All posts by Lucia Salituri

Tilt Industrial Design


Tilt is a leading Australian Industrial Design consultancy working with architects, landscape architects, artists, and designers to help them achieve their creative vision. It designs and constructs unique features and products for commercial, residential, public art, and landscape projects, including sustainable design solutions, custom architectural features, operable architecture, and product design.

Always at the forefront of innovation, working with the latest technologies, materials and manufacturing techniques – Tilt provides clients with the creative flexibility to develop their design ideas and concepts beyond the constraints of traditional construction methodologies.
Tilt’s goal is to ensure its clients design intent is achieved while balancing functionality, durability and materiality concerns – at the same time delivering on the project’s commercial objectives.
Established in 2014, Tilt was formed when Managing Director, Tim Phillips, saw a unique gap in the market. Phillips saw an opportunity for traditional industrial designer skill sets to support the delivery of integrated architectural and artistic features – applying the industrial design process to expand the possibilities for creatives working in the built environment.

Tilt now employs over 30 people across Sydney and Melbourne offering clients a turn key service for design, manufacturing, installation, commissioning and maintenance and its multi-disciplinary team works collaboratively with clients throughout all project stages, including concept development, detailed design, fabrication management and on-site installation to successfully deliver each unique project. Every team member is a specialist in their respective field, designers and engineers collaborating to add value to the process of design for architects and artists.
Since conception, Tilt has worked with both Australian and International clients, to push the boundaries and deliver award-winning projects.

Photography: John Gollings, Murray Frederick, Steve Brown, and Studio Commercial

White Jacket


White Jacket blends global inspirations and differentiated experiences to capture the essence of future luxury in hospitality and food and beverage design. Created in 2010 by Patricia Ho Douven, White Jacket is an integrated, multi-disciplinary design studio supported by a team of creative, highly skilled, and driven designers bringing international exposures and experiences to this bespoke design studio.

The practice has expanded rapidly, supporting studios in Thailand and Philippines founded in 2018, along with an Art consultancy wing, Wonder by WJ, established in 2019.

White Jacket focuses on projects that challenge, stimulate and enhance skills and experiences. There are no boundaries in design, as the studio aspires to create a holistic design world that encompasses all design elements. This has led to designing bespoke furniture, fittings and equipment pieces and creating distinctive brand and identity services for projects.

The collective experiences of White Jacket in interior design is highly diverse, from commercial five star hotels to boutique lifestyle hotels. These experiences allow the practice to blend boutique hotel design sensibilities with commercial five-star hotels standard of luxury.

Currently the studio is working some exciting projects such as the Rosewood Hotel in Ningbo China, Kimpton Resort (Winter Olympics 2022), Intercontinental Hotel in Bangkok, Intercontinental Hotel in Nanjing China, Shangri-La Hotel in Kunming China, Kimpton Resort Bali and JW Marriott Resort Maldives, to name but a few.

The variety of high profile and iconic projects has made White Jacket one of the most notable young Interior Design Studios in the industry today.

Photography: Justin Oh, Martin Westlake, and Owen Raaggett



Aidea is an innovation practice based in the Philippines that integrates design and technology as its core expertise. In Building Design’s 2022 World Architecture 100 survey of the world’s largest architectural practices, Aidea ranks at 44. Aidea has been among the top 100 Architectural firms in the world since 2009.

Aidea believes in being the best adviser and solutions provider a client can have. The practice leverages its expertise, unique processes, and continuous technological innovation to create transformative solutions that bring the best value to stakeholders and success to each project. Aidea is committed to fostering a long-term relationship with every client.

With more than 27 years of operation, Aidea’s discipline revolves around its integrated design services comprising architecture, master-planning, interior design, and environmental graphic design. All of these are completed using the latest in Virtual Design and Construction (VDC), our standard platform for project delivery. Covering a wide range of specialties that provide solutions to every design challenge and empowered using new technologies, the result is relevant design that competes with the world’s best.

To date, the all-Filipino firm employs over 270 designers and technologists working in a progressive and collaborative environment that forges alliances with international counterparts. Aidea is based in Manila and Clark Global City. The practice persists in spearheading new paradigms in integrated and collaborative designs, innovating and translating visions of livable spaces into dynamic human experiences.

B.E Architecture


B.E Architecture’s projects are deeply grounded in understanding context and the user experience so that projects are meaningful and continue to be relevant over time. The designs are quiet yet strong, aiming to create a response that is appropriate to the surroundings.

The practice fully embraces the hand-built aspect of construction, placing importance on materials and detail to ensure projects continue to improve over time. The aim with each project is to express the essence of the design as clearly as possible, giving each their own unique identity.

B.E Architecture integrates architecture, interior and landscape design as one complete design process, as well as custom designed furniture pieces and art curation, for clients that value a fully considered design approach

Our office constantly questions and re-evaluates all aspects of a project, researching and developing new concepts and design solutions that not only express the interests of our clients but also look to ensure a clear design direction for each project.

The nature of the practice is to problem solve and if there isn’t a standard pre-existing solution, then it will customise one to suit the project. This might be the research and development of new milled steel window sections or a reinterpretation of lead light, in the form of agate stone slices, for example.

B.E Architecture is not afraid to look back in order to develop new ideas moving forward. Understanding and appreciating time honoured building techniques are valued in creating new design which has a sense of recognisable permanence, yet maintains current relevance while integrating innovative new developments.

