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Kitchens Reimagined with Axolotl

 

The Axolotl team have worked with many talented architects and interior designers over the years creating arguably some of the most original and creative kitchens seen to date. Utilising our wide range of customisable and durable surfaces, which includes semi-precious metals, concrete, and stone, there is no limit to how you can incorporate your desired Axolotl surface into your kitchen.

We have loved seeing kitchen designs become bolder and designers unafraid to incorporate strong metallics, patterns and stone in unconventional ways, through joinery, splash-backs and even appliances. Here we showcase how some of Australia’s most talented have embraced Axolotl surfaces in kitchen design.

Surface: Bronze Smooth Florentine Linish Design: Alwill Interiors Joinery: Sydney Joinery Photography: Prue Ruscoe

Surface: Bronze Smooth Florentine Linish
Design: Alwill Interiors
Joinery: Sydney Joinery
Photography: Prue Ruscoe

Surface: Concrete Slate Pseudo Smooth Design: Handelsmann Khaw Joinery: Joinery by Ken Photography: Felix Forest

Surface: Concrete Slate Pseudo Smooth
Design: Handelsmann Khaw
Joinery: Joinery by Ken
Photography: Felix Forest

Surface: Bronze Lunar Florentine Design: Stylus Studio

Surface: Bronze Lunar Florentine
Design: Stylus Studio

Surface: Mesoa Stone Surface Joinery: Everlong Joinery Photography: Mckean Photo

Surface: Mesoa Stone Surface
Joinery: Everlong Joinery
Photography: Mckean Photo

Surface: Treasury Bronze Pseudo Smooth Brown Florentine Design: Sarah Jayne Studios Joinery: ACA Joinery Photography: Simon Whitebread

Surface: Treasury Bronze Pseudo Smooth Brown Florentine
Design: Sarah Jayne Studios
Joinery: ACA Joinery
Photography: Simon Whitebread

Surface: Anthra Zinc Pseudo Smooth Design: Lawless and Meyerson Joinery: Interior Woodworks Photography: Justin Alexander

Surface: Anthra Zinc Pseudo Smooth
Design: Lawless and Meyerson
Joinery: Interior Woodworks
Photography: Justin Alexander

Surface: Brass and Graphite Cayman  Design: Brendan Wong Joinery: Melmac Interior Joinery Photography: Maree Homer

Surface: Brass and Graphite Cayman
Design: Brendan Wong
Joinery: Melmac Interior Joinery
Photography: Maree Homer

Surface: Copper Lunar Pearl Patina Design and Joinery: Dan Kitchens

Surface: Copper Lunar Pearl Patina
Design and Joinery: Dan Kitchens

Axolotl brings the world of design to Melbourne with The Easel Project

 

Industrial designer Adam Cornish and graphic designer Marcus Piper have come together to create the Easel Project. Eight leading creatives were invited to create an original work of art, to push outside of their comfort zone and challenge the typical palette of materials utilised within their practice.

The list of internationally acclaimed artists draws from a diverse range of creative disciplines including painters, industrial designers, collage artists and graphic designers. The line up for the Easel Project Collection One includes Jaime Hayon, Adam Cornish, Adam Goodrum, Belynda Henry, Ham Darroch, Louise Olsen, Marcus Piper and Rachel Derum.

Each creative worked with surface specialists Axolotl to develop their concept. The range of materials and processes experimented with was extremely diverse – from fused plate glass, marble with brass inlay, etching, 3D printing, printed marble to heat tempered stainless steel.

“As an Industrial designer we are often asked to create using industrial processes and materials, this restriction often makes for the most surprising results. Each artist or designer has chosen a material / process aiming to discombobulate their normal process and encourage experimentation.” says co-founder, Adam Cornish.

The finished artworks, available in a limited edition of eight, rest on a timber easel which displays the work and can be rotated creating a functional coffee table surface. The Easel table design is intended to celebrate the diversity of the practitioners with the traditional Easel representing artists throughout history, and the transformation into a table representing the functional aspect of the design discipline. The Easel base, designed by Adam Cornish, was proudly manufactured by Forest Furniture and the tops were manufactured by Axolotl with a percentage of each sale going to the Authentic Design Alliance.

Easel Collection One will be shown for the first time in the central walkway of DENFAIR, Melbourne, 20-23 June – highlighting the events commitment to independent, Australian design at an international level.

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Photography: Tim Robinson

The Easel Project

 
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The Easel Project is an independent project championing authentic design that has been initiated by Adam Cornish and Marcus Piper. Adam is well known as a multidisciplinary designer designing for the likes of Alessi and Marcus as a self proclaimed digital craftsperson working across varied creative disciplines.

