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We’re Family Coastal Retreat
Rachel Nolan Urban Sanctuary Maren Surfboards
Family HomeSuzie Stanford
Melbourne Store Heide II
The Mother Dough Beach Shack
TheGoodLife
The Good Life
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Jardan has always revolved around family.
In this issue, we dedicate our stories to the good life - the quintessentially Australian way of living that brings families together to relax in the outdoors, holiday by the beach, and enjoy the laid back, Australian lifestyle.
We design and make all of our furniture in Melbourne, crafted with local materials to the highest environmental standards. Our furniture is made to be loved and lived with, to grow and change with families over generations.
Made for life.
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We’re Family
Photos by James Geer Words by Nick Acquroff
Step Inside
We’re Family Pg. 02
Coastal Retreat Pg. 06
Rachel Nolan Pg. 34
Urban Sanctuary Pg. 44
Maren Surfboards Pg. 68
Family Home Pg. 76
Susie Stanford Pg. 88
Melbourne Store Pg. 96
Heide II Pg. 108
The Mother Dough Pg. 116
Beach Shack Pg. 126
Pictured (L-R)
Dune Armchair Andy Modular Sofa Tide Cushions Pebble Wash Stitch Cushions Bandy Side Table
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Pictured (L-R)
Andy Sofa Pom Pom Cushion Cove Coffee Table Marley Marble Tray Trey in Brass Finch Sideboard Spot Rug
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Hunter Table Bay Chairs Studio Twocan Vases
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Self Portrait by Jordana Henry, 2016 Finch Sideboard
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Pictured (L-R)
Andy Bed Jersey Pillowcases + Quilt Cover Stonewash Pillowcases + Fitted Sheet Bandy Side Table Ace Side Table Spreckels Rug
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Pictured (L-R)
Ace Side Table Sunny Sofa Cove Coffee Table Trey in Wizard Marley Marble Tray Band Rug Dune Armchairs
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Lionel Chairs Riley Table
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Finley Bed Aero Sheets + Pillowcases Herring Pillowcases + Quilt Cover
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Pearl Armchair Ace Side Table
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Pictured (L-R)
Arthur Side Table Andy Sofa Pom Pom Cushion Spot Rug Cove Coffee Table Dinosaur Designs Bowl + Vase Finch Sideboard Wilfred Armchair Harvest Armchair
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Sunny Sofa Elk Velvet Cushion Tuck Coffee Table Ace Side Table
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River Table Brooklyn Chairs Olio Serving Bowl
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Sunny Bed Stonewash Pillowcases + Fitted Sheet Line Pillowcases + Quilt Cover Drift Throw
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“In winter it gets this really beautiful colour in here. When it’s dark, this room is really cosy.”
Rachel and her partner Patrick Kennedy established Kennedy Nolan Architects in 1999. They met a few years before, while studying Architecture at The University of Melbourne. “We were both living in Fitzroy and we’d often meet after work and have beers and talk about the things that we liked. We were mates outside of architecture,” says Rachel. “We loved Jimmy Watson’s, the wine bar up on Lygon Street with the old Three Terraces. It’s a beautiful white brickwork building that’s near the corner of Johnson Street and we spent time there as kids.”
It’s immediately clear when you meet Rachel Nolan she sees the world differently. When she walks through a building any normal person might consider in a cosmetic sense – how big it is, the colour of the facade, or how many windows there are – Rachel talks about her experience. About the way her mood changes with the ceiling height or how the smell of the trees in the garden resonate with her long after she’s moved on to somewhere new.
“It’s always beautiful to me, this room,” says Rachel in the meeting room at her Kennedy Nolan practice in Fitzroy. For the record, it is a beautiful room. You enter through the practice up an old steel spiral staircase, which has been painted a dull, calming red. The working spaces are open and layered, connected to each other with open voids, overlooked by a warm meeting room at the back of the building.
For almost 20 years, Rachel Nolan and Patrick Kennedy have designed homes that evoke emotion and memory.
Design
PhilosophyRachel Nolan
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“I think there were architects that Patrick and I spoke about in the early days,” says Rachel. “Merchant Builders and the Australian crew around that time. Before that it was [Robin] Boyd, and when we were at university it was Daryl Jackson and Graeme Gunn. I remember when we first bought the Guilford Bell book, that had an effect on me as an architect.”
