Sixty Years of Good Design

INTRODUCTION PAST

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DESIGN MILESTONES DESIGN ICONS DESIGN PIONEERS

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PRESENT

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DESIGN TODAY

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FUTURE

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DESIGN INSIGHTS FURTHER READING

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AWARDS

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SPECIAL ACCOLADES GOOD DESIGN TICK AWARD OF THE YEAR SUSTAINABILITY AWARD BEST IN CLASS GOLD WINNERS AWARD WINNERS

ACKNOWLEDGEMENTS

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PA RT N ER S CREATIVE PARTNER

STRATEGIC SPONSORS

MAJOR PARTNER

CATEGORY AWARD PARTNERS

Engineering Design

Product Design

Next Gen

Digital Design

Social Impact

Design Innovation Award

Safe Work Award

Green Design Award

MAAS Design Award

Special Awards Trophy Partner

Water Bottle Partner

INDUSTRY AWARD PARTNERS

Indigenous Designer Award

DIA Award

FESTIVAL PARTNERS

Good Design Awards Trophy Partner

Official Hotel Partner

Judging Event Partner

Logistics Partner

Design is part of life. Everything we do, how we live, how we work, the way we interpret and shape our world — it all relates to design.

Good design makes ordinary tasks enjoyable and efficient and our daily surroundings beautiful and useful; it is how we create a better life.

For 60 years Good Design Australia and the Good Design Awards have been encouraging our design capabilities and recognising design excellence.

From the early days of product design with a manufacturing focus, to exploring the endless potential of design to affect everything from a toothpick to a high rise building, Australia’s design journey continues to be one of creativity, innovation and pushing the boundaries of what is possible.

Good Design Australia has been integral to this, offering support, vision, energy and enthusiasm.

This publication traces the history of Australian design and recognises the achievements of the 2018 Good Design Award winners. But more than this, it tells the story of how design has changed us and our nation and the potential it has to transform our lives into the future.

In the spirit of good design, I join you in celebrating the history of Australian design and congratulating the Award winners for 2018.

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His Excellency the Honourable Sir Peter Cosgrove Governor-General of Australia

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Message from Governor-General

On behalf of the NSW Government, it is my pleasure to congratulate the winners of the 2018 Good Design Awards.

The Good Design Awards are a wonderful showcase of our most successful ventures in design entrepreneurship and innovation.

To celebrate the 60th anniversary of the Good Design Awards, the 2018 awards ceremony was held at the Sydney Opera House – a hallmark of excellence in architecture and design, and one of Australia’s most significant cultural icons.

This year’s Good Design Showcase Exhibition which recognised past and present winners, was presented as part of Vivid Sydney, the world’s largest festival of light, music and ideas.

Vivid Sydney celebrates the creative space where art, technology and innovation intersect, a fitting synergy with the Good Design Awards and Showcase, with both events further reinforcing Sydney as the creative hub of the Asia-Pacific region.

I congratulate Good Design Australia on another remarkable year of design leadership and wish everyone continued success.

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Gladys Berejiklian MP NSW Premier

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Message from Premier of NSW

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It is a little known fact that when formed in 1958, Good Design Australia – then known as the Industrial Design Council of Australia (IDCA) – was based on the UK ‘Design Council’ model. Conceived as a national umbrella organisation for the promotion of design quality, funded by the Commonwealth Government keen to see Australia remain internationally competitive, it put ‘design’ on a national stage in Australia. Good Design Labels – visible indicators of quality design and manufacturing began appearing on products in the marketplace; Design Centres opened in capital cities across Australia; the Prince Philip Prize for Australian Design was introduced, supported by His Royal Highness, Prince Philip, The Duke of Edinburgh, with the Australian Design Awards televised on ABC TV, reaching audiences of over 4 million. Its history is accomplished. It has also been chequered, with government support and funding withdrawn.

The UK Design Council has had a similar journey, first on the inside of government, then outside. It remains to this day, the leading authority on design in the UK. Indeed, although now independent, it is the UK Government’s advisor on design.

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What parallels can be drawn between the two? What lessons can be learnt? What is the role of design advocacy today, and how can it create the most impact to ensure the betterment of society, industry and the environment?

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It interests me, that both organisations shared the same early focus – elevating industrial design standards as a matter of economic imperative. In your case Sarah, I believe Winston Churchill’s wartime government established the Council seeing it as instrumental to supporting Britain’s economic recovery. How have you managed to evolve your purpose and activities over time, to show how design can have a wider impact across all sorts of complex challenges?

Yes, I mean for starters consider the fact that you and I are talking to each other on Skype. Who could or would have imagined that would be possible 20 or 30 years ago? That is design. Having that ability to conceptualise and visualise something which isn’t in front of you. Design itself has changed. Industrial Design is still really important, but digital design – a much newer discipline, is a part of every moment of our lives now.

What do you think has been the most successful method for capturing and communicating the value of design. Not just to government, but to industry, to business and the general public?

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That shared starting point for both organisations is really interesting – the fact that you had the UK Design Council and the Industrial Design Council of Australia being set up at a time when the world was quite uncertain. In our case, the men that set it up were looking into a future that they didn’t really know after the end of World War II. And I think that DNA – of looking into a future that you don’t know – is very helpful and useful to us now and is the reason that we’ve managed to evolve. If you think about the world right now, as we’re about to move into the post-Brexit world, we’ve got artificial intelligence playing an increasing important part in our working world with 35% of the jobs of the future not yet created – so there is a similarity.

I think if you’re an organisation where your starting point was uncertainty it means that you are not afraid of adapting, it means that you can be agile and I think it means that you can change.

And I find that particularly interesting from our side because we continually advocate that it is the role of design, to a certain degree, to try to imagine that uncertainty, what our future is. What a ‘better’ future is. And then design our way towards it. It seems our organisations share the same aspirations and same challenges – it’s about pushing that point about what designers are able to do in terms of imagining a better world.

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Divided by geography, but united by purpose, the following is an extract of a conversation between Sarah Weir OBE – CEO of the Design Council in the UK, and Dr Brandon Gien – CEO of Good Design Australia.

There have been quite a few methods. Going back some time now, one of the earliest was a Design Council shop in Haymarket.

Attached to certain products was a swingtag – I think Australia had

If I can just reflect on your point about awards…we are still in touch now with a number of companies who received the Prince Philip Prize for Australian Design back in the late ‘60’s and ‘70’s. They tell me that as a result of winning that award, they’ve grown their business into an international brand and it was the ‘one defining moment’ for them. It made such a big difference – the media, the fact that they were on ABC national television. It profiled them and catapulted them into the minds of the general public.

Also, clearly, the work that you are doing around measuring the economic value of design is key. It is something that our friends in New Zealand have also recently done. We hope to work with them to see if we can leverage their methodology and come up with our own valuation of design’s contribution to Australia’s GDP. What a game changer that would be – a figure proving the value of design to Australia’s economy.

Yes, that’s right we need to have design threaded through STEM, it doesn’t just exist within the ‘A’ of STEAM as that would not include so many people using design in non-design industries such as finance and banking, automotive and aerospace.

Let’s turn to designers themselves. Any advice for them on how best to succeed? What, in your experience, have you noticed differently about those agencies or designers within organisations, achieving their goals, over others?

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The World Economic Forum has set out, as I’m sure you know, the main skills that are going to be needed for the Fourth Industrial Revolution –complex problem solving, critical thinking, creativity.

I think that those designers and those design agencies which really 14

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That’s fantastic…and I think that the more that we can all do that, in our different countries and economies the better. Once everyone can actually see that value and know that design skills are used across industries and are of value right across the economy, i.e. that they don’t just sit neatly in one box, just within the ‘creative industries’ for example, the better. Design, as we can now prove, is everywhere.

I love that, and I’ve heard you explain that beautifully once before in relation to government discussions around a focus on STEM or STEAM. I believe you said that you didn’t see the ‘A’ as being a separate entity but that design should be threaded straight through. I think that it is such an important observation...

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©Design Council / University of Brighton Design Archives

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the same – which was a design quality mark, which said to people “this is new design… this is stuff that is the best.” I remember being taken there as a child and loving the fact that you are being shown this ‘new world’. It was very powerful. And many people still remember that, even though it was now so many years ago.

I think awards are another successful method. The Prince Philip Designers Prize was a really powerful way of communicating design and its value. Television of course, also played a key part. Indeed, the number of programmes that there are about design now are a direct result of those early TV days.

The fourth one – our most recent method – is showing the value of design through evidence. We carry out national, ground-breaking research such as our ‘Designing a Future Economy’ report last year that measured the economic value of design skills to the economy. This is a world-first, and a very important way to communicate the value of design in a really powerful way. It showed that the value of design skills to the UK economy is £209 billion.

When you’ve got that sort of evidence, that’s when you can really make a difference. You’ve got facts and figures that can influence government policy and that’s when you can make a difference to people’s lives. And that is our purpose.

Now, that’s what we dare to do, to make life better by design, whether that is better places, better products, better processes or better performance.

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I agree entirely… I’m thinking of how we have adapted as well, within our own Good Design Awards here in Australia... Year on year, we’ve deliberately expanded our award categories from our original heritage of product design. Now we have social impact design, service design, design strategy, communication design, digital design... Many work together and the output can often overlap.

That’s very true. It’s an issue: that design ‘is everywhere.’ And if something is everywhere it can be nowhere. So it’s almost as if it doesn’t exist because it’s just within everything, but actually without that ingredient, these new things wouldn’t exist.

And that’s probably a universal challenge that I think all design councils and associations probably share – we are trying to promote something that inherently exists in everything.

My wife is a lawyer, and she has often commented: “I’ve never seen an industry that talks about themselves so much and that has to continually remind people about what they do”. And I say “well that’s exactly right, it’s not like I’m a lawyer and when I walk into a room everyone knows instantly what I do”. We almost have to start from scratch.

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Image: The Design Index – 1961 ©Design Council / University of Brighton Design Archives

Yes and we see almost all the major companies using design thinking within their own work. That’s when you know that the designers now within those organisations, and the organisations themselves, will be doing things really differently.

Think of those designers that first worked in finance, developing internet banking for example. We just take that for granted now, but there was a stage when we didn’t have internet banking!

We wouldn’t be able to do that now if it wasn’t for those designers embedded within the business – imagining something which didn’t exist, with the design, technology and engineering skills needed to make it happen.

Do you think though, that the challenge is that when those breakthroughs were created by those people… it wasn’t called design, and they weren’t called designers. It all went a bit under the radar. It just, all of a sudden, popped up and here we have it!

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Image: The Design Index – 1961 ©Design Council / University of Brighton Design Archives

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embrace that, and of course all the best ones do, and think beyond the present day are in the best position. For example, think of the origins of Skype – the thinking, the imagining of what that might be. It’s that visualisation, conceptualisation, the ‘head’ skills of design that is key.

For us, design skills comprise three things – head, heart and hands. The head skills are conceptualising or visualising something which doesn’t yet exist. The heart, is understanding and knowing to ask the right questions of the person about the challenges that they may not even know they have, and then there’s the hand skills – the drawing, coding, CAD skills or whatever. I think those people that can think about all three at the same time and who are curiously reaching out and talking to other people, will be the most valuable.

And that’s one further point I’d like to emphasise – the best designers are always talking to others. The best designers never sit in a bubble. It is always ‘design AND…’ – it’s design and engineering, design and education, design and technology, design and something else. I think that’s where the most interesting things happen.

Well, let’s look at law actually. The question posed was for any advice on how designers can best succeed. The design of contracts is incredibly important. We probably need more design skills, within legal practices than we currently have at the moment...

And isn’t that an incredible thing to think about – the opportunities for designers to go into a profession or an industry that they otherwise probably never would have thought of going into.

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The Design Council is the UK Government’s adviser on design.

How did this come about? How does it work in practice?

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And now the Design Council is almost 75 yrs old, whereas Good Design Australia is a relatively young 60. If the Design Council were to do anything differently in its history, to achieve its goals faster – that GDA as an organisation, or designers themselves can learn from – what would it be?

I think one of the things would be advocating for a government department for design. I think it is probably the case around the world, that there isn’t a government department exclusively for design or a Minister for Design. Here in the UK there is a Minster’s title containing ‘innovation’, but not design. And I think that’s… an interesting state of affairs!

If I look back to the beginning, and imagine that we had a design champion within government then, which continued to the present day, I think that would certainly have made things easier, or certainly different, to how they are now. One might more quickly then be able to build advocates both within and outside government and across industry because people would see “Ah, that’s what design is” and “that’s who’s responsible for that”.

A bit like how you just talked about your wife, how she walks into the room as a lawyer, very few people say “What’s a lawyer?”.

I can’t agree with you more. That’s one of the things that we’re trying to advocate for here. We also have a Minister for Innovation, which makes no sense. Was there an Innovation Council set up 75 years ago in the UK? No, there wasn’t! It’s the same here – it was a design council, because as we know, it’s design that leads to innovation.

I’m forever the optimist, I think that hopefully there will be a country somewhere around the world who will actually appoint its first Minister for Design and we can all point to that and say “Look what they’re doing and look at the impact that person is making”.

Here’s hoping it will be Australia.

SW

I’m with you. I know Saudi Arabia and the United Arab Emirates are putting a lot of money into design right now, the next logical step one might think would be a Minister for Design.

Exactly.

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And of course, it’s starting to happen at local government level already, as we have seen in Helsinki. They have appointed a Chief Design Officer.

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The original constitutional remit was that we were a part of government, as your organisation originally was. So that role was built into the way that the Design Council operates and it continues to be so. Even when we became a charity in the 1970’s, and came out of government becoming independent in 2011/2012, we remained the government’s advisor on design. We still get some funding from the government and in return we provide advice, we do research, we have insights that come out of our research and those insights lead us to running programs, but importantly also lead us to providing informed advice that can help them across a whole range of government departments. In turn, that also helps with the introduction of new government policy. So it is a virtuous circle between our programme, our insights and our research.

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Image: Duke of Edinburgh Prize winner Derek Power, with a range of atomic physics teaching apparatus made

by Teltron Ltd. – 1971 ©Design Council / University of Brighton Design Archives Image: Design appreciation course for engineering students – 1962 ©Design Council / University of Brighton Design Archives

Exactly. Things like procurement as well, or coding. I mean, who is designing the coding for all the artificial intelligence which is going to be such an enormous part of our lives? I think this is quite a big issue actually. If care is not taken with the design of that coding, if it’s not being thought-through carefully enough, unconscious bias – which we actually know is already there – can be built in. If we build that in, without realising it, it will be in there for years and years to come.

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I do think that it’s a good idea. I think those huge organisations with those big goals are a great thing. My only hesitation on that would be that I think the best design comes from being slightly outside and looking in… sometimes the most creative or interesting solutions come from someone asking an unexpected question, from being outside a known framework. And so I think that the future for design will be people being curious and asking questions to make sure that we’re answering the right questions.

Asking the right questions is critical… sometimes designers create products as a perfect solution to a problem that nobody actually ever really had! If we can direct designers to actually go find bigger problems and ask all the right questions around those problems, that to me, is a good place to be.

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Absolutely, because that’s how you make life better by design, by asking the right question. The unexpected question. So keeping your mind really open and having a curiosity, endless curiosity about the world, I think that’s the important thing.

Totally agree. Well here’s my unexpected question to you Sarah.

If you had a magic wand and could do one thing to elevate the value of design in Australia, what would you do?

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OK, that’s quite a big question! But if I had to pick one, it would be to build design into your education system…that’s what I would do.

I think design needs to be threaded through education so that from a young age a design mindset is there – it’s in how you learn, it is that head/heart/hand helping you to visualise and conceptualise, helping you to ask the right questions of people, helping you to think about how you use your hands with CAD drawings or coding etc, as a part of the national curriculum. I think that young people would then come out of school with a more developed sense of that innate curiosity that I think we have as human beings. You will then have an outward-looking country able to look to solve problems in Australia and across the world, and you could position yourself very differently.

I really love that, and it’s regardless of whether those students go out and study law or medicine or engineering, if they’ve already got a design mindset that’s been built in it can be applied everywhere…

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Image: The packaging display at the Britain Can Make It exhibition ©Design Council / University of Brighton Design Archives

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Let’s hope that permeates all the way to the top! Lastly, what do you consider to be the future for design? Do you think designers should take a more active role in creating the change they would like to see? For example, designing with the UN’s Sustainable Development Goals in mind?

Exactly. Yep, that’s what I would do. I would love to do that here as well.

Well it’s a start. Thank you.

Sarah Weir OBE is CEO of the UK Design Council. She was previously Executive Producer at the Roundhouse in London, Chief Executive of Waddesdon Manor in Buckinghamshire and her other past roles include Chief Executive of The Legacy List, the Queen Elizabeth Olympic Park charity (now called Foundation for Future London); Head of Arts and Cultural Strategy for Olympic Delivery Authority; Executive Director, Arts Council England; London and Executive Director of the Almeida Theatre. She started her career as a broker at Lloyd’s of London and over a 15 year career went from being the office junior to Managing Director, the first woman to hold this position. She has a History of Art BA from Birkbeck College (1993-7), was awarded an OBE for services to the arts (2011), First Woman Awards for public service (2013) and is a Fellow of Birkbeck College (2013). Sarah also serves on the board of the Alzheimer’s Society.

Dr. Brandon Gien is the CEO of Good Design Australia and Chair of Australia’s Good Design Awards – the oldest and most prestigious design award program in Australia with its origins dating back to the Industrial Design Council of Australia established in 1958. In 2015, Brandon was inaugurated as a Senator of the World Design Organization (formerly the International Council of Societies of Industrial Design) – the first Australian to ever hold this position.

He is a Board Member of Shanghai City Government’s International Creative City Advisory Board. He sits on the International Advisory Board of Srishti’s Institute of Art Design and Technology in India and has participated as a Jury Member for the Singapore President’s Design Awards, the Korean Government’s Good Design Award, China’s Red Star Design Awards, the Taiwan Golden Pin Design Awards, Rado Design Prize Africa, the Design for Asia Awards (DFAA) and was a member of the World Design Capital Selection Committee.

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He was made a Design Ambassador to Japan, an international design advocacy role organised by the Japan Institute of Design Promotion (JDP). He is currently an Adjunct Professor of Industrial Design at the University of Canberra and co-host of popular television series: Australia by Design Innovation on Network TEN and ONE.

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Read over our history and major milestones since being established in 1958.

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Good Design Australia was formerly known as the Industrial Design Council of Australia (IDCA).

60 years on, we continue to proudly promote and recognise excellence in design, creativity and innovation in Australia and abroad.

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The Industrial Design Council of Australia (IDCA) – now known as Good Design Australia – is formed.

It is established by a group of design and industry professionals and funded by the Commonwealth Government – unlike today. It is conceived as a national umbrella organisation, based on the British ‘Design Council’ model.

Its aim is to establish, maintain and promote high standards of design in manufactured goods, and to foster the understanding and appreciation of design in the community at large.

During the early 1960s, the IDCA and industrial design as a profession in Australia – begins to flourish. From 1964, Good Design Labels, visible indicators of quality design and manufacturing, begin to appear on products in the marketplace. The IDCA-led Australian Design Index for Good Design becomes a well-known register of the best designed and made products in Australia. Together, these initiatives represent the formal start of design assessment and promotion in Australia, stimulating competition, debate, high standards of quality and industry growth. The first Australian Design Centre opens in 1964 in Melbourne with a special exhibition of selected products from the Australian Design Index. Lectures and seminars are held in Sydney and Melbourne to help with professional development.

A steady flow of federal and state government funding assists with the establishment of a new Design Centre in Sydney, with more centres to follow in other capital cities. Such is the success of the IDCA that the Commonwealth Government agrees to match dollar for dollar all donations to the Council from other sources.

In 1967 the Prince Philip Prize for Australian Design is introduced, supported by His Royal Highness, Prince Philip, The Duke of Edinburgh.

With the aim of promoting greater awareness of good design in Australian engineering, this prestigious award recognises a product or system of Australian design closely associated with Australian life and industry, and which had made, or was likely to make, a substantial contribution to Australia’s economic progress. Much like the Australian Design Index, criteria includes standard of manufacture and construction, inventiveness of design, originality, aesthetic appeal, ease of operation and marketability.

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The inaugural Prince Philip Prize is awarded in 1968, during Prince Philip’s visit to Australia in May. Over 90 entries are received and the winning entry goes to a self-propelled grain header, designed by Kenneth Gibson.

With Prince Philip as figurehead, the Prince Philip Prize thrives for the next 10 years. Manufacturers and designers strongly support the program and consumer perception of design continues to grow.

Despite the success of the Prince Philip Prize, the IDCA is faced with funding difficulties in the mid-1970s and is forced to temporarily close in 1976. Strong industry rallying and a new injection of funds from the Commonwealth Government sees it reopen later that same year and a new ‘Innovation’ recognition program is introduced to run alongside the Prince Philip Prize. The Australian Design Awards program is the result, and it quickly becomes a valuable promotional tool for manufacturers and designers. The Prince Philip Prize continues to be awarded, but only to products which have received the Australian Design Award.

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In 1979, the first Australian Design Awards Yearbook of Award winners is published. Publicity for design is at an all-time high with televised coverage of the Australian Design Awards Presentation on ABC television reaching audiences of more than four million. The Awards Presentation is hosted by popular Australian TV celebrity, Ita Buttrose.

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In 1980, Prime Minister Malcom Fraser contributes to the Foreword for the Australian Design Awards Yearbook.

“Consumers, whether they be end users or other manufacturers, are increasingly seeking better products, components and services. The future manufacturing industry, and to some extent Australia’s future prosperity, will depend on meeting this challenge for quality products at internationally competitive prices. The importance of good product design in the successful manufacture and marketing of products for local and overseas markets is widely recognised.”

HON. MALCOLM FRASER PRIME MINISTER OF AUSTRALIA

In 1984, the Prince Philip Prize is replaced by the Australian Design Award as Australia’s most prestigious design accolade. Continuing funding challenges, wavering industry support and a lack of clear direction plagues the IDCA.

In 1987, in an effort to reinvigorate the movement, the Government re-launches the IDCA as the Australian Design Council and establishes a new role for the Council in design information and training.

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In 1989, The Australian Design Council steps up its promotional efforts around the Australian Design Awards and takes out a series of national advertisements. They are aimed at promoting the Australian Design Award to business and consumers as a symbol of quality design and manufacture.

The Government hands control of the Australian Design Council and the Australian Design Awards program to Standards Australia, Australia’s peak Standards body. The Awards are positioned as an important benchmark for continual improvement and international best practice for design.

The organising body for the Australian Design Council is renamed the ‘Australian Design Awards’, a division of Standards Australia.

The three-tier program of Australian DesignMark, Australian Design Award and Australian Design Award of the Year is introduced in 1993 and first awarded in 1994.

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Powerhouse Museum, part of the Museum of Applied Arts and Sciences (MAAS) establishes the Powerhouse Museum Design Award and Selection as part of the Australian Design Awards program. Winning products are displayed in the Powerhouse Museum for one year with the Selection added to the Museum’s permanent collection of Australian design. Criteria for the award include good design, innovation and the significance of a product to Australia’s material culture. Products must demonstrate innovation in design, technology or materials that are of real benefit to users. They must also show potential to become important in the lives of Australians, be significant to Australian industry and provide an opportunity for Australian design to be recognised in the global marketplace.

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By the mid-late 1990s, support for the Australian Design Awards is declining.

The program is plagued by high operating costs and complex submission and evaluation systems resulting in the lowest participation rates from Australian designers in the program’s history. It isn’t until 1997 that a revamped format, developed in close consultation with the design industry, is able to breathe life back into the Awards. Featuring a world-first online application form and first-round internet shortlisting process, the new program attracted more than 100 applications, with an encouraging 70 per cent submitted directly by design consultancies.

The first black tie Awards Presentation Ceremony is held at the Metro Theatre in Sydney with attendees coming together to celebrate the best in Australian design.

The ADA becomes Australia’s Design Promotion Member of the International Council of Societies of Industrial Design (ICSID), the global body for Industrial Design.

99 The latest success of the Awards is not to last long. The program is still challenged with significant operating costs, leaving Standards Australia with a difficult decision regarding its future. Weighed down by high overheads including staff and offices in New South Wales, Victoria, Queensland and Western Australia and limited revenue streams, the 1999 program is put on hold while Standards Australia explore other options to secure the future of the ADA. Despite this setback, with strong support from the industrial design community and armed with a new business plan and financial model, the ADA team led by Dr. Brandon Gien, Manager of the Awards at the time, gain approval to re-open the Awards under a break-even budget model.

For the next few years, the ADA continues to grow in standing and support, buoyed by financial stability and strong support from the design sector.

The 2000 Australian Design Award of the Year goes to Cochlear for the design and development of their revolutionary Cochlear Nucleus 24 Contour hearing implant system. A successful student design category is launched, established in partnership with Dyson Australia.

A greater emphasis is given to mainstream media to raise the awareness of good design to Australian businesses and consumers. In 2001, the Australian Design Awards Yearbook features a Foreword from the Prime Minister of Australia, the Honourable John Howard.

Nevertheless, the Australian Design Awards continues to operate without federal government funding.

“Creativity and innovation are recognised worldwide as key drivers of economic and social well-being in the 21st Century. The Australian Design Awards continue to showcase the best in Australian design and provide sound evidence that these qualities continue to characterise the development of Australian industry.”

THE HON. JOHN HOWARD PRIME MINISTER OF AUSTRALIA

“I hope this whole exercise will provoke a great deal of discussion and argument on the subject of Industrial Design. I don’t mind in the least if people disagree violently with our choice because it will mean that this is a subject worth attention and worthy of well-informed criticism”.

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HIS ROYAL HIGHNESS, PRINCE PHILIP THE DUKE OF EDINBURGH

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2006 sees another record number of entries submitted to the Awards.

The design evaluation criteria and judging process is further refined to bring it in line with international best practice. The Australian Design Awards Ceremony is hosted by popular TV host and comedian, Will Anderson with the Australian Design Award of the Year going to the S8 Series Flow Generator and HumidAire 3i Humidifier System designed by ResMed Limited.

Dr. Brandon Gien, Executive Director of the ADA at the time, is elected to the Board of Directors for the International Council of Societies of Industrial Design (ICSID) in San Francisco. The Australian Design Award of the Year goes to Melbourne based Catalyst Design for their innovative bike lamp called the Knog Gator.

The Awards Ceremony is hosted by Australian celebrity duo, Hamish and Andy at the National Gallery of Victoria (NGV).

The Australian Design Awards Yearbook features a Foreword from the Prime Minister of Australia, The Hon. John Howard, recognising design’s contribution to society and business in Australia.

“Design and innovation are integral to our nation’s ongoing economic prosperity. For this reason, the Australian Government is committed to maintaining an environment that is conducive to turning these new ideas into products that create jobs and maintain our standard of living”.

THE HON. JOHN HOWARD PRIME MINISTER OF AUSTRALIA

The ADA continues to grow in size and prestige with a record number of high quality submissions received. New product categories are introduced and the rigorous judging process is further refined and simplified. The 2004 Australian Design Awards Ceremony is held at Sydney’s Town Hall with the Governor General of Australia, Major General Michael Jeffery attending as Guest of Honour and presenting the Design Award of the Year to the Ford Design Team for the new Ford Territory AWD.

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The Australian Design Awards celebrates its 50th Anniversary.

Internationally-designed products available for sale in Australia are allowed to enter the Awards for the first time.

The Australian Design Awards are re-launched as the Australian International Design Awards (AIDA).

This bold move is aimed at raising the stakes for good design once again, allowing Australian design to be benchmarked against the best in the world. A Design Award for Sustainability is introduced to recognise excellence in sustainable design practice. The Australian International Design Award of the Year goes to Flaik.

A personal tracking device designed for skiers and snowboarders designed by Australian design consultancy CMD Design and Innovation, it confirmed that Australian design can compete on the world stage.

By 2009 a record number of Australian International Design Awards are presented. Local design consultancies go head-to-head with multinational design powerhouses including Miele, Braun, Samsung, Volkswagen, Audi, Microsoft, BMW, Mercedes-Benz and British Airways. Entries are received from countries including Switzerland, Sweden, Germany, UK, Portugal, China, France, USA, Italy, New Zealand, Denmark, Canada, Japan, Taiwan, The Netherlands and Czech Republic.

Australian designer Marc Newson wins with his Economy Class Seat for the Qantas A380 taking out the 2009 Australian International Design Award of the Year.

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08

Good Design Australia, as we know it today, is born. In 2010, Standards Australia signs an agreement that results in the transfer of custodianship of the AIDA to Good Design Australia. Dr. Brandon Gien sets up this new international design promotion organisation, established to operate the Awards and to continue the legacy of the IDCA in promoting design in Australia and internationally. The transfer of the AIDA to Good Design Australia is aimed at positioning the AIDA program in a new environment, giving it the capacity to grow and better promote the rapidly changing design sector in Australia and overseas.

His Excellency, Mr Michael Bryce, becomes the inaugural Patron of the organisation. Mr Bryce is an architect and designer acknowledged in Australia and overseas for his distinguished work in graphic, urban and environmental design.

He was the Chief Design Advisor to the 2000 Sydney Olympic Games. Mr Bryce sat on the Board of the original Australian Design Council in the mid-1970s.

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Good Design Australia opens up the Awards program to a much wider range of disciplines, and champions ‘Design-led Innovation’. Another record number of entries are received with an ever expanding international jury. The 2012 Design Award of the Year goes to the Deepsea Challenger, a single occupant research submersible designed and built in Australia by Hollywood Director James Cameron and Ron Allum in collaboration with local design consultancy, Design+Industry. Good Design Australia wins a competitive tender to manage the prestigious Victorian Premier’s Design Awards program on behalf of the Victorian Government.

Dr. Brandon Gien, CEO of Good Design Australia, is elected President of ICSID, now known as the World Design Organization (WDO). He becomes the first ever Australian to hold this post.

The Awards align with Vivid Sydney, the world’s biggest festival of light, music and ideas, and the inaugural Australian International Design Festival launches. The Design Festival includes an international design conference, public product showcases at Westfield shopping centres, as well as the Awards Ceremony and series of VIP celebrations. Good Design Australia launches the Design as Strategy Forum – a new design and business conference with a focus on design as a business strategy.

Richard Seymour, co-founder of Seymourpowell, is headline speaker together with Dong Hoon Chang, the Head of Design for Samsung Electronics. Thought leaders from companies including Suncorp, Westpac and Deloitte share why investment in design is critical to business competitiveness and growth.

The Awards are restructured and renamed the Australian Good Design Awards and now accept entries under seven major design disciplines.

New prizes are introduced for design excellence in society, environment, business and industry. These new forms of recognition are aimed at promoting design that shapes the future economic, social, cultural and environmental aspects of Australia and our planet as a whole. Gerhard Vorster, former Chief Strategy Officer of Deloitte Australia, becomes Patron of Good Design Australia. Tesla Model S dominates, winning the 2015 Good Design Award of the Year.

The Design as Strategy Forum hosts speakers from the US, UK and Australia. All share a common belief in the power of design to transform cities, social enterprises, products, services and business models.