Photography:Victor Vieaux and Alex Reinders



Since 1983, trailblazing Aboriginal-owned strategy and design studio Balarinji has worked to deepen the understanding of Aboriginal Australia for major projects nationally. Founded by current Chair, Yanyuwa man John Moriarty AM, and current Managing Director, Ros Moriarty, the studio delivers authentic engagement with Aboriginal people, culture, art, stories and identity. Balarinji is the skin name of Ros and John’s two sons, Tim and James. Skin names denote a classificatory system that orientates people to land and relationships – to belonging.

The studio has worked across a wide variety of installation media and on many different interior and exterior sites, including large-scale public infrastructure, interpretive precincts, parklands, national and international institutions, corporate offices, retail outlets, public spaces and also uniforms.

Balarinji is known for its many iconic and nation-building design projects, including the Balarinji-Qantas Flying Art Series, 1984-2018,, featuring five aircraft with Aboriginal artwork livery and the Rio 2016 Paralympics Australian uniforms, the 2000 Walk for Reconciliation official poster, and just recently, the groundbreaking Indigenous Nation Brand for Austrade. The practice has also worked with organisations such as the Australian Ballet, CSIRO, the band U2, Austrade, Downer EDI, Frasers Property and many, many more. Many of its projects are award-winning, including the Aboriginal public art installation for Burwood Brickworks Shopping Centre which won the Architectural Design Urban Design and Public Spaces category in the 2020 Good Design Awards.

Balarinji’s founders have been awarded the 2021 Australian Design Prize from Good Design Australia and have been inducted into the Australian Graphic Design Association Hall of Fame and the Design Institute of Australia Hall of Fame. The National Museum of Australia, Canberra, holds the company’s design archive, its original works on paper and The John Moriarty Collection. Balarinji is also represented in the collections of Sydney’s Powerhouse Museum, and the Centre for Contemporary Graphic Design, Fukuoka, Japan.

Photography: Dianna Snape, Stefan Sonnenberg, Matt Bartolo, and courtesy of Balarinji



Studiobird is an award winning art, architecture and design practice based in Melbourne, Australia. Since its formation in 2008, the practice has realised projects in the fields of architecture, interior architecture, interior design, installation art, performance art, moving image and public art.

Studiobird’s creations are the result of a progressive and experimental process foregrounded by a unique collaborative practice model which brings together professionals from the fields of art, architecture, design and science. In this model, cinematographers, composers, architects, astrophysicists, biologists, industrial designers, choreographers share in a “what-if” approach and unite under the manifesto of reimagining ideas, symbols and materials to create interactive multifaceted worlds that offer meaning and complexity.

Central to this collaborative team are ongoing architects and interior designers who assist in realising new build houses, hospitality & retail projects, university interiors, leisure and tourism projects, as well as civic spaces. The studio’s approach to these typologies is nourished by both the eclectic mix of collaborators and by Studiobird’s art practice. This results in design outcomes which feature distinct material approaches and spatially immersive attributes.

The practice is led by Matthew Bird, a multidisciplinary artist and architect with over fifteen years practice in Australia and internationally. As an artist, Bird has exhibited commissioned works at the National Gallery of Victoria, Melbourne Festival, MONA, Venice Architecture Biennale (Italy), McClelland Gallery & Sculpture Park, MPavilion and the Samstag Museum of Art. International artist residencies have also played a fundamental role in the artistic inflection of Studiobird’s design practice.

Studiobird is also an armature for Bird’s academic tenure at Monash University where he introduces students to speculative design and art practices, engages with industry-led partnerships and realises a strong and distinct research portfolio.

Photography: Christine Francis, Peter Bennetts, and Rebecca Selleck

Chris Connell Design


2022 marks the thirty-fourth year of Chris Connell Design (CCD), a small Architecture and Interior Design studio in Melbourne, Australia that is internationally renowned for designing elegant residential and commercial interiors. As Principal, Chris Connell has over 40 years of experience in the Architecture, Interior Design and Furniture Industry. Along with business partner Raoul Hogg, Connell founded MAP International Furniture in the early 90’s, where he began showcasing an array of his well-known designs. As a multi-disciplinary studio, at any given time, Connell and the team can often be working across architecture, interiors, furniture and object design.

As a team of experienced Architects and Interior Designers CCD offers a high level of service and commitment across every commission. Connell works closely with each client and on every project and the design process almost always commences with his series of simple sketches. Connell is well known for his illustrations; the lines are uncluttered and spare but very expressive. He uses colour to cultivate the intended experience and emotion of the proposed design. Always striving for simplicity with clean lines and honest use of material, CCD has a greater interest in detail, validating their modest aesthetic and methodology.
CCD is highly focused on finishes, details, materials, lighting, and furniture. Ideas are presented early on to clients, evoking a sense of what the space will feel like, ensuring every detail that may affect the user or atmosphere has been conversed. Connell will develop custom pieces of furniture, lighting, objects and products that are specifically tailored to the relevant architectural or interior project the team is working on. Having this level of experience and expertise across multiple facets of the design industry allows CCD to deliver a service that encapsulates all design elements.

Photography: Earl Carter, Marcel Aucar, Rob Gardiner, and courtesy of Chris Connell

Flack Studio


Established in 2014, Flack Studio is a multi-disciplinary practice based in Melbourne. The practice traverses the sectors of residential, commercial and hospitality design in Australian and international environments. The practice is a tight-knit, dynamic team of young professionals, who delight in architecture and interior projects in which furniture, lighting, textiles, and fittings coalesce into a holistic, if sometimes, idiosyncratic experience.