In turn, the work of Kennedy Nolan bears similar hallmarks to the work of architects like Boyd, Gunn, and Bell. “Something that we both always considered was landscape, which seemed particularly unpopular amongst our peers when we started,”says Rachel. “No one really spoke about landscape, and people didn’t really speak about interiors all that much. It was all about heroic architecture. But Pat and I have never placed any great difference between outside and inside. We are responsible for designing everything.”
Today, her decorated practice has 17 staff, and is most renowned for it’s unique approach to residential and commercial architecture. Kennedy Nolan’s style varies greatly from project to project, but there is a set of underlying values and principles that all of their projects have in common. In a Kennedy Nolan building, for instance, there’s a value placed on the quality of materials used. There’s a wonderful dynamic between the spaces, and through subtle manipulation of light and space there’s a distinct change in mood from room to room. There’s always a playfulness to a Kennedy Nolan building, too, and Rachel’s approach to architecture, in particular, is always responsive to context and the unique constraints of the surrounding environment.
The latter, Rachel says, is attributed to the work of her architectural heroes such as Robin Boyd, Graham Gunn, and Guilford Bell, who – through their work in the mid to late part of last century – changed the face of Australian architecture by designing buildings that responded to the environment.
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“Contrast is another thing we talk about in practice. If you have contrast, you feel something. If you go from a low space into a high space, you feel the difference. If you’re all in one house that’s all 3.5-metre ceilings, you become numb to it.”
Over the past 17 years, Kennedy Nolan has been awarded some of the highest prizes in Australian residential and commercial architecture. In its very first year, it was awarded the Victorian Institute of Architects Residential Award. In 2014, their Westgarth House won the top prize at the 2014 Houses Awards. And in 2016, its Fairfield House project won the Houses Award again, for its wonderfully restrained consideration of the natural landscape.
Over the journey, Rachel has used bold shape and form to make an emotional impact, both from the street and from inside the home. But in principle, her vision has remained the same. “There was a house we did when we were very young in the bush that used these kind of geometric rural shapes, if you like, like hot kilns and chimneys,” she says.
“We had a huge driveway up to it, which was planted with lemon-scented gums all the way up to it. We had this idea that when you visited the house you would remember the smell. There are things that actually exist within architecture that make a building more potent or special. It’s the experience, not just about what it looks like.”
— kennedynolan.com.au
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Rachel Nolan
We are driven by the power of good design to transform everyday
living. We take inspiration from the relaxed, Australian way of life;
expressing contemporary ideas through quality materials.
Crafted objects for the
modern world
Pictured (L-R)
Harvest Armchair Hector Floor Lamp Lewis Sofa Sydney Raw Coffee Table Seed Vases Reflect Box Vintage Rug
Left
Pearl Armchairs
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Seed Vase Reflect Box
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Urban Sanctuary
Pictured (L-R)
Brooklyn Chairs Huxley Table Studio Twocan Vase Skultuna Planter
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Huxley Table Brooklyn Chair
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Pictured (L-R)
Hudson Modular Sofa Phoenix Butler Table Bailey Side Tables Sol Floor Lamp Alby Floor Cushion Stanley Stool
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Bailey Side Tables Hudson Sofa
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Maggie Chairs Iko Table Noughts + Crosses Planter
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Pictured (L-R)
Lewis Bed Waffle Quilt Cover + Pillowcases Stonewash Fitted Sheet + Pillowcases Tuck Bedside Table Fete Vase Check Tumbler
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Urban Sanctuary
Pictured (L-R)
Berber Pendant Lewis Armchair Denim Cushion Bandy Side Table Marley Key Tray Edie Bookshelf
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Porcelain Salad Bowl
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Lionel Chairs Riley Table
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Urban Sanctuary
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Riley Table Lionel Chairs
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Urban Sanctuary
Pictured (L-R)
Sweeney Armchair Hector Floor Lamp Vista Modular Sofa Tibet Cushion Memphis Coffee Tables Fete Vases + Cups Marley Tray Phoenix Butler Table Tibet Floor Cushion
Urban Outfitters, Zoo York, and Globe. But at the end of another long winter in Victoria, he decided that he wanted to stop looking at a computer screen, move somewhere warm, and start doing things with his hands.