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Flow Hive wins the 2016 Good Design Award of the Year, a game-changing beehive design that produces honey with the turn of a handle. The Good Design Festival is the largest yet, taking place at the iconic Overseas Passenger Terminal in Sydney, at the heart of Vivid Sydney. The Hon Malcolm Turnbull MP, Prime Minister of Australia writes the Foreword for the 2016 Good Design Awards Yearbook. The Design as Strategy Forum is one of the most respected design and business gatherings in the Asia-Pacific Region.

Headline speakers include Professor Ian Harper, Board Member of the Reserve Bank of Australia and Jerome Reid, Commander in the Royal Australian Airforce (RAAF) speaking about design-integration at the highest levels.

Good Design Australia is the initiating catalyst for the bid for Sydney to become World Design Capital 2020.

Sydney is shortlisted but misses out to the City of Lille, France. The Design as Strategy Forum celebrates its 5th year with Forums held in Sydney and Melbourne. The 2017 Good Design Award of the Year is a tie for the second time in the history of the Awards. It goes to the Game of Awesome, designed by New Zealand based designers Chrometoaster and to the Brisbane Flood Resilient Ferry Terminal, designed by Aurecon and Cox Architecture. Good Design Australia becomes Series Partner for a new TV show on Channel TEN and ONE called Australia by Design Innovation with Dr. Brandon Gien from Good Design Australia co-hosting the show.

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Good Design Australia and the Good Design Awards celebrate 60 years of promoting design and innovation.

The Good Design Awards program is the biggest yet, with entries accepted under ten design disciplines, making it one of the broadest international design award programs in the world.

A number of new accolades are introduced including an Indigenous Designer Award, Good Design Team of the Year Award, and the Australian Design Prize to recognise individual designers who are making or have made, a significant impact in Australian Design over the course of their career. Good Design Australia joins the UN Global Compact in support of achieving the Sustainable Development Goals by 2030. The ceremony is held at the iconic Sydney Opera House, with more than 1000 guests. It is followed by a three-day Good Design Showcase Exhibition, launched alongside Vivid Sydney, open to both public and industry. 60 years on, Good Design Australia proudly continues the important legacy of its forebears promoting the value and importance of design to business and industry, government and consumers and end-users of design.

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From an ear implant to a submersible that has reached the deepest-known point on earth, Australian design has, over the decades, made worldwide impact.

Here is a snapshot of six decades of award-winning designs, that have shaped our nation. They tell a story about who we are as Australians and what we’re capable of.

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AERONAUTICAL RESEARCH LABORATORIES DESIGNED BY

19 60

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BLACK BOX FLIGHT RECORDER David Warren

SHEPHERD CASTORS DESIGNED BY

George Shepherd

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SHEPHERD CASTOR WHEEL

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David Warren designed the black box flight recorder while working at the Aeronautical Research Laboratories (ARL) in Melbourne in the 1950s. The black box flight recorder, now standard on all aircraft, is a vital safety device and investigations that use the flight data retrieved from these devices continue to improve the safety of aviation.

AWA DESIGNED BY

William Moody

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AWA PZ4 TELEVISION

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George Shepherd was a wealthy Melbourne oil company executive who regularly played bridge with his society chums, sitting around in big, comfy, club sofa chairs. He found that the tiny castor wheels fitted to the chairs made them hard to move. Shepherd researched the physics of existing castors and proposed a new type of wheel that swiveled on an angled axle. Chairs and trolleys the world over continue to move with the same ease of the first Shepherd Castor originally manufactured in Melbourne.

AWA 17� television designed by Industrial Designer William Moody was awarded the 1968 Sebel Design Merit Award. William Moody first worked as an Industrial Designer at GMH commencing in 1954 and later was given the opportunity to establish a styling department at British Motor Corporation in Sydney. In 1960 he accepted a position as Industrial Design Manager for Amalgamated Wireless Australasia.

PLANET INDUSTRIES DESIGNED BY

19 62

STUDIO K DESK LAMP Bill Iggulden

TALKING CHAIR ARISTOC INDUSTRIES DESIGNED BY

Grant and Mary Featherston

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The Studio K Desk Lamp is iconic Australian industrial design and was first manufactured in 1962. The Studio K proudly featured in advertising campaigns for the Australian Design Awards program and always had the classic blue swing tag with the stylised A logo designed by Brian Sadgrove.

HK MONARO

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Commissioned by Robin Boyd in 1966, Grant and Mary Featherston designed the innovative talking chair for Expo 67 in Montreal. The user experience conceived and executed in the Talking Chair more than 50 years ago would not be out of place today. The celebration of Australian Design at Expo 67 remains a significant milestone in the history of design in Australia.

GENERAL MOTORS HOLDEN DESIGNED BY

Holden Design Studio

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The iconic HK Monaro was awarded the prestigious Wheels Car of the Year in 1969. Automotive designer Phillip Zmood would go on to be the first Australian Head of Design for Holden.

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WILTSHIRE MK2 STAYSHARP PRODUCTS PETER BAYLY

PRINCE PHILIP PRIZE FOR AUSTRALIAN DESIGN 1972

70s

A knife that sharpened itself was unheard of until Wiltshire Cutlery made it ‘a thing’. As rumour has it, Fred Wiltshire had observed that his local butcher always kept his knives, which he sharpened on a steel before each use, in a leather scabbard attached to his belt. Fred resolved to produce a repeatedly sharpened kitchen knife which would be housed in a scabbard to overcome the blunting of kitchen knives kept loosely together in a drawer.

The Staysharp Mk1, designed by Dennis Jackson and Stuart Devlin, was launched in 1970. But it wasn’t until the Mk2 that the Staysharp series of products were to make it into households up and down Australia and overseas. The Mk2, designed

by Industrial Designer Peter Bayly, with its improved sharpening action was launched in 1971 in a range of popular kitchen accent colours of white, avocado, orange, citrus and chocolate.

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The Wiltshire Staysharp knife self-sharpening system is an important innovation in domestic technology.

Patented in Australia and overseas, it sold in the UK and the USA and by the Tefal company in France.

This successful Australian design has sold over nine million products worldwide.

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INTEGRA CHAIR SEBEL DESIGNED BY

Charles Furey

BYO WINE CARRIER DECOR CORPORATION DESIGNED BY

Richard Carlson

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The Integra is a one piece injection molded chair designed by Charles Furey for Sydney furniture manufacturer Harry Sebel. Awarded an Australian Design Award in 1977 the Integra was also a finalist in the Prince Phillip Prize for Australian Design.

POWERBOARD PB-1 KAMBROOK DESIGNED BY

Robert Pataki Design

19 79

BYO (Bring Your Own) restaurants were a unique feature of Melbourne’s culinary culture in the 1970s. The Decor BYO wine cooler was designed following a phone call made outside the Houses of Parliament in Melbourne.

Decor CEO, Brian Davis had just attended an awards event where a Hessian bag printed with the letters BYO had won a design award. In the 1970s Davis had often struggled to keep a favourite bottle of wine chilled in transit to one of the many BYO restaurants. ‘A plastic bag with ice cubes never really worked.’ The BYO design by Richard Carlson won the Prince Phillip Prize in 1980 and is in the permanent collection of the Museum of Modern Art.

The first powerboard was assembled from existing electrical components by electrician Frank Bannigan and sold as a kit for caravan owners in 1972.

Frank soon founded his company Kambrook and together with his staff member, electrical engineer Peter Talbot, power boards were then mass produced and sold in Australian retail stores. In 1979 Industrial Design consultancy, Robert Pataki Design, transformed the product with the design of PB-1 developing a configuration that would be replicated the world over. It was never patented.

GENERAL ELECTRIC DESIGNED BY

Barry Hudson

19 77

K12 ELECTRIC KETTLE

COMPACT CAFÉ BAR CAFÉ BAR INTERNATIONAL DESIGNED BY

Nielsen Design Associates

19 79

Awarded the Prince Phillip Prize for Australian Design 1978, the K12 was an early example of an all plastic electric kettle with a single handed opening spout and adjustable whistle. The use of an integral hinge for the spout opening mechanism utilised the unique live hinge property of polypropylene, at the time a novel design feature and very efficient to manufacture.

DUAL FLUSH TOILET

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The Compact Café Bar model replaced previous all metal products made popular in tea rooms across Australia. The all plastic award winning model was stylish, economical to manufacture and came in a range of fashionable colours. Introducing the benefits of alternate manufacturing technologies is often what a consultant Industrial Designer can bring to a manufacturer and that is exactly what David Wood from Nielsen Design Associates did for Café-Bar International.

CAROMA DESIGNED BY

Bruce Thompson

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In 1984 during a national television broadcast hosted by Ita Buttrose, an Australian Design Award was presented to the Dual Flush toilet by Caroma. Water saving dual flush toilets, now common around the world have all evolved from this innovative Australian product design.

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SAFE N SOUND BABY SAFETY CAPSULE ROBERT PATAKI AND PHILLIP SLATTERY WITH RAINSFORDS (LATER BRITAX) DESIGNER BILL BOTELL AND CHIEF ENGINEER BOB HEATH

AUSTRALIAN DESIGN AWARD WINNER 1985 PRINCE PHILIP PRIZE FOR AUSTRALIAN DESIGN 1986

80s

Millions of Australians have travelled safely home from hospital in this iconic baby safety capsule.

It was the early 1970s that saw the introduction of compulsory wearing of seat belts across all States in Australia prompting a variety of child restraints to come on to the market, but not one for babies.

Not until this capsule in 1984. It was designed to fit in an adult seat space and consists of a bassinette inside a base that can be secured by a seat belt.

A release mechanism allows the bassinette to rotate in a crash, keeping the baby more upright and distributing forces uniformly over its body.

At the same time, the bassinette pushes against an impact-absorbing bubble in the base. This can be removed from the base so that the baby can be carried around outside of the car. A common design now, but revolutionary in the 1980s.

Lady Diana and Prince Charles were introduced to it during a visit to the Royal Children’s Hospital, Melbourne in 1988. It was fitting then, to see HRH Prince William take home his first born in the same Britax Baby Capsule.

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It has been in production now for over thirty years and is still manufactured for the Australian market in Sunshine, Victoria.

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ROSEBANK DESIGNED BY

PA Technology

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STACKHAT

AUSTRALIA II WINGED KEEL DESIGNED BY

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The Stackhat is a classic Aussie product loved and hated in equal measure. Designed to meet strict bicycle safety standards, the concept was for a multi-use design for cricket, horse riding and bicycling. Due to government regulations and promotion by various State Governments, the bright orange Stackhat had a near monopoly on bicycle helmets in the country. Its distinctive bright orange design combined to make the ‘Stackhat’ a defining symbol of the 1980s for Australians.

Ben Lexen

LOCKHEED LOUNGE

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Ben Lexen designed the famous Australia II Winged Keel for a 12 meter racing yacht which in 1983 wrestled the America’s Cup from the New York Yacht Club after 132 years.

MARC NEWSON LIMITED DESIGNED BY

Marc Newson

Born in Sydney and now living in London, Marc Newson is one of the most significant Industrial Designers of our age. In 2015, the Lockheed Lounge sold for a record $4,689,585 making it the most expensive designer chair in history.

FORD AUSTRALIA DESIGNED BY

Ford Design Studio

19 82

FORD XF UTE

TELECOM AUSTRALIA DESIGNED BY

Paul Schremmer

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GOLD PHONE

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The ‘Ute’ is one of Australia’s most widely known inventions.

Originally designed at Ford in 1934 by Lewis Bandt following a request for ‘a vehicle to go to church on a Sunday and which can carry our pigs to market on Mondays’. The Ford Australia Design Studio in Broadmeadows is one of only three global studios for Ford and has been responsible for many classic Australian cars.

OATES DESIGNED BY

Gerard Mussett Phillip Slattery Rob Morrison

Alphons van Maanen

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ALL AUSTRALIAN MOP BUCKET

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Telecom Australia commissioned Paul Schremmer and Associates to design the iconic Gold Phone in 1984. The Gold Phone was widely used in Australia in the 1980s and 1990s and phased out in late 2006.

The Gold Phone represents a unique time in the development of telecommunications technology in Australia and is one of Schremmer’s most well known designs. Paul Schremmer was awarded the Australian Design Prize at the 2018 Good Design Awards Ceremony in recognition of his contribution to Industrial Design.

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The design team was briefed by owner Jim Oates to provide concepts for a replacement to existing heavy galvanised metal buckets, at a time when polished flooring was becoming more popular in Australian homes. The concept of an all plastic mop bucket was totally innovative at the time, and was, eventually, given the go ahead to prototype.

Supported by patent protection, this great idea has been an outstanding commercial success since it first launched.

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PB/5 AUDIO TACTILE PEDESTRIAN DETECTOR BUTTON CARL NIELSEN AND DAVID WOOD/NIELSEN DESIGN ASSOCIATES WITH ACOUSTICAL ENGINEER LOUIS CHALLIS, AND RTA ENGINEER FRANK HULSCHER, FOR THE ROADS AND TRAFFIC AUTHORITY

90s Hundreds of thousands of Australians push the PB/5 pedestrian button every single day.

The idea came from a member of the public who pointed out the need for a safe indicating system for vision and hearing impaired pedestrians to cross the road safely at traffic lights. It combined a buzzer, vibrating panel and braille direction arrow – using both visual, tactile, and sound cues to signal a green light.

It has since been exported around the world to countries including Ireland, the US, New Zealand and Singapore. This Australian design has probably saved more lives around the planet than any other.

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“I met Carl Nielsen (the pedestrian crossing designer) before he died. The design criteria was incredible. It had to withstand all kinds of weather conditions, vandalism, being pushed a million times – without failing.”

Dr Brandon Gien, CEO, Good Design Australia

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AMCOR DESIGNED BY

Arthur de Bono

19 90

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CARDBOARD ELECTORAL VOTING SYSTEM

CAMATIC DESIGNED BY

Warwick Brown Konstruct Design

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QUANTUM STADIUM SEATING

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Compulsory voting across all three levels of government and an average of just three year terms, means Australian citizens are regularly casting a vote at a public voting booth. In the late 1980s the Australian and Victorian Electoral Commissions sought an innovative solution to reduce the impact on the community charged with providing suitable polling stations. Structural cardboard manufacturer Amcor’s Industrial Designer Arthur de Bono, took up the challenge and developed a comprehensive system including polling booth, ballot boxes, signage systems and workstations for polling staff.

GENERAL MOTORS HOLDEN DESIGNED BY

Michael Simcoe Holden Design Studio

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MONARO V2 COUPE

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Supplied first to the 1996 Atlanta Olympic Stadium, the Quantum Stadium Seating system is installed the world over including Centre Court at Wimbledon and the Yankee Stadium in New York. In Australia, fans at the Australian Tennis Open, Melbourne Cricket Ground and the Australian Grand Prix, sit in comfort all year round in the Qantum. Inspired by footwear designs of the early 1990’s, in particular Nike, and benefiting from developments in gas assisted plastic moulding techniques, the Quantum was a significant leap forward in stadium seating design.

The Monaro V2 Coupe was famously a ‘skunkworks’ project lead by a young automotive designer Michael Simcoe. Launched in Sydney in 1999 at the Sydney Motor Show, the Monaro legend was born again.

In 2016 Micheal Simcoe was appointed Vice President of Global Design for General Motors, only the seventh individual to hold this prestigious automotive design position and the first non American.

FINK+CO DESIGNED BY

19 93

WATER PITCHER JUG Robert Foster

NYLEX DESIGNED BY

Catalyst Design

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ESKY COOLER

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In 1993 Robert Foster designed the now iconic Water Pitcher Jug as a commission for a Canberra restaurant. This would be the first of the many designs Foster would develop for Fink+Co and the elegant hand finished jug from Australia is now used in the restaurant at the Museum of Modern Art in New York.

SOCOG DESIGNED BY

Robert Jurgens Mark Armstrong Blue Sky Design

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SYDNEY 2000 OLYMPIC TORCH

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The Esky is an Australian icon. Malleys, Nylex, Enco, Willow and Esky brands have all been manufactured in Australia since the 1950s and most Australian Industrial Design consultancies at one time or another have worked on an esky or cooler project. Pioneers Edward Kayser and Lionel Suttie lead the way followed over the years by; Bayly Design, Catalyst Design, CobaltNiche, Design+Industry, Outerspace, Uno, and most recently, David Flynn at Willow.

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The world was watching and the innovative Olympic Torch designed by Blue Sky Design delivered. With the subtle curves inspired by the traditional boomerang, the colours of Sydney Harbour and the sails of the Sydney Opera House, the Olympic Torch helped to ignite Australia’s Olympic fever. Blue Sky Design is a multi-award winning Industrial Design consultancy co-founded in Sydney by Mark Armstrong. Armstrong began his career with the Philips Centre of Industrial Design in Melbourne and designed televisions and appliances sold globally during his career with Philips, working in Melbourne, Sydney and Eindhoven.

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NUCLEUS® 24 CONTOUR COCHLEAR IMPLANT COCHLEAR LTD

AUSTRALIAN DESIGN AWARD OF THE YEAR 2000

00s

The bionic ear is rightfully recognised as one of Australia’s most successful inventions. Its development grew out of Professor Graeme Clark’s work at the University of Melbourne in the 1970s. Technical advancements for this new Cochlear implant included an electrode designed to provide more direct stimulation and a removable magnet for MRIs.

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Over the past 40 years, thousands of people have benefited from a cochlear implant. When this model, the Nucleus 24 Contour Cochlear implant won the Australian Design Award of the Year in 2000, one of the implant’s very first patients gave an acceptance speech. Grabbing the microphone, on the verge of tears, she said: “The only reason I can hear you clap is because of these amazing people on stage”. Over seven hundred people in Sydney’s Town Hall, where the Awards were held, gave her a standing ovation.

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SOLAR SAILOR TOURISM FERRY ADVANCED TECHNOLOGY WATERCRAFT DESIGNED BY

Dr. Robert Dane

RAZOR LAWN MOWER VICTA DESIGNED BY

20 0

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Winner of the 2001 Australian Design Award of the Year, the Solar Sailor Tourism Ferry was a world first ferry to use solar ‘wings’ to attract both sunlight and wind for power. The design was inspired by the design of a dragonfly wing.

Blue Sky Design

FLAIK SNOWSPORTS INTERACTIVE DESIGNED BY

20 0

8

The iconic Aussie lawn mower at its award winning best. Designed by the team at Blue Sky design in Sydney the Razor was a ground-up project full of innovation that not only endured in the market but ensured the Victa brand remained vital to the Australian psyche.

CMD Design and Innovation

The Flaik is an innovative tracking device designed for skiers and snowboarders. It uses GPS, GSM and GPRS to allow users to compare their performance in real time. The Flaik received the 2008 Australian International Design Award of the Year, the first year the awards opened to international entries.

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EVEREADY DOLPHIN MK5 LANTERN EVEREADY BATTERY COMPANY DESIGNED BY

Design Resource Australia

DESIGNED BY

ResMed Design Team

20 0

S8 SERIES CPAP RESMED

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The Dolphin Torch is an Australian classic design. The rugged durability of the design made it as popular as Vegemite and the trusty blue healer.

Designed primarily as a boating torch for boating and marine applications the Eveready Dolphin has been for most of its product life the biggest selling torch in Australia.

QANTAS AIRWAYS DESIGNED BY

Marc Newson Limited Recaro Seating

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QANTAS A380 ECONOMY SEAT

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The S8 Series flow generator is a positive airway pressure device designed for people suffering from sleep apnoea. The design of the S8 Series achieved a significant reduction in size for this type of medical device. The device is now much easier to transport and can be more easily integrated into a patient’s lifestyle ensuring compliance. The S8 is one of many innovations by ResMed a leading Australian company and was winner of the Australian Design Award of the Year in 2006.

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World renowned Australian Industrial Designer Marc Newson was appointed Creative Director of Qantas and given a brief to reinvent the in-flight experience on-board its new A380 aircraft. The seat took five years to develop and included clever design features such as a dual movement recline, lightweight foot net rest and a wide screen monitor for improved comfort and entertainment. The A380 also took out the Australian International Design Award of the Year in 2009.

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DEEP SEA CHALLENGER DESIGN + INDUSTRY FOR JAMES CAMERON AND RON ALLUM OF THE ACHERON PROJECT

AUSTRALIAN INTERNATIONAL DESIGN AWARD OF THE YEAR 2012

10s

This was a joint project by James Cameron, the filmmaker/explorer, the National Geographic Society and Rolex to conduct deep-ocean research at the bottom of the Mariana Trench, and document the experience in high-resolution 3-D for which Cameron is known globally. At 10,924 metres deep, the trench is the deepest point in the world’s oceans – deeper than Mount Everest is high.

They needed a vessel unlike any other.

The Deep Sea Challenger was born. It was designed and manufactured by four Australian companies Acheron Project, Design + Industry, McConaghy Boats and Finite Elements. D+I developed the cockpit layout for the Deepsea Challenger’s record dive.

With such tremendous depths and extreme pressure involved, the success of the project hinged on the ability of the design to minimise risk and keep the pilot safe and able to drive the sub.

Australian engineer and co-designer Ron Allum from Acheron Project spent 18 months designing a patented type of foam, ISOFLOAT, for the body of the sub.

The submersible was built and tested in his Leichhardt workshop in Sydney. It was also tested in the waters off Jervis Bay, NSW, before being shipped overseas.

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Cameron made the record-breaking solo dive, successfully navigating the vessel almost 11 kilometers to the ocean floor in March, 2012.

Australian designed and built, it was the first single-occupant research submersible capable of safely taking a person to the world’s deepest abyss.

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BOMBARDIER

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E-CLASS TRAM DESIGNED BY

BOMBARDIER DESIGN COBALTNICHE

GWA BATHROOMS AND KITCHENS DESIGNED BY

Marc Newson

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CAROMA BATHROOM COLLECTION

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The Melbourne tram network established in the 1800s is the world’s largest and continues to serve the city’s public transport needs. The W class trams from the 1920s are still in service with the distinctive green and gold livery. The new E-Class trams were launched in 2013 and have provided a major boost to the capacity of the network.

OI BIKE BELL KNOG

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The Caroma Marc Newson Bathroom Collection was a unique design collaboration between Marc Newson and Australia’s market leader in bathrooms. The design brief required a new approach in the design of a complete Caroma bathroom collection consisting of 22-pieces, which included toilets, tapware, showers, baths and a urinal. From the start of the project, Marc Newson and Caroma undertook an iterative and rigorous design and engineering program to solve numerous engineering challenges resulting in patented installation technology. Awarded the Australian Good Design Award of the Year 2014.

DESIGNED BY

Knog Catalyst Design

The Oi Bike Bell reinvents the humble bicycle bell. In April 2016 a successful Kickstarter crowd funding campaign raised enough funding to put the innovative design into production. The clever design resulted in being awarded a 2016 Good Design Award and the coveted Victorian Premier’s Design Award of the Year.

BLACKMAGIC DESIGN DESIGNED BY

Blackmagic Design Team

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BLACKMAGIC CINEMA CAMERA

RØDE NTR RØDE MICROPHONES DESIGNED BY

RØDE Microphones

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The Blackmagic Cinema Camera is a cinema quality digital video camera designed for production of feature films and documentaries.

Costing less that $3,000, it provides Hollywood quality filmmaking capabilities at a fraction of the cost of existing cameras at the time, costing in excess of $15,000. The Blackmagic Cinema Camera received the 2013 Australian International Design Award of the Year.

Traditional ribbon microphones have always been coveted for their high sensitivity and transient response, however they are also considered to be somewhat ‘dull’ in high frequency character and typically have additional pre-amplifier requirements that limit their use. In creating the NTR, RØDE set out to not only create an incredible example of a ribbon microphone, but to address these criticisms and offer a superlative microphone that exhibits the desirable ribbon characteristics with none of the negatives.

AURECON WITH COX ARCHITECTURE DESIGNED BY

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FLOOD RESILIENT AND ACCESSIBLE FERRY TERMINALS FOR BRISBANE Brisbane City Council

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Brisbane’s new generation ferry terminals grew from the imaginations of a team passionate to find a better way to make critical transport infrastructure more flood resilient and allow travellers to better celebrate the river. The result: natural disaster resilience that allows operations to return shortly after flooding. The Ferry Terminal was a joint winner of the prestigious Good Design Award of the Year in 2017.

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Designed by Byron Bay father and son team Stuart and Cedar Anderson, the Flow Hive is a revolution in bee hive design that became an overnight sensation. With the simple turn of a tap, the Flow Hive delivers honey directly into a jar, without the need to crack open the hive.

Over ten years of tinkering in the making, their innovation was to split the cells horizontally, allowing the honey to fall down directly into a jar without disturbing the bees.

Flow Hive made global headlines when its crowdfunding bid broke all fundraising records on platform Indiegogo, raising more than $13 million.

The campaign set out to raise $70,000, but that goal was reached within minutes of the campaign going live. It astonished everyone, even its inventors, when it raised $2.18 million in the first 24 hours.

FLOW HIVE CEDAR AND STUART ANDERSON AND THE EVOLVE GROUP

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AUSTRALIAN GOOD DESIGN AWARD OF THE YEAR 2016

DE PI S O IG NE N E PA ST

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CafĂŠ Bar Compact hot drink dispensing machine

“...then – the fax machine! Suddenly we could do a quick rough sketch of an idea, send to a client, and discuss it over the phone.”

David Wood was Managing Director of Nielsen Design Associates. He joined the practice aged 25, as an architecture graduate, and was tutored by Carl Nielsen (d. 2016). They worked together until Nielsen’s retirement in 1984. David carried on the business with two other designer/directors, until his own retirement in 2006.

DAVID WOOD Today, Nielsen Design is known to be one of Australia’s leading Industrial Design consultancies. When I joined in 1964, it was a fledgling practice with just Carl Nielsen and myself! I was an architect, not an Industrial Designer, but I answered Carl’s ad for an assistant, and the rest is history.

Together, we worked on many rewarding projects. One of our most well-known projects included a redesign of the Audio-tactile Pedestrian Push Button, still used today on the streets of Australia and in many countries overseas.

It’s interesting to me to think back on how Industrial Design has evolved over the years. Fundamentally it hasn’t changed – it’s problem-solving, but the methods of communication evolved, changing the industry significantly.

BC (before computers), it was pen and paper, hand rendering and solid models, leading to detail dimensioned manufacturing drawings.

Then – the fax machine! Suddenly we could do a quick rough sketch of an idea, send to a client, and discuss it over the phone. Then CAD – early 2D packages where just expensive clunky drafting aids, but these improved rapidly and became much more intuitive to use.

Then 3D CAD appeared, then 3D Printing! As many designs used 3D modelled plastic mouldings, the ability to send a file to a bureau and take delivery of an accurate solid model within a few days was miraculous! Not only did it ‘prove’ the file (mistakes and all), but a little sanding and painting produced a client-ready functional presentation model. Today, of course, simple 3D printers are sold as high tech toys, but Nielsen Design first used them in 1993.

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By 1989, the practice boasted 8 Australian Design Awards, 2 Australian Classic Design Awards (Sebel Optima chair and Café-Bar), 3 Prince Philip Prizes and a 1988 ID Design Selection (USA). I do feel proud to have played a part.

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“With most of our manufacturing industry now gone, I still see new opportunities for young designers if they embrace technology and find innovative solutions to the challenges presented by climate and demographic changes.”

DENISE LARCOMBE Although I was the only female in my Industrial Design class, I did not see my gender as an issue until I applied for a position with esteemed designer Roger McLay. He wrote to say he “could not possibly employ a lady designer.”

I loved working in the glass industry even though the factory was noisy and dirty. The export market provided essential volume for my designs and I worked with overseas buyers. Australian glass was sent to many countries including the USA, UK, Netherlands, Germany and even Scandinavia — itself a major exporter of quality glass. It was quite a thrill to see my designs on sale at Macy’s and Bloomingdales in New York.

Fourteen of my glass ranges received an Australian Design Award, one was a finalist in the Dunhill Design Award and two were finalists in the Prince Philip Design Award in 1979. The awards were televised on the ABC. While on his way to the BBC, Prince Philip was caught in morning traffic. Dressed in black tie, he left the car and sprinted to the studio just in time for the satellite connection!

It was a time of optimism and people embraced new modern designs. Government recognised the potential of original Australian product design to open new markets and so increase trade.

With most of our manufacturing industry now gone, I still see new opportunities for young designers if they embrace technology and find innovative solutions to the challenges presented by climate and demographic changes.

Denise Larcombe is one of Australia’s most decorated female designers.

After studying Industrial Design at East Sydney Technical College in the early 1960s, and a period in lighting design, she secured a position at Crown Crystal Glass (later part of Corning USA). Her glassware designs, Oslo and Bergen were finalists of the Prince Philip Prize for Australian Design in 1979, but it was Hunter that was the most successful, selling in the USA and Europe. Crown Corning, in Sydney, was the only glassmaker in the world who could make this type of glass on a machine, creating huge advantage in markets overseas. Denise became a Fellow of the Design Institute of Australia in 1988.

She became a teacher of Industrial Design, retiring from TAFE in 2016.

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Crown Corning ‘Olso’ wine glasses

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Deepsea Challenger piloted by James Cameron

“The submersible was a phenomenal challenge, and there was no room for failure. James Cameron would have been dead if just one small thing failed.”

Murray Hunter is the Founder of Design + Industry (D+I), a product design and engineering consultancy with a team of 60 designers and engineers in Sydney and Melbourne. It is one of the largest and leading Industrial Design and product development consultancies in Australia. Murray has over 35 years of international industry experience as a consultant Industrial Designer, with his company awarded over 165 awards for achieving design and engineering excellence throughout the world.

MURRAY HUNTER I left Australia in the early 80’s to study Industrial Design at the Royal College of Art in London. After working in the UK for a while, I came home and founded my own practice in 1987 — the product design and engineering consultancy Design + Industry (D+I). I’m happy to say it is still going strong today.

During my time, I’ve witnessed the industry and the world change.

New product timelines were halved, then halved again. Global markets reeled with each new crisis, money was tight, and manufacturing was sent off-shore, never to return. However, alongside this uncertainty came a wider understanding of design thinking, and its power to solve business problems — this disruptive change has transformed the design landscape forever.

We have to remember that Australia’s Industrial Design industry is still relatively young when compared to those in the USA and England. It makes it even more challenging for Australian design firms to compete globally.

Our first Australian Design Award was awarded by the Australian Design Council in 1987, our first year in business. It was for a point-of-sale terminal we developed for Cashmaster. It was 2012, with our most ambitious project to date that gave us the Australian International Design Award of the Year. The cockpit layout we developed for the Deepsea Challenger submersible, piloted by director James Cameron to the bottom of the Mariana Trench, is one of our proudest achievements.

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The Australian Good Design Awards have become one of the ways we judge our success, and celebrate that success with our team.

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“Although my first career was as an architect, I soon moved to the visualisation of ideas – graphic design.

My inspiration was the growth of the Industrial Design Institute of Australia (IDIA) which by the late 60’s began admitting graphic designers.”

