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04:07drivenLighting :: Light up your life : design for the 21st centuryPhotography :: Digital imagery : pushing the boundaries Destination :: Grape expectations : Moondance Lodge WA
::
As an owner or potential owner of a Peugeot car, we understand that you
are a person that seeks out places, people and products that are beyond the
mainstream – that highlight an intelligent and unique approach to design and
technology where ordinary is not an option.
In recognition of this Peugeot Automobiles Australia produce this quality
magazine three times a year that covers the ideas, inspiration and creations
that drive our society forward.
With a focus on the areas of design, art, food, wine, technology and travel,
Driven tells the stories of the individuals and companies who continually strive
to push the boundaries to create outstanding places, products or works of art.
Peugeot is one such example but there are passionate talented people
from across the spectrum of society whose names are set to, or have already,
become synonymous with innovative ideas, cutting-edge design and
groundbreaking technology.
Discovering what drives these people, is what drives us.
And like Peugeot, Driven is not about to sit back and rest on its success. In
an effort to ensure the magazine stays at the cutting edge we have instituted
a major redesign for this issue which we hope continues to excite and inspire
the driver in all of you. [.]
is a magazine about innovation
In A WorLD Where so Much
Is recycLeD, copIeD or
DerIvAtIve, orIGInAL IDeAs
AnD InnovAtIon breAthe LIfe
Into our sIMpLe exIstence
::
driven
SOMETHING YOU DON’T SEE EVERY DAY. The view offered by a panoramic glass roof, the luxury of a spacious interior… these pleasures are not commonplace. The dynamics of 17-inch alloys, the reassurance of eight airbags and a Euro-NCAP 5-star safety rating are not known by everyone. Automatic transmission as standard and a choice of two HDi diesel or two petrol engines are available to a discerning few. But from $47,190*, the extraordinary is available to a few more. The Peugeot 407 Touring.
peugeot.com.au
*RRP for Peugeot 407 ST Touring model, subject to change without notice. Excludes dealer delivery and statutory charges. Metallic paint as shown valued at $700 (optional). This is a manufacturer’s advertisement. Please contact your local dealer for exact dealer delivery and statutory charges which are additional to the RRP. PEU6138DRIVEN
PEU6138_275x230_Comedy.indd 1 10/5/07 2:29:54 PM
Driven is published three times a year by Walrus Media for Peugeot Automobiles Australia
PublisherWalrus Media PO Box 663 Elsternwick Victoria 3185Sime Darby Automobiles Australia Pty Ltd t/as Peugeot Automobiles Australia 1 Hill Road Homebush Bay NSW 2140 www.peugeot.com.au
editorialRussell Williamson Walrus Media T 03 9503 5525 E walrusmedia@optusnet.com.au
advertisingWalrus Media T 03 9503 5525 E walrusmedia@optusnet.com.au
designPing Creative E info@pingcreative.com.au
PrintAjith Gomes Offset Alpine Printing T 03 9533 7077 E ajith.gomes@offsetalpine.com.au
subscriPtionSubscriptions are available for $33 inc GST for three issues. Email subscriptions@peugeot.com.au or log onto www.peugeot.com.au, print the form and fax it back to 02 8737 7950
All material in Driven is copyright and cannot be reproduced in any form without the written consent of the publisher. While every effort has been made to ensure the accuracy of the content, the Publisher and Sime Darby Automobiles Australia accept no liability for any errors.
distributionDriven is distributed free to Peugeot owners whilst their car is under warranty and through boutique hotels and exclusive B&Bs selected from Beautiful Accommodation guides. www.beautifulaccommodation.com
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06
The Driver ::
Asher Bilu : Artist
08
Ignition ::
Innovations from Peugeot and other cutting edge companies and organisations
14
Design ::
State of Flux : Peugeot Design Competition
22
Peugeot 207 ::
Tour de force : small car star
26
Photography ::
Digital imagery : pushing the boundaries of photo-art
32
Wine ::
Somme kind of service : sommeliers of substance
36
Designer profile ::
Industrial artistry : Ashley Marsh-Croft
40
Destination ::
Grape expectations : Moondance Lodge Yallingup WA
42
Landscape design ::
Gardens Le Grande : ENSP Versailles
48
Interior design ::
Inside line : innovative interiors
50
Golf ::
Driving straight and square : Callaway clubs
16
Lighting ::
Light up your life : technology and design for the 21st century
52
In-gear ::
Hottest new products
cover FLOS 45 DESIGNER : Tim derhaagimage : euroluce
lighTing ausTralia
contents ::
56
The Navigator ::
Dr Dan Wollmering : Sculptor
: : d r i v e n �
Some parts should never be seen on a Peugeot. With Peugeot Genuine Parts, the original integrity of your car is guaranteed. Whether it’s replacement parts, service parts or wear parts, the car will comply with Peugeot factory specifi cations and perform to the rigorous safety standards set. Ensure your parts fi t right the fi rst time, every time with Peugeot Genuine Parts.
peugeot.com.au
PEU6138DRIVEN
IT’S NOT A PEUGEOT WITHOUT PEUGEOT GENUINE PARTS.
PEU6138_275x230_Jigsaw.indd 1 10/5/07 2:50:35 PM
185_ChopardPH_Driven_FPC 11/5/07 1:06 PM Page 1
‘the American artist Larry rivers was asked
to describe a day in his life – how he worked.
he said, ‘In the morning I get up, have
breakfast with the family, read the papers;
then I go off to the studio. I hop into bed
and go to sleep’. hopefully to dream.
how can you beat that for motivation?
What works best for me is working towards
a goal – having a date and plenty of time to
get there. sometimes there is not enough
time. then the back is against the wall, the
pressure is on, and when that happens,
often the best comes out.
the hardest is to work when there is
nothing to look forward to, no exhibition or
commission, nowhere to show the work that
lives inside me. What then? how do I get
going? the question becomes broader – what
am I living for? for me to be alive means that
I must absorb and produce, no matter what.
some artists are compulsive – they have
to work every day of their life; maybe it is
some sort of safeguard against drying up.
Who knows? Maybe I am also compulsive in
that I find myself working even when I am
not actively making my work. Living is work.
Absorbing what life has to offer is part of
work. And then comes the doing.
I see myself as a worker without a boss,
and if there is a boss, he is inside me. the
inner boss is the driver and sometimes he
can be relentless, sometimes not, but the
need to do is always there.
And if I really want to get serious about
all this, it is the sensation of achievement,
the joy of giving, that makes me feel good
as a human being.’
ww.asherbilu.com
When not creating abstract artworks,
Asher drives a 407 sedan
to say that age shall not weary Asher bilu is an
understatement of cosmic proportions. for this
prolific and highly regarded abstract artist, there
is simply no such thing as slowing down. With a
career that began in 1956 shortly after arriving
from Israel, Asher has developed a unique place
in the Australian art world through his innovative
techniques and mystical, fascinating and always
challenging works. these works, held in major
public and private collections throughout
Australia, blur the lines between painting,
sculpture and installation and continue to grow
in epic proportions as Asher’s ideas of the
universe and his, and our, place in it, expand.
asher BiluArtist
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nStep inside Dusk Bar in the art deco Ritz Mansions
building on Fitzroy Street in St Kilda and it may
seem like you have accidentally stumbled upon a
set from playschool or an imaginative play area in
a daycare centre. But this Melbourne bar featuring
oversized jigsaw flooring and giant spool seating
is very much an adult’s playground and one that
appealed immensely to the judges of this year’s
annual Interior Design Awards.
Taking out the overall award for Interior Design
Innovation and Excellence and the hospitality
category, design firm Dire Tribe created Dusk as a
dramatic departure from the typical minimalist cool
that pervades much of the Melbourne bar scene.
In commenting on the qualities of the design
the judges stated: ‘A witty and deliberate
methodology has been employed to make clever
use of the cast-offs of technology, resulting in
a powerful and provocative space. Qualities of
warmth, humour and scale combine to create
an imaginative and unprecedented interior.’
The Interior Design Awards is a national
program partnered by the Design Institute of
Australia, designEX and Artichoke magazine
and covers 16 categories and this year, more
than 350 projects were entered.
In the residential section, the winner was IDC
in collaboration with Alex Popov Architects for
‘The Hutt’ in NSW. The judges noted that the
interior design reflected a strong connection and
co-operation between the designer and architect.
‘Lighting is successfully embedded within
the base building and the strength of form
and clarity of material selection produces
a warm ambience. The restrained outcome
demonstrates the designer’s experience and
control,’ the judges stated.
Victorian projects took out seven of the
12 national awards including Corporate
Interior Design, won by Carr Design Group
for its Transurban Operations interior; Public/
Institutional Interior Design, awarded to Cox
Architects and Planners for Building G, Chisholm
TAFE (Dandenong); Emerging Practice, which
went to Russell Ryan for Left clothing boutique;
and Environmentally Sustainable Design, won
by City of Melbourne in collaboration with
DesignInc for CH2 – Council House 2. [.]
www.interiordesignawards.com.au
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By virtue of its nature, wood has never been an
overly flexible material for furniture designers to
work with. It can of course be shaped and bent
– first practised by the ancient Egyptians – but
this is often an intense and arduous process
and there are limitations. But now an innovative
Italian firm has produced Bendywood, a
patented hardwood material that can be bent
by hand, shaped by clamping or twisted into
myriad shapes and forms.
Produced according to a process that was first
patented in 1917, the firm Candidus Prugger
uses squared lengths of European deciduous
trees including beech, ash, oak and maple that
are steamed and compressed lengthwise to
about 80 percent of their original length.
The dried blanks can then be bent in a cold dry
state to a radius of about ten times the thickness
of the blank, for example a 10mm thick blank
could be bent to a radius of about 100mm.
The enormous flexibility of this chemical-
free product can enable furniture designers a
freedom previously unavailable as is evident in
the work of Toby Thomas, whose exhibition Bent
is currently showing at Adelaide’s Jam Factory.
Thomas’ curved furniture designs have a
lightness and spontaneity about them that is
made possible through the use of Bendywood.
The material also allows him to design directly
as he works using the wood and forming shapes
and curves that inform the final work. [.]
www.jamfactory.com.au
Visitors to Melbourne’s international motor show
in March were among the first in the world to
see Peugeot’s hottest new stars in the metal
with the show hosting the worldwide debut of
the new 207 GTi and 207 CC.
Both cars are due on sale locally in July and
will round out the recently introduced 207 range.
As the new top of the range 207 model,
the CC will be offered with a choice of 88kW/
160Nm 1.6-litre four-cylinder engine mated
to either a five-speed manual gearbox or four
speed Tiptronic automatic transmission or the
turbocharged 110kW/240Nm 1.6-litre engine
driven through the five-speed manual gearbox.
Both engines feature the latest in direct
injection technology and lightweight materials for
superior performance and fuel economy and were
developed in collaboration with BMW Group.
The 207 CC carries on a tradition of Peugeot
folding hardtops that started way back in 1937
when the 402 Eclipse was unveiled at the Paris
motor show. Since then the company has been
the driving force behind coupe convertibles that
offer the best of both worlds with the 207 CC’s
predecessor, the iconic 206 CC having notched
up 360,000 sales worldwide.
Peugeot has also long been a leader in the
hot hatch department as well and that tradition
is set to continue with the launch of the 207 GTi.
Powered by a 1.6-litre THP (Turbo High Pressure)
petrol engine that produces a maximum power
of 128kW and peak torque of 240Nm – on tap
from just 1600 rpm – the 207 GTi continues the
line of sporting hatchbacks that featured in the
previous 206 and 205 series.
The 207 GTi inspires driving sensations that
will satisfy the enthusiast in everyone, but can
still be enjoyed on an everyday basis. [.]
www.peugeot.com.au
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: sydneyAt first glance, design and the handmade seem like strange bedfellows.
Stereotypically, design is clean, slick, mass produced and fast, while
handcrafted items are authentic, rustic, individual and slow. But as
they say, opposites attract. The exhibition Smart Works: Design and
the Handmade currently showing at Sydney’s Powerhouse Museum
investigates their successful and complex relationship through the work
of more than 40 innovative designers from Australia and New Zealand.
Smart Works showcases the work of both traditional and cutting edge
makers across the broad spectrum of the design arena: from glassblowers,
jewellers, ceramicists, silversmiths and weavers to designers in lighting,
furniture, textiles and fashion. All of the designers are leaders in their
fields and the extensive list includes such well known names as Dinosaur
Designs, Akira Isogawa, Jon Goulder, Pru Venables, Benjamin Edols and
Kathy Elliot and Vixen.
Each individual maker is asked to consider how they negotiate a balance
between keeping a personal connection to the work and making the most
of mass production possibilities, new technologies and global opportunities.
Using video interviews, photographs, drawings, text, prototypes and samples,
Smart Works provides fascinating answers. The exhibition is a unique window
into each designer’s philosophy, problem
solving processes and final solutions.
Gilbert Riedelbauch’s RP Chain 2 Necklace
(left) is a perfect example of a happy marriage
between industrial technology and a hand
made approach. The Canberra based jeweller
uses CAD 3D modelling programs and a rapid
prototyping machine to create a delicate,
open lattice work link in white ABS plastic.
