Posts Tagged ‘interior’

Fibonacci Neues Grey debuts at Hinoak by Biasol

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We’re thrilled to see our new Fibonacci Stone products start to appear in some of Australia’s latest standout interior projects.

Our Neues Grey was recently specified by Melbourne design studio Biasol for the bar area of Hinoak, an elegantly modern take on a traditional Korean barbecue restaurant in Glen Waverley.

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Biasol drew inspiration for this stylish re-boot of a much-loved dining tradition from the intricate timber eaves of historic Korean houses, underpinned by a desire to combine ‘craft, harmony and a delicate balance between built form and natural material’.

fibonacci stone_neues grey_biasolA timber-battened ceiling that subtly curves downward to become the rear wall creates a warm and intimate interior that is enhanced by LED backlighting along two banks of timber tables.

Concrete-look walls and tan leather upholstery are perfectly complemented by the Fibonacci Stone Neues Grey clad bar area. Neues Grey’s rugged chips of cool marble with flecks of warm-hued rock set within a neutral grey concrete base are the perfect counterpoint to an otherwise un-pattered material palette.

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Hinoak_design by Biasol_Photo by James Morgan_011Beautifully sculpted timber tops gently wrap around the Neues Grey bar in sections, again highlighting the perfect colour partnership between the concrete, timber and stone products selected by Biasol.

Biasol’s creation of this beautiful bar area yet again underscores the versatility of Fibonacci Stone’s products – walls and floors are only the beginning, and its potential is inhibited only by imagination.
Congratulations to Hinoak and Biasol on this beautiful re-imagination of a time-honoured dining tradition.

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Photography courtesy of James Morgan

The Sweet Factory House by Folk Architects

A former sweet factory in the inner-city Melbourne suburb of Collingwood has been transformed by Folk Architects and our terrazzo tiles are a standout feature in both the kitchen and bathroom.

Collingwood and neighbouring Fitzroy have a rich history in chocolate making. MacPherson Robertson, inventor of Freddo Frog, had its factory located in neighbourhood before selling to Cadbury in 1967. The former Craig & Hales Confectionary Factory also has a sweet heritage in Collingwood – the factory was converted into a residence some time ago and the latest owners approached Folk Architects to design alterations and a second-level addition.

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We’ve been fans of Folk Architects for some time. Founded by Christie Petsinis and Tim Wilson in 2011, their projects include Medhurst Winery in Victoria’s Yarra Valley, Yoke Yoga in Torquay and temporary cafe Hortus in Melbourne’s Docklands.

The Sweet Factory House features an upper level that pops over the heritage facade to frame an outdoor terrace, master bedroom and adjoining bathroom. A key feature is a perforated pink sheet metal bridge that links the new extension to the existing form. Spanning 14-metres, it is a playful reference to the home’s industrial past and creates a spine through the warehouse. Its perforations also filter light through to the lower level.

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Folk Architects chose terrazzo tiles for the kitchen island bench, which have been laid in perfect squares to create a geometric feature in the space. The bathroom extends the application of terrazzo beyond the floor – it’s also a robust and stylish feature of the walls.

The Sweet Factory House has seen shortlisted for a Dulux Colour Award this year. Winners will be announced on 10 May – we know which project gets our vote!

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Calibre Chadstone by David Hicks

Eminent Australian interior designer David Hicks has teamed up with leading men’s fashion brand Calibre to create the bold interior of its new Chadstone store.

David Hicks, whose studio is Australia’s premier destination for luxury-oriented interior and building design. Hicks established his award-winning studio in 2001 and is celebrated for his streamlined, elegant designs.

The design of the Calibre store at Chadstone is a wonderful example. Referencing Italian Modernism, Hicks describes the space as a “sophisticated masculine atelier with a hint of old-school nostalgia”.

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The new store features a refined, masculine palette of lacquered ebony veneer, turquoise and gold along with Fibonacci Stone Fossil terrazzo tiles which are a dominant interior finish throughout the space.

Hicks chose to feature terrazzo on the walls as well as the floor and seleted Fossil thanks to its subtle grey base and warm natural grey-to-brown marble aggregate detailing which complimented the Calibre interior scheme perfectly.

