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EXHIBITIONS Design Market Review

P.67 FEATURES Top Ten Forces & Faces

TOP TEN FORCES & FACES – The design director’s cut It’s my way or the highway – MAARTEN BAAS Building your brand: Useful tools and expert advice

LIVING EDGE taps in to edgy UK talent Explore new shores at SINGAPORE DESIGN FESTIVAL

OLAFUR ELIASSON merges art with architecture


37 2010


$9.00 AUD


‘Torch’ by Sylvain ‘Naturallight Weaves’ Willenz for Established & Sons LIVING EDGE INSTYLE


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Very Unexpected TM

Meet Very, a delightful addition to the Haworth portfolio. Designed by the Haworth Design Studio in collaboration with international furniture designer Simon Desanta, Very seating brings global design and versatility to the forefront. Very incorporates the best of Haworth ergonomics and sustainability knowledge, all within a range of applications and user needs providing unexpected features and comfort. A full family is supported with features such as an integral flexing back, integrated lumbar and is 98% recyclable at end of life.

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design quarterly

ISSUE 37 Autumn 2010


The inside word

NEWS bite LAVA have managed to wow us again, this time with two truck-sized digital origami tigers, crouching in front of Customs House in Sydney. “The tigers are playing soccer to kick off the [2010] FIFA world cup,” says LAVA’s Australian Director, Chris Bosse. Find out more at

April marks a very special issue for DQ magazine – and for a number of reasons. The first is that I’m no longer based solely in Sydney, but have the pleasure of living between two of Australia’s exciting design hubs – Melbourne and Sydney. It’s a progressive (some might say intrepid?) move for DQ and Indesign Group, both of which have long been based in Sydney. Now in Melbourne, I will continue in my role as DQ Editor, as well as editorial representative for all Indesign Group’s publications and events, (including Saturday in Design, which runs 6 – 7 August in Melbourne this year). Already the change of scene has had positive results, allowing me to explore new territories and opportunities for DQ and our other publications, thus widening our coverage and reach. And, while I’ll spend quite a lot of time in Melbourne, I’m still very much connected to the Sydney-side thanks to regular visits, the wonders of Skype and convenience of remote server connections! But enough about me – let’s talk DQ. This issue has flowered into something quite beautiful, and here I have to thank the talented designers we’ve featured (as it’s your work that fills these pages), and my design team who have crafted a particularly fine issue. You won’t have to go far (just page 67) to find our DQ Top Ten Forces & Faces in Design. This year we have gathered together a bountiful bunch of individuals, each of whom has achieved great things within their own practice and the sector as a whole. One of the real pleasures in bringing together the Top Ten is the interesting synergies that surface along the way. This year I was most impressed by the common thread of ‘usefulness through design’ which emerged in our many conversations and interviews with designers. Here, one designer says he uses everyday life and human behaviour to help him make minor improvements on designs. Another designer says, “Ideas tend to come to me when I have identified something that has irritated me. I don’t believe in creating a product just for the sake of it.” I won’t name names, I will leave it for you to discover along the way! Another nice synergy falls under the topic of marketing and building your brand. For some people, it’s the best part of running a business, but I suspect for many it’s placed in the ‘too hard basket’. In our Business section, writer Marg Hearn investigates a number of design studios and companies who market themselves quite successfully (see page 56). And you can also find this in the work of other studios we feature, such as woven vinyl flooring company Bolon. You can find out more about their latest product range and marketing campaign on page 10. On a final note, I will now be your point of contact for all editorial matters for Indesign Group in Melbourne, joined by my colleague Richard Burne, also stationed here. You can find our contacts below, and we both really look forward to hearing from you. Alice

PA to Publisher Colleen Black Editorial Director Paul McGillick DQ Editor Alice Blackwood Operations Manager Adele Troeger Deputy Art Director Bronwyn Aalders Design Lauren Mickan Design Intern Belinda Cooper Production Coordinator/Design Sarah Djemal & Eunice Ku Production Assistant Grace Hall Advertising Traffic Administrator Hannah Kurzke

