苏州吴江区美甲培训

苏州美甲美睫培训学校

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Porcelain Bear is a well-known furniture and lighting showroom in Collingwood. Photo: Dianna SnapeThe second coming of Porcelain Bear is dark and edgy, something not normally seen in a lighting showroom.
苏州美甲美睫培训学校

The 1950s warehouse in Derby Street, Collingwood, has had a number of makeovers. In the late 1960s, a substantial addition, with an orange-brick façade, enveloped the slim poles leading to its former use as an artist’s studio (producing posters for art events). And in 2013, Porcelain Bear, a well-known furniture and lighting showroom opened its doors to both architects and designers, as well as the general public passing by. Like many transformations, the first ideas aren’t always the most effective. For Gregory Bonasera and Anthony Raymond, directors of Porcelain Bear, the choice of grey paint, with a fleck of blue, was discordant with the porcelain pendant lights, wall sconces and cream/white porcelain objects and artifacts now beautifully displayed.

“We know the second reincarnation of our showroom needed to be darker and edgier,” says Raymond, who met Bonasera while studying industrial design at Monash University. Bonasera later opted to study ceramics, also at Monash University. One of the duo’s recent designs graced the showroom, with ceramic chain links acting as a screen and also showing that porcelain can be robust. Far from the original fit-out, which was plastered with art posters and splattered-painted concrete floors.

On the second renovation, Bonasera and Raymond selected the perfect deep charcoal black/grey as the showroom backdrop. The exposed polished concrete floor was also reworked with 1500 individual timber posts (originally from old garden fences) hand laid by the guys over two subtle changes in level. And while the floor on the showroom was lightly oiled, the parquetry floor of the adjoining dark room was literally “torched” by hand. “We wanted to create that slightly burnt effect,” says Bonasera, who framed both rooms in slate-grey curtain fabrics. Other touches included cladding the structural poles in both areas with shiny black tiles, a material and process that is also offered to creatives looking to conceal heavy structural columns. And to the rear of the showroom is the studio, with kilns and open steel shelves, with porcelain designs in a variety of production stages ready to be shipped to the United States.

As well as creating the right backdrop for Porcelain Bear, black steel and glass doors were inserted to connect the two rooms. And what was previously a single door leading to an office is now boarded up and concealed behind a grey-carpeted wall. “Some people have commented that this place has quite a masculine feel. But many of our wall sconces have a curvaceous, feminine quality,” says Bonasera, pointing out the legs of the Palace Table which has become an important part of their repertoire. Even the porcelain door handle attached to these black steel and glass doors is bone-like, evocative of a hand.

As thoughtfully considered are the dark-painted ceiling panels, originally timber doors found in second-hand yards. “The panels soften the acoustics and add another layer to the space,” says Raymond, who wanted to also black out the original corrugated steel ceiling. However, the corrugated ceiling makes a presence in the street, with a pop-out window box beckoning passers-by to find out more. “We refer to it as ‘the booth’. You can see our display right down Oxford Street,” adds Bonasera.

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