Riedelbauch ‘grows’ these structures around
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hand forged silver rings to create a completely integrated
design that is practical, light, strong and beautiful.
Smart Works asks the question, ‘What does the term
‘handmade’ mean to you?’ If you still come up with wobbly
teapots and chunky knitted scarves, visit the show or check out
the book and think again. In Smart Works, talented designers
use a hands on approach to produce sleek and stylish products.
Smart Works is on at the Powerhouse Museum, Sydney,
until August 19. [.]
www.powerhousemuseum.com
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: adelaideFeast your senses on some of Australia’s
and world’s hottest cabaret acts as this
recently rediscovered art form makes a
welcome return at the Adelaide Cabaret
Festival running over 15 nights from June 8.
Over 300 artists will perform in 200 shows
from the outrageous spectacle of The
Burlesque Hour through a tribute to Judy
Garland by French duo Isabelle Georges
and Frederik Steenbrink to the wandering
tales and accompanying edible delights
of Moira Finucane’s sultry adventuress and
diva Argentina Gina Catalina (below). [.]
www.adelaidecabaretfestival.com
: perthSee the works of tomorrow’s contemporary art
stars as the Perth Institute of Contemporary Art
shows off the best graduate works from around
the country in its annual Hatched 07 exhibition.
Running until June 24, Hatched showcases
works by 64 of the best graduates from 21
tertiary art schools from around Australia whose
practice covers painting, print making, ceramics,
sculpture, installation, textiles, jewellery,
animation, photography and video. [.]
www.pica.org.au
: melbourneWrap yourself up in the world of scarves in the midst of a cold
Victorian winter and join in the fun of the annual Melbourne Scarf
Festival that runs from June 28 until July 7. The theme for this year
is SPIN, whether it is in the creating or marketing of scarves, and
visitors can get involved in ten days of workshops, forums and
exhibitions or simply browse for the latest in neckwear – or any
part of the body for that matter – at The Scarf Market [.]
www.craftvic.asn.au
: queenslandWine and dine and learn from the masters of
the art of food at the annual Great Barrier Feast
running on Hamilton Island from June 8-11.
Hosted by Curtis Stone (above) of Surfing the
Menu, chefs running master classes and cooking
for guests include Toby Puttock from Fifteen,
Jimmy Shu of the Hanuman restaurants and
Frank Camorra from Melbourne’s Spanish treat
Mo Vida. The weekend combines champagne
and wine tastings, sumptuous feasts and
cooking classes in one of the most glorious
settings on the Great Barrier Reef. [.]
www.hamiltonisland.com.au
: hobartExperience the visual and audio impressions of one of Tasmania’s
pioneering video, sound and installation artists as the Tasmanian Museum
and Art Gallery hosts a survey exhibition of the work of Leigh Hobba until
June 17. Hobba was part of the first wave of Australian artists who explored
the use of video and sound in the 1970s and this survey – running under
the title The Space of Presence – offers an exploration of the Tasmanian
landscape in sound and vision through works from 1980 to the present. [.]
www.tmag.tas.gov.au
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: wallaby plays for peugeot
Peugeot has taken back-to-back wins in its
908 HDi diesel racecar in the first two rounds
of the European Le Mans series. Proving that
diesel power can be both extremely effective
in performance terms and economical, the 908
took the chequered flag in the first race of the
season at Monza in Italy in April with Nicolas
Minassian and Marc Gené behind the wheel.
For the second race at Valencia in Spain in
May, it was the second 908 that took victory,
driven by Pedro Lamy and Stephane Sarrazin,
giving the pair their second podium for the
season after finishing third at Monza.
The two wins augur well for the Peugeot
Total entrants whose next outing will be the
historic Le Mans 24-hour race that takes place
in June in France. Although the Le Mans race
is not part of the European Le Mans series, this
year’s race is certain to draw broad interest. Not
only is it the race’s 75th anniversary but it will
see two diesel race cars go head to head for
the title as the Peugeot 908s take on last year’s
winner the Audi R10.
After Le Mans, the two 908s will be back into
the series for more 1000km races at Nurburgring
(Germany), Spa (Belgium) and Silverstone (UK)
with the final of the six race season being held at
the Interlagos circuit in Brazil in November. [.]
www.lemans-series.com
: diesel dominates le Mans
Peugeot has enlisted the help of Waratah’s
player and Wallabies rugby star Lote Tuqiri
to help promote locally its forthcoming
sponsorship of Rugby World Cup 2007
that kicks off in Paris on September 7.
The Fijian-born union heavyweight will be
driving a 407 SV HDi Touring as a Peugeot
Ambassador and is proud to be associated
with the car-maker that has a long history of
involvement with Rugby Union.
Peugeot was a major sponsor of Rugby World
Cup 2003 that was held here in Australia, and in
France, the company has been the official partner
of local team Stade Toulousain since 1996.
The tie up between Tuqiri and Peugeot
seems a natural one with both partners firmly
committed to rugby. For Peugeot’s part it is
about helping develop and support the sport at
all levels from the Uruguayan Peugeot Kids Cup
through to the sport’s flagship World Cup event
which this year will see 20 nations battle it out
through 48 matches in nine French cities as well
as Cardiff (Wales) and Edinburgh (Scotland).
For Tuqiri, his commitment to rugby on an
international level is about being part of a
winning World Cup team and avenging the
shock defeat against England four years ago
when Jonny Wilkinson’s field goal in the closing
seconds of the final ended Australia’s hopes.
Tuqiri will be one of 15 players from around
Australia, who will be out to make sure history
isn’t repeated in France. [.]
www.rugbyworldcup.com
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: used but not abused
Buyers of pre-owned Peugeot cars can
now have even more peace of mind, with
Peugeot Automobiles Australia introducing a
comprehensive Approved Used car program.
All Peugeot Approved Used cars come
with a minimum of 2 years warranty from the
date of delivery, as well as Peugeot Roadside
Assistance, 24 hours a day, 365 days a year.
All cars that qualify for the scheme have
undergone a 115 point inspection carried
out by a factory trained technician.
In addition to visiting your local Peugeot
Dealer, buyers can log into the Peugeot
Automobiles Australia website – www.
peugeot.com.au – and select from the many
Approved Used Cars on-line. With an easy to
use interface, you can search across Australia
for your perfect used Peugeot, by model,
price and of course location.
In conjunction with the Approved Used
Car program, Peugeot is also giving buyers
of new cars the opportunity to extend their
manufacturer’s warranty, ensuring long-term
peace of mind.
Four extended warranty products are
available – with 12 month/20,000km,
24-month/40,000km, 36-month/60,000km
and an ‘Extra-time’ five-year/100,000km,
packages on offer.
Whether it is an extended warranty on
a new car or a warranty on an Approved
Used car, Peugeot is clearly backing with
confidence the reliability of its products with
customers, as always, being the big winners.
www.peugeot.com.au
: on the edge
ever wondered what it would be like to step outside and peer down the edge of a skyscraper? Well now you can. With the opening of Melbourne’s eureka skydeck 88, visitors have the opportunity to go over the edge and stand inside a glass box staring down nearly 300 metres to the ground below. skydeck, on the 88th floor of the new eureka tower at southbank is the highest public observation point in the southern hemisphere and features a range of attractions, not the least of which is the 360 degree views of Melbourne. but after being whisked to the 88th floor in just 40 seconds courtesy of one of a pair of high-speed lifts, the undoubted star of this new tourist attraction is the edge. stepping into the opaque glass box, all seems normal until it slides three metres out from the side of the building. After coming to rest, the 45mm thick glass floor clears followed by the walls and roof and you find yourself suspended high above city road with only the glass and a steel frame between yourself and the microscopic activity going on at street level. this innovative attraction can take up to 12 people at a time with the cycle lasting about five minutes and we are assured it has been designed to hold up to 10 tonnes so is suitable for people of all shapes and sizes. the eureka skydeck 88 and the edge operate seven days a week from 10am to 10pm providing spectacular views day and night. [.]
www.eurekalookout.com.au
were whittled down in a tough, three-stage
process of elimination.
Entrants were asked to comply with a set
of precise instructions: design a type of car to
PLEASE (an acronym describing a concept which
embodied the attributes of Pleasurable and
Lively to drive; Efficient and Accessible to many;
Simple and yet Ecologically-friendly).
Panaitescu, currently studying in Turin, is
the youngest-ever winner of the competition.
His fuel cell-powered Flux was selected from
thousands of rival designs to reach the top 30,
then survived an on-line vote to decide the 10
favourites, before being scrutinised in lengthy
detail and finally receiving the nod from a panel
of judges chaired by Frédéric Saint-Geours,
the director general of Automobiles Peugeot.
The Flux design formula, says Panaitescu,
focused on fun and versatility.
‘Its sportiness and the ability to use it in
different environments are in my opinion some
of the vehicle’s strong points,’ Panaitescu wrote
in his submission. He describes his project as ‘an
explorer of sandy beaches, sweeping mountain
roads, or [for use] simply commuting in the city.
Its dynamic shape and open air cockpit make
it lively and fun to drive as the occupants are
always in contact with their surroundings.’
In naming the car Flux, he was inspired by ‘the
continuous change and flow of our daily lives
during work and play’. This flow is characterised
by ‘transitions through hard and smooth lines,
between straight and curved [lines], all of which
are characteristics of Peugeot’.
Flux, which in its dimensions is slightly
shorter than a Peugeot 206 but much the same
width, strives for a light footprint through
the use of a plastic bonnet and side panels,
polyurethane for the seats and aluminium
for the mechanical parts.
peugeoT’s Bi-annual gloBal inTerneT design compeTiTion has
again highlighTed The wealTh of TalenT ThaT exisTs across The
gloBe wiTh This year’s conTesT aTTracTing over 4000 enTries.
The evenTual winner was a 20 year old sTudenT from romania
whose flux concepT, Peter Brewer wriTes, more Than saTisfied
The judges and The p.l.e.a.s.e. innovaTe Theme
A clever, compact and sassy little two-seater
sports car will take pride of place on the
Peugeot stand at the Frankfurt International
Motor Show in September. But the little
eco-friendly runabout isn’t the product of
established hands within Peugeot’s design
studios; it’s the work of a 20-year-old Romanian
design student.
Flux, penned by Mihai Panaitescu, was
the winning entry in one of the world’s most
hotly-contested and innovative automotive
design competitions.
Peugeot is the primary sponsor for the
competition, which was established six years
ago to challenge budding young designers
to not just develop a viable concept, but to
explain its function and how it fits the criteria.
The competitors – this year there were a
record 4029 submissions – submitted their
entries to a dedicated website where they
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s TaTe o f: To establish its eco-friendly credentials while
encouraging well-balanced sports-like driving
characteristics, Flux is designed to run on a slim,
emission-free hydrogen powerplant mounted
behind the passengers, with the fuel tank located
up front beneath the tapered bonnet.
It’s a relatively simple and contemporary
design formula, and a dramatic departure from
the bizarre, futuristic concepts which have
garnered the top prize in previous years.
Yet while Flux follows a well-trodden design
path, in choosing the runners-up the judging
panel was supportive of those which took a
more dramatic turn of the pen.
Second place in the competition went to the
N Jooy, created by 27-year-old Brazilian Wesley
Saikawa. Inspired by old Formula One cars,
N Jooy is a single-seater with a selfish intent.
‘There is only one seat, the pleasure is just
for yourself, so enjoy it,’ Saikawa says.
‘With an organic shape,
the car looks harmonic
because of its soft lines and smooth
surface, giving it a joyous, strong, fast
and aggressive appearance.’
N Jooy is omnidirectional, with spheres
rolling to any direction, and capable of
turning in its length.
‘Each sphere is controlled by an independent
engine connected to an intelligent system
that recognises every movement. With this
system the car can have a better grip, with
less chance to have an accident,’ he added.
Third place went to the Allscape, a sports
car hybrid offering what its 29-year-old
Venezualan designer Gustavo Ferrero,
described as an ‘extreme power-to-weight
ratio’ through the use of a natural gas-powered
V4 2.0-litre twin-turbo engine and four
wheel drive.
The hard-cover panels on Allscape are
‘independent, removable and interchangable…
letting you change your car’s aerodynamics,
colour and appearance, offering a wide range
of shapes, colours, textures, and opaque
transparent surfaces.’
If the 6000 euro cash prize and the coveted
La Griffe trophy for first place isn’t satisfying
enough, contest winner Panaitescu’s
crowning achievement will be in seeing his car
transformed from an idea on paper to a full
scale concept on display before thousands of
visitors at one of the world’s most prestigious
automotive showcases. More importantly, it
puts his concept under the noses of some of
the automotive world’s most influential people.
For a 20-year-old with ambitions, it’s
the dream start to what could be a very
promising career… [.]
www.peugeot-concours-design.com
: : d r i v e n 1�
: flu
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Everyday, without fail, the sun rises and
illuminates the earth, and each evening, as it
dips below the horizon, its brilliance diminishes
and slowly fades to black. We used to be bound
by this daily cycle of light and dark. But now, light
is ubiquitous; it is available everywhere, anytime.
