ArchitectureAU

Since March this year I have been contributing to ArchitectureAU. Its an online portal for Architects and Designers to connect with people, the latest projects and critical discourse. To date I have contributed five stories with photographs and illustrations.

APT7 at GOMA – View to Damien Gulkledep’s Pomio People 2011. Photography Christina Waterson.

1. My first was a postcard about APT7 at GOMA.

Design Process – This story also included a series of collages and illustrations I completed while Studying Architecture at The University of Queensland. Collage by Christina Waterson.

2. The next was an interview with Queensland Interior Designer Marisha McAuliffe about her groundbreaking research into the Design Process.

The Opposite House Foyer – a luxury hotel in Sanlitan Village, Beijing, designed by Kengo Kuma’s. Photography by Christina Waterson.

3. Then I contributed a Postcard about a great hotel I stayed in while visiting Beijing, called The Opposite House.

Jeweller Phoebe Porter at the opening of her exhibition entitled Unfold. Photography by James Braund.

4. I loved writing the catalogue essay for Jeweller Phoebe Porter on the occasion of her exhibition Unfold held at Craft Victoria. It was great to share this essay called Making Refining Sharing on the Architecture AU website accompanied with beautiful imagery by photographer James Braund.

WOOD: art design architecture – view to Sherrie Knipe’s work Boot Lace. Photography by Christina Waterson.

5. And my latest contribution – a review of the exhibition WOOD: art design architecture at JamFactory Contemporary Craft and Design, Adelaide.

I have come to really love being creative through writing and photography, as well as meeting the talented practitioners behind the amazing work. It is a pleasure to present their stories through the professional forum of ArchitectureAU.

Follow the links above to my articles posted on the ArchitectureAU website, have a read and let me know what you think!

THANK YOU to You!

Lately people have asked me why I don’t include more posts about me or my current work. They ask “Isn’t it your blog? Shouldn’t you just use your blog to present your work?”

Maybe! Sometimes my blog does include posts about my latest projects, media reviews, events, exhibitions, awards or successes. But you know as well as I do that creative people do not live in an isolated bubble. We are in the world and are informed by the things around us – the people we meet and the places we visit.

I find joy when I shine the light on other people’s creative pursuits – be it within Australia or further afield overseas. I openly share my moments of inspiration – personal meetings with gifted people and experiences in unique and moving places.

Toto guides me through the beautiful process of Karakami at Karacho.

Delicate pressure applied by Toto to Washi and wood block.

Special people like Aiko and Toto from Karacho in Kyoto. Never a day goes by that I do not think of my experience with them and the personal feeling of Karakami with Karacho.

Mr Ohashi San weaving in his studio, Beppu (Japan).

Keiji at his Bunkyo-ku Studio, Tokyo.

Eastern Weft Textiles shared with me by Samorn Sanixay, Sydney.

I treasure being welcomed into Mr Ohashi San’s practice and the process of weaving bamboo. Meeting inspiring practitioners like Japanese Architect and Designer Keiji Ashizawa, and Australian based Samorn Sanixay co-founder of Eastern Weft was very special.

The beautiful Arda Gokger guided me through Istanbul.

Bruce Lepere and I talked surrounded by colour and pattern (London).

Designer John Quan, Jam Factory (Adelaide).

I was transformed through unique experiences like those with Arda Gokger at The Rustem Pasha Mosque (Turkey); Conversations with Bruce Lepere from Oriental Rugs at Liberty of London or more recently visiting JamFactory and spending Sunday afternoon with Designer John Quan.

Byon Temple, Siem Reap (Cambodia).

Hagia Sophia (Turkey).

An amazing sunset at my place!

There are personal moments at Byon Temple and Angkor Wat (Cambodia), Hagia Sophia (Turkey), or simply sunset at my place and moments of nature. I can share these moments through a personal frame. It means the world is a richer place through further cross-pollination.

The key thing that I learnt through my Winston Churchill Fellowship Travels was that creatives across the globe have similar challenges and joys. We use a common language of making that transcends cultural borders. We are all part of a creative tribe.

Think of the special people who have inspired you in your life or work. Get in touch with them. Write them an email, a postcard or message on Facebook. Say hello and thank them in your own special way! It will keep the creative energy flowing and growing and make a positive difference to their day!

My list of inspiring people gets longer with every day. When I get in touch with them, often they are unaware of the difference they have made and just how much they have affected me!

I cannot say THANK YOU enough!