The Flack Studio aesthetic is contemporary and respectfully classed, inspired by the bygone era of architecture and design, with a thirst for adventure and the delight of discovering unusual beauty. It holds craftsmanship in high regard, combining warm materials with clean lines, textural palettes and fine detailing. The result is an elegantly masculine space that relates to a site’s broader context – when the practice Flackifies, visions are transformed into experiences. Guided listening, translating and inspiring clients, the studio works together with its clients, not under or over them, to create honest and inviting spaces.

With a strong interest in materiality and a keen eye for detailing, the Flack Studio design approach is a nod to restrained, classic stateliness and offset by unexpected light-hearted elements.

The practice creates spaces with a unique point of view, illustrating site specifics and honouring the history of place and design and the studio’s heart beats for education and development, encouraging less screen time and more travel, books, politics and public projects.

Flack Studio is original in its approach. It has an open-door policy to the industry. An example of this is the Flack Studio “Plinth drinks”, showcasing different designers from the industry every month. Similarly, each month our library door stays open sharing interior, architecture, fashion, art, and general design books with the community.

Kosloff Architecture


Kosloff Architecture was founded in 2017, and in less than five years has grown to a team of 22. The practice was founded on the principles of sustainable and ethical business in line with the BCorp charter and accordingly the studio has been carbon neutral since its inception, achieving formal BCorp certification in 2019.

Kosloff Architecture’s unique employee shareholding scheme is available to the entire team and has had a 100 per cent take-up rate since it was launched. Collective ownership is a novel concept for business in the architectural industry, however the practice believes employees-as-owners adopt a sense of agency beyond the typical transactional relationship model that also underpins universal commitment to design excellence. Kosloff Architecture’s built work has also been recognised with awards across multiple sectors, and forums and has been widely published both in Australia and overseas.

The studio’s commitment to quality includes ISO certification in the provision of architectural services, occupational health and safety and environmental management systems, and extends to community consultation methodologies, which have been developed in line with the global IAP2 standards for public participation. There is also a broader commitment to advancing the profession demonstrated through lecturing at various tertiary institutions in Victoria and Tasmania, and our long term sponsorship of the AIA’s Emerging Architects and Graduates Network (EmAGN), and the Kirill Kosloff Prize at RMIT.

Through our partnership with the Global Giving Initiative B1G1: Business for Good, we are committed to the idea of using engagement and collaboration to make a bigger impact on the world. During the 2020-21 financial year Kosloff Architecture, through B1G1 made 13,370 impacts globally and since the practice started we have made 59,545 impacts globally.

Public and community work has been a primary focus for the practice and Kosloff Architecture has extremely high aspirations regarding what it can deliver to its stakeholders, its cultural context and the broader community.

Russell & George


Russell & George is an internationally recognised and award winning design practice employing architects, designers, theorists, strategists and urbanists. The practice believes in good design as problem solving and creates spaces, buildings and cities that improve the way people live and there is efficiency in delivery and design that responds to site and social context, wherever that may be.

Russell & George has completed projects on four continents, in cities as diverse as New York, Seoul, Tokyo, Hong Kong, Kuala Lumpur, Toronto and Rome – in addition to projects in New Zealand and five Australian states. The studio continues to work with some of the world’s most dynamic brands, leaders, institutions and individuals, creating unique works that push, challenge and evolve a clients’ business as well as the way they live.

In addition to the design practice, Russell & George has an in-house software development company to create software for projects that will eventually become products for the industry. The software will also assist other designers and practices to communicate their designs easily and efficiently and coordinate with new building procurement methods also being developed by the practice.

Russell & George brings its experience in environment reinvention to all projects and offers an holistic, full service approach to spatial design that considers all aspects of a business or client, to design spaces that are individually tailored to each individual or organisation.

The goal of the practice is to create design solutions that extend thresholds and blur the lines between different fields of design. The objective is to create a dialogue between people and the places they inhabit and engage with, and in this way, interiors become urban design schemes, industrial design works become art pieces and architecture can become as singular and functional as industrial design creations.

Russell & George treat every space as a unique opportunity to reveal the hidden personalities and goals of a client and/or their business. The approach is eclectic and sometimes difficult, however, it is one that constantly reinvigorates and reinvents the studio’s design view and process.

Photography: Sean Fennessy and Tim O’connor



SJB was established in 1976, with three founders who shared a passion for architecture, and a belief that businesses would do well to operate a little more like families do. Families trust each other, families invest in each other, and, of course, families grow — as has SJB. The practice is a collective of experts; a multi-disciplinary practice that embraces architecture, interior design, town planning and urban design. The collective goal is to contribute meaningfully and responsibly to the environments in which we all live.

The scale and nature of SJB’s work varies, from significant urban developments to intimate rural residences; from revising planning processes to reimagining public parkland. The design reflects the experience – whether that is shaping a moment or shaping a metropolis.

The work of the practice is based on a simple guiding principle: empathy. SJB prides itself on the strength, quality and longevity of its professional relationships. The studio is an inclusive workplace where diverse perspectives and talents can flourish and clients’ needs are fulfilled.