DQ is the sister publication of

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Business Development Manager – Southern States Richard Burne (Victoria) Business Development Manager Ali Festa Marketing & Events Kylie Turner & Angela Raven Financial Director Kavita Lala Accounts Department Gabrielle Regan & Darya Churilina Online Communications Manager Rish Raghu Online Communications Assistant Simon Layfield Online Editor Ben Morgan Contributing Writers Alaana Fitzpatrick, Anne-Maree Sargeant, Ben Morgan, Collette Swindells, Elana Castle, Francesca Unsworth, Giovanna Dunmall, Hande Renshaw, Kasia Jarosz, Kristian Aus, Lisa Kapell, Madhavi Tumkur, Mandi Keighran, Marg Hearn, Nikita Notowidigdo, Nicky Lobo, Penny Craswell, Stephen Crafti

DQ Advertising Enquiries Richard Burne (61) 423 774 126 Ali Festa (61 2) 9368 0150 Published under licence by Indesign Publishing Pty Ltd ABN 96 101 789 262 Sydney Head Office L1, 50 Marshall Street, Surry Hills NSW 2010 (61 2) 9368 0150, (61 2) 9368 0289 (fax) Subscriptions AUSTRALIA $25 (inc GST) 1 year / $50 (inc GST) 2 years INTERNATIONAL $50AUD 1 year / $100AUD 2 years

-10 YEARS2000–2010

DQ is a wholly owned Australian publication, which is designed and published quarterly in Australia. DQ is available through subscription, at major newsagencies and bookshops nationally. Never miss an issue by subscribing online at, faxing us at (61 2) 9368 0289, or emailing




EXHIBITIONS Design Market Review

P.67 FEATURES Top Ten Forces & Faces

TOP TEN FORCES & FACES – The design director’s cut It’s my way or the highway – MAARTEN BAAS Building your brand: Useful tools and expert advice

LIVING EDGE taps in to edgy UK talent

Design Quarterly is a quarterly publication fed by who is doing what in the design industry, championing the personality behind design. It aims to promote and create the next generation of design as well as supporting those designers who are more established.


OLAFUR ELIASSON merges art with architecture


The Editor accepts submissions from writers/photographers/illustrators for editorial consideration. We encourage those working in the design industry to submit news and announcements, so we can keep readers abreast of your new developments. Editorial submissions should be made out to the Editor at the Sydney Head Office. Any digital images should be supplied on CD at 300dpi with a minimum width of 15cm. Please also supply full contact details and captions with images. Contributions are submitted at the sender’s risk, and DQ cannot accept any loss or damage. Please retain duplicates of text and images.

37 2010


$9.00 AUD

$9.00 NZD

‘Torch’ by Sylvain ‘Naturallight Weaves’ Willenz for Established & Sons LIVING EDGE INSTYLE

Publisher Raj Nandan

Cover Image: On this issue’s cover we have ‘Torch’ light by Sylvain Willenz for Established & Sons. Established & Sons is available exclusively in Australia through Living Edge. For more information turn to page 17, or visit

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted in any form or by any other means, electronic, mechanical, photocopying, recording or otherwise. The publishers assume no responsibility for errors or omissions or any consequences of reliance on this publication. The opinions expressed in this publication do not necessarily represent the views of the editor, the publisher or the publication. Magazine Stock At Indesign Publishing we are aware of our responsibility to the environment. When designing DQ, we selected a paper stock produced by Nordland Papier, a company certified under ISO14001 environmental management systems. The paper used to print this publication is certified by the Forest Stewardship Council. Our printers also adhere to strict policies to prevent unnecessary harm to the environment – including the use of soy-based inks.

DQ is the official magazine of

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design quarterly

ISSUE 37 Autumn 2010







54 08











PROFILES Maarten Baas Ross Didier Tin&Ed Ryan Frank Alex Ritchie


EXHIBITIONS Singapore Design Festival Design Real Olafur Eliasson Design Market Review

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BUSINESS Business of Design Week Building Your Brand Haworth showroom TAIT showroom Porter’s Paints showroom Freshwest – Offshore Opportunity


FEATURES DQ’s Top Ten Forces & Faces in Design








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design quarterly

Evolve Awards

Starring Role

It’s time to get your hands and minds moving with Designer Rugs’ inaugural Evolve Awards. All you need to do is create your own rug, aided by specially organised Evolve workshops which explore the design and construction process of custom rug and carpet construction. The competition is open to Australian and New Zealand architects, interior designers and industry professionals. Evolve’s six winning rugs will form part of Designer Rugs’ ID COLLECTION 2010/2011, with winners sharing in over $20,000 in prizes – including a trip to Salone del Mobile Milan 2011. Entries close 30 June 2010. For more information on entry requirements and Designer Rugs’ Evolve workshops, log on to

