designing green
Date: 1 May 2009 to 28 August 2009

 Feather & Lawry Design recognises the importance of the environment and our participation within it in regard to design.

We feel that part of our responsibility is to educate and inform the public on current environmental issues and acknowledge the efforts and commitments of many individuals and companies involved in the global endeavor of environmental awareness

We would like to thank all those who have contributed their efforts in this important area.

design gallery open | monday - friday | 9am - 5pm
for prices please contact our office

jardan | lounge manufacture

The items chosen by Feather & Lawry Design use environmentally sustainable, kiln dried hardwood frames with CFC free polyurethane foams.  Both the Charlie and the Frank are GECA (Good Environmental Choice Label) certified.  The GECA Label is the most recognised declaration in Australia.

Jardan's passion for premium, Australian made furniture combined with their commitment to socially and ecologically responsible design, manufacture and total product lifecycle, results in pieces that are environmentally friendly.
 verve designer collections | upholstery fabric
100% bamboo
  • Natural, antibacterial and deorderising properties
  • Unique, biodegradable textile material
  • Envirofriendly manufacturing process
  • Renewable resource
  • Vegetable based fabric
  • Requires no pesticides or fertilisers
  • The bamboo plant is drought & flood tolerant
  • Bamboo releases a significant amount of oxygen into the atmosphere, more so than trees |
   designer rugs

Designer Rugs have undergone testing by the Carpet & Rug Institute Green Label test program to determine the organic emissions from the entire product range of New Zealand Wool made in Malaysia rugs.

The emission results are significantly lower than the required specification of Green Star IEQ-13.  The Emission Test Certificate is available by request.
 grain furniture | timber furniture

Grain Furniture is an environmentally friendly company, locally manufacturing furniture on the Sunshine Coast.  They use local domestic timber from Tasmanian Oak plantations involving a low travel footprint.

Durable and environmentally friendly paints/stains are used from Resene and Mirotone with the understanding that this is not as environmentally sensitive as bees wax but is required for a durable finish.

Lastly and most importantly Grain Furniture employs locals; which replaces the need for imported products, is of better quality, enables faster delivery times and the ability to tailor make to suit customer orders.
wambamboo | floor lamp & stools
 Kent Gration established Integration Studio to address social and environmental issues through design using a multi-faceted approach, working in the areas of graphic, product and furniture design. Kent's philosophy is that good design should last forever, but needn’t last forever in the environment. The Wambamboo range was created to highlight bamboo's versatility as a natural high-end material using bamboo poles, cross-laminated boards and veneers, whilst promoting the environmental benefits of this rapidly renewable resource.

The Rolf stool is designed to be ergonomic, stackable and environmentally aware. The seat design enables the efficient production of 10 seats from each standard 30mm board. The stool shaped can be redesigned as a 3 seater table and kids seats and table, adjusting the height, table size and top thickness accordingly. Also available in coffee.
425mm(h) x 477mm(w) x 414mm(d) 3.5kg

The Costello seat’s organic form and sophisticated use of laminated bamboo, reveals a mosaic of vertical and horizontal DNA-like grain patterns, representing innovation in design and material usage. A focus has been placed upon the exotic and tactile qualities of the piece, imbuing a personable sense of warmth and engagement. The piece is hand assembled and finished using CNC components and can be custom designed for children.  Also available in coffee.
Dimensions: 44cm(h) x 44cm(w) x 37cm(d) 6.5kg

Winner “Best Sustainable Design” Award Melbourne Fringe Furniture 2007 Silver Award "3D Sustainable Category” Queensland Design Awards 2008 Design and Design Award Yearbook 2009

The Abbott lamp features an elegant bamboo veneer shade which emits a warm natural glow in any space it illuminates. The structural frame, which comes in an assortment of shapes, is produced from cross-laminated bamboo. All components are flat-packable and can be erected with ease.  The lamp incorporates energy-efficient bulbs and universal electronic ballasts.
Dimensions: 1750mm(h) x 280mm(w) x 240mm(d) 2.5kg
rebecca ward | jewellery

Sunken City – recycled glass jewellery
As the icecaps re-form and oceans recede to early 21st century levels, a treasure of broken fragments is revealed. An enlightened new tribal society fuses nature and lost technology in a cult based on ecological principals. The sea relinquishes the treasures it has claimed - land, building materials and mysterious fragments. Artisans craft the sea glass, broken window fragments and other relics into powerful amulets and charms. The materials are given new tribal meanings sometimes at odds with the 21st Century use, sometimes ironically parallel.

