designed with quality at the forefront. Krista says her husband’s shared passion for producing practical, stylish outdoor products is what underpins the entire label. A beach brolly has never been so stylish!

View the Ken Done x Basil Bangs collection here!

When Jade Vidal, co-director of Bower Architecture and Interiors, first encountered this 1960s home in Caulfield, he was struck by the mid-century aesthetic, but could see the need to bring the 20th century past into a 21st century now. The brief was to rediscover and celebrate the home’s original features, and create additional spaces with ‘hints of whimsy and glamour (but not glitz).’ A balance of bringing the past to life, while imagining the future.

Externally, the home maintains its mid-century appearance, and as you walk through the Eckersley Garden Architecture designed front garden, you arrive at the new white geometric screening that references the homes’ original metalwork. Inside, the palette reflects the original materials of the construction era with timber, stone, and glimpses of 60s wallpaper. Jade explains the approach as one of ‘stitching together the old and new, so that a consistent thread was maintained throughout, with both bold and restrained gestures that, when experienced together, felt right.’

The layout has been reimagined to create a kids’ level, with two bedrooms, a family bathroom and retreat, which allows for modern living without dismantling the original frontage.

For the architects, this project was an opportunity to demonstrate the potential of a heritage renovation that builds upon the past, rather than replicating it. The renovations also encourage a strong relationship between the landscape, as part of daily life, as traditionally, mid-century architecture demarcated these zones.

The clients also played a key role in this renovation, working with Bower to select classic modernist furniture to bring a rich final layer to the interior spaces.

From the generous living space to the secret powder room, every aspect of this project considers how to marry the past, present and future. The result? A resolved family home that feels simply like it was ‘meant to be.’

In this episode of TDF Talks, I had such a brilliant and very honest conversation with Lou Bannister, who is one of the original co-founders of Frankie Magazine, and now, co-founder and editor of Lunch Lady, a beautiful quarterly magazine, about family, food, and more.

After creating Frankie, and building it into a phenomenal success between 2004-2014, Lou and her long-time collaborator, Lara Burke, made the difficult decision to leave. Around a year later (after vowing NEVER to launch another magazine!) they stumbled across a blog called Lunch Lady, originally created by photographer Kate Berry. Lou and Lara saw an opportunity to turn Lunch Lady into a magazine – and that’s what they did!

Lunch Lady is now into its fourth year, and just as they did with Frankie, Lou and Lara have built something so unique with this magazine, gathering a loyal following which continues to grow.

Last week Lou was in Melbourne for The Finders Keepers market, and we took the opportunity to FINALLY meet, in her hotel room, and chat about the highs and lows of her career.

NOTES + LINKS

You can Check out lunch lady at here and follow them at @hellolunchlady!

Each issue of Lunch Lady is so beautifully designed, with a refreshing, inclusive editorial voice. It’s full of family-friendly recipes, creative ideas, and insightful opinion pieces. Beci Orpin is a regular contributor, as is our former managing editor Lisa Marie Corso, amongst many other talented people!

Subscribers are so important to indie titles, so if someone in your life needs a great gift anytime soon, a subscription to Lunch Lady could be a great idea!

When Callum Preston was travelling through America visiting family, he was struck by the personal items that littered the homes he was staying in. Items that didn’t mean very much to him, but to their owners were filled with memories, knowledge and material connection. A secret treasure trove, valuable only to the people who know the stories that go with them.

In ‘Everything Is Borrowed‘, Callum continues the ‘making and painting’ process he developed in his 2017 MILK BAR work (where he built a replica of the milk bar he went to as a kid) and welcomes the audience into the stories behind mementos, and those narratives that are often not shared.

The artist has created a room-within-a-room as part of his residency at the Rialto KSR Art Bar in the ‘business’ end of the city – a slight change of setting from Callum’s usual Collingwood studio space. The handcrafted structure is a collection of mixed-media and multi-dimensional works, constructed on site. A museum of mementos.

This space has been open for visitors since October 14th – guests are welcomed in to see Callum physically making the exhibition, in real time. Poke about the old signs, personal sketches, tools, off cuts, ticket stubs, candles, and watch as Callum creates a series of paintings on panels. The resulting exhibition will feature ten paintings that elevate a humble item (e.g. lighter, watch) into hero object, reflecting their hidden value in the owner’s eyes. If you can’t visit in person, you can see the unfolding process via Callum’s instagram updates!