Star City Sports Theatre and Bar is Star City’s newest venue, broadcasting live sports around the clock. The bar, which was only recently completed, features a huge range of product from Classic Tiles, including Calacatta slabs and marble flooring, and stone mosaic columns. Faced with an eight week deadline, Classic Tiles sourced, cut to size and laid everything – even managing to squeeze in a flying visit to Carrara in Italy to select the materials. “The project had very high expectations and needed attention to detail. We were able to deliver at all levels as can be seen in the finished product,” says Classic Tiles Project Director, Michael Giunta.

Designer Rugs launches new competition

Designer Rugs 1300 802 561

ISSUE 37 Autumn 2010

Future Investment

rate with some of Italy’s most promising emerging designers. The outcomes are what we see today, with MDF supplying a large and varied range of furniture for living, on an international scale. Pictured here is the ‘Random’ bookcase by Neuland Industriedesign. MDF’s products are available exclusively in Australia through Hub Furniture.

Classic Tiles take the lead role at Star City, Sydney

Classic Tiles (61 2) 8014 5587

Fusion of Ideas

Varying design practices unite under Obfunc Obfunc is a new Canberra-based design collective which sees a merging of architecture, fine furniture and graphic design talents. Founding designers Craig Rex Harris, Jas Hugonnet and Richard Thomas collaborate to produce designs which are both functional and aesthetically innovative. Central to the team’s philosophy is a clarity and balance of concepts, materials and techniques. At the launch of the collective in November last year, the public were treated to three of Obfunc’s unique products: the table lamp ‘tuba’ by Hugonnet (pictured below), the ‘multi trivet’ by Harris, and Thomas’ ‘satellite dish.’ You can keep in touch with Obfunc via their new website, Obfunc (61) 417 235 916


MDF Italia cast their dice into the future

Family run since 1992, Italian furniture manufacturer MDF Italia attribute their ongoing success to their uncompromising approach to identity. “The simplicity, the philosophy, to make simple, neutral, beautiful furniture. This is who we are and the success of the company is that people will always recognise us,” says MDF’s Commercial Sales Director, Frederik Billiau. Much of MDF’s success owes to founder, Bruno Fattorini, whose sharp eye for talent has seen the company collabo-

MDF Italia (39) 02 8180 4100 Hub Furniture (61 3) 9652 1222

Holistic Hydration

Gaggenau announces new premium range International design maverick H. Reinhard Segers has set new standards in functional design through the creation of the new Gaggenau ‘Vario Cooling 400 Series’. The range, which encompasses refrigerator, freezer and wine storage cabinet, is the embodiment of functional beauty, thanks to Segers’ less-is-more design philosophy. Appliance interiors are lined with stainless steel, while shelves and racks are in glass and aluminium which has been fitted by hand. A holistic system, ‘Vario’ customises its temperatures to specific foods, with wine stored at cellar temperature and raised to drinking temperature on demand. Gaggenau 1300 727 421

Available from

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design quarterly

Goliath of Gardens Blanc to create world’s tallest vertical garden

Sydney will have its own green icon as French botanist Patrick Blanc will cover a 116-metre high retail and residential tower with a vertical garden. The huge garden will see 50% of the building – which is set on the former Carlton United Brewery site on Broadway, Sydney – blanketed with living greenery. Not only will the garden provide a unique aesthetic for the structure, but it will also reduce energy consumption by way of thermal insulation.