In our privileged western existences, we
simply flick a switch and the lights come on, no
questions asked. For most of us light is utilitarian.
As long as we can see what we are doing we are
satisfied; light is something we take for granted.
But those who work in the highly specialised
field of lighting design know that it is mysterious,
powerful and absolutely necessary.
André Tammes, managing director of Lighting
Design Partnership (LDP), puts it succinctly by
saying, ‘No light, no sight.’ But he is quick to
point out that light does much more than just
making the invisible visible; it effects everything
that it touches. It alters perceptions and most
other lighting designers would agree.
David Skelley, creative director of DJCoalition
(DJC), acknowledges that with lighting ‘you can
transform the ordinary into the extraordinary.’
Siobhan McNabb, Sydney-based senior
architectural consultant for luminaire manufacturer
Euroluce, adds that, ‘People don’t realise that
light effects us on different levels: psychological,
metaphysical. We communicate through light;
it effects us mentally and emotionally.’
And these aren’t just wild theories. There is
plenty of evidence that lighting actually does
have a measurable effect on behaviour. LDP
have undertaken numerous public lighting
projects, including a master plan for the city
of Adelaide, which anticipated a result of
‘decreased anti-social behaviour.’ Tammes has
no doubt that this is possible. He summarises a
late 1990s study conducted in the English town
of Stoke-on-Trent by Dr Kate Painter and David
P. Farrington, saying, ‘Optimum lighting reduces
both actual crime and just as importantly, the
fear of crime.’
: : d r i v e n 17
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18 d r i v e n : :
Clearly light has a powerful effect on our
psyches. We may not be fully aware of it, but
most of us do know instinctively that lighting
contributes to mood. Just compare the impact
on a budding romance of a soft candlelit dinner
versus a meal held under the harsh glare of food
hall fluorescents, or the way the spirits can lift
in spring after a long, dark winter. As McNabb
points out, ‘Light is a really special element,
it’s magical… It changes what it illuminates. It
creates an atmosphere.’ Skelley concurs saying,
‘Light has a lot of energy in itself. It’s kind of
magical, you can’t see it but you can feel it.’
Despite the fact that we have all experienced this
first hand, at least subconsciously, we’ve been
slow to let lighting work its magic in our homes.
According to LDP’s Tammes, up until quite
recently it was absolutely the norm to have
just one ceiling light per room. But times
are changing. An increasingly design savvy
Australian public is becoming familiar and
comfortable with the catch phrases of lighting,
words like: ambient, task, accent, scenic and
decorative. More people are starting to consult
lighting designers for their homes and adopt
new technologies that allow total control over
domestic lights, enabling them to get creative
and enjoy the benefits of good lighting.
But what is good lighting?
Independent lighting designer, Frederika
Perey, who works under the name Illuminated
Design says: ‘There is a saying that good lighting
shouldn’t be noticed. You should just feel
comfortable.’ Tammes says his firm has ‘always
believed in the less is more principle; the judicious
use of light is what it is all about.’ For Skelley,
‘Lighting must reinforce the natural mood of
an activity and create a sense of well being.’
Initially trained as an architect, Skelley also
emphasises the importance of considering the
whole environment. As he says with a certain
wry humour, ‘Light is not like a coat of paint that
this Page aBove : The islingTon hoTel – illuminaTed design Top righT : kelvin f designer anTonio ciTTerio – euroluce. righT : herald sun aparTmenTs – designer hassell – euroluce, image shannon mcgraTh oPPosite Top lefT : BeachfronT mirage esTaTe – designer wolveridge archiTecTs – euroluce, image derek swalwell. Top righT : o luce cand-led – designers m laudani and m romanelli – euroluce BoTTom : The islingTon hoTel – illuminaTed design
is added at the end of a project.’ For him, tight
collaboration with the architect and interior
designer is critical. This is where the specialised
skills of the lighting designer come into play.
As Perey points out, unlike an engineer or
electrician, a lighting designer brings both
practicality and aesthetic sensibilities to a job.
A lighting designer will make a plan for each
room that takes into consideration its use, the
desired mood, the architectural features and
surfaces and the final furnishings.
For Perey, who studied fine arts before
specialising in lighting design, a lighting plan
‘is a composition, much like a painting.’ Once
:
a plan is devised and the fixtures are selected
‘You have a palette of light fittings that you
want to be able to control… It’s entirely about
creating mood and atmosphere in a space that
you can then light in lots of different ways.’
And this is where things start to get really
interesting. Technology now exists that allows
specific lighting combinations to be programmed
for each room in the house, and changed
at the touch of a button. All of your home’s
entertainment and environmental controls,
including stereo, TV, air conditioning and lighting
can be streamlined into one touch screen panel,
or accessed through a remote control. And for
those who fancy a bit of sci-fi style automation,
it is possible to dial ahead and turn on the lights
from your mobile phone, or fit a sensor to the
car that will open the garage door, call the lift for
your apartment and turn on appropriate lighting
for you, depending on the time of day and
ambient light levels, before you arrive.
At a more down to earth level, these
sophisticated controls allow lighting levels to
be precisely and sensitively adjusted to create
completely different atmospheres for any
occasion. As an example, Perey points out that
in a dinning room, the usual desire is to create
a feeling of warmth and intimacy, but within the
: : d r i v e n 1�
framework of this theme, the lights can also be
set for different purposes. There can be one
lighting scene for family breakfast and another
for dinner, a mood scene for cocktail parties,
or bright lights for doing household chores
and pathway lights for late night security.
The frequent use of the word scene by
lighting designers points both forward towards
the field’s potential, and back to its history.
Many lighting designers, including one of its
1950s pioneers, the American Richard Kelly,
have theatrical backgrounds. Andre Tammes,
who prefers to be called a visual planner, began
his career in the UK, in the theatre, where he
says lighting design first came into its own.
Perhaps this should come as no surprise. From
spectacular sunsets, to night time sporting
events and the blinding flash of the paparazzi,
lighting has long been associated with drama.
Euroluce’s Siobhan McNabb, who also trained
as an architect, has worked as an independent
lighting designer in Hong Kong and was
co-editor of Switch, a specialist lighting
magazine, is keen for Australians to embrace the
dramatic aspects of lighting in their own homes.
She encourages people to use lighting as ‘a
tool to sculpt the space; to be more theatrical.’
McNabb advocates playful experimentation
with colour and intensity saying, ‘The thing
with light is don’t be afraid; it’s not permanent…
you can change it!’ But she is also aware that
working with light can be a bit daunting for the
uninitiated and her advice is don’t be afraid to
ask for specialised help.
Of course, the reality is that most people
are reluctant to spend money on getting a
professional to design a lighting plan and
presently, at least, most lighting design
firms spend the bulk of their time on hotels,
commercial or urban projects. But according to
Tammes the cost difference between optimum
and bare bones lighting is not that much and
knowing how critical lighting is to generating
a sense of well being, it could be money well
spent. In fact, as he points out, a lighting
designer could actually save you money, by
finding you need less lighting than you thought,
or by being aware of the latest developments
in energy efficient technologies.
The winning combination of saving money,
while saving the planet, appeals to most
Australians and lighting in the home is a good
place to start. Recent building code legislation
dictates the maximum allowable wattage per
square metre in commercial premises. While these
regulations don’t yet apply to domestic dwellings,
new developments in lighting technology mean
that the home user can now cut energy use and
costs, without sacrificing quality of light.
Compact fluorescent lamps (CFL) are now
readily available in supermarkets. According to
the Australian Government’s Greenhouse Office
website, an average CFL will run for 10,000
hours, compared to an incandescent’s 1000,
and will reduce running costs and greenhouse
emissions by 75 per cent. Perey acknowledges
that most of the population are still suspicious
of fluros in the home, and see them as a ‘no,
no’ for creating mood lighting. But these days,
they come in a range of warm colours that
mimic daylight, and even more importantly,
many of them can now be dimmed, allowing
for total control over lighting atmosphere, as
well as heightened energy efficiency.
The other major development in lighting
technology is the improvement of light emitting
diodes (LED). After years of just being available
as tiny winking lights in red, green and blue, LEDs
are starting to come on the market in a range of
whites. These lights are both very powerful and
very small, making them incredibly versatile. They
also have the potential to last up to 50,000 hours
and use very little energy. Most lighting designers
agree that it will be some time before LEDs are
consistent enough to light a whole home, but the
technology is improving rapidly and promises to
revolutionise the industry.
It is easiest to incorporate good lighting into
your home if you are starting from scratch or
undertaking a major renovation. Lighting should
be considered from the beginning as an integral
part of the whole design, enabling fittings and
controls to be placed appropriately and discreetly.
But if you aren’t ready to undertake an extensive
building project, don’t despair. There is a wide
range of dimmers and control systems that can
be retro fitted to your existing lighting. And even
though nothing can replace the expertise of a
professional, there are also some really simple
ways to improve the lighting in your home.
this Page lefT : yamagiwa Tofu – designer Tokujin yoshioka – euroluce righT : flos superarchimoon ouTdoor – designer philippe sTark – euroluce
oPPosite lefT : The islingTon hoTel – illuminaTed design righT : sahara sTar hoTel – ldp
20 d r i v e n : :
André Tammes suggests considering the walls
and ceiling of a room as an ‘envelope’, and then
using these enclosing planes as reflectors. He
emphasises the psychology of lighting and asks
people to realise that they will feel happier if the
light is reflected at them from the surfaces that
contain them.
David Skelley strongly recommends getting
rid of down-lighting (ceiling lights). As he says
with a smile, ‘They give you bags under your
eyes! Need I say more?’ Keep them in the
kitchen and bathroom and replace the rest with
lamps. He also suggests the logical step of
putting each light on a separate switch. Then
lighting levels and mood can be controlled
simply by turning lamps on and off.
Frederika Perey agrees that, ‘Down-lighting
is a bit useless. It’s much better to up-light the
ceiling for ambient light and add task lighting
as needed.’ She also adds, ‘Basically glare is
the enemy and should be avoided at all costs.’
Think about the height and position of lamps
and hide the light globes.
Working at the coal face of Australian retail,
Siobhan McNabb has noticed a consumer trend
towards ornate decoration combined with
an interest in iconic design classics that have
withstood the test of time. Just one bold feature
lamp can change the atmosphere in a room and
make a big statement. As McNabb says, ‘There
is more to lights than just on and off. Lighting is
like wearing clothes and makeup, it shows who
you are.’ So don’t be shy, let there be light! [.]
www.ldpi.net
www.djcoalition.com
www.euroluce.com.au
:
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tour de force
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Designing a new model to succeed the 206
– a car whose benchmark qualities ensured it
became an icon – was never going to be an easy
task. Ever since the first 201 was launched at the
Paris motor show in 1929, Peugeot’s small car has
helped define the French maker’s central theme
of innovation. That first 20 series model featured
among other things automatic windscreen wipers
and became the world’s first mass produced
small car with an independent front suspension.
Now nearly 80 years on such items have
become the norm, so it was going to take a
lot more design and technological innovation
in the 207 for it to stand out from the crowd.
And Peugeot has certainly delivered with
features and technology that are normally
the preserve of much more expensive cars.
From the new generation of petrol engines
– developed in conjunction with BMW –
that feature direct injection and twin-scroll
turbocharging technology through to driver
aids such as tyre pressure sensors, rear parking
assistance and directional lighting and comfort
features including the fragrance diffuser, the
207 bristles with functional innovations.
From the minute you lay eyes on the new
207, it offers an aesthetic distinction that can
only belong to a Peugeot. Designed in-house
by the Peugeot Style Centre, the 207 has an
expressive and powerful shape that creates a
sense of movement and mirrors the new design
language that was introduced on the larger 407.
But even in the four-model lineup that will
initially comprise three-door and five-door hatches
there is a distinctive difference in the visuals.
The entry-level XR three and five door models
feature softer lines for an elegant appearance
that Peugeot designates its ‘Classic’ styling.
With a deeper front grille incorporating fog
lights in chrome surrounds and a visible chrome
plated exhaust pipe at the rear, the rest of the
range including the five-door XT and XE models
peugeoT’s veneraBle small 206 was iTs mosT popular model ever
logging up more Than 5.5 million sales worldwide. now iT is Time for iTs
successor, The 207, To impress upon The world The company’s ouTsTanding
design and Technology prowess as iT goes on sale around The gloBe.
russell williamson was There aT The ausTralian launch
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and three-door GT offer Sports styling with
a more dynamic visual appeal.
As the next generation in the 20 series
model line, the new 207 builds significantly
upon the 206 in all areas including size. Overall
it is substantially bigger than the car it replaces
and is of a similar size to the 306.
At just over 4 metres long, the 207 adds 200mm
to the 206’s length – nearly half of which is in the
wheelbase – 65mm in width and 56mm in height.
This increased size becomes immediately
apparent as you slip into the comfortable and
supportive driver’s seat. There is a multitude of
adjustments for the seat and steering column to
ensure you get just the right driving position and
ample room for passengers up front and in the rear.