The pair have curated works by eight internationally recognised creatives who were briefed to push the boundaries of their craft. Each concept was then translated into a physical object in collaboration with Axolotl, who offered up their extensive palette of processes and materials, as well as their expertise in art creation. As part of the process – Axolotl tested its own boundaries, working with the artists to test processes and produce samples prior to production – these samples can be seen below.

Each Easel will be available in a limited edition of eight and come signed by the artist with a certificate of authenticity. A percentage of sales will be donated to the Authentic Design Alliance to foster the ongoing development of innovation and leadership within the Australian design community.

The Easel Project will launch its first functional artwork collection in Melbourne at DENFAIR, 20-22 June 2019, and include a speaker series with the artists and Axolotl’s very own Design Director, Emmaline Cox – moderated by Marcus Piper.

To see the complete set of artworks and to discuss the methods behind the process we’d be delighted to show you personally at Denfair in late June.

For updates and more information on the Easel project click here.

Photography: Tim Robinson

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Introducing Lustre Spectrum 3D

 

A stunning new range of glass surfaces with unlimited permutations that are unique to the Axolotl portfolio.

The Spectrum process refers to Axolotl’s unique ability to custom colour the surface of a material. Previously only available as Spectrum sheet metal, we have now extended our technology to work over glass surfaces as well!

Lustre Spectrum is a single presentation, semi reflective opaque glass surface which is treated with the Spectrum process, enabling us to colour the glass with a single colour, or custom colour gradients. The final effect is a glass that delivers a perceptual depth beyond its 6mm thickness. We’re then able to extend this beauty even further through 3D printing the top surface of the glass to emboss designs in a clear or coloured texture.

Lustre Spectrum is typically available as 6mm thick annealed glass. As the backing is solid is generally adhered to surfaces and used as a wall, signage or counter front treatment.

Spectrum Glass has the same bespoke surface effects, however it is applied onto a translucent glass surface allowing you to see the colour and pattern from both sides of the glass. Spectrum Glass is available in any glass float, thickness or treatment making it the versatile choice for joinery doors and internal screening.

Spectrum glass panels can be created in sizes are up to 2400 x 1600mm, and are suitable for internal applications only.

As always with Axolotl, there is unlimited potential for design, colour, and graphic effects allowing you to create something truly unique for your next project.

For more information on Spectrum Glass or any of the Axolotl product range please visit our showroom or website, or call the office today on 02 9666 1207

Website Update

 

We have made some updates to our website to help make designing with and specifying our products easier than ever. You can now view our range of applied metals in a comprehensive range of textures, ageing and surface effects. We also feature designs that have been created through carving, routing and 3D printing processes. When you click on the tile a larger view will appear with all the specification details, it’s as simple as dragging and dropping the image into your schedule! And to help for custom pieces we have also included a specification guide for all our surfaces on our new Technical page. Of course, the website can't feature every way our surfaces can be used and as always get in touch if you would like to work together to create your own unique surface design.

For those who haven’t visited our website for a while, the site has been updated with a Media page which includes Q + A’s with a number of magazines providing insights into our business and design thinking. We have also added the Our Team page featuring the designers and other key people behind the scenes so that you can get to know us better!

Of course, we wouldn’t miss the chance to also update the photos in our Gallery with the latest and best of Axolotl. We hope you enjoy having a browse.

For more information on any of the Axolotl product range please visit our showroom or website, or call the office today on 02 9666 1207

2018 Year in Review

 
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As the year draws to a close we would like to take the opportunity to thank our clients, staff and friends for your continued support and wish you all the best for the festive season and the New Year!

2018 has been a positive and busy year at Axolotl with two new products launched, Cement Paint and our new Terrazzo surface - a world first at only 0.5mm thick.

Some of our highlights of the year include the completion of a number of exciting projects such as: 

- The award winning The Collectionist Hotel where leading artists and designers including The World is Round, Amber Road and Willis Sheargold created a riot of colour and eclectic design across 39 unique rooms with the use of the Axolotl Paints Metta, Chroma and Micaceous ranges.

- The Pacific Club Bondi by Dreamtime Australia Axolotl Timber Wash & Chroma throughout the whitewashed interior.

- The Glasshouse by Nina Maya, with bronze entry door, rear garage door, vanities and Axolotl Paints throughout.

- Works on prestigious hotels including the Shangri-la Cairns, W Hotel Brisbane and Pan Pacific Melbourne.

- Material support to Amber Road for their exhibit in the 2018 Rigg Design Prize.