JamFactory – 40 Fruitful Years of Craft and Design

This year marks the 40^th Anniversary of JamFactory Contemporary Craft and Design. Founded in Adelaide JamFactory has ensured some of Australia’s most talented craft and design practitioners have realised their full creative potential. On any given day the quality and diversity of practitioners working within JamFactory’s walls are a reflection of its contribution over such a long period of time.

It’s Monday and I decide to visit JamFactory Studios to see who is at work.

Natalie Gock working at her bench within JamFactory’s Metal Design Studio, Adelaide.

Natalie hand sawing copper sheet into test forms.

Natalie’s previous work – Black Cockatoo Neck piece. Image Courtesy of JamFactory.

At the Metal Design Studio, I find Natalie Gock hand sawing copper sheet into fine petal like test forms. She is working on an exhibition piece for Maker/Wearer/Matchmaker – part of Art Month Sydney 2013. The necklace will be made in silver for one of the Directors of Nine Galleries (at 2 Dank St) to wear and be displayed at Studio 20/17 from 26th until the 28th March 2013. Natalie is an Alumna Resident having completed the Associate training programme in 2012.

Nadja Maher working on a new collection in JamFactory’s Metal Design Studio.

Nadja works her small earring prototypes on JamFactory’s anvil.

Nadja’s previous work – Overnight Earrings. Image Courtesy of JamFactory.

Jeweller Nadja Maher (a 2^nd Year JamFactory Associate) is working on a new collection. Nadja, having cut and annealed her little silver earrings prototypes, is now gently working them on the JamFactory’s prize anvil. The JamFactory structures the Associate’s week by engaging them to work with staff in the making of Studio pieces for wholesale and retail sale and contributing to public program’s via workshops, exhibitions and talks, while also enabling them to work on their personal practice and commissions.

Kate Sutherland making finishing touches to a commission.

Kate’s bench within Jam Factory’s Metal Design Studio.

Kate’s previous work. Image Courtesy of JamFactory.

Diversity in material and form is encouraged in the Studios. Second year Associate, Kate Sutherland, is finishing a special commission. Kate’s fluid forms draw on the Art Deco and Art Nouveau periods as well as the relationship between metal elements and the human body.

Alice Potter and Christian Hall (the Metal Design Studio’s Project Manager and Creative Director, respectively), are running errands the day I do my rounds. Luckily I sat down with Christian Hall a few days earlier and discussed the history of JamFactory.

“JamFactory is very much like building an aeroplane while it is in flight…you can’t stop the plane, it has to keep going and is always in a state of incremental change…it has been built little by little over time. To start something like JamFactory today would be such a massive undertaking… it would be near impossible.” Christian affirms, “JamFactory Contemporary Craft and Design is in a unique position.”

What may have started 40 years ago to support craftspeople and change the manufacturing production industry has evolved into a place that bridges tertiary study and practice. Through the large-scale commissions the JamFactory wins, Associate’s are exposed to different scales of working – often working in teams and combining many of the Studios (Glass, Metal, Furniture and Ceramics) together in one project. Associates and Staff also attend special master classes given by National and International visiting artists-in-residence.

Eddie Ferguson in Studio 3 – sourcing materials.

Window Jug and Tumblers by Eddie Ferguson. Image Courtesy of Eddie Ferguson.

Down stairs in Studio 3 is Eddie Ferguson (2nd Year Associate) who spent the day before in the Glass Studio blowing his elegant Window Vase for stockists around Australia. When I call in he is sourcing materials and designing work that embraces the limitations of the glass blowing process.

Jeweller Regine Schwarzer sets a ring with a stone.

Jewellers Regine Schwarzer and Jessamy Pollock are hard at work in Studio 5. With a passion for the rocks and minerals of Australia, Regine is setting a ring with a stone as we speak. She trained in jewellery making and metalwork at the Zeichenakademie Hanau, Germany, moved to Australia in 1993 and has exhibited in countless exhibitions nationally and internationally.

Jessamy Pollock making paper and aluminium tests in Studio 5.

One of Jessamy’s previous works Fold Brooch in anodized aluminium from her recent exhibition Shrink and Explore – a beautiful collection of wearable and unwearable sculptures.

Jessamy Pollock (Alumna in Residence) invites us to “shrink within our imagination and explore her work at an architectural scale”. Jessamy has just embarked on designing a new wearable range of brooches and neck pieces and is in the process of testing her ideas in paper and aluminum. It’s great to see Regine and Jessamy working side by side on their individual work.

The JamFactory’s studio model is unique and sees experienced professional practitioners working alongside Associates in a studio environment. The program equips them with business knowledge, sustainable practice guidelines as well as all of the OHS of the technology they have grown up with. Alumni often stay on and work from rented share studio tenancies. They contribute to the depth of knowledge and strength of the JamFactory programmes.