Complementing the building’s ‘vegetal’ artwork will be a heliostat, a system of mirrored panels which capture and reflect sunlight onto residential terraces. Blanc’s previous work in Australia includes a vertical garden in Melbourne Central shopping centre and the Qantas Sydney First Lounge. Patrick Blanc Frasers Property Australia (61 2) 8823 8800

Gliding to Victory

‘Glide’ knife wins Tasmanian Design Award The Tasmanian Design Award 2009 recognised the talents of designer-maker Anita Dineen, whose ‘Glide’ gourmet knife reflects an affinity with nature. Dineen, whose background is in jewellery-making, says she was inspired by “the winged seeds of a Sycamore tree” and, when tackling the form and aesthetic of ‘Glide’, sought to infuse it with the balance and beauty felt within her garden. The Tasmanian Design Award is a competition which acknowledges small production objects which are both environmentally and commercially sustainable. Dineen, who won the People’s Choice Award, is the first female to win the overall competition. Tasmanian Design Centre (61 3) 6331 5505

Granting Design the Power

Shady Depths

Laura Roenitz of Kohler speaks on bathroom trends

Toko to Tokonoma Japanese restaurant takes on new bar and lounge

Sydney’s successful Japanese gastronomic venture Toko has added yet another string to its bow with the opening of the Tokonoma shochu bar + lounge on Crown Street, Surry Hills, designed by architect Matt Darwon. The interiors are a subdued yet rich exploration of natural timbers, flowing lines and deep light play.

Furniture manufacturer Beclau is responsible for the majority of timber works in Tokonoma’s fit-out, from the banquettes, tables, and stools to the curved wave-like ceiling behind the bar and even the custom-made front door. Complementing this is the 11-metre-long light wall by artist Reni Kung, made from 500,000 lentils. Tokonoma shochu bar + lounge (61 2) 9357 6100 Beclau (61 2) 9698 6422

Latest colour trends in bathrooms are about creating an environment with rich visual texture and depth, says Senior Market Analyst Kitchen and Artist Editions for Kohler, Laura Roenitz. “The trend is about light and depth; creating a [space] which is relevant to people so they connect,” says Roenitz. This is reflected through colours that “come from combining different materials”, such as stone, tile, wood and cast iron, as well as different finishes on walls, floors and cabinets. “Kohler’s use of colour in their products is being developed around shades, variations and more nuances. It might be calming or invigorating, it may trigger a memory or it may be more tangible” she says. Either way it will be a shade that will “resonate” with the user. Mico (61 2) 8354 0999

Grant helps design save the world The Cooper-Hewitt, National Design Museum has been granted US$600,000 to develop its internationally renowned Design for the Other 90% exhibition. Granted by The Rockefeller Foundation, the money will expand the philanthropic exhibition into an ongoing series which targets issues affecting the ‘Other 90%’ of the world’s population. The Museum’s Acting Director Caroline Baumann comments, “This exhibition series demonstrates exactly how design is a dynamic force in transforming and, in many cases, saving lives.” The information gathered will be made accessible via an online open-network database, encouraging the wider community to collaborate and solve the world’s problems. Cooper-Hewitt, National Design Museum (212) 849 8400

Victoria H&H Collection Ph: 0400 270 089 New South Wales The Strand Agencies Group Ph: 02 9693 5566 Queensland & North NSW Red Space – Brisbane Head Office 07 3267 8166

High quality lighting for domestic, commercial and contract work.

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design quarterly


ISSUE 37 Autumn 2010

Rugs, Carpet & Design (RC&D)



Rugs, Carpet & Design(RC&D) is a solutions based company, offering specialised services in the design and production of tailor made rugs, carpet and carpet tiles.



01 Chadstone Mall, Melbourne – Custom designed hand tufted rug 02 Aerial Map – EGE Cityscapes carpet tiles 03 Sketch – Tibetan hand knotted rug

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Expertly translating clients’ needs into exclusive floor coverings, RC&D produce exceptional rugs, carpets and carpet tiles for people who demand the very highest quality and custom design. With years of industry experience, RC&D cater to client needs with a selection of beautiful products that capture the very essence of exclusive floor coverings. “The design and production process is limited only by the individual’s requirements in size, shape, colour and texture,” says RC&D Director, Jack Malka. “With each project our team of experienced consultants provides product advice, technical information, artwork presentation, sampling, design and colour consultancy, as well as installation services,” he says. From Hand Tufted and Hand Knotted/Tibetan rug ranges, to Machine Made selections, RC&D’s bespoke rugs, carpet and carpet tiles are unmatched in quality and creative spirit. “Our extensive selection of ranges are streamlined for commercial and residential projects and can be tailor made to your requirements.” One of RC&D’s newest releases, the EGE ‘CITYSCAPES’ modular carpet tile range takes carpet tiles into new realms with modern, creative designs. ‘CITYSCAPES’ is part of EGE’s new ‘MODULAR SHUFFLE’ concept.

