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In Conversation | Multi-Disciplinary Designer Stefanie Brechbuehler


Designing in one of the most profiled cities in the world, we want to know, what’s something most people would be surprised to learn about New York City?

Stefanie Brechbuehler: We love stoop (steps leading up to an apartment or house) culture, especially in Brooklyn. In a city with scarce private outdoor space, stoop culture is essential to the community and its character. People decorate their stoops with plants and their kids’ art; they’ve also become a place to gather and have a glass of wine and something to eat. It’s beautiful to behold, especially during the warmer months when the positive atmosphere is infectious.



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Masseria Moroseta by Studio Andrew Trotter

In Conversation | Multi-Disciplinary Designer Andrew Trotter


Architect, interior designer, product designer, fashion designer, design consultant, magazine editor, and studio founder; the name Andrew Trotter denotes many things. Andrew graduated from interior design in Australia in 1994 before moving back to the UK to work in both product design and fashion design. Openhouse Magazine – centred on art, design, architecture and culture – was Andrew’s first independent project, which he founded together with photographer Mari Luz Vidal in 2014. In addition to being available digitally, the biannual magazine is sold in more than 600 stores worldwide. 

In 2012, Andrew was approached for his first architectural commission, a boutique hotel in Puglia, Italy. Masseria Moroseta, as it’s now called, subsequently launched Studio Andrew Trotter, a multi-disciplinary design office encompassing architecture, interior design, product design and design consultancy.

We sat down with Andrew to explore what inspires him – people, places, landscapes, materials, traditions – and how each is in line with his ethos of honesty and simplicity.



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Kálesma by K-Studio and Studio Bonarchi

In Conversation | Architects Dimitris and Konstantinos Karampatakis


What about K-STUDIO and its design approach stands out compared to other Greek architecture studios?

Konstantinos Karampatakis: Studying in London and working abroad for a while made us appreciate the beauty of Greek architecture – its intuitive shapes and the fluent manner in which interiors transition to exteriors; that goes not just for the classical world-known buildings but also the anonymous ones.

Dimitris Karampatakis: We also celebrate the ‘in-betweenness’ of space, designing ‘unfolded’ buildings where the line between inside and out is blurred. Effectively, we design blurry buildings.



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In Conversation | Interior Designer Nina Maya


On the flip side, could you please share some key learnings in your transition from fashion to interiors?

Nina Maya: I had to learn and build up a book of reliable trades quickly. Having no background in interiors, I had to hire people with different skill sets to mine to draft and translate my ideas and concepts into technical drawings. The thing I love most about my job is you are constantly learning and improving and experimenting with new materials and techniques.

Many transferrable skills from fashion to interiors include working with colour, form, and structure. However, the new skills honed were more around spatial awareness and playing with light and all the magical ways it can transform one’s experience of a space. Lighting is one of my favourite tools to employ in interiors, whether it be feature light, to architecturally integrated task lighting that is discreetly concealed. The acquisition of this skill is still ongoing in the practice of daily experimenting, analysis constant learning through each project.



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In Conversation with Architects Stephen Jolson and Mat Wright


Favourite galleries or spaces?

Stephen Jolson: Neues Museum in Berlin.

Mat Wright: Museum Gipsoteca Antonio Canova in Possagno.

Where do you go to look at great design?

Stephen Jolson: I’m always referencing my design inspiration from a moment travelling. And it’s not necessarily finding design at design places. It’s about finding design through engagement with just being in the streets and some very obscure places. It’s about finding the texture from street life.

Mat Wright: I agree. I think that’s when your mind and body are the most open to seeing things – when you’re travelling. It’s the incidental moments of visiting a gallery or the interaction of eating a meal – remembering how the experience made you feel and wanting to recreate part of that in the work we do.



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In Conversation | Interior Designer Tamsin Johnson


In the spirit of launching her first book, we catch up with Sydney-based interior designer and collector Tamsin Johnson to reflect on how her cultivated and curious approach to design has made way for a unique portfolio of projects. 

You’re sure to know if you’ve ever experienced a space designed by interior designer Tamsin Johnson. Purveyor of the eclectic and unexpected, Tamsin’s definitive approach to interiors surfaces through every material, finish and object, and how they’re layered to achieve what the designer calls ‘tactful disharmony’. Making way for interiors defined by unpretentious sophistication, Tamsin inherited her magpie eye from her parents’ legacy of antique dealing, instilled with the belief that good design can last through many lifetimes, just like a quality piece. 