“I bought an old 60’s fibro shack,” says Ado from the backyard of his home in Noosa, where he makes surfboards under the Maren Surfboards moniker. “The old owners built a little shed in the back to get married in – a mini church – so I stripped that out and made it into a shaping room. When you shape boards you need them to contrast from the walls, so I painted it all blue and put lights in.”
From Fraser Island to Byron Bay, some 400 kilometres further south, is a stretch of coastline endowed with some of the most energetic and diverse surf breaks in the world. At the end of summer, when the tropical cyclones roll in from the Pacific Ocean, the point breaks are hit with heavy swells for months on end. During that time, the beach breaks at places like Noosa Heads and Byron Bay are protected from the swell, which means along that long coastline, there’s a wave for almost anyone. And so throughout the summer every year, the beaches come alive with locals and international tourists alike who filter down the coast to ride the long, smooth waves.
For Adrian Knott (known affectionately as ‘Ado’), his story on the coast started just a few years ago when he packed up his home in Torquay in Victoria and settled on a sea change in Noosa Heads. He’d been working for more than 20 years as a visual artist and graphic designer with surf brands like Rip Curl, Quiksilver, Electric, Wrangler,
Wedding Chapel
Ado’s shaping room brought to life in a converted wedding chapel in the garden of his Noosa home.
Adrian Knott was a graphic illustrator and artist for more than 20 years, working with some of the world’s most recognisable surf brands. But at the end of one cold winter in Victoria, he decided to move north and combine his two greatest joys, art and surfing.
Adrian Knott Maren
Surfboards
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‘When you shape boards you need them to contrast from the walls’.
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The most interesting thing about Maren Boards is they’re perfectly suited to that 400 kilometres of coast-line in Queensland. Ado says it’s too hot to shape boards in the heat of the afternoon. So he goes surfing, and while he’s out there he thinks about the kind of boards he’d like to ride on the waves near home. On a good day, he shapes two boards: one in the morning, and one in the evening when he gets back in from the surf.
“When I moved here, I couldn’t get boards in Australia that I wanted to ride, so I started making these really short little boards,” he says. “They’re not designed for huge surf, they’re designed for the kind of waves we get around here, the kind of waves you just get out and have fun on.”
Ado’s style takes inspiration from a movement that started in California about a decade ago, when surfers started riding smaller boards. He combines styles that have come in and out of popularity over the last three decades, and details them with coloured resins and custom artworks. “I also started taking old shapes from the 60’s and 70’s, even the 80’s. Because surfing moved really quickly then, and lots of designs were overlooked. I mix all of these styles together and give them to friends to experiment on.”
Because everything is made to order, Ado’s process is careful and complex. He takes a detailed brief and then creates a custom board designed specifically for each client. Whenever he gets an order, he conceptualises the board and then drives down to the Gold Coast to pick up the blanks.
Once he’s got the right blank, he cuts it down to size back home. “I use a plane to get to the right thickness and then I use tools to shape it,” he says. “It can take six or seven hours of shaping and bending, and once that’s done, I send it to the glasses where it’s finished in fibreglass resign.”
With almost all of his designs, Ado adds a colourful flourish, finishing the fins or the resins on the surface of the board with his artwork. “I get really fussy with the boards. They’re all finished using coloured resins and handmade wooden fins or really nice wooden stringers,” he says. “I use a lot of graphics, too. I print them on tissue paper which gets laid under the resin.”
— marensurfboards.com
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Good design has a profound impact on our lives. It expresses our individuality, our taste and our sense of what is good. It brings comfort, style, and beauty to
our days. It makes us feel at home.
Design thinking informs every decision we make. Our dedicated in-house
design centre, Jardan Lab, has been established to push the boundaries of
possibility every day. In the Lab, we bring our designers and craftsmen together
to constantly evolve our ideas and solve design problems.