Like the exterior, the interior has been
designed with a keen eye for both form and
function with a stylishly laid out dash with all
controls for the audio, heating and ventilation
all within easy reach in logical positions.
In providing the ideal interior conditions,
Peugeot again demonstrates its ability to
find innovative solutions. An in-depth study
was carried out on the circulation of air (or its
recirculation) within the 207 and on how to heat
and cool it. This research led to the creation of
special air ducts under the front seats.
A system of air outlet ducts throughout the
cabin diffuses air from outside while its quality is
regulated by a filter that retains pollen and other
airborne particles. Two levels of air conditioning
are offered with a fully automatic dual zone
climate control system on XE and GT models.
This system incorporates clever ideas such as
automatically closing the exterior air inlet when
the windscreen washers are activated to prevent
the odour from the windscreen washer additive
from entering the cabin.
To ensure the smell inside the cabin is a
pleasant one, these two models also feature the
aforementioned fragrance diffuser that delivers
a variety of scents on demand selected from a
choice of seven fragrances that were developed
in conjunction with a French perfume specialist.
While the top spec XE and GT models
obviously benefit from the highest level of
features such as the climate control and the
full length glass panoramic roof, even the entry
level XR remains especially good value with the
1.4-litre three and five-door manual-only models
priced at $19,990 and $21,490 respectively.
Standard equipment includes air conditioning,
remote locking, power windows and mirrors
and a single slot CD audio system.
Moving up a grade to the five-door XT comes
more choice on the engine front with a 1.6-litre
petrol motor – offered with a choice of five-
speed manual or four-speed tiptronic automatic
transmissions priced from $24,990 and $27,190
respectively – or a manual 1.6-litre turbo diesel
HDi which hits the showroom starting at $27,990.
The current sports star of the 207 range is the
three-door manual GT that uses a turbocharged
version of the 1.6-litre petrol engine and is
priced from $31,490 while the top of the range
XE automatic-only 1.6-litre non turbo petrol
model is priced from $32,490.
As is evident, it is largely body styles and
drivetrains that differentiate the 207 model lineup
and in the latter, Peugeot again demonstrates its
desire to push innovation to the limits to deliver
engines that are powerful, efficient and reduce
their impact on the environment.
In the XR, the 1.4-litre engine – offered in
two states of tune with 55kW/120Nm and
65kW/133Nm for the three and five-door
models respectively – has already proven itself
an economical and reliable unit in the 206 but for
207, it gains a number of improvements including
variable valve timing on the 65kW version.
But it is the all-new 1.6-litre petrol engines
that will ensure the 207 continues to be renown
as a driver’s car.
In the GT, the turbo 1.6-litre engine generates
a maximum output of 110kW and peak torque
of 240Nm. However, the numbers certainly
don’t tell the whole story. Through the use of
direct injection and twin scroll turbocharging
– which helps reduce traditional turbo lag – the
full engine torque is available from as low as
1400rpm with an astonishing 150Nm on tap at
just 1000rpm or just off idle. At 5000rpm, the
engine is still producing 220Nm while peak
power is reached at a high 5800rpm resulting
in an engine that is incredibly flexible and
responsive at all engine speeds. At the same
time, the official fuel consumption of this
compact lightweight engine is just 7.0l/100km.
The second of the new engines is a non turbo
version of the 1.6-litre unit that still develops
88kW and 160Nm and thanks to the fitment
of continuously variable valve timing for all 16
inlet and exhaust valves, it sips petrol at the
rate of just 6.1l/100km on the official combined
cycle. This engine is mated to a new four-speed
automatic transmission that uses the Porsche
Tiptronic System. This electronically controlled
system allows the driver to select and hold gears
by slipping the gearshift lever into a secondary
gate and ‘tipping’ the lever fore or aft.
The third 1.6-litre engine in the 207 range
is Peugeot’s acclaimed second generation
common rail HDi turbodiesel that is presently
doing service in the 307. Fitted with a Peugeot
innovation – the diesel particulate filter – as
standard, the HDi engine generates 80kW and
240Nm – the latter available from as low as
1750rpm. As you would expect from a world
leader in diesel engines, the 207 HDi also
24 d r i v e n : :
delivers superb fuel economy with a listed
consumption of 4.8l/100km.
In order to ensure these eminently driveable
engines deliver what is expected, Peugeot has
developed a new rear torsion beam suspension
to maximise road holding and improve the
dynamic character of the car. Combined with the
front MacPherson strut arrangement and longer
wheelbase and wider track, the 207 delivers a
supremely stable, confident and composed ride
and handling compromise. For the sports driver,
the GT sits on a lowered firmer development of
the same system while the electrically-assisted
steering – that is standard across the range – is
tuned to deliver an appropriate response for
enthusiastic driving.
With Peugeot’s development process always
having an eye on the environment, the 207
offers 85 percent recyclability with the rate
of material recycling nearly 96 percent. The
company has also produced disassembly
: : d r i v e n 2�
manuals to optimise the recycling of materials
and all plastic and rubber parts are marked
precisely to facilitate sorting by category.
Ensuring the broader protection of the
environment is important, but so is the
protection of the car’s occupants and other road
users. And here the 207, through its high level of
active and passive safety features and inherent
design, has again delivered, achieving the
maximum five-star occupant protection, four-
star child occupant protection and three-star
pedestrian protection ratings in the EuroNCAP
independent crash test program.
Across the range, anti-lock brakes, dual front
airbags and five three-point seatbelts with
pretensioners on the front are standard. All
models apart from the XR also benefit from front
side airbags and full-length curtain airbags to
help reduce injuries in a side impact while the
GT and XE models gain the active safety feature
of stability and traction control.
Whether it is for safety,
performance, comfort or aesthetics,
the level of innovative design and
technology in the new 207 should ensure,
that this model is more than a worthy
successor to the iconic 206. [.]
www.peugeot.com.au
tour de force
Digital Imagery
2� d r i v e n : :
The digiTal age has BroughT aBouT a vasT range of challenges and possiBiliTies for
phoTographers wiTh consTanTly evolving compuTer Technology and Techniques enaBling
arTisTs To creaTe images ThaT were noT previously possiBle. using The compuTer for far
more Than reTouching and manipulaTion, roBert mcFarlane discovers a new generaTion
of phoTo arTisTs ThaT are comBining Their digiTal skills wiTh The essence of TradiTional
phoTography To creaTe works ThaT push Boundaries of arTisTic imaginaTion
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These are extraordinary times in Australian photography. Not only has a new
generation of photojournalists such as Trent Parke revived documentary
photography in this country but photo-artists are emerging in the computer
era to redefine the camera’s relationship with truth. Putting it simply,
today’s photo-artists show little interest in the camera’s assumed fidelity
for witnessing events and recording history, either public or personal.
Instead, this new wave of photo-artists start with an image produced
by a camera (sometimes but not always created digitally) and with the
aid of computer software, create startling new forms of visual beauty
and layered meaning.
Perhaps the defining pioneer of these photographic fantasies is
54-year old Sydney artist Robyn Stacey. Starting from a background using
traditional black and white photography, Stacey evolved from initially
hand-colouring her images to designing complex, carefully layered
images that sometimes defy both gravity and literal interpretation.
‘Computers just enabled me to do more,’ explains Stacey. ‘With
analogue photography there’s a limit to how many images you can
combine whereas on the computer it is virtually unlimited.’
In Fruit and Sky, Stacey presents a ‘hand’ of bananas set against a blue
sky, apparently suspended in space. The photo-artist then populates the
surface of the fruit with a butterfly and one rather lean, sinister spider.
While clearly an ominous vision, this brightly coloured image is leavened
by Stacey’s seamless command of digital manipulation. The bananas
suggest an image of a wild, floral asteroid in which, suggests Stacey, we
may observe something of the life cycle of both spider and butterfly.
Stacey is also capable of moments of simple, elegant lyricism as in her
tour de force montage, Ice from the 1989 series Redline 7000. Here the
face of a luminous, contemplative woman wearing bright crimson lipstick
28 d r i v e n : :
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floats above a generic, high-rise city skyline. With its colourful echo of film
noir lighting, this image does little but ask questions and evoke intrigue.
‘This (picture) is based on the dramatic lighting from Film Noir,’ asserts
Stacey, ‘when women were first seen (in films) as ambitious, driven and not
necessarily the girl next door.’
‘It was the first time when women could be more than the stern
mothering figure. And they had wit and funny lines. I see this picture as
showing a woman as triumphant, rather than as a victim.’
Sydney advertising photographer Jeremy Park, 33, recently exhibited a
series of subtly coloured photographs that instantly evoked memories of
Surrealist painter Rene Magritte (1898-1967). With consummate digital
skill and a certain generosity of spirit, Park freely references the visual
style and melancholy moods of the Belgian artist.
Homage to Magritte was made for two reasons’, declares Park, ‘I was
starting to work as an advertising photographer and wanted to acknowledge
Magritte’s lead in visual juxtaposition and illusions ... which are the precursors
to many (modern) advertising campaigns. I also wanted to illustrate that digital
photography could be beautiful and pixels and film grains weren’t necessarily
adversaries. The ideas in the series are based on Magritte’s own work and were
devised freely…as his work lends itself to reinterpretation well.’
Jeremy Park’s nocturnal vistas radiate a gentle eroticism with subtle,
almost monochromatic colour and an occasionally manipulated
perspective. The redeeming features of these gentle images are their
luminous clarity and the clear evidence that Park chose to be inspired
by Magritte, rather than simply mimic the legendary painter.
Melbourne photo-artist Samantha Everton, 34, displays similarly
accomplished skills in computer manipulation for her searching self-
portrait, Charade. In this subtly coloured image a nude woman stands
jeremy park
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formally before an open wardrobe, contemplating both her own form
and several differing sculptural renditions of her face suspended within.
It is an image that instantly appears greater than the sum of its parts,
suggesting both introspection and dreamlike vulnerability for the woman.
Discovering that the figure in the photograph is Everton herself adds a
personal dimension to what is already a challenging portrait. Once again,
the artist’s command of computer manipulation appears seamless and
the viewer easily accepts the image’s complexity.
Like Jeremy Park, Everton admits to Surrealism’s influence. ‘I was
fascinated with Salvador Dali’s imagery as a child. However, as a
photographer my first influence was the American photographer Jerry
Uelsmann, who montaged his images in a darkroom. Phenomenal.’
‘My images are theatrically staged,’ explains Everton, ‘which I then
capture using traditional methods – I use a medium format camera and
transparency film. The (processed) film is then scanned, montaged
and manipulated through Photoshop.’
‘The key is to use digital techniques subtly and not over use them. It is a
fine balance. With Breaking Out I actually made the suit. Using Photoshop
would have been possible but the effect would have been completely
different. It is important to me to control every aspect of the image. It is
the finer detail that can make or break an image.’
Sydney photo-artist Stephanie Valentin, 45, works primarily in black
and white and uses computer manipulation only sparingly in making
photographs that still challenge the limits of our vision. For her 2002
series Pollinate, Valentin employs an electron microscope to photograph
subjects that lie far beneath the level of normal vision. This artist’s
photographs of objects as small as a grain of pollen or tiny marine
micro-organisms reveal hidden worlds of astonishing, sculptural beauty.
samantha everton
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In aster species 1 Valentin captures a grain of pollen at a 6500 times
magnification, revealing an object possessing the elegant, geometric
form of an aircraft freight container. Then, in an extraordinary leap into the
nano world, Valentin, with scientific assistance, etches the word ‘touch’
on the central facet of the pollen grain. This seemed like an appropriate
artistic inversion of NASA’s Voyager mission that once carried words and
photographs beyond the solar system.
Valentin also challenges normal perspective with her 2004 photograph of
Marine Microorganism 13. In this picture, amazingly, we discover a sphere
resembling a mock planet, complete with what appears to be two spiral
walkways winding around its equator. Stephanie Valentin’s great gift, from the
first works I encountered in 1989, to her latest modified photomicrographs,
remains her ability to divine mysteries within the commonplace. In these latest
works, Valentin takes us to new levels of discovery.
Computer manipulation is now an accepted part of the palette of
fine art photography worldwide. However, it is worth noting that while
artists such as Stacey, Everton, Valentin and Park prosper from their freely
applied creativity, documentary photographers using digital cameras
are subject to ever more stringent guidelines in making their pictures.
A photojournalist from the Los Angeles Times newspaper recently
combined two consecutively taken pictures from the conflict in Iraq in an
attempt to exploit the best elements of each picture. When computer
manipulation used in the final picture was detected, the photojournalist
was dismissed from his newspaper. Public truth and private artistry are
necessarily two very different paradigms. [.]
www.stillsgallery.com.au
www.jeremypark.com.au
www.samanthaeverton.com
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:red wine wiTh red meaT, whiTe wine wiTh whiTe meaT
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BuT, as Jeni Port explains, wiTh such a vasT array of
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ouT whaT wine will drink BesT wiTh whaT food can Be
a challenge. enTer The new age aussie sommelier – no
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Somme
:: w
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Sometime during the 1990s the Aussie wine
waiter lost the black suit, the snooty attitude
and the silly silver tastevin around his neck and
morphed into the modern dynamic sommelier.