As designer Stina Kruse Kidmose describes: “The special thing about ‘MODULAR SHUFFLE’ is there is no recurrence in pattern. Each tile is unique and when mixed together and randomly installed, unprecedented and varying floor designs are created.” ‘CITYSCAPES’ itself consists of 11 designs, in subdued, commercial colours, and an eye-catching palette of bright neon colours inspired by urban street style and graffiti. “RC&D is the sole distributor for EGE and Tisca products in Australia, and this we do as an extension to our custom Hand Tufted ranges” says Malka. To see the full range visit RC&D’s website at

For more information please contact: Rugs, Carpets & Design (RC&D) (61 3) 9428 6223


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design quarterly


30 Maarten Baas:

“I have a very luxurious position to do what I want to do;

they give me a lot of freedom.”

“It becomes about using [materials] as graphical objects, just because it is something, doesn’t mean that’s what it has to be.”

34 Tin&Ed:

they have a lot of trust in me,

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36 Ryan Frank: The Queen of England was so impressed she sent him an invitation to meet her at Buckingham Palace...

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design quarterly





Objects in Focus

01 The exhibition in situ 02 ‘toy’: the ‘LIKEaBIKE Racer’ by Kokua Holzspielzeug. © 2009 Kokua Holzspielzeug 03 Screenshot of on Amazon Kindle

Text by Giovanna Dunmall

Walking into the Design Real show at London’s Serpentine Gallery bewilders me for the first few minutes. This is an art setting and the 42 items are displayed against walls or on plinths the way art is usually shown. Yet these are not works of art, they are design objects that are in production (there isn’t a prototype or one-off in sight), and some of them are not even beautiful or interesting – at least at first glance. In fact, the only information provided is the generic name of each item (‘toy’, ‘lamp’ or ‘step ladder’, for example) typed up in big grey letters. A take-away sheet of paper near the entrance reveals what materials were used to make each piece, who the manufacturer is and who designed it. The ‘broom’ on show is made with polypropylene and used by Paris’ sanitation department to sweep the streets (instead of crude brown branches it has bright green plastic fingers,

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costs one-fifth as much as its wooden counterpart and lasts seven times longer); the ‘humidifier’ is also made out of polypropylene and designed by Naoto Fukasawa; the narrow and streamlined ‘saddle’ on show is a bike saddle and is made from leather and carbon fibre by Selle Italia. Additional contextual information is not provided, says German industrial designer and curator of the show, Konstantin Grcic, in the only piece of text in the exhibition, in order to encourage “an unmediated encounter with the exhibits on display”. In the same way there is no apparent order or structure (alphabetical or by product type or theme) to the show. Bewildering but refreshing. As I wander around I realise that what these items have in common is simplicity, usefulness and functionality – they prove the adage that design really can solve problems. The ‘water

container’ (or ‘Hippo’ water roller) for example, helps to carry water more easily and efficiently in developing countries; the ‘paving’ on show is textured with distinctive surface patterns that assist the visually impaired. As Grcic puts it: “Good design admits to the deeper insight that beyond performing a purpose in a good way, the purpose itself has to be good. A good product becomes part of our culture.” Sometimes the item’s inherent goodness is not instantly obvious (the office chair made by Herman Miller is 94% recyclable and 64% recycled, as well as being very good for posture and therefore reducing workplace absenteeism), or its purpose clear (it turns out the large mega box called ‘battery’ is one of the most technically advanced Li-ion battery packs in the world, capable of delivering enough power to accelerate a Tesla Roadster from 0 to 60mph in about four seconds).