Michael Bryce AM AE BArch Qld, DUnivQld, DUnivUC, LFRAIA, LFDIA is best known as a graphic designer but his career has spanned architecture, industrial, interior and urban design.

He has been a leader in the design establishment in Australia for over thirty years, promoting the interests of design to his clients, government, business and the industry.

MICHAEL BRYCE AM AE It has been a great joy and privilege to have spent a lifetime in the design profession of Australia. Although my first career was as an architect, I soon moved to the visualisation of ideas – graphic design. My inspiration was the growth of the Industrial Design Institute of Australia (IDIA) which by the late 60’s began admitting graphic designers.

We formed the first Queensland chapter of the IDIA in 1977 and by 1979 I had become the first Federal President from graphic design, soon to be renamed the Design Institute of Australia (DIA). But it was the influence of the Industrial Design Council of Australia (IDCA) formed in 1958 (now known as Good Design Australia) that I found exciting and compelling, as it marched into boardrooms and factories of Australia with a message of ‘Good Design is better for industrial products’.

A blue swing tag awarded a status for design, marking your purchase with a new set of ideals – simplicity, efficiency and colour.

The Prince Philip Prize for design attracted TV coverage with His Royal Highness’ famous response to an award for the GE plastic kettle, “but can you boil an egg in it?”. Obviously not!

How perceptions have changed. Design is not nearly championed as much as it was, despite the profession’s best efforts.

I suppose most people would recognise my Sydney 2000 Olympics bid logo and role as Design Advisor for the Games. Although, this came with certain bureaucratic frustrations. I championed design and its role then, and I champion it now.

He has served as President of the Design Institute of Australia, councillor of the Industrial Design Council, the Design Board of the Australia Council and as Patron of design bodies including Good Design Australia and the Australian Design Alliance.

He was made a member of the Order of Australia in 2005 and inducted into the DIA Design Hall of Fame.

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Sydney 2000 Summer Olympics Logo

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Simpson Genesis Washing Machine

“When empathy expands understanding, exploration reveals discovery, problems cultivate solutions, creativity challenges convention, imagination elevates knowledge, obscure becomes obvious, divergence greets convergence, value triumphs over cost, and the result is validated and celebrated with a smile.

That’s Good Design.”

PAUL HUXTABLE Designing that perfect product is an ever-evolving work in progress that still makes me smile.

I first experienced the power of a Design-centric business culture in 1971 as a trainee in the Caroma design team. Mentors and colleagues inspired curiosity and creative exploration, pivoting often uncomfortably between Industrial Design, Engineering, Marketing, Manufacture and Management, developing traditionally competing competencies.

Amongst many extraordinary shared experiences, a conversation with Prince Phillip about bathroom habits after winning the 1982 Prince Phillip Prize for Australian Design for the Simpson Dishwasher, in 1985 a pioneering China-Australia Whitegoods JV, the culture shock of arriving in Tianjin to the sound and sight of steam trains, our accommodation in the officer’s quarters at the Military Barracks, and Good Design Awards spanning five decades.

Throughout my career I have observed Design-centric businesses consistently outperforming their opposites by delivering better products, faster, to more savvy customers in an increasingly competitive global environment. Savvy countries recognize the economic power of Design.

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When empathy expands understanding, exploration reveals discovery, problems cultivate solutions, creativity challenges convention, imagination elevates knowledge, obscure becomes obvious, divergence greets convergence, value triumphs over cost, and the result is validated and celebrated with a smile.

That’s Good Design.

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In Australia, Good Design is both an under-utilised asset and a significant global opportunity. Activating this opportunity requires informed design-centric advocacy, particularly in boardrooms, regional communities and government to extend design-thinking beyond UX to the entire value chain, and taking greater responsibility for our future socio-environmental legacy under the strain of globalisation, and AI.

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Paul Huxtable is a serial product developer with diverse international experience spanning 47 years. Educated in Industrial Design and Engineering, Paul progressed to corporate design and management roles at Simpson (Electrolux) and Caroma before founding Product Design consultancies in Adelaide, Melbourne and Kuala Lumpur.

In 2004 Paul turned his attention to a global health and safety problem. The solution, Protect-it Column guards, rapidly became a global business. Paul shares numerous awards in design, business and export, and has co-authored many international patents. Throughout his career Paul has consistently championed the unique economic value of ‘design thinking’ as a director, advisor and mentor.

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“Throughout my career I have had many awards and accolades graciously bestowed upon me, but none so humbling as The Order of Australia a few years back for my contribution to Design.

That was a nice way to cap off a career in design that always felt more like a hobby to me than a job.”

Paul Schremmer is one of Australia’s most celebrated industrial designers.

He designed many objects that we are familiar with — from Victa lawnmowers and public telephones to hand dryers and toothbrushes. His design for the Telecom/STC Gold Phone was widely used in Australia from the 1980’s until 2006. He is a DIA Life Fellow, inducted into the DIA Hall of Fame in 2011 and was awarded the Medal of the Order of Australia (OAM) for service to industrial design in 2013.

PAUL SCHREMMER OAM When the Industrial Design Council of Australia was formed in 1958 with federal funding, they commissioned me to deliver a series of lectures across the country on the topic of Design for Mass Production. This experience and following press, raised my profile and spurred me on to establish my own design consultancy — Paul Schremmer and Associates in Sydney in 1967.

The establishment of the HRH Prince Philip Prize for Australian Design back in 1970 provided a terrific boost for the industry. I was a judge for the awards for two years and was given the honour in 1973 of presenting the winners to HRH Prince Philip. He was a funny fellow, leaning in to me at one point and joking that the winners now had something to hang on the back of the “dunny door”.

I have designed so many products over the last 60 years that it is hard to pick a favourite. Perhaps it was the Gold Phone for Telecom/STC, I used to see it everywhere. I still find it thrilling to think that there are literally millions of my designs out in the world.

Most Australians would have come in contact with one of my designs whether it be sitting in front of a fan, visiting the mailbox, brushing their teeth or mowing the lawn. The thought of that gives me a great sense of pride and joy.

Throughout my career I have had many awards and accolades graciously bestowed upon me, but none so humbling as The Order of Australia a few years back for my contribution to design. That was a nice way to cap off a career in design that always felt more like a hobby to me than a job.

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Telecom Gold Phone

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Design is everywhere. Design touches every aspect of our lives – the products we buy, the services we use, the built environment around us, and the digital world in which we communicate. Great design is good for business, good for the environment and good for cultural and social wellbeing.

The design industry in Australia has been active, predominately, since the 1950’s, but do we have a reputation as a ‘Design Nation’?

Not yet, but why?

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Here are six things that we could do right now to put Australian design on the right path...

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DE TO S I DA GN Y brings. I’m lucky in my role at Good Design Australia, in that I get to witness that firsthand – Denmark, Finland, UK, Japan, South Korea, for example.

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I hear a lot, ‘well, we are a young country’. We are.

But that needn’t hold us back. It presents opportunity.

I don’t sign up to this belief, that some seem to hold, that we need to emulate others. We don’t. We, in Australia, have a chance to leapfrog the errors of other nations, learn from their experiences, and forge our own path.

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Despite a promising start, with federal government funding and support in the early days of Good Design Australia (under the banner of the Industrial Design Council of Australia), government interest and understanding of design and its value, has waned.

Today, we have a government that appears to have lost its focus on ‘innovation’ and successive government leaders who fail to understand what design is and what it can do when positioned strategically. We have a push for STEM subjects in schools, rather than a more all-embracing STEAM, to include the creative arts and humanities. We have no strategy, no national commitment, no government entity, or government representative for design. This has a knock-on effect. It affects how design is perceived by business, by industry and by the public at large. You only need to look further afield to see how other countries have invested in promoting design and the societal, cultural and economic uplift that this

But we also need to look at ourselves. Do we as designers and design communicators best showcase why we do what we do? The value-add that we can bring? No, we don’t, and we have to get much better at it if we are to be taken seriously. The world in which we are currently operating demands our full attention – and the UN Sustainable Development Goals are showing us how we can help. Our role as designers, is more important now, than it has ever been. We cannot continue to contribute to landfill for example, in the way that we have. We have to be the change that we want to see. Adopting circular design principles would be one way. The World Economic Forum estimates the Circular Economy could be worth $26bn in Australia by 2025 and $1tn worldwide.

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“ We need leadership from government that understands the value of design. Leadership can help that coffee shop or florist owner understand that they can be more competitive through using design services.�

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APPOINT A FEDERAL MINISTER FOR DESIGN ILL

We need leadership from government that understands the value of design. Leadership that can help that coffee shop or florist owner understand that they can become more competitive through using design services. That their business processes and operations can be redesigned, to be more efficient, more functional, more user-centric. Which of course, is also a golden gift to government.

Improved business equals more jobs, and greater

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growth. Now we are speaking the language of government and it’s a win/win. With 89% of businesses currently in Australia, employing five people or less, I don’t think we can afford to get this wrong.

Australia used to value design. Our Federal Government funded the original Good Design Australia (known then as the Industrial Design Council of Australia). From 1967, Prince Philip, Duke of Edinburgh, would fly out to award The Prince Philip Prize for Australian Design established to ‘recognise the development of products or systems of original Australian design, able to contribute to the nation’s economic progress’. There must have been some indicators then therefore, that design mattered in terms of keeping Australia internationally competitive.

And this was before globalisation, with the added pressures that this now brings. We are now well and truly operating in a global market, but the design recognition that Australia used to value so much in the sixties and seventies has just vanished.

Let’s be smart again. Let’s leapfrog those other nations.

Let’s be the first nation to appoint a Minister for Design.

Let’s be the first nation to be so progressive that we look to the philosophy of Apple – the world’s most valuable company – and apply the same principle to government. They are a living breathing embodiment of how design, with its influence across every single aspect of its operation, can bring enormous social, cultural and economic transformation. It may sound like a pipedream, but really, there is no reason why we can’t have a Chief Design Officer, like a Jonathan Ive, reporting to our version of Tim Cook. Some cities around the world have already done it – Helsinki, Finland, for example. Let’s be the first nation to do it.

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Speak to a person who owns a coffee shop or a florist, and ask them to ‘be more innovative’ and I would guess that their response would be ‘Uhm, OK. Sounds great, but how?’ That’s, of course, where design steps in, but this is just not being communicated.

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We, as designers, have failed to communicate this link between innovation and design. This fundamental misunderstanding is not helpful to any of us – to the design industry that craves understanding, visibility, respect, support; to government – pushing for jobs and economic growth but not seeing the connection to better designed businesses; or to the general public, perplexed by what ‘innovation’ is meant to mean to them.

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We need a design champion within government. We need someone who genuinely understands the role of design within industry, business and our communities.

At the time of writing, Australia has a ‘Minister for Innovation’ within the Department of Industry, Innovation and Science. What does this mean? It’s a step in the right direction, but it’s not clear to me what government means by this word, or how they think it’s achieved. Innovation is an outcome. Design is the enabler to that outcome. Innovation does not exist by itself! Design takes creativity – the ideas – and turns it into an innovation.

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“ How can government decisions, or presumptions, be made about an industry, if its value is not known?�

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CONDUCT AN ECONOMIC STUDY OF THE VALUE OF DESIGN TO AUSTRALIA’S ECONOMY The Design Council in the UK has measured the value of design to the UK economy for some time.

In 2015, its value was calculated to be £71.7bn. By late 2017, they had calculated the added value of design skills across all industries, not just within the creative industries. The value was found to be £209bn with people using design skills 47% more productive than the average UK worker.

Our neighbours in New Zealand researched the economic contribution of design to New Zealand’s economy. During 2016-7, design contributed $10.1bn.

That’s larger than the agricultural industry and on a par with retail trade ($10.6b), and food, beverage and tobacco product manufacturing.

Can you imagine then, what the figure might be for Australia? How can government decisions, or presumptions, be made about an industry, if its value is not known? There’s an existing methodology, on this side of the ocean and overseas, ready to go.

What’s stopping us?

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By measuring the value of design, as an industry, or as part of the greater creative industries, or even the value of design skills as the UK has done, we are putting a figure on it. A billion dollar figure, no doubt, that cannot be ignored by government. Beyond the validation that this would bring of its economic importance (let’s leave aside the cultural and social importance, for now!) one would hope that this would drive government advocacy for design, to business and wider society, as a tool to help them improve. Advocacy – be it policy, tax incentives or other. And, as business guru Peter Drucker put it “if you can’t measure it, you can’t improve it.” By having that yardstick, it’s much easier to assess impact in proportion to investment, year on year.

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“ Imagine, if we as an industry came together, globally. Every single design promotion organisation and council around the world collaborating on measuring the global value of design. It would run in to the trillions. No bureaucrat could deny design’s influence then.”

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BE BETTER AT COLLABORATION – AND THAT INCLUDES US IN THE DESIGN INDUSTRY Here in Australia, we have over a dozen significant design bodies representing their different design disciplines and interests of their members.

This includes notable associations such as the Design Institute of Australia (DIA), the Australian Graphic Design Association (AGDA), Australian Institute of Architects (AIA), Australian Institute of Landscape Architects (AILA), amongst others, including ourselves at Good Design Australia. Aside from the Australian Design Alliance, which has attempted to unite us behind one common cause, we exist in isolation.

Each championing our own agenda. According to research conducted by the Australian Industry Group (AiG), we are not alone. Generally, Australia ranks low in collaboration. In particular, “OECD statistics have ranked Australia at the bottom of advanced economies for collaboration between business and universities. This performance runs counter to Australia’s needs for innovation to keep our businesses competitive and our economy growing.”

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Again, let’s leapfrog. Imagine, if we as an industry came together, globally. Every single design promotion organisation and council around the world collaborating on measuring the global value of design.

It would run in to the trillions. No bureaucrat could deny design’s influence then. It may even prove to be a catalyst for policy in countries where design is only just blossoming.

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“ A tangible building where members of the public or visiting dignitaries, can visit to understand more about our country, the way that we think, our cultural history, our design successes and capacity for shaping a better future.�

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CREATE A NATIONAL ‘HOME’ FOR DESIGN

By this, I mean a ‘physical location’ for design.

A tangible building where members of the public or visiting dignitaries, can visit to understand more about our country, the way that we think, our cultural history, our design successes and capacity for shaping a better future.

Australia used to have them. In the sixties and seventies, the Industrial Design Council of Australia (IDCA), as Good Design Australia used to be known, funded by Commonwealth Government, had Design Centres in cities across Australia.

This ‘home’ for design need not be a museum, like the Powerhouse Museum (Museum of Applied Arts and Sciences – MAAS). We need to resurrect the Design Centre – a living, breathing, visible indicator that design is important to us, as a nation.

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“ Cities have the ability to take direct local action. Cities can be nimble in implementing policy changes and are also readily accountable to their citizens, local businesses, schools, and institutions for the success or failure of their actions. Cities can be a test-bed for larger action.”

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CHAMPION OUR CITIES AS CHANGE-MAKERS TOO

The population of Australia is almost 25 million.

Population is growing by more than 1 million people every three years. That’s the size of Adelaide.

We currently have two-thirds of our population living in the capital cities (and with one of the fastest population growth rates in the developed world).

During 2015-16, 67.0% of national Australian Gross Domestic Product (GDP) growth was generated in Sydney and Melbourne – the highest level on record.

proportion of the population of Greater Melbourne and Greater Sydney. In Melbourne’s case, its Lord Mayor represents 140,000 people, its metropolitan population, however, is around 4.5 million. Sydney paints a similar picture with the jurisdiction of its Mayor amounting to 210,000 residents with Greater Sydney itself, said to now have a population of over 5 million. Simply put, they effectively represent the CBD not ‘the city’.

This pattern is the same, the world-over. Cities have more influence than ever before. The World Economic Forum points to the trend towards the decentralisation of governance to regional and local bodies as one of the megatrends that is shaping the 21st century. It’s why Sydney and Melbourne have both signed up to C40. They join 92 global cities currently, who have chosen to take substantial steps on climate action.

Human-centred co-design practice places citizens at the centre, in the development of policies and systems that affect us all. It empowers citizens to co-discover and co-create solutions. It helps build trust between us and the public institutions that are meant to serve us.

Important, I would say, when trust in democracy and disconnection from government is at an all-time low.

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Countries including Finland, the UK and Denmark have found success with this model. Let’s reach out, collaborate, learn from each other to make sustainable change through design.

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Let’s look at Melbourne and Sydney, since they roughly account for 50% of the population of Australia. Although both have design advisory panels of some description, their remit seems to be only in relation to urban development. Further, the City of Melbourne and City of Sydney represent only a small

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With this in mind – and this by no means contradicts my first point that design should be recognised at federal level too – should we, as citizens, be demanding more from our city leaders?

Cities have the ability to take direct local action. Cities can be nimble in implementing policy changes and are also readily accountable to their citizens, local businesses, schools, and institutions for the success or failure of their actions. Cities can be a test-bed for larger action: policies and programs that work – socially, environmentally, economically and politically.

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“ Designers need to speak the language of business, if we expect business to understand the language of design.”

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We are not alone in this, all industries, to an extent, have their own vernacular. But if we wish to be taken more seriously, we need to communicate clearly, concisely, and with familiarity. Designers need to speak the language of business, if we expect business to understand the language of design.

Fulfilling these ambitions will take an unprecedented effort by all sectors in society – and the UN is clear that business has to play a very important role in the process. Global challenges – ranging from climate, water and food crises, to poverty, conflict and inequality – are in need of solutions that the private sector can deliver. This represents a large and growing market for business innovation. Designers, take note. You are needed. Unlike, ever before. If you are not on board with the SDGs, then you are not on board with the affairs of your clients.

We need to be better at measuring the effectiveness of what we do, focus on the outcome and not the output. By using commercial, behavioural, societal and broader data to measure the effectiveness of design, we can prove to business leaders and government that design is an investment, not a cost.

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The UN’s Sustainable Development Goals may well help shape a new, global narrative. In 2016, the 17 SDGs of the 2030 Agenda for Sustainable Development officially came into force. Global goals for people and planet, they lay out a path over the next 15 years for improving our world – providing a roadmap of where we collectively need to go and how to get there. All 193 member states of the United Nations have adopted this plan. That includes us in Australia.

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We as designers, I think, sometimes contribute to the confusion around what design is, by the language we use to describe it. We talk too much about the nice curves, the aesthetic, and not enough of the effectiveness or commercial return of design. We use a sometimes bewildering, verbose language, often bordering on bullshit!

This is counter-productive, we baffle audiences that want to learn.

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CHANGE THE NARRATIVE

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“ Design-led companies such as Apple, CocaCola, IBM, Nike, Procter & Gamble and Whirlpool have outperformed the S&P 500 over the past 10 years by an extraordinary 228%.”

DESIGN MANAGEMENT INSTITUTE, 2014

“ For many years, we concentrated on the economic side. But if you want the economic side to flourish you need more creativity. So you must also look at the arts. The two must go together.”

GOH CHOK TONG, PRIME MINISTER OF SINGAPORE

“ A recent survey of the Australian coastline found three-quarters of coastal rubbish is plastic, averaging more than 6 pieces per meter of coastline. The oceans are full of our plastic.”

CSIRO

“ We are the second highest producers of municipal waste, per person, in the world with each of us sending over 690kg of waste to landfill each year (the United States is the highest waste producer).

The amount of waste placed in landfill each year in Australia is enough to cover the state of Victoria.”

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JOYANNE MANNING, ARUP. RETHINKING WASTE: THE OPPORTUNITY TO PIONEER THE CIRCULAR ECONOMY IN AUSTRALIA

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“ The Fourth Industrial Revolution, which includes developments in previously disjointed fields such as artificial intelligence and machine-learning, robotics, nanotechnology, 3-D printing, and genetics and biotechnology, will cause widespread disruption not only to business models but also to labour markets over the next five years…. Architecture and Engineering related fields are expected to grow.”

THE FUTURE OF JOBS REPORT

“ By one popular estimate, 65% of children entering primary school today will ultimately end up working in completely new job types that don’t yet exist.”

FUTURE OF JOBS REPORT, THE WORLD ECONOMIC FORUM

“ 70% of businesses plan to embed the UN SDGs within 5 years” PWC GLOBAL, 2015

“ The MDGs (precursor to the SDGs) helped to lift more than one billion people out of extreme poverty, to make inroads against hunger, to enable more girls to attend school than ever before and to protect our planet.

They generated new and innovative partnerships, galvanized public opinion and showed the immense value of setting ambitious goals. By putting people and their immediate needs at the forefront, the MDGs reshaped decision-making in developed and developing countries alike” 98

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Six notable designers and changemakers of our time, share their thoughts on the role of design in the future. We learn about how they expect their discipline or interest area to evolve, seen through the lens of designing for the Built Environment, Product Design, Communication Design, Clothing/Fashion, Business Strategy, and what the UN has to say about all of it.

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HA RT M UT We “designers for industry” work in the most fascinating space of modern human society. Where most professions have a rather clear definition of either being more rational (e.g. accountant) or emotional (e.g. artist), Industrial Design is both: a visceral discipline based upon original creativity which also requires professional implementation skills and processes – and due to its disruptive and ambiguous nature, design cannot be “measured” as a logical science. However, the economic, ecological and cultural impact of design is huge, and therefore we designers must aim for a human-minded product culture, based on sustainable systems. Our holistic challenge is to create physical and virtual objects and human experiences, which are useful, artful, and capable of inspiring spiritual values while using as few atoms and bits as possible. With advancing technology and more powerful smart tools (e.g. AI), our professional practice will polarise in those who create and conceptualise by mastering and advancing these smart tools, and those who will implement by applying these smart tools into reality.

The conceptual challenge we designers face with “smart tools” is their rational foundation in digital code. Looking at the different levels of our human consciousness – as David Gelernter describes in his “The Tides of Mind” – creative thoughts are impossible at full consciousness, but at a lower level of uncontrolled wanderings of our thoughts, even day dreams. AI can play chess because the rules are finite, but AI cannot generate a truly new idea, because the options – and the impact – of a design concept are infinite, and AI cannot imagine or judge visceral options. In fact, any new design idea inspired by new technology – or requiring new applications of such – also will result in innovative usage by humans. And overwhelming success also will cause new challenges. Looking at the automobile or the smart phone, the benefits have exceeded expectations, but so do the growing problems.

Hartmut Esslinger is an internationally renowned industrial designer now living in Los Gatos, California. The first designer to bring human-driven, high-touch design to the world of complex hardware and software technology, Esslinger founded frog design in his native Germany in 1969 and expanded it to the United States in 1982. Together with his partner and wife, Patricia Roller, he built the company into one of the world’s leading strategic design agencies. Esslinger has worked with prestigious global companies, including Sony, Apple, Louis Vuitton, SAP, Lufthansa, and Microsoft, for whom he helped convert their technological competences and entrepreneurial desires into emotionally appealing global brands.

Engaged in education since 1989, Esslinger is a founding professor of the Hochschule für Gestaltung in Karlsruhe, Germany, a DeTao professor at Fudan/ SIVA University in Shanghai, and was a professor with the ID2 Master Class at the University of Applied Arts, Vienna.

With ever more complex challenges, we also need to change design education. Traditionally, design – incl.

Industrial Design – is taught at art-oriented colleges or the art departments of universities. All aspects of real-life challenges we designers must face and resolve are neglected. On the other hand, “design thinking” has been well-intended as a bridge between rational executives and creative minds, but its success is due to its simplification into another fad of corporate entertainment with little effect. What we really need is a NEW SCHOOL OF DESIGN. Colleges and universities positioned between liberal arts and human sciences, and focused on the new field of CREATIVE SCIENCES: designing and modelling by hand, coding for generative design, projecting future technology and simulating its social and ecological impact.

As AI is logical and creativity cannot be explained by any rational means, we need to invent and apply convergent technology where we designers really need it: connecting our creative-analog imagination with digitally definable real-life statements. In my view, this means to create a direct electrical signal connection between our human vision center and a display technology which can be converted into images and 3D-printed models. My personal vision is to design a helmet with sensors that can read the electromagnetic waves in the visual center of my brain, recognise the objects I imagine and then transfer them to a holographic display – or a 3D-printer – for judgement and inspiration for further iteration or change. Combined with rational AI, technical rules and filters can be applied, and the concept can be checked for eventual IP infringements and ecological impact. Basically, this is what we designers already do with our brain and analog tools – but it would amplify our abilities and make it easier to interact and collaborate with our rational executive partners in the industry. Science fiction is imagination of what could be, the real future is being imagined and created by us designers.

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“O VI UR A R H SP RE TUA OL BI IR US L IS TS IT E O TI B AS UA FU JE C C L PO L V , A CT HA SS ALU RT S A LLE IB ES FU ND NG LE W L, H E .” H AN UM IS IL D A T E C N O US A E C IN PAB XP RE G L ER AT AS E IE E O FE F NC PH W INS ES YS AT P , W ICA O IRI H L M N IC A S G H ND AN D

“E AN VE D RYT SH H O ING UL D IN BE TH DE E W SI O G R N LD ED .” CA N

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TR IS TR AM

Tristram Carfrae is a leading structural designer, and Arup’s Deputy Chairman.

He has been responsible for the structure of a dazzling array of award winning buildings over his 27 years with the firm, both in Australia and the UK. His particular skills relate to the integration of engineering and architecture to provide the best holistic solution. Tristram has been fortunate to work with many of the world’s leading architects on projects where the structure forms a major aesthetic component. / In 2014 he was awarded the prestigious Gold Medal award by the Institution of Structural Engineers (IStructE). In 2017 The Royal Society of Arts (RSA) announced Tristram as incoming Master of the Faculty of Royal Designers for Industry.

Everything in the world can and should be designed.

Not just the physical things that make up the built environment, but the way humans interact with them and the data and information flows and analysis that help make it all work better.

At its essence, design is a creative process that starts with challenging the status quo and asking the question “how can we do this better”, whatever “this” happens to be. This is followed by a creative exploration of the opportunities in an iterative cycle of: proposing – modelling – testing and judging.

Designers keep as many options open as long as possible and are not afraid of exploring the unknown; of embarking on a journey without knowing the destination. They respect deadlines while seeking optimum outcomes.

As computers become more competent in the modelling and testing phases, designers will spend more time on the proposing and judging phases.

They will use their creativity, empathy and intuition more than their analytical and logical skills.

Designers will become increasingly integrative; exploring cross, inter and multi-disciplinary opportunities using systems based thinking. They can concisely articulate the issues while convincingly communicate their solutions.

Designers will improve the built environment from human, digital and physical perspectives simultaneously. We might start by considering the user experience and first design the user interface before proceeding to the physical reality. Along the way we must consider social and economic aspects to ensure that we are designing a delightful, resilient built environment for its inhabitants.

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The great advancements in digital and data capabilities will allow us to consider ever more complex issues. We will empathetically design improvements to the built environment that support the UN Sustainable Development Goals while respecting our planetary boundaries. With flair and imagination, we can design a better world for everyone.

“I DA TH – T IN O BU A M K IN N T E AN W E TH T “Y UN E’RE DE E FU O PR G SIG TU N W SU’RECE OIN N – RE AM H H E D G IT , W E A A E T ’S E TH E E N KY LWNTE O SE AL ’RE E XA YO GR AY D S E D REA GO FU CT U O S CA AT D IN O Y G T LO TU LY RY UN N LE.” A M HA TO E R ET PP SE O E WH TO D K W A DE ENI E LI IL T SI N G KE L G N .”

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Vince has a celebrated creative career spanning more than 25 years; his award-winning work continues to have an impact across the globe. Before starting Frost*Design (now Frost* collective) in London in 1994, Vince was the youngest associate director at UK multi-disciplinary design firm Pentagram.

In 2004, he relocated to Sydney and, as a CEO and executive creative director of Frost*Collective, has led a wide range of transformative projects for clients including Deutsch Bank, Qantas, Frasers Property and the Sydney Opera House.

As a member of ISTD and AGI, a board member of D&AD, and author of the book Design Your Life, Vince judges and lectures globally to diverse audiences on the value of design and the difference it can make towards enriching people’s lives in our modern world.

You’re always on shaky ground when you try to name exactly what the future will look like. But I think I can safely attempt it by starting from the major disruptions we see happening across every industry.

All in all, then, in the future data and design will work in concert. If we accept this, then I anticipate two big shifts in the ways we currently work, flowing from this.

Everywhere we look, we see emerging technologies and practices challenging our usual ways of working.

In particular, we see data and analytics (to name only one) shaking up the way designers go about framing client problems and understanding user needs.

Firstly, the composition of design businesses will change. We will need everyone to be data ‘literate’.

We will need to hire analysts to have enough expertise in-house to do the basics. And we will have to form partnerships to access the really deep expertise that we don’t have in-house (because this would take us away from our focus and excellence as designers).

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On the other hand, designers can continue to give clients solutions, a way to apply what the data is saying in order to make more innovative and human products and experiences. This isn’t as easy as it sounds because right now we see so many large companies happily stockpiling data with little or no idea of what to do with it. That’s a gap that designers can fill.

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This meeting is important because analysts and designers can each do something that the other isn’t very good at doing. On the one hand, analysts can give clients greater confidence, an assurance that the problem to be solved or the need to be met is a worthwhile one for their business. Designers generally still struggle to do this right now, resorting to small data sets or even intuitions in place of a more representative approach to research and learning.

Secondly, the way design expertise is valued will shift. Until recently, design experts tended to congregate in design studios. Now we see other set-ups emerging: large clients bringing expertise in-house, entrepreneurs scaling expertise across platforms, design thinking democratising basic expertise, and automation taking over tasks that previously required expertise. All this begs the question: what will it mean to be an expert designer in the future? And I suspect that design ‘experts’ will be those people who can apply their craft to feed nd support individual and collective projects and promote social change (to borrow from Ezio Manzini). Expert designers will become true partners with clients and coaches within organisations. They will augment and accelerate projects by bringing together data and design in smart ways.

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I think in the future, we’re going to see data meet design – it’s already happening – but we’re going to see data meet design on an unprecedented scale. I see the world of data, with its insights derived from big data sets, meeting the world of design, with its solutions derived from broad creative skills. And I see the two working together in a much more integrated way.

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Professor Roger Martin is a writer, strategy advisor and currently #1 ranked management thinker by Thinkers50, a biannual ranking of the most influential global business thinkers. He is also former Dean and current Institute Director of the Martin Prosperity Institute at the Rotman School of Management at the University of Toronto in Canada. Roger is a trusted strategy advisor to the CEOs of companies worldwide including Procter & Gamble, Lego, IDEO and Verizon.

Once, in an on-stage conversation, I asked friend and IDEO co-founder David Kelley whether when pioneering the use of rapid iterative prototyping in product design, he had in mind that it would also build the confidence of the executives in charge of the go/no-go decision on commercialising the design as they watched users get progressively more excited about its evolution. He replied that it had never occurred to him but he agreed that it was a beneficial and entirely accidental byproduct. In this respect, I think of rapid prototyping as a great example of Intervention Design.