Tamsin creates spaces to be lived in – to be used and loved – where everything should feel like it’s always been there. It’s this sentiment that’s captured in Tamsin’s first book, Spaces for Living. Featuring 13 of her favourite projects spanning continent and mirroring her design evolution, the book explores Tamsin’s career as both an eminent interior designer and antique dealer. To celebrate, we spoke with Tamsin on honing her signature aesthetic, fundamental influences and her most notable projects to date – including the opportunity to design abroad. 

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Hideaway by Tamsin Johnson | Photography by Anson Smart

Congratulations on your publication Spaces for Living. Could you please talk about the collection of projects in the book and how they capture your career to date as both an eminent antique dealer and interior designer?

Tamsin Johnson: Thank you! The book features some of my favourite projects, and they span quite a few places and stages of my life and career. Some projects are reflections of my path, such as a New York apartment that I lived in years ago with my husband, Patrick, when we were there to set up a showroom for his tailoring business in SoHo, which I also designed. I designed a local showroom for the P. Johnson brand features in the book – located in a Melbourne townhouse. It feels like a trunk show, gallery space and home all at once.

And of course, there is our previous house in Tamarama, where we lived with our two children. This is joined by some other beachside projects, from a Bondi bungalow to a grand home in Palm Beach and the iconic Raes on Wategos hotel in Byron Bay. There are also some beautiful older city houses in Sydney and Melbourne and a Paris apartment in a gorgeous 17th-century building.

I guess you can see that whether I’m designing for a beachside home or an older city residence, my approach is always to create beautiful spaces that are not too overworked and that have a sense of timelessness. Things feel as if they have always been there, and the homes are liveable above all – where every space can be used and loved.

In terms of collecting, many of the projects showcase my interests in mid-century furniture, the textural appeal of cane and rattan, the beauty of Daum and Murano glassware, the style of Edgar Brandt, and of Art Deco and Art Nouveau. 

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Sanctuary by Tamsin Johnson | Photography by Sean Fennessy

Your parents were antique dealers. How has this background and your learnings informed your magpie eye for sourcing antiques – and how do the antiques inform your interiors?

Tamsin Johnson: I’ve learnt that a good quality piece will always remain so, and that good design can last through many lifetimes. I particularly love antiques because they can defy the decades and enjoy different life cycles in different settings. They bring something unique to an interior, even a little mystery all of their own, and they work beautifully with contemporary and custom pieces.

As an interior designer, who or what has been most influential to your approach to design?

Tamsin Johnson: My former boss, interior designer Don McQualter, who took me under his wing, showed me that there is no one way of doing things, and taught me to trust my instincts and have the courage and confidence to do something new.

Many places inspire me, from the hotel Le Sirenuse in Positano to our own Sydney Opera House, but I would say that trips to India with my parents when I was young really informed a lot of my interior memories, particular those spectacular palaces that are so complex and layered, and I think even more beautiful as they age.

There are many designers whose style I love but here are some:

Federico Forquet, who turned a hugely successful career in fashion into designing beautiful homes and gardens.
Bunny Mellon, a trailblazer of taste in both interiors and landscapes. I was actually reading a book about her when pregnant and named our daughter after her.

Georges Geffroy – what he did for Christian Dior was so rich and layered.

Axel Vervoordt, a dealer and designer after my own heart, with the most exceptional taste and refined eye. To me, he epitomises the practice of restraint.

David Nightingale Hicks – I love his black high-gloss walls, and obviously his prints made him famous. I’m generally drawn to designers who have their own distinct aesthetic.

Jacques Grange – he layered so beautifully and in such a considered way. I especially love the spaces he designed for Pierre Bergé and Yves Saint Laurent.

Luis Barragán – the way he used light, shadow, form and texture was so thoughtful.

“I like to establish a dialogue between old and new, the dynamic and the calm, the polished and the textural, the ordered and the delightfully dishevelled – what I like to call ‘tactful disharmony’.”

 

– Tamsin Johnson

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Townhouse by Tamsin Johnson | Photography by Sean Fennessy

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Townhouse by Tamsin Johnson | Photography by Sean Fennessy

How would you define your aesthetic – and how is ‘Spaces for Living’ reflective of this?

Tamsin Johnson: I’d say my aesthetic is refined yet relaxed, where spaces are beautiful but also functional, livable and full of life. I like to establish a dialogue between old and new, the dynamic and the calm, the polished and the textural, the ordered and the delightfully dishevelled – what I like to call ‘tactful disharmony’. I strive to create spaces that show respect for materials and craft alongside a sense of adventure and play. I’d like to think that the book reflects this through the beautiful photos of the projects and its insight into my approach to the different spaces. I have always loved that quote of Diana Vreeland’s, ‘The eye has to travel’, and I think an interior designer – and certainly a book about one – has the potential to offer that wonderful journey of discovery.

