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

: : d r i v e n �

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

: bent into shape:

: : d r i v e n �

: 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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on tourevents : exhibitions : performances

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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: : d r i v e n 11

: 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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: : d r i v e n 1�

: 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�

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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.’

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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

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successor, The 207, To impress upon The world The company’s ouTsTanding

design and Technology prowess as iT goes on sale around The gloBe.

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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

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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

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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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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

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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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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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smell it : :

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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