- Beautiful artworks for The ACT Law Courts, the Coroners Court, Harbord Diggers and Waverley Mall with artist Jade Oakley.

- The Banksia fire-pit artwork for Barangaroo’s Naidoc week celebration with artist Bibi Barba.

- Marcus Piper ‘Fracture’ artworks for the New York Affordable Art Show. 

Axolotl also sponsored a number of events this year including the IDEA awards for the ninth year, the Good Design awards, Habitus House of The Year, and GZ Design Week in Hong Kong.

We were a Supporting Partner of Sculpture by the Sea, Bondi for a second year sponsoring four exhibiting artists, we sponsored Matthew Sheargold’s exhibition ‘Hyperkulturemia’ where Axolotl Paint was used in every artwork, the UTS DAB graduation showcase, and UTS fashion honours student Agnes Choi’s ‘Triumph in the Skies’ piece from her honours collection which was also the winner of the Swarovski crystal sponsorship.

To top it all off this year Axolotl was also awarded the Leading Architectural Product Supplier by Apac Insider, the most Innovative Multi-disciplinary Australian Design Firm from Lux Life and both Spectrum and Axolotl Paints were a finalist in the ADEX awards.

We are already working on new projects and products that will be debuted in 2019 as we continue our commitment to being ‘The Future of Surface’.

Axolotl will be closed from Friday 21st December and will reopen Monday 7th January.

Hyperkulturemia

 
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'Hyperkulturemia'  is a psychosomatic disorder that causes rapid heartbeat, dizziness, fainting, confusion and even hallucinations when an individual is exposed to an experience of great personal significance, particularly viewing art. ‘Hyperkulturemia’ is also the title of the sold out exhibition of sculptural paintings by Matthew Sheargold exploring memory and experience through colour, lighting, and geometric studies.

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Sheargold is an award winning designer who draws on over 20 years experience working as an interior, furniture and product designer to inform his artwork. Fighting a constant battle to loosen up, his work is structured and restrained, using shapes, forms and symbols as efficiently as possible to tell a story. Drawing from fond memories and random moments, Matt's work seeks to explore the essence of the journeys we take and just how much detail our mind needs to remember them.

The exhibition was sponsored by Axolotl Paint with all the artworks using paints from the Chroma and Metta ranges.

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Sheargold says, “Metta has a beautiful matt texture which worked brilliantly as the base for my works. Combined with different sheen levels of the Chroma range, Axolotl Paints were the ideal medium”.

Whilst your next design project may be a simpler expression than Matthew’s paintings, the superior pigmentation and depth of colour of Axolotl Paint will elevate it to be a work of art in itself.

You can find more images of the ‘Hyperkulturemia' exhibition here.

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Scribbly Gum by Jade Oakley

 
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The Scribbly Gum artwork floats along the side of a suspended ceiling in the new ACT Law courts building and can be viewed from the street, reception level and mezzanine. 

The artwork is a reference to the local landscape and an artistic response to the curvaceous wall. The combination of white washed timber and light, as well as the immense scale give the artwork a sense of refinement and gravitas appropriate for its setting. LED lighting strips are used to create a visually dynamic artwork, as bright points of light appear to slowly weave their way through the curvaceous maze of scribbles. The gradual, glowing movement creates a sense of time passing and a feeling of calm, like watching a fire or shadows passing over the landscape. 

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“As an artist I am struck by the use of the Scribbly Gum in civic planting as you enter Canberra. The patterns themselves are beautiful graphics and unmistakably those of the Scribbly Gum, even when appropriated, enlarged and reproduced. Bringing these patterns into the interior of the court creates a sense of place, a link to the local landscape. The Scribbly Gum also lends the artwork a light touch as it reminds us of the wonder of nature, and nature’s ‘sense of humour.’ The whimsical patterns on the scribbly bark bring to mind childhood, and time spent in the bush. It is a reminder of our native land, the place that grounds us and links us together. It is a symbol of the culture and landscape to which we belong.” Jade Oakley.

Scribbly Gum was a 14-month process from concept and design development, through to installation. AAP Art projects, the art division of Axolotl, were instrumental in the design process working closely with Jade Oakley to ensure suitability for construction, installation and engineering.

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The unique artwork canvas with no straight lines provided the first challenge. To overcome this we brought the installation team Stratti Build in to the project early on. The wall was surveyed on site via cherry picker and drawn on CAD. Over twenty templates were then produced from a datum point on the wall to allow for the successful mapping and installation of the artwork.

Scribbly Gum is made up of over 100 individual panels up to 3360 x 1560mm in size, and is split over three depths.

Each layer has been sanded and treated in the Axolotl factory with Axolotl Timber Wash Interior Roan paint with varying opacities.

