Today’s public environments need to be agile and able to match a physical and mental metabolism of the day, in order to stay relevant. At +Halle, we are convinced that future of furniture lies in spaces that adapt to the behaviour of the people who use them, meaning that the design needs to achieve a synthesis of context, function and performance.
Selected items from our range are manufactured under licence in Brisbane, Australia which reduces lead time for projects in New Zealand.
This allows designers to select locally available fabrics common to both the Australian and New Zealand markets.
The Nest collection was designed by Form us with Love. It incorporates high and low chairs and tables, along with highbacked chairs and sofas for private spaces. With a choice of steel or timber bases the range can be incorporated into numerous spaces
The intuitive sofa system Levels is Form Us with Love’s response to +Halle’s brief on dwelling; an answer to a break in the day, a seat for a quick lunch or a place for a short read. What began as concepts and ideas of a seating landscape, where a natural pause can be experienced together or individually, became an interlaced structure allowing for dwell-time facing different directions, far apart, and at different eye levels.
Levels consists of 15 configurable modules in 3 heights and 3 lengths.
Runway allows the creation of unique and graphic units with just a few elements. Alternatively, the units can be put together in larger combinations. Seen from above, the units create graphic impressions that interact with the details of the contemporary architecture.
The Proto collection is Nick Ross’ interpretation of +Halle’s brief on dwelling, inspired by our desire to seek shelter from an over-stimulated public realm. “I was thinking literately about what I felt the word dwelling meant, and it brought me back to an early type of refuge,” says Scottish-born, Stockholm-based designer Nick Ross, “I wanted to create a feeling of a primal place, for instance, tucking yourself into a corner.”
Ahead of the official launch, Proto was tested and monitored with a set of users, being closely observed around the range: “The one thing that I noticed was that people started to move the pieces around, in the same way as we had tested and moved the card models around during our first process meetings,” Ross recalls, “It was a joy to see them being as playful as I had initially been.”
As the intuition is to turn the seats, the collection proofs an interesting flexible landscape of open and closed encounters. “Even the way people intuitively place two high Proto chairs next to each other, with arms touching, provides a little room, or a small, improvised habitual structure,” says Ross.