At the official opening on November 21st, visitors can purchase a memento of their own, as Callum is producing 100 small timber trophies. A treasure for visitors to take away, to remember this unique exhibition, and add to your very own collection of beloved ‘stuff.’

Everything is Borrowed
Callum Preston 

See Callum at work, 4pm – 11pm Monday to Friday until opening day.
Exhibition Runs November 21st – December 7th

KSR Art Bar, The Rialto
Enter via 525 Collins Stree
Melbourne Vic

After high school, Steffanie D’Alberto, Creative Director at The Big Group, planned to apply for only science-based degrees with the hope of becoming a forensic scientist. She fell into a visual merchandising degree ‘by accident’ after coming across it at an RMIT Open Day. Up until that point, she had thought of her creative side as more of a hobby. ‘I couldn’t comprehend how doing something this fun could be a serious career’, she reflects.

Before her current role, Steff spent 10 years (!) working with Amanda Henderson at boutique events production company (and total legends) Gloss Creative. ‘It was the most amazing foundation and Amanda is the most inspiring, collaborative and joyful person to work with’, she says. After leaving Gloss, Steff freelanced at a series of creative-based companies, including Flowers Vasette and Fabio Ongarato Design, before joining The Big Group team. ‘I really enjoyed this period as it gave me insight into what I was really looking for in my next permanent role.’ This dream role at The Big Group came up three-and-a-half years ago, and was tailor-made for Steff by co-founders Bruce and Chyka Keebaugh after they’d met on countless jobs that The Big Group and Gloss Creative had worked together on.

A self-confessed hard worker and excellent organiser, Steff shares more about how she landed the gig of a lifetime.

The most important phrase in the get-your-dream-job lexicon is… 

‘I love to work hard, and I’m organised!’  This is literally the phrase I used to get my job at Gloss Creative!

I landed this job by… 

I landed this job after working with Bruce Keebaugh (The Big Group’s co-founder with Chyka Keebaugh) and The Big Group team for years in my prior role at Gloss Creative. I had always admired Bruce & Chyka for the energy they put into everything they do. I initially approached Bruce who, at the time, didn’t think there was an appropriate role from me at The Big Group, but was kind enough to take the time to workshop with me where he thought I could potentially excel. Then, a few months later we happened to sit next to each other at the Art of Dining at NGV and got chatting again. He asked me to give him a call as he thought he could figure out a role for me, and it just went from there.

A typical day for me involves…

I’m pretty fortunate as my job can vary greatly from day-to-day and week-to-week, depending on what projects we are working on. Ideally, I aim to start my day in the office so I can re-group with my team and make sure each of the projects we are working on is evolving and heading in the right direction. We have twice weekly WIP’s where we all come together to discuss new, current and just-completed projects with the whole team. We take this time to brainstorm ideas, how we plan to approach a project and how we feel a project we just executed went. It’s a great way for us to all learn from what each other is doing, and how together, we can create the best outcomes for our clients.

I’ll generally head out for client meetings and site or supplier visits after that. This can range from a site visit at a private property on the Mornington Peninsula, to a client meeting where we present our designs and concepts, or a supplier visit to look at samples, mock-ups or new products relevant to upcoming projects.

The most rewarding part of my job is… 

There are so many aspects of my job that I find incredibly rewarding! The breadth and depth of the projects we work on makes them so inspiring, and the variety constantly challenges you to reset the way you approach them. We are fortunate enough to work evenly across both private and commercial projects. From amazing weddings for 500 people, to intimate dinner parties for 20 guests in our private work, to bespoke designed facilities in The Birdcage at the Melbourne Cup Carnival, major sporting events such as Australian Open & Commonwealth Games and gala dinners for awards nights. We get to work in some of the most stunning locations from historic buildings and iconic Melbourne landmarks to unique private homes throughout Victoria. No two projects, clients or locations are the same.

I get the opportunity to collaborate with so many amazing people! Whether it’s within my own team, which is made up of interior designers, graphic designers, project managers and fellow visual merchandisers, or with the broader Big Group Team where I work with incredibly talented event managers, chefs and venue managers. Depending on the project, we also get the opportunity to collaborate with brilliant artisans including renowned architects, illustrators, furniture makers, lighting designers, ceramicists, florists, landscape designers, photographers and many more disciplines. I learn so much by working with designers from different disciplines and each time it gives you a new perspective on how you approach your work.

Then there’s the fleeting nature of event design! No project we work on ever has a lead time of more than 12 months. The majority of them are roughly 6 months or less. I love how a project comes in with a firm end date and it takes all your creative and collaborative skills to execute it. You finish the project and get to stand back and watch guests just enjoy it before you pack it all away, as though it was never there. All that’s left are the photographs and memories of a good time.