Designed for the
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Noah Sideboard Sol Table Lamp Reflect Box
Right
Harper Armchair Phoenix Side Table Dari Rug
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Family Home
Pictured (L-R)
Bailey Side Tables Fete Cups + Coasters Rufus Sofa Memphis Coffee Tables Phoenix Butler Table Lewis Armchair Hector Floor Lamp Harvest Armchair Dari Rug
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Family Home
Left
North Bookshelf Phoenix Coffee Table Fete Cups
Below
Arthur Side Table Seed Vase Alfred Sofa
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Family Home
Left
Finley Bed Jersey Pillowcases + Quilt Cover Denim Pillowcases Bandy Side Table Pom Pom Vintage Rug
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Denim Pillowcases
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Pictured (L-R)
Iko Coffee Table Phoenix Side Table Stanley Stool Nook Sofa Bailey Side Table Sidney Side Table Hector Table Lamp Alby Floor Cushion Dari Rug
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An avid collector, Suzie had a passion for upcycling since she was a child. Across her breadth of work, she takes things that already exist (“things with soul”), like old tea cups, tea towels, leather, and bronze, and breathes new life into them with clever design. In her brass work, she takes things that have spent decades as little more than kitsch ornaments and turns them into pieces that make you ponder, laugh, or smile.
“With my work, I put a call-out online and say, “Look, I need brass pieces. I’ve got a client who is just desperate for a trout. Not a rainbow fish, not a carp, a trout,” she says. “I can’t possibly collect everything I need myself, so I have learned to collaborate with people.”
It’s a rainy Thursday afternoon in Melbourne. Suzie Stanford is standing upstairs in the Jardan store warming herself by the fire, looking at the artworks that line the north wall. When we greet her, she turns around, beaming with a warm intensity.
“You got me a coffee, you wonderful thing,” she says, walking over to one of the couches in the corner. “Do you want to see a lamp that I’ve just created? It’s for a client who doesn’t like down lights. I hate down lights, it’s such a bad way to light a space.”
When you enter the Jardan store, the first thing you’re likely to notice is the handle on the front door. One of a collection, it’s made of brass sculptures that Suzie gathered and sourced from markets and warehouses in Europe and the Middle East, before welding them together in her Collingwood studio. This one is a wonderfully whimsical piece, headed by a proud kangaroo, working downwards with two dolphins, a bilby, and an emu.
Things with soulSusie standing beside her collection of brass animals.
Over many years, she’s established herself as one of the most eclectic and creative designers in Australia. We spoke to Suzie at the Jardan store about her latest work with brass sculpture, and how collaboration makes almost anything possible.
Suzie Stanford ‘The Art of
Collaboration’
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Suzie Stanford
Over time, Suzie has crafted an extraordinarily diverse body of work. Along with doing one-off installations and designs for private clients, her work is stocked commercially at the Liberty department store in London, and Lane Crawford stores in Asia. At home, she has designed and made furniture for brands like New Balance, Joe Black, and Megan Park.
In 2002, Suzie’s career took on a new form when she returned to Melbourne after more than a decade in London. “A friend was wearing one of my jewellery pieces at a fashion show, and one of the buyers from Paul Smith asked her where it was from.”
A few months later, Suzie had been commissioned to make custom jewellery collections for Paul Smith stores all over the world. Over a decade, she made thousands of one-off pieces under a new moniker, Crown Jewels, all hand signed or hand stamped for authenticity.
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On returning to Melbourne, Suzie was involved in creating the interiors for some of Melbourne’s most iconic restaurants. Her work at The Prince Hotel for Melbourne hospitality family, the Van Haandels, was celebrated for its eccentricity.
“I was just helping them source things, and I started to think, ‘Well, we need a certain type of furniture’, so I just made it all myself from old tea towels,” she says. “Once I completed that I thought I can be what I am – which is mad – and my new direction started there.”
Today, Suzie is a gifted collaborator, which means she can take on almost anything. “I’ve got to learn things suddenly. It might be how to diamond-drill ceramic, learning about porcelains and how I can work with those, or the heat levels that are resistant to different light. You’re forever learning, and forever finding a person to partner with.”
“I’ve got my little gang, spotters that I’ve met at big old barns and antique fairs. And I’ve still got the same spotters,” she continues excitedly. “I’ve got a lady in Tel Aviv, and she sends me things. And now it’s 20 years later and I’ve never met her but I love her. My little postman, too, we have cups of tea every day because he’s just forever dropping things in.”
