studio sisu

I discovered Mairead Murphy's workspace, Studio Sisu, via her Instagram. Drawn to the generosity of daylight, the openness of the plan, the pristine styling and the artfully dishevelled character of the original warehouse, I've been absolutely hankering to see it in the flesh.

The delightfully down-to-earth Mairead (pronounced Mah-ray-d, I found out the embarrassing way) was kind enough to show me around. The space proved to be just as striking in reality. Entering through a small courtyard, Mairead emerged through a pair of large antique doors. We headed straight upstairs to the main workspace, where the shift in natural light conditions made it all the more dramatic. With a generous lounge area, large communal table for both meetings and breakout, plus the more private "phone-call" swing, this is the kind of space that would make the daily experience of coming to work an exciting one.

Mairead shared a few stories about the pieces in the space. We chatted about the re-upholstered arm chair she found on the side of the road years ago, the antique doors she had restored and the stories behind the various artworks. Perhaps that's what makes this space so interesting for me. It raises the bar for workspaces, treating the space as a place for living and not just working.

It's clear that it took hard work and determination to get Studio Sisu to where it is today. Mairead and her partner bought the space as a run down warehouse shell seven years ago. It sat idle for five years while they furiously saved. They abandoned the original plan to convert it into their home and instead turned it into Studio Sisu, to coincide with Mairead launching her own practice. They did as much of the physical labour as they could, seeking external help for joinery and services. That's a lot of time, sweat and personal energy invested into this little studio.

Studio Sisu is truly breathtaking and I think that has a lot to do with Mairead's sharp eye, many talents, hard work and inspiring determination. If this is anything to go by, I can't wait to see what emerges from her young practice.

saint louie hair, russell place

Saint Louie hair salon is one of a string of tenancies at Nonda Katsalidis’ "Little Hero" development on Russell Place. The development is a rare example of a new build that naturally contributes to the charm of Melbourne’s more established laneway network. Stepping off Bourke st, there's something seductive about Russell Place's quieter voice, more generous sense of time and collection of cosy interiors.

I was surprised to hear that design professionals were absent from the process of Saint Louie's fitout. Instead, the interior design was concocted by the salon’s partners, Jean-Paul and Ivan Constable. Working to a tight frame, the process was a flurry of creative collisions. You’d never know it, since the space hangs together so cohesively. Perhaps that fiery passion allowed the owners to critically sieve out the best ideas, whilst ultimately striving for the same end goal.

Connecting with the salon’s approach to hair, the interior is earthy and natural. A lusciously tactile palette of rendered walls, river rock and raw timber ground the space. Low level lighting strung from above is polite on the eyes. Vintage pieces are scattered throughout, steering the space away from an overly polished aesthetic. The whole space feels rather effortless. 

 It's pretty clear the Saint Louie team's eye for hair translates to an eye for interiors. 

The Commons, Brunswick

I think I found it. Urban living utopia, that is. Jodi Newcombe, founder and Director of Carbon Arts, was kind enough to show me through her apartment at The Commons in Brunswick.

Designed by Breathe Architecture, The Commons has quickly become the poster child of sustainable multi-res development. With social and environmental sustainability at the forefront of every design decision, this eight-star rated building stands miles apart from your typical speculative developer project. The result is an eco-village filled with impressive facilities, liveable spaces and a palpable sense of community. The fact that Breathe’s director, Jeremy McCleod proudly calls this place his home is testament to his utter belief and commitment to the project.

Walking through the entry, Jodi explains that the bricks were recycled from the building that once occupied the site. The flecks of old graffiti are scattered across the wall; a romantic gesture hinting at the building’s history as well as a means of minimizing landfill. A blackboard notice board on the wall reads “Please be careful not to spill bin juice on the floor, makes me sad [insert sad face]” accompanied by smiling cartoon animations. The tone is wildly different to the neighbourly conduct I've seen in my time.

We continue through to an enormous bicycle storage facility. Due to strong public transport connectivity and proximity to local shops, the project team convinced council that bicycle parking could be provided in lieu of carparking. The residents also have access to a car share program parked in front of the block. I’m sure this was no easy feat and fortunately, the successful battle sets a precedent for future projects.

We then took the lift up to the roof terrace which includes the roof top garden (supported by an in-house compost system), photovoltaic panels, large communal outdoor living area and even a bee hive. Oh yes, and the rooftop is blessed with absolutely killer 360degree views over Melbourne. At this point I’m wondering how this place is even real.

We finally arrive at Jodi’s apartment. A 72sqm two bedroom space (with one bedroom converted into a study). On top of this, Jodi has 20sqm of outdoor space spread across two balconies and a central courtyard. The impression of spaciousness is immediate, with generous doses of natural light and ventilation filtering through.