On the other hand, the most challenging aspect is… 

Balancing creativity with commerce is probably the hardest aspect of my role.  You need to dream big and shake off the boundaries of the brief to ensure you put all your best ideas on the table in the beginning.  Then, as the parameters of the brief come into play, you need to manipulate and craft the design to work within the boundaries set.

I constantly say to my team that nothing worthwhile is ever easy, and I find the greatest creativity comes from when you are trying to fuse creativity and commerce.

The culture of my workplace is…

Fun! Even when it’s the most stressful of days, the culture at The Big Group is one of true team spirit.  You never feel like you are going through anything alone, and always have a team around you to pump you up.  We are really lucky as we are creating environments that are designed for people to have a wonderful time in, and often creating some of their happiest memories.  That’s pretty special!

The best piece of advice I’ve received is… 

You are only as good as the team around you, whether that’s your client, direct team or suppliers.  The relationships you develop and the trust you build with these people ensure the success of the project.  I’m incredibly lucky to have had a series of amazing mentors who have all practised this approach, they have shown how long-standing collaborative relationships, built on respect and mutual appreciation, flourish to create outstanding work.

Over the last few years my workplace has changed…

Over the past three and half years at The Big Group I’ve been fortunate enough to evolve and grow the creative team to bring in a variety of specialised skill sets that have given us the opportunity to take on larger more complex design projects.  It’s an exciting time for myself and our team, as we are starting to work on some truly unique and amazing projects.

In the next few years I’d like to…

A big aim for myself and the team is to work on major international events.  As the team continues to grow, I would love to expand the skill sets within the group even further with specialists in technical production, lighting and 3D rendering, as this will give us even greater opportunity to push creative boundaries and create truly incredible experiences.

The new addition to this Elwood home by Pipkorn Kilpatrick was inspired by the family’s desire to make the most of their backyard and entertaining space, and create a space for leisure time by the pool with friends. The design respects the restrained and elegant style of the existing California bungalow, and continues these clean lines into the backyard space. The entertaining area comprises a new dining area, connecting to the outdoor fireplace and BBQ zone, pool, pool house and garage.

The pool house is fully kitted out with pool table, kitchenette, bathroom and projection wall for summer movie nights (dream!).  This space is housed within the footprint of the pre-existing garage,  and the architects highlight the challenge of making the space feel generous, and not-like-half-a-garage! This was achieved by creating a high raked/panelled ceiling with large exposed timber joists and steel supports. Enormous aluminium sliding doors disappear into wall cavities, creating a sense of expanding space.

The design cleverly encourages connection between the main home, garden, and pool house – especially through the use of concrete flooring in the new space, and stone pool tiles to create a sense of continuity. Soft terrazzo tiling in the dining room runs into bluestone tiles in the outdoor BBQ area. All this is softened with subtle, layered plantings selected by the team at Kate Patterson Landscapes. Summer is sorted!

The idea of ‘manifestation’ is pretty simple. Rhonda Byrne, the author of the international best-selling book The Secret, famously espoused the notion that if you think long and hard about something you want, it will eventually appear in your life. Unfortunately, The Secret didn’t work for me when I wished to have a boyfriend with one blue eye, one green eye by my 18th birthday. But for others, manifestation has yielded impressive results.

Take Tracey Lester, the owner of today’s ‘Good Room’, for instance. She knew her Fitzroy dream home was her dream home before she even stepped inside. ‘I always wanted to buy this house,’ she says. ‘I lived in the area and always walked past waiting for a for sale sign to go up, and it never did, so I just waited for years.’ Tracey loved the square shape of this warehouse building, and the fact that it was positioned right next to a park… but she especially loved that it was in Fitzroy – the suburb she’s lived in since 1990.

I ask her if she’ll ever leave the neighbourhood. ‘This community is part of my life now, it’s right on my door step.’ She describes Fitzroy as being ‘rough as’ in the early ‘90s. ‘You’d see all kinds of things, like people selling stolen goods out of their car boots,’ she says. ‘These days there’s more leisure wear but in the 1990s you wouldn’t be caught dead leaving the house in your yoga pants.’

It was also the social hub for Melbourne arts scene. Tracey was a fine art photographer, and she and her mates would spend much of their time along Gertrude and Johnston streets. ‘There weren’t many places to go, so everyone would end up at the same places at night and see each other the next morning eating eggs.’