Furniture Designer/Maker – Andrew Bartlett greets me in Studio 6.

Andrew applying finishing coat to a commission before final assembly.

In Studio 6 is furniture designer/maker Andrew Bartlett (Alumnus) applying finishing coats to a furniture commission. After installing the WOOD: art design architecture exhibition Andrew is content to be in the studio. We discuss his great respect for clients in the commissioning process and the importance of collaboration on such projects as the Penfold’s Ampoule Project. John Quan (Furniture Designer Alumnus) shares Studio 6 with Andrew but is out sourcing electrical supplies for his new lamp design when I visit.

A meeting in session within JamFactory’s Furniture Studio.

Furniture Maker – Daniel Guest having a break from the workshop. Admin is a necessary part of any business.

Next-door a meeting in the Furniture Design Studio headquarters is in session. Furniture Maker Daniel Guest (2nd Year Associate who also assisted on the WOOD: art design architecture install) is quietly working away on a computer. Daniel moved to Adelaide to become a JamFactory Associate and sharpen his skills after completing fine furniture design and construction at the Australian School of Fine Wood in Western Australia. Like Daniel many practitioners are prepared to move cities and live in Adelaide to attend JamFactory.

Associates today differ from those attending the JamFactory 40 years ago. Then the practitioners were generally older with a diverse wealth of life experience and travel under their belt – as well as their own sense of identity and practice. Today’s Associates are more likely to be in that process while completing their JamFactory Associate training programme.

I sit down with Karen Cunningham (Glass Studio Creative Director) as the other glass practitioners including Tom Moore (Production Manager) stop for the day to enjoy frozen cordial and time away from the hot furnaces.

The resources that go into glass making are costly and finite. The Glass Studio’s Program emphasizes training through production while supporting the distinct parts of practice (experimental exhibition work and highly resolved production pieces). It encourages practitioners to think of glass in new ways such as through computer-based technology and sustainable practice.

Step by step – the practitioners work together to form the piece.

At times there have been up to 50 independent glass artists who regularly hire the hot glass studio. Making glass objects is a creative pursuit that needs to be undertaken with someone to assist throughout the process.

The glass form goes back into the furnace.

Further forming – the process is repeated until the glass tumbler form is perfect.

The process is mesmerizing to watch. I particularly enjoy the movement of the practitioners working together as they glide around each other to transfer the glass back and forth from furnace to forming area. On this day Liam Fleming is completing the Tumbler Exercise with Katie–Ann Houghton assisting, as George Agius prepares coloured glass with Alex Valero.

View to Glass Studio from the Observation Deck – Liam Fleming completing the Tumbler Exercise with Katie–Ann Houghton assisting.

As I make my way from the Glass Studio to the JamFactory Office I pass members of the public enjoying the glass process from a special observation deck. They have just come from JamFactory Store which stocks the objects made on site. JamFactory successfully connects people to the power and energy of making.

In the JamFactory Office its late afternoon and Claudine Young (Executive Assistant) and Anne Fenech (Administration Assistant) are holding the fort. With the exhibition launch and public programmes for WOOD: art design architecture held the previous week, many staff have gone home a little early today.

I caught up with Brian Parkes CEO, after the WOOD: art design architecture exhibition opening and discussed how he sees his role in the organisation.

“JamFactory Contemporary Craft and Design has a strong and meaningful history and an ever-growing community of esteemed Alumni. I see my primary role as spreading the word about JamFactory’s uniqueness, contribution and longevity with a wider audience”.

Brian Parkes opening the WOOD: art design architecture exhibition at JamFactory.

This is apt, because the day I visit, Brian is doing just that – spreading the word at an interstate presentation. I have to agree with Brian – there is no other place in Australia like JamFactory. The diverse practitioners I met working on this one day within JamFactory’s 40-year history are the true testimony to this.

A special exhibition entitled Designing Craft/Crafting Design: 40 Years of JamFactory opens on 19 April 2013 at JamFactory Contemporary Craft and Design, Adelaide.

MARMALADE – JamFactory’s annual publication with designer profiles, special features and reviews has just been launched.

For all details including information about JamFactory’s Studios, Associates and Staff, Store and upcoming events visit JamFactory’s Website.

Judging the 2013 Australian Interior Design Awards

Screen shot of the Australian Interior Design Awards webpage.

I know I have been a little quiet lately. The truth is I have been rather busy – judging the 2013 Australian Interior Design Awards.

