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“We were excited to see such an exciting and imaginative use of color in this year’s entries,” says Andrea Lucena-Orr, Dulux Color and Communications Manager. “Architects and designers have really pushed the boundaries with color application to create inspiring, engaging — and often surprising — interior and exterior spaces.”

According to the Dulux website, the annual competition “is Australia and New Zealand’s premier showcase of inspirational color application in interior and exterior residential, public, and commercial spaces.”

Each year, the Australian paint company selects a panel of design professionals to judge entries from architects, designers, and students to “[recognize] their creative and innovative use of color” with Dulux shades. The contest spans six categories: interior residential, exterior residential, commercial and multi-residential exterior, public and hospitality commercial interiors, workplace and retail commercial interiors, and students.

Company executives noted an inclination toward moodier home colors this year. “Deeper tones of blue and green were popular amongst residential interiors, showcasing diverse moods in areas and differentiating functional use in a space — from deep and dark, to bright and lively — applied to cabinetry, trims, and walls to create a peaceful, relaxing interior setting,” Lucena-Orr says.

That was especially evident in “The Pad” by architect Suzanne Hunt, an entry in which all the walls were shrouded in slate gray as a backdrop to a set of indoor-outdoor Zen gardens. Natural light filters through the palm leaves and ferns, further balancing the seriousness of the dark grays.

Other darkly pensive residential entrants included the “Malvern House,” with its wall-to-wall sage kitchen cabinetry and green marble countertops and backsplash. “The Grid House” highlights its stairwell with a navy blue that perfectly matches the carpet-lined steps.

Lucena-Orr also found that “impactful tones and washed walls are also making a presence, bringing a sense of moody sophistication to interiors.”

For example, the “Nelson Road House,” named one of the year’s most stylishly colorful Australian homes, uses a tranquil pastel pink in the primary bedroom but switches it up to a night-sky blue in the formal living room, allowing for a full array of ambience throughout. The designers from Bloom Interior Design in Melbourne said they “treated each room as its own space,” which gave them the freedom to “play with a range of different colors giving each space its own persona.”

Neutral-themed residential dwellings also made the 2022 list. The “Bondi Terrace,” designed by Studio Quarters, is a flow of understated whites and beiges with only touches of contrast in each room. The mildness of the paint lets the original period details like the marble fireplace and crown molding take center stage. The designers explain that they used full, half, and quarter strengths of the same color in different rooms to create an “overall calmness that permeates the whole house.” The “Sorrento House,” submitted by the Fiona Lynch Interior Design firm, also drew on a cream color palette for a soothing, restful effect.

On the other hand, some finalists went bold and bright to earn their spot. For instance, the designers at Pac Studio used sunny yellow to liven up the kitchen of “Heron House,” giving it extra punch by painting the surrounding walls an azure blue.

The Dulux website says that all colors in the Dulux range were considered, even black and white. The final selections will be based on both the use of color and the designers’ reason behind the choice. The winners will be announced in announced in just a few months, so be sure to check back with us for updates!

The post 2022 Color Award Finalists Reveal Trend Toward Moody, Pensive Shades first appeared on Dornob.

When the people of Auckland were asked what they wanted out of their museum-going experience, the message was clear. They wanted the gallery itself to be a work of art. They wanted an iconic work of architecture that respected all of New Zealand’s cultures and fit well with the gallery’s existing 131-year-old portions. Too often, radical designs are imposed on a site by architects disconnected from both the building’s context and the people living around it. In this case, Aucklanders had their say.

The most recent version of the gallery, officially known as the Auckland Art Gallery Toi o Tāmaki, was completed in the fall of 2011 after an arduous 10-year construction period. The cost of completing this renovation? $121 million NZD, or approximately $80 million USD by today’s exchange rates. Its exhibition space was enlarged twofold, giving it the ability to showcase larger international collections alongside their own pieces.

Visitors enter the gallery via a transparent and capacious lobby covered by an undulating roof structure made from already-felled kauri trees. This structure’s golden maritime look comes courtesy of the Sydney-based architecture firm FJMT and the Auckland-based Archimedia, both of whom clearly know how to make an entrance.