What is the most memorable project you’ve worked on to date?

Tamsin Johnson: Probably the boutique hotel Raes on Wategos in Byron Bay. When they engaged me to do the job, I spent a week there, with a night in each different room, to experience the place and understand what worked and what didn’t. I was with my husband, Patrick, and our son, Arthur, who was only six weeks old. Months later, I returned with my son and my mum, who’d come to help me, and we spent a week installing all the new pieces. Again, we stayed in a different room each night, on what was literally a building site. I’ll never forget it! Raes was a beautiful project to create, and we all still feel like we’re part of the family whenever we visit.

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Temple by Tamsin Johnson | Photography by Sean Fennessy

As an Australian designer, what’s it like to design homes internationally; namely, in Paris and New York?

Tamsin Johnson: It’s certainly more challenging, but in the most rewarding way – you have access to a whole new array of resources, shops and artisans. I’m lucky to have amazing international contractors who I can call on, and I also often seek help from local interior designers. Some of the most fun pieces I’ve discovered overseas have come from simply pounding the pavement – such as a Jean Royère-style wrought-iron screen I found in an antique centre in New York’s Flatiron district, and a pair of zinc vessels that Patrick and I discovered in an antique store in Hudson. In Paris, I found a fabulous mustard-coloured sofa when I was walking by a store window, and I lugged a pair of bistro chairs home through the streets of sticky-hot Paris in summer with my friend fashion and jewellery designer Lucy Folk, for whom I was furnishing an apartment.

What’s next for Tamsin Johnson?

Tamsin Johnson: The most exciting venture is a new showroom in Paddington, which is due to open in November. The business has outgrown the William Street premises, and this new larger space in a 1930s warehouse building will be more accessible for the public, not just our clients. From there, we’ll be selling antiques sourced through Europe and America and some custom pieces. I can’t wait!

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Tree House by Tamsin Johnson | Photography by Sean Fennessy

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The post In Conversation | Interior Designer Tamsin Johnson appeared first on Est Living | Interiors, Architecture, Designers & Products.



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In Conversation | Global Design Tastemakers | Interview

In Conversation | Global Design Tastemakers | Interview


Your favourite design decade/era?

Frederik Werner: Being Danish, I favour the 1950s, which we also call the ‘Golden Age’ of furniture design here in Denmark. It was a decade of combined efforts, where the lines between manufacturers, designers and architects were blurred, resulting in new production methods without losing the natural, tactile, and human-centric qualities.

In your opinion, what do you believe has been the biggest shift in the global design sphere in the past five years?

Frederik Werner: Transparency. It is not only us as professional creatives that set demands as to how products are created, produced, or shipped; it is just as much the end customers and clients who now have the chance to follow or redirect the path we are on. This is priceless if you ask me.

What ideas can we expect to see from the Archiproducts entrants in 2021?

Frederik Werner: That they think beyond the visual aspect of a product and remember that the most successful and long-lasting design is something that speaks to all our senses.

What do you see for the future of product design in the next five years?

Frederik Werner: I hope to see an increased interest in looking beyond what is ‘trendy’ and rather focus on the inherent qualities of natural materials to create objects, products, furniture, and architecture. Products that touch us on more than one level and with a long-lasting design language.



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In Conversation with Lighting Designer Michael Anastassiades


Creative Michael Anastassiades was already gaining momentum in the design community when he was awarded Maison&Objet Designer of the Year in 2020. With an unconventional career spanning more than 20 years, Michael’s practice encompasses product design, spatial and experimental works and lighting.

Drawing inspiration from nature to archaic references of his native Cyprus, art and everyday life, Michael transforms his inspiration into a timeless dialogue of form and structure. His lighting is often described as a balancing act between fine art, design and mathematical precision.

His unique interpretation of geometric minimalism, innovation and artisanal honesty earned him a ‘spotlight moment’ in 2011 after his studio presented designs at the Salone del Mobile in Milan and caught the attention of Piero Gandini then-CEO of prolific Italian lighting brand Flos. Forging the beginning of a creative collaboration that has endured for more than a decade and delivered cult classic designs including the String Lights, Copycat and the IC Lights, Michael’s latest collection titled ‘Coordinates’ with Flos is destined for good things.

Speaking exclusively with est from his studio in North London,  Michael talks through his design evolution, process, the inspiration behind his latest collection, and long-standing partnership with Flos.

In partnership with Euroluce



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