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Crafted inMelbourne
When people work together in one place, the product is always more refined. We design and make all of our furniture in Melbourne, so that our teams can work together and collaborate under one roof.
We source our materials locally, from people who understand our values of quality, style, and sustainability.
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Melbourne Store
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Iko Table Sunday Chairs
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Fete Vase, Cup + Coaster
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Emry Pendant Iko Table Sunday Chairs
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Seb Chairs Hunter Table
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Alby Floor Cushion Iko Coffee Table Stone Vase Iluka Sideboard Douglas Bowl Seb Armchair Vintage Rug
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Sweeney Armchairs Art by Gabrielle Collins Kiyo Coffee Table Bel Mirror
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Hector Floor Lamp Errol Sofa Tuck Coffee Table Porcelain Tea Pot, Beaker + Tray
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Maren Surfboards In Store
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in French Provincial style). So they enlisted the help of two revered Melbourne architects, David McGlashan and Neil Everist to build a new modernist home – Heide II.
Heide II brought the couple’s private life together with a gallery space. It blended living and gallery spaces with the natural world outside, and in doing so McGlashan Everist spectacularly broke several fundamental rules of modernist architecture.
In 1934, John and Sunday Reed built Heide on their farm on the outskirts of Melbourne. Over the following decades, they housed some of Australia’s pioneering modernist artists on the property. While in residence, Sidney Nolan painted all but one of his now-famous Ned Kelly series. At various times, Heide played home to Australian artists like Albert Tucker, Arthur Boyd, John Perceval, Joy Hester, and many others.
In the beginning, Heide (named after nearby Melbourne suburb, Heidelberg), was a place for John and Sunday Reed to host artists, writers, and architects in residence.
By 1964, the Reed’s considerable art collection had outgrown the original Heide residence (which is a small conversion of the existing weatherboard farm house, done
The Heide Gallery
Designed by Australian Architects David McGlashan and Neil Everist.
When John and Sunday Reed outgrew the original farm house at what would become Heide Museum of Modern Art, they looked to Melbourne architects McGlashan and Everist to create a building that brought Australian values of art, family and the outdoors under one roof.A Gallery to
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Heide II
These are the Australian ideals that form the inspiration for Jardan. Heide II was even an inspiration for our flagship store in Richmond. In an early meeting to discuss the building, Iva Foschia, founder and director of Melbourne firm IF Architecture, recalled Sunday Reed’s original brief to David McGlashan and Neil Everist. Her words resonated with us on every level:
“A gallery to live in.”
In the Australian Design Review, Conrad Hamann wrote about these unusual stylistic departures: “The interior is…a ‘society of rooms’ rather than the open continuity of space signifying ‘correct’ modernism as it was. There is positive delight in the way McGlashan and Everist turned the internal walls into mysterious corridors, turning abruptly round corners and out of sight like the maze for the bull of Minos, or coming to surprising dead ends”.
From the day it was opened in 1967, the building was a critical success. Today it’s a cultural icon that brings together many of our Australian ideals in one building – our love for art and culture, family and friends, nature and the outdoors.
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The MotherDough
It’s the same process that every bakery in the world has gone through at one time or another. It’s called creating the mother dough, and its flavour varies depending on the type of ingredients, the temperature, and the time it’s left to ferment.
Once you’ve created the mother dough it can stay with you forever. With just one teaspoon of that culture, you can create a commercial quantity of dough with the same sweetness, acidity or sour-ness as the culture you created on day one in just a few hours. It’s one of life’s perfect circles, and five years ago David fell in love with the idea of creating his own perfect mother dough.
David Alan and Margaret Carey were scientists studying wine fermentation and working in Heathcote at one of Victoria’s largest wineries. For years they’d studied wine fermentation, the process in which grapes – when mixed in the right temperature and circumstance and left in barrels - turn slowly into sweet, acidic, beautiful wines. But when they started in the wine industry, their romantic vision of making small vintages that changed depending on the conditions of the season was dashed.