Other vaulted roofs can be found in other parts of the gallery, translating a coherent message between its newer and older spaces, which themselves date back to 1887 when the building was mainly used as the city’s Free Public Library and Municipal Office. The oldest portion of the building was constructed in the style of a French château, and the fact that the architects were able to so seamlessly blend that aesthetic with contemporary additions is a complex achievement indeed.

The Auckland Art Gallery is quite the theatrical work of architecture. It’s like a symphony of old and new, stone textures and intricate wooden patterns. Even just standing on the outside and peering through it’s expansive glass at the activity within is exhilarating. This transparency is exactly what most older gallery and museum structures lack. In this way, the art, hidden behind opaque walls and charming architectural styles from the past, often suffers from its container. Few but the privileged feel welcome in older structures. Now opened up to the city with a clearer entrance, the Auckland Art Gallery’s conversation with the city is more purposeful and democratic, even if the art is still kept in galleries out of sight from the street.

The post Auckland Art Gallery’s Mix of Old and New first appeared on Dornob.

Henk Verhoeff has taken the idea of furniture in motion a lot further with his line of dressers and cabinets that appear to have been broken by animation, pieces that make you think you’re seeing things that couldn’t possibly be real. The icing on this crazy collection is all the pieces are fully functional.

Standard Beginnings

Verhoeff spent 53 years as a joiner/cabinet maker in Auckland, New Zealand. He started crafting what he proudly calls “weird furniture” after he retired. But it isn’t animated movies that spur his creations. When asked about his style, Henk said in an interview with Bored Panda that he “[describes his] style of furniture as broken and weird,” adding: “I like making weird furniture, something that you don’t see in a shop.”

The Creative Process

The woodworker’s unique style is considered avant-garde by some, leaving many others to speculate just where his inspiration comes from. Verhoeff insists that fairy tales had nothing to do with sparking his unique line, instead maintaining that all of his designs are exclusively inspired by his “twisted brain.”

It all starts with the choice of wood. Verhoeff uses “recycled New Zealand pine, mostly, but if [he] can get my hands on some Rimu, [he] will also use that.” Of course, this apparently twisted and damaged furniture is much more difficult to build than standard fare. Verhoeff admits that “sometimes details or angles don’t work and I have to start again.” He adds that he creates the furniture at his own pace, a fascinating pastime he cherishes very dearly. “It’s hard to say how long each piece takes me. It’s unset times during the week and it could easily be 80 to 100 hours,” he claims.

How His Work was “Discovered”

Verhoeff’s daughter Linda was understandably amazed and proud of her father’s remarkable woodworking. On a lark, she posted photos of his unique work on Facebook. Fellow woodworkers went crazy, and the photo collection quickly went viral. “I was absolutely blown away at how this has gone viral, just a post my daughter put up on a page to share. I never expected ANYTHING like this,” Verhoeff admits.

Not for Sale – Yet

It’s not surprising that many people aren’t satisfied with merely seeing pictures of Verhoeff’s inimitable furniture — lots wanted to immediately order the pieces to be delivered to their homes. After all, any of his pieces would add a touch of whimsy to any room or decor scheme.

Although his fan base is teeming with potential customers, Verhoeff said none of it is for sale. “I started creating them for the pure love of it without the intention of selling them. But when I run out of space, there will be an eBay auction or two. Everything is for sale… except for my wife,” he says teasingly.

The post Henk Verhoeff Makes Wonderfully Weird Broken Furniture first appeared on Dornob.

Tech firms Intela AI and Soul Machines spearheaded the development of Ella, with Erin Greally assuming the role of lead researcher. For starters, Ella’s face was conceptualized as a composite of 26 different people. She’s also been programmed to realistically account for voice, tone, speech, body language, and empathy. To give her an added level of warmth, she’s even been designed to smile and blink. She can greet you, carry a full-on conversation, and even simulate the appropriate facial expressions in real-time. Of course, she is still a virtual assistant, or avatar, on a digital kiosk screen, and not a bona fide three-dimensional robot (yet).