Images of Scribbly Gum's design development can be found here.

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Artist: Jade Oakley
Project Management: Creative Road
Design and surface treatment: Axolotl
Manufacture: Polygenic Design
Engineering & Lighting Design: Northrop
Installation: Stratti Building
Professional Photography: Ben Wrigley

Sculpture by the Sea, Bondi 2018

 

Axolotl are once again proud to be Supporting Partner of Sculpture by the Sea, Bondi for 2018. 

This year we provided material sponsorship and artisan support to a further four artists - Michael Le GrandLucy BarkerJim Flook and Rhiannon West. Each selected based on the quality of their concepts and our capabilities to assist with their diverse aesthetics. It has been an exciting and challenging process supporting each artist to realise their vision, and reinforces our own commitment and passion to support the arts.

The 22nd annual exhibition can be enjoyed on the stunning coastal walk between Bondi and Tamarama, until the 4th November. It is the world's largest free public exhibition and transforms the coast into a 2km long outdoor gallery, featuring over 100 sculptures by Australian and international artists.

If you are an artist looking for an experienced and passionate partner to facilitate your art projects, Axolotl, through our specialist AAP division can offer a range of services. We have experience designing and fabricating in an extensive range of construction materials as well as offer a range of unique, proprietary surfaces. To get in contact email art@axolotl.com.au or phone 02 9666 1207.


Michael Le Grand
GUARDIAN
Sculpture by the Sea, Bondi 2018
Materials: Mild steel, Axolotl Bronze Rust Patina
Guardian is the balancing act of found and shaped metal objects formed to establish a nominal totemic orientation.


Lucy Barker

OUTLET
Sculpture by the Sea, Bondi 2018
Materials: Electrical cable, wire frame, Axolotl Bronze Florentine Patina
A dense and complex tangle of discarded electrical cables in an intentionally ambiguous form. Outlet is constructed in a lozenge shape that could be a missile, a seed, or perhaps a lump of human detritus rolled by the sea and washed up on the rocks. With connotations of consumption and entrapment, its worm like tangled surface is visually perplexing in its complexity.


Jim Flook
SWERVE ONE
Sculpture by the Sea, Bondi 2018
Materials: Mild steel, paint
Contemplation of unfolding and unpredictable swerves of life's complexities.


Rhiannon West
FLIGHT
Sculpture by the Sea, Bondi 2018
Materials: Stainless steel, dichroic glass, mild steel, paint, Axolotl Stone
A playful and inviting sculpture for that ‘Instagram moment’. Reflective and
vibrant; dichroic lenses form the “tips” to the wings which reflect and refract the light.


Rigg Design Prize

 
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The prestigious Rigg Design Prize launched on Thursday at the National Gallery of Victoria to rave review. The triennial event celebrates Australian design and architecture, this year focusing on the field of Interior design and decoration.
 
Ten renowned interior design studios were invited to design and create a purpose built interior responding to the theme of ‘Domestic living’. Each exhibit highlights the important role interior design plays in shaping our lived environments, manipulating the senses, telling stories, and communicating our values and attitudes.

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Axolotl are proud to support our friends at Amber Road in their entry to the 2018 Rigg Design Prize. We are forever in awe of the team’s creative take on interiors, and fearlessness of colour and texture. Amber Roads exhibit Take it Outside is the perfect example of this, and explores the transitional space between the indoors and outdoors. Axolotl sponsored Take it Outisde, providing the mirror glass walls and floors which reflect the brilliant star studded sky, and white washing iconic Aussie objects such as the mozzie coil, terry towelling, thongs and even a can of VB to capture the Australian outdoor experience.

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This years Rigg Design Prize featured a stellar line up of design studios including Arent & Pyke, Danielle Brustman, David Hicks, Flack Studio, Martyn Thompson, Scott Weston, Sibella Court, SJB and Hecker Guthrie who took top honours and won this years Rigg Design Prize with their exhibit The table is the base - honouring the humble table.
 
Be sure to check them all out, entry is free and The Rigg Design Prize is open until 24 February 2019 at Ian Potter Centre: NGV Australia at Federation Square. 

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Photography by James Greer.

Print Reborn

 

Axolotl introduced 3D printing in 2017, continuing its tradition as leaders in design innovation. Since then, it has partnered with architects and interior designers to create architectural artworks as well as originating exciting new products like Axolotl Terrazzo and Spectrum.

We were excited to be featured recently in an article on new online magazine HouseLab, about Axolotl's capabilities in 3D printing.  Read it for yourself below.


The possibilities of 3D printing on any material are endless. A detail of a Nickel printed pattern by Axolotl.

