2021 - A YEAR IN REVIEW
The Good Design Awards
EASEL AT NGV
We are thrilled to announce that four pieces from our collaborative Easel Project collection are to be acquired by the NGV Melbourne for their permanent collection.
Fusing furniture and collectable art, the Easel Collection was curated by designers, Adam Cornish and Marcus Piper, to celebrate the most creative expression from both Australian and International designers.
Taking the concept of furniture and art display to another level, the form of an asymmetrical table top tilts to become an art piece in itself; a canvas for the surface specialists at Axolotl to realise the artist and designers work.
“An ongoing aim of the NGV Department of Contemporary Design and Architecture is to strategically collect examples of Australian contemporary design and studio based practice. These four works represent four prominent designers and highlight innovation in Australian design manufacturing, they make a great addition to our growing collection of Australian design.”
Ewan McEoin, Hugh D T Williamson Senior Curator of Contemporary Design and Architecture, NGV.
The easels that were acquired are:
Adam Cornish | Bruise | Metal mosaic
Adam Goodrum | Frame | Fused and formed bronze glass
Jaime Hayon | LINEAS | Brass inlaid into marble
Marcus Piper | Perspicere | Printed, embossed and mirrored glass
The artists were briefed to work with Axolotl in identifying a process that pushed the boundaries of their practice and the capabilities of Axolotl. The result being a series of unique artworks resting on the easel base.
The Easel itself is designed by Adam Cornish and produced by Chris Nicholson of Forest Furniture.
Each Easel in the collection is available in an edition of 8 with a percentage of sales being donated to the Authentic Design Alliance. To see the full collection and to enquire about acquiring one or more of these pieces to add to your art collection visit the Easel website or get in touch with us.
Photography: Tim Robinson
IDEA AWARDS 2020
Months after the originally scheduled date of November 2020, the IDEA 2020 Gala party finally went ahead on Friday 19th February 2021.
The event was in doubt only days before when a 5-day snap lockdown for Melbourne threatened to force yet another delay. However, thankfully Melbourne was emancipated just in time for the party to go ahead and for the Australian design community to let their hair down.
Flack Studio, Esoteriko, COX, Alexander & CO., Hassell and GOLDEN were among the project category winners that picked up a sought after IDEA trophy, designed and handcrafted by Axolotl, on the night.
Jeremy Bull of Alexander & Co., Simone Haag and Andrew Parr of SJB were all on the panel of industry-leading professionals that judged this year’s IDEA and were in attendance, along with Axolotl’s co-founder Kris Torma.
Sydney-based Anna Trefely of Esoteriko was named the best emerging practice of the year.
inside editor Elisa Scarton awarded COX this year’s Editors’ Medal for Tedesca while the winning hospitality category was awarded to Alexander & CO. for Glorietta.
The overall winner was Private Residence by Richards Stanisich. This classic mid-century residence, originally designed by Harry Seidler and built in 1958 is a tribute to ’50s modernism in Sydney, also won the night’s Residential Single award. Richards Stanisich were understandably unable to attend in person. Thanks to the ingenuity of the organisers, and in keeping with the zeitgeist, they were able to accept their awards via video link.
Melbourne-based Flack Studio took home Designer of the Year, while long time friend of Axolotl’s, Hare + Klein’s Meryl Hare was named the Gold Medal.
Congratulations to all the winners, highly commended and shortlisted designers.
Axolotl has been supporting the IDEA awards for over 10 years and we are once again proud and honoured to produce the handcrafted trophies for this important celebration of Australian design. We look forward to many years of collaboration in the future. Watch the story behind the process and production of the IDEA 2020 trophies in this short clip we’ve put together.
FEATURE PROJECT: 55 CLARENCE STREET LOBBY BY BRAY PUKSAND
How do you create a warm and inviting ambience within a large lobby with the intention to encourage people to meet and congregate? It takes a number of considerations and the designers at Gray Puksand show us how it’s done, with the help of Axolotl applied metal, in their recently completed renewal of the entry foyer at 55 Clarence Street in Sydney.
Axolotl applied Gold Bronze in a smooth finish is featured across the walls of the lobby. The hand-polished treatment injects warmth and visual softness working as the perfect anchoring backdrop to the dynamic space. The Axolotl treatment was also bonded to the vertical blades behind the reception desk, where Gray Puksand have used recessed uplighting to wash over the blades, highlighting the warmth and variation of the surface.