Sommelier is simply French for wine waiter but
the observant restaurant goer was soon noticing
changes, apart from the name that is.
The sommelier was getting younger,
his hair was longer, he smiled for heaven’s
sake, he wasn’t always recommending the
most expensive wine on the list and he was
increasingly being joined by lady sommeliers
(called lady sommes for short).
Rather than just peddling wine, he and she
were also becoming important wine buyers
for their respective restaurants and wine bars.
This was pretty revolutionary stuff and then
it really took off. In 2002, British celebrity
chef Jamie Oliver plucked a shaggy-looking
Melbourne sommelier with long brown hair and
a skater’s wardrobe to teach wine to a bunch
of unemployed London kids having a crack at
turning their lives around under Oliver’s newly
created ‘Fifteen’ program.
Skinner uses words like ‘the bomb’ and
‘awesome’ to describe wines, but that was
cool with his new boss. Oliver liked the laid-
back Aussie charm of Matt Skinner and his
‘extraordinary ability to connect with people
without being pretentious or patronising.’
That, in a nutshell, best sums up the new
age Aussie sommelier.
Oliver saw the future of wine waiting and it
was about giving customers what they want
without the jargon or the attitude. And he
wasn’t the only one.
‘It’s easy to make people feel ignorant,’ says
Sophie Carbonneau, a French-Canadian born
sommelier working at Taxi Dining Room in
Melbourne ‘but to me, it’s really important to
make people feel comfortable, to offer them
something they are going to like rather than
something I like.’
If you sense that the axis of the traditional
wine waiter’s world has shifted just a little,
you’d be right. Today’s sommelier is rarely
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an unemployed actor waiting for Steven
Spielberg’s call or a guy holding down three
jobs. No, being a sommelier is now a proper
profession run by people who take their training
very seriously indeed. Many are members of the
Australian Sommeliers Association, set up in
1994 to bring some cohesiveness and standards
where there were none before. The group, 550
strong and growing, helps train sommeliers with
wine education programs and hopefully one day
it will lead to a professional qualification ratified
by the Court of Master Sommeliers in Britain.
Sommeliers now employ wine waiters (who
one day hope to be sommeliers) as their
assistants, so a tier of wine management is now
in place in many restaurants. That’s how far wine
waiting has come.
But above all, the new age Aussie sommelier
is there to help you. Just don’t be surprised if
they also take you on a little taste adventure.
At Ezards, winner of The Age 2007 Good
Food Guide Wine List of the Year there’s no
easy recognition of many of the listed wines
and there’s definitely no Penfolds or big Aussie
brands represented. Your drinking fate is in the
hands of the excellent sommelier staff.
At the new Melbourne arm of Fifteen, head
sommelier Dan Sims (ex-Taxi Dining Room) gets
a real buzz leading people in the direction of
a great food and wine match, especially with
wines they may not usually go for.
‘We did a match of 1997 Mt. Pleasant
Museum Elizabeth semillon with gnocchi filled
with zucchini pesto, goats curd with a zucchini
flower and green sauce. I love using Aussie icon
wines, especially with age,’ he says.
‘Getting people to drink a semillon in
Melbourne is virtually impossible but this was
a great little match.’
The rise of the mono-themed restaurant
where the wine list follows the nationality of
the food offered whether it be Melbourne’s
Libertine (French-only food and wine) or the
European (European-only food and wine) really
brings the role of the sommelier to the fore.
With a wine list that is 70 per cent French,
Libertine owner/sommelier Zoe Ladyman knows
she has to work harder to offer her customers a
wine they will like. ‘There’s actually not a lot of
safe options on the list,’ she says.
At the European, which offers no Australian
wine whatsoever and absolutely no New
Zealand sauvignon blanc (the current darling of
the restaurant wine list), most customers have to
rely totally on the wine staff. With France, Spain
and Italy as the mainstays of both food and
wine served at the European, it’s no great chore
believe me, but the wine list can be a minefield
for the uninitiated or the timid.
It seems we rush to try different food, yet are
far more conservative when it comes to wine,
particularly food and wine matching. Perhaps it’s
the high level of complexity in many of today’s
dishes or the fusion of East-meets-West in
cooking which can throw us off centre or just the
reliance on an age-old and very safe approach
to wine and food that goes something like
‘red wine with red meat…‘
It is sommeliers we must largely thank for our
wine education in recent years, messengers of
good taste who introduced us to muscat or an
Italian-style lightly fizzy moscato with our dessert
instead of the usual ‘sticky’ botrytised sweet
white, or a glass of spicy Alsatian pinot gris or
the rich and textural and very Rhone-ish viognier
with roast pork instead of a heavy red.
And sometimes sommeliers take the meaning
of ‘wine’ quite literally too. Before she left for
the excellent Punch Lane Wine Bar to ply her
trade, sommelier Stacey-Lee Edwards set up
one of the biggest and most impressive ranges
of Japanese sake rice wines in Australia to go
with the fresh Asian-leaning cuisine at Taxi
Dining Room. She even found a sake to go
with Wagu beef. Not a bad accomplishment.
Lak Quach at Donovan’s can give you a very
detailed account of the chardonnay and pinot
noir made at Curly Flat in the Macedon Ranges
because he often works vintage there. That’s
how close some Australian sommeliers now get
to their work. The best sommeliers can easily
overcome any uneasiness you might be feeling
by offering ‘pours’ of wine, anywhere from 60mls
to 80mls. If you like it, you can buy a glass or a
bottle. The choice seems less intimidating when
there’s a sommelier at hand to help.
And if he or she happens to use language like
‘the bomb’ to describe a wine, order it. [.]
www.sommeliers.com.au
TASMANIA
Cesidio (‘Chezz’) Tucceri
T42
Hobart
www.tav42.com.au
how long a sommelier: I’m actually a
horticulturist by training but I’ve been in the
food and wine business for 15 years.’
describe your wine list: ‘It caters for all
tastes with around 150 wines. Obviously, it’s
predominantly Tasmanian with good pinot
noir, riesling and sparklings, but we’ve also got
a good selection of French and Italian wines.
I’ve gone to some length to search out wines,
going directly to the cellar door for wines from
Tasmania, Victoria and South Australia and
hence, my prices are highly competitive.’
best food/wine combo: ‘Our citrus crusted
ocean trout with the 1998 Drew riesling from
the Coal River region of Tasmania.’
VICTORIA
Dan Sims
Fifteen
Melbourne
www.fifteenmelbourne.com.au
how long a sommelier: 3 years
describe your wine list: ‘Accessible. It must
appeal to those who are knowledgeable about
wine and not intimidated but entice those that
aren’t. Diverse, international, progressive and
perhaps most importantly, there is something
there for all budgets.’’
best food/wine combo: ‘Roasted Berkshire
pork with fennel seeds, rosemary and Mt Zero
lentils with the Poggerino 2004 Chianti Classico
– a great mix of fruit sweetness and savoury
flavours. The tannins and acid cut through the
fattiness of the dish really well getting you ready
for the next mouthful. Very rustica!’
WESTERN AUSTRALIA
Emma Sputore
Must Wine Bar
Highgate
www.must.com.au
how long a sommelier: 4 years
describe your wine list: ‘It’s very big – more
than 600 wines. It’s a 50-50 selection between
Australian and imported wines. I try and focus
on Italy, France, Spain and Germany as much
as I can and give people lots of choice. I try
not to make it Australian-focussed like so many
lists around, especially in Perth where lists are
dominated by the wines of Margaret River.’
best food/wine combo: ‘Our French chef’s
charcuterie platter – terrines, pate, rillettes
– with a fantastic German riesling, J.J. Prum
1998 spatlese, which goes well because it has
just a little bit of sugar and lots of texture.’
NEW SOUTH WALES
John Clancy
The Glass Brasserie
Hilton Hotel Sydney
www.glassbrasserie.com.au
how long a sommelier: 16 years
describe your wine list: ‘It’s extensive, around
500 wines. As we are a French restaurant, there
is a strong emphasis on French wines. I feel
strongly that there has to be a mix of wines
that people feel comfortable with, with labels
people know, as well as wines that they may not
know. For the latter, they’re the wines we tend
to hand sell, telling customers as much as we
can about them.’
best food/wine combo: ‘The menu usually
carries an oven-roasted snapper or barramundi
and I team the fish up with a Yarra Valley pinot
noir, like the 2003 Wedgetail Estate pinot noir.
People don’t always think of a red wine with
fish but it works really well.’
QUEENSLAND
Jason Rowbottom
Nu Nu
Palm Cove
www.nunu.com.au
how long a sommelier: 10 years
describe your wine list: ‘Ever-changing! It’s
taken me three years to understand my market
up here. It’s different in a regional area. My list
would have something for everybody. It’s got to
be that way up here but there’s also the quirky
and the eclectic.’
best food/wine combo: ‘Chef (Nick Holloway)
does a great smoked red emperor miang with
sweet and sour chilli which goes really well with
New Zealand’s Vinoptima 2003 gewurztraminer.’
(Jason worked in Melbourne’s Punch Lane Wine
Bar before venturing north).
SOUTH AUSTRALIA
Simon Kardachi
The Melting Pot
Hyde Park
www.themeltingpot.com.au
how long a sommelier: 5 years
describe your wine list: ‘Eclectic, showcasing
smaller boutique producers from around the
world. We have around 300 wines. I like the idea
of showing people the great grape varieties
of the world as they are grown in their original
country and as they are made here. It’s great
to compare styles. I am also trying to get away
from the typical big Aussie fruit-driven wines
in favour of the Old World style of wine made
to go with food. I also do the wine list for our
wine bar next door, Melt, that concentrates
on Spanish, Italian and Australian wines. It’s
definitely more funky and out there.’
best food/wine combo: ‘The menu changes
three times a week but at the moment I’m really
happy with matching the Mountadam Eden
Valley 2006 riesling with our steamed whiting
fillets braised in a fish stock with tapioca pearls,
served with an apple and fennel salad and a
light citrus sabayon.’
service with substancedriven Takes a quick Trip Through hospiTaliTy heaven
and uncovers some of The counTry’s BesT sommeliers
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something, I definitely would have failed, because
I need to be really interested to keep motivated.’
The Industrial Design course at the University
of Canberra provided Marsh-Croft with the
stimulation and motivation he was looking for.
He finished his bachelor’s degree with first class
honours in 2006. Marsh-Croft found his fellow
students inspirational and he credits his teachers
with instilling in him the fundamental and
flexible design skills that have led to his success
so far. ‘You learn a process so that you can tackle
any problem and what you come
up with will be the right solution.’
This confident attitude and methodical
working method, coupled with his own
talent for innovative design, enabled
Marsh-Croft to win several awards
while he was still a student. These
included the Vice Chancellors
Travel Bursary and the University
Mobility Asia Pacific Scholarship
that facilitated a semester
studying in the USA at the
University of Tennessee.
ASHLEY MARSH-CROFT’S
PRODUCT DESIGNS MAY AT FIRST
SEEM TO FAVOUR AESTHETICS
OVER APPLICATIONS BUT HE
INSISTS THAT HIS WORK IS
INSPIRED FIRST AND FOREMOST
BY ITS INTENDED FUNCTION. AS
TrAcEy cLEmENT DISCOVERED,
HIS RANGE OF GARDEN POWER
TOOLS THAT HELPED HIM TO WIN
LAST YEAR’S SPIRIT OF YOUTH
AWARD FOR INDUSTRIAL DESIGN
WOULD ALMOST BE AS AT HOME
AS A CENTRE PIECE IN THE LIVING
ROOM AS THEY WOULD BE
KEEPING THE LAWN IN CHECK
Like many talented young people, Ashley
Marsh-Croft didn’t do particularly well in high
school. But that doesn’t mean that he didn’t
have plenty of ambition. After graduating
he took a year off to figure out what to do. ‘I
wanted to find something that I liked doing
so that I would do well at it,’ he says.
He found his chosen career after taking some
good advice. ‘Someone actually mentioned
to me, think about when you were a kid, and
whatever you liked doing most, that is what
you should pursue. Well, I always liked making
things and drawing,’ he says. He became
interested in industrial design because it
combined creativity with practicality and
offered the chance to make a living doing
what he was good at.
Marsh-Croft’s instincts have paid off. At just 23
he is a very young, successful designer. He has
already won several prestigious awards and has
even worked for a design agency in New York.
But Marsh-Croft is happy to admit he has been
lucky. ‘My parents were a bit worried about me for
a while. If I had done a standard degree, like IT or
: : d r i v e n �7
While he was there, Marsh-Croft won the
university’s furniture design award for the
clever construction methods used to make
his Disretrospect chair. In this bent plywood
chair, Marsh-Croft combines an updated retro
aesthetic with practical concerns, including
easy disassembly for shipping and storage.