The possibilities of 3D printing on any material are endless. A detail of a Nickel printed pattern by Axolotl.

Print Reborn

When media became digitised the world screamed “print is dead” but, in fact, combining digital technology with age-old printing techniques has created an entirely new dimension to architectural surfaces that can be personalised across almost any application.

Our connection with printed matter is more than coffee table books and the Sunday paper, it's like buying the LP when you can download the album on Spotify. It is tangible, textured and large format.

The 3D printed entry to Nina Maya Interiors' The Glasshouse Photographed by Nicole England.

The 3D printed entry to Nina Maya Interiors' The Glasshouse Photographed by Nicole England.

Take the bronze entryway to Nina Maya Interiors’ recent project, The Glasshouse, in the Sydney suburb of Paddington – and yes, you’d be forgiven for thinking it took an artisan hours, painstakingly etching the pattern. In fact it is 3D printed and like a true artist’s work it is completely a one-off – the skill of the modern digital artisan remains equally important as the traditional artist.

That is the great thing about this new technology, combining the feel of the old with the potential of the new, and really the possibilities are endless when you combine an idea with those who know how to make it become reality. 

Making our way to the rear of The Glasshouse, this comes to light with a three-panel bronze cortex gate acting as a functional feature wall. Another example of how we can approach surfaces differently, and the texture is as engaging as the finish. These new approaches to printing and surface treatments bookend the home and also showcase the possibilities we have to hand.

The application of this technology isn’t just limited to doors, nor is it limited to metal. Today we can print on virtually any substrate from terracotta to glass, including concrete and timber, with an added dimension of up to 150mm meaning it really does come down to your imagination.

3D printed doors are just the beginning of what this new technology can offer. Left: Grand Designs by Chris Knierem - Design Construct (Photograph by Belinda Knierem) Right: Smith Residence in New Zealand by Di Smith (Photograph by Di Smith).

3D printed doors are just the beginning of what this new technology can offer. Left: Grand Designs by Chris Knierem - Design Construct (Photograph by Belinda Knierem) Right: Smith Residence in New Zealand by Di Smith (Photograph by Di Smith).

By engaging a graphic designer or artist in the process, any pattern can be achieved to create a statement piece in the home that is truly yours. HouseLab co-founder Marcus Piper recently pushed the boundaries of this thinking with his Differences series exhibited at the Australian Design Centre.

Printing on aluminium plate, the graphically-geometric series showed how 2 and 3-dimensional printing can hang together as one – playing with light to create depth in what would otherwise be a flat plane.

'It’s like printing an enormous magazine cover and they look different from every angle!' says Piper, who has been designing magazines for the last 20 years and is now endlessly excited about the potential of being able to produce artworks up to 1600x2400mm.

Difference 03 and Difference 01 by Marcus Piper, printed and 3D printed on aluminium at the Axolotl showroom.

Difference 03 and Difference 01 by Marcus Piper, printed and 3D printed on aluminium at the Axolotl showroom.

And really size is the only limitation here – be it a garage door, a contemporary take on a pressed-tin ceiling or a poolside glass facade it comes down to the mark you want to make, as combining these multiple printed panels opens up a world of opportunity.

So, what lies ahead in surface technology? The sky is the limit but it ultimately comes down to finding the right team who understand the potential and can make the most of it in a way that suits a home. One thing is for sure, print is well and truly alive and it is definitely going places.

THE TAKE HOMES
1. Engaging a graphic designer or artist who understands the process can achieve incredible results.
2. 3D and surface printing can be applied to almost any substrate across applications from doors to bed-heads.
3. Being able to apply metal, concrete or stone finishes with 3D printing can make for a cheaper, lighter-weight outcome, perfect for joinery or feature walls.
4. The options and combinations that can be utilised with this new technology is seemingly endless, something your architect or interior designer will be able to advise on.


To find out more about custom printing of architectural surfaces contact Axolotl

WRITTEN BY HOUSELAB

Bondi Whitewash

 
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Last month Bondi scored its newest hospitality gem with the opening of all-day eatery The Pacific Club Bondi Beach.

Making its home within Campbell Parade's Pacific Building, the chic bistro and beach club boasts an enviable team of well-known hospitality luminaries to help bring it to life.

Harvest Newrybar's Bret Cameron is heading up the kitchen, an expansive wine programme comes courtesy of award-winning sommelier Chris Morrison, and 2016 Australian Bartender of the Year Michael Chiem is lending his talents to the cocktail list. The space itself is the work of internationally renowned hospitality designer Michael McCann, from Dreamtime Australia Design.