Ella is part of a pilot program wherein New Zealand law enforcement can innovatively connect with the public. Her trial run spans three months, an in May, her performance will be reviewed to see how her technology can be further applied and upgraded. If successful, Ella will go on to grace other law enforcement kiosks across New Zealand.

“Her capabilities are basic at this stage as she is a proof of concept, but we see some real benefits of digital person technology if we can equip the AI with more knowledge and capabilities, and it can learn from more interactions,” explained New Zealand Commissioner of Police Mike Bush in a recent statement. “This trial is designed to help police understand if a digital person makes sense in a policing context, but Ella could eventually provide a variety of non-emergency services and advice in more places and on more devices, such as the NZ Police app and Police Connect.”

New Zealand has been taking several steps to modernize its police force lately. The other new technology implemented is the “Police Connect” digital kiosk, a self-service platform that provides people with answers to commonly asked queries, connects them to call centers, and reports non-emergency mishaps as they occur. Possible future improvements to this kiosk include CCTV monitoring and built-in alarms, as noted in the New Zealand Herald. It’s likely that Ella will also work in tandem with this, particularly when citizens start to access it for information or advice.

Commissioner Bush was quick to point out that Ella would not replace her human counterparts. Indeed, the New Zealand police force is looking to grow its numbers. “We’re in the process of recruiting 1,800 new staff to bolster our frontline and ensure we have the capabilities to deliver the best services, emergency and non-emergency, to everyone in New Zealand,” her said.

Rather, Ella and all the new technology being deployed are a means to enhance the force and bring it to the 21st century.

“We’re very much just starting this journey, as Police Connect, Ella, and other modern digital technologies present many more exciting opportunities for us to provide new and improved policing services,” Bush explains

The post New Zealand Debuts World’s First AI-Powered Police Officer first appeared on Dornob.

In keeping with that reasoning, local firms Taylor Cullity Lethlean and Wraight + Associates chose not to remove all traces of industry from the 4.4-acre site, instead shining a light on some of the area’s weathered and rustic patinas. Visit the waterfront’s Wynward Quarter today, and you’ll find disused pipes coming out of the ground, with pedestrians sauntering all around them on a concourse embedded into the concrete. By keeping the shipping, ferrying, and fishing activities of Jellicoe Harbour in plain sight, the industrial workings of the waterfront create a one-of-a-kind atmosphere around the public spaces.

There are no real monuments on the site — only multifunctional public spaces like small-scale picnic areas, playgrounds, and a marketplace that accommodates hundreds of people. Here, melodies trickle out of community pianos to mingle with the savory scents of steamed fish, creating a joyous atmosphere that’s only punctuated by the occasional blast of a far-off boat horn. Whenever a festival is held on the waterfront, surrounding silos and shipping structures are used as projection surfaces for visuals.

A recently opened school in Copenhagen was built near the docks of that city so that its students would gain an appreciation for the global economy and better understand the importance of shipping in Denmark. Like that project, the North Wharf Promenade and Silo Park are intended to instill a sense of national pride and cultural understanding in the locals, helping them see exactly why life by the water is important to their city and country. A similar scheme is currently being planned for Oakland, California, but with a baseball stadium as the focal point.

The authenticity of the waterfront, with its rusted metals, crumbling concrete, and scratched stone, is exactly what people like about it. A more sanitized version that presented cleaner public spaces would have been far too boring and corporate for people to enjoy. By keeping the area’s industrial elements and processes in view, the area feels natural —and not like a forced destination that relies on run-of-the-mill designs.

The renovated Wynward Quarter is just one of many projects that proves that an industrial waterfront does not have to be transformed into another pricey enclave to be successful. Such a project would not be popular, solely because people would not find it interesting.

The post Why Aucklanders Love Their Industrial Waterfront first appeared on Dornob.

Flex 90 claims to be the future of prefabricated, environmentally conscious, and affordable homes. Located in New Zealand, Genius First Light (the company behind Flex 90) strives to skyrocket prefab homes into a sustainable future.