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Hicks explains that the Fibonacci Stone terrazzo tiles on the floor and walls add another dimension to the space. “The beautifully crafted tiles inlaid with marble chips are reminiscent of modernist Italy and provide an alluring depth of detail and colour.”

He chose Fibonacci’s Fossil terrazzo tiles to complement his vision for the Calibre interior. “Fibonacci had the best range for us to select from and we fell in love with the colour we used,” says Hicks. “It was perfect for the scheme and for what we were trying to achieve.”

Just like a fine Calibre suit or a David Hicks design, we think our Fossil terrazzo tiles will leave a timeless, sophisticated and leave a long-lasting impression.

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Scroll Ice Cream by Studio Twocan & One Design Office

If Scroll Ice Cream’s sweet icy treats weren’t tempting enough, its new flagship store looks good enough to eat. Its pigmented concrete bar is inspired by the layers of flavours and fruits that go into a serve of Scroll ice cream. Who would have thought a solid material like concrete could look so soft and appetizing?

Scroll is Melbourne’s first Thai cold-plate ice creamery – think of liquid ice cream poured onto a sub-zero tepenyaki plate, refrozen flat and then rolled with a blade to create delicious scrolls.

Scroll engaged Melbourne architecture practice One Design Office to create the design for their flagship store. The architects explain that they wanted an ‘ice-cream-like’ material that was fresh, fun, organic, durable and structural. “It led us to think … what if we could mix colours into poured concrete?”

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One Design Office worked alongside bespoke construction company Twig and Co and Studio Twocan to bring the multicoloured design to life. Vibrantly coloured concrete batches were mixed on site before being poured into a framework mould.

Studio Twocan have already captured out attention for their beautiful layered ‘cement ceramic’ designs. Sisters Maddie and Becc Sharrock colour the cement using pigment to create an organic layering inspired by Australian landscapes. In the case of the Scroll flagship store, their colour inspiration was drawn from fruity ice cream flavours.

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One Design Office and Studio Twocan told Dezeen: “The monolithic façade of Scroll Ice Cream’s flagship store stands out in a crowd. The design looks to encapsulate both the product and manufacturing process of mixing icy layers of flavours and fruits.”

We love how the design gives this rock-hard substrate material a sense of fluidity and softness. It’s a solid design – and it looks tasty, too!



Middletown Café by Studio Tate

Middletown Café by Studio Tate may be inspired by a Duchess but we think it’s fit for a Queen.

Located in Prahran, the café has an elegant design that brings to life Kate Middleton’s journey from the English countryside to the royal court – and Fibonacci Stone terrazzo tiles are featured among this esteemed interior.

Studio Tate collaborated with graphic design studio Pop + Pac and worked closely with their clients, who regard the Duchess of Cambridge as a ‘modern muse’.

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The interior draws on royal references while also embodying the unpretentious style that Kate brings to her role of Duchess. There’s a nod to the old and the new, which can be seen in the choice of contemporary terrazzo tiles laid in a traditional checkerboard pattern.

Fibonacci Stone_Studio Tate_Middletown_05Studio Tate chose Fibonacci Stone Platinum and Steel terrazzo tiles, which contrast beautifully in the checkerboard style. Platinum’s fine grain and neutral palette of warm greys and beige complement the bold blue-grey tones of the Steel tiles and both work beautifully with the overall palette of Middletown Café.

Fibonacci Stone_Studio Tate_Middletown_03The material palette includes stone, metal and timber. Royal blue is the dominant colour, along with accents of brass, feminine pastel pink and white.

We think the Duchess would approve.

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The Spring Street Penthouse by Kerry Phelan Design Office

The Spring Street Penthouse, located opposite Melbourne’s Fitzroy Gardens, appears as a tribute to the Memphis design movement. Its interior features bold shapes and eye-popping colours that are just as striking as its 360-degree views of the city.

A former residence of Australia’s first billionaire, Robert Holmes à Court, the penthouse’s most recent owner, businessman Greg Hargrave, engaged Kerry Phelan Design Office (K.P.D.O) to create a bespoke design. The four bedroom, 400sqm penthouse was gutted and the entire flow was changed to create an enfilade – doorways to each room are perfectly aligned in order to create expansive, unobstructed views when the doors are open.