Tracey in time ended up becoming Fitzroy hospitality royalty in her own right, emerging as one of Melbourne’s most successful pub and bar owners. Returning to Melbourne after working in hospitality in London, she ran her father’s restaurant, before co-running The Builder’s Arms and eventually opening her own pub, Yelza. ‘The original plan was to run the bar as an art practice and change the interiors every month… I was dreaming!’ She quickly learned running a business was ‘not as glamorous’ as she imagined. ‘I didn’t realise I had to vacuum the floor and clean the toilets every night,’ she laughs. But she persevered, opening The Windsor Castle Hotel in 2001, then The Carlton Club in 2006, and is currently renovating her latest pub – The Gertrude Hotel.

But back in 2005, two weeks before taking over the iconic Swanston Street building which would become The Carlton Club, Tracey finally became the owner of the Fitzroy warehouse she had been manifesting for years. It was no surprise to her. ‘I was willing to wait as long as it took,’ she laughs. There were a few tests of fate before she got the keys! ‘I remember a couple coming into Yelza once, celebrating the sale of their home, and when I asked where they lived they told me it was the warehouse!’ Another time a friend took on the lease and when it was time to move out, she thought she’d be able to swoop in, but the owners were moving back in. A few years later, she was flicking through the newspaper and ‘saw the tiniest ad for the house’. She wasted no time.

Tracey finally bought the dream house (woo!) and got to work on her good room straight away. ‘I feel this room is a representation of me: it’s bright and shiny and quirky and colourful and loud and hot pink,’ she says. ‘It’s my place to recharge.’

Not just anything makes it into Tracey Lester’s good room, though, only things that she feels connected to. Over the last decade, she’s only added things to it that meet a ‘100% joy’ policy. Art from people she knows, furniture she yearned for while still at uni, and ephemera she’s collected on her travels.

Some of her most treasured items are glass sculptures by Mark Douglass (the silver family on her dining table and blue beauty on her TV unit), Rhys Lee painting and Anne-Marie May Perspex wall sculpture. She also informally calls herself a ‘patron’ of Brendan Huntley’s work and has an extensive collection of his art, that covers his journey from emerging to established artist. ‘He had one of his first shows at The Carlton Club years ago,’ she recalls. ‘The pubs are designed with purpose and to serve people, but my good room serves me – it has everything I love and need.’

Hamish Grace explains that the Hinoki brand is a little different to other knives on the market, as their production is split across continents, between Japan and Australia. The blades are developed over 103 individual steps (!) in Sakai, a city renowned for metalsmiths and with a lineage back to the time of the samurai. Hamish explains ‘when the samurai were banned from carrying katanas (single-edged blade sword) at the end of feudalism, many swordsmiths switched to making cooking knives.’

The blades may no longer be used in martial arts, but the precision and techniques continue the tradition. The process is so precious that not even Hamish is allowed to know the technique of finishing the blades with a black oxide treatment!

Once forged, sharpened and (secretly) treated, the blades are sent to Adelaide, where Lex the handle maker brings his Scandinavian training to handcrafting timber handles. He uses Japanese woodworking techniques of ‘shou sugi ban’ – a process of charring wood, cooling it, and finishing with natural oil to preserve the wood and protect against decay. (There are NO short-cuts in the making of these knives!)

These processes not only create an aesthetically beautiful object, but Hamish highlights that all of these time-tested techniques create a ‘far higher level of hardness’ which results in a blade with a finer, razor sharp cutting angle that retains its sharpness for longer that Western-made options. He emphasises ‘once you experience these details for yourself it is very difficult to go back to a Western blade.’

Canning Street House by Technē Architecture + Interior Design began as an interior refurbishment of the client’s two-storey, Carlton North terrace. The owners (a couple with two young children) were attracted to the home’s original period features, but less enthused by a recently undertaken renovation, that was ‘void of personality’.

‘The house was in good condition and fairly recently renovated by the previous owners, but it was very much a generic fitout for sale,’ says Technē director Nick Travers. ‘The client especially didn’t like all the Carrara marble used extensively throughout, and wanted to personalise the design.’

Technē identified additional areas of improvement to address in the project, such as opening up the cramped living spaces, and orienting them to the established garden. It was decided the best course of action was to demolish the extension, and start afresh with a more dramatic pavilion structure. This new extension would include a larger kitchen, living and dining space connected to the outdoors, along with a proper laundry and more storage.