Built safely and securely above building code, Flex 90 offers a healthier, warmer space that uses high-spec wool insulation and low-maintenance building materials to stay cozy, cost-effective, and easy to maintain. The natural soft palettes of its timber and schist elements blend seamlessly with the surrounding landscapes of the Southern Lakes.

Housing Features

Each Flex 90 home comes with a dedicated entry area, which exudes a welcoming atmosphere that both guests and residents can enjoy. Spacious and functional, this entryway leads to a compact but smartly designed shared bathroom, open-plan living and kitchen areas, and three generously sized double bedrooms.

Of course, these “bedrooms” could be utilized as private dwellings or transformed into workspaces — whatever suits your lifestyle. Each Flex 90 also comes with a flex space for you to use however you want: turn it into a home office, a guest room, a studio, a media room, or simply open the sliders to create more living space.

The master bedroom comes equipped with an en-suite bathroom and a spacious walk-in closet: a stylish haven where one can briefly get away from the chaos of family life. The entire house is also fitted with smart and often secretive storage areas, including a clever modern laundry unit in the hallway, to keep clutter at bay and save on valuable household space.

The open plan living areas maximize the flow of the home, allowing whoever’s cooking to converse with whoever is kicking back and watching a documentary on the TV! It brings people together and facilitates multitasking and easy living, connecting family members with several different environments at the same time.

Customization

Bringing a personal touch to the Flex 90 is super easy due to its flexibility (if you couldn’t already tell by the title), especially when it comes to fusing the rooms and their uses. Build a deck off of the kitchen, living area, or bedroom so that you can follow the sun and be more in tune with the glorious flow of nature. You might even build an outdoor kitchen to emphasize your outdoor enthusiasm and bring al fresco entertainment into your everyday life.

You can also orient your home before you begin the build in order to make the most out of your environment’s weather. Catch the sun’s rays through the master bedroom window and avoid having doors face the general direction of the wind.

Options for a crisp white or dominant black timber exterior, entryway positionings, canopies, and garage size mean you can really make your Flex 90 a one-of-a-kind build.

How Do I Get Involved?

Starting around $350,000 NZD, the Flex 90 prefab home has an estimated delivery time of around five months, depending on your desired location and design. Once you’ve got in touch with Genius First Light and decided on a design, the Flex 90 team will assist you with the interior customization. The house is built in the factory and before being delivered to your chosen site, where it is connected to the necessary utility services. After that, you’ll be all set to move in!

The post The Flex 90 Prefab Home Will Inspire a Sustainable Future first appeared on Dornob.

Almost more a portal between dry land and the waterfront, this beach house in New Zealand is designed with deference to the amazing seaside view defined by an interplay of solid structure and void space. A balance of turf and surf is visible even from a distance on approach to the dwelling – like a whole-wall landscape painting with a thin dividing horizon line.

The see-through living room area features full floor-to-ceiling openings on both the front and back of the home, affording a clear line of sight between the beach and the hills behind the building when the doors are open. When closed, the entire mass becomes a relatively unremarkable object on the seashore.

Known as Coromandel Bach, the house itself is a simple one-story residence – a modern box with rustic natural materials that make it mistakable for a humble shack from the distance despite the refined rooms found inside. This modest vacation home is naturally heated by the sun in the winter and easily cooled with crosswinds in the summer.

“The house was conceived as a container sitting lightly on the land for habitation or the dream of habitation,” say the architects. “The intention was to reinterpret the New Zealand building tradition – the crafting of wood – the expression of structure, cladding, lining and joinery in a raw and unique way.”

“The construction is reminiscent of the ‘trip’ or ‘rafter’ dams common in the Coromandel region at the turn of last century. Heavy vertical structural members supporting horizontal boarding. The unadorned natural timber, a sustainable and renewable resource, provides a connection to nature and the natural.”

“A simple mechanism to the deck allows the ‘box’ to open up on arrival – providing a stage for living – and to close down on departure – providing protection. The house has a simple rectangular plan that sits across the contour in a patch of cleared bush in the manner of the rural shed, facing north and the view.”

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