Winning awards is always nice, but for
Marsh-Croft, the experience he gained working
overseas is what made the time invaluable. After
finishing his exchange in Tennessee, Marsh-Croft
was keen to use his own initiative to seize as
many opportunities as possible. He negotiated
a three-month internship with Pollen Design
in New York; an ambitious move and massive
learning curve for a designer that hadn’t yet
finished his degree. But Marsh-Croft’s risk taking
was worth it. As he says, ‘New York opened my
mind.’ During his time at Pollen, Marsh-Croft was
given his own design briefs to complete, from
research to production. He also encountered
a slightly different set of working methods and
attitudes. He found that in Australia, he had been
trained to be much more self sufficient and to
design every aspect of a product, while in New
York they frequently do the ‘front-end’ styling,
and then leave a lot of the nitty gritty
engineering to factories in China.
Recently, Marsh-Croft has
won yet another award
and will soon be off overseas again. This time he
will go to Paris as the winner of the 2006 Qantas
Spirit of Youth Award (SOYA) for industrial design.
There he will complete a mentorship with world
famous, ex-pat Aussie designer Marc Newson.
Marsh-Croft is looking forward to learning from the
experience – he admires Newson and his apparent
unwillingness to compromise. He is also eager to
get a sneak peak behind the scenes at the highly
successful designer’s practice. As he says with a
cheeky grin, ‘It will be interesting to see what really
goes on there.’
However, Marsh-Croft doesn’t yearn for
Newson’s rock-star style, brand name fame.
Most of his aspirations are far more humble. ‘I
just want to have a lot of stuff out there. I don’t
really care if people know my name, but I’d love
them to say, ‘this is a great piece of design!’’ In a
slick, hip and happening field that often focuses
on designer personalities and markets products
as lifestyle accessories rather than useful items,
his attitudes to industrial design are refreshingly
modest and practical. According to Marsh-Croft,
‘It’s almost like a trade. Like the old saying,
design is a process not an outcome.’
Marsh-Croft is well aware of the challenges
and difficulties facing a recent graduate eager
to start out as an independent designer. For
now, he is happy to look for work in a design
agency and he enjoys the satisfaction of finding
a solution to a client’s needs. Once he has a
day job, he can continue to develop his own
products, in his own time.
Despite his down to earth sensibilities,
Marsh-Croft still retains his youthful idealism.
In an interview on the Noise website, an
Australia Council initiative for young artists,
he announced, ‘Without a doubt the most
challenging aspect of the next decade will be
maintaining the focus and energy to ensure
the world is a better place as a result of my
existence.’ This is a huge goal, and it might be a
bit daunting, but as a pragmatist, he is confident
that it can be done in little ways.
For a start, Marsh-Croft always thinks about
sustainability, recycling and energy efficiency
when designing his products. But he points
out that for designers of his generation it’s just
a given that you will consider these things.
What really contributes to Marsh-Croft’s efforts
to change the world is his simple design
philosophy. As he explains, ‘It may sound
clichéd, but I think design is all about people.
It is about improving people’s lives, making
things easier for them. Even if it is just making
something look better, that’s helpful.’
This attitude is behind one of Marsh-Croft’s
central aims – he wants his products to ‘create
a strong emotional bond with the user.’ He
achieves this by tapping into the principles of
semiotics: the way something looks will effect
how it works. As a result, his designs are playful,
practical and non-threatening in appearance.
As he says, ‘Life should be fun and happy! When
design fails you notice it and it really upsets you.
When it is done well you shouldn’t really notice.’
But even so, ‘quality of life is improved when it
becomes easier and more enjoyable to interact
with everything you have.’
These ideas can be seen clearly in Marsh-
Croft’s Droplet, the electric lawnmower design
that impressed SOYA’s judges last year. With its
biomorphic curves, off centre axles and graphic
lime green details, Droplet looks more like a
quirky toy, or kinetic sculpture, than a macho
piece of gardening equipment. Marsh-Croft
explains that its distinctive aesthetics are really
just ‘visual clues to how it works.’ Rather than
aiming for a certain look, he was solving a set
of design problems. So even though his award
winning design looks ultra modern and super
cute, it is actually an old school case of form
following function. In his own way, Ashley Marsh-
Croft is putting his own unique spin on the
Bauhaus tradition. [.]
www.ash-design.com
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THE MARGARET RIVER REGION IS WIDELY KNOWN AND DESERVINGLY RESPECTED
AS ONE OF THIS COUNTRY’S PREMIER WINE REGIONS CONSISTENTLY PRODUCING
AWARD WINNING REDS AND WHITES. WITH NO FEWER THAN 70 WINERIES STRETCHING
FROM DUNSBOROUGH IN THE NORTH TO AUGUSTA IN THE SOUTH, IT MAKES FOR A
GREAT DRIVE DESTINATION FOR A FEW DAYS OF SURF, SUN, WINE AND FOOD. BUT
AT MOONDANCE LODGE – A SMALL CONTEMPORARY BOUTIQUE RETREAT NEAR
YALLINGUP – THEY HAVE A FOUND A WAY TO USE GRAPES TO ENHANCE YOUR HEALTH
IN WAYS OTHER THAN BY POURING IT DOWN YOUR THROAT. AS ruSSELL WILLIAmSoN
DISCOVERED, MOONDANCE OFFERS THE CHANCE TO INDULGE IN A VARIETY OF
TREATMENTS RANGING FROM A SHIRAZ SALT SCRUB TO A MERLOT MASSAGE
images : russell williamson
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I am lying on a massage table covered in vine leaves and mud having
already been smeared from head to toe with a paste of crushed grapes,
grape juice and oils. I feel as though I might have just finished ten
rounds with the Serpent in the Garden of Eden but after the Christmas
indulgence I am told that my body will thank me for this minor detox. It is
called a grape wrapture but it’s probably not the sort grape rapture that
you would normally expect in the Margaret River region in the south west
of Western Australia.
For over the past 10 to 15 years, many of the area’s wineries have been
acclaimed across the world with local vintages finding their way onto wine
lists of quality restaurants around the globe.
And while the wineries were part of the attraction for Driven’s venture
to this stunningly beautiful and rugged stretch of coastline, we were also
here for a somewhat different type of grape treatment, one that aimed to
heal, nourish and relax.
The treatment was part of the wellness menu that underlies the
philosophy of the small boutique property known as Moondance Lodge.
Situated amidst 13 hectares of virgin bush off Caves Road between
Yallingup and Margaret River, Moondance Lodge opened in 2004. Under
the direction of its owners Geraldine Reilly and Richard Doggart, it has
been developed into an all-encompassing experience that aims to nourish
and nurture the mind, body and soul.
It is this latter facet that Reilly points to as part of the magic of
Moondance Lodge in a world of weekend escapes where spas have
become the norm. But at Moondance, there is an extra dimension to the
place that does indeed nourish the soul.
According to Reilly, part of that comes from the natural energy of the
property, that she says was revealed to her in a dream.
After spending the bulk of the previous 13 years living with husband
Doggart in Singapore and Hong Kong and travelling extensively through
Asia, she was looking for somewhere somewhat less hectic to settle.
‘Originally I had a dream and we had a vision to create a place
somewhere in nature where the energy was strong and people could come
from all over the world to have healing experiences in nature. It also needed
to be aesthetically very pleasing so that was our intention,’ Reilly says.
‘It could have been Thailand, it could have been on the northern
beaches of Sydney but gradually I realised over the years travelling down
from Asia that the Margaret River region is an extraordinarily beautiful
place and it is one of the special places on the planet.’
Having found the property, Reilly and Doggart set about creating a
unique retreat that would welcome all comers.
‘Particularly with what we call the leaders of our tribe – the corporate
community – they are the people that need nourishing more than ever
and it is often hard for them to find that rejuvenation, relaxation and
well being so at Moondance we are particularly attuned to making those
people feel comfortable.’
With that in mind, Moondance is certainly no bared back eco lodge.
The nine suites feature everything a corporate leader needs to keep in
touch with the outside world from high-speed wireless internet access
to video conferencing facilities.
And when the day’s work or play is done, the weekend-only restaurant
serves the best of local produce with a level of service, innovation and
flavour that is equal to, if not better than, what you might find in many
of this country’s top city restaurants.
But always, the focus of Moondance Lodge is relaxation and trying
to nurture a reconnection with the natural world.
After an hour and a half wrap with the grape pulp and oil’s naturally
high antioxidants working their hardest on my skin followed by a pressure
point based massage, I was definitely feeling remarkably relaxed and
cleansed but there was still the matter of soul nourishment.
There are organised experiences that Moondance offers such as the
Didgeridoo Meditation or medicinal bush walks with local indigenous
cultural custodian Josh Whiteland or even the body treatments such as
the grape wrapture that Reilly describes as ‘an experience of fusing with
nature like you are inside it’.
But it is more – and less – than these things, it is simply about being in
the middle of untouched Australian bush surrounded by things of beauty.
In Reilly’s travels over the years, she has collected an enormous amount
of artworks and pieces from around the world and the subtle placement of
these throughout the property together with an extraordinary attention to
detail gives you little ‘lifts’ as you stroll around or relax in the main lodge.
Whether it is the wattle leaves, gum nuts and pebbles that adorn the
breakfast table, the Burmese temple pieces that sit either side of the
fireplace in the lounge area, or the candles and grape seed oil burner
that sits beside the two-person spa in the extra large accommodation
suites, everything is aimed at producing sensory reactions that are calming
relaxing and rejuvenating.
It is of course, entirely appropriate for the region which despite its
massive growth in popularity as a tourist destination over the past ten
years, still retains the charm and beauty forged by both its isolation and
the rugged coastal landscape.
And Moondance Lodge is perfectly placed to discover some of the
natural highlights of the northern end of what is known as the Cape-
to-Cape region. For apart from the abundance of high quality wineries,
restaurants, produce stores and galleries this region offers an extraordinary
diversity of landscapes with some of the best beaches in the world.
To get around, Driven also had appropriate transport given the
upmarket, design conscious and environmentally minded nature of
Moondance Lodge in the form of the new 407 Coupe HDi.
Sleek, sexy and enormously rewarding to drive, the HDi Coupe also has
its eye on the environment courtesy of its latest generation, particulate filter-
equipped, common rail V6 twin turbo diesel engine. With a maximum power
of 150kW and massive peak torque of 440Nm – on tap from just 1900rpm
– the diesel 407 Coupe is the perfect vehicle for grand touring in style.
And heading south of Perth to the Margaret River region is really about
grand touring. Much of the road as far as Dunsborough, located at the
southern end of Geographe Bay about 250km from Perth, is fairly straight
and flat.
So seated comfortably in the big supportive electrically adjustable leather
trimmed seats, with the cruise control and climate control set for legality and
comfort respectively, there is little else to do other than sit back relax and enjoy
the excellent sounds emanating from the JBL six-stack CD audio system.
Back on the surface, south of Smith’s Beach is the rugged coastal rock
formation known as Canal Rocks, a favourite spot for local fisherfolk,
where you can wander among the granite outcrops and simply enjoy
the splendour of nature at its sculptural best.
Caves Road winds south towards Margaret River through an ever-
changing landscape of coastal woodlands, pastoral grazing country and
of course, a vast number of vineyards, and along the narrow twisting
road, the 407 Coupe’s sports nature was revealed. Sitting flat and firm
on the road, its competent dynamic abilities were well and truly evident
with the car always maintaining the desired line through the swiftly
changing sweeping bends. With the engine spinning constantly through
the strong mid range courtesy of the manual shift mode for the tiptronic
automatic, the 407 Coupe does deliver an exhilarating and responsive
drive experience when the mood and conditions are right.
After a day out exploring the region’s natural splendour, retreating
to Moondance Lodge offers the chance to indulge in some of its best
produce and saviour the delights of another form of grape rapture.
Sitting on the broad terrace overlooking the lake in front of the main
lodge as the sun goes down with only the sounds of the birds and the
bush for company, you can easily again be absorbed into a very calm
and comforting natural world. Relaxing, rejuvenating and most definitely
nourishing for the soul, Moondance Lodge and its surrounding area is
indeed a wonderful destination to take a few days and simply forget
about the rest of the world. Connected it may be for those who need it,
but make a connection with the surroundings and you are guaranteed
to leave relaxed and replenished. [.]
www.moondancelodge.com
When you do need to be a little more involved to overtake, all that is
required is a prod of the right foot and the slick and smooth six-speed
automatic transmission instantly drops a ratio or two and the car surges
forward quickly and quietly thanks to its prodigious mid range torque.
From Dunsborough, it is only short drive further south along Caves
Road to Moondance Lodge from where you can explore the region.
Heading west from Dunsborough, you pass the quiet and calm beaches
of Meelup and Eagle Bay and if you are after a great spot to enjoy a long
lazy lunch, Wise Wines’ restaurant overlooking the clean blue waters of
Meelup is a perfect place to stop.
Further out at the end of the road is the historic Cape Naturaliste
lighthouse, built in 1903 and opened to the public in 1986. From its top,
it affords spectacular views north across Geographe Bay and south
towards the impressive natural granite boulders of Sugarloaf Rock.