I believe that the next important evolution of design will be the formalisation of the discipline of Intervention Design. The world will always need terrific design skills applied to the creation of all varieties of artifacts, whether products, services, packaging, graphics, user-experiences, or graphical-user interfaces. But as designers and non-designers alike know all too well, many potentially great design artifacts never end up being adopted. The status quo has a more tenacious grip on life than we might ever imagine. People are creatures of habit and change is rarely embraced with open arms by the organisations they create and inhabit. As a consequence, producing change in the direction of a better artifact, whatever its form, is a daunting challenge.

It is time for designers to embrace the design of an intervention into the status quo, as a legitimate branch of design and one in which they can play a lead role for the benefit of society.

It is a flaw to create an artifact and only then think about the ‘change management’ necessary to get it adopted. To channel fellow Canadian Marshall McLuhan, of ‘the medium is the message’ fame, the intervention is the design. If the artifact is created by the designer – even with lots of user interaction – and then dumped into the adoption environment as if the world will beat a path to its door due to its design magnificence, it is unlikely to see adoption. That is because the intervention was not thought through at the beginning of the design process.

The designer must recognise from inception that somebody has to ‘green-light’ the artifact designed.

The targeted user will never see the design unless some organisation first decides to adopt, produce and distribute the artifact, whether it is a new killer for-profit software product or a new government program for the needy.

That requires designing an intervention that helps the organisation build confidence in the emerging artifact design. This is the case even if the artifact designer builds his/her own organisation. In that case, the investors funding that start-up organisation need to have their confidence sufficiently built to green-light the design. Rapid iterative prototyping with users can be helpful. But that is only the case if the individuals responsible for the decision to green-light are productively involved with the iterative prototyping process in a way that helps them overcome their reservations to adoption and funding thereof.

One step downstream, users won’t adopt anything new unless they are helped to overcome the robust pull of the status quo. Apple’s intuitive design is implicitly a form of Intervention Design. Once the user has gained experience with the design in question, its intuitiveness is of no particular value: habit not intuition dominates. But at the outset it helped the user avoid frustration in the adoption process that could have resulted in abandonment.

However, as with David Kelley, it is not clear that Apple sees the intuitive nature of its product/ graphical-user interface designs as being a more integral part of Intervention Design than of product design.

Now is the time to make Intervention Design an explicit design discipline so we can teach it to designers to elevate the likelihood that their designs will achieve adoption. That is, in my view, the future of design.

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“I T IN IS T W O TI HI T M CH H E F E TH ST OR EY AT DE CA US SIG N QU N PL O ER AY , A S A S A TO LE L EM AD EG B RO ITI RA LE MA CE FO TE TH R BR E D TH AN E E CH SIG BE N N O F OF EF D IT ES AN O IG IN F N T SO A E CI ND RVE ET O N Y. NE TIO ” IN N

“E N SU R I DI NC VE R O ING RS EA F C TH AC HI G ITY SE RE E C EV RO , JO AT O E W LEA B IV NT TH TH D O E IN EI A TO PP IND U E R N O SD D M RT US D G O T H U G E R N R RO CO LP E IT IES W E M NA XC IES W TH M T L A IL IT IO US N L M N IV D EN S E TS TO .”

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Dr. Shamika N. Sirimanne is the Director of the Division on Technology and Logistics of the United Nations Conference on Trade and Development (UNCTAD) and the acting Director of the Division on International Trade and Commodities. Ms. Sirimanne has extensive experience in development policy, research and technical cooperation gained from international organisations, national governments, think tanks and universities. She holds a PhD in Economics.

Nevertheless, in many developing countries CCIs are being valued as economic tools for development and not only for their cultural and social functions.

Particular attention is given to their potential to create employment, generate incomes, earn export revenues and alleviate poverty. Ensuring the continued growth of creative industries will increase job opportunities and diversity, lead to more inclusive growth and help nations to achieve their SDG commitments.

Accordingly, UNCTAD supports developing countries in using their creative resources and cultural assets to enhance socio-economic development.

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UNCTAD remains steadfastly committed to the social, economic and developmental advantages of good design promulgated by Good Design Australia.

I look forward to a growing and strengthening partnership between our organisations for many years to come.

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UNCTAD fully supports GDA’s proposition that design is a key driver of innovation, economic growth, trade and productivity. The vision of the United Nations’ Sustainable Development Goals (SDGs) is a future that is equitable, inclusive, peaceful, and environmentally sustainable. This demands creative approaches beyond the typical linear and sectoral models historically used by most countries. Culture and creativity make a vital, transversal contribution to achieving sustainable development. This can also safeguard cultural heritage. As such, UNCTAD hopes to see more innovative, stronger partnerships between government and creative industries.

There is a global awakening to the socio-economic value of cultural and creative industries (CCIs).

Although CCIs are a cornerstone of the global economy, they remain fragile and largely outside of mainstream economic policy. Indeed, many countries are yet to recognise the full potential of cultural and creative industries.

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Design has the potential to be a catalyst for widespread, positive change. Designers provide innovative solutions, which when implemented can contribute to the sustainable future of the global development agenda. Whether by reducing a product’s carbon footprint, designing re-usable products or products for life, creating eco-buildings or eco-friendly fashion, design has the power to improve people’s lives and shape more inclusive economies. For the past 60 years, Good Design Australia has played a pivotal role in highlighting the importance of design to business, industry, government and consumers alike.

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Vincent Stanley, co-author with Yvon Chouinard of The Responsible Company, has been with Patagonia on and off since its beginning in 1973, for many of those years in key executive roles as head of sales or marketing. More informally, he is Patagonia’s long-time chief storyteller.

Vincent helped develop the Footprint Chronicles, the company’s interactive website that outlines the social and environmental impact of its products; the Common Threads Partnership; and Patagonia Books. He currently serves as the company’s Director, Patagonia Philosophy and is a Visiting Fellow at the Yale School of Management.

How something harms the planet is determined by its design.

This is not to place our ecological woes at the feet of designers but to underscore the responsibility of all of us engaged in the introduction (or redesign) of any new thing. How well does a product serve its purpose (and is its purpose for the good)? Will it last? If it breaks, can it be repaired? What is the environmental footprint of its manufacture, maintenance and end-of-life disposal or, better, recycling?

The answers to these questions are all determined by designers in their choice of structure, materials and processes—and in the choices designers are allowed to make by their employers and clients. So it is the responsibility of all of us, per Daniel Goleman, to know our impacts, favor improvements, and share what we learn.

Several years ago Patagonia ran on Black Friday an ad whose headline read Don’t Buy This Jacket. We made the argument that everything anyone makes costs the planet more than we know how to repay.

Most of what is made is brought into short-term life by short-term thinkers in the interest of short-term profit. Human life has never been more materially abundant yet we play on each other’s old human fear of scarcity. Fear is the flywheel of an economy built on continuously accelerated mass consumption.

We can do better than this. We can put our design practices in the service of what we value and make a living.

At Patagonia we have been fairly steady over the past 25 years about designing products that perform well for their intended use while working to lighten our environmental impact. It has never been easy to do both but the rewards are great. We are making better products because, not despite, our efforts to know our impacts, make improvements, and share what we learn. We work better together, as a group, and we are more fully engaged than ever. We are better at follow through and make more money.

Increasingly, people tell us they have started down a similar path or would like to.

Sometimes people assume we have done more than we have to reduce our harm. We have far more to do yet than we have actually done. The labyrinth of the global supply chain for apparel gets darker the deeper in you go. Half the clothing we make comes out of an oil well in the form of polyester or nylon.

It should be made from plastic that already exists in the world or from a biologically based material and we are determined that it will be. The other half of our clothing derives from farms. There is much exciting, but difficult, work to be done to bring the soil back to health. The tragedy is that we have come to the point where there is so much to be done to restore the planet to health. The good news is that every design change we make can help.

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“T DE HE SI GO G O N D CH N AN EW G S E IS W T E H M AT AK E E VE CA R N Y HE LP .”

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“Our job as designers is to inspire the world to tackle the problems that, on the surface, seem intractable.

If we’re only thinking about the short term, only thinking about shipping the next product, and not asking questions about the future, we’re not inspiring the world and that’s an important role.

– Tim Brown, CEO of Ideo “Screen addiction, online abuse, fake news. These are all repercussions of intentional design decisions judged only on how well they kept eyeballs and thumbs on tiny screens. Whether they helped make us better-engaged citizens, more creative thinkers, or more caring human beings was beside the point…We need to develop methods that allow us to think past the opposable digits of end users, to how our everyday interaction design decisions affect millions of people.

We then need practical tools–just like the wireframes, journey maps, and service blueprints in our current work- to convert this approach into an honest-to-goodness practice.”

– Sheryl Cababa, UX Design Director, Artefact “It’s time to bring design thinking to politics…When we come into contact with politicians and try to discuss design and the creative arts, they only talk to us about exports.

That gives us tremendous insight about their understanding of politics and society; it’s driven by economics rather than problemsolving. The onus is on us, as designers, to go to them. They don’t know we’re a resource to be tapped.”

– Jay Osgerby, principal of Barber Osgerby.

“The Chief Design Officer (CDO) or Chief Creative Officer (CCO) will be a job in every company, overseeing the design of a business’s every touchpoint and solidifying a fluid visual narrative that can maximize efficiency and purpose. Design is more and more central to the success of the modern business; designers are no longer being brought in at the end of the process to make things look pretty, but rather are providing essential insights from the ground up.

– Yves Béhar, founder, fuseproject “Architects and designers worldwide are confronted with a very interesting choice…we could say that our profession is in between ‘utopia and oblivion.’ It will be oblivion if we continue focusing on minor aesthetic problems. However, it might turn into utopia if we are able to tackle the major societal challenges of our time, starting from the issues of equity. I would argue for a paradigm shift from the ego-fueled visions of architecture of the 20th century to a collaborative, inclusive, network-driven process inspired by 21st-century, digital-driven trends such as crowdsourcing, open access, and mass customization.”

– Carlo Ratti, Director of the MIT Senseable City Lab

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UN Sustainable Development Goals 17 Goals to Transform our World

The Field Guide to Human-Centered Design

WWW.UN.ORG/SUSTAINABLEDEVELOPMENT

WWW.DESIGNKIT.ORG

The Lazy Person’s Guide to Saving the World

Design Council

WWW.UN.ORG/SUSTAINABLEDEVELOPMENT/ TAKEACTION

SDGs in Action app WWW.SDGSINACTION.COM

The Circular Economy, with educational resources WWW.ELLENMACARTHURFOUNDATION.ORG

Culture: at the heart of SDGs by Jyoti Hosagrahar

WWW.DESIGNCOUNCIL.ORG.UK

Sydney World Design Capital Bid TIMHORTONBLOG.WORDPRESS.COM/FLICKR

The Value of Design to New Zealand DESIGNCO.ORG.NZ

Reading Design – online archive of critical writing about design WWW.READINGDESIGN.ORG

EN.UNESCO.ORG/COURIER/2017-APRIL-JUNE/ CULTURE-HEART-SDGS?LANGUAGE=ES

Design a Better Business – Toolbox

The Future of Jobs, World Economic Forum

Business Models Inc – Tools and Skills

REPORTS.WEFORUM.ORG/ FUTURE-OF-JOBS-2016

DESIGNABETTERBUSINESS.COM

WWW.BUSINESSMODELSINC.COM/ TOOLS-SKILLS

An Inconvenient Sequel: Truth to Power, Action Handbook

by Al Gore IDEO – Tools

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WWW.IDEO.COM/TOOLS

GO DE O AW S D I G AR N

In 1958, the Australian Government established the Industrial Design Council of Australia (IDCA) to help inform and educate Australian manufacturers about the value and importance of design. 60 years on, now known as Good Design Australia our mission has not changed and we remain committed to raising the profile of design and its important role in helping to create a better, safer and more sustainable world.

To celebrate this important milestone, Good Design Australia introduced a number of new awards and initiatives, including the Australian Design Prize, which celebrates an Australian designer that has made a significant contribution to the design industry over the course of their career. The inaugural Australian Design Prize was awarded to Paul Schremmer, one of Australia’s most prominent Industrial Designers and posthumously to Carl Nielsen for his incredible commitment and contribution to the industry throughout his life.

Also established this year, the Indigenous Designer Award recognises the important contribution that Australia’s Aboriginal and Torres Strait Islander designers make to Australian Design.

In addition the Good Design Team of the Year Award was created to recognise a design team that has made a positive and tangible impact in establishing and maintaining a design-led culture within their organisation.

The 2018 Good Design Awards was celebrated for the first time at the Sydney Opera House, where more than 1100 guests attended the special 60th Anniversary Awards Ceremony. Jan Utzon, the son of Jørn Utzon who designed the beautiful Opera House attended the night as the presenter of the 2018 Good Design Award of the Year.

With a record number of submissions the Winners of the Good Design Awards represent the very best in design and innovation from around the world.

On behalf of Good Design Australia, I congratulate the designers and innovators recognised in this very special edition of the Good Design Awards Yearbook. May your work inspire others to greatness for many years to come.

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Dr. Brandon Gien CEO, Good Design Australia Adj. Professor, Industrial Design, University of Canberra Senator, World Design Organization (WDO)

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It has been an incredible year for Australian design as we celebrated 60 years of good design.

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ABOUT THE AWARDS The Good Design Awards represent the diverse spectrum of design with 10 specific Design Disciplines, spanning 28 Categories. Through our annual Good Design Awards program, we proudly showcase superior examples of good design to a national and international audience.

Australia’s annual Good Design Awards program is one of the oldest and most prestigious international design awards in the world, promoting excellence in design and innovation since 1958. It is recognised by the World Design Organization (WDO) as Australia’s peak international design endorsement program.

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DR. HARTMUT ESSLINGER frog design

TRENT NIKOLIC Caradvice.com

SCIENTIA PROFESSOR VEENA SAHAJWALLA University of New South Wales

GEORGINA SAFE

CHERYL, VANESSA AND GABRIELLE MANNING Manning Cartell PROFESSOR MARGARET PETTY University of Technology, Sydney BESSI GRAHAM Benefit Capital STEPHEN TODD Australian Financial Review VINCE FROST Frost*collective DR. KOUROSH KAYVANI Aurecon JANNA DEVYLDER Meld Studios PAUL HATCH Teams USA STEVE COSTER Hassell STEFANIE KUBANEK Kubanek Design +

CRAIG COMMERFORD VSL Australia/NZ ANVER CASSIM Siemens Limited KIM HANSEN Enhanced Society MICHAEL STAHL Robb Report DR. OYA DEMIRBILEK UNSW CHRIS VANSTONE TACSI TERRI WINTER top3 by design PAUL BERANGER CATHY VENINGA The Designers Institute of New Zealand DR. STEVE WINNALL Baraja LINDY JOHNSON

BRUCE CLAXTON Savannah College of Art and Design

IAN MUIR IDM Design Labs

JO PRETYMAN I-Manifest

TIMOTHY HORTON NSW Architects Registration Board

JANNE RYAN Arrow Collective

LUCIANO PAPI Lu Papi and Associates

STEPHANIE PEMBERTON KPMG Australia

TIM RICHES Principals

RAJ NANDAN InDesign Media Asia Pacific

LESTER MILLER Foundry Intellectual Property

KASIA WYDROWSKI K&CO

BEN CROTHERS Second Road

JULIAN BRIGGS Aurecon

2018 GOOD DESIGN AWARDS JURY Every year, Good Design Australia invites renowned design experts from Australia and around the world to participate in the Good Design Awards evaluation process.

The Good Design Judges consist of leading design experts and are selected based on their area of expertise and ability to bring an individual perspective to the evaluation process. Our judging experts take great pride in setting international best practice in design evaluation.

GOOD DESIGN AWARDS CRITERIA The Good Design Awards evaluates all entries based on three overarching design criteria that include: Good Design, Design Innovation and Design Impact as listed below.

Further to this, Judges are asked to evaluate each entry based on specific evaluation criteria aligned to each of the 10 Design Disciplines.

GOOD DESIGN Is it good design based on the specific criteria for the discipline?

DESIGN INNOVATION Does the entry advance the design profession and push the boundaries of new and innovative thinking in design practice?

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DESIGN IMPACT Does the entry have the potential to make a significant positive impact on society, business performance or the environment, and will it improve the quality of life for people and our planet?

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LA DE S Good Design Australia presents a number of special accolades to recognise, reward and celebrate the expanding role of design in helping shape a better, safer and more prosperous world.

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The Good Design Team of the Year recognises a design team that has made a positive and tangible impact in establishing and maintaining a design-led culture within their organisation. The Award is selected

by Good Design Australia and is aimed at inspiring corporations to build and maintain a design-led culture throughout the organisation.

GOOD DESIGN TEAM OF THE YEAR PROUDLY PRESENTED BY GOOD DESIGN AUSTRALIA

THE BREVILLE DESIGN TEAM The Breville Design Team were honoured with the inaugural Good Design Team of the Year in recognition of their consistent performance in the annual Australian Good Design Awards over the last 15 years. Under the leadership of Richard Hoare, the Director of Design and Innovation at the Breville Group, the Breville Design Team has grown into an internationally renowned group of talented and respected designers and engineers, responsible for designing and developing world-class products for Australian and export markets.

PATRON’S AUSTRALIAN DESIGN AWARD PROUDLY PRESENTED BY GOOD DESIGN AUSTRALIA

NURSEWATCH

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As part of the Australian Government’s initiative to move 80% of aged care back into the home by 2020, NurseWatch combines premium home care and qualified medical professionals with an intuitive online booking process – addressing the untapped opportunity for instant, unlimited access to quality care, whenever you may need it.

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Presented annually by the Patron of Good Design Australia, the Award recognises and celebrates the best Australian designed product, service or project in the annual Good Design Awards and is awarded to an entry that has the potential to shape the future economic, social, cultural and environmental aspects of our planet.

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The Australian Design Prize was established to recognise individual designers who are making or have made, a significant impact in Australian design over the course of their career.

AUSTRALIAN DESIGN PRIZE PROUDLY PRESENTED BY GOOD DESIGN AUSTRALIA

PAUL SCHREMMER OAM Paul Schremmer is one of Australia’s most celebrated Industrial Designers. He designed many objects that we are familiar with, from Victa lawnmowers and public telephones to hand dryers and toothbrushes. His design for the Telecom STC Gold Phone was widely used in Australia from the 1980’s until 2006. Paul was inducted into the DIA Hall of Fame in 2011 and was awarded the Medal of the Order of Australia (OAM) for his service to Industrial Design in 2013.

AUSTRALIAN DESIGN PRIZE PROUDLY PRESENTED BY GOOD DESIGN AUSTRALIA

CARL NIELSEN (AWARDED POSTHUMOUSLY)

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Carl Nielsen was one of Australia’s most prominent Industrial Designers. He established Nielsen Design Associates in the early 1960’s with David Wood and today, Nielsen Design is still regarded as one of Australia’s leading Industrial Design consultancies. Of Carl’s many products, he is probably best known for the iconic Audio-tactile Pedestrian Push Button, still used today on Australian streets and in many overseas countries.

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The Australian Design Prize was established to recognise individual designers who are making or have made, a significant impact in Australian design over the course of their career.

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The Indigenous Designer Award recognises and celebrates the important contribution that Australia’s Aboriginal and Torres Strait Islander designers make to Australian Design across the spectrum of design disciplines and practice.

INDIGENOUS DESIGNER AWARD PROUDLY PRESENTED BY RMIT

AUSTRALIAN INDIGENOUS DESIGN CHARTER The Australian Indigenous Design Charter has been created to address the issues of appropriation and respectful representation of Indigenous (Aboriginal, Torres Strait Islander) culture in design practice and education. This document offers a best practice protocol for designers (Indigenous and non-Indigenous) working with Indigenous knowledge through respectful, Indigenous led, collaborative processes.

SAFE WORK AUSTRALIA AWARD FOR GOOD DESIGN PROUDLY PRESENTED BY SAFE WORK AUSTRALIA

DBCT REMEDIALS – MOBILE SWINGSTAGE GANTRY

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Wrapping piles on a 4.2 km-long jetty in a tidal zone is all about access and safety.

This innovative Mobile Swing-Stage Gantry overcomes the constraints, providing significant safety, quality, environmental, time and cost benefits.

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The Safe Work Australia Award for Good Design was developed to raise awareness of the role of good design to support work health and safety. When utilized effectively, a focus on health and safety by design helps eliminate hazards and risks before they enter the workplace by improving the design of products, structures, plant and substances, work processes and systems.

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Good Design Australia’s Automotive Design Award is a special accolade within the Automotive and Transport Category to recognise excellence in automotive design and styling.

AUTOMOTIVE DESIGN AWARD BEST EXTERIOR DESIGN AWARD PROUDLY PRESENTED BY GOOD DESIGN AUSTRALIA

LEXUS LC COUPE In 2017, Lexus advanced its brand evolution with the arrival of its flagship LC luxury coupe. This stunning vehicle features avant-garde styling, superb craftsmanship and ground-breaking engineering and technology. A stunning vehicle in every regard.

The exterior design of the LC is design craftsmanship at its very best. This car has presence on the road like no other.

AUTOMOTIVE DESIGN AWARD BEST INTERIOR DESIGN AWARD PROUDLY PRESENTED BY GOOD DESIGN AUSTRALIA

VOLVO XC60

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The Volvo XC60 is built for enjoyment. The XC60 cabin is about as premium as premium gets. Faceted finishes, strong upmarket appearance and infotainment is a delight. The overall ergonomics of this car tick every box for good design.

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Good Design Australia’s Automotive Design Award is a special accolade within the Automotive and Transport Category to recognise excellence in automotive design and styling.

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The MAAS Design Award is given to a project that has potential to make a significant improvement to the quality of health, wellbeing or the environment. This Award recognises the important role of design in harnessing the challenges of science and technology to make a positive impact on our lives.

MAAS DESIGN AWARD PROUDLY PRESENTED BY THE MUSEUM OF APPLIED ARTS AND SCIENCES SINCE 1992

FASHION REVOLUTION AUSTRALIA Fashion Revolution was established in response to the 2013 Rana Plaza garment factory collapse, which killed more than 1,100 people and injured over 2,500 in Bangladesh. This global movement calls for radical change in the way our clothes are sourced, produced and consumed, to create a more ethical and sustainable future for fashion.

CSIRO DESIGN INNOVATION AWARD PROUDLY PRESENTED BY CSIRO

FACETT

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Facett is the world’s first modular hearing aid. Co-designed with hearing aid users, it provides unparalleled ease of use, upgradability options and aesthetic appeal.

Magnetic modules click easily into place, simplifying daily maintenance tasks and empowering people who have dexterity and visual impairments with independence.

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The CSIRO Design Innovation Award recognises and celebrates the important role of design-led innovation in harnessing the challenges of science and technology to create better products and services that make a positive impact on our lives.

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The 202020 Vision Green Design Award recognises and celebrates the important role of green and living infrastructure design to our built environment and to our overall health and wellbeing.

202020 VISION GREEN DESIGN AWARD PROUDLY PRESENTED BY 202020 VISION

SYDNEY PARK WATER RE-USE PROJECT This project is a key component of Sustainable Sydney 2030, harvesting stormwater from the Newtown catchment; the measure of 850 million litres/year. Water is captured, made good and returned viable through a dynamic, new waterscape; at all times connecting park users to the water narrative of capture, movement and cleansing.

DESIGN INSTITUTE OF AUSTRALIA AWARD PROUDLY PRESENTED BY THE DESIGN INSTITUTE OF AUSTRALIA

CLANDESTINE DESIGN GROUP

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The Clandestine Design Group (CDG), is a Brisbane-based product design and innovation consultancy that were recognised for their world-leading design talent, and for their inclusive, human-centred design.

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The Design Institute of Australia Award recognises an Australian professional designer, design team or design company who has made a significant impact in the Australian Good Design Awards over the year.

TH DE E SI GO GN O AW AR D

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GOOD DESIGN AWARD OF THE YEAR GOOD DESIGN AWARD SUSTAINABILITY GOOD DESIGN AWARD BEST IN CLASS GOOD DESIGN AWARD GOLD

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The Good Design Award accolade, more commonly known as the Good Design Tick, is among the most respected and recognised international design endorsement symbols in the industry.

The Good Design Tick is a visible indicator of good design and a brand’s commitment to excellence in design and innovation. Consumers can be assured that a product, project or service displaying the Good Design Tick trademarks have been professionally designed to the highest standards.

All entries in the Good Design Awards are evaluated against criteria for Good Design, Design Innovation and Design Impact and are awarded accolades in the following order.

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GOOD DESIGN AWARD WINNER

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OF THE YEAR

AW TH A E RD YE O AR F FACETT PRODUCT DESIGN MEDICAL AND SCIENTIFIC DESIGNED BY

Professor Peter Blamey Leah Heiss Yaniv Kaufman

COMMISSIONED BY Blamey Saunders Hears DESIGNED IN

Australia

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Facett is the world’s first modular hearing aid. Co-designed with hearing aid users, it provides unparalleled ease of use, upgradability options and aesthetic appeal. Magnetic modules click easily into place, simplifying daily maintenance tasks and empowering people who have dexterity and visual impairments with independence.

Facett is the first Australian designed and manufactured hearing aid.

Challenge Untreated hearing loss can lead to isolation, decreased employment and cognitive and physical decline. Mild hearing loss can triple the risk of falls. 1 in 6 Australian adults has hearing loss but only 20% own a hearing aid because they are considered expensive and associated with old age. People who own hearing aids often don’t wear them because they are difficult o use and unattractive.

The objectives: • Solve usability issues for those with dexterity problems • Shift the perception of hearing aids from disability to desirability

Solution

Impact

Daily maintenance challenges were the catalyst for a world-first modular design that addresses multiple user concerns. Detachable rechargeable modules eliminate disposable batteries and fiddly compartments and make technology upgrades affordable. Instead of a new hearing aid, users can buy interchangeable modules containing new features, including health monitoring technology. Facett’s elegant form was inspired by crystals in Melbourne Museum, turning a stigmatised medical device into jewellery. A unique cross-collaboration between hearing aid users, designers, engineers, and audiologists.

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Most people delay hearing aids for upto 7 years. Facett’s aesthetics encourage faster uptake, potentially saving individuals $9,280 (estimated) a year in financial and wellbeing costs (Access Economics, 2017). Facett empowers people with dexterity/visual impairments to use hearing aids independently. Facett uses fullyrecyclable rechargeable batteries that last for over 400 charges, saving costs and environmental degradation.

Facett could help millions worldwide remain engaged in society.

AW TH A E RD YE O AR F GROWING HUMAN-CENTRED DESIGN ACROSS QUEENSLAND GOVERNMENT SERVICE DESIGN PUBLIC SECTOR SERVICES DESIGNED BY

Meld Studios

Queensland One Stop Shop Strategy and Implementation Office

COMMISSIONED BY Queensland One Stop Shop Strategy and Implementation Office DESIGNED IN

Australia

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Queensland Government is on a journey to embed design practices at scale. Applying a human-centred design approach to developing a framework for building design capability resulted in a solution appropriate for and specific to the context of government, accommodating the diversity of roles, existing processes, culture and constraints.

Designed to empower everyone in government to take a design approach to their work.Â

Challenge Queensland Government faces complex service challenges that design is uniquely placed to address. With a drive to put customers at the centre service delivery, One-Stop-Shop sought to raise adoption of human-centred design practices across the board. By engaging with staff in diverse roles and levels across government agencies they created a shared understanding of the environment in which services are created and delivered including the people involved and existing processes.

Together they identified the factors that contribute to the successful adoption of design, and the constraints and challenges unique to the government context.

Solution Many of the available design toolkits focus on methods but lack the advice people need to overcome the challenges of implementing human-centred design in complex organisational contexts. This project co-designed a capability building framework that contextualises human-centred design specifically within government, including: • A toolkit that demystifies design and frames the value of design in context of government, providing solutions addressing specific challenges revealed in the research.

• Distilled, single source of Queensland Government customer insights.

• Education methods to support growth at scale, including a skills matrix and virtual coaching.

Impact

The collaborative process and adoption of the toolkit and design capability building framework has increased awareness and uptake of human-centred design practices across Queensland Government.

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• Staff report increased confidence in explaining how design aligns with other processes, in advocating for a human-centred design approach, and holding stakeholders accountable to the process.

• Taking a cross-agency co-design approach resulted in the establishment of a consistent approach to design which has opened the door to greater collaboration and a consistent approach.

• Beyond the public sector, the toolkit has been adopted by organisations who collaborate with Queensland Government to establish alignment in approach.

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SUSTAINABILITY

AW SU A ST RD AI F NA O BI R LI TY TESLA POWERPACK NEOEN HORNSDALE WIND FARM ENGINEERING DESIGN DESIGNED BY

Tesla

COMMISSIONED BY Tesla DESIGNED IN

United States of America

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In September 2016, a once in 50-year storm damaged critical infrastructure in South Australia, causing a state-wide blackout.

In response, Tesla deployed the world’s largest lithium-ion battery, the 100MW Hornsdale Power Reserve. This world-leading project was delivered in record time, providing grid stability and system security to all South Australians.

Challenge Following the September 2016 black-out event, the South Australia Government sought a battery storage solution to provide system security services and facilitate dispatchable renewable energy.

The 100MW project was required to be designed, built, and operational in less than five months prior to the start of Summer 2017. System operation was also tied to a self-imposed deadline of “100 days or its free”. The project required a new Grid Connection Agreement to be formed with ElectraNet and complex registration on the National Energy Market, forging the way for new technology and market reform.

Sustainability is the driving force behind Tesla’s commitment to industry leading recycling programs for all Tesla products.

Solution This project pushed the boundaries of new and innovative thinking in the electricity industry. A highly compressed schedule required innovative approaches to the system design, long lead equipment procurement and connection agreement negotiations for this new technology. Site selection was integral to its success and effective risk management was essential to delivering the project before the 100 day deadline.

Impact

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This system is the largest lithium-ion battery storage project in the world to date and provides enough power for more than 30,000 homes. This grid scale energy storage project is not only sustainable, but provides system security services to help solve power shortages, reduce intermittencies, and manage summer time peak demand, improving the reliability of electricity supply for all South Australians. The battery system also enables dispatchable supply of renewable energy, meaning that clean and affordable wind energy can be dispatched to the grid whether the wind is blowing or not, improving system reliability.

EVIE SLATTERY | BACHELOR OF DESIGN THE REAL WORLD EXPERIENCE THAT SAE GIVES, IS SUCH A UNIQUE PART OF THE PROGRAM. IT GAVE ME THE SKILLS TO NOT JUST DESIGN SOMETHING TO FULFIL A BRIEF, BUT TO DESIGN SOMETHING TO FULFIL SOMEONE’S IMAGINATION.

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7/6/18 10:36 am

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BEST IN CLASS

BE CL S AS T I S N NIGHTINGALE 1 ARCHITECTURAL DESIGN COMMERCIAL AND RESIDENTIAL DESIGNED BY

Breathe Architecture Openwork / Oculus Hip V. Hype Hansen Partnership Metro Building Form Structures Lucid Consulting Thomas Nicolas Arup Morris Access Consulting Dekkerspec Leigh Design

Websters and Peter Rickard Environmental

Peter Ramsay and Assoc.