Gray Puksand share with us their intention for the space; “the desired design outcome was to create a space that acts as a destination within the building rather than a thoroughfare. Each setting within the lobby creates opportunities to spark serendipitous encounters, provoking opportunities to meet and work, through carefully curated pieces with integrated power and technology “
The concept and design direction as described by Gray Puksand for their recent project; "The renewal of 55 Clarence Street draws inspiration from the unique scape of Sydney’s Clarence Street, evoking a sense of sophistication with an edge. The space is designed to activate the area, create artful ambience and a welcoming feeling."
We love Gray Puksand and the brilliant work they are constantly putting out, we can’t wait to see what they come up with next.
Photography: Luc Redmond
SURFACE PROFILE: BRONZE
The use of bronze in interior design and architecture is back in a big way. We are seeing Bronze used in so many different ways, be it landscape design, exterior facades, doors or interior feature walls and joinery, instantly injecting warmth and a natural rawness. So this month we shine a spotlight on Axolotl Bronze applied metal surfaces.
Through a proprietary technique perfected over years of research and development, Axolotl are able to bond our applied Bronze surface to virtually any substrate whether it be flat panels, compound curves, routered designs or three-dimensional forms. Using real metal allows us to develop patinas over the surface as though it were forged of solid metal.
We’ve put together a range of images below showcasing the versatility of Axolotl Bronze. Through literally thousands of combinations of our textures, patterns and patinas, this chameleon-like surface treatment would add sophisticated warmth to any project. Get in touch with us to explore the opportunities to use Axolotl Bronze in you next project.
2020 IT'S A WRAP
As we draw close to the end of 2020, we would like to take this opportunity to thank not only our talented team, but also the brilliant architects, designers, builders and renovators who have worked with us this year.
We are especially grateful to have been able to continue creating such beautiful pieces with you all in 2020. Thank you for making our favourite moments of the year possible, and for being part of this incredible community. It has been a challenging year for everyone worldwide, and we wish relief, health and happiness for all.
Row 1. Detail of “A time to reflect” by Rive Roshan x Axolotl. Using our mica surface on glass dome forms as part of the “Hybrid” exhibition 2020, at the Power House Museum MAAS. Photography by Zan Wimberley | Skipping Stones by artist Jade Oakley, featuring Axolotl formed Marblezone glass and carved concrete pebbles. Photography by Silversalt Photography | Nickel Pseudo Smooth Black Florentine counter for J84 Café by Mirvac. Joinery by Prestige Joinery | “A time to reflect” by Rive Roshan x Axolotl. Photography by Zan Wimberley | Gold Bronze Smooth feature walls for the 55 Clarence St lobby refurbishment by FDC Group. Photography by Fretwell Photography
Row 2. Bronze Black Florentine tactile braille model for Hyde Craft Barracks. Model and photography by Modelcraft | Square Splice 3D embossed double door in Gold Bronze Black Florentine. Photography by Creative Property Marketing | Natus Ex Igne artwork by Jane Cavanough for Arkadia Apartments, featuring custom Miro glass. Photography by Simon Wood | Skipping Stones by artist Jade Oakley. Close up of carved concrete pebbles. Photography by Silversalt | Design Development in glass and metal for the “Homily to Country” artwork by JR for the upcoming Triennial 2020 exhibition by the National Gallery of Victoria
Row 3. Metal screen production for the “Homily to Country” artwork by JR for the upcoming Triennial 2020 exhibition by the National Gallery of Victoria | Detail of “A time to reflect” by Rive Roshan x Axolotl. Photography by Zan Wimberley | Gold Bronze Smooth feature walls for the 55 Clarence St lobby refurbishment by FDC Group. Photography by Fretwell Photography | Axolotl Hot Rolled Steel balustrade for SBA Midland WA project | Detail of 3D custom wall artwork commission in Nickel Black Florentine
INTRODUCING BLACKENED STEEL & HOT ROLLED STEE
You asked for it and Axolotl has delivered. We are super excited to introduce the latest additions to the Axolotl Applied Metal collection, Blackened Steel & Hot Rolled Steel.