Dunsborough is also perfectly located for the annual whale-watching
season, between September and December, when Southern Right,
Humpback, Pygmy and Blue Whales move along the coast. You can watch
them basking or at play from a number of coastal vantage points or from
one of the many tour boats that operate in the area.
South of Dunsborough you head towards Yallingup, home of one of the
best beaches in the area where you can swim, wander along the shallow reef
shelf or surf, with the break renown for its capability to hold very big waves.
Just before Yallingup are the region’s most spectacular limestone
caves with one of the most impressive being Lake Cave. A venture deep
inside this stunning chamber reveals a tranquil lake that lit up, reflects
the delicate formations that rise from the floor and fall from the ceiling of
the cave. Closer to Moondance Lodge are Moondyne and Ngilgi caves
where experienced guides take you on a journey through a labyrinthine
subterranean world using head torches. Ngilgi is named because of its
association with an Aboriginal legend that describes the battle between
a good spirit (Ngilgi) and an evil spirit (Wolgine).
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gardens
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THE GARDENS OF VERSAILLES
ARE A PRIME EXAMPLE OF THE
BEAUTY THAT CAN BE ATTAINED
WHERE ART AND HORTICULTURE
MELD ON A TRULY GRAND SCALE.
CARRYING ON THAT TRADITION IN
THE FORMER VEGGIE GARDEN OF
THE FRENCH PALACE IS ONE OF
THE WORLD’S MOST PRESTIGIOUS
LANDSCAPE ARCHITECTURE
SCHOOLS. JuLIAN rAxWorThy,
A SENIOR LECTURER IN
LANDSCAPE ARCHITECTURE AT
QUEENSLAND UNIVERSITY OF
TECHNOLOGY RECENTLY TAUGHT
A WORKSHOP AT THE VERSAILLES
SCHOOL. AS HE EXPLAINS, THE
CONCEPTS THAT UNDERLIE
THE SCHOOL’S TEACHING AND
THE FORMAL GRANDEUR OF
THE GARDENS OF VERSAILLES
CONTINUE TO BE AS INNOVATIVE
AND RELEVANT TODAY AS THEY
WERE IN THE 17TH CENTURY
Few gardens conjure up such grandeur as the
gardens of Versailles. Possibly the most famous
and excessive of all the world’s great gardens,
they were designed in the late 1600s by Baroque
garden designer André Le Nôtre, for the French
Sun King (Le Roi-Soleil), Louis XIV. The estate
comprises grand formal gardens that stretch
out to the horizon along enormous axes, with a
complex system of smaller gardens contained
in geometric parterres, and a vast array of
fountains and pools. Louis saw the gardens as
the great achievement of his court at Versailles,
and he personally wrote a guidebook called
The Way to Present the Gardens of Versailles,
setting forth his ideal tour.
Le Nôtre inherited the role of Royal Gardener
at the Tuilleries in Paris from his father and set
about establishing a system of interlocking axes
and sub-spaces, delineating strict grids with rows
of trees. This system opened up the enclosed
garden into geographic territory, restructuring
the city between the Louvre and the Concorde.
Building on the intimate garden geometry of
the medieval cloister and the expansion of the
Renaissance axis, Le Notre took Baroque garden
design, and landscape architecture to its zenith.
le grande
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When Le Nôtre retired, Louis awarded him
nobility and a title but despite this, he somehow
stayed outside all the political manoeuvring
of the court, even though his creations were
enormous political trinkets. Le Nôtre is the
quintessential (and first), landscape architect, but
he remained the humble gardener to the end.
But Versailles is much more than just a garden
or a Chateau, it is also a territorial centre and
perhaps, the first suburban subdivision. The
town is integrally aligned to the layout of the
garden, with the composition of the garden
and its parterres establishing the location of
the main avenues and the street layout. The
garden is both a form of organisation and a type
of branding, no different to how landscape is
now used to organise and market contemporary
Australian suburbia. Many suburbs are
organised around the layout of the landscape
– and water bodies in particular – and these
are then used in marketing to give ambiance or
status to a development.
The organisation of Versailles was also for the
convenience of Louis to access his court, and for
the court to come, trembling, to him. Like a web,
avenues extend from Versailles all around Paris to
meet other estates (and gardens by Le Nôtre), and
make Paris appear to be the court’s play thing: as
though Paris rather than Versailles had come later.
While Louis was adamant that the gardens of
Versailles be aesthetically pleasing, he was also
interested in productive gardening, albeit on a
much smaller scale, and established Le Potager
du Roi, the Kings Vegetable Garden, adjacent
to the main gardens of the Chateau. It was
accessed via the Orangerie, where fruit trees
were wheeled out amongst palms, and then
along the Pièce d’eau (The Water Mirror
of the Swiss), a long pool. This was the route
that Louis took to enter the garden from his
palace through enormous gilded gates and
on the King’s arrival workers would conceal
themselves in alcoves in the stone terraces.
The garden was not designed by Le Nôtre, but
by La Quintinie, the Kings Vegetable Gardener,
in 1663 and is remarkable not for the layout
which is simple and generic, but by how this
simple two-dimensional layout controls the
three dimensional micro-climate of the garden.
In its centre is a quadrangle featuring a large
circular pool that is surrounded by a grid of
garden beds. This central quadrangle is lower
than the surrounding garden, which in turn is
enclosed by an even higher walled terrace.
Beyond this are a further 29 other walled gardens
all of which were set at different levels to make
the best use of the solar orientation, wind and
air movement. This allowed different parts of the
garden to have a different climate and enable
the production of fruit and vegetables, out of
season and from climatically different countries.
Espaliered fruit trees edge many of the beds,
adding more walls and further subdividing
spaces, both ornamental and functional.
The garden has continued to be a working one
and in 1850 became the site for a horticulture
school. Over one hundred years later in 1972, the
horticulture school began teaching landscape
design, and it is now the Ecole Nationale
Superièure du Paysage (ENSP Versailles). In the
midst of Le Nôtre’s creation, and in his spirit, it
has become one of the world’s premier schools
of landscape architecture.
A two-story building from the17th century
lines one edge of the Potager housing the
design studios and workspaces. The course is a
three-year post-graduate diploma and is one of
only two courses in France that teach landscape
architecture. Entry is tough and competitive, as
are the subsequent expectations of the students
who are often found working in the studios
around the clock. Each year level is given its
own walled garden to work on that they use
as a community space and each year the best
garden is awarded. Like getting dirty in the
garden, students also make art with their hands
in the first year of the course.
Gardening is an important link to Le Nôtre,
that emphasises an understanding of scale.
Students must understand the landscape both
at the scale of the plant as well as that of the
broad landscape, as Le Nôtre himself did. At the
Versailles school the landscape and the garden
are the same thing, since the one contains the
other, and both are made up through similar
natural and cultural processes. This is the
notion of ‘territory’ that underpins the school,
developed by its contemporary fathers.
After the fervour of the 1968 student
: : d r i v e n 47
revolution in Paris, two former students of the
horticulture school, Jacques Simon, a filmmaker
and then his pupil Michel Corajoud founded
the more progressive ENSP and revolutionised
its teachings through the establishment of its
current studio based education in the garden
and their development of this territorial view.
Simon was an artist who produced a
particularly French version of Land Art – a 1960s
art movement that used the natural environment
to create large-scale works (its most prominent
practitioner being the American Robert
Smithson, famous for his Spiral Jetty). Though
the Americans created pure abstract forms in
the landscape – the only space big enough to
take them – Simon’s version of Land Art sought
to reveal the qualities of the landscape, a
landscape shaped by human occupation. Using
the tools of agriculture, the tools of the Potager,
Simon ploughed phrases into fields, melted
them into snow, burned them into stubble.
Corajoud’s interests were complementary
but his approach was quite different. Both were
united by a rebellion against the uselessness
and the privacy of the garden, in the face of
the exponential urbanisation of France and
Europe in general. While Simon came from an
art background, Courajoud was more interested
in architecture and planning. He rejected the
dominance of the garden in the Versailles course
and its exclusivity. He felt that architecture and
planning were better tools to learn how to work
with the shape of the city, but these could lead
to dehumanised places. This led him to assert
landscape architecture as a positive, democratic
and humane force of urbanisation. He sought
to value banal broad-scale landscapes of the
public domain rather than the small private
fascination of the garden.
To consider Le Nôtre and the Potager, and
then the subsequent course that Simon and
Corajoud established there is to be struck by the
scale of the garden. Le Notre showed us that
the garden is exactly what we think it is – plants,
water, outdoor activity – but that its scale can
be increased to the point where it becomes the
landscape. Michel and Simon show us that the
landscape too is a garden, made up of ecological
relationships and human processes. What is
remarkable about the ENSP Versailles is that the
laboratory for this action in the landscape is a
garden, and a garden that needs tending, always.
When landscape architects introduce
themselves to new acquaintances their job title
generally confuses people and they ask, ‘So, can
you design my garden?’ Landscape architects
sigh and explain they do big landscapes too:
suburbs, cities, etc. But a visit to the Potager
shows us that the large is in the small. It
reinforces the value of the garden in its broadest
sense. In our gardens we can learn things that
have very little to do with gardening and much
to do with people, with nature, with history, and,
in noticing the weeds that should have, or need
to be, pulled out, with ourselves. [.]
www.ecole-paysage.fr
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In discussing cars, people often talk a lot about
the drivetrain, ride and handling and bodywork
and the major technological advances applied to
these areas, but car interiors are also benefiting
from a variety of sophisticated and innovative
techniques. Whether it is to make the interior
more comfortable, ergonomic or reduce its
environmental impact, Peugeot is constantly
exploring new ways to treat a car’s interior.
And the development of the interior is
certainly no afterthought either as work on any
new model’s interior starts at the same time
as designers, engineers and technicians begin
work on the rest of the car – usually several years
ahead of the new model’s release. The public’s
tastes, requirements and preferences must be
anticipated long in advance and reconciled
with the use of modern, strong and high-
performance materials.
‘Quality, comfort and style are the basic
parameters,’ explains Peugeot’s Paris-
based colours and trim marketing manager,
TAKE A LOOK AT A CURRENT PEUGEOT AND
THERE IS NO DOUBT THAT THE COMPANY HAS
A CERTAIN INNOVATIVE STYLE ABOUT IT. BUT
FOR THE OWNER OF A CAR, THE EXTERIOR
DESIGN IS SOMETHING THEY ONLY GLIMPSE
OCCASIONALLY AS THEY SPEND MOST OF
THEIR TIME INSIDE THE CAR. AS roGEr cAyoN
FINDS OUT, PEUGEOT SUBSEQUENTLY TREATS
INTERIOR DESIGN WITH AS MUCH ATTENTION
AS THE EXTERIOR ENSURING CUSTOMERS ARE
ABLE TO APPRECIATE THE LATEST IN DESIGN
TRENDS, ERGONOMIC LAYOUTS AND HIGH
TECH INNOVATIVE MATERIALS:inside line
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Gwendoline Guezelle, ‘but the customer also
has expectations in terms of innovation.’
Because a car’s interior is an ambience
composed of colours, feelings and materials, the
designers’ intuition and their ability to pick up
on the feel of the times is essential and to guide
their inspiration and back up their research, they
compile and maintain style catalogues. They
collect images, note harmonising colours, select
objects, think about the feel, observe the effects
of ambient light, anything they think is relevant
in terms of new trends.
Magazines, films, paintings, opera, video
clips, fashion, design, architecture, anything
and everything presenting a hint of novelty is
gleaned from every source. The slightest sign
of a coming fashion or trend is duly added to
their store of references. These ideas, although
nebulous and unquantifiable, inspire the
designers and guide them in the choices they
make. When the marketing managers have
decided on the positioning of the model, the
designers can then use their store of references
to create a particular ambience and harmonious
look in keeping with the style required.
‘Our job is to give meaning to materials,’
says Guezelle.
Fine materials – wood, leather and metal – are
still very popular and are now less expensive
so that we find a leather-covered dashboard in
the 307 CC for example, a feature previously
reserved for top-end sedans. But in addition to
these essentials, plastic – an eminently modern,
malleable material – is now used for the lion’s
share of the interior trim.
‘A lot of thought is given to the significant use
of plastics in our cars, for they too, contribute to
interior ambience and style. The choice of textures
and colours is just as important as finding new
looks and innovative features,’ says Guezelle.
‘To get away from old habits and well-worn
paths, Peugeot has set up a system of ‘cross-
fertilisation’,’ she says.
‘This entails looking at other sectors, such
as household appliances and cosmetics, and
tapping into them for new ideas or other
techniques that might usefully be applied to
the car; without, of course, losing sight of the
economic and industrial constraints.
‘We used to be relatively limited in terms
of décor (beading, radio fascia, etc.) because
the technologies used were themselves fairly
limited. Borrowing from the technologies used
in telephony and hi-fi design has widened the
range of possibilities and cars like the 407 and
new 207 have both benefited appreciably from
these new technologies.’
Light, smell and feel: all these factors are
taken into account when designing interior trim.
