Nicholas Camerer’s prize-winning Hatch Seat is the new centrepiece of a community garden for Karen refugees. Street Furniture Australia manufactured the seat as part of the Intergrain Urban Timber Project competition, which challenged graduate and student landscape architects to design a meaningful piece for the Historic Farm Precinct in Victoria. The resurrected kitchen garden is a place for Karen refugees from Burma to learn new skills and share their culture, the result of a volunteer program by Parks Victoria and Werribee Park in partnership with AMES (Adult Multicultural Education Services). Camerer’s design features red, white and blue panels to represent the colours of both the Karen and Australian flags. Robust timber cross beams double as a leaning rack for gardening tools when not in use as a seat. The landscape architect, from …
meet the team
JOSINE DENNING | Business Development Manager NSW
Josine has had an exciting career working with specifiers in the commercial furniture and flooring industry for more than 15 years.
What inspires you?
Great designs inspired by nature.
Your favourite product and why?
The Arc Seat, with its concave and convex customised curves. It nestles into and inspires the landscape it sits in.
by Jason Packenham. Urban leaders are reimagining Australia’s future cities, starting with Streets 2.0 – a cross-disciplinary forum held in Sydney – with the conversation to continue in March at the Cities 4.0 Summit in Melbourne. With autonomous vehicles on the horizon, now is the time for such events. Provocative discussions at Streets 2.0 raised as many questions as answers. In continuing this provocation, this piece is as much a recap as it is a wondering of where to from here. What do we mean by the street? What role do streets play in our cities today? What do we want and need from them? Looking forward, what is their role in a future with autonomous vehicles? How do we achieve some of the grand visions of Streets 2.0? Are they possible? …
Julia Watson, Australian born and now living and working in New York, has shifted her landscape architecture practice to conserving global indigenous and traditional communities, their culture and environments. What drew you to landscape architecture? I was a kid of the eighties, when the conservation movement found its feet and was prolifically impacted by climate change and environmental catastrophes like the Exxon Valdez oil spill. I felt this overwhelming responsibility towards the earth. I remember visiting Yosemite National Park and discovering the beauty of landscape, having moments with wild animals and becoming fascinated by native American culture. I discovered the connection between the natural and spiritual world early and carry this theme through my work today. When did this expand to your work in conservation? Conservation is its traditional sense isn’t …