The directors each lead specialist teams built around people from diverse backgrounds, who speak different languages, and draw on far-reaching education and life experiences. This diversity, as well as a curious and exploratory way of approaching every project, allows the studio to see the full spectrum of possibilities available in the design process – and affords it the foresight to navigate to the exact combination of possibilities that best meet the needs of each project. Through a rigorous process of interrogation – of a clients’ brief and aspirations; of the site and budget constraints; and the necessary functional performance of the project – the unexplored solutions are discovered and solutions found that exceed expectations.

SJB has designed some of Australia’s most recognisable and innovative projects and achieved a fine reputation for bringing enthusiasm, creativity, and personal commitment to every commission – whether it is the interior design of someone’s home, or planning the revitalisation of an entire site.

Photography: Aaron Puls, Andrew Parr, Katie Kaars, and Tom Roe

studio gram


Studio gram was founded in 2014 by Dave Bickmore and Graham Charbonneau and has grown to a team of eight architects and interior designers. Over the years, studio gram has become one of Australia’s leading interior design practices, successfully completing projects across Australia and Indonesia from its Adelaide studio. studio gram’s hospitality and residential work has been awarded both nationally and internationally on multiple occasions and has firmly put South Australian design at the forefront of the national conversation.

In 2018 studio gram was awarded the prestigious Emerging Interior Practice of the Year at the World Interior News Awards and was also nominated as a Prodigy in the 2019 INDE Awards.
The practice focuses on creating experiences as familiar as they are surprising. Projects are collaboratively crafted and artfully considered and inspired by faces and places, studio gram endeavours to take users on journeys outside of their imagination.

Studio gram’s work exemplifies the innovative and experimental aspects of the architecture and interior design professions and incorporates multiple disciplines and scales. The practice maintains rigour within its processes, despite being experimental with the use of material and form. Through the execution of its built work and research, studio gram is creating an ongoing series of figures, relics, stories and relationships; all continuing a greater investigation into material and spatial practice.

Photography: David Sievers, Timothy Kaye, and Jonathon vdk

Yirranma Place


Once in a while, a design opportunity arises to weave an extraordinary existing fabric with contemporary technologies. The transformation of the much-loved 1927 building in Darlinghurst into Yirranma Place was one of those moments.  Built in the 1920s interwar Beaux-Arts style, this building was first utilised as a gathering place for the First Church of Christ Scientists. In the 1980s it was purchased by a private developer and transformed into his own private residence. Private ownership limited public viewing and access to structures and grand interiors of the past.

SJB’s brief was to open the building and give it back to the public as a commercial office development. The project takes cues from Carlo Scarpa’s Castelvecchio Museum in Verona, a 1960s restoration of a medieval castle that layers new elements using time-honoured crafts with modern manufacturing processes. Consideration in circulation and curating spatial experience as a journey with plinths, bridges, doorways, and staircases arranged in asymmetric or playful ways ensures that the existing fabric is left intact to shine through.

The mezzanine structure was envisioned as a ‘Scarpa-esque’ simple floating plane sitting on handcrafted highly mirrored carved metal posts that align directly with the structural grid below. The mezzanine features gentle vaulting to the underside giving space beneath character and delineation allowing for more formal meeting areas and workspaces alike. The depth created by the vaults allows for hidden structure and elegant cantilevers over two edges and critically conceals mechanical and electrical servicing to spaces above, below and double-height spaces on all four sides.  Light touch interior renovations reflect a guiding principle to acknowledge and celebrate past forms through a sequence of beautiful spaces sitting within the existing shell – new additions are sculptural, robust and respectful of the heritage fabric..

Spatially, the workplace design supports a ‘one team, one dream’ ethos whilst allowing solitary working zones amongst the largely collaborative spaces. It was of utmost importance to respect the bones of the architecture whilst venturing to introduce a modern identity that communicates the Foundation’s approach to staff and visitors. Their goal to innovate and support long-lasting change is reflected in furniture selections that are both quirky and impactful as well as durable, hard-wearing, and expertly fabricated. The interior palette and detailing are sensitive and complementary to the heritage yet dressed in bold layers that speak to the vibrancy of the surrounding area of Darlinghurst. Local artists, craftsmen, and designers are supported through the good practice of sustainable and ethical sourcing.

Furniture: Cult (Adam Goodram), Living Edge (Heman Miller), Designer Rugs, Kvadrat Maharam, Designer Goods, Anibou (Artek, USM). Lighting: Viabizzuno (Manfred Draxl), Euroluce (Flos, Oluce). Finishes: Surface Gallery, Olde English Tiles, Artedomus, Fibonacci. Fittings & Fixtures: Artedomus, Exquisite Solutions, Winning Appliances, Harvey Norman, Zetr, Auburn Wood Turning.

Photography: Anson Smart

Our Place @ RMIT QV

ARM Architecture with Geyer

Our Place @ RMIT QV (“OurPlace”) involved an ambitious centralisation of RMIT university’s 1100 administration staff, from eight various CBD locations and ways of working into one tailored contemporary workplace, representing a huge working transformation for RMIT University.
The CBD workplace spans 10,000 square metres over three floors, levels 5,6 and 7, in Melbourne’s QV building at 222 Lonsdale Street, aligning with a base building upgrade of the iconic DCM building.

At its core, the functional brief was a real-estate and people led process of reducing capital overheads, rolling out new IT systems and delivering a workplace which allowed for collaboration and communication between the different operational teams. Weighed down by old fit outs, fixed furniture, heavy reliance on paper, slow processes and time inefficiencies, the project brief focussed on relocating staff into a single unified campus-led new home which would elevate operations and enable RMIT to deliver its global charter ‘To become the go to brand in APAC, an online anywhere university driven by student and industry needs for lifelong learning’.