They already make a major contribution to the
on-board ambience, while at the same time
materials and designs are becoming increasingly
varied. This is a constantly evolving world and an
ongoing quest for new avenues to explore and
Peugeot is among those at the leading edge. [.]
www.peugeot.com
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WHILE PEUGEOT MAY CONSTANTLY STRIVE TO GET THE BEST DRIVE
THROUGH THE CORNERS, IN GOLF IT IS ALL ABOUT DRIVING STRAIGHT
DOWN THE LINE. AND LIKE PEUGEOT, CALLAWAY GOLF – THE
CARMAKER’S PROUD PARTNER IN THE PEUGEOT WOMEN’S CLASSIC GOLF
TOURNAMENT – IS A COMPANY THAT RELIES ON CUTTING EDGE DESIGN
AND TECHNOLOGY TO KEEP AHEAD OF THE GAME. FOR AN EXAMPLE,
LOOK NO FURTHER THAN ITS INNOVATIVE NEW FT-I DRIVER
::
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Six years ago, Alan Hocknell, vice president
innovation and advanced design at Callaway
Golf HQ in California and his associate Matt
Cackett, were asked to write a paper outlining
a road map for the next generation of drivers.
Now you might think that there are not a lot
of innovative possibilities in designing a new
golf club – after all it will always basically consist
of a grip, a shaft and a head.
But the brief for Hocknell and his team was
simple: abandon traditional golf equipment design
thinking and gaze deeply into a world of space-age
composite materials, advanced manufacturing
processes and new clubhead geometries.
For the 35-year old graduate of the Imperial
College of Science, Technology and Medicine
in London, it was like a dream come true.
Having developed an affinity for golf at the
age of eight after following his father around
courses looking for lost balls, he completed his
studies in mechanical engineering with a PhD
from Loughborough University in Leicestershire
in the UK. His curriculum included studying golf
ball and club impact through computerised
simulations and a laser-based measuring system
that he helped develop.
He was, however, all set to enter the
automotive industry in the UK, when he got a
call from Callaway in 1997 offering a full time
job. After receiving the blank sheet brief in 2001,
he certainly has no regrets about his decision.
‘It really was an opportunity to think outside
the box and focus purely on the performance of
the golf club without outside factors like costs,
market research or technological limitations
getting in the way of things,’ Hocknell says.
Callaway had already been working on
advanced composite materials through
the development of its Fusion Technology
– a process of using a titanium cup face and
lightweight carbon composite body to create
discretionary weight that can be positioned
at strategic locations within the clubhead – so
one of the biggest challenges was investigating
alternative geometries.
Over several months, they ran thousands
of different clubhead design permutations
through what Hocknell refers to as the ‘Virtual
Test Center.’ For the most part, the team
focused on analysing the performance of new
designs created using existing technologies and
materials. But the really fun part of the project
was conducting detailed simulations of radical
designs built using technology that wasn’t even
on the horizon at the time.
Hocknell’s team experimented primarily with
the properties of Moment of Inertia (MOI) and
center of gravity location – two key factors
that influence the performance of a golf club
– and developed what they believed to be the
optimum shape – a square head.
By placing extra weight in both rear corners of
the clubhead, Hocknell reasoned that it would
increase stability, thereby reducing sidespin and
hooks and slices. Through creating a unique
weight distribution, the Callaway design team
felt they could deliver high levels of Moment of
Inertia – or a resistance to twisting – across both
the vertical and horizontal axis.
At the time however, the manufacturing
process for the Fusion Technology was not
sufficiently advanced and the project was
shelved for three years before it was reviewed
again. With the materials process now fully
developed and commercialised – with the 2004
Callaway ERC Fusion Driver being the first
product to use it – development on the ‘square-
head’ club began again in earnest and earlier
this year, the company launched the FT-i Driver.
‘Essentially, what we have done with the FT-i
Driver is move the weight inside the clubhead
as far away from the center as possible to
significantly increase the stability of the
clubhead at impact,’ Hocknell says.
‘If the clubhead is more stable when it’s in
contact with the ball at one of the off-center
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impact locations, good things happen – the ball
can’t force the clubhead to rotate at impact – and
effectively, it means the sweet spot is larger.
‘If you hit the golf ball in the centre of the face
that’s fine but most golfers don’t so that’s where
this design really helps the average player.’
Hocknell’s team had initially made hundreds
of sketches of square-shaped designs of which
about 30 were turned into prototypes for secret
market research and product testing. The
company also had to consult with the game’s
official ruling bodies – the Royal and Ancient
Golf Club in St Andrews, Scotland, and the
United States Golf Association – to ensure that
the new driver conformed to the regulations
before it went into production.
After getting the green light from the
authorities and favourable market acceptance
from clinics, the new 460cc FT-i Driver did go
into production and is now available in both
standard and Tour models as well as right and
left handed, and men’s and women’s versions.
So will square drivers become the norm on
golf courses around the world?
Hocknell isn’t sure but there is one thing
he is sure about.
‘The FT-i is a driver that’s going to having
significant benefits to all golfers.’ [.]
www.callawaygolf.com
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funky phoneDanish firm Bang & Olufsen is renown for its seriously stylish audiovisual equipment so you
would expect nothing less than something entirely out of the ordinary for its first venture into
the mobile phone market. And the Serene mobile phone certainly fits the bill. Developed in
conjunction with Samsung, the Serene clamshell flip-phone features an innovative circular
keyboard that surrounds a central navigation wheel in the top half of the shell. The lower half
features a big display screen and microphone with the phone opening silently and gently
courtesy of a built in motor. As you would expect of a high end audio manufacturer, the
sound quality is superb delivered through air holes dotted around the circular key pad while
the camera lens is located on the side of the phone so to take a photo, you hold the camera
parallel to the ground and look down on the view screen. The Serene comes with an equally
stylish integrated docking station/charger that can be synchronised with other B&O landlines
to transfer phonebook data or it can be linked to a PC via Bluetooth. [.]
www.serenemobile.com
dial it : :
stylishly secureHaving trouble identifying your laptop from the zillions of others
encased in their standard black carrying cases? Then perhaps you
need a toffee case. Available in a range of colours and sizes to suit
Apple and PC laptops, these high quality leather cases provide
security for your mobile workplace in an aesthetically pleasing and
instantly recognisable style. With an absorbent interior padding
and hard wearing leather outer, the Australian made toffee laptop
sleeves come with a one year warranty and can be bought on-line
or through a variety of national retailers. [.]
www.toffee.com.au
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corporate comfortGiven that many of us spend much of our working lives sitting down,
having the right chair is essential for your general health and wellbeing.
As its name suggests, the Life Chair from New Zealand firm Formway,
is all about ensuring that you do indeed have the comfort and support
you need for your working life. Through its innovative design, the chair
automatically adjusts the amount of flex and tension in the seat back
and base according to your weight while its unique recline geometry
maintains a virtually constant eye-line so you can keep working easily in
any position. The Life Chair has also been designed with the future life
of the planet in mind winning numerous eco-design awards for its use
of up to 62 per cent of recycled material and natural finishes for cleaner
production and ease of recycling. [.]
www.formway.com
Guidebooks can be quite subjective
depending on the interests or
aspirations of the author that may
or may not suit your own personal
tastes. But if your taste in exploring
a new city runs to funky bars,
architectural highlights, sumptuous
spas, designer nightclubs or hip
hotels, then perhaps the latest selection of
Wallpaper* City Guides is what you need. Published
by Phaidon for the stylish design magazine Wallpaper*, the
60 existing and proposed city guides are aimed at the design-conscious
traveller with sections on where to stay, what to visit, where to eat, shop and
be seen. From Sydney to San Francisco, Melbourne to Marrakech, the city guides offer
practical information and travel tips provided by Wallpaper’s international travel editors
and writers. Each edition of the pocket sized guide will be updated annually to ensure you
don’t end up at a club, bar or hotel that is so last year! [.]
www.phaidon.com/travel
design destinations
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hard drive digitalForget about buying tapes or trying to ensure you have a compatible disc, Toshiba’s first
foray into the camera market, the Gigashot R, uses a 30GB or 60GB hard drive to record
your favourite memories or video footage. The compact combined video camcorder/
digital still camera can store up to 55 hours of video or thousands of still pictures which
can then be easily downloaded onto a computer via the docking cradle or burned directly
onto DVD. Both models feature high quality MPEG-2 video recording with a 2 mega pixel
colour CCD sensor and offer three modes of recording quality – SHQ, HQ and SP. With
a 10x optical zoom and 2.5-inch LCD screen, you can be sure to get the shots you want
while the accompanying AC/DSEE photo and PowerProducer video editing software
enables you to cut out the bits you don’t. [.]
www.gigashot.com.au
coffee cubeCoffee machines these days come in all shapes and sizes and with the
advent of the Nespresso capsule system, previous limitations on design
have all but disappeared. For evidence you only need take a look at one
of Italian maker De’Longhi’s latest models dubbed appropriately Le Cube.
With a flip down drip grid, that folds away when not in use and covered
cup storage on top, this colourful cube is perfect for blending into the
kitchen or office. A one-litre tank supplies the water which is pressurised
by a 19 bar pump with a thermobloc heater. Le Cube comes supplied with
a sample of each of the 12 Nespresso blends. The Nespresso system uses
individually packaged capsules of coffee to ensure fresh brews every time.
www.delonghi.com.au
fresh fragranceMention Chopard and the mille miglia together and you probably
think of the classic line of watches that bear the stamp of the famous
Italian car rally. Well now you can also wear the scent inspired by the
race with the launch of Chopard pour Homme. Don’t be alarmed
though, this fragrance for men is not going to leave you smelling like
an oily rag or burning rubber. Rather, it was created on a treasure
hunt expedition in vintage cars across Brescia in northern Italy and
is an amber/woody/oriental featuring hints of Cardamon, Star Anise,
Nutmeg, Sage, Tobacco leaves and Cedarwood. Presented in a deep
blue Flacon, Chopard pour Homme is available as an Eau de Toilette,
after shave balm and deodorant stick. [.]
www.chopard.com
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monster monitorIf you find your standard 19-inch monitor is just
not big enough to view those pre-production film
rushes, magazine layouts or financial spreadsheets
then NEC has the answer with the first 26-inch
widescreen desktop computer monitor in the
Australian market. Part of its 90-series professional
range, the LCD2690WUXi features 1920 x 1200
native resolution (2.3 MP) and a 16:10 aspect ratio.
The new monitor is compatible with both of NEC’s
display calibration software packages: SpectraView II
and GammaComp MD and incorporates, X-Light Pro,
a technology that utilises the display’s internal luminance
and colour sensor to achieve a consistent light output level
for the life of the monitor. Triple-input technology allows
all three inputs: VGA, DVI-D & DVI-I to be connected and
switched between on a single display. [.]
www.nec.com.au
�� d r i v e n : :
‘never before in the history of sculpture
has this discipline been so active across fields
of visual arts, design, public art and recently,
forming synergies with architecture.
In spite of the onslaught of digital based
media and the internet that has absorbed
many artists – sculpture continues to forge
ahead with increasing popularity because it
offers something that other two-dimensional
disciplines do not – a tangible three-
dimensional outcome; non-illusionary and
entirely physical.
Many sculptors are now celebrating high
exposure and recognition in the popular press
– not only through some of the richest awards
offered internationally being those in Australia
– but also through commercial galleries who
are now representing sculptors in greater
numbers within their ‘stables’.
because sculpture does not require
the traditional protection of a gallery or
museum, we now see pieces sited in many
unconventional settings: warehouses,
alleyways, backyard patios and apartment
balconies in the inner city.
councils, developers, vineyards/wineries,
car-dealerships and boutique businesses
are also keen to embrace sculpture through
curated exhibitions that attract considerable
prize money and many visitors.
the growth in the concept of public art has
fuelled a surge of sculptural objects sited within
our urban and regional areas across political/
social/environmental, gender, popular culture
and aesthetic boundaries. these works not only
beautify a street, plaza, foyer or park but also
enlighten, inform or challenge us in our daily
existence within a social or cultural context.
but by far the most exciting shift in the
discipline, I believe, with a nod towards the
future, focuses on a new hybrid. termed
originally by eminent british sculptor
Anthony caro as ‘sculpitecture’ it involves
self contained sculptural structures (often
designed with computer modelling software)
that the spectator can walk through and
around or up and over.
In my opinion, boundaries between these
two proud disciplines are collapsing and
merging. We see sculptors and architects
eagerly collaborating on major projects such as
bridges, walkways and contemporary buildings
whereby the overall form is both sculptural and
architectural. It is a very exciting and engaging
time to be a practising sculptor.’ [.]
www.flg.com.au
As a sculptor, lecturer and currently
coordinator of research in the Department
of fine Arts at victoria’s Monash university,
Dr Dan Wollmering has a long history and
association with the three-dimensional arts
form. With pieces in private, public and
corporate collections and more than 25 solo
exhibitions he has seen this once marginalised
art form come out of the gallery to become
firmly entrenched in the public domain.
And with the massive growth in prizes and
competitions, the public’s appetite for
sculpture seems set to continue to develop.
dr dan wollmering Senior Lecturer in Sculpture, Faculty of Art and Design, monash university
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trends : : outlook : : vision
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