I don’t discover this until I study the exhibition’s accompanying website (one room at Serpentine is filled with sandbags for lounging and logging on), which is packed with interesting, relevant and off-the-wall information. When I investigate the single wind turbine blade on display (the only time I have been up close with one of these beautiful creatures) I read about renewable energy, trading with energy, climate change and the risks to birds; when I look up the pint-sized ‘pulp chair’ designed by Swedish trio Claesson, Koivisto Rune, I find out about all the other children’s chairs on the market. Chairs, tables and beds have rarely been this interesting. Not because of their look or style, but because of what these objects are and what they do. Serpentine Gallery (0 20) 7402 6075

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design quarterly



01 Tour de Verre, New York City, by Jean Nouvel 02 ‘WHY 58x38’ yacht, by Hermès 03 Wallpaper* magazine’s city pocket guides 04 Louis Vuitton Foundation for Creation, by Frank Gehry


of design week

ISSUE 37 Autumn 2010

Interior designer Kasia Jarosz travels to Hong Kong to attend the 2009 Business of Design Week. She reports back on her findings. It is a rare occurrence to have so many of the world’s champions of design in one place at one time, but the 2009 Business of Design Week (BODW) drew them in droves. Held 30 November – 5 December 2009, BODW brought the best of the global design sector to Hong Kong to present an inspiring and provocative program, punctuated by the Hong Kong Design Centre’s (HKDC) Annual Award Gala Dinner (widely considered to be the highlight of the event), as well as an overwhelming array of conferences and exhibitions. Operating since 2002, BODW once again aimed to encourage and facilitate the joining of design and business in a worldwide context. In his opening ceremony speech, HKDC’s Chairman of the Board of Directors, Victor Lo, summed it up well, stating: “Design is what links creativity and innovation.” BODW creates a platform for the exchange of ideas between executives of top international brands, architects, fashion designers, creative visionaries and those who understand the interplay between the design industry and business. A diversity of topics, including fashion and apparel, product and brand design, communications, space, culture and the city, and intellectual property transpired in just three days; these were led by executives of numerous companies –­ Comedia, Hermès, Prada, Museum of Modern Art, Wallpaper* magazine, Evian, Bank of Communications, Studio Massaud, and Gehry Partners – to name just a few. Here speakers shared new projects, discussed the importance of innovation and technology – coupled with an appreciation of history, and acknowledged the power of collaboration between design industries. Every year the Hong Kong-based event partners with a country, this year making its match with the ever elegant and culturally refined France. A global leader in fashion design, France brought some of its leading names to the table, with the likes of Veronique Gautier of Jean Paul Gaultier and Sebastian Suhl of

Prada Group leading the forum’s Fashion and Apparel sessions on Day One. Here, presenters conversed on projects which were uniquely benefited by the involvement of architects, graphic and interior designers, and even musicians. Pierre-Alexis Dumas of Hermès International unveiled the company’s latest project, ‘WHY 58x38’, a luxury yacht built by Hermès in collaboration with architects, interior designers and Monaco-based ship builder, Wally. The multi-million dollar craft, which is designed with signature Hermès perfectionism, has pioneered new concepts in energy efficiency. Meanwhile, Suhl of Prada House took his audience on an extravagant journey to Prada’s ‘Transformer’ building in Seoul, South Korea. This is a multi-dimensional, multi-functional, avant-garde space created to accommodate a range of art, cinema, and fashion events. Day Two was opened by Wallpaper* magazine’s Editor-in-Chief, Tony Chambers. Chambers spoke on his unique approach to one of the world’s foremost design and lifestyle magazines, demonstrating that a designer as editor is expertly capable of generating edgy content. Chambers has positioned Wallpaper* as a sophisticated product, inviting famous designers such as Zaha Hadid, Karl Lagerfeld and Philippe Starck to create unique collection series. Chambers also spoke of the development of the brand beyond the magazine, metamorphosing Wallpaper* into web, exhibitions, and lucrative city pocket guides. A different but fascinating session, entitled Couture and City, opened the third day of the conference with architect Jean Nouvel who demonstrated the importance and influence of ancient cultures in contemporary design and architecture. Here, Nouvel invited Australian Indigenous artists to participate in the creation of the Quai Branly Museum in Paris. During this same session, Edwin Chan of Gehry Partners unveiled the studio’s newest project, the Louis Vuitton Foundation for Creation, also in Paris.