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“Our lifestyles call for dining that is an extension of the way we live. With the open planned kitchen as its centrepiece, the ‘home away from home’ environment has drawn on whitewashed palettes, warm wooden textures, and finished with the polish of marble,” says McCann of his vision.

The whitewashed palettes throughout the restaurant were provided courtesy of the Axolotl Paint range, with TimberWash Interior in Roan used on the walls and ceilings. The colour imbues a clean minimalist aesthetic that makes the very most of its beachside locale. With its idyllic waterfront location we think The Pacific Club is definitely worth a visit.

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For more information on our TimberWashes and on Axolotl Paint please visit our website or contact us on 02 9666 1207 or at info@axolotl.com.au.

Photography by Richard Mortimer.

Cementing its place in design

 
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The award winning Axolotl Concrete has expanded the potential for concrete surfaces in design since it was introduced in 2011. One recent project which has really stood out to us is this Sydney residence designed by Handelsmann + Khaw, using the Slate Pseudo Smooth Axolotl Concrete.

Axolotl's Slate treatment is incorporated throughout the design on the balustrades and cabinetry, complemented with subtle brass accents. The design is restrained, whilst leaving an impression that is nothing less than ‘wow'. It’s no surprise that this project was shortlisted in the 2017 Australian Interior Design Awards, a finalist in the Belle Coco Republic Interior Design Awards and was voted House & Garden Top 50 Rooms.

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Axolotl’s Slate Concrete brings a rustic beauty to the project and is available in Pseudo Smooth texture shown here, as well as Lunar surface texture. It can be applied onto just about any substrate as well as designs with complex shapes and sizes.

"We used the Axolotl finishes to imbue the warm minimalist style of the home with a subtle sense of luxury. The colour and texture of the Slate Pseudo Smooth concrete coating contrasted beautifully with the white walls, oak joinery and paonazzetto marble bench tops." - Tania Handelsmann of Handelsmann + Khaw.

Handelsmann + Khaw's client states; "The Axolotl finishes throughout came up beautifully. We are thrilled with it all!"

For more information on Axolotl Concrete please visit our showroom or website, or call the office today.

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Photography by Felix Forest.

Introducing Terrazzo

 
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Terrazzo is one of 2018's biggest interior design trends, so it is timely for Axolotl to launch its newest surface, Axolotl Terrazzo.

Versatility is the key to its success — Axolotl Terrazzo can be customised with fine or oversized aggregate in monochromatic, pastel or bold colour tones, and is available in a range of concrete colours to complement a variety of residential and commercial styles.

The history of terrazzo can be traced back to the ancient mosaics of Egypt, and its predecessors date back 8,000 years to the Venetians. Fast forward to 2018 and terrazzo has been reinvented by Axolotl as a cementitious surface that is only 0.5mm thick and available in almost any colour combination. Axolotl Terrazzo can be applied to flat panels up to 1600x2400mm. Unlike a traditional terrazzo, you can design way beyond shelf colours and create the perfect scheme to fit your design.

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Axolotl Terrazzo is not a laminate, but rather an applied finish whereby the fine coloured aggregate is bound in the Axolotl Concrete treatment. It can be applied to almost any substrate including MDF and mild steel. Axolotl Terrazzo is suitable for internal applications, and each panel is treated to order. Applications can include counter fronts, feature walls, lift interiors, cabinetry, splash backs and signage. The unique properties of our terrazzo provide a flexible surface effect that encompasses the beauty of terrazzo without the common weight, colour and size restrictions of the traditional material.

For more information on Axolotl Terrazzo visit our website or showroom, or call the office today.

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Memorial

 

A hundred years ago six Diggers returned from the poppy fields of France, sat on Freshwater beach and discussed creating a place where they could be together and support each other. This was the genesis of the Harbord Diggers and the original Diggers are now honoured by the six poppies in a Memorial artwork by artist Jade Oakley. This impressive work was recently manufactured in partnership with Oakley and installed at the entry of the newly renovated Harbord Diggers venue. The glowing perforated brass background represents the sea and the sand of Freshwater beach. The flickering light of the concealed flames within each poppy are a reminder of the eternal flame, and the poppies appear to ‘grow’ from a reflective pool lined with dark granite below. The words ‘Courage, Sacrifice, Endurance and Mateship’ are carved in 20mm thick black stone and pinned to the wet edge of the pool.

Each poppy has been hand beaten from 3mm mild steel by artistic blacksmiths Lok Sutherland and Chris Sulis. The marks of the hammer are still evident on the metal surface. These sculptures have been borne from strength and force, as the blacksmiths physically struggled with the material. This sense of physicality lends potency to the artwork, which commemorates the bravery, ingenuity and strength of our soldiers.