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Eclectic furniture and objects fill each room, including an original 1981 Oceanic lamp by Memphis designer Michele de Lucchi, a faux marble Louis XV Goes to Sparta sofa by Maurizio Galante for Baleri Italia and a limited-edition Rainbow Poly coffee table by Max Lamb.

The design pieces span the decades and K.P.D.O selected a truly timeless material for the flooring in key areas of the penthouse – Fibonacci Stone terrazzo tiles in Seascape and Dove Grey.

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Seascape a subtle blue composition with muted white and light grey marble aggregate chips. Our Dove Grey terrazzo tiles are characterised by an array of neutral shades of white, grey, shell and browns to create a sophisticated finish. Both terrazzo tiles provide the perfect subtle backdrop for the colourful interiors at the Spring Street Penthouse.

The design of the Spring Street Penthouse forms the perfect foundation for a bold and extensive collection of furniture and objects. Kerry Phelan has described the brief for this project as ‘thrilling’ and we think the final result has the same effect.

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Classic designs never go out of style. That’s why we admire the work of Australian fashion label GINGER & SMART. They’ve just opened their equally stylish flagship store on the Gold Coast and it features Fibonacci Stone Coral terrazzo tiles!

Founded in 2002 by Sydney-based sisters Alexandra and Genevieve Smart, GINGER & SMART is preparing for an exciting new direction and its new boutique, designed by Flack Studio, is a sign of things to come.

fibonacci-stone_flack-studio_ginger-smart_02The boutique features soft pink walls throughout and contrasting deep ‘petrol green’ walls at the rear of the space. A blend of materials includes plush carpet, luxurious curtains, marble, American Oak and Fibonacci Stone Coral terrazzo tiles.

Inspired by the magical colours of an ocean reef, the Coral terrazzo tiles were the first release from our new boutique series of batch made tiles, which are produced in small quantities for select Australian market segments.

They feature an elegant balance of orange and pink pigments with accents of white, grey and shell. We think they create the beautiful foundation for the new GINGER & SMART boutique, which is located in the Gold Coast’s premier shopping centre Pacific Fair.

We created the Coral terrazzo tiles in collaboration with multidisciplinary design practice, Projects of Imagination, whose projects include some of Melbourne’s most celebrated restaurants and hospitality venues, such as Chin Chin, Trunk Golden Fields and Moon Under Water.

It’s great to know that designers of the calibre of David Flack and GINGER & SMART also admire this beautiful terrazzo tile and we look forward to following the new design direction of this Australian fashion label.





Images by Toby Scott


BLEND by Dutch Studio RAW COLOR

A blend of colour and texture lit up the London Design Festival in a new exhibition from Dutch studio Raw Color.

Reflecting its multifaceted layers, the solo exhibition, called Blend, was housed at Aram Gallery. It includes self-generated work from the Eindhoven studio, as well as creations made for clients.

fibonacci-stone_blend-by-raw-colour-ldf_02A series of installations in Blend showcased Daniera ter Haar & Christoph Brach’s research into how colour works – and how using different textures and materials can change the way we view colour.

Movement played a big role. The Fans installation features shelves of fans, each with three contrasting blades in yellow, orange and red, which blur into each other. It was a riot of colour that was mesmerising in its fluid, repetitive pattern of movement.

fibonacci-stone_blend-by-raw-colour-ldf_08 fibonacci-stone_blend-by-raw-colour-ldf_04A second installation, Chromatology also used movement for its execution, with the physical presence of visitors causing brightly coloured paper to rain down from a series of suspended shredders.

As the crowd grew throughout the day, and more and more visitors set the shredders to work, mounds of paper in single block colours built up underneath each shredder.


fibonacci-stone_blend-by-raw-colour-ldf_03Other installations focused on clocks made from brightly coloured graphic patterns, described by the studio as “somewhere between a kinetic object and a functional timepiece”. Textiles were also on show, with a series of blankets illustrating how varying shades of colour can be used in fabric. Semi-translucent wool curtains hung in groups according to colour, inviting visitors into their ethereal world. Photography was also featured, with a series photos transformed into geometric paper compositions.

