Design Quarterly Issue 51 Preview Mag

the business of design people products

DESIGN preneur

sydney indesign 2013

Jean Pierre Jardel: LEADING THE WORKSPACE REVOLUTION

the official source FOR POST-event DETAILS & HIGHLIGHTS

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issue 51

page 73 / IN-DEPTH

page 62 / inFLUENCERS

page 85 / INTERACT

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editorial

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editor Alice Blackwood

inside word DQ Editor Alice Blackwood, dq@indesign.com.au deputy Editor Sophia Watson, sophia@indesign.com.au deputy ART DIRECTOR Emma Warfield, emma@indesign.com.au Senior Designer Frances Yeoland, frances@indesign.com.au Designer Alex Buccheri, alex@indesign.com.au Junior Designer Rollo Hardy, rollo@indesign.com.au Production Manager Sophie Mead, sophie@indesign.com.