Compass Environmental

COMMISSIONED BY Nightingale on Florence DESIGNED IN

Australia

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Homes built for people, not profit. Nightingale 1 is the inaugural project of the Nightingale Model – a replicable, triple bottom line housing model with an overarching priority towards social, economic and environmental sustainability. At it’s heart, Nightingale is all about people. Its architecture serves as a catalyst to building community.

BE CL S AS T I S N PWC SYDNEY CLIENT COLLABORATION FLOORS ARCHITECTURAL DESIGN INTERIOR DESIGN DESIGNED BY

Futurespace

COMMISSIONED BY PwC DESIGNED IN

Australia

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This project sets the benchmark for how business will collaborate and innovate with their clients in the future, by placing the client at the centre of the experience. We live in a fast moving, high-tech, uncertain, disrupted world – this ‘boardroom of the future’ helps businesses navigate the ‘new normal’.

BE CL S AS T I S N SYDNEY PARK WATER RE-USE PROJECT ARCHITECTURAL DESIGN URBAN DESIGN DESIGNED BY

Turf Design Studio and Environmental Partnership

Public Art: Turpin + Crawford

Studio Ecology: Dragonfly

Environmental Contractor: Design Landscapes

Plant Suppliers: Andreasens Green, Toolijha Structural

Engineering: Partridge and Arup

Lighting and Electrical: Lighting Art and Science Irrigation: HydroPlan Soils: SESL Australia

Environmental Management: A.D. Envirotech Australia

COMMISSIONED BY City of Sydney DESIGNED IN

Australia

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How will Sydney cope as its population swells to eight million people by the middle of the century? The now internationally-acclaimed Sydney Park Water Re-Use Project addresses this enduring tension between growth and livability. With conservation, sustainability and functionality in mind, an expert team has created a prototype for replication.

BE CL S AS T I S N WESTPAC WORKPLACE WAYFINDING AND ENVIRONMENTAL GRAPHICS COMMUNICATION DESIGN BRANDING AND IDENTITY DESIGNED BY

THERE Design Paul Tabouré – ECD Charlie Bromley – Head of Environments Jon Zhu – Design Lauren Barber – Design Mansur Amiri – Design Christina Maricic – Design Danielle Senecky – Project Management

COMMISSIONED BY Client Westpac Design:

Paul Tabouré – ECD Charlie Bromley – Head of Environments Jon Zhu – Design Lauren Barber – Design Mansur Amiri – Design Christina Maricic – Design Danielle Senecky – Project Management

DESIGNED IN

Australia

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With a brief to help create a space that felt inherently Westpac, THERE Design was commissioned to design signage, wayfinding and environmental graphics for Westpac’s refurbished Sydney headquarters. The system had to facilitate a new working model for the organisation, whilst telling stories that only Westpac could tell.

BE CL S AS T I S N AMP’S FUTURE OF GOALS-BASED FINANCIAL ADVICE DESIGN STRATEGY DESIGNED BY

AMP Financial Services

COMMISSIONED BY AMP Financial Services DESIGNED IN

Australia

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Customer experience focused on realising goals (not wealth).

Advice delivery time spent on deeply understanding customers (not spreadsheets). And practice management where compliance steps are built into fulfilment of needs (not separate processes).

Those are only a few changes as AMP innovates the future of goals-based financial advice in Australia.

BE CL S AS T I S N FUND MY NEIGHBOURHOOD DIGITAL DESIGN WEB DESIGN AND DEVELOPMENT DESIGNED BY

Department of the Premier and Cabinet (South Australia)

COMMISSIONED BY Department of the Premier and Cabinet (South Australia) DESIGNED IN

Australia

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Fund My Neighbourhood is one of the biggest participatory budgeting projects ever run, empowering South Australians to decide how $40 million is spent. Locals nominate improvement projects that they would like to receive government funding in their local area. The community then votes on which projects the government should fund.

BE CL S AS T I S N HUMANIHUT FIELD INFRASTRUCTURE SYSTEM ENGINEERING DESIGN DESIGNED BY

Humanihut: Neale Sutton and John Brooks Kadego

COMMISSIONED BY Humanihut: Neale Sutton and John Brooks DESIGNED IN

Australia

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The Humanihut Shelter System is a scalable, deployable, rigid field infrastructure system, eight times more logistically efficient than other temporary buildings and delivering measurable improvement over tents. Humanihuts are climate controlled, include services and internal furnishings, and are deployed with their own ablutions and utilities creating a temporary livable community.

BE CL S AS T I S N MULTI – NEW ERA OF MOBILITY IN BUILDINGS ENGINEERING DESIGN DESIGNED BY

Thyssenkrupp Elevator AG

COMMISSIONED BY Thyssenkrupp Elevator AG DESIGNED IN Germany

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The MULTI is the world’s first rope-free elevator that applies linear motor technology to move multiple cars in one shaft both vertically and horizontally. Set to revolutionise tall building design and described by many as the industry’s holy grail, it represents the end of the 160-year reign of the rope-dependent elevator.

BE CL S AS T I S N FASHION REVOLUTION AUSTRALIA FASHION DESIGN DESIGNED BY

Fashion Revolution Australia

COMMISSIONED BY Fashion Revolution Australia DESIGNED IN Australia

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Fashion Revolution is a global, volunteer led movement calling for transparency, traceability and responsibility in the fashion industry.

Mobilising millions of stakeholders around supply chain issues relating to worker rights and the environment during Fashion Revolution Week each April, it has become the largest fashion movement in the world.

BE CL S AS T I S N IKKI – COMPANION THERAPY ROBOT FOR SICK CHILDREN NEXT GEN DESIGNED BY

Seaton Mckeon

COMMISSIONED BY Ikkiworks – founded by: Seaton Mckeon Colin Stahel Clive Mcfarland DESIGNED IN Australia

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Ikki provides patients with an improved quality of healthcare by streamlining tasks, improving the clarity of information and by providing direct support and companionship. The device looks to improve clinical outcomes through simplifying the experience for patients, doctors, families, and the community around them. Within the complex treatment programs of many ongoing illnesses, the device focuses on the patient and their basic needs beyond the biological and medical treatment itself. Through clearer data, doctors are able to treat their patients more effectively, and by extending communication between home and hospital, the emotional toll on sick kids and families is reduced.

BE CL S AS T I S N VICTORIA POLICE ALCOHOL AND DRUG TESTING (ADT) BUS PRODUCT DESIGN AUTOMOTIVE AND TRANSPORT DESIGNED BY

Brimarco Byron-Wade – Vehicle Builder, Designer Cobalt Design – Industrial Design Ottimo Design – Mechanical Engineering

COMMISSIONED BY Victoria Police DESIGNED IN Australia

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The innovative design of Victoria Police’s new Alcohol and Drug Testing (ADT) buses will play an integral role in reducing road trauma. Drink and drug drivers will be removed from the roads with the purpose built bus enabling police to randomly test motorists anytime anywhere. Designed to meet operational police’s every need, it will enhance police safety, transport police and equipment statewide and also double as mobile command posts during major incidents.

BE CL S AS T I S N GROUNDPROBE GMS PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Groundprobe – Engineering Team Designworks Group – Industrial Design

COMMISSIONED BY Groundprobe DESIGNED IN Australia

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The Geotech Monitoring Station (GMS) is an industry-disrupting monitoring solution. Developed specifically for geotechnical monitoring in mine sites, the system detects and measures deformation (movement) on slopes, tailings dams, dumps and highly vegetated slopes. Deformation is tracked and collapses can be forecast in its analysis software.

BE CL S AS T I S N ROPER SYSTEM® – WORKING AT HEIGHTS LIFELINE SYSTEM PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

TRAC International Pty Ltd

COMMISSIONED BY TRAC International Pty Ltd DESIGNED IN Australia

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The Roper System® is a simple multipurpose shock absorbing system controlled from either end, to raise or lower at any time with an integrated 30 second rescue plan, greatly reducing associated risks.

BE CL S AS T I S N URSA BROADCAST CAMERA SYSTEM PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Blackmagic Design

COMMISSIONED BY Blackmagic Design DESIGNED IN Australia

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The URSA Broadcast Camera System is the world’s most affordable, professional live production camera. Costing just one tenth of existing systems, it is effectively two cameras in one, pairing portability and tactile control with industry standard B4 video lens mount and bespoke SMPTE fiber optic adapter.

BE CL S AS T I S N SOUNDWEAR COMPANION SPEAKER PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

Bose

COMMISSIONED BY Bose DESIGNED IN

United States of America

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The convenience of headphones with the awareness of a speaker.

The SoundWear Companion is a wearable speaker that allows you to listen to your music as well as your surroundings with deep, rich sound that is clear to you and minimized to those around you.

BE CL S AS T I S N ELECTROLUX COMFORTLIFT™ DISHWASHER PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

Electrolux in-House Design Team

COMMISSIONED BY Electrolux DESIGNED IN Sweden

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The guests have gone. The party’s over. It’s been a wonderful evening. Now it’s time to stack the dishwasher. Electrolux has transformed the everyday task of doing the dishes with the world’s first dishwasher with ComfortLift™ technology. Comfortlift™ redefines the everyday experience of loading and unloading the dishwasher.

BE CL S AS T I S N JUMPSEAT PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Sedia Systems Ziba Design

Sedia Systems Ziba Design COMISSIONED BY

DESIGNED IN

United States of America

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Introduced to Australia in 2017, the JumpSeat is an innovation from the USA which has been very quickly recognised internationally for its unique function and form. The series features four adaptions of the JumpSeat, each of which provides a solution to the need for seating where space is limited.

BE CL S AS T I S N ZETR TRIMLESS OUTLETS AND SWITCHES PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Garth Elliott ZETR

COMMISSIONED BY Garth Elliott ZETR DESIGNED IN Australia

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ZETR is a range of recessed, trim-less, and completely flush switches and outlets that integrate with the surrounding wall surface to provide minimal impact on architectural finishes. A world first, ZETR is designed to be installed within various wall types and thicknesses all achieving a flush finish.

BE CL S AS T I S N LATCH C PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Meyerhoffer

COMMISSIONED BY Latch DESIGNED IN

United States of America

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Latch is designed for the culture of modern living. We created an innovative access experience where trust, longevity and mindfulness are key design values. The silent and intuitive design allows for the user to build trust in a new technology system that is replacing a traditional key.

BE CL S AS T I S N ˉ ROA SHOWER METHVEN TU PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Methven Global Design & Innovation Team

COMMISSIONED BY Methven Global Design & Innovation Team DESIGNED IN

New Zealand

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Introducing the Tu ˉroa shower range powered by VJET technology.

We’ve created a shower experience without limitations, uniquely tailored by you. Tu ˉroa allows users to seamlessly transition from a firm, invigorating spray to a gentle, enveloping warmth and everything in-between. Whether you’re in need of revitalisation, relaxation or simply getting clean.

BE CL S AS T I S N HUSKEE CUP PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Vert Design

COMMISSIONED BY Huskee Team DESIGNED IN Australia

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HuskeeCup is a considered, design driven response to a mature reusable coffee cup market. Visually iconic, functionally sophisticated, HuskeeCup and accessories are made from a custom eco-composite polymer formulated with 33% waste coffee bean husk, reducing waste from the coffee farm and landfills through to the cafes who adopt HuskeeCup.

BE CL S AS T I S N CARESTREAM DRX REVOLUTION NANO MOBILE X-RAY SYSTEM PRODUCT DESIGN MEDICAL AND SCIENTIFIC DESIGNED BY

Micro-X Hydrix Carestream Health

COMMISSIONED BY Micro-X DESIGNED IN Australia

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The Carestream DRX Revolution Nano Mobile X-Ray System is an ultra-lightweight mobile medical X-ray cart. At a fraction of the size, cost and weight of conventional equipment, it offers enhanced workflow efficiencies and affordability. The Carbon Nano Tube field emission X-ray tube is a global first and game changing innovation in X-ray generation.

BE CL S AS T I S N COCHLEAR NUCLEUS 7 SOUND PROCESSOR PRODUCT DESIGN MEDICAL AND SCIENTIFIC DESIGNED BY

Cochlear Ltd

COMMISSIONED BY Cochlear Ltd DESIGNED IN Australia

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The Cochlear™ Nucleus® 7 Sound Processor is the world’s first made for iPhone Cochlear implant sound processor, enabling users to directly stream calls, music and entertainment from compatible Apple devices. Designed for the Nucleus 7 Sound Processor, the Nucleus Smart App offers convenient control and adjustment of sound processor settings.

BE CL S AS T I S N CHESSPLUS PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Adam Laws Nielsen Design

COMMISSIONED BY Christian Simpson DESIGNED IN Australia

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Chessplus, the exciting evolution of chess, began as a creative move by a nine year old playing chess with her dad. She joined her rook and pawn – Chessplus was born. This modern and elegantly designed game allows pieces to be seamlessly merged and separated, creating a faster, more dynamic game.

BE CL S AS T I S N CONCOURSE SMART WHEELS PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Concourse Golf

Design + Industry Procept

Neo Industrial Design Your Engineer

COMMISSIONED BY Concourse Golf DESIGNED IN Australia

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Concourse Smart Wheels are the world’s first self-propelled wheels capable of delivering both powered mobility and precision control to anything they’re attached to. Designed in Australia, the Smart Wheels will revolutionise powered mobility by delivering an affordable, sustainable, user-friendly, portable mobility solution to millions of people globally.

BE CL S AS T I S N FUSION TRAMPOLINE PARK PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Vuly

COMMISSIONED BY Vuly DESIGNED IN Australia

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Vuly Fusion is the world’s first and only trampoline park where the entire space is open for bouncing, with no need for the dangerous coil connections and safety padding that crisscross other models. Pure, uninterrupted bouncing isn’t just more fun, it’s safer – with over 70% fewer injuries than traditional parks.

BE CL S AS T I S N SEABIN PROJECT – WHOLE SOLUTION STRATEGY SOCIAL IMPACT DESIGNED BY

Seabin Group

COMMISSIONED BY Seabin Group DESIGNED IN Australia

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How will we clean up the oceans if we cannot turn off the tap?

The Seabin Group is addressing the ocean plastics crisis using a whole solution strategy. Combining Education, Science, Research, Technology, Community and Industry activities all aimed at changing consumer culture for cleaner oceans.

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GOLD WINNER

F O U N D R Y I P . C O M . A U P A T E N T S

D E S I G N S

T R A D E

M A R K S

ideas solidified

G W OL IN D N ER S

CAMPBELL STREET ARCHITECTURAL DESIGN COMMERCIAL AND RESIDENTIAL DESIGNED BY

DKO Architecture + SLAB

COMMISSIONED BY Milieu Property DESIGNED IN Australia

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Campbell Street is a study in pushing multi residential architecture and vertical living to the limits. Two dwellings side by side, identical in dimension but not layout.

G W OL IN D N ER S

NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE ARCHITECTURAL DESIGN URBAN DESIGN DESIGNED BY

Lead Designer: Adjaye Associates Architect of Record: Freelon Group (Perkins + Will) Associate Architect: DavisBrodyBond Associate Architect: Smith GroupJJR

COMMISSIONED BY

Smithsonian Institution National Museum of African American History and Culture United States of America

DESIGNED IN

The opening of the National Museum of African American History and Culture, which featured a dedication by President Obama, was named “Cultural Event of the Year” by the New York Times. Located adjacent to the Washington Monument, the museum houses exhibit galleries, administrative spaces, theatre space and collections storage space.

NEPAL REBUILD PROGRAM ARCHITECTURAL DESIGN URBAN DESIGN DESIGNED BY

Taylor Thomson Whitting (TTW) Ken McBryde – Sydney Architecture Studio Davenport-Campbell David Francis (in collaboration)

COMMISSIONED BY Australian Himalayan Foundation DESIGNED IN Australia

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The 2015 earthquakes in Nepal destroyed 200 of the 350 schools supported by the Australian Himalayan Foundation. In response, TTW collaborated with architect Ken McBryde and Davenport Campbell (masterplan) to design a lightweight earthquakeresistant pre-fabricated system that could be easily constructed and transportable by foot to the remote locations.

G W OL IN D N ER S

RENTERS UNITED COMMUNICATION DESIGN BRANDING AND IDENTITY DESIGNED BY Chrometoaster:

Robert Whitaker Aaron McKirdy Renee Pearson George Frost

Bas van Lunteren Dan West

COMMISSIONED BY Renters United DESIGNED IN

New Zealand

Home ownership in New Zealand is at an historic low. Half the population are renters, though rental housing is unhealthy, unaffordable and insecure. Renters United is a grassroots advocacy group fighting for a fair deal. This brand speaks with conviction — from the streets to the corridors of political power.

SYDNEY ARCHITECTURE FESTIVAL COMMUNICATION DESIGN BRANDING AND IDENTITY DESIGNED BY Rodeo COMMISSIONED BY Sydney Architecture Festival DESIGNED IN Australia

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Sydney Architecture Festival aims to bring architecture and design out of the board rooms and studios, to promote a better understanding of architecture amongst people who experience it firsthand. Working with the NSW Architects Registration Board, we set out to create a brand experience that was compelling, integrated and dynamic.

G W OL IN D N ER S

IDEAS INNOVATION HUB DESIGN STRATEGY DESIGNED BY

The Royal Society for the Blind Business Models Inc

COMMISSIONED BY The Royal Society for the Blind DESIGNED IN Australia

How might a NFP change the way it works and create employee led, customer insights led and market tested business model designed for the NDIS? The RSB “Ideas Innovation Hub” enabled cross-sections of staff to go from 100 ideas to 4 business models in 6 months presented to the board.

CLEANAVIEW CUSTOMER PORTAL DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY Conduct COMMISSIONED BY Cleanaway DESIGNED IN Australia

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Cleanaway is Australia’s largest waste management company, leading the industry with their total waste management, industrial and environmental solutions.

Cleanaway identified a demand in the market to provide local councils with a digital management platform to enable staff to directly access real-time information about their waste management vehicles and services.

G W OL IN D N ER S

RIPPLE APP DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY

Liquid Interactive

COMMISSIONED BY Australian Public Service Commission DESIGNED IN Australia

Ripple is an innovative product designed to develop a high-performance culture within the Australian Public Service (APS): a smartphone app that explores what drives performance within the workplace.

SAFE STEPS – FAMILY VIOLENCE ACCOMMODATION REGISTER DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY Conduct COMMISSIONED BY Safe Steps

Department of Health and Human Services

DESIGNED IN Australia

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The Family Violence Accommodation Register was developed for safe steps Family Violence Response Centre, an organisation that works to eliminate violence against women and their children. Conduct developed a tool to better match women and children experiencing, or at risk of, family violence with appropriate places of safety.

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THE DARWIN CHALLENGE DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY

Universal Favourite

COMMISSIONED BY The Darwin Challenge DESIGNED IN Australia

Founded by Chris Darwin, Charles Darwin’s great-great-grandson, The Darwin Challenge mobile application is a not-for-profit initiative promoting one simple action: eat less meat for your own good, for others and for the planet. The application rewards users by showing them how their meat-free days improve their health and the world.

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ADVICE EXPLORER DIGITAL DESIGN INTERFACE DESIGNED BY

Deloitte Digital AMP Financial Services

COMMISSIONED BY AMP Financial Services DESIGNED IN Australia

The Advice Explorer is a financial engagement tool that projects customers’ life aspirations on an interactive timeline and helps advisers efficiently provide plans of actions to achieve them. By combining an intuitive design interface with data driven financial modelling the Advice Explorer makes financial advice easy and accessible for everyone.

HELLOCARS DIGITAL DESIGN WEB DESIGN AND DEVELOPMENT DESIGNED BY HelloCars COMMISSIONED BY HelloCars DESIGNED IN Australia

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HelloCars.com.au is Australia’s first low-cost, online-only used car dealership founded by brothers Paul and Michael Higgins, which offers a better value and hassle-free alternative for consumers by removing the traditional overheads that drive up the cost of buying or selling a used car.

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NURSEWATCH DIGITAL DESIGN WEB DESIGN AND DEVELOPMENT DESIGNED BY

Cord and Berg

COMMISSIONED BY NurseWatch DESIGNED IN Australia

As part of the Australian Government’s initiative to move 80% of aged care back into the home by 2020, NurseWatch combines premium home care and qualified medical professionals with an intuitive online booking process – addressing the untapped opportunity for instant, unlimited access to quality care, whenever you may eed it.

NEPAL REBUILD PROGRAM ENGINEERING DESIGN DESIGNED BY

Taylor Thomson Whitting (TTW) Ken McBryde, Sydney Architecture Studio Davenport-Campbell, David Francis (in collaboration)

COMMISSIONED BY Australian Himalayan Foundation DESIGNED IN Australia

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The 2015 earthquakes in Nepal damaged 200 of the 350 schools supported by the Australian Himalayan Foundation (AHF). TTW engineers and architect Ken McBryde designed an innovative lightweight earthquake resistant classroom structure using a prefabricated kit of parts made of cold-formed steel, with construction of 20 classrooms now complete.

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TESLA POWERPACK NEOEN HORNSDALE WIND FARM ENGINEERING DESIGN DESIGNED BY Tesla COMMISSIONED BY Tesla DESIGNED IN

United States of America

In September 2016, a once in 50-year storm damaged critical infrastructure in South Australia, causing a state-wide blackout. In response, Tesla deployed the world’s largest lithium-ion battery, the 100MW Hornsdale Power Reserve. This world-leading project was delivered in record time, providing grid stability and system security to all South Australians.

CAPRICORN NEXT GEN DESIGNED BY

Alexandra French

COMMISSIONED BY AUXILIARY Design School BCF – Boating Camping Fishing DESIGNED IN Australia

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BCF faces the challenge of engaging new customers with their market, products, and Australia’s great outdoors. Capricorn represents the first range of tents designed to provide creature comforts whilst keeping the creatures out. Capricorn’s design will re-invigorate camper’s confidence in their equipment and strengthen campers’ desire to explore inland and coastal Australia. The impact of this product range on social lifestyle and corporate growth is obvious. Capricorn, like its feet will “tread lightly!” Strong, long-lasting materials, and advanced manufacturing ensure the high quality, easy maintenance, and longevity of these tents. Capricorn’s elements are all serviceable and replaceable.

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MORPH CUSTOMISABLE REMOTE NEXT GEN DESIGNED BY

Robert Oliveira

COMMISSIONED BY Robert Oliveira DESIGNED IN Australia

Morph focuses on enhancing the bond between human and object to facilitate change in social values around unconscious, wasteful user habits. It was important to achieve this within the bounds of current production methods and technology to maintain commercial viability, and avoid the stigma that a sustainable product is a compromised product. This balance fosters the creation of a premium product, which incorporates customisation, therefore heightening attachment and a desire to retain the product for a longer period of time. Morph is a step in changing expectations about the kinds of products a more sustainable future could include.

ORI NEXT GEN DESIGNED BY

Renee Aquilina

COMMISSIONED BY Renee Aquilina DESIGNED IN Australia

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The interactive element invites people to adjust the shade according to their preference which, in turn, encourages use and time spent safely protected from the sun outdoors. This leads to a higher quality of outdoor living. It also allows the space to be used to it’s full potential as it can move in accordance to the sun’s positioning.

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2018 UBCO 2X2 PRODUCT DESIGN AUTOMOTIVE AND TRANSPORT DESIGNED BY

Stuart Munro Rob Beck Michael Peterson Tom Hayward Timothy Allan Daryl Neal

COMMISSIONED BY UBCO DESIGNED IN

New Zealand

The 2018 2x2 continues the ground breaking design of our first generation utility electric vehicle. Sharing the same iconic DNA the design conceals over 70 new parts out of a total of 136. Delivering advanced communications, improved sealing, more torque and increased range alongside its newly minted road legal status.

BYRON BAY RAILROAD COMPANY WORLD FIRST SOLAR TRAIN PRODUCT DESIGN AUTOMOTIVE AND TRANSPORT DESIGNED BY

Byron Bay Railroad Company

Lithgow Railway Workshop Elmofo Nickel Energy

COMMISSIONED BY Byron Bay Railroad Company

Lithgow Railway Workshop Elmofo Nickel Energy

DESIGNED IN Australia

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Byron Bay Railroad Company has restored and converted a sixty-eight year old diesel train to become the world’s first solar powered train. The innovation, achieved with no government funding or support, shines a 4.6 billion year old light on modern travel.

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CAN-AM MAVERICK X3 MAX PRODUCT DESIGN AUTOMOTIVE AND TRANSPORT DESIGNED BY

BRP Design and Innovation Team

COMMISSIONED BY BRP Design and Innovation Team DESIGNED IN Canada

The Can-Am Maverick X3 Max side-by-side vehicle delivers definite, powerful and precise performance in an eye-popping package that represents a big leap forward in the world of high performance side-by-side vehicles.

ECONOMY X BY VIRGIN AUSTRALIA PRODUCT DESIGN AUTOMOTIVE AND TRANSPORT DESIGNED BY

Virgin Australia Product Development Team

COMMISSIONED BY Virgin Australia DESIGNED IN Australia

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Virgin Australia’s latest product innovation, Economy X, provides a unique choice for our guests. Designed to provide up to 40% more legroom in Economy, it ensures comfort in-flight and provides additional benefits at the airport. The enhanced travel experience on the ground and in the air is unique in this market.

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LEXUS LC COUPE PRODUCT DESIGN AUTOMOTIVE AND TRANSPORT DESIGNED BY

Tadao Mori Lexus Design Division

COMMISSIONED BY Lexus DESIGNED IN Japan

In 2017, Lexus advanced its brand evolution with the arrival of its flagship LC luxury coupe. This stunning vehicle features avant-garde styling, superb craftsmanship and ground-breaking engineering and technology.

VOLVO XC60 PRODUCT DESIGN AUTOMOTIVE AND TRANSPORT DESIGNED BY

Volvo Car Group

COMMISSIONED BY Volvo Car Group DESIGNED IN Sweden

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The Volvo XC60 is built for enjoyment, because Volvo think you should enjoy every drive in your car, no matter how short or long the journey. That is why they crafted the XC60 to be the car that inspires confidence when driving – one where you always feel in control.

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ATEM 1 M/E ADVANCED PANEL PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Blackmagic Design

COMMISSIONED BY Blackmagic Design DESIGNED IN Australia

The ATEM 1 M/E Advanced Panel is an innovative compact live production control panel. Designed specifically for live multi-camera sporting events, concerts and TV broadcasts, it pairs portability with the speed and reliability of physical control, allowing independent producers to leverage broadcast quality, real-time switching technology.

ATEM TELEVISION STUDIO PRO HD PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Blackmagic Design

COMMISSIONED BY Blackmagic Design DESIGNED IN Australia

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The ATEM Television Studio Pro HD is the world’s first broadcast-quality video and audio switcher to combine both a ‘control panel’ and ‘processing-brain’ into a single product. Highly affordable at $2295, it is specifically designed for emerging live web applications, television and sports, pairing portability with efficiency of physical control.

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ET1400 EMERGENCY TANK SHOWER PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Enware Design and Engineering Team:

Phillip Murray Walker Rigor Aspa Matthew Holt Arun Kuman Lothar Rosenberger Cameron Francis Jose Ramirez Cameron Vaughan Sean Watson Jenelle Larven James Xi Allan Lane Jason Hinds

COMMISSIONED BY Enware DESIGNED IN Australia

With workforce safety at the heart of the design, Enware’s ET1400 emergency tank shower creates safe work environments for remote locations where access to water is limited. Its imposing presence, designed to emphasise safety, provides workforce confidence that first response emergency assistance is right by their side.

GUARDIAN BY SEEING MACHINES PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY 4design COMMISSIONED BY Seeing Machines DESIGNED IN Australia

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Guardian by Seeing Machines is a world first in intelligent driver safety technology, revolutionising safe driving in commercial vehicles. Guardian uses advanced sensors and algorithms to detect when a driver is fatigued or distracted, providing real-time intervention to alert the driver if they’re at risk of an accident.

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TW SERIES TW-1 AND TW-3 WEIGH SCALE AND DATA COLLECTOR PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Professor Tony Parker

Massey University – Industrial Design Steve Cormack

Gallagher Product Development Team – Mechanical Design Engineering

COMMISSIONED BY Gallagher Animal Management DESIGNED IN

New Zealand

TW series leverages RFID animal tag technology for animal weighing, data collection, monitoring and analysis. The familiar touch screen GUI combines with a trusted keypad for all weather use, stimulating intuitive navigation, breaking down complexity and making access to productivity improving animal data easy.

VAYERON SMART-IDLER® PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Ingenuity Electronics Design

COMMISSIONED BY Vayeron DESIGNED IN Australia

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Smart-Idler® is the world’s first commercial intelligent conveyor monitoring system that embeds electronic sensors within the roller. It predicts roller failures, allowing rollers to be replaced during scheduled maintenance periods rather than during critical production. Smart-Idler is designed to improve safety, increase productivity and reduce operating costs in mining applications.

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CYCLIQ FLY6 CE AND FLY12 CE PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

Planet Innovation

COMMISSIONED BY Cycliq Unit DESIGNED IN Australia

Cycliq’s Fly6 CE and Fly12 CE represent a complete redesign of the world’s first unified camera and light for cyclists. Improved optics capture action footage and incidents with HD clarity. User-experience is enhanced with ‘Incident Protection’ recording, ‘Home Safe’ power management, and wireless connectivity with bike computers and smartphone apps.

DEWI – WOMENS SAFETY DEVICE PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

Lumium Design Inc. Abeeway / Actility

COMMISSIONED BY TATA Communications DESIGNED IN India

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Womens Safety is one of the main issues due to rising crimes against women in developing countries. DEWI safeguards women against personal attacks and finds the help they need more quickly. This wearable product brings cutting edge LoRa technology to aid personal safety in an innovative way.

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SAMSUNG CHG90 QLED GAMING MONITOR PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

Samsung Electronics

COMMISSIONED BY Samsung Electronics DESIGNED IN

South Korea

The CHG90 QLED Gaming Monitor is a super ultra-wide 49-inch screen with an innovative 32:9 aspect ratio and 1800R curved design, taking gaming immersion to another level. QLED technology and HDR support offer superior images, while a 144Hz screen refresh rate ensures smooth action during the most intense gaming session.

SAMSUNG GEAR ICONX® PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

Samsung Electronics

COMMISSIONED BY Samsung Electronics DESIGNED IN

United States of America

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The second generation of Samsung’s groundbreaking cord-free earbuds, Gear IconX® offer an ergonomic and lightweight design, extended battery life, a built-in coach, time, distance and calorie tracking, and music access via 3.4GB of internal storage and Bluetooth connectivity.

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SOUNDLINK MICRO SPEAKER PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY Bose COMMISSIONED BY Bose DESIGNED IN

United States of America

Bose have made a speaker that can keep pace with you. It doesn’t matter what you are doing—hiking, cooking or hanging out, Bose designed the SoundLink Micro to be a portable companion to your lifestyle. Need more sound? Use Party Mode to connect two speakers.

SOUNDLINK REVOLVE PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY Bose COMMISSIONED BY Bose DESIGNED IN

United States of America

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Small, refined and portable, the SoundLink Revolve is built to fit in with your home or follow you outdoors. It delivers true 360 degree sound so it can be placed in the center of the room or against a wall to radiate and reflect sound.

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SOUNDLINK REVOLVE+ PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY Bose COMMISSIONED BY Bose DESIGNED IN

United States of America

Small, refined and portable, the SoundLink Revolve+ is built to fit in with your home or follow you outdoors. It delivers true 360 degree sound so it can be placed in the center of the room or against a wall to radiate and reflect sound. It is slightly bigger, louder and has a longer battery life compared to the Soundlink Revolve, plus a convenient carry handle.

BARISTA TOUCH PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

Breville Global Design Team

COMMISSIONED BY Breville Group DESIGNED IN Australia

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The Breville Barista Touch™ allows you to create café quality coffee at home with ease. Combining instant heat up technology, automatic milk texturing, a built-in grinder and an intuitive touch screen display within a compact footprint.

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DE’LONGHI CAPSULE CERAMIC HEATER PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

De’Longhi Italy

COMMISSIONED BY De’Longhi Italy DESIGNED IN Italy

The De’longhi Capsule Fan Heater (available in 3 colours – Ivory White, Asphalt Grey and Light Grey) is the latest edition to the De’Longhi Fan Heaters range, which combines the performance of an 1800W fan heater with an exclusive and stylish design.

DYSON CYCLONE V10 VACUUM PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

James Dyson Dyson

COMMISSIONED BY Dyson DESIGNED IN

United Kingdom

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The Dyson digital motor V10 is almost half the weight of the Dyson V8 motor, and is Dyson’s fastest and most powerful digital vacuum motor, spinning at up to 125,000rpm. At the heart of the Dyson Cyclone V10 cord-free vacuum cleaner, it drives full-size suction, with no compromise in versatility.

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BOTANICAL PLANTER SCREENS PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Helen Kontouris

COMMISSIONED BY LEN DESIGNED IN Australia

The Botanical Planter Screen is a response to the human need to connect with nature. Intertwined with active climbing plants, these double sided self watering mobile planter screens can be used indoors and out. Scientifically proven to accelerate air quality and to remove VOC’s, whilst improving productivity, creativity and wellbeing.

EDO STREETSCAPE PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Michael Alvisse Marc Schamburg

COMMISSIONED BY Zenith Interiors DESIGNED IN Australia

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Inspired by Tokyo’s laneways, Edo Streetscape is flexible office furniture for taming workplace noise. Edo is built with health-friendly materials, built with ethical FSCcertified timber, and built to withstand wasteful fit out churn.

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FRANKLIN SQUARE AND HOBART WATERFRONT STREET FURNITURE PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

David Shaw Surya Graf

COMMISSIONED BY Hobart City Council DESIGNED IN Australia

Street+ Garden were given the opportunity to develop new designs for Franklin Square Hobart thirty years beyond the original opportunity. A second commission at Hobart’s waters edge that followed provides a resting place with natural shade from trees that penetrate the surface and detailing through illumination reflecting light on water.

GALLERY CHAIR PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Chris Connell

COMMISSIONED BY Schiavello for National Gallery of Victoria DESIGNED IN Australia

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The NGV gallery chair was designed as a high performance and light weight conference chair that embodies the design elements of the Great Hall in the NGV. A simple chair, fused with a light weight steel frame, removable upholstered jackets create a well refined comfortable seat.

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MITO SOSPESO PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Axel Meise for Occhio

COMMISSIONED BY Occhio GmbH DESIGNED IN Germany

The Mito sospeso seeks to advance the capabilities of LED lighting in both commercial and residential settings, utilising state-of-the-art technology to exceed consumer expectations.

SIA CHAIR PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Tom Fereday

COMMISSIONED BY NAU Design DESIGNED IN Australia

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The SIA chair, meaning movement was named after its unique adjustable backrest.

Inspired by traditional bearings the SIA chair is a slender unique dining chair developed with an articulating backrest.

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AEG 18V FUSION HEAVY DUTY HIGH TORQUE HAMMER DRILL PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY Sanson

Chan San Sang Thomas

Wong Kam Kee Leon Yan Jiang Sheng

COMMISSIONED BY Techtronic Design DESIGNED IN

Hong Kong

The AEG 18V Fusion Heavy Duty Hammer Drill generates a huge 140Nm of torque through its advanced Fusion Technology Brushless Motor, delivering class leading power for extreme applications. The 24-stage torque adjustment function means you can modify your drill to suit different applications.

AEG 18V FUSION SDS HAMMER DRILL PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Pen Tang

Tang Chin Pang Thomas

Wong Kam Kee Jeson Chen Jing Yao

COMMISSIONED BY Techtronic Design DESIGNED IN

Hong Kong

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AEG Power Tool’s 18V Brushless SDS+ Rotary Hammer Drill is powered by FUSION Motor Technology and an advanced 18V Lithium Ion battery resulting in a high performance, professional grade tool.

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EGO POWER+ 50CM STEEL DECK SELFPROPELLED MOWER PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Chevron (China) Trading Co. Ltd

COMMISSIONED BY Chevron (China) Trading Co. Ltd DESIGNED IN China

The EGO POWER+ 50cm Steel Deck Self-Propelled Mower provides all the torque of petrol without the noise, fuss and fumes. With a high torque, high efficiency brushless motor and load sensor, it’s powered by EGO’s highest capacity 7.5Ah ARC Lithium battery, delivering up-to 45 minutes of constant, fade free run-time.

EGO POWER+ MULTI-TOOL SYSTEM PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Chevron (China) Trading Co. Ltd

COMMISSIONED BY Chevron (China) Trading Co. Ltd DESIGNED IN China

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The EGO POWER+ Multi-Tool System delivers power, versatility and convenience with the Power Head as the heart of the system and 5 attachments to give the user flexibility to choose what they need when they need it. Powered by the industry’s first and most advanced 56 Volt ARC Lithium™ battery.

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MILLI FLOW BASIN MIXER PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Justin Wagemakers, Senior Industrial Designer

COMMISSIONED BY Reece Group DESIGNED IN Australia

The Milli Flow range is heroed by the basin mixer. Milli Flow is enduring design that enhances the way we live and naturally expresses who we are. With shapes reminiscent of nature, Flow emulates the true essence of relaxation. Soft curves meet angular lines in a modern composition.

BEETBOX PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY BeetBox

Cumulo Group

COMMISSIONED BY BeetBox DESIGNED IN Australia

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BeetBox is the world’s first portable Glass Lunch Bowl. BeetBox asks users to ‘Bring It’, challenging the inevitability of a poor eating experience when bringing lunch from home or taking away from a café or salad bar. BeetBox encourages product re-use, minimising waste, and encourages positive attitude and every-day wellbeing.

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ELECTRIC CORK SCREW PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Phi Design by Frank Rousselin

COMMISSIONED BY Zhuhai Cheer Technology Co. LTD DESIGNED IN France

The Electric Cork Screw easily removes wine corks with improved function in an elegant and easy to use device.

FLEDGE PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Alexander Gransbury Philip Howieson Thomas Schuster

COMMISSIONED BY Dreamfarm DESIGNED IN Australia

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Fledge is an everyday cutting board redesigned, with flip-up edges that instantly turn it into a tray. These edges stop food or liquid falling off the sides, making it perfect for transporting food to a pot, table or bowl after it has been cut.

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SFERA PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Alexander Lotersztain

COMMISSIONED BY Les Basic DESIGNED IN Australia

Aesthetically elegant ‘Sfera’ is a cylindrical centerpiece table bowl, made from Stainless Steel with a hidden rotating swivel base. Sfera XL is the largest of a 4 piece collection, from a pinch bowl to fruit bowl.

SPINDRY PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Philip Howieson Thomas Schuster Alexander Gransbury

COMMISSIONED BY Dreamfarm DESIGNED IN Australia

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Spindry is a revolutionary toilet brush that spins dry and clean. A simple sharp squeeze of the handle spins the brush head to hygienically dry the bristles and remove trapped particles, allowing drip-free replacement into the canister.

STTOKE REUSABLE COFFEE CUP PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Law Yishen Samuel Soong Wai Hoe

COMMISSIONED BY Sttoke Incorporated DESIGNED IN Australia

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Sttoke is a product that represents Melbourne’s sophistication in coffee and fashion.

The design objective was to produce a premium experience retaining the optimal temperature, allowing consistent first sip experience and alluring to the eyes from the sleek and premium outlook. It is a product of style and substance.

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ÜLLO PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY MNML COMMISSIONED BY Ullo LLC DESIGNED IN

United States of America

Üllo is a revolutionary wine purifier that restores the natural taste of wine with Selective Sulfite Capture™ filter technology.

DREAMWEAR FULL FACE MASK PRODUCT DESIGN MEDICAL AND SCIENTIFIC DESIGNED BY

Philips Design

COMMISSIONED BY Philips DESIGNED IN

United States of America

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The first, full face CPAP mask to use airflow through the frame, the air connection with 360 swivel at the top of the head minimizes bulk and weight on your face and allows the user to sleep in any position and roll freely.

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FIELD ORTHOPAEDICS MICRO SCREW KIT PRODUCT DESIGN MEDICAL AND SCIENTIFIC DESIGNED BY

Field Orthopaedics R&D Team Clandestine Design Group

COMMISSIONED BY Dr Chris Jeffery DESIGNED IN Australia

The Micro Screw kit is a user and patient driven system redesign to improve outcomes whilst responding to the problems expressed by orthopedic surgeons in trauma management. The kit consists of a world first set 1.5 mm and 2.0 mm diameter cannulated compression screws with an innovative range of instrumentation.

M10 BED PRODUCT DESIGN MEDICAL AND SCIENTIFIC DESIGNED BY

Howard Wright Limited: Anthony Batley Angus McLeod Kevin Fisher Zachary Moller Nicholas Field Peter Haythornthwaite

COMMISSIONED BY Howard Wright Limited DESIGNED IN

New Zealand

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Howard Wright is a designer, manufacturer and marketer of medical beds and stretchers based in Australasia. The M10 is an innovative medical bed, designed to make care safer and easier. The M10 is representative of the company’s ‘simple, smart and human’ design values.

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STRALUS C 200 SERIES ACUTE CARE BED PRODUCT DESIGN MEDICAL AND SCIENTIFIC DESIGNED BY

Tricycle Developments Stralus Caretek Medical

COMMISSIONED BY Stralus DESIGNED IN Australia

The Stralus C200 series is an innovative new acute care bed range, combining contemporary styling with advanced Australian engineering and design. We placed ourselves in the position of the patient to design a product which offers a calm, personable space in a busy environment, without compromising awareness of their surroundings.

BATWING AWNING PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Kayle Everett William Davis John Klinkenberg

COMMISSIONED BY Rhino-Rack DESIGNED IN Australia

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The Batwing Awning provides 270° of shade and 11m² of coverage around a vehicle, rapidly deployed by one person. Made from a water and mould resistant, heavy duty material, rated to UPF 50+ and Cancer Council endorsed, the Batwing offers fast and generous sun protection, designed for rugged outback use.

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GRAPHENE™ CONVERTIBLE CAR SEAT PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Britax Australia

COMMISSIONED BY Britax Childcare Pty Ltd DESIGNED IN Australia

The only car seat of its kind with patented Torso Side Impact Cushion Technology™ uniquely designed for optimized safety without compromise. Narrow and compact in depth and width, making it ideal for small cars and growing families requiring multiple car seat configurations.

INFASECURE ACHIEVE PREMIUM CAR SEAT PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY InfaSecure COMMISSIONED BY InfaSecure DESIGNED IN Australia

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Achieve Premium is a child car seat that caters for children from birth to eight years old. It features never-before seen communication labeling on a child restraint in Australia. Premium bamboo charcoal covers, unprecedented levels of padding and comfort, incredible craftsmanship and consumer-first labeling and after-sales experiences are also included.

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MAXTRAX XTREME PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Clandestine Design Group

COMMISSIONED BY Brad McCarthy DESIGNED IN Australia

In 2005 the category creating Maxtrax Mk1 4WD recovery board proved so important that ‘MAXTRAX’ has reached ‘Hoover’ status and is now used to name any form of traction board in the global 4WD market. We are proud to introduce the new Maxtrax Xtreme recovery board.

PROLUDIC INCLUSIVE TRAMPOLINES PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY Eurotramp COMMISSIONED BY Eurotramp DESIGNED IN Germany

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The bouncy surface of Proludic Inclusive Trampolines motivates people to explore movement with imagination and joy. The ground level trampolines safely enable activation of public outdoor play spaces. Unique design features empower wheelchair users to safely experience bouncing movements. A truly inclusive play item for every playful person.

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PROLUDIC KANOPÉ PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Proludic Research and Development

COMMISSIONED BY Proludic DESIGNED IN France

Inspired by nature, Proludic’s Kanopé play equipment engages children of all ages into fun, active play. Climb a tree tower, cross a bridge, use ropes to scale the forest, or navigate a pathway through vegetation. Using curved lines and organic shapes, the modular Kanopé range is safe, robust and durable.

SKINNERS PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Petr Prochazka

COMMISSIONED BY Petr Prochazka DESIGNED IN

Czech Republic

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Skinners are innovative footwear designed for travel and sports enthusiasts.

Their minimalistic shape combines the freedom of socks with the essential protection of shoes. Thanks to the compact size and a “second skin” feeling, Skinners can be used as primary or backup footwear for countless of outdoor or indoor activities.

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TALKABOUT T82 WALKIE-TALKIE PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Motorola Solutions Innovation Design Team Motorola Solutions Design Engineering Team

COMMISSIONED BY Motorola Solutions DESIGNED IN Malaysia

The Talkabout T82 Series is a rugged personal two-way radio for outdoor active adventures. It is designed to withstand the harshest environments and keep users in touch in all outdoor conditions.

QUEENSLAND GOVERNMENT HOUSING SERVICE CENTRE SERVICE DESIGN PUBLIC SECTOR SERVICES DESIGNED BY

Meld Studios Queensland Housing and Public Works Queensland One Stop Shop Strategy and Implementation Office

COMMISSIONED BY Queensland One Stop Shop Strategy and Implementation Office DESIGNED IN Australia

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This trans disciplinary design project transformed a Queensland housing service centre into a welcoming and safe environment. The centre experience is now supported by an improved service model which recognises staff expertise, empowering them to provide client-centered support. The process is being used as a model for all future centre design.

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PAINCHEK™ SOCIAL IMPACT DESIGNED BY nViso

Darwin Digital PainChek Curtin University

COMMISSIONED BY nViso

Darwin Digital PainChek Curtin University

DESIGNED IN Australia

To design, develop and commercialize a smart-phone based medical device that uses artificial intelligence to assess micro-facial pain expressions and score pain levels in real time and update medical records in the cloud. Target users are carers for people who cannot verbalise including people with dementia and young children.

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WINNER

IN N ER S W ARTS VILLAGE ARCHITECTURAL DESIGN COMMERCIAL AND RESIDENTIAL DESIGNED BY

Andrew Nolan, Architect

COMMISSIONED BY German International School Sydney DESIGNED IN

Australia

The project for the German International School Sydney was initiated as an alternative to typical demountable classrooms and uses containers in original stacked and staggered arrangements to create a series of simple, light-filled, energy efficient, multi-purpose learning spaces, carefully sited to form a campus village in a natural bushland setting.

LIVING SCREEN HOUSE ARCHITECTURAL DESIGN COMMERCIAL AND RESIDENTIAL DESIGNED BY

CplusC Architectural Workshop

COMMISSIONED BY Private Client DESIGNED IN

Australia

A single-family residence on a narrow site, Living Screen House is a stunning home built for entertaining, featuring a unique lap-pool abutting double height social spaces which spills out to the rear BBQ area.

Planted, green walls screen the front and side facades providing privacy and a sense of retreat.

BANKSIA ARCHITECTURAL DESIGN COMMERCIAL AND RESIDENTIAL DESIGNED BY

McBride Charles Ryan

COMMISSIONED BY MAB Corporation DESIGNED IN

Australia

Banksia continues the award-winning collaboration between MAB and McBride Charles Ryan (MCR).

Inspired by the Australian native flower, Banksia is the pinnacle of Australian architectural design. The circular floorplan allows for each apartment to view water, city or park, while nautical inspired design have bought the facade to life.

MACQUARIE UNIVERSITY INCUBATOR ARCHITECTURAL DESIGN COMMERCIAL AND RESIDENTIAL DESIGNED BY

Architectus

COMMISSIONED BY Macquarie University DESIGNED IN

Australia

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The Macquarie University Incubator aims to amplify and imbue deep thinking around innovation, bringing together entrepreneurial spirit, ingenuity and collaboration. The Incubator is a demonstration that Macquarie University is facilitating societal advancement through partnerships, research, invention and high quality architectural design.

IN N ER S W THE CUTTING EDGE PHARMACY ARCHITECTURAL DESIGN COMMERCIAL AND RESIDENTIAL DESIGNED BY

Tetsuya Matsumoto

Matsuya Art Works KTX archiLAB

COMMISSIONED BY Eri Matsuura

Himeji Daiichi Hospital

DESIGNED IN

Japan

The Cutting Edge Pharmacy is a dispensing pharmacy related to the neighboring Daiichi General Hospital in Himeji City, Japan. This new building was designed to promote the image of the hospital by introducing a high-tech sharp image in accordance with an advanced medical technology.

OUR LADY OF GOOD COUNSEL CHURCH – REFURBISHMENT AND NEW ADDITION ARCHITECTURAL DESIGN INTERIOR DESIGN DESIGNED BY

Law Architects

COMMISSIONED BY Our Lady of Good Counsel Deepdene DESIGNED IN

Australia

The Church was constructed in the mid-1950s, repeatedly rearranged and needing re-vitalisation.

A contemplative program evolved the vision with the client and then artists. The result is a radical transformation of the worship spaces to fulfill their sacred intent and the addition of a modern gathering space.

THE D’ARENBERG CUBE ARCHITECTURAL DESIGN COMMERCIAL AND RESIDENTIAL DESIGNED BY

Chester Osborn d’Arenberg Nic Salvati ADS Architects Sarah Constructions CPR Engineers

COMMISSIONED BY d’Arenberg DESIGNED IN

Australia

The d’Arenberg Cube is a five storey multi-function centre and tourism destination. Inspired by the complexities and puzzles of winemaking, Chester Osborn designed a cube-shaped building. Opened in 2017, the d’Arenberg Cube offers an indulgent, artistic and informative journey into the depths of d’Arenberg’s viticulture and winemaking.

RUSSELL MCVEAGH ARCHITECTURAL DESIGN INTERIOR DESIGN DESIGNED BY

Warren and Mahoney Architects

COMMISSIONED BY Russell McVeagh DESIGNED IN

New Zealand

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Russell McVeagh is a future-ready workplace for the ‘Aspiring Lawyer’. The workspace is agile, and of a discerning design quality intent on attracting and retaining the brightest legal minds in New Zealand.

The space is anchored by a bold, curated social hub underpinning wellbeing at the heart of the project.

IN N ER S W SARTORÍA BUNA ARCHITECTURAL DESIGN INTERIOR DESIGN DESIGNED BY

Taller ADG

COMMISSIONED BY Marco Carboni

Sartorias Chef

DESIGNED IN

Mexico

This project provides a solution for two adjacent commercial spaces, a coffee shop, and a restaurant.

The main idea was to create a vault that provided a sensation of Italian trattorias. The other space is solved by tilting the vault shape, generating a curved wall.

REFLECTION MEMORIAL MARTIN PLACE ARCHITECTURAL DESIGN URBAN DESIGN DESIGNED BY

JPW Architect Cube Industrial Design Jess Dare Artist

COMMISSIONED BY Department of Premier and Cabinet

NSW

DESIGNED IN

Australia

The memorial concept creates a subtle reflective and symbolic memory of the floral tribute following the 2014 Martin Place siege. It was developed with close consultation and involvement of the families of the victims, the Department of Premier and Cabinet, Infrastructure NSW, the Government Architect and the City of Sydney.

WOODS BAGOT STUDIO ARCHITECTURAL DESIGN INTERIOR DESIGN DESIGNED BY

Woods Bagot

COMMISSIONED BY Brookfield Properties DESIGNED IN

Australia

The iconic Palace Hotel has been transformed into a flexible and agile work environment that supports new modes of work through unallocated seating. The new studio provides freedom of movement and choice with an eclectic mix of hip hop aesthetics in a nod to its original function.

THE GLOBE ARCHITECTURAL DESIGN URBAN DESIGN DESIGNED BY

m3architecture in collaboration with Brian Hooper Architect

COMMISSIONED BY The Barcaldine Regional Council DESIGNED IN

Australia

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m3architecture designed the Barcaldine Tourism Precinct master plan. The precinct master plan includes the renewal of the historically and politically significant Tree of Knowledge, and renovation of the Globe Hotel into a tourist information centre. The new precinct celebrates pedestrian engagement, safety and activation of this regional town’s commercial heart.

IN N ER S W THE IAN POTTER WILD PLAY CHILDRENS GARDEN ARCHITECTURAL DESIGN URBAN DESIGN DESIGNED BY

ASPECT Studios

COMMISSIONED BY Botanic Gardens & Centennial

Parklands

DESIGNED IN

Australia

The Ian Potter Children’s WILD PLAY Garden provides a nature based experience where children can develop a love of nature, tools to negotiate risks and undertake inquiry and social skills to build resilience. It is a place where nature enhances curiosity and delight, while children develop socially through unstructured play.

GOVERNMENT ARCHITECT NEW SOUTH WALES COMMUNICATION DESIGN BRANDING AND IDENTITY DESIGNED BY

Rodeo

COMMISSIONED BY Government Architect New South

Wales

DESIGNED IN

Australia

Rodeo developed the brand identity, positioning and communications for the Government Architect New South Wales. Building on 200 years of design history and planning that has been shaping the collective futures of the people of NSW since 1816.

ACON INNER CIRCLE – CERVICAL CANCER SCREENING CAMPAIGN COMMUNICATION DESIGN ADVERTISING

DESIGNED BY

Bench Creative

COMMISSIONED BY Acon DESIGNED IN

Australia

Cervical cancer is one of the most preventable cancers but the screening rates in the LGBTIQ community are much lower than the general population. The Inner Circle campaign was created to build awareness, reduce stigma and increase awareness of cervical cancer screening in LGBTIQ communities in NSW.

SANI COMMUNICATION DESIGN BRANDING AND IDENTITY DESIGNED BY

Dongdao Creative Branding Group Beijing (CHN)

COMMISSIONED BY Yunnan Shilin Yi Autonomous County

Publicity Department

DESIGNED IN

China

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The Sani people live mainly in the central part of Yunnan. With profound culture, pristine and quaint folk customs, bright-colored costume and embroidery, the Sani people enjoy great admiration, especially for their Torch Festival and Sanxian Dance (a three-stringed plucked instrument).

IN N ER S W WESTERN AUSTRALIAN MUSEUM REBRAND COMMUNICATION DESIGN BRANDING AND IDENTITY DESIGNED BY

The Brand Agency

COMMISSIONED BY Western Australian Museum DESIGNED IN

Australia

WA Museum was rebranded to reaffirm it as Perth’s leading cultural icon. As a strong reflection of the community – and with people at its heart – a generative logo was created as a window. Imagery was sourced to showcase visitors’ Museum experiences shared through social media, thus creating hundreds of variations.

MAKER OVERNIGHT OATS COMMUNICATION DESIGN PACKAGING

DESIGNED BY

PepsiCo Design and Innovation

COMMISSIONED BY PepsiCo DESIGNED IN

United States of America

Maker Overnight Oats was designed to reflect the minimal effort required to make a great, nutritious breakfast. Maker Oats are available in three unique flavors: Mulberry and Chia, Banana and Coffee and Apple and Coconut. Each 100% recyclable starter kit comes with a sleek, refillable glass jar and one serving of overnight oats.

CLOUDY TEA COMMUNICATION DESIGN PACKAGING

DESIGNED BY

Shaobin Lin

COMMISSIONED BY Runyuanchang DESIGNED IN

China

Grown at 1700 meters above sea level, in the pristine deep forest of Yunnan province, cloudy tea is prized for its rich and special aftertaste. Yet, tea is not just a drink, it holds a prominent position in Chinese culture.

WEBSTER-PAK® 28 COMMUNICATION DESIGN PACKAGING

DESIGNED BY

Webstercare

COMMISSIONED BY Webstercare DESIGNED IN

Australia

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Webster-pak 28 is a medication aid provided by your local community pharmacy to improve patient adherence to medicines. With over 30 years of design and refinement in every product, Webster-pak systems are the safest and most comprehensive medication management solutions for the community.

IN N ER S W WEBSTER-PAK® INTERIM COMMUNICATION DESIGN PACKAGING DESIGNED BY

Webstercare

COMMISSIONED BY Webstercare DESIGNED IN

Australia

Webster-pak Interim provides patients with a continued supply of short-term medications when they are discharged from hospital or transiting between healthcare settings. Accommodating medication for up to four days, Webster-pak Interim bridges the gap between hospital and home providing patients with an accurate supply of medications in a single pack.

CENTRE FOR INNOVATIVE JUSTICE PERPETRATOR SERVICE MAPPING COMMUNICATION DESIGN PRINT

DESIGNED BY

ThinkPlace

COMMISSIONED BY RMIT Centre for Innovative Justice DESIGNED IN

Australia

ThinkPlace worked with the Centre of Innovative Justice at RMIT to transform a complex dataset which maps the roles and responsibilities of all government and non-government agencies and service providers who have contact with perpetrators of family violence in Victoria into a stunning set of visualisations.

ARUP ANNUAL REPORT 2017 COMMUNICATION DESIGN PRINT

DESIGNED BY

OPX William Bickerstaff Zoe Coles Simon Goodall Larraine Datta

COMMISSIONED BY Arup DESIGNED IN

United Kingdom

Arup’s ‘shaping a better world’ ethos is about creating sustainable, inspiring solutions that improve lives.

From fans enjoying a stunning new stadium in Perth to cyclists crossing an elegant new bridge in Utrecht, we’ve shown not only what the firm has done but why it really matters.

CHENGDU SUBWAY COMMUNICATION DESIGN PRINT

DESIGNED BY

Dongdao Creative Branding Group Beijing (CHN)

COMMISSIONED BY Chengdu Rail Transit Group Co. Ltd DESIGNED IN

China

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Chengdu is the financial center in Western China, as well as a city of leisure, gourmet food and fashion.

Subway Line 10 was especially decorated for ‘the very typical taste of Chengdu’, in order to promote the city’s culture to the world.

IN N ER S W SIAM COMMERCIAL BANK LEARNING ACADEMY DESIGN STRATEGY Thailand: Australia: Chris Suradejvibul Spatial Design: Nisha Chaisilwattana Robbie Robertson

SEA – SME Experts: Karen Spear Nishith Mohanty Bindi Mira-Bateman Leila Chow Patrick Moloney Emily White Eloise Dalla-Costa Martin Lopez

DESIGNED BY

COMMISSIONED BY Vishrut Jain (First Executive Vice

President – Siam Commercial Bank)

DESIGNED IN

Australia

We worked with a trusted Thai bank to develop a Learning Academy that would help to create a more educated and innovative workforce. By taking a multidisciplinary, human-centred approach we developed an integrated employee experience solution that considers user needs, expresses the brand and aligns with strategic business outcomes.

BLACKMAGIC DESIGN – DAVINCI RESOLVE 14 DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY

Blackmagic Design UI/UX Team

COMMISSIONED BY Blackmagic Design DESIGNED IN

Australia

DaVinci Resolve 14 is a professional post-production software for film-making and TV. There are three major components to post-production: film editing, audio mixing and sound design, and color grading. DaVinci Resolve 14 is the complete solution for individuals or teams working in post.

2DEGREES MOBILE DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY

Alphero

COMMISSIONED BY 2degrees DESIGNED IN

New Zealand

With its new app, 2degrees users are enjoying a smooth and frictionless experience while managing their mobile and data use. They can check how much data they have and buy extra data or roaming packs whenever they want to, and paying their bill or topping up is a breeze.

LINKTGO MOBILE TOLLING APP DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY

Transurban Outware Mobile

COMMISSIONED BY Transurban DESIGNED IN

Australia

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LinktGO shifts the paradigm in toll road payments: it replaces the physical tag with an app. Using a smartphone’s GPS, LinktGO allows drivers to see toll travel in real time and pay trip-by-trip using just their phones, with no need for a tag and no ongoing commitment.

IN N ER S W METSERVICE MOBILE WEATHER DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY

Alphero

COMMISSIONED BY MetService DESIGNED IN

New Zealand

Unlike most weather prediction applications, MetService use the expertise of specialized weather scientists in addition to computer models. The design challenge is presenting very rich data in a way it can easily be consumed by a wide range of people with very different needs.

PAINCHEKâ„¢ DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY

nViso Darwin Digital PainChek Curtin University

COMMISSIONED BY nViso Curtin University DESIGNED IN

Australia

Painchek is a smart-phone based medical device that uses artificial intelligence to assess micro-facial pain expressions and score pain levels in real time and update medical records in the cloud. Target users are carers for people who cannot verbalise including people with dementia and young children.

NOKIA HEALTH MATE DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY

Nokia Technologies

COMMISSIONED BY Nokia Technologies DESIGNED IN

United States of America

Health Mate lets you view a complete history of your health data, including activity, sleep, weight, and more, so you can see trends, track progress, and improve over time. Whether you’re looking to lose weight, get more active, monitor blood pressure, or even sleep better, Health Mate is there to coach you every step of the way.

POCKET FUEL DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY

Electronic Business Pearls Australia

COMMISSIONED BY Pocket Fuel DESIGNED IN

Australia

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Pocket Fuel is a mobile application, which makes it easier for Christians to connect with their faith through daily devotionals, which focus on particular bible passages for reflection. Each devotional is accompanied with a gorgeously designed wallpaper, which adds an extra level of depth to the reflection.

IN N ER S W TREASUREHUNT: AN INTELLIGENCE MARKETPLACE DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY

Think Design Collaborative

Mahesh Marath Gaurav Shravage Anandakrishna H Gowtham Baluswamy

COMMISSIONED BY Analyttica Datalab Inc. DESIGNED IN

India

Analyttica TreasureHunt is a U.S Patented experiential learning system for learning data analytics by solving real life problems.

ESSI MONEY POWERED BY SUNCORP DIGITAL DESIGN GAME DESIGN AND ANIMATION DESIGNED BY

Liquid Interactive

COMMISSIONED BY Financial Basics Foundation – With

Support from Suncorp

DESIGNED IN

Australia

ESSI Money is an effective behaviour change solution designed to help Australian secondary school students develop the fundamentals of financial management.

It’s a scalable and versatile product, designed and built as a platform that has the opportunity to expand into international markets.

VENUELIFE DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY

Morgan and Hoppitt

COMMISSIONED BY Venuelife Systems Pty Ltd DESIGNED IN

Australia

Venuelife is cloud based management software for Camp and Conference Centres. It is the first “all-ofvenue” platform and includes a number of significant innovations. After seven years in development, including two years of re-designing and implementing the latest technology, it sets new international benchmarks for capability and ease of use.

BIRCHAL PLATFORM DIGITAL DESIGN INTERFACE

DESIGNED BY

Markos Evans Joshua Stewart

COMMISSIONED BY Markos Evans

Joshua Stewart Alan Crabbe

DESIGNED IN

Australia

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Birchal is one of the first licensed Equity Crowdfunding platforms in Australia. The platform was designed to showcase Australian brands and consumer companies whilst providing an intuitive interface for investors to buy shares in the company.

IN N ER S W BLACKMAGIC DESIGN - MINI PANEL DIGITAL DESIGN INTERFACE DESIGNED BY

Blackmagic Design UI/UX Team

COMMISSIONED BY Blackmagic Design DESIGNED IN

Australia

The Mini Panel is a color grading control surface used in conjunction with the post-production software DaVinci Resolve. Although DaVinci Resolve is a powerful standalone tool, adding the new Mini Panel lets you work even faster, while dramatically expanding your creative options.

ONBOARD ROOM DIGITAL DESIGN INTERFACE

DESIGNED BY

Deloitte Digital

COMMISSIONED BY Deloitte Digital DESIGNED IN

Australia

As businesses grow, the cost of hiring and training new staff can hamper growth. The onboard room, is the solution to this problem, an immersive digital space that trains a business’s staff for them.

BLACKMAGIC DESIGN - VIDEO ASSIST DIGITAL DESIGN INTERFACE

DESIGNED BY

Blackmagic Design UI/UX Team

COMMISSIONED BY Blackmagic Design DESIGNED IN

Australia

Video Assist 4K is a high resolution monitoring and recording device that pushes the boundaries of usability and innovation in the TV and Film industry.

Carefully considered functionality and visual design combine to provide something unique for this type of product: a clear, fluent and enjoyable user experience.

THE STORYTELLING MACHINE DIGITAL DESIGN INTERFACE

DESIGNED BY

PluginHUMAN:

Betty Sargeant and Justin Dwyer Exertion Games Lab

Centre for Game Design Research RMIT University Florian ‘Floyd’ Mueller

COMMISSIONED BY Co-Produced by:

ACI Asia Culture Centre (South Korea) Supported by:

City of Melbourne

Knowledge Melbourne Creative Victoria VicArts Copyright Agency

Cultural Fund City of Port Phillip

Cultural Development Fund

DESIGNED IN

Australia

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The Storytelling Machine is a digital system made from crowd-sourced content. The public draw characters, place them into our custom-made photo-booth and watch as their characters are instantly animated across video worlds. People also contribute short-story texts in any language. The machine randomly displays public contributions creating a collective story.

IN N ER S W AMP RETIREMENT CAREERS DIGITAL DESIGN WEB DESIGN AND DEVELOPMENT DESIGNED BY

User Experience Design: Andrew Murray Animation: Pete Foley Courtney B Amber Theron Graphic Design: Reese Geronimo

Executive Creative Director: Nick Hunter

COMMISSIONED BY AMP DESIGNED IN

Australia

Retirement is seldom looked at in depth by Australians and more so until their later years in life. Moreover, visiting a Superannuation site can be overwhelming.

So, how do you excite and generate interest in the category? Well, if you’re AMP you give them Retirement Careers.

ATO COMMUNITY DIGITAL DESIGN WEB DESIGN AND DEVELOPMENT DESIGNED BY

Australian Taxation Office: Kelbe Middleton Bree Hardcastle Amanda Ely Jodie Hobday Cohen Gum Hilary Seselja Clara Rapagna Liz Bott Lyle Crombie Jonathon Thorpe

COMMISSIONED BY Australian Taxation Office DESIGNED IN

Australia

ATO Community is a peer-to-peer online forum that allows members to talk about tax and super in a moderated environment 24/7. Launched in May 2017, it is one of the first government-hosted community forums in the world.

SAMSUNG PAY DIGITAL DESIGN APPS AND SOFTWARE DESIGNED BY

Samsung Electronics

COMMISSIONED BY Samsung Electronics Australia DESIGNED IN

Korea, Republic of

Samsung Pay is a native app on compatible Samsung smartphones and wearables that enables the use of credit, debit and loyalty cards wherever contactless payments are accepted. Samsung Pay is backed by Samsung’s Knox security platform to deliver the highest level of security and give peace of mind to customers.

AUXILIARY X DIGITAL DESIGN

WEB DESIGN AND DEVELOPMENT DESIGNED BY

Neil Davidson Leon Fitzpatrick Carolyn Yip Leo Yip

COMMISSIONED BY AUXILIARY Design School BCF –

Boating, Camping, Fishing Sunbeam Australia

DESIGNED IN

Australia

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AUXILIARY X enables emerging design practitioners to confidently and positively contribute to society as design employees, freelancers, or entrepreneurs. It has proven to: • Produce award-winning next generation designers.

• Enhance employability of young designers.

• Increase the design talent pool, with almost 90% of participants receiving internships or employment at prestigious companies and local SMEs. • Give industry clients access to fresh ideas, future employees, and commercially viable, innovative design concepts.

• Attract influential brands to patent and further commercially develop 10–20% of projects.

• Educate industry clients on the value of design in business.

• Activate community makerspaces and increase public awareness of industrial design.

IN N ER S W DESIGN MINDS DIGITAL DESIGN WEB DESIGN AND DEVELOPMENT DESIGNED BY

Asia Pacific Design Library

COMMISSIONED BY State Library of Queensland DESIGNED IN

Australia

Design Minds aims to create a new culture of learning in Queensland utilising Design Thinking. The platform arms Queensland teachers with design knowledge and skills, access to design Stories and design Toolkits underpinned by a Design Thinking methodology that plugs into existing education and learning benchmarks.

WESTPAC LEADERSHIP STAR DIGITAL DESIGN WEB DESIGN AND DEVELOPMENT DESIGNED BY

Alphero

COMMISSIONED BY Westpac New Zealand DESIGNED IN

New Zealand

The Leadership Star application has completely changed how the business leaders at Westpac work towards their own self improvements to become better leaders. By answering a set of questions, Westpac’s staff can send anonymous feedback against 5 key values helping leaders gauge the sentiment of the team.

ING’S INFORMATION SPACE DIGITAL DESIGN WEB DESIGN AND DEVELOPMENT DESIGNED BY

Lash Creative

COMMISSIONED BY ING Australia DESIGNED IN

Australia

ING Information Space: a place where ING customers can find useful information regarding banking, savings and financial advice in the most intuitive way possible.

AMG SYDNEY ACTIVATED LIGHT FACADE ENGINEERING DESIGN DESIGNED BY

Haron Robson Lightmatters

Turner Studio in association with

Gellink + Schwämmlein Architekten

COMMISSIONED BY AMG Sydney DESIGNED IN

Australia

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The activated light facade was commissioned by AMG Sydney to improve the visibility and image of their Sydney Airport dealership. A system of louvers, lights and signage, emits and reflects light and is a shading structure for solar energy efficiency on the dealerships’ facades. The system will be rolled out to dealerships worldwide.

IN N ER S W BLUE NODE BY LX ENGINEERING DESIGN DESIGNED BY

LX

COMMISSIONED BY LX DESIGNED IN

Australia

The Blue Node by LX connects real world sensors to apps in a way no other remote telemetry device can.

A battery powered, multi-sensor node that last up to 10 years, the Blue Node is the easiest device to install in the field, providing data instantly to the cloud.

DBCT REMEDIALS – MOBILE SWING-STAGE GANTRY ENGINEERING DESIGN DESIGNED BY

John Holland

COMMISSIONED BY DBCT Management DESIGNED IN

Australia

Wrapping piles on a 4.2 km-long jetty in a tidal zone is all about access and safety. Our innovative solution called a Mobile Swing-Stage Gantry was two years in the making, and overcomes these constraints, providing significant safety, quality, environmental, time, and cost benefits. What we delivered exceeded all expectations.

BYRON BAY RAILROAD COMPANY WORLD FIRST SOLAR TRAIN ENGINEERING DESIGN DESIGNED BY

Byron Bay Railroad Company

Lithgow Railway Workshop Elmofo Nickel Energy

COMMISSIONED BY Byron Bay Railroad Company

Lithgow Railway Workshop Elmofo Nickel Energy

DESIGNED IN

Australia

Byron Bay Railroad Company restored and converted a sixty-eight year old diesel train to become the world’s first solar powered train. The innovation, achieved with no government funding or support, shines a 4.6 billion year old light on modern travel.

INNOVACT CONTAINER LIFTER ENGINEERING DESIGN DESIGNED BY

Alex Wallis Andi Stevens Ian Pendergrast Mark Rosiak Todd Sandercock Kenny Kong Kat Robertson Mustafa Amiruddee Innovact Consulting

COMMISSIONED BY Alex Wallis

Andi Stevens Ian Pendergrast Mark Rosiak Todd Sandercock Kenny Kong Kat Robertson Mustafa Amiruddeen Innovact Consulting

DESIGNED IN

Australia

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The Innovact Container Lifter is a heavy shipping container lifting and moving device for use in small areas with uneven surfaces that are unable to be accessed by large forklifts.

IN N ER S W URSA BROADCAST CAMERA SYSTEM ENGINEERING DESIGN DESIGNED BY

Blackmagic Design

COMMISSIONED BY Blackmagic Design DESIGNED IN

Australia

The URSA Broadcast Camera System is the world’s most affordable professional broadcast camera chain. Engineered for the rigours of large-scale live productions like sporting events and concerts, it costs just a tenth of traditional setups, offering broadcast image quality, long-distance communication, power and remote camera control up to 2km away.

NAGNATA FASHION DESIGN DESIGNED BY

Laura May Hannah Gibbs

COMMISSIONED BY Laura May

Hannah Gibbs

DESIGNED IN

Australia

NAGNATA movement-knitwear is designed for modern movement and studio to street style. The collection integrates high end knitwear innovations with thoughtful negotiations between sustainable manufacturing and directional design. The garments are made from certified organic cotton and constructed as fully-fashioned knitwear pieces, to eliminate yarn wastage from the production process.

WORLD’S FIRST LARGESCALE TESTING FACILITY FOR ASSESSMENT OF VAM ABATEMENT SYSTEMS ENGINEERING DESIGN DESIGNED BY

Prof Behdad Moghtaderi

University of Newcastle – Intellectual

Property and Conceptual Design Broadspectrum

ICD Asia Pacific

APP – Engineering Design Construction and Commissioning COMMISSIONED BY University of Newcastle DESIGNED IN

Australia

This $10m project involved with the design, construction and commissioning of the world’s first 100m long detonation tube facility for largescale assessment of ventilation air methane (VAM) abatement systems and components. The project was part of a $30m study on abatement of fugitive methane emissions from underground coalmines.

TEN PIECES FASHION DESIGN DESIGNED BY

Ten Pieces in Collaboration with Indosole Aus.

COMMISSIONED BY Maurice Terzini DESIGNED IN

Indonesia

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Ten Pieces worked with Indosole to create a sustainable shoe slide. Constructed from recycled tyers, the shoes are fashionable yet have a reduced environmental impact.

IN N ER S W THREAD HARVEST FASHION DESIGN DESIGNED BY

Thread Harvest

COMMISSIONED BY Thread Harvest DESIGNED IN

Australia

Thread Harvest is an ethical online fashion marketplace which embodies style and substance. We choose brands on the basis of 8 Impact Badges (our industry standards) and use the Badges to educate customers through their shopping experience.

‘SMALL CHANGE’: VISUALISING YOUR FOOD LANDSCAPE NEXT GEN DESIGNED BY

Jessica Browne

COMMISSIONED BY Jessica Browne DESIGNED IN

Australia

A simple, personal path towards sustainable behavioural change. Growing demand for informed, transparent environmental information shows that people seek help in making mindful choices. ‘Small Change’ visualises data in ways that will engage and motivate people to do just that – having huge potential to empower decision making, reframe food relationships and return value to what we buy. In addition to interacting with purchase history and expenditure, users can explore and compare product lifecycles and environmental information, raising awareness around consumption and waste.

This facilitates informed choices and a social dialogue surrounding sustainability at a critical point in our history.

TLUXE FASHION DESIGN DESIGNED BY

Tluxe

COMMISSIONED BY Tluxe DESIGNED IN

Australia

At Tluxe our primary aim is to make conscious design decisions being mindful of our products’ impact on the planet. Tluxe explores the idea that garments should transcend fashion and embody lifestyle, producing beautiful investment pieces that are functional, luxurious and refined.

3D PRINTED TAEKWONDO SHOES NEXT GEN DESIGNED BY

Sung Myeong HA

COMMISSIONED BY Sung Myeong Ha RMIT (Royal

Melbourne Institute of Technology)

DESIGNED IN

Australia

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Using 3D modeling skill to design footwear is something that is not common in footwear design society or any design faculties. I have used lattice structure sole design within voronoi pattern surrounding the outside shell area of the sole within 3 different panel that has different sole pattern that impacts players movement better for their performances. Upper of the shoe comes in 3 different materials within different functionality. the ankle part gives a ‘sock’ look to grab players ankle, elastic band near the hamstring of the ankle give better flow to the movement and shell part protecting players foot.

IN N ER S W LEVEL BICYCLE NEXT GEN DESIGNED BY

Tyran Lechner

COMMISSIONED BY Tyran Lechner DESIGNED IN

Australia

Electronics have been integrated into bicycle design for a number of years, first with data logging devices, then electronic gear shift systems and now suspension damping control. This project is the first to use an electronic sensor system to ‘read’ terrain and automatically react by adjusting to a more efficient geometry configuration. While the product requires further development to become competitive in weight and reliability, it proves a point that bicycle design has a long way to progress through the inclusion of electronic systems which can intercommunicate to enhance rider experience without the need for user intervention.

CAN-AM MAVERICK TRAIL PRODUCT DESIGN AUTOMOTIVE AND TRANSPORT DESIGNED BY

BRP Design and Innovation Team

COMMISSIONED BY BRP DESIGNED IN

Canada

The all-new Can-Am Maverick Trail model is a 50” wide entry-level side-by-side vehicle that was designed to address the narrow and tight trails found in many regions while still offering all the fun and performance of a larger side-by-side without any compromises.

TRAX – A DIGITAL WAKE COACH NEXT GEN DESIGNED BY

Dugald Moncrieff Isaac LeMass

COMMISSIONED BY Dugald Moncrieff Isaac LeMass DESIGNED IN

Australia

The introduction of the TRAX system into the action sports scene has the potential to revolutionise how solo sports coaching is approached. Socially, TRAX will allow riders to become more confident in their own abilities and have a far more positive outlook on learning progression through their chosen sports.

Commercially, TRAX strengthens the action sports industries market share and attractiveness by providing a platform through which beginners can feel more comfortable entering into the sport, knowing they have professional help at the touch of a button.

HYUNDAI KONA PRODUCT DESIGN AUTOMOTIVE AND TRANSPORT DESIGNED BY

Hyundai Motor Company

COMMISSIONED BY Hyundai Motor Company DESIGNED IN

Korea, Republic of

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The new Kona from Hyundai joins the Tucson and Santa Fe in a growing line-up of Hyundai SUVs. The Kona is Hyundai’s first small SUV – its stylish and unique design, advanced technology features and vibrant colour combinations make it perfect for a fun-filled lifestyle.

IN N ER S W SEA-DOO RXT-X PRODUCT DESIGN AUTOMOTIVE AND TRANSPORT DESIGNED BY

BRP Design and Innovation Team

COMMISSIONED BY BRP DESIGNED IN

Canada

The Sea-Doo RXT-X watercraft unlocks new experiences to enjoy. Its revolutionary design enhances the watercraft lifestyle with new on-board leisure features that expands what riders can do. The SeaDoo RXT-X model is the first personal watercraft to offer seamless integrations of style, function and performance to exceed the consumer’s needs.

ADVISOR TETRA TWO-WAY PAGER PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Motorola Solutions Innovation Design Team

Motorola Solutions Design Engineering Team

COMMISSIONED BY Motorola Solutions DESIGNED IN

Malaysia

The ADVISOR TPG2200 TETRA two-way pager alerts firefighters, emergency personnel, and healthcare workers about emergency situations during all hours and conditions. It also allows them to acknowledge assignments and share status. It uses the existing radio system to assure a mission critical link when responders are needed most.

VOLVO XC40 PRODUCT DESIGN AUTOMOTIVE AND TRANSPORT DESIGNED BY

Volvo Car Group

COMMISSIONED BY Volvo Car Group DESIGNED IN

Sweden

The Volvo XC40 is the authentic SUV for the city.

High ground clearance, large wheels and true SUV proportions give it a powerful stance. From the bold front grille to the beautifully detailed taillights it is every inch a Volvo. Uniquely Scandinavian, unmistakably urban, it is built for city life.

BRAEMAR ENVIROMAGIC PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Seeley International

COMMISSIONED BY Seeley International DESIGNED IN

Australia

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A fusion of brilliant design and smart technology by Seeley International has produced the new energyefficient Braemar EnviroMagic® evaporative air conditioner. Not only is the low profile EnviroMagic® unobtrusive on any roof but it’s lighter than other industrial coolers making it easier and cheaper to install.

IN N ER S W GEMPRINT DNA PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Lumium Design Inc.

COMMISSIONED BY Gemprint Corporation DESIGNED IN

India

Gemprint DNA instrument records the unique optical ‘fingerprint’ of each diamond. Just like a human fingerprint, every diamond has a unique GEMPRINT®.

The instrument is powered by the world’s most sophisticated, non-invasive, positive identification, patented technology and has been used by the FBI and Canadian Government.

MAGIC CARPET PRO PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Syrp: Chris Thomson James Allen Samuel Blok

COMMISSIONED BY Syrp DESIGNED IN

New Zealand

The Magic Carpet Pro is a heavy duty camera slider built to withstand the demands of professional film making. Designed with the pro film maker in mind, it produces supremely smooth tracking motion. Portable, infinitely extendable, and ready to go to work even in the most demanding environments.

JURA X8 PROFESSIONAL AUTOMATIC COFFEE MACHINE PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

JURA Elektroapparate AG

COMMISSIONED BY JURA Australia Espresso DESIGNED IN

Switzerland

A robust coffee solution for any workplace where 80 cups are consumed per day. A wide range of beverages can be prepared at the touch of a button, including two simultaneously. A cup positioning aid, large preparation buttons and lockable components makes it ideal for self-service in a commercial setting.

MC33 MOBILE COMPUTER PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Zebra Innovation Design Team: Ed Hackett Jaeho Choi Hoon Lim Esther Yen Mukai Shen

COMMISSIONED BY Zebra Technologies DESIGNED IN

United Kingdom

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The MC33 mobile computer is a mid-tier device for the hard-working environments such as retail, warehouse management and manufacture. It’s loaded with innovative features – such as multiple form factors for easier scanning, advanced long-range data capture capabilities, a tough and rugged exterior and much more.

IN N ER S W NCR SELFSERV 81 – MULTI-FUNCTION BRANCH ASSISTED SERVICE ATM PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

NCR User Centred Design

COMMISSIONED BY NCR Corporation DESIGNED IN

United Kingdom

The SelfServ 81 is a premium interior walk-up ATM from NCR featuring options including Interactive Teller for remote assisted service integration as well as Interactive Banker for in-person assistance compatibility. Designed for ease-of-use, delivering an exceptional assisted self-service experience and capable of handling the highest possible transaction volumes.

AUSTRALIA

DELTA RANGE ADAPTIVE OPTIC LENSE SONARAY DELTA RANGE PRODUCT DESIGN

HIGH LIGHT PENETRATION, MINIMISED GLARE

HIGH BAY LIGHT

COMMERCIAL AND INDUSTRIAL DESIGNED BY

Sonaray

COMMISSIONED BY Sonaray DESIGNED IN

STREET LIGHT

United States of America

Sonaray Delta Range is a flexible lighting system capable of adapting to the changing commercial and industrial market. Significantly reducing maintenance cost and prolonging the light life-cycle. Combining our patented interchangeable driver and optic lens control, to create powerful light penetration, with flexibility to upgrade, integrate and adapt to multiple applications.

CONTROLLED FLOODLIGHT LIGHT FOCUS 60°

www.sonaray.com.au

90°

120°

www.sonaray.com.au

AUSTRALIA

NCR SELFSERV 82 – MULTIFUNCTION INTERIOR ATM PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

NCR User Centred Design

COMMISSIONED BY NCR Corporation DESIGNED IN

United Kingdom

NCR SelfServ 82 interior ATM. Delivers a high level of transaction capability in a compact footprint to meet the placement requirements of extended service in branch and off-premise. Designed for the emerging ‘mobile first’ consumer the terminal provides that important physical fulfillment of digital banking.

SONARAY OFF GRID SOLAR PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Sonaray

COMMISSIONED BY Sonaray DESIGNED IN

Australia

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Sonaray OFF GRID is a simple D.I.Y all in one stand alone solar solution built to withstand the harsh Australian conditions. Features including an inbuilt optic control system to extend battery life to 17 continuous hours, multiple adjustable axis for optimal positioning and circuit protection to last.

IN N ER S W TC20/25 BY ZEBRA TECHNOLOGIES PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Zebra Technologies: Mark Fountain Mukai Shen Jaeho Choi

COMMISSIONED BY Zebra Technologies DESIGNED IN

United Kingdom

The TC20/25 is a rugged enterprise grade mobile computer in a smartphone form factor. Its integrated scanning capabilities, durability, and accessory ecosystem are designed for small businesses in retail, field mobility, and transport and logistics. Using the TC2X results in increased communication, asset tracking and improved business efficiency.

VIA PORTABLE CODEC PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Form Designs Australia

COMMISSIONED BY Tieline Pty DESIGNED IN

Australia

Broadcast markets are moving to IP technologies to replace legacy technologies such as ISDN and POTS phone lines for transporting live broadcast audio streams. The ViA remote codec takes advantage of the latest cellular and WiFi technologies to allow the flexibility required by radio and television broadcasters.

TRAXTAR™ PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Anthony Innovations – Engineering Team

COMMISSIONED BY Anthony Innovations DESIGNED IN

Australia

TraXtar™ is a window and door roller that allows systems designers and manufacturers greater freedom to build large doors that create a seamless transition between the outdoor and indoor environments.

TraXtar™ reduces rolling resistance and operates smoothly and quietly providing the ultimate performance.

XE500 REMOTE SPEAKER MICROPHONE PRODUCT DESIGN COMMERCIAL AND INDUSTRIAL DESIGNED BY

Motorola Solutions Innovation Design Team

Motorola Solutions Design Engineering Team

COMMISSIONED BY Motorola Solutions DESIGNED IN

United States of America

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The XE500 Remote Speaker Microphone is a rugged interface for a two-way radio and is intended for use in extreme environments such as firefighting and emergency services. Designed for heat exposure and submersibility it enables vital communication in extreme conditions.

IN N ER S W AUDEARA A-01 HEADPHONES PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

Clandestine Design Group (Australia) AV Link (China)

COMMISSIONED BY Audeara DESIGNED IN

Australia

We believe that music is one of life’s greatest gifts. We believe it is a gift that should be cherished. We believe that if you love music you should choose headphones that love you! Introducing the worlds first personalised full fidelity headphones…the Audeara A-01.

HP SPECTRE X360 PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

HP Design Team Native Design

COMMISSIONED BY HP Inc. DESIGNED IN

United States of America

The HP Spectre x360’s beautiful all-metal convertible notebook design is the world’s thinnest 13.3” quad core convertible. With a clean design, edge to edge keyboard, active pen support, micro-edge touch display, the Spectre x360 breaks the ceiling of premium design.

HP SPECTRE 13 PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

HP Design Team Native Design

COMMISSIONED BY HP Inc. DESIGNED IN

United States of America

The HP Spectre 13 is the world’s thinnest touch clamshell notebook. Now with show-stopping new color, a narrow-border touch display, more battery life and a bigger keyboard this stunning design redefines the notebook category.

NURAPHONES PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

Office for Product Design Tricycle Developments Nura Design Team

COMMISSIONED BY Nura DESIGNED IN

Australia

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The nuraphones are the world’s first headphones to automatically learn and adapt to your unique hearing.

When you first put them on they collect a signal in your ear called the OAE (Oto-Acoustic Emission) and use it to craft your unique hearing profile and balance your music perfectly.

IN N ER S W SAMSUNG DEX® PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

Samsung Electronics

COMMISSIONED BY Samsung Electronics DESIGNED IN

South Korea

Samsung DeX® enhances productivity for mobile professionals while reducing the need to carry multiple computing devices. Providing an Android-based desktop experience, DeX users can seamlessly access apps, edit documents, watch videos, reply to messages and more, directly from their compatible smartphone on a larger display, using a keyboard and mouse.

SAMSUNG POWERSTICK™ PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

Samsung Electronics

COMMISSIONED BY Samsung Electronics DESIGNED IN

South Korea

The new Samsung POWERstick™ cordless stick vacuum, delivers an incredible 150W suction to pick up dust, dirt and hair. It features EZClean technology for easy removal of trapped debris, ergonomic Flex Handle to reduce strain while reaching under low furniture, up to 40-min battery life, and a versatile two-in-one build.

SAMSUNG FLEXWASH® PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

Samsung Electronics

COMMISSIONED BY Samsung Electronics DESIGNED IN

South Korea

Samsung’s FlexWash® is an all-in-one washing machine with a 16kg front loader and 2.5kg top loader.

Ergonomically designed for increased comfort, the FlexWash handles a range of laundry needs, from small to large loads, delicates to everyday items, washed at the same time or separately.

SAMSUNG QUICKDRIVE™ FRONT LOAD WASHING MACHINE RANGE PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

Samsung Electronics

COMMISSIONED BY Samsung Electronics DESIGNED IN

South Korea

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Samsung’s QuickDrive™ Front Load Washing Machine is designed to cut washing time by up to half. Combined with the SmartThings app’s Q-rator intelligent laundry assistance, Samsung’s popular Add Wash® door, and steam wash cycles that reduce up to 99.9% of certain common bacteria, this is a gamechanger in laundry appliances.

IN N ER S W SOUNDSPORT FREE WIRELESS HEADPHONES PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

Bose

COMMISSIONED BY Bose DESIGNED IN

United States of America

Our first truly wireless in-ear headphones, the SoundSport Free wireless headphones have no cables or wires to get in your way. They offer powerful sound and are engineered to stay in place and stay comfortable so they won’t fall out no matter what your workout entails.

BREVILLE CREATISTA UNO PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

Breville Global Design Team

COMMISSIONED BY Breville Group DESIGNED IN

Australia

The Breville Creatista Uno is a single serve espresso capsule machine featuring Breville’s innovative automatic milk texturing technology. Breville Creatista Uno combines Nespresso’s portioned espresso coffee and Breville’s milk texturing technology using an intuitive one touch interface providing the consumer with the simplest most enjoyable coffee experience.

ZHIYUN CRANE 2 PRODUCT DESIGN CONSUMER ELECTRONICS DESIGNED BY

Guilin Zhishen Information Technology Co.

COMMISSIONED BY Guilin Zhishen Information Technology

Co. Ltd.

DESIGNED IN

China

As the first 3-axis camera stabilizer with follow focus control, Crane 2 is designed for professional imaging and film-making. It is designed for DSLR & Mirror-less cameras weighing up to 3.2 kg, including Canon EOS, Sony ILCE with longer lenses. It integrates the latest technology, enabling users to create film-grade footage.

BREVILLE JUICE FOUNTAIN® COLD XL PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

Breville Global Design Team

COMMISSIONED BY Breville Group DESIGNED IN

Australia

The Juice Fountain Cold XL is Breville’s new flagship Juicer, Juicing more and storing more so you clean less, all within a compact footprint. It features an extra large 88mm feed chute for juicing whole fruits and vegetables, extracting 2L of nutrient rich juice 5 times faster than a ‘Cold Press’.

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IN N ER S W BREVILLE PRECISION BREWER PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

Breville Global Design Team

COMMISSIONED BY Breville Group DESIGNED IN

Australia

The world’s first 1.8L drip coffee maker with the precision required to brew craft filter coffee, automatically. With six unique brewing modes, the SCA Certified Precision-Brewer® delivers complete customisation and control to deliver craft technique with ease, so you can enjoy delicately balanced coffee, exactly how you like it.

DE’LONGHI PRIMADONNA CLASS PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

Marco Vaona

COMMISSIONED BY Giacomo Borin

Marco Vaona

DESIGNED IN

Italy

PrimaDonna Class is De’Longhi’s new bean to cup coffee maker. A premium range with a majestic design and advanced technology, to be positioned in the high segment of the market. The machine is available in two models.

BREWART BEERDROID PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

Coopers Brewery

COMMISSIONED BY Coopers Brewery DESIGNED IN

Australia

The BrewArt BeerDroid is the world’s first fully automated personal brewer and the primary appliance in the BrewArt system. The sleek kitchen top appliance allows users to brew their own pub quality beer at the touch of a button then monitor and control via an app on their smart phone.

MIELE BLIZZARD CX1 PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

Miele Design Center

COMMISSIONED BY Miele Australia DESIGNED IN

Germany

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Proverbial Miele quality, excellent cleaning results and extremely convenient and hygienic emptying of the dust container are the most prominent benefits of the Blizzard CX1. The first Miele bagless vacuum cleaner also is much quieter than what most users have come to expect from products in this category.

IN N ER S W MIELE TWOINONE PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

Miele Design Center

COMMISSIONED BY Miele Australia DESIGNED IN

Germany

Space-saving and elegant design, advanced and userfriendly technology, and superior performance are some of the key attributes of the TwoInOne. Miele’s first induction cooktop with integrated downdraught extractor is a true multi-talent which opens up whole new approaches to design in modern kitchens.

NESPRESSO VERTUOPLUS PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

Les Ateliers Du Nord Philippe Cahen

COMMISSIONED BY Nespresso DESIGNED IN

Switzerland

The new Vertuo system from Nespresso is a revolution in coffee. With so many coffee drinkers in Australia enjoying larger cups of coffee, there was a clear need in the market for a machine that could produce a high quality coffee in a variety of coffee sizes.

NESPRESSO LATTISSIMA ONE PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

Nestle Nespresso SA

COMMISSIONED BY De’Longhi Appliances Nestle

Nespresso SA

DESIGNED IN

Switzerland

The new Lattissima One boasts an innovative and simple fresh milk system that ensures a high quality in-cup experience every time. Compact and affordable, Lattissima One is an intuitive single serve and one touch system that fits perfectly in any kitchen.

PHILIPS SATINELLE PRESTIGE PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

Philips Design

COMMISSIONED BY Philips DESIGNED IN

Netherlands

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Gentle and convenient, Satinelle Prestige is a wet and dry epilator for legs, body and face, offering more functionalities like body exfoliation brush and massager for long-lasting smoothness.

IN N ER S W VOGUE NAVARA EASY LIGHT SYSTEM PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

EMBRI Trading as Mr Stoves

COMMISSIONED BY EMBRI Trading as Mr Stoves DESIGNED IN

Australia

Designed for a Queensland Winter by Queenslanders, the Vogue Navara fireplace boasts a unique air-ignition system to quickly and easily light a wood fire. The Navara has been tested at 40% less emissions than required by the Australian Standard making it one of the cleanest burning heaters on the market.

ADAPT LOUNGE COLLECTION PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Ross Gardam

COMMISSIONED BY Ross Gardam DESIGNED IN

Australia

Flexible, inviting and productive, the Adapt Collection is designed to evolve with the dynamic needs of today’s workspace. The collection allows seamless integration into interiors and is focused on creating functional and value driven environments. Adapt is compact but provides a high level of comfort with its well defined proportions.

WHISPAIR UNDERMOUNT RANGEHOODS PRODUCT DESIGN DOMESTIC APPLIANCES DESIGNED BY

Dane Hocking Chris Hocking

COMMISSIONED BY Haus Group Australia DESIGNED IN

Australia

The Whispair Prague and Monte Carlo range of built-in hoods was designed for superior extraction performance whilst meeting the market specification and economic requirements. Combining a minimalist design aesthetic with revolutionary technology, the Whispair Prague and Monte Carlo delivers a powerful extraction performance whilst reducing the noise in the kitchen environment.

CABIN LOUNGES PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Sarah Gibson Nicholas Karlovasitis (GibsonKarlo)

COMMISSIONED BY DesignByThem DESIGNED IN

Australia

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The Cabin Lounges by GibsonKarlo makes relaxing fun. The Cabin range was released to celebrate DesignByThem’s ten-year anniversary. The collection of armchairs, lounges, ottomans and booths utilises upholstered ‘logs’ to create playful and personable pieces for the home or office. Cabin is available in a variety of configurations and materials.

IN N ER S W CLOUDIE™ TABLE PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Avron Levin Norvanivel

COMMISSIONED BY Norvanivel DESIGNED IN

Australia

The Cloudie Table looks light-hearted, fun and you might think that it is produced purely for aesthetic reasons.

In reality, the Cloudie Table is the result of extensive school classroom observations and design work. It is a thoroughly considered design solution to the difficulties of encouraging students to collaborate.

FAB 25 TABLE LAMP PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

ISM Objects Design Team: Simon Christopher Celina Clarke Alana Dang Davis Tolley

COMMISSIONED BY ISM Objects DESIGNED IN

Australia

Fab 25 Table Lamp is a totally re-imagined version of our very first light ‘Fab Lamp’ that was developed and released in 1991. Designed as a flat-pack selfassembled table lamp it was easily transportable, appealing and suited to a modern lifestyle. Now the Fab 25 Lamp is even more so.

ECOBIRDY PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Vanessa Yuan Joris Vanbriel

COMMISSIONED BY Vanessa Yuan

Joris Vanbriel

DESIGNED IN

Belgium

ecoBirdy creates design products that enable kids to experience creativity and at the same time raise awareness about sustainability.

FRAMERY PHONE BOOTH PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Framery

COMMISSIONED BY Framery DESIGNED IN

Finland

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Introduced to Australia in 2017, the Framery is an innovation originating from Tampere, Finland.

Facilitating concentration and collaboration in private settings, adoption as a retro-fit acoustic solution in offices such as Google, Twitter and Amazon, the Framery Phone Booth is a game changing product to enter the market.

IN N ER S W GUSTAV PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Future Office Design Ltd. Christian Pistauer

Y Brand Ltd. Judit Maireder

COMMISSIONED BY Tuesday On The Beach DESIGNED IN

New Zealand

Gustav is the first portable office-toolbox for hot-deskers. Designed for people in flexible work environments, it holds all the work essentials and doubles as a laptop stand. Gustav is light and beautifully-designed with warm materials.

The minimalist design invites users to personalise it and to make any space their space.

KOALA TIMBER BED BASE PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Koala Team: Mitch Taylor Deborah Park Adam Harrigan Genevieve Rossi Tom Fleetwood Vikram Viswanath Demetre Triafitis

COMMISSIONED BY Koala DESIGNED IN

Australia

The Koala Timber Bed Base can be delivered in less than four hours, will take less than four minutes to build (regardless of your experience), takes no tools and will move with you. It also looks incredible.

KING CLOUD III PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

King Living

COMMISSIONED BY King Living DESIGNED IN

Australia

The ultimate recliner, King Cloud III combines luxurious design with modern technology. Using King Cloud III’s integrated TouchGlide control technology, the position of each component can be effortlessly adjusted to your needs for optimum head-to-toe comfort.

ROCKER OTT™ OTTOMAN PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Avron Levin Norvanivel

COMMISSIONED BY NBCS

Norvanivel

DESIGNED IN

Australia

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The Rocker Ott Ottoman is a seating option that can be sat upon in many different ways. Sitting down is often synonymous with staying still and quiet, but the Rocker Ott Ottoman encourages silent movement not only in its rocking position, but also in every other possible sitting position.

IN N ER S W SOLAR TREE PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

City Projects and Design City of Melbourne LEADSUN – Solar Technology

COMMISSIONED BY Sustainable Living Festival DESIGNED IN

Australia

The solar tree evolved from a challenge by the Sustainable Living Festival (SLF) to the City of Melbourne to develop an innovative structure that could harness solar energy in a very practical way.

The City of Melbourne’s industrial design team responded with the idea of a transportable solar tree.

STEELCASE SERIES 1 PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Steelcase

COMMISSIONED BY Steelcase DESIGNED IN

United States of America

The Steelcase Series 1 is an office chair that enables high-quality, performance seating to be attainable for everyone, everywhere. It delivers on performance, style and choice without sacrificing attainability.

STEELCASE NAVI TEAMISLAND PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Steelcase

COMMISSIONED BY Steelcase DESIGNED IN

United States of America

Navi TeamIsland is a modular desking system, engineered for better user experience in a more compact footprint. HighSit configuration’s elevated desk height enhances perceived spaciousness.

Sit and stand comfortably, maintaining eye-level interaction with the people around you. The ‘end-ofrun’ counter, offers a space for sharing information, fostering interaction and teamwork.

THINKINGQUIETLY PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

ThinkingWorks

COMMISSIONED BY ThinkingWorks DESIGNED IN

Australia

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In a noisy world, ThinkingQuietly’s range of acoustic furniture offers peaceful respite. Consulting acoustic engineers as part of the design process, advanced acoustic materials were chosen to create a balanced sound environment, while a stylish retro design fits perfectly in the modern office. Peace at last, time to get thinking.

IN N ER S W WORKPAD™ PADS AND CADDY PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Avron Levin Norvanivel

COMMISSIONED BY Norvanivel DESIGNED IN

Australia

Workpad Pads and Caddies allow teachers and students to move their learning activities to new and underutilised parts of the school buildings.

The Workpad Caddy’s castors give mobility and the Workpad Pads themselves are usable as both seating and as a work surface for using a laptop or exercise book.

AEG 18V FUSION HEDGE TRIMMER PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Steven Lau Hee Wing Frankie Lam Kwok Fan Carter Wong

COMMISSIONED BY Techtronic Design DESIGNED IN

Hong Kong

The AEG 18v Fusion Hedge Trimmer gives you power and precision for a professional result, whether you’re pruning, trimming or shaping, vertically or horizontally and anything in between. It has been designed for everyday use in the toughest conditions with reduced vibration, impressive run time, reduced noise, no petrol hassle.

ZAZA PRODUCT DESIGN FURNITURE AND LIGHTING DESIGNED BY

Charles Wilson in collaboration with King Living

COMMISSIONED BY King Living DESIGNED IN

Australia

Introducing Zaza, the latest collaboration with awardwinning Australian designer Charles Wilson for King Living. Raising the benchmark in contemporary style and luxury, enticing deep seats and relaxed feel add supreme comfort to the beautiful lines. Zaza’s design features adjustable arms and backs that allow you to personalise your comfort.

ALL-IN-ONE TWO SIDES LED LIGHT WALL DISPLAY SYSTEM PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Ruei-Hsing Lin

COMMISSIONED BY Ruei-Hsing Lin DESIGNED IN

Taiwan

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All-in-one Two Sided LED Light Wall Display System with enhanced commercial effects.

IN N ER S W ALL-IN-ONE WALL DISPLAY MODULAR SYSTEM PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Ruei-Hsing Lin

COMMISSIONED BY Ruei-Hsing Lin DESIGNED IN

Taiwan

All-in-one Wall Display System with new Lego-type modular components, mostly including aluminum extrusion tracks and modular connectors.

ATLITE SKYLIGHTS ROOF WINDOW PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Atlite Skylights Swinburne University

COMMISSIONED BY Atlite Skylights DESIGNED IN

Australia

Atlite Skylights premium roof window was designed by the Atlite Skylights engineers in collaboration with Swinburne University. Our cutting-edge design is the only Australian designed and made roof window that is bushfire, hail, cyclone and leak resistant. The Atlite Skylight can be custom made to suit any space and specification.

ALUMINUM ALLOY CUBE DISPLAY MODULAR SYSTEM PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Ruei-Hsing Lin

COMMISSIONED BY Ruei-Hsing Lin DESIGNED IN

Taiwan

New aluminum extrusion profiles with four connectors and clothes in four directions, quick installation by hands.

BRAEMAR EVOLUTION PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Seeley International

COMMISSIONED BY Seeley International DESIGNED IN

Australia

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Braemar Evolution is the highest capacity sloped tank evaporative air conditioner available. Its low profile, sleek design means it sits unobtrusively below roof ridgelines blending seamlessly into a home’s design.

Evolution features advanced Australian-developed technology with a range of unique innovations building on the long-standing reputation of the Braemar brand.

IN N ER S W CROSSRAY+ BBQ PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Mark Stone Thermofilm William Home Grandhall Taiwan

COMMISSIONED BY Thermofilm DESIGNED IN

Australia

The Crossray+ barbeque system utilises angled, side mounted infrared burners to perfectly cook your food.

With infrared burners Crossray+ is significantly more efficient than your traditional open flame barbeque, and provides more heat and uses less gas, leaving you with lower running costs.

ESCAPE RESCUE TOOLS PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Peter Fegan

COMMISSIONED BY Peter Fegan DESIGNED IN

Australia

The Escape Rescue Tools are titanium compact portable personal breaching hand tools to enable quick response reaction to a life- threatening situation. These aerospace grade tools are equally suited to escaping to the outdoors such as camping and hiking.

DAM BUSTER RAIN HEAD PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Russell Kirkwood David Pockett – Dam Buster Britannia Metal Industries

COMMISSIONED BY Dam Buster DESIGNED IN

Australia

Dam Buster totally changes the game for rain head design in Australia. As the first engineer certified compliant rain head in the country, it not only protects buildings from flooding but also incorporates all of the mandatory requirements of the Australian and New Zealand Standard into a simple, elegantly designed, quality, Australian made product.

EXCEL VIVO SWITCHES AND SOCKETS PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Florent Glenisson

COMMISSIONED BY Ben Miles

Jin Zhang

DESIGNED IN

France

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Bold, striking and refreshing, Excel VIVO can be customised to suit an individual’s tastes and interiors.

From traditional rocker switches with white coverplates to designers edge dimmers with the coloured plates, Excel VIVO will transform a wall from boring to breathtaking.

IN N ER S W LEGRAND WIRELESS CHARGING SOLUTIONS PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Alain Boucher

COMMISSIONED BY Michel Ousset DESIGNED IN

France

The Legrand Wireless charging range enable Qicertified mobile devices to be charged without cables, bringing total flexibility to the end-user. Available in three options – wall-mounted, built-in to table tops and weatherproof – they will adapt to many environments from residential to commercial places (hotels, airports or train stations).

OUTDOOR BANNER LIFT MODULAR SYSTEM PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Ruei-Hsing Lin

COMMISSIONED BY Ruei-Hsing Lin DESIGNED IN

Taiwan

The Outdoor Banner Lift System Guide for lifting wind-blown suspension which is safe, convenient and time saving.

MILWAUKEE M12 SOLDERING IRON PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Timothy Tin Pak Lee Dorman Justin George Yu Glenn Zhang Guo Xing

COMMISSIONED BY Techtronic Design

Milwaukee Tool

DESIGNED IN

Hong Kong

Milwaukee Tool continues to deliver portable productivity by expanding the largest sub-compact system in the industry, the M12™ platform, with the M12™ Soldering Iron. The first lithium-powered soldering solution, the new tool heats quickly and maintains an optimized temperature throughout the most demanding applications, delivering unmatched productivity.

QUICK-FIT SOCKET SERIES PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Cube Industrial Design

COMMISSIONED BY Connected Switch Gear DESIGNED IN

Australia

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A series of 240V Quick-Fit inline socket outlets that can be connected in seconds without requiring tools or the stripping back of insulation. The series consists of a mini pendant socket, a surface mount socket and a double power outlet.

IN N ER S W RYOBI 18V ONE PLUS BRUSHLESS GRINDER PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Simone Chung Popeye Wong

COMMISSIONED BY Techtronic Design DESIGNED IN

Hong Kong

Experience the power and performance of brushless power tools with the 18V ONE+ Brushless Angle Grinder from Ryobi Offering 30% longer grinding times and 20% longer cutting times for each charge, brushless technology means you can get more done between battery charges.

CLICK CLACK KITCHEN GADGET RANGE PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Alquemy

COMMISSIONED BY Click Clack DESIGNED IN

Australia

A comprehensive range of refined and elegant kitchen gadgets with a unique and elevated aesthetic, designed to perform and designed to stand-out in a saturated market.

WAFER ELITE PRODUCT DESIGN HARDWARE AND BUILDING DESIGNED BY

Transco Design Team Lead by Paul Lin

COMMISSIONED BY Transco Design Team Lead by Paul Lin DESIGNED IN

Australia

Transco Wafer/Elite, the world’s lowest profile power outlets and switches. Sleek pearl white or black satin with a patented bracketing system which achieves an environmentally friendly result, and easy installation in new or existing structures. The only surface mount switch and outlet range with an edge profile below two millimeters.

CUP O FLORA SELF-WATERING POT PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Odi Reuveni

COMMISSIONED BY Odi Reuveni DESIGNED IN

Australia

Cup O Flora is a self-watering glass pot. Plants that grow in a Cup O Flora® self-absorb water through a wick from the external pot. The pot’s clear design offers an instinctive gauging of the water level in the reservoir, ensuring the plant is always hydrated.

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IN N ER S W ELECTRIC WINE OPENER PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

PHI Design by Frank Rousselin

COMMISSIONED BY Zhuhai Cheer Technology Co. LTD DESIGNED IN

France

An Electric Wine Opener designed specifically for the growing wine consumer market in China. The design was inspired by the Guangzhou Tower, a symbol of one of the most vibrant cities in China.

FISKARS NORDEN COOKWARE PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Fiskars Finland Oy Ab Fiskars Functional EMEA R&D

COMMISSIONED BY Fiskars Finland Oy Ab

Fiskars Functional EMEA R&D

DESIGNED IN

Finland

The Fiskars Norden cast iron and stainless steel cookware products are inspired by Nordic cooking traditions and have been designed to guarantee the best cooking results and ease of maintenance for high temperature frying and slow cooking dishes.

EVERDURE BY HESTON BLUMENTHAL QUANTUM SERIES TOOLS PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Design + Industry

COMMISSIONED BY Everdure by Heston Blumenthal DESIGNED IN

Australia

The Everdure by Heston Blumenthal Quantum™ Series tools have been designed to compliment the awardwinning Everdure by Heston Blumenthal barbeque range. Heston conceived the barbeque range with the aim of bringing commercial-quality to outdoor cooking.

The Quantum tools complete that vision by offering a full suite of professional-quality cooking utensils.

FISKARS NORDEN KNIVES PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Fiskars Finland Oy Ab Fiskars Functional EMEA R&D

COMMISSIONED BY Fiskars Finland Oy Ab

Fiskars Functional EMEA R&D

DESIGNED IN

Finland

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Fiskars Norden knives are high-quality kitchen knives, inspired by the Nordic cooking traditions and constructed according to Finnish knifemaking heritage.

IN N ER S W RADO TRUE PHOSPHO PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Rado Watch Co. Ltd BIG-GAME Sàrl

COMMISSIONED BY Rado Watch Co. Ltd DESIGNED IN

Switzerland

Rado has teamed up with another major force in the design world. Together with Swiss design studio BigGame, Rado has created the True Phospho: a limited edition timepiece featuring Big-Game’s signature design approach as applied to one of Rado’s most popular watch families.

THERMOBRUSH PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Jade Kuhn ThermoBrush

COMMISSIONED BY ThermoBrush DESIGNED IN

Australia

ThermoBrush is a new innovative brush, specifically designed to clean Thermomix® blades. Our Patented brush, is molded to the shape of the blade, giving that gap a superior clean. Thermomix® is an all in one cooking appliance sold world wide.

TAPOLE SERIES T PRODUCT DESIGN HOUSEWARES AND OBJECTS DESIGNED BY

Ding Dong Liu Shudong Lin Jianxiang Chen Jianxing

COMMISSIONED BY Tapole Co. Ltd DESIGNED IN

China

Tapole eyewear believe in simplicity and function, and the glasses frames are made entirely of titanium or nylon. By using these two materials, we provide you with a lightweight and flexible frame that weighs less than 6.5 grams and is much lower than the similar on the market.

DERMAPEN 4 PRODUCT DESIGN MEDICAL AND SCIENTIFIC DESIGNED BY

Cobalt Design Planet Innovation

COMMISSIONED BY Dermapenworld DESIGNED IN

Australia

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The Dermapen 4 micro-needling instrument sets a new global standard in dermatology, providing treatment for numerous skin conditions. As the first instrument to provide speed and depth adjustment via an advanced digital interface, Dermapen 4 delivers ergonomic control and digital precision in an affordable, accessible alternative to expensive IPL/ laser equipment.

IN N ER S W BREO SCALP MASSAGER PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Paul Cohen Cube Design China

COMMISSIONED BY Shenzhen Breo Technology Co. Ltd. DESIGNED IN

Australia

Breo Scalp and Body Massager is a simple and ergonomic design offering a soft and sensual massage to users. It provides six traditional Chinese massage skills including stretching, crimping, pushing, pulling, rubbing and grabbing, allowing you to feel that you are being massaged by a professional masseur.

FCS FREEDOM LEASH PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Surf Hardware International: Michael Durante Scott Norrie Nick Notara Joshua Hall

COMMISSIONED BY Surf Hardware International DESIGNED IN

Australia

The FCS Freedom Leash features a revolutionary new cord, that by diameter, is lighter and stronger than any other cord. With a focus on strength and minimalism, every component in the leash has been re-designed to complement the cord, creating a leash that also has less drag and tangling.

BUGABOO FOX PRAM PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Bugaboo

COMMISSIONED BY Bugaboo Pty Ltd. DESIGNED IN

Netherlands

Dutch mobility brand Bugaboo revolutionised the pram market with the launch of their first pram in 1999.

Now, almost 20 years later, Bugaboo has unveiled the Bugaboo Fox, a next generation pram with world-first features that raises the bar in innovation, engineering and smart design for the modern parent.

GOLD COAST 2018 COMMONWEALTH GAMES QUEEN’S BATON PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Designworks Group

COMMISSIONED BY Gold Coast 2018 Commonwealth

Games Corporation

DESIGNED IN

Australia

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The Queen’s Baton has been specially designed to capture the boundless energy of the Gold Coast. It is an inspiring symbol carries the Queen’s message from Buckingham Palace, through all 70 Commonwealth Nations and Territories to the OpeningCeremony. Inspiring, including and igniting the Gold Coast Commonwealth Games.

IN N ER S W MAGNETIC MAKEUP BRUSHES PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Rae Morris D3 Design

COMMISSIONED BY Rae Morris

D3 Design

DESIGNED IN

Australia

The world’s first magnetic makeup brush range designed by world renowned Australian makeup artist, Rae Morris. The magnetic functionality enables the brushes to stand upright, or hang upside down, when used in combination with a number of accessories.

This facilitates organisation, storage, travel, hygiene and cleaning.

NAIL SNAIL BABY NAIL TRIMMER PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Formzoo Design

COMMISSIONED BY Christie and Christie DESIGNED IN

Australia

Developed out of frustration with current product offerings, the Nail Snail is a redesign of traditional children’s nail trimmers with the aim of creating a more simplistic and enjoyable experience for child and carer.

The design uses a concealed blade to trim children’s nails in a safer more user-friendly manner.

MAMMA-PILLO PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Linda Ann Kissell

COMMISSIONED BY Carrie Ann Kissell-Myatt DESIGNED IN

Australia

Mamma-pillow is an environmentally friendly multipurpose support pillow designed to gently support a baby’s head and neck during feeding sessions.

The unique pillow positions a baby into an optimal feeding position and can help combat gas, reflux and regurgitation and assist mothers with the problems and discomfort usually associated with infant feeding.

OZTENT HOTSPOT HEATED CAMPING CHAIRS AND ACCESSORIES PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Oztent Australia Peter Long

COMMISSIONED BY Oztent Australia

Peter Long

DESIGNED IN

Australia

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Oztent HotSpot series is an Australian designed and developed, patent pending range of instantaneous, reusable and safe camping and outdoor adventure products including but not limited to camping chairs, lumbar packs and pouches that have passive comfort heating and cooling functionality and don’t require mains power, batteries or cables to operate.

IN N ER S W OZTENT RS-1 KING SINGLE SWAG PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Oztent Australia Peter Long

COMMISSIONED BY Oztent Australia

Peter Long

DESIGNED IN

Australia

The Oztent RS-1 King Single Swag is an Australian designed and developed 30 second set up swag based on the award winning RV Tent. Featuring a reversible fitted awning/reflective sun shade, a carry bag that folds out to be a ground sheet/warning marker and a removable/foldable mattress, it truly is the ultimate Swag-in-a-Bag.

RX SMARTGEAR RAPIDFIT JUMP ROPE PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

Outerspace

COMMISSIONED BY RX Smartgear DESIGNED IN

Australia

The humble jump rope has had a resurgence as a global fitness phenomenon. But incorrect rope sizing can cause frustration, poor technique and reduce fitness goals. The RapidFit jump rope is the world’s first dual bearing rope you can adjust length without tools, which maximises efficiency, technique, enjoyment and motivation.

REDVISION PRODUCT DESIGN SPORT AND LIFESTYLE DESIGNED BY

REDARC Electronics Federico Roldan Design Lumient Twenty20 Graphics

COMMISSIONED BY REDARC Electronics DESIGNED IN

Australia

RedVision acts as a central hub that connects devices and displays vital information for a RV and all its on-board accessories, setting an unprecedented level of automation in the recreational vehicle industry.

RedVision controls lights, inverters, water pumps and other loads and displays water levels, energy consumption and power storage.

AMP GOALS 360 SERVICE DESIGN COMMERCIAL SERVICES DESIGNED BY

AMP Financial Services

COMMISSIONED BY AMP Financial Services DESIGNED IN

Australia

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For customers it’s not about finances, it’s about goals.

AMP Goals 360 is not traditional advice on building wealth. It’s financial advice using a tried and true process for achieving goals – explore, plan, track, and realise. With Goals 360, AMP is helping more Australians realise more of their financial goals.

IN N ER S W RELIANCE SMART MONEY – FINANCIAL MARKETPLACE SERVICE DESIGN COMMERCIAL SERVICES DESIGNED BY

Think Design Collaborative:

Rama Aleti Anantha Satish Kumar

Nihit Gaur Purushottam Sharma Sushant Ghorpade

COMMISSIONED BY Reliance Capital DESIGNED IN

India

Reliance Smart Money is a ‘neutral financial services marketplace – empowering people to do what’s right for their money. The multi-product digital platform provides access to Mutual Funds, Stocks, Loans and Insurance, PMS, Corporate Fixed Deposits and Bonds among others – helping its users take informed decisions and transact across asset classes seamlessly.

UNIVERSITY OF SOUTHERN QUEENSLAND EDUCATION PORTFOLIO SERVICE DESIGN EDUCATION SERVICES DESIGNED BY

White Light Education University of Southern Queensland

COMMISSIONED BY University of Southern Queensland DESIGNED IN

Australia

The University of Southern Queensland (USQ) employs 1800 staff and has approximately 30,000 students. To ensure our students receive the best education and university experience possible, and our educators receive the tailored support they need, USQ’s Education Portfolio needed to re-imagine its approach in delivering scholarly information and learning services.

FIX-ED – SCHOOL LED HUMAN CENTRED DESIGN AND REPAIR PROGRAM SERVICE DESIGN EDUCATION SERVICES DESIGNED BY

Seven Positive Tom Allen

Pimpama State Secondary College Stephen Robinson Dwayne Scicluna Adam Jefford

COMMISSIONED BY Pimpama State Secondary College DESIGNED IN

Australia

Fix-ed is a school operated social enterprise which equips students with valuable, hands-on experience and skills to become 21st Century Leaders. Learning and applying Human Centred Design, repair and social entrepreneurship skills prepares participants to tackle significant community problems and respond with viable projects that create positive social impact.

CO-DESIGNING OUT OF HOME CARE REFORM SERVICE DESIGN PUBLIC SECTOR SERVICES DESIGNED BY

ThinkPlace

COMMISSIONED BY Victorian Government Department of

Health and Human Services

DESIGNED IN

Australia

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ThinkPlace worked with the Victorian Department of Health and Human Services to co-design an approach to creating a future vision for the Out of Home Care System in Victoria. The result was an accessible and compelling visualisation that prompted robust conversations about the key actions required to enable change.

IN N ER S W CO-DESIGNING THE FAMILY SAFETY INNOVATION HUB SERVICE DESIGN PUBLIC SECTOR SERVICES DESIGNED BY

ThinkPlace

COMMISSIONED BY ACT Government Office of

Coordinator-General for Family Safety

DESIGNED IN

Australia

The Hub was co-designed with the ACT Government, service providers and survivors of domestic and family violence. It is designed to catalyze muchneeded change by bringing the right people together to develop, test and scale innovative solutions that meet the varying needs of people exposed to domestic and family violence.

BEING WIRADJURI TOGETHER – CO-DESIGNING SELF-DETERMINATION SOCIAL IMPACT DESIGNED BY Wiradjuri / Nation Citizens: COMMISSIONED BY Aunty Lorraine Tye

Mark McMillan Bev Munro-Harrison Tom Munro-Harrison Emily Munro-Harrison Faye McMillan Todd Fernando Dean Heta

DESIGNED IN

RMIT-led Design and Media Team: Peter West Yoko Akama Linda Elliott Seth Keen Cormac Mills Ritchard Kylie Wickham Paper Giant Public Journal

Australia

This project is about Wiradjuri people who are self-determining – renewing cultural practices and expressing what it means to be Wiradjuri. This is catalyzed through co-designing among Wiradjuri and RMIT-led team to create various mechanisms – print, video, social media, digital platform and community events – to connect, share and be Wiradjuri together.

NEPAL REBUILD PROGRAM SOCIAL IMPACT DESIGNED BY

Taylor Thomson Whitting (TTW)

Ken McBryde, Sydney Architecture Studio

Davenport-Campbell David Francis

(in collaboration) with the Australian

Himalayan Foundation and Local Communities

COMMISSIONED BY Australian Himalayan Foundation DESIGNED IN

Australia

When 2015 earthquakes devastated Nepal, over 200 of the 350 schools supported by the Australian Himalayan Foundation were destroyed. In lieu of donating money; TTW collaborated with architect Ken McBryde and Davenport Campbell (masterplan), donating their professional skills to design a sustainable earthquakeresilient school resulting in positive social impact.

NRMA FIREBLANKET SOCIAL IMPACT DESIGNED BY

Tricky Jigsaw (original concept, tech and service design) CSIRO Data61 (technical validation) Vert Design (node casing design) Scout Aerial (technical deployment)”

COMMISSIONED BY NRMA Insurance DESIGNED IN

Australia

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NRMA Fireblanket is an always-on bushfire detection and monitoring network, designed to use sense of smell to pinpoint, track and predict bushfire movement.

Wireless Sensor Nodes are placed on existing infrastructure to form a mesh network around at-risk communities, giving firefighters critical knowledge to manage bushfires and protect Australians.

IN N ER S W RENTERS UNITED SOCIAL IMPACT DESIGNED BY

Chrometoaster: Robert Whitaker Aaron McKirdy Renee Pearson George Frost Bas van Lunteren Dan West

COMMISSIONED BY

Renters United

DESIGNED IN

New Zealand

Home ownership in New Zealand is at an historic low and half the population are renters. But rental housing is unhealthy, unaffordable and insecure. Renters United used a challenging, grassroots, flexible and open source design system to put the politicians on notice and delivered real change for all renters.

THE DARWIN CHALLENGE SOCIAL IMPACT DESIGNED BY

Universal Favourite

COMMISSIONED BY The Darwin Challenge DESIGNED IN

Australia

Founded by Chris Darwin, Charles Darwin’s greatgreat-grandson, The Darwin Challenge mobile application is a not-for-profit initiative promoting one simple action: eat less meat for your own good, for others and for the planet. The application rewards users by showing them how their meat-free days improve their health and the world.

TAKING ON UNFAIR LENDING WITH GOOD SHEPHERD MICROFINANCE AND NAB SOCIAL IMPACT DESIGNED BY

Today

COMMISSIONED BY NAB and Good Shepherd Microfinance

(GSM)

DESIGNED IN

Australia

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Good Shepherd Microfinance and NAB invited Today to help develop a first-of-its-kind: an ethical short term loan for those experiencing financial stress that looks to improve their financial wellbeing, rather than preying on their disadvantage.

WRITER/EDITOR Jackie Hawkins CONTRIBUTING WRITER/EDITOR Rachel Wye DESIGN Frost*collective

AC LE K DG NO EM W -

MANAGING EDITOR AND PUBLISHER Dr. Brandon Gien

M EN TS

WITH THANKS TO ALL THOSE THAT GAVE THEIR TIME AND SHARED THEIR KNOWLEDGE:

Sarah Weir OBE Ian Wong Michael Bryce Paul Schremmer Robyn Schremmer Paul Huxtable David Wood Denise Larcombe Peter Bayly Murray Hunter Vince Frost Hartmut Esslinger Tristram Carfrae Vincent Stanley Roger Martin Carolina Quintana Shamika N. Sirimanne Ben Crothers Published by Good Design Australia Suite 202, Level 2 100 New South Head Road Edgecliff NSW 2027 Australia E: mail@good-design.org W: www.good-design.org P: +61 02 8015 6680 ABN: 95 146 790 007

This publication is subject to copyright. No part of it may be reproduced, stored in a retrieval system or transmitted in any form or by any means including electronic, mechanical, micro-copying, photocopying, recording or otherwise without the permission of Good Design Australia.

While every effort has been made to ensure the accuracy of the information in this publication, the publisher cannot be held responsible for errors or omissions or any consequences of reliance on this publication nor the quality of goods and services advertised. The opinions expressed in this publication do not necessarily represent the views of Good Design Australia.

The Good Design Award logos are registered trademarks owned by Good Design Australia and may only be used under license.

Design Icons: Copyright © Ian Wong Collection.

Use of images granted exclusively for this publication and the 60 Years of Good Design Exhibition, OPT Sydney 2018.

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