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In true form of Oakley’s art practice, the poppies are kinetic. Each poppy is balanced on a hidden hook, so that when the Southerly blows in off the sea the sculptures bob and dance like poppies in a field. This movement lends a lightness to the work and creates a surprising interaction between this, an essentially indoor artwork, and the exposed headland on which the Diggers is located.

Feng Shui dictates that this site represents fire. This has been achieved through the warmth of the polished Axolotl copper surface and the flame lights flickering within the poppies as well as the glowing perforated background, reflected in the water. The wet edge of the pool creates a very calm experience through sound and a sense of flow and movement. This feels like a meditative space. An appropriate place to pause and remember our Diggers.

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When the artwork was commissioned to Jade Oakley, Dale Hunt, the then Mounties Group General Manager of Northern Sites, asked Jade if anyone in her family had fought in a war. “What kind of memorial would you make for them?”


"Dale was right to ask this question, because what he was demanding from me as an Artist was not a design solution, but an intensely personal response to the creation of a War Memorial at the new Harbord Diggers. The work needed to be more than symbolic; it needed to tell the particular narrative of Harbord’s original returned Diggers. 

And was this the artwork that I would have made for my own Grandfather, who was a surgeon on the Kokoda Track in WW2? My Grandfather performed an emergency surgery on a young soldier who had had part of his scull shot off. He beat a shilling to create a temporary plate to seal the man’s scull. So for Grandpa’s memorial I would have hand beaten a shilling into a large flat disc. Maybe it was this thought that underpinned the design of the Memorial after all.” Jade Oakley

AAP project managed the Memorial artwork and worked closely with Oakley throughout development, design, fabrication and installation, from digitising Oakley’s drawings of the sea’s perforations, through to exploring the materiality of the work.

Artist: Jade Oakley
Project Management: AAP
Art Consultant: PublicArt.works
Photography: Carolyn Price

INTERPLAY

 
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Jade Oakley’s Interplay is a site specific public artwork which was commissioned by Waverley Council after winning the public vote.

The artwork aims to protect, celebrate and draw attention to this important natural feature in this busy urban mall.

"When I first thought about Waverley Mall as the site for a public artwork I was drawn to the trees. They are the most beautiful element in this place. They provide shade and shelter, beauty and calm. Every branch describes a different curve through the air. Every single leaf of these trees is unique. I wanted to embrace them.

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‘Interplay’ expresses a symbiotic dance between art and nature. The sculptural forms are poised mid-waltz with the trees. Each of these screens is unique, inspired by microscopic photographs of plants. They are intended as a reminder of the little marvels that surround us; growth, decay, transformation.

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These sculptures began with my drawings of the cellular structure of plants. The drawings were digitised and laser cut from 8mm thick mild steel. The screens were rolled to create a curve, then hand beaten by blacksmiths to create interesting sculptural forms. After galvanising the screens were coated with Axolotl copper and aged with Verdigris and Florentine, hand polished and sealed. The effect created is of a richly aged surface. The sculptures that look like they belong here beneath the trees, and as though they have always been here." Jade Oakley

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AAP worked with Jade Oakley and Creative Road on the design and fabrication of Interplay from concept design through to the polish of the aged Axolotl metal surface treatment.

Artist: Jade Oakley
Project Management: Creative Road
Professional Photography: Carolyn Price

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The Collectionist

 
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Sydney's newest and most creatively unique, hotel – The Collectionist – has officially opened, ready to change the way guests choose to stay and experience hotels. 

The Camperdown situated hotel, is the first for The Collectionist Hotel brand with plans to take the unique concept to other Sydney locations and interstate.

Described as a real-life “choose-your-own-adventure”, the eclectically designed hotel will set a new standard in individualised guest experiences. Opting away from standardised décor in rooms, The Collectionist commissioned the talents of 13 artists and seven designers from four leading design studios, to create 39 individually designed rooms. Instead of rooms being allocated by the hotel, guests are invited to peruse available rooms on check-in and choose their room based on the style, colour, texture and design - just as they would a work of art.  

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Any design team that took on a brief involving 40 individually designed rooms could be called both adventurous and bold.  Enter Andrew Cliffe, founder of “The World is Round”.  Having been invited to bid on the project Cliffe set about assembling a team of designers who could bring the vision to life. “The brief was for every room to be different - a massive task for one designer. To win the project I needed to think differently,” says Cliffe. “Originally, I was imagining ten designers doing four rooms each, but reality set in and this switched to four designers doing ten rooms each.” The design teams credited with bringing The Collectionist concept to life include The World is RoundAmber RoadWillis Sheargold and Pattern Studio.  

