After a short break we are back to work refreshed and ready to tackle all of your exciting new projects. By the end of 2012 we were able to look back on a broad range of creative projects, from multi-story corporate fit outs to hand crafted sculptures. One of the later projects was this custom feature wall for the Ministry of Sound Headquarters in Sydney’s Darlinghurst. Andrew Cliffe from The World is Round adopted our popular Doric entry door, to be used as a concrete feature wall at the reception. The surface creates a beautiful shadow play as the varied light in the room plays with the corrugated surface.

A different, but also unique project, was the featured custom glass privacy screen for a clients guest ensuite. The Axolotl design team worked very closely with the client to achieve something new for the company and offer the client their perfect fade position from translucent to clear. The finished result enables the client to enjoy an outside view while showering, yet retaining privacy.

This issue we introduce something new. Each quarter we will put a series of questions to an industry 'luminary' to get an insight into both their talent and their feel for the future. This issue we introduce Joseph Licciardi. Joseph’s name as a designer and his products are now sought after and exported all around the world. 

With a reputation for high quality and innovation his company Vetrosystems Pty Ltd and his partners Schiavello Pty Ltd have just formed a new entity called OMVIVO which means "Conscious Living". OMVIVO encapsulates the best of both companies’ abilities and represents a new point of view on design for the international marketplace.

What keeps you inspired?

Life keeps me inspired. Being alive, enjoying and seeing things around me. Meeting people. Eating wonderful food from clever restaurateurs leave lasting impressions. Today, I really love what is happening here and the great talents this country is now bringing out. Perhaps because we are exposed to the best from the world (and the worst!) and we don’t have this sense of the super ego because it is already assumed that we are not necessarily the best! So as such we have a much more humble approach to excellence. This is in a way a reminder of human imperfection. I think one of the most beautiful things about us is our imperfections – we should be aware of it.

And of course the most important inspiration is my wife, she gives me a great impetus.

What project do you consider to be your greatest achievement so far?

This is a hard question, because I don’t look back into projects as such as a great achievement, in most cases it’s more the experience of getting through to the finish of the project or product. One thing that had a particularly great impression on me and that was when I began to learn about the malleability of glass. I used to work in the 70s creating glass furniture but the pieces mainly just used plain sheets. However in the late 80s to early 90s I was exposed to an artist in Melbourne, John Greg, who worked in forming glass. We pushed the known parameters of the time and achieved the first large pieces of toughened formed glass.

Aside from that, the next project is always the best project as far as I’m concerned. 

Have you ever refused to comply with a client request or design? If so, why?

A variety of times when I’ve been asked to reproduce someone else’s designs. Or when they want the world for no money.

Are there any architects whose work encapsulates your own ideals? 

What ideals ? My ideals keep changing, I keep learning that what was important yesterday is actually not so important today. As I grow older I suppose I’m getting a little more sensitive to values which are probably more long term, designing to create as little ‘damage’ (environmental) as possible. I read and I see and look at people around me who give me glimpses of this type of work, so really there are too many designers whose work I admire and that encapsulates some of my own ideals.

Did/do you have a mentor?

As far as aesthetic values are concerned, my manager, Laurie Carew, at George’s was a great mentor. He taught me a lot about shapes, importance of lighting, displaying something correctly which often creates 60 or 70% of the products value! If something that’s not so great is superbly displayed it sells. He also had a great sense of humour. Da Vinci was also a fantastic luminaire, he was a typical renaissance man, an incredible talent of the time. Le Corbusier’s forms are poetry. Massimo Morozzi taught me not to take things or ideas on their surface value - there is much deeper thought in design. Massimo was the inspiration behind my most successful product so far, the Washplane®. 

Which Australian building excites you the most?

I don’t know if I have ever found one building that gives me all of the things I like. I guess if it’s a large building, I would say I definitely respect the Opera House in Sydney, it’s a building that I never really liked 100% but I admire what it is and the pleasure it gives to people, that’s a great asset in a building. For a more normal building, I love what Nonda Katsalidis delivered as the Ian Potter Gallery at Melbourne University. So clever for the cost, it resolves practical issues when displaying art within parameters that were quite stringent. It’s a wonderful example of modernist principles with today’s technology.

What do you see as key trends over the next couple of years in domestic or commercial design?

Contemporary design at last has come of age, especially in the residential market. There is much more awareness to designing with the environment and people in mind. Friendly work environments are much more in vogue these days. Designs are more courteous, gentle for the everyday worker. Aside from these two main things, I’m not really the best person to ask about trends (to me design is not about trends, it’s the result of human intellect)! I do think we are much more aware these days… we don’t necessarily fall for "what’s in" as much. So many people like different things and that’s one of the great things – design is much more individualistic. In fashion today, for example, you can have 20 different directions and all of them are valid! 

Which trend in architecture or design are you totally over?

The abuse and over use of trendy materials that go beyond the real value of the material. They forget what these materials are really used for or suited to and then they just abuse it. There is nothing worse when it comes to true design. It’s sad to think that what a client gets will be in today and out tomorrow, so the lifetime of their house and the materials used are so incredibly short.