These awards have been running for a decade and celebrate excellence in retail, hospitality, workplace, public, residential and installation projects by Australian designers.

For those not familiar with this awards program please visit the Australian Interior Design Awards website to find out details, categories and past winners.

 

Running into “PHOEBE” at The Depot

The Depot – part of Adelaide Fringe Festival 2013

On a hot Adelaide Saturday I ventured out to get an ice coffee and check out what was happening in my local area for the Adelaide Fringe Festival. A few blocks from Jam Factory I came across The Depot – located at the old bus depot on Franklin Street. For the Fringe it had been transformed into a shipping container pop up city boasting market stalls, live music, food and late night short film festival.

Market stalls full of all sorts of goodies housed in The Depot’s pop up shipping container city.

I grabbed a seriously good pour over ice coffee from BAR 9′s pop up coffee stop and headed into one of the market sheds to escape the heat.

I spy with my little eye…through the crowd…

In the distance I saw a glowing light and like a moth to a flame I was drawn to this soft glow. Then I realised – hang on it’s PHOEBE… PHOEBE LAMPS!

…something beginning with “P”… Phoebe Lamps.

Phoebe Lamps are the brainchild of Adelaide based duo Åsa Jonasson (Designer) and Peter Harding (Architect/Designer). A beautiful concept realised in an accessible way – Phoebe Lamps enable you to personalise and change the pattern of light that lights your world. The insert panel means paper, posters, photographs, maps, news-clippings, or fabric can be inserted into the lamp shade.

Åsa Jonasson with one of the beautiful Phoebe Lamps.

I met Peter Harding back in 2008 during the Springboard Entrepreneurship Programme and also witnessed Peter and Åsa’s launch of Phoebe Lamps at Small Australian Projects, Brisbane in 2009. So you can imagine my joy on stumbling across their stall at The Depot.

Phoebe Lamps Stall at The Depot.

Since the 2009 launch Åsa and Peter have further developed the Phoebe Lamp range – adding different sizes; rationalizing packaging to ensure its compactable; stream lining the way the light is mounted within the lamp shade and also establishing relationships with a range of stockists throughout Australia and online.

Passionate Åsa describes the potential of their idea.

They have also expanded their range of select patterns for use in Phoebe Lamps. CONGRATS guys! Check out their philosophy and range online at Phoebe Lamps.

Pattern range expanding.

It was so great to run into Åsa, Peter and of course Phoebe. After a long day we all enjoyed a cool beverage together as we watched the Short Film Festival at The Depot.

Staying cool, connected and inspired!

On the road.

An unexpected day of joy. THANK YOU Adelaide! I headed home In the cool of the night. On leaving The Depot I met some musicians making a get away with their instruments.

The Depot runs until 17 March 2013 check out full program here.

Sunday Arvo with John Quan

John in his Jam Factory Studio.

On a hot Sunday afternoon in Adelaide I caught up with Designer, Maker and friend – John Quan in his Jam Factory Contemporary Craft & Design studio.

Woven Structure – European beech veneer – by John Quan 2007.

Stackable Serving Set – American walnut, walnut veneer & rare earth magnets – John Quan 2007.

I met John back in 2008 through the Bombay Sapphire Design Discovery Awards Program. His Woven Structure and Stackable Serving Set, on display for the award, had an elegant simplicity. They were paired back to only essential elements and used a minimal palette of materials.

Since 2008 John has completed a Jam Factory Associateship, been shortlisted for high-profile awards including the 2010 Bombay Sapphire Award and Launch Pad Program and has also taken up residence in one of the Jam Factory studios available to practitioners across ceramics, glass, metal and furniture design and making.

On this afternoon John’s working on one of his prototypes for a new desk lamp as well as production pieces for Jam Factory. His project Flexible Desk Lamp is on display as part of WOOD – ART DESIGN ARCHITECTURE at the Santos Museum of Economic Botany within the Adelaide Botanic Gardens.

Flexible Desk Lamp – European beech veneer, aluminium, SMD LEDs, lithium batteries – by John Quan 2010.

Flexible Desk Lamp is  a minimal expression of material and form. Wafer thin – I and many like me are in awe of how he has integrated LED lighting, a thin aluminium strip and contact point within the lamp’s veneer and elegant form to connect the light to its power source.

Flexible Desk Lamp all lit up – John Quan 2010.

It is beautiful and intriguing. The balance of these elements comes from John’s direct experience of working with the materials intimately.