Reduction of materials and processes drove much of the interior design. The concrete ceiling is exposed, giving the added benefit of taller ceilings. The bathroom has raw concrete floors and copper tapware, eliminating the chroming process. Recycled timber was sourced from a range of sites for the flooring, meaning the species in each apartment varies. Joinery is made from unfinished formply with simple cutouts in place of joinery knobs.

Admittedly, I had seen photos of The Commons unfurnished and was concerned it might be a little hard and cold. However, Jodi’s apartment well and truly dispelled that as myth. In fact, the raw materiality injects the space with soul and unique sense of character. It’s a beautiful, homely space to be in and if it were mine, I would happily live there long term.

Although commercial success wasn’t the sole driving force for this project, The Commons has proven that this kind of development has legs. I was excited to hear that Breathe are planning a second development of a similar vein, and there are murmurings of others planning similar developments, using The Commons as a model. It’s so exciting to see this initiative create a shift at a broader scale and raising the bar for apartment living.

In all honesty, The Commons was one of the most inspirational buildings I’ve ever visited. I would encourage every architect, interior designer, developer and curious soul to find their way in. The good news? Jodi’s place is listed on Airbnb. Huzzah! Now please form an orderly queue.

  

guest post by chloë antonio: aesop, attention to detail

Hello! I’m Chloë, a graduate architect new to the blogging world, I’m a daily list maker with a serious Pinterest addiction and I am always working on something new. Currently that is my new blog – Lines of Architecture. Through my love of discovering blogs, my frequent Pinterest habits and Instagram stalking, I have made new e-friends, Ella being one of them, which is how I have come to contribute this post to her fabulous blog. Thank you Ella for the opportunity!

Recently Ella wrote about the new direction of PFMM and the importance of being in and experiencing a space with all your senses rather than just being consumed by the images. This is something that resonates with me and, while I still see much value in the image of architecture and design, (as seen by the regular activity on my Pinterest) nothing compares to being within the space and feeling and seeing the qualities - minus the edited lens of the camera. With that in mind, I wanted this post to be about spaces that I, and perhaps you, have been in. While not unveiling anything new or “current” this post might allow you to contemplate your own experiences.

Aēsop is a brand synonymous with design. What makes Aēsop unique is their attention to design and detail on every level. The whole brand has been considered from the typography to the minimalist packaging, to the quality of the staff working in the stores and the continual engagement of quality architects to create new and unique retail spaces all over the world. An interview with the founder Dennis Paphitis expands upon the history and design direction of the brand and is well worth a read. 

The retail stores are each unique, yet unified in their ability to reflect the brand. While often working with architects several times, the stores never end up conforming to a single idea – each responds to the place in which it is located.

Aēsop has recognised the importance of appealing to all the sensory properties in their retail stores. The stores lure you in with their gentle botanical scents, their warmth and soft lighting. And while the interior architecture is very photogenic, the total experience can only be had by stepping into the store yourself.

The Greville Street, Prahran store (2010) by March Studio has two retail facades – one that fronts the eclectic, vibrant Greville Street and one that addresses the laneway of Grattan Gardens. For this reason, the interior is much more light-filled than many of Aēsop’s other stores.

March Studio has designed over 12 stores globally for Aēsop and tends to use a single material in their fit outs; copper, stacked card, ply, cork. The Greville Street store, made entirely from ply, explores variance and texture through an interlocking, repetitive system to create shelves for the range of Aēsop products. The use of a raw, repetitive, uniform material manages to create a space where
the products become the focus while the warm, tonal material recedes. 

On Greville Street the products can be tested with the assistance of very helpful staff in a moulded ply sink. Upon payment, the counter exposes the hidden register, sample drawer and printer. A linen bag is sprayed with a gorgeous botanical scent and then brought around the desk by the staff and handed to you (all of this effort making you feel much better about spending your money!). Very clever. 

The Collins Street store (2012) by Kerstin Thompson Architects is one of more than six by the architect for Aēsop. The inner city location of the store is situated right in the heart of the men’s district. The store-front belongs to the Gentleman’s Athenaeum Club and is surrounded by other men’s retail. An interior fit-out that reflects this masculine identity of the top end of Collins Street is what has been produced. The store is much more hard-lined than Greville Street with mild steel framed cabinets with copper shelves and brass fixtures. 

The images here, from the architects website, were taken at night and lend to a more intimate environment where the fixtures glow in the soft artificial light. However, in the daylight the space is not quite as “romantic” as this (unfortunately no photos were able to be taken) and did not have the same glow. 

The masculine aesthetic is also evident in the product testing area, which is composed of a mild steel sink and vanity, complete with black fittings. Three dark tinted mirrors complete the vanity ensemble that feels like it belongs in the dressing room of a well-to-do gentleman’s home of old. The leather curtains that hide the back of house create a theatrical like space so you feel like you are on the set of a play in said gentleman’s dressing room. This store in particular has a strong integration with its unique place on Collins Street.