Do you see a lot of development in Melbourne over the next year or so?

Hopefully there will be some ‘down time’ soon which brings in some good sense, when there are tougher times more creative things happen… people have to work harder, be more imaginative, leaner. That’s always good. Melbourne is enjoying great times. We are practically creating two new cities at Southbank/South Melbourne and the Docklands. And there’s a lot to be done yet.

'Walking Blank' is a sculpture by Canberra artist Rosalind Lemoh. Using a taxidermists mannequin (referred to as a blank), the deer has been remodelled and coated in Axolotl Graphite, to create a sleek industrial form that explores the relationship between the natural and urban environment.

Each quarter Axolotl puts a series of questions to an industry luminary to an insight into both their talent and their feel for the future. This issue we introduce Nick Tobias from Tobias Partners. Nick’s design philosophies and development strategies are evident in all their work. With an emphasis on enjoyment throughout both the process and in the end product, simple, elegant designs pay tribute to the design ‘idiom’ of expressing “function through form”.

What keeps you inspired?

Regular travel to places I’ve never seen before – at the moment it’s been amazing landscapes, especially deserts - AND - an inbuilt and constant urge to resolve design challenges – it’s like a disease.

What project do you consider to be your greatest achievement so far?

I suppose the greatest is the creation of a true studio based architecture and design office where design quality is always paramount. It’s what I set out to do and have achieved. When I look around the office at the people who have come together, and the projects we have on our books today, I’m very proud.

Have you ever refused to comply with a client request or design? If so, why?

That’s a grey area. My clients and I are always challenging each other. If I don’t agree with a request, my clients listen and we end up negotiating a win/win scenario. Clients often have interesting ideas however must understand that the reason we are the professionals is that we have the ability to visualise and understand a project in its entirety and therefore be able to make the right decisions at the end of the day.

Are there any architects whose work encapsulates your own ideals?

Most of my ideals come from architects who are now retired or dead – for instance Louis Kahn. However I would like think that some of my ideals are shared with likes of David Chipperfield, Eduardo Souta de Moura, Claudio Silvestrin, and locally Alex Tzannes. The late Neville Gruzman was also a great influence and I had the great pleasure of spending a lot of time with him in recent years.

Did/do you have a mentor?

Too many to list – they are very important in life.

Which Australian building excites you the most?

Drove past the new Norman Foster building in Hunter Street – the inside of the new podium space looked incredible.

What do you see as key trends over the next couple of years in domestic or commercial design?

I’m not that into trends and I don’t believe architecture should be “trendy” so – no. I think architecture and design should be a true expression of so many things but not of trends. 

Which trend in architecture or design are you totally over?

Stacked slate and the “do-it-yourself-renovator’s” look – it’s just a complete rip off of anything good which is done

Do you see a lot of development in Sydney over the next year or so? Property development?

Residential – no, commercial – yes. Design development – not sure, but I hope it just settles down and gets back to basics a little.

Capping off another great year in the design trade, the inaugural IDEA awards ceremony was held over the weekend. As an event partner for a second year running, Axolotl collaborated closely with Facet Studio, winner of not only the international category but also the IDEA Emerging Designer Award, to create an awe inspiring glass divider wall using 22 panels of Viridian glass. Based on the theme of a playful Aesops-Fables-esq scene, the edge lit glass was etched with the theme on the rear face and painted strips on the front to give the passer by a unique experience and insight into the possibilities of the glass medium. The theme comes alive with the effect, as the animals displayed appear to move with every step.

Working with Facet again, in conjunction with Balvenie Scotch, Axolotl was called on to create a circular pop up bar for the Awards, constructed of stained wood, with an aged copper countertop crowned with an etched Balvenie logo. The awards themselves were also created by Axolotl, adopting the same theme as last year, these awards were coated in aged aluminium with a combination of textures overall highlighting the refined IDEA logo. In all, the night was a resounding success and we would like to offer our heartfelt congratulations to all the winners and the IDEA team.

Designed by Michael McCann from Dreamtime Australia Design, the new Grain bar at the Four Seasons Hotel in Sydney, is the perfect debut for our latest innovation, Axolotl Timber. By applying semi precious metals onto timbers or timber veneers and manipulating the raw materials, a unique surface element is created. The organic warmth of the timber grain contrasts the industrial lustre of the metal to stunning effect, as demonstrated here on the Axolotl Timber feature wall. Michael McCann hand selected a beautiful American Cherrywood for Axolotl Gold Bronze, which has been applied in a custom geometric pattern.

Axolotl Timber offers an unlimited design canvas through being able to combine any metal design onto a vast range of timbers.

Says Michael, "Grain has been designed as a unique “artisan” bar, blending a variety of commissioned artist finishes and features in timber and other medium. The name “Grain” was selected to reflect this – i.e. “Grains used in alcohol distillation" & “Woodgrain”. Grain features a blend of highly creative features bordering on the theatrical – yet at the same time elegant, warm and comfortable with a creativity-focused interior. Axolotl Timber plays a pivotal role in helping us realise this concept ".