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Everywhere you looked, there is a burst of colour or a subdued graduation of deep to light, bright to faded. Inspiration was drawn from the compelling characteristics of colour and how it transforms our world. It was a perfect blend of sophisticated design with the simplicity of colour and another inspiring example from this innovative studio.

Photography courtesy of Raw Color


Thomas Vailly’s Plant Holders Fit For Royalty

Although guided tours are available at the Dutch Royal Family’s former residency, Studio Thomas Vailly has created the next-best thing.

Commissioned to create a new installation for the Palace Soestdijk in the Netherlands, Thomas Vailly has designed ‘A Piece of Land’, which is a series of plant holders inspired by the exclusive rooms and secluded parks of the Palace.


Dutch designer Thomas Vailly is regarded for his strong focus on materials, processes and systems in product design. His work explores themes of industrial production and mass consumption. In 2013, together with Itay Ohaly and Christian Fiebig, he won the Frame Moooi Award for the design of a compact furniture production line that compresses a whole furniture factory to the size of a standardised plywood pallet so that it can be transported and used anywhere.


Vailly also collaborated with fellow Dutch designer Laura Lynn Jansen in 2013 to create the CaCO3 tableware collection made from stone, which they ‘grew’ over a structural skeleton using the same natural process that forms stalagmites in caves. To create each piece in the collection, Vailly and Jansen placed a nylon 3D-printed skeleton into specially chosen thermo-mineral springs, where natural geological processes deposited calcium carbonate – also known as CaCO3 or limestone– onto the structure. This reinforced and thickened it to create a product with qualities similar to porcelain.


Thomas Vailly’s ‘A Piece of Land’ series is a far more regal design. The series features plant holders in four different shapes – wall, stand, arch and tray. Made from powder-coated bent metal grids, they are available in two colours – light green and traffic blue. They create an elegant setting for plant life and are fit for a king or queen.


Images courtesy of Studio Thomas Vailly

Ian McDonald gets the thumbs up at NY’s Patrick Parrish Gallery

Ian McDonald

The first solo exhibition from Oregon-based artist and ceramicist Ian McDonald recently received the thumbs up at New York’s Patrick Parrish Gallery. Titled ‘Index, Thumb, Thumb, Index’, the exhibition featured ceramic vessels made in parts and, when arranged together on powder-coated trays, they formed mini landscapes with an architectural bent.

Each of McDonald’s arrangements was unique and each piece was made of five or six elements with a deceptively industrial look, despite being handmade on a pottery wheel.


The name for Ian McDonald’s first solo exhibition was inspired by the composition of this works. “If you hold your hands out, with your thumbs together and your index fingers up, you’re creating a sort of frame, like you’re taking a picture,” he says. “A lot of work that I’ve done in the past has been about arranging objects within a finite space, and in this case, pieces are organised on powder-coated trays so that in a way, the tray is acting as a frame. It’s a way to contextualize the objects.

McDonald explains he’s found a method he wants to explore further. “With this show, I’ve identified something I want to dig deep into, and I’m realising that I’ll probably stick with this form – meaning, working at the wheel in parts – for a while”.


Ian McDonald’s background is pottery and sculpture. He began learning from the master potters as an apprentice at 17 and hasn’t looked back in the 23 years since he first held a lump of clay and used thumbs and index fingers to form it into a beautiful object.


The pieces in McDonald’s ‘Index, Thumb, Thumb, Index’ feature a colour palette that at first glance appears one-dimensional. However, on close inspection, pastel purples, blues, blacks and grays emerge, giving each arrangement another element of individuality that won’t be found in objects created through industrial processes. Once again, the thumb and index finger bring everything into focus and provide a glimpse of the thought behind these perfectly created vessels.


There’s a special twist to the dichotomy of functional versus form in McDonald’s designs – the vessels can be used as vases but they also make a striking statement all on their own. Either way, they get a thumbs up from us.


Images courtesy of Sight Unseen