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design quarterly

Not to be forgotten was the spectacular Annual Award Gala Dinner, which celebrated the accomplishments of designers worldwide with prestigious awards such as the Design Leadership Award (presented to INDEX: CEO, Kigge Hvid), and the World’s Outstanding Chinese Designer Award (which went to Ma Ke of Wuyong Studio). And, in closing the forum, Japanese star architect Toyo Ito gave audiences a glimpse of the future, tantalising them with the promise of a BODW partnership between Hong Kong and Japan in 2010. In summing up, it is quite impossible to describe the almost overwhelming scale and scope of BODW 2009. The long list of well-known presenters and participants goes some way towards illustrating the importance of the event on the world design stage, however only attending can truly reveal the magical nature of the event. Find out more about Business of Design Week 2010 online,


Business of Design Week (85 2) 3151 8900 more at: Hong Kong Design Centre ‘WHY 58x38’ by Hermès ‘Transformer’ building by Prada Quai Branly Museum Louis Vuitton Foundation for Creation

02 is quite impossible to describe

the almost overwhelming

scale and scope of BODW 2009.




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design quarterly


ISSUE 37 Autumn 2010

World Class

Stretch Ceiling Systems


A world leader in stretch ceiling systems, Barrisol is a versatile design solution.

Represented exclusively in New South Wales by Sydney Stretch Ceilings (SSC), Barrisol can be used in more than just the traditional ways. Based in Ultimo, Sydney, SSC’s fully equipped showroom and experienced staff are well versed in the use and application of Barrisol in new and innovative ways. Working with some of Australia’s prominent designers and builders, SSC has completed a series of impressive installations using Barrisol for ceilings, walls & 3D feature pieces to push the boundaries of the product. “We completed our largest project to date last year working with ARINA Consultants to design develop, build and install 650m2 of 3D-formed custommade ceiling frames for The University of Wollongong,” says Industrial Designer at SSC, Marc Ryan. Marc says the client’s brief was to develop a concept for a 3D back-lit ceiling for a large lecture theatre. “Here we used a combination of translucent Barrisol membranes consisting of complex 3D and wave ribbons over the entire lecture theatre,” he says. Following the success of the project, SSC were invited to build two Giant Digital Origami Tigers for architecture firm LAVA. These tigers, which were covered in Barrisol, were installed outside Customs House in Sydney, and celebrated the launch of Chinese New Year.


One of the advantages of Barrisol lies in its easy and rapid installation. “In a tight time frame of four weeks we were able to fabricate two tigers in lightweight aluminium and stretch over 360 unique Barrisol panels to deliver something that has brought our company and product to a new level,” says Marc. For more information on Barrisol please contact: Sydney Stretch Ceilings (61 2) 9660 6044 (61) 416 88 11 50


“One of the advantages of Barrisol

lies in its easy and rapid installation.”

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01 Chinese Tiger Lantern ‘T1’ 02 HOPE Theatre, University of Wollonong 03 Chinese Tiger Lanterns ‘T1’ & ‘T2’

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design quarterly


68 DQ’s Top Ten Forces & Faces

This year we’ve captured individuals across a range of fields,

from graphic design, to interior and landscape,

industrial, fashion and styling, and even media.

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design quarterly

Every year we have the pleasure of selecting a talented and highly creative group of individuals to represent DQ’s Top Ten Forces & Faces in Design. This year is no exception – and you’re about to see why!

Selecting the DQ Top Ten is more of a balancing act than one would think. We don’t view our Top Tenners on a scale of one to 10, rather we select them as a whole, so that one person’s skills and accomplishments stand out as unique against the next. Over the last year, many of our Top Tenners have ‘come of age’ – so to speak. They have achieved outstanding results in their practice, they have pushed

their career into new territories, or seen important work come to fruition. Sometimes though, it isn’t a tangible outcome or achievement that defines a Top Tenner, rather it’s their general contribution to the sector. We all have our muses and special resources (books, internet or other media), to which we turn for knowledge and advice, and we celebrate this here. This year we’ve captured individuals across myriad fields, from graphic design


to interior and landscape, industrial, fashion and styling, and even media. In covering each Top Tenner, we don’t share their complete life stories, (better to leave some things to the imagination!). Instead we provide a brief insight into their work, highlighting the beautiful and unique aspects of what they do and, in particular, those elements which offer inspiration and stimulation for our own practice.


Name Sam Parsons Company Studio Sam Design Discipline Multi-disciplinary – Landscape Architecture, Interior Design, Product Design A Favourite Texture Travertine Sound Cockatoos chirping as they fly overhead Smell Cinnamon Sight A brightly coloured painting Taste Blue vein cheese And the best time to work After 3pm And the perfect cure for designer’s block A break, having a little rest or sleep!