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Yasmine Ghoniem from Amber Road says about the Collectionist, "Our objective here was for each room to evoke a particular memory: a holiday, a dream, a person, an idea, an experience - ultimately something that would elicit a strong emotive response from the guest. To create our desired response we employed a riot of colour, texture and artful detailing and in doing so, transformed each room into a feast for the senses”.

The riot of colour was injected into the hotel with the use of the Axolotl Paint range. Metta, Chroma and Micaceous paints in varying sheen levels adorn the walls, ceilings and trims throughout the eclectic hotel. In some cases our paints were also used in the graphic artworks and on the furnishings. Axolotl Paint was chosen due to the superior paintability, quality and depth of tone achieved, as well as the beautiful matt finishes available in both the Metta and Chroma range.  

To see more images of the uniquely designed rooms at The Collectionist hotel click here.

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The Glasshouse

 
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The impressive design of The Glasshouse, Paddington is the result of Nina Maya Interiors working in a unique collaboration with some of Australia’s leading architectural suppliers.

The dilapidated site in Paddington was demolished last year to make way for the new architecturally designed show-home.

The layout uses every square centimetre of the site, while the floor to ceiling glass in the central axis of the residence delivers an abundance of natural light into the open layout. This impressive feature is centred over an internal pond and can be viewed from nearly every angle of the home. 

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Axolotl metals bookend the design, with a custom Splice design entry door and handle in an aged Gold Bronze finish welcoming you inside and hinting at the luxury you will find within. While a clever three panel siding gate across the rear of the property in our Bronze Cortex design becomes a large outdoor feature wall, viewable from the internal living areas.

Inside, The Glasshouse, entwines bold and luxe material choices including green Verde marble from Euromarble, moody textured timber veneer joinery by New Age Veneers, satin tap-ware by Rogerseller, and the new cleverly flush mounted switch range by Zetr.

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Axolotl Paint from the Chroma range is painted throughout the interior and exterior of the home in colours Ryder and Stratus. Our Chroma flat wall paint providing the perfect matte backdrop for the sophisticated design of the home.

The Glasshouse sets a new standard for stylish and functional inner city living, fitted out with the highest quality design and products, and optimally located in the prestigious suburb of Paddington.

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We are excited to have been a part of The Glasshouse, and to work with Nina and other leading architectural suppliers.

The Glasshouse is open for inspection by appointment. Feel free to contact us here if you would like to arrange a visit to discuss the products used or how we can assist with your own project.

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Photography by Nicole England

Looking Up

 

When Westfield commissioned Australian artist Jade Oakley to produce ambient art pieces for their central escalator cladding and a multi storey lift well at Westfield Parramatta she was instantly inspired by the indigenous plants of the area.

“I was amazed to find Lake Parramatta, tucked in behind a busy road, with some really beautiful original forest around it, including towering gum trees and mossy glades with trickling streams and tree ferns. I spent a day there sketching and photographing and thinking. Looking up is an artwork that sprang from this encounter with a surprising pocket of nature in a busy part of Sydney.”

‘Looking up’ is installed over the body of four escalators located in the centre court of Westfield Parramatta. Created using a white on white palette, this artwork is intricate and elegant all at once. Viewers can study the artwork while walking through the centre court and riding the escalators to the levels above. 

The cladding is made from Alucobond treated in a custom shimmering white 2pak. The background features an etched relief of the forest canopy, and the panels are embellished with a second layer of perforated leaf screens that wrap around the sides of the escalators.

See more photos of the project, including production and process shots by visiting the project page on ourart website.

Florida sets the bar

 
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Axolotl Florida launched in the middle of 2017 and the team dove straight into some exciting projects to flex their creativity and know how in the US design scene. 

The first project showcased is a private residence where our Zinc surfaces were utilised as a continuous theme throughout, with Zinc Lunar Pearl treatments to the feature walls and bar, and Zinc Smooth applied to the staircase to stunning effect. Finished to the highest standard, this project has a modern and sophisticated design sensibility which expertly shows how to introduce features that harmonise with the overall design of the home.

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In a separate project, Axolotl Bronze Florentine in our Skyline design was applied to the bar front at the new Florida bar, Casa D’Angelo. The end result is sophisticated and elegant, and complements the lavish bar décor.

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Images: Myroslav Rosky Photography

Images: Myroslav Rosky Photography

Wherever you are, and whatever you wish to achieve in your design get in touch with us for your next project.

For projects in;
Australia
Western Australia
Hong Kong/China
Florida