Drawing upon my training in industrial design and fashion design, I endeavour to further the understanding of my own craft through ongoing experimentation with materials and processes. All my experiences have culminated in a very pragmatic approach to design and I believe that good design is something that people should be able to live with day to day. John Quan

It was so good to catch up with John again, see his studio and check out all of his great new work. Thank you John! Enjoy John’s body of work at his website.

HAPPY SUNDAY!

APT7 – A Gathering Place

Kwoma (PNG) performing the Aptaumb Hoka.

At Kurilpa Point a sandy beach marks the river crossing where Aboriginal people entered their ceremonial hunting and gathering ground for hundreds if not thousands of years. Today just a small distance from this beach the Queensland Gallery of Modern Art (QGOMA) resides. Here artworks and artists from our greater region are gathered for the 7th Asia Pacific Triennial of Contemporary Art (APT7).

Edwin Rosena’s Green Hypermarket Series 2011 – 12.

Yullu Burri Bah – the Indigenous Australian group performing in front of Richard Maloy’s Big Yellow.

APT7 marks the 20th anniversary of the series. From the outset APT was groundbreaking – a place to witness the unique strengths, traditions and perspectives as well as the region’s struggles, through sometimes controversial and political art. APT7 features the work of 75 artists originating from over 27 Countries within our Asia Pacific Region.

Artist Huang Yong Ping’s 54-metre long snake skeleton suspended over the water.

It is always inspiring to witness the ambitious scope and diversity that each unique APT embraces. APT7 is no exception. It expands its geographical scope through 0 – Now: Traversing West Asia by bringing together seven artists and collectives from the Middle East and Central Asia. Claiming new territory this APT acknowledges the ever-shifting extents and impacts of cultural interaction.

View to Damien Gulkledep’s Pomio People 2011.

APT7 also feels different. It’s less like a fantabulous sideshow blockbuster – with bells, whistles and flashing lights – witnessed in some past APTs. Rather APT7 imbues a quiet confidence with a focus on the art. This is underpinned by elegantly simple exhibition design, in depth research, and the intention, materiality and detail of the artworks. This difference may, in part, be a result of the times – economic, political and social as well as the fresh and welcomed direction of QAGOMA’s first female Director (Acting) – Suhanya Raffel. 

Takahiro Iwasaki’s Reflection Model (Perfect Bliss) 2010 – 2012, scale model of Byodo-in a Buddhist temple near Kyoto, Japan.

Lorraine Connelly-Northey’s Narbong (String Bags) made from recycled materials.

Narbong (String Bags) – detail.

Tiwi performers (in front of Timothy Cook’s work).

In terms of the artworks themselves I could outline in detail the themes relating to geography, history and culture, nature-culture-city re-imaginings as well as the adaptability of local traditions to globalization – all relevant, enduring and timely.

Tiffany Chung’s Roaming with the Dawn… with 4000 hand made glass animals.

Detail – giraffes glitter in the herd.

Impossible Intricate weavings.

I could also describe the diverse materials and techniques used by the artists ranging from interlocked rusted bed springs, knotted string, cardboard boxes held with masking tape, hand formed glass miniature wildlife, woven twine, carved wood etc.

Kwoma (PNG) performing the Aptaumb Hoka.

Instead I want to share a personal moment from the Opening Weekend that for me captures the essence of APT- in place and time.

Kwomo Arts large-scale structure based on the customary kowomb or Spirit House.

Detail of the carvings specially commissioned by QAGGOMA for APT7.

As drums from the Pacific beat, guests are drawn out from the interior Gallery spaces to stand between carved and painted structures from Papua New Guinea.

Friends meet in front of Michael Cook’s Civilisation 2012.

Sharing special moments.

Just in front of Michael Cook’s beautiful series of photographs (Civilization 2012) – I see old acquaintances, artists, and friends chance across each other in the crowd. They smile, welcome each other and embrace and speak of the time that has passed and all of the moments in between.

Throughout the Opening Weekend there was an amazing feeling of gathering through a reconnection to people, place and the greater region that we live in. For me this is at the heart of what the exhibition, the artworks, the APT series and especially Kurilpa Point mean. Together they form a gathering place where people come together to share ideas, celebrate differences and crossovers, and impart stories and personal histories – all in a myriad of forms, mediums and voices.

APT7 is a ‘must experience’ exhibition. The APT 20-year archive on display and the two-film program at the Gallery’s Australian Cinémathèque alone will keep people inspired and connected throughout the long hot summer.

APT7 continues until 14 April 2013. Admission is free. Visit QAGOMA’s Official Website for all of the details, activities and screenings.

 All Photography # Christina Waterson.