Previously, the operations staff worked in siloed-discrete environments; the project aim was to create a sense of connection back to the university; an extension of the campus, a seamless end to end experience to support both students and academics. Also critical to the project was a greater transparency, variety and a ‘beyond reproach’ solution in terms of diversity and inclusion.

The spaces were strategically divided into 11 human scaled zones as “destinations” for socialising, eating, learning, development events and wellness initiatives; and six “neighbourhoods” created for workspaces, focused tasks, co-creating, collaborating and meetings. Each zone imbued with various differentiated characters and design emblems naming and a shared narrative and intuitive wayfinding.

Furniture: Schiavello, Steelcase, Dexion, Tait, Fermob, Cult Design, Something Beginning With, Stylecraft, Form + Function, District, Unifor, Space Furniture, Kfive and Kinnarps, Living Edge, Thonet, Fenton & Fenton, District, Dedece, Design Nation. Lighting: Mark Douglass Design, Darkon, Modular Lighting Partners, Erco, Inlite, Space Cannon, Light Project, Fat Shack, ISM, ARK lighting. Finishes: RC&D, Ege Carpets, Deborah Bowness, Radford Cole & Son, NLXL, Designers Guild, Tint Design, Redfort Architectural Fabrics, North Indigenous Textiles, Bábbarra Women’s Centre, Timorous Beasties, Kvadrat Maharam.

Photography: Shannon McGrath & John Gollings

Midtown Workplace

Cox Architecture

The design of Midtown Workplace highlights the importance of place and human connection in an increasingly virtual world. Underpinned by the conceptual narrative of exploration, the workplace is a magnet to foster innovation, collaboration, and connection. This workplace delivers a sustainable and adaptable model that accommodates new ways of working for an increasingly distributed workforce. Spanning 9 levels, the workplace is within an adaptive reuse development that merges two ex-government buildings into a single A-Grade tower.

The base building is a story of connection and innovation. Two existing towers connected as one, old structures connected with new. A void and bridge created a physical connection between the paces, creating a united place that can be accessed via a staircase which works as the building’s “spine”. The central atrium is fringed with planting and drenched in daylight, anchored by an auditorium, ‘The Pit’, at its base.

‘The Pit’, a magnet for cultural exchange, is a space for teams to gather as a whole and galvanise their vibrant culture. The organic form responds to the curved nature of the sky terrace base building envelope and provides a moment of whimsy to the otherwise strictly geometric and almost brutalist workplace.

Cox’s design response explores the tension between the pragmatic and the poetic, doing more with less. The design adopts a brutalist approach to the interiors, showcasing the existing concrete structure with as little decoration as possible. The overwhelming majority of materials are left in their raw state, untreated metals that hero our client’s core products and serve to reduce the impact of superfluous decoration and embodied energy. The use of recycled materials from the original building has reduced carbon dioxide emissions by 11,000 tonnes – equivalent to running the building carbon neutral for four years.

Furniture: Haworth (Zody Task Chair), Vitra, Unifor, Cult (Hay Palissade), Wilkhahn (Confair Folding table), Herman Miller, Living Edge. Lighting: LAD Light and Design Group (Prolicht, Iguzzini, Darkon). Finishes: Andrews Group (Bolon), Forbo, Autex, Kvadrat Maharam Fabrics, Fibonacci Stone. Fittings & Fixtures: Caroma, ZIP, Nespresso.

Photography: Christopher Frederick Jones

Microsoft HQ


Located in North Sydney, the new Microsoft Australia Head Office breaks the mould of a traditional workplace and is a fully immersive experience. Designed to reflect places of awe and wonder within the Australian natural landscape, the workplace provides a journey of discovery from parametric walls that mimic the Figure 8 Pools, with reflective ceilings to represent the rippling effect of the water, to cave-like environments and tunnels of greenery.

The project is a bold, future-shaping workspace that veers confidently away from the archetypal tech office. The design puts people firmly at the centre. It includes two floors of customer interface and learning facilities, wellness facilities, studio and editing suites, an immersive live-stream cylinder, an X-Box Room and neighbourhoods designed to support various operational and development functions.

The five work floors are linked by an inter-connecting stair providing visual connectivity and encouraging collaboration through all levels. The stair is illuminated via a digital art installation that runs continuously throughout all floors and references Microsoft’s digital code. The programmable installation provides Microsoft with the opportunity to inform the environment’s mood, reflect the water, or interact with the activity of the users traversing through all levels.

The environment delivers a benchmark outcome for Microsoft in the context of environmental performance and well-being, embedded with strong biophilic references to benefit all users. Elevating the concept of collaborative workspaces and delivering an industry exemplar in the provision of focus space for quiet concentration, the design raises the technology workplace bar.