Deciding on the exact pitch of the roof was important in order to best frame garden views and allow optimum shadowing and natural light to infiltrate the space. Full-height glazed windows and steel framed doors were installed, creating the sense that the interior and exterior spaces are one.

While most architecture projects end with the structural elements, Technē were also engaged to curate the furnishings of this home. ‘The inspiration for the furniture was driven by a combination of the contemporary and timeless, with the added injection of colour,’ says says Technē senior interior designer Bianca Baldi. ‘Our client really wanted to add a bit of colour to the spaces that they may have been too shy to do in the past. With our guidance, they become bolder in their decision on colours and textures.’ Some of the client’s existing statement pieces were integrated into this furnishing scheme, such as their Mark Tuckey dining table and Eames chair.

Looking to garden houses and conservatories for inspiration, and utilising a minimal materials palette combining light timbers, grey and blue tones and contrasting black accents, Technē have created a tactile, layered yet thoroughly refined family home here, propelling this grand old Victorian well and truly into the modern day.

The creation of boutique accommodation Ross Farm in Meeniyan, South Gippsland, began almost 15 years ago. Lindsay and Robyn Moore bought the 2.5-acre property in 2005, but it wasn’t until 2010, when renovating another place, that they temporarily moved into the 1960s cottage on the former dairy farm site. It was then that the idea to eventually transform the site into accommodation was realised.

Nine years later, the third and final building of Ross Farm is now complete. The entire project has been created as a collaboration between Lindsay and the couple’s daughter Andrea, who is, conveniently, the owner of design practice Studio Moore! The father-daughter duo designed and constructed as many elements as possible on-site, from the steel-framed windows, down to the finer details such as kitchen cabinetry, light fittings, and door hardware.

Lindsay is actually a semi-retired vet by trade, but Andrea describes him as a problem solver, inventor, entrepreneur and craftsman! ‘Dad always has a ‘can-do’ attitude, he loves a challenge and a project or two. He really encourages me to push the boundaries – no idea is too abstract or farfetched.’ Andrea says.

Once three separate buildings, The Dairy has been redesigned as a cohesive, three-bedroom structure. ‘Initially, we wanted to build within the existing building envelopes of the old dairy buildings that were on-site, but it was soon evident that we were dreaming, and it snowballed into a much bigger building project, largely re-building the existing structures!’ says Andrea.

One of the features that differentiates the building from the remainder of Ross Farm is the use of charred timber, created using a Japanese wood preservation technique called Shou Sugi Ban. Andrea and Lindsay deliberately avoided using plasterboard and paint throughout the new build, instead applying a mix of raw and refined materials. Marine ply was sourced to line the interior, travertine paving stones clad the bathroom and form the building blocks of the kitchen island bench, and raw brass tube was used for the light fittings.

Recycled products are a main feature in the bathroom, including the round concrete bath (a repurposed water trough!), and the sink – a backfilled drain pipe. Andrea and Lindsay were also careful to reuse older elements of the site, including concrete from the former cattle-yard, broken up to fill exterior walls.

The Dairy is especially meaningful to the father-daughter team, as their beloved wife and mother Robyn passed away from cancer during the project’s creation. ‘Fair to say it’s been very challenging to carry on without her, but it has also been a driving force to create something that she would be really proud of. Hopefully, we have achieved that,’ Andrea says.

The property forms the final piece of the now complete Ross Farm accommodation site, the three elements of which are available to rent individually or as a whole. ‘I really advocate that good design can really improve the way you live, so I hope that those that come and stay and experience the space feel that in some way, and perhaps take something with them that challenges their concept of what ‘home’ can be,’ Andrea says. ‘It really is a pretty special place.’

We featured Ross Farm property the Cabin back last year – revisit that story here! And stay tuned for our feature on the third Ross Farm dwelling, The Barn, which we’ll be sharing next week!

Cosmetics brand and store Mecca is an Australian retail icon. Not only is the store beloved for its original products and curated range of beauty brands, founder and managing director Jo Horgan seeks to empower women through the company’s various community initiatives.

The Mecca M-POWER initiative in particular focuses on promoting women in the arts. For the past five years, this program has engaged a female-identifying Australian artist to design branded materials for Mecca stores, as well as commission an original artwork for The National Gallery of Victoria (NGV) collection.

This year’s artist is Tammy Kanat, a weaver known for her vibrant, woven artworks commissioned for homes and brands around the world. Tammy describes weaving as a timeless art form and an enchanting, meditative way to express her surroundings.