As with our existing Axolotl applied treatments, these new metal surfaces can be applied to almost any substrate and are suitable for both interior and exterior applications. Meticulously polished and aged by hand, the end result emulates the industrial aesthetic of solid blackened steel without having to negotiate the issues associated with excessive weight and fabrication limitations.
There are limitless opportunities for the application of these two new finishes including balustrades, as shown above in the SBA Midland WA project, feature walls, facades, joinery and doors to name a few.
Blackened Steel
Hot Rolled Steel with Lineal Cutback
Hot Rolled Steel with custom cutback
For further information on how you can incorporate Blackened Steel and Hot Rolled Steel into your project, or for information on any of the Axolotl product range, visit our website, send us an email, or call us on 02 9666 1207 to make an appointment to visit our showroom.
SKIPPING STONES - LACHLAN'S LINE
Long time Axolotl collaborator and friend, artist Jade Oakley, recently completed this playful site specific installation titled Skipping Stones, in collaboration with Creative Road and Axolotl Art Projects (AAP). Spanning the forecourt of a residential development at Lachlan’s Line in Sydney, the 19 metre long installation consists of 22 hand cast concrete stones scattered around a reflective creek. A custom designed metal element in the centre bridges across the creek, which trickles between 2 bespoke metal grates.
Under Jade’s direction ochre was hand mixed into the cement creating a blending of colour on the surface of the stones. Jade’s hand drawn sketches, depicting native fauna found in nearby Lane Cove National Park, were carved by Axolotl into the surface of each of the cast concrete stones. The oversized pebbles, varying in size from 300mm long to 1500mm long, each sit on a ‘halo’ of Axolotl formed glass precision-cut panels, illuminated by subterranean lighting designed and programmed to glow intermittently in a rhythm inspired by the first large raindrops of a summer storm.
AAP was engaged by Jade Oakley and Creative Road to assist with various aspects of the design and documentation from the overall layout down to the detail of the metal bridge element ensuring compliance with local government regulation. The prototype incorporated and tested the install methodology of all of the elements that make up Skipping Stones, including custom formed glass, a custom carved concrete pebble, LED lighting, extruded framing and Stoneset.
In the artist’s words “There is a strong tactile quality to Skipping Stones. The concrete is lovingly polished, so that it is smooth and delicious to touch, a joy to sit on when warmed by the sun. The arrangement of stones encourages interaction with the public; children use them as stepping stones, jumping from one to the next. People sit on them, and use the sculpture as a gathering place.”
Skipping Stones evokes memories of water, play and interaction. The work encourages interaction especially for children and creates strong ties with the local landscape.
Photos Silversalt Photography
NATUS EX IGNE - BORN OF FIRE
Natus Ex Igne, Latin for born of fire, is the latest collaboration between Axolotl Art Projects and Artist, Jane Cavanough. This striking exterior sculpture sits nestled between the buildings of Arkadia, a recently completed multi-residential development in the Sydney Park precinct. Jane worked closely with the teams at DKO Architecture and Oculus Landscape Architecture, alongside Guppy Associates Art Management, to develop the concept for the site-specific artwork. A grouping of three tapering corten steel cones, the sculpture references the sentinel smokestacks that highlight the skyline from the former Sydney Brickworks, located in neighbouring Sydney Park.
Axolotl Art Projects was engaged to produce three bespoke complex glass shapes adorning the large conical forms. Jane selected Axolotl MIRO low iron acid-etched laminated glass, incorporating a custom print designed in collaboration with local artist, Philippa Playford, onto a clear interlayer. The bold combination of line and colour resembles the glow of fire and rings of smoke. When illuminated at night, the translucency of the glass provides a transmissive barrier allowing the internal lighting to emit a soft glow and provide a further dimension to the sculpture.
Natus Ex Igne’s elegant paired back conical tapering forms have a quiet and powerful clarity that connects both with past local history and present day acknowledging the architectural selection of recycled bricks as the main external material of the surrounding buildings.
Fabricated in three different sizes, the corten steel sculptures animate the space around them for contemplation and interaction. The largest cone, standing three metres, features a hollowed out scalloped core, resembling the shadow of a former chimney. The horizontal cone provides a tension and playfulness when confronted with a large aperture of glass designed to further extend the metaphor of fire.
Photos Simon Wood