Furniture: Haworth, Herman Miller, Living Edge, Stylecraft, Zenith Interiors, Wilkhahn, Cult Design, Jardan, Envoy. Lighting: Koskela. Finishes: SAS International, Supawood (Supaslat), Rimex Metals, Interface, Karndean, The Andrews Group, Interface, Milliken Ontera, Forbo, Shaw Contract, Tarkett, Polyflor, Kvadrat Maharam (Steelcut Trio 3, Quay, Mantle, Remix 3, Jaali, Pilot), Norfolk Blinds, House of Bamboo, Elton Group, Intrim, Laminex (Aged Ash, Charcoal), HVG, Surteco, Dulux, Weston, Warwick Fabrics, Emily Ziz, Caesarstone, CASF (Corian), Artedomus (Inax Yuki Border Tile), Skheme (Zellij Brick Tile), Woven Image (Zen Embossed Panel, Echopanel, Aire), Europanel (Eurohush S9), The Andrews Group (Baux Acoustic Tile), Kube Contract (Hauki). Fittings & Fixtures: Zip (Zip Hydrotap Elite 5 in 1, Zip Hydrotap Arc), Harvey Norman Commercial (Envy, Radiant, Clark), Clipsal (Saturn Series), Living Edge (Muuto Dots Coat Hooks), Index and Co (Semi Circle, Streamline, J-Pull Joinery Handles, Arcadia Entry Door Pull), ZETR (ZETR double GPO)

Photography: Steve Brown

Google Aotearoa

Warren and Mahoney
New Zealand/Aotearoa

In a global first, Google has embarked on its first ever partnership with indigenous peoples for its new purpose- built workplace in Auckland, Aotearoa, New Zealand. In acknowledgment of the need to approach this collaboration with a world best practice, Google appointed Warren and Mahoney, to lead the engagement process alongside cultural advisor Anzac Tasker and local iwi (indigenous peoples) Ngāti Whātua.

Google Aotearoa’s new home wears a narrative woven around place, featuring stories of land, people, and culture – each bringing the richness of Aotearoa, New Zealand to its users. The workplace considers its users and visitors through an experiential lens, inviting each person on a journey from the peaks of mighty mountains to the shores of our rugged coastlines. Through personification workshops with Te Aroha Grace from Ngāti Whātua Orākei, the design team arrived at the central idea of Te Tai (the tide) as the metaphorical embodiment of Google in Māori. The tide gives and receives, representing the relationship with Google and Ngāti Whātua Orākei which goes beyond the project itself and builds on a future partnership. We inverted Google’s mission statement by bringing the magic of Aotearoa to Google.

Bringing the concept of Te Tai to life is an immersive digital ceiling which plays curated audio-visual scenes and offers a rolling reel of Aotearoa. This experience can be tailored throughout the day to change the identity and ambiance of the arrival sequence in the space.
An impressive wooden centrepiece, made from locally sourced timber sheets from Kaitaia is carved into large, sheer walls representing a gorge running through the heart of the workplace.

Furniture: Schiavello (Kada), Europlan (Haworth), Fletcher Design. Lighting: Erco, Energylight, Zumtobel. Finishes: Juken NZ, European Floor Toppings, Inzide, Heritage Carpets. Fittings & Fixtures: Greenmount Interiors, United Make/Monstavision, There/Big Ideas, Wildfire.

Photography: Sam Hartnett


IX Architects

THE LINK is about connections. It envisions an office that encourages fluid and seamless linkages between people, nature, and spaces.

With the client’s fengshui requirement on five elements as the main theme, many exciting and unique materials are designed into the interior spaces. At the same time, the design consciously uses modular components in the details and furniture, while varying only the finishes and colours. This connects each respective floor with a coherent yet unique aesthetic.

THE LINK addresses the social wellness and needs of our future working environment. Using the variety of green spaces, these are opportunities for the users to connect social and also with nature. The close proximity of greenery allows functional use such noise buffer, heat buffer and natural ventilation to the interior spaces. The natural landscape also increases the social well-being, providing an optimal office environment.

THE LINK provides a social network using the central skylight, in the form of physical, acoustic and visual connectivity. This resolves the challenge of the narrow plot area by linking the various floors through the vast and tall volume space. Multiple spaces and features are seamlessly designed around this skylight allowing a variety of different activities to take place, according to user needs. The space also utilises a fluid concept in the form of design features, such as the ceiling profile, floor finishes, shared worktable and spaces. The fluid forms are a consistent language that allows the spatial experience flow seamlessly, expanding beyond the tight floor width. The shared work table brings the staff together physically while allowing for flexibility in the allocated space and area.

Furniture: Iwa Design Pte. Ltd. Lighting: Project Image Pte. Ltd. Finishes: EDL, Contrac-Image Trading Pte. Ltd., Armstrong Flooring Singapore pte. ltd. Fittings & Fixtures: W. Atelier Pte. Ltd., Toto Sanitary Wares.

Photography: Finbarr Fallon Creative Office

MC Workplace Fit-out

New Zealand/Aotearoa

Competing locally and globally for top litigation talent, MC’s new 230-person premises is designed to radically differentiate the firm. The 5,500sqm workplace design exemplifies the firm’s forward-thinking approach to attracting talent by providing an unparalleled employee experience in a premium ecosystem designed for the development of exemplary litigation skills.

Jasmax’s interior design brief was to celebrate contemporary Aotearoa, connect people with the natural environment in a workspace dedicated to wellbeing, and expel preconceived notions of ‘the typical law firm’. The resulting space uniquely includes a living terrarium, providing employees with a sensory experience akin to walking through the Waitakere Ranges. Also unique to New Zealand is a precise replica of Auckland’s High Court supporting professional development.

The space includes six staff workspaces celebrating aspects of contemporary Aotearoa arranged across two buildings either side of a full-height atrium interconnected by generous link bridges and stairways. Social and learning and development activities programmed around this atrium ensure people and activities intersect and overlap around the naturally lit heart of the floorplate. An array of formal and informal work settings also accommodates varying working styles, including silent concentration spaces, collaborative meeting rooms, a café and breakout areas.