Collaborating with Mecca made perfect sense for Tammy, due to the similar impact the business and her art provide. ‘When you go into Mecca you feel so good. One thing I get a lot of feedback about with my work is it makes you feel good too – it’s quite uplifting and it’s bold – and people always say it makes them feel happy. I really love that connection,’ Tammy says. ‘I think it’s incredible that Mecca are taking the initiative to support female artists. Jo Horgan is an amazing representation of a successful Australian woman who has built this incredible business, so it feels like an honour to be working with the company.’

This is the first time Tammy’s work has been exhibited by NGV. The artist worked closely with NGV curator of fashion and textiles, Paola Di Trocchio, to produce the four large-scale works, each featuring her signature, intricate patterns of wool, silk and copper. ‘Paola was amazing in that there was so much freedom in what I could actually do. In some ways, I think it gave me a lot of confidence to create and explore,’ Tammy says. ‘It’s empowered me as an artist.’

One of the works is Pinetree, inspired by the Lake Eildon landscape in Victoria’s alpine region. This artwork depicts a series of earthy toned circles much like the rings inside a tree. Nurture showcases two interconnected circular forms to signify Tammy’s relationship as a mother to her child; Web is a colour experiment portraying the interconnected nature of humankind; and Harp is a physical representation of Tammy’s changing state of mind while creating this series. The artwork name Harp stems from Tammy’s craft being similar in nature to a harpist – sitting on her stool, wrapping and twisting silk and wool across her tapestry warp.

We first featured Tammy’s work on The Design Files in 2017, and since then her work has blown up! In addition to this collaboration and NGV exhibition, Tammy’s private commissions are now regularly sent overseas (as coordinated by her husband, who takes care of the business side of things!) and a whopping 157,000 people follow the artist’s every move on Instagram.

‘To get this acknowledgement from NGV is quite incredible,’ Tammy says. ‘As an artist you always doubt yourself, you’re always questioning, so to me, NGV is an acknowledgement that what I’m doing is something quite special.’

Keep an eye out for Tammy’s work on Mecca’s packaging, store fit-outs and marketing materials throughout their holiday campaign – launching on October 30th. The artist’s four, original works commissioned by the brand as part of this collaboration are on display now at NGV Australia, Federation Square until March 29, 2020.

When Katie Brannaghan and husband Ian purchased this home in April 2017, they were met with slight shock at how much work needed to be done on the property. The previous owners were hoarders, so a large scale clean was necessary – but as these surface works were undertaken, Katie realised how many 90s and early 2000s renovations had altered the mid-century space. She explains ‘we wanted it to look similar to what it would have originally looked like, back in circa 73.’

The incredible home was originally designed by Karl Fender, who, incredibly, was only 23 years old when he took on this job for an eccentric local. (Things worked out pretty well for the architect wonderkid… he’s now one half of the iconic firm Fender Katsalidis!). Katie tried to research the property, but was met with dead ends, until  ‘one day I was posting about it on Instagram, and tagged Karl in one of the pictures, and to my delight he responded!’ Katie invited Karl to come and visit, who brought along his original hand-drawn plans and plenty of stories. Katie highlights ‘much to our relief and joy, he was very happy with what we’d done to the house.’

The Karl-approved renovations are extensive, and have brought the house back to life, by gently drawing upon the past. 90s tiles were retro-updated with 70s style terrazzo around the pool, and original-era-appropriate green carpet was introduced, that guests now assume is original!

Beyond these aesthetic features, the kitchen was a space that required a massive overhaul, not least because it was about to fall through the floor. Katie explains ‘it was a death trap!’ Other essential renovations included getting rid of asbestos, replacing termite riddled floors and walls, introducing hydronic heating and cooling system, rendering the pool, installing solar panels, landscaping, building a woodshed, and bringing in a septic tank. Phew!

Inside, the renovations look forward by looking back. Katie highlights ‘it feels like you could have stepped back into the 70s when you walk through the door.’ The original wood-paneled walls and high ceilings create a mid-century ambience, while the six bedroom home offers incredible views from every angle through the giant glass windows. Katie describes ‘when Karl design it, so much thought went into where the light streams in.’ As the home sprawls, it also offers plenty of nooks and crannies to feel cosy and homely across the large space.

The family have now moved back to the city for ease of commuting to work, but still love spending weekends down the coast here. The property is listed on airbnb  – but get in quick, as it isn’t available very often! It’s such a special place for the family they only rent it out a few times a year. Which seems fitting, seeing as Karl Fender himself told Katie and Ian ‘I’m so glad this house found you.’