In the commercial wine industry, buyers are forever looking for consistency. So on many of the big vineyards, the best grapes of the year are mixed with the worst and finished with a healthy dose of sulphur. The result is consistent, palatable, cheap to make, and consumed on mass.
After a time on the vineyard, David and Margaret found a new hobby. One afternoon at home, they started a culture for sourdough bread – a simple process of combining flour, yeast, and water in a small jar and leaving it overnight.
The Mother of all Sourdoughs
Flinders Sourdough is amongst only a handful of bakeries in Australia to bake bread in an open fire.
How David Alan and Margaret Carey, from Flinders Sourdough, settled on a sea change in search of the perfect sourdough culture.
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At Flinders Sourdough, every day is almost the same. They heat the oven with stacks of timber. In the middle of the day the staff gather round a big wooden table and roll all of the loaves for the next day.
“We only use three ingredients: flour and water, and yeast. There are no dough improvers, no extra gluten, and nothing to hold it and bind it together,” says David. “We create really slack, wet dough, so our staff have to be really nimble with their hands.”
“There’s a great little bakery in Trentham called Red Beard Bakery, and we stopped in there one day because it had one of these great wood-fired ovens,” says David, sitting at the wooden table in the middle of his bakery in Flinders. “Before that we were looking at starting a more conventional bakery with modern equipment. But then we found these two brothers running this original bakery, and I just loved the absolute integrity of their product and the way they produced it. So we let them know we wanted to start something like them. They were really helpful, and we volunteered a few nights at the bakery to learn the process.”
Today in Victoria, there are very few bakeries (David believes less than five) using the original method of baking, which is to bake bread on the heat of a cooling wood- fired oven. When David and Margaret decided to make bread this way, they knew they’d have to settle where an oven was. It just so happened that they found one in Flinders.
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“Five years in and we still love it. You still get that real joy of the day’s production,” he says before stepping back into the bakery to start tomorrow’s loaves. “It’s just got every element of realness to it. There’s nothing mundane, no shortcuts, and nothing easy about it. That’s what really keeps it so interesting and engaging.”
— Flinders Sourdough, Victoria.
When the oven reaches the right temperature (about 400 degrees), they put the first loaves in. “You put in your first doughs that you want to bake really quick and hot, so we’ll start our Viennas. They are a lighter loaf that bakes straight on the bricks of the oven, and they only bake for about 14 minutes,” he says. “By the end of the night, we’ll be putting in our wholegrain heavy rise, and the oven will have dropped from 300 degrees right down to 200 degrees. “Then they will be in there for over an hour.”
This September, David and Margaret will celebrate their fifth year at Flinders Sourdough. They’ve gained a reputation throughout Victoria for their authentic flavour and integrity of their baking process. Along with selling bread from the bakery, David and Margaret travel across the state to sell the loaves at farmers’ markets.
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We’re Family The Collection Palm Springs
Our Future Midnight Modern
Product Index Say Hello
More than on any other continent, Australian life is defined by the natural environment. Our homes, our weekends, and our holidays are about connecting with the landscape. Our cities, suburbs, and coastlines are shaped by homes that use the elements and celebrate the easy, calm, Australian way of life.
‘Australians are humble,
honest, unpretentious,
engaging, and fearlessly
creative’.
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Australian
Pictured (L-R)
Lionel Armchair Crumpet Blanket Fred Coffee Table Drift Cushion
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Rusty Blanket
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Lionel Chairs Riley Table Trey in Admirality Dinosaur Designs Bowls + Jug Fete Cups
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Mac Sofa Fred Coffee Table Fete Cups + Platter Stanley Stools Rusty Blanket Mac Armchair
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Beach Shack
Melbourne522 Church Street Richmond VIC 3121
+61 3 8581 4988
Design and Manufacturing HQ66 Ricketts Road Mt Waverley VIC 3149 Australia
+61 3 9548 8866
OnlineTwitter @jardanfurniture Instagram @jardanfurniture Facebook jardanfurnitureWebsite jardan.com.au Email [email protected]
Sydney 42 Oxford Street Paddington NSW 2021
+61 2 9663 4500
Brisbane16a/23 James Street Fortitude Valley QLD 4006
+61 7 3257 0098
Come say hello
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