Unique to New Zealand, the resulting space includes a living terrarium, providing employees with a sensory experience akin to walking through Auckland’s Waitakere Ranges. Biophilic design principles have been used throughout the terrarium and workplace with the aim of reducing stress, enhancing wellbeing, and increasing motivation and creativity through connection to the natural environment.

Cementing its bold and holistic commitment to staff wellbeing, MC has also become the first law firm in the Asia-Pacific region to achieve WELL Pre-Certification and is aiming to be the first to secure WELL v2 Certification.

Furniture: Zenith Interiors (Swiss Design, Zenith Interiors), UFL (Andreu World, Sancal), Aspect Furniture Systems, Simon James Design (Resident), Cult (Hay, Fritz Hansen), Kada (Vitra, Actiu,Framery, Schiavello, Kada), Unison (Segis, Pedrali), Tim Webber Design, Citta Design, ICO Traders, Harrows, Vidak, IMO, Hawthorne Group, Forma. Lighting: Phillips Lighting, Energylight (Naboo, Energyline, Triona, Exenia), Murano Plus (Bramble), ECC (Gervasoni), Lightplan, Thorn Lighting (Zumotobel), Inlite (Deltalight), Brightlight, LightStudio. Finishes: Potters (Mars ClimaPlus), Autex, Forman (Armstrong Ceilings), Decortech, Resene, Sculptform, Godfrey Hirst (Feltex), Jacobsens (Shaw Contract), The Tile People, Briggs Veneers, Laminex (Formica), Ecoply, Jacobsens (Tarkett), Artisan Collective (Emma Hayes), Textilia (Camira), APT Innovation (Fenix, Corian), Inzide (Forbo), Outside In. Fittings & Fixtures: Mico (Caroma, Paffoni), Brita, Purelite, Plumbing Plus, Plumbline, Methven, Hideaway Bins, Acero, Joinery Hardware.

Photography: Jono Parker

Hobsons Bay Civic Centre


Built in 1963, the Hobsons Bay Civic Centre is the central administrative office for Hobsons Bay City Council and base for 330 staff. The building needed to be brought up to modern standards to sustain Council’s future service delivery and avoid hefty maintenance costs. The new design needed to be creative, socially sensitive, sustainable, healthy and contextual, reflecting a significant cultural change within the organisation. The result is a micro-city that enhances community connection, accommodates different working methods, and highlights transparency by blurring the boundaries between public community spaces and private working areas.

Three gardens and water features (roundabouts) are scattered along the pathway containing information about Hobsons Bay’s three Kulin Nation language groups and their ties to the land. The path comprises presentation zones, collaboration zones and a floating meeting room set on a pool of water housing rescued piers. Openable louvres connect an internal garden atrium and natural ventilation to the pathway.

In the ‘shade zone’ stands the oil pod covered in black zinc shingles representing Hobson Bay’s long history of the industry. The busy activity of the north-south pathway permits a Danger Zone (a space with loud visual patterns and music) to support stimulation seekers. The heritage pod stands in the ‘light zone’ – an abstract interpretation of local federation architecture. Focus rooms are peppered throughout the light and shade zones and in the green planted pod to the north and recycled brick pod to the west. A quiet zone encircles the brick pod with its neutral palette and quietness.

Furniture: ASPECT, P4, Stylecraft, Ownworld, Footprint Furniture, Flinkspace, Koskela.

Photography: Nicole England

Exotic Food (XO)

IF (Integrated Field)

Exotic Food (XO) is a public company whose business involves exportation of Thai food and flavours to countries worldwide. The foundation of XO’s success lies in its potential to constantly be adaptive to changes. The decision to improve and expand the office, especially, in this particular time, coincides with the belief that “office space will remain and become more important, even in the time when people no longer need to physically be at an office in order to work.” The current and future offices will therefore not only cater to work practices of the past but are expected to represent and communicate the organisation’s corporate identity while facilitating collective goals and unity among employees.

Utilising the colours red and black, and other elements helps to convey XO’s identity and create a strong, unified image, discernible to both the company personnel and visitors.

XO is divided into four sections. The “Support Core” is designed to improve staff’s work efficiency and consists of small meeting rooms, phone booths for online meetings, managers’ offices, workshop room and storage. “Main Core” comprises the main office area and other functional spaces such as the canteen, bar and amphitheatre. The “External Core” has been created to accommodate visitors and is made up of two main meeting rooms that can be partitioned or connected into one large conference room supporting various functions from formal meetings, group workshops or class lectures. The “Internal Core” is a casual workspace designed to encourage team-working environments.

The front of the ‘Main Core’ when combined with ‘External Core’ and ‘Internal Core’, creates a large, connected functional space referred to as the XO Core. This particular part of the floorplan is used to host activities representing the organisation’s corporate identity, especially those with a large number of attendants such as Town Hall or company parties.

Furniture: Flo, Modernform, Wurkon. Finishes:Wilsonart, Rococo, Feltech, Pentens, Toa. Fittings & Fixtures: Hafele.

Photography courtesy of IF

Dexus Place, 80 Collins Street

Warren and Mahoney

Dexus Place is a co-working, private suite and event space located in 80 Collins, Melbourne. The creative strategy of the “Alter Ego” grounded the project with a unique proposition which drives a highly experiential workspace. As a community space, it celebrates uniqueness, difference, and extremes, inviting all kinds of users and members to enjoy the facility.