Another great use of Axolotl Timber was recently illustrated at our DesignEx 2012 Exhibition. Below is a video of the stand, created by Steve Brown.

[vimeo http://www.vimeo.com/51658062 w=640&h=360]

Axolotl at DesignEx 2012 from Axolotl on Vimeo.

The latest innovation from Axolotl, Flyash, creatively up-cycles waste product produced by industrial furnaces to add an environmentally advantageous and premium looking surface to our concrete collection. The diversity of Axolotl concrete is shown in the images here: from large scale feature walls and façades to bespoke concrete benchtops and furniture. The aesthetic of concrete can be achieved with Axolotl's award winning concrete surface without the weight and logistical struggles many clients endure with solid concrete.

Introducing Doric.

We would also like to announce the winner or Concrete Signature Door naming competition. Congratulations to Sarah Walls for her name 'Doric'. Sarah has won a fantastic iPhone case coated in Axolotl Bronze and Graphite 'Viper' snakeskin. A special thanks to everyone who entered.

Introducing the latest addition to Axolotl’s signature door range, this architecturally detailed door in Axolotl Concrete is a world first. Clad in a fluted profiled substrate and coated in our award winning 'shale' concrete, the door appears as though cast from solid concrete, however due to Axolotl’s patented (pending) technology carries none of the associated risks or restrictions of solid concrete which can include weight, need for structural reinforcement, and brittleness causing chipping.

A similar profile on a larger scale looks great in metal also, as illustrated in the recent fit-out at the Ray White head office. Coated in Bronze Florentine, the ridges area of the three dimensional panels are polished to reveal the bronze through the areas of aged florentine.

Axolotl are extremely fortunate to work with some of Australia’s most talented designers and architects. It goes without saying then that we are delighted when their efforts are recognised by both their peers and industry bodies. So far this year several teams have received various awards and nominations commending their efforts across various projects involving Axolotl, with just a few featured here. Philip Chia aimed to redefine the traditional food court dining experience at The Galeries Victoria by creating a highly unique and intriguing environment by delving into experimentation with juxtaposing materials. Axolotl provided several unique surfaces such as concrete coated panels with custom carved design, for the bulkhead and ceiling trim. Bronze Viper panels for the kiosk stations, and Treasury Bronze Pearl feature walls.

Commendation Retail Design - The Uncarved Block For The Galeries Victoria The design concept for the lower ground food court at Sydney's TGV aimed to set this unique environment apart from its counterparts in the CBD and stray from the “a-typical” food court approach. Inspired by the existing mix of avant-garde fashion retailers, the current clientele and location, the food court design draws a link between these key influences and the art of consumption conveyed through unique bespoke design elements, materials palette, texture, lighting and furniture.

Melbourne Central was recognised for it’s creative eclecticism and environmental stance, which also offers a unique retail experience. Given the large size of the space, it was important to create a variety of smaller dining areas for different groups of people. Axolotl was called on to produce a divider wall using screens coated in Treasury Bronze Pearl.

Planning wise, the layout defies the number one rule of food courts where sight lines to all tenancies from anywhere are a pre-requisite. At Melbourne Central, deliberately massed visual obstructions breaks up dining zones and changes the overall visual typography. It relies on people’s innate sense of interest and intrigue to explore this environment.

The conversion of the seating pagoda in Dixon Street to an information kiosk to service Chinatown called for a sympathetic and contextual design. The curved glass feature wall, created by Axolotl, is coated in Graphite which has been applied in a bespoke pattern designed by paper-cut artist Pamela Mei-Leng See.

In honour of the late, great Harry Seidler, this park was created for the residents of North Sydney. A large glass blade, supplied by Axolotl, installed at the centre of the space, details the dedication of the park to Harry and his lifetime contribution to architecture.

Designed in conjunction with Phillip Chia from The Uncarved Block, the Axolotl ‘Pod’ is a bespoke construction based on the blueprint of a shipping container, which we tweaked to our exacting requirements. With sustainability in mind, the reusable structure will be recycled for future exhibitions, reconfigured and transformed into an all new stand unrecognisable from the last. This year we featured several amazing world-first products including Timber LINK, Concrete Lace, Chroma and LINK glass along with many other beautiful finishes.

The “Reptilian Chaise” was designed specifically for Axolotl Concrete Bunker, to demonstrate the versatility of our new concrete coating system. The bespoke fabric, imported from Timorous Beasties, played a pivotal role in the design of the chaise - the pattern of the fabric flowing seamlessly into the concrete, creates a juxtaposition of soft and hard surfaces, whilst illustrating the unique properties of the concrete process.

The annual awards, widely regarded as the most prestigious hospitality design prizes in the business, attracted 620 entries from 60 countries. The awards will be judged by the who's-who of the international design and hospitality industries, including Alberto Alessi from Alessi, Joe Ferry from Intercontinental Hotels Group, and editors from Casa Vogue Brazil, Elle Décor India, Frame China and the UK's Sunday Times Style. The winners will be announced at the Royal Institute of British Architects in London on September 6.

Axolotl would like to extend our congratulations to the winners and look forward to partnering on more award winning projects in the future.