Each Aēsop store feels like a calming retreat in comparison to the clinical glare of the typical beauty store. Do you have a favourite Aēsop space?

Thanks for reading my first ever blog post and a big thank you to Ella for inviting me to share this story with you. I think she took a leap of faith, considering we haven’t actually met (yet) - in the real world!

Text, sketch and photographs by Chloë Antonio for Pages from My Moleskine.
[Collins St Interior photos by Trevor Mein via Kerstin Thompson Architects]

guest post by caitlin of setsquare: the western hotel

Having spent my entire formative years in regional Victoria I was always under the misguided assumption that if you yearned for inspiring modern design you needed to travel to the ‘Big Smoke’ (Melbourne).

Whilst Ballarat has a rich array of Heritage Listed Gold Rush era Architecture, it has only been within recent times that a resurgence of beautifully considered contemporary designs have begun popping up around town. 

The renovation and extensions to the Western Hotel by Porter Architects is no such exception, as it boldly re-asserts Ballarat’s role within Contemporary Architectural design. Carefully detailed throughout there is a unique play of materials, from shuttered concrete facades, to exposed brickwork fireplaces, marble and ply joinery and rich Tasmanian Oak detailing. There is a warmth to this place that makes you feel instantly at ease. 

For anyone who is familiar to Ballarat, it is at its most beautiful this time of year-cold and slightly dreary but with the most dynamic crisp grey skies. This dramatic canvas provides the perfect backdrop for the concrete, glazed and blackened metal pavilion. Floating oversized rooflines announce the new addition’s place next to the existing 1870’s building. A clever balance between respecting the existing and pushing forward into modern times is negotiated throughout. Pops of colour expressed through fluorescent orange and green ‘Tom Dixon’ outdoor furniture allude to the summer ahead and relaxed times spent in the beer garden.

Inside the furnishings and surface treatments take what is a large building and converts it into a series of more intimate spaces. This project presents an eclectic array of both designer and vintage furniture from Featherston chairs to Hans Wegner sofas and the Mezal tables. The feature Modo Chandeliers emit a sense of grandeur that references the extravagances of Gold Rush times past.

It is, however, the dedication to the use of locally sourced craftsmanship and materials that sets this project apart. The recycled brick fireplace within the new pavilion is possibly my favourite feature of the Western Hotel. Using second hand bricks, found at a demolition yard on the outskirts of town, it stops short of full height allowing the light to illuminate it from behind. It showcases an innate understanding of the module of the brick and through the act of rotation creates a room divider that is considered and textural. This fireplace detailing has been repeated within the courtyard, highlighting the versatility of the material chosen and the pavilion’s relationship to the courtyard.

For me, this project was worth coming ‘home’ for. I am re-inspired by the notion that good design can and does exist outside of capital cities. In the words of the Western’s Architect Nathan Porter, this design aims to ‘unite a worldly perspective with a local perspective... The pub was already a gem underneath, so it was really about peeling the layers off, revealing its soul and showing off its old charm alongside a respectful contemporary intervention’.

- Caitlin. 

[ Photos by Caitlin Perry ]

assemble, northcote

I was lucky enough to visit Assemble's studio over the weekend. For those who don't know, Assemble is a melting pot of minds from the fields of architecture, design, fine art, finance, construction and branding. They run online journal, Assemble Papers and they provide architecture, design and property development services as Assemble Projects. Together they promote small footprint living, centring around people and quality of life. 

Having already read about their core values, I had a feeling they were going to be cool. I met with Eugenia and Pino who were exactly the gentle and generous souls I was expecting them to be.

They designed their own studio space which, I'm sure you've noticed, has an absolutely rocking origami ceiling. Designed to disguise the existing services and provide acoustic absorption, the creeping structure folds dynamically across the ceiling. It is made with plantation pine studs that finger into one another at the internal folds. The pine structure brings warmth and life to an otherwise bare concrete shell.

Beneath the structure are a series of lime washed desks with marmoleum lining. Full height cabinets separate the space into three key areas: entry, studio and meeting room. With everything on castors, the space is highly adaptable.

Whilst Local Spaces built the space, the whole team got together doing odd jobs like painting and lime washing. It was slowly completed over approximately nine months. 

What really struck me about this studio, is the way it carries the mark of the clever and passionate people that work within it. It speaks of their design interests, their highly collaborative, multi-disciplinary way of working as well as their focus on people and slow living. 

The studio space is exciting and engaging and most importantly, human.

Before I sign off, a quick note! On top of Assemble Papers, Eugenia has also been busy working on video art festival, Channels. (High achiever much?) After three and half years in the making, the festival opens tonight! It starts at 6pm at Guildford Lane Gallery. Read more here and then proceed to mosey on over there.

[Photos by me]