Recycled glass is collected from demolition yards, beaches, glaziers and other craftspeople.  It is cut, broken and then tumbled to neutralize the sharp edges.  The fragments are assembled into pieces of jewellery using sterling silver and various types of thread and cable.
"Louvreite" is a term of Rebecca's own invention and is made from fragments of old louve glass using the tumbling process.

Louvre windows are horizontal panes of glass, typically textured for privacy and opened by levers to let through cool breezes.  Today they have gone out of vogue, so thousands of rectangular panes of textured louvre glass languish in demolition yards awaiting resurrection and rediscovery by artists like Rebecca.

   david trubridge | ecc | lighting
  • All timber is from sustainable managed plantations
  • All pieces are designed to use the minimum amount of material for the maximum amount of effect
  • Plywood is the least wasteful form of conversion of timber because the round log is peeled with knives
  • Oil finishes are organic non-toxic natural oils
  • Nearly 70% of the electricity used is renewable hydro-electric
  • Many designs are packed flat and kitset for easy and low energy freighting
  • All assembled pieces are made to the highest craft standards for maximum longevity
  • All manufacturing is in New Zealand and responsiblity is taken for the effects of this activity - thereby preventing problems being passed onto another cheaper country
  • All waste from the factory is sent to recycling facilities |
formway | commercial images | occasional chair

Formway's design and environmental concepts investigate
  • Achieving material efficiencies
  • Using minimal materials
  • Investment in upfront tooling - resulting in cost efficiences in ease of manufacture and assembly
  • Materials and finishes that are carefully selected to be low impact and incorporate a sustainable criteria
  • Using CFC free water based upholstery foams
  • Sourcing of eco-friendly plywood timber from independently certified forests





deborah beaumont | artworks

Newspaper printing plates and spoils resused as intriguing artworks

For nearly a decade Deborah has been visiting the print-production area of APN Print to collect the detritus of local newspaper production.  From this site, she collects used aluminium newspaper printing plates, and spoils tht included the brilliant ink-stained incidental and accidental prints that are created during a normal newspaper print-run.  These spoils are ink-stained, cut and discoloured newsprints and generally await recycling.  However, the vibrant colours and unique smears are too spectacular for Deborah to ignore, and pulping them would be tragic!  Like the used printing plates, some fragments hold hits of text, snippets of stories, and portions of people and places.  Others are as gestural and abstract as a Jackson Pollock drip painting!

Deborah's studio can be described as something akin to a museum of superseded and current newspaper print technology.  Racks of used newspaper printing plates align her studio walls.  Set upon set of mapping drawers overflow with potential newspaper spoils.  Her insightful collectio includes an antique photographic film that, in its time, was used to prepare the light sensitive lithographic printing plates.  These fascinating materials are commonly taken for granted by those in the industry, and are unknown to most outside the field of printing.  However, not anymore, as Deborah continues to be amazed by the richness of colour, texture and surface inherent within print detritus, she continues to resurrect local history through these forgotten cultural artefacts, as they are recycled and rediscovered through their participation in her visual arts practice.


andrew macdonald | artworks

recycled materials with a new life

The role of environment is central to Andrew's artwork.  It springs from his early interest in nature as a child collecting insects and bird watching.  Andrew later studied for a Bachelor in Applied Science in Biology, however was sidetracked by mechanics, especially aircraft, and became a tradesman.  A brief diversion into furniture making followed, before he concentrated on art.  Andrew now fuses these seemingly disparate vocations into one.

In his work, Andrew looks at our impact on the environment, and our attitude towards it, especially through our use of technology.  He employs hitory, narrative, and scientific source material to explore our complex relationship with the earth.  Botanical and microbiological illustrations become morphed with early aviation developments.

Andrew consciously utilises recycled materials in his work, where possible.  Such use points not only to a cautious husbanding of finite resources, but also imbues a sense of the past, of previous life, to the pieces.

Another feature important to Andrew's practices is the incorporation of natural or renewable energy sources, such as wind power and hand cranked elements within the works.  And, while Andrew is comfortable with power tools to create the works, he also enjoys simple hand operated tools for their direct action and quietness.  To this end Andrew has made some 60 or more hand tools, as an extension to the art making process.




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