The facility must work very hard to achieve its revenue, it provides workspace for 240 members across 2680 square metres and there are 17 private suites, supported by six meeting rooms and five event spaces, terraces, and communal lounge zones. There is a blend of hard spaces (exposed and raw) and soft transitions (plush and colourful) which clearly define destinations in the environment. The choice of materials is additive to these experiences.

The hero of Dexus Place is the stair – it is clad in ripple steel with a large prismatic ceiling above and a three-storey drop of sheer curtains to diffuse, reflect, and refract light in the space. Victorian ash anchors the host space on level six, with copper clad joinery and steel mesh to play with light further, while level five is a softer carpeted zone in the quiet lounge.

Dexus Place has a design language which is expressed in the following ways. It is a provocation of extremes, exploring a broad spectrum of ambience. It amplifies light, playing with light and shade in interesting ways. There are soft transitions which are active and passive, heightening user awareness of change. It is unapologetically urban, honouring honesty of the built form and services. Wherever possible, sustainable, recycled and/or circular products where specified in carpets, paints, workstations and ceilings.

Joy and Indigo Armchair, Lola Lounge, Billie Bench, Otis, Sidney & Pepper Tables – Jardan
Arper, Adapt by Ross Gardam, M.A.D Furniture Design, Stylus & Thinking Works – Stylecraft
Orbis Workstation System, Platform Chair * Stools – Zenith
Very Task & Wire Stacking Chairs – Haworth
Custom Bar Leaner / Underline Table – Design Nation / District
Kartell Comonbili – Space

Finishes: Staab Décor, Baumann, G-LUX holder, National Tiles, Instyle, Interface, Mr Fräg, Milliken, Autex (Frontier Acoustic Baffles, Tundra), Havwoods, Kvadrat Maharam. Fittings & Fixtures: Lotus, Caroma, Billie, Alpha Catering, Bradley, Corian.

Photography: Nicole England

Ballarat Gov Hub

John Wardle Architects

The Ballarat Gov Hub is a workplace for over one thousand employees and its design suggests that an office can, and should make a civic contribution. Repairing public space, it includes new structures and spaces for the community to inhabit and more broadly, it takes climate change seriously and mitigates carbon emissions wherever it can.

Within Ballarat’s civic precinct, the Gov Hub is highly connected to the neighbourhood of library, civic hall and park, creating a positive urban impact. Inhabitants are close to a diverse network of activity at ground level – smaller brick chambers are a tactile and engaging presence for retail, community, and office activities. They also visually tie the precinct together, with brickwork being the dominant material of the adjacent Civic Hall. A new glass conservatory, with its own timber structure, creates a welcoming microclimate year-round for all.

Two lifts provide flexibility, while generous interconnecting stairs offer choice of route and access, ideally suited for a post-pandemic world. The Gov Hub’s primary structure is mass timber, a combination of CLT (cross laminated timber) and GLT (glue laminated timber), which radically reduces its carbon footprint. Its interior is organised into neighbourhoods, each defined by primary timber columns and beams. The emphasis is on creating a productive team environment.

An outer skin of solid zinc wraps the low rise, five-storey building, sidestepping the typical glass box. The gabled-roof form appears similar in shape to a large rural shed, while the scattered window pattern creates a more domestic interior experience. This form significantly reduces heat load. To the south, a glazed end is sliced open to reveal shared gathering spaces including a timber lined attic to make visible the work of those serving the community.
The Ballarat Gov Hub is civic in nature, personable in scale and sustainable in outlook.

Photography: Peter Bennetts

9-15-Deloitte Center for the Edge

Studio SKLIM

9-15-Deloitte Center for the Edge is nine agile work zones wrapped by plywood shells for a compact office. The idea of the compact office might increasingly become ubiquitous due to the desires to work from home in the post-pandemic world. However, for Deloitte Center for the Edge (Asia-pacific) office in Singapore, a multitude of working spaces was conceived to accommodate a myriad of working styles. The 32 square metre office, located within the National Design Centre in Singapore, is designed with innate agility to transition from enclosures of individual concentration to collaborative spaces.

Different anthropometric work boundaries and patterns were studied to create the nine distinct work zones that include Soft Working, Octopus Bar, Niche to Meet, Dedicated Word Station, Work with View, Privacy Booth and bum seat, Work Platform, Meet and Greet and Think Wall.

The nine work zones have been conceived as a “loop of working spaces” that is further supported with six ancillary spaces which include a Felt Shelving Wall for the client’s research booklets and an Artefact Wall for an interchangeable display of showcase items. The geometry of these spaces was derived by experimenting with the client’s research booklets and this inspired the creation of curvilinear plywood shells to enclose each work zone. The plywood shells vary in height according to sightlines and are orientated at different angles to create the perception of separate zones. The taller plywood shells increase the privacy for the individual and act as health barriers between adjacent zones. Further cut-outs facilitate visual interaction and shells have been staggered to emit daylight and create visual depth.

The new office for Deloitte Center for the Edge remains a hive for collaboration and challenges the new normal of the work environment with a wide range of work zones in a very modest footprint.

Furniture: Vitra, Artek, Affordable Abodes (Kenafcrete lamp), Roger & Sons. Lighting: Glos, 42 Degrees Asia. Finishes: ReMARKable.

Photography: Khoo Guo Jie