Name David Moreland Company David Moreland Design Design Discipline Furniture A Favourite Texture Water Sound Anything from Flying Nun Smell Barbecue Sight A recent Established & Sons shoot in an old theatre – wow! Taste Coffee first thing in the morning And the best time to work When my daughters let me have a good night’s sleep! And the perfect cure for designer’s block See all of the above


Name Jarrod Lim Company Jarrod Lim Design Design Discipline Cross-disciplinary – Graphics, Interiors, Exhibition, Furniture, Products A Favourite Texture A smooth matte satin finish Sound Music that is upbeat and energetic Smell Barbecued chicken Sight The airport because it generally means I am going somewhere or coming back from somewhere Taste Coffee – Malay coffee – very strong, very sweet And the best time to work Late night And the perfect cure for designer’s block A bike ride


Name Tony Chenchow Company Chenchow Little Design Discipline Architecture A Favourite Texture I like a contrast of textures, I often work with a monochromatic colour palette and use a variety of textures so they play off one other Sound Silence Smell Ocean Sight Nature Taste Anything fresh and clean And the best time to work 24/7 And the perfect cure for designer’s block Walking


Name Alan Saunders Company Radio National, Australian Broadcasting Corporation Design Discipline As a writer, which I often am, I design sentences and paragraphs A Favourite Texture The skin of a loved one Sound Anything by Handel (whose works were all written exclusively with me in mind) Smell Truffle – white or black Sight The River Thames Taste Caviar (Osietra will do) And the best time to work I’m a night person And the perfect cure for designer’s block As a writer, I find that if you can’t write, the best thing to do is write


0403 857 354

custom made. recycled timbers. natural upholstery filling

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design quarterly





02 01 Post Preservation Music CD Packaging/ Poster 02 Hopscotch Films trademark image 03 Fabio Orsi / Valerio Cosi, Thoughts Melt in the Air, Preservation Music, CD Cover 04 Mark Edmunds Associates trademark and custom typeface 05 Hopscotch Films custom typeface


Keys and Clients The basic keys of what we do is identity work, which involves trademark development, identity look and feel, and collateral development. Much of our work consists of key clients with whom we have long-term like-minded relationships; it’s what makes our jobs a pleasure. We have worked with Hopscotch Films since their inception, managing all their identity, promotional film and DVD packaging, from corporate to retail. Sherman Contemporary Art Foundation is also a great client. Gene (Sherman) is so committed to doing everything the right way – what’s culturally correct and apt. Complicity with their Clients Commitment to craft is an overriding feature with most of our clients – and one we share. Their commitment to

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their craft is the ‘binding’ factor between them and us. That like-mindedness often means the work we do is at a higher level, because our clients push for it. They’re our partners in crime, complicit in the fact that the work gets ‘pushed’. We’re usually arm-in-arm – that’s our secret... although it’s not really a secret. Typography and Systems There’s a couple of facets to our identity work, one of which involves the creation of custom type, and we use this type to create idiosyncratic communications and often the graphics that go with this. One thing we’re always awkward about is making pretty graphics for the sake of it. We always try to build in a system – usually typographic – to create those graphics. So, type makes the graphic and, even though the type

might not be read, the point is that it was the system beneath the final product. In a way you relinquish control over the finer details. You create the system and control it, and let the details look after themselves. The time always comes to break the system, but for me it’s about using it with discipline, until it no longer works and you have to rethink it. Typographic Tale Hopscotch films are, at heart, simple human stories told in a beautiful way. The films are the everyday made beautiful, and reflecting that has always been our mission. The Hopscotch typography is handwriting that’s been refined to the most perfect structure possible – again making something beautiful from the ordinary. This year we developed the Hopscotch typeface for their annual ‘Show and Tell’ campaign

and compendium publication and poster, using the shapes from the negative space in the Hopscotch type – the little counterforms in the O and P for example. Using these shapes we developed a new typeface, using that typeface to make the ‘Show and Tell’ identity. Taking it full circle, the type was further developed into a set of worded sculptures, which now illustrate the compendium. It’s all about the plurality of it, seeing the Hopscotch typography in a physically abstract way, and unconsciously making the connection between their commitment to craft and art. Mark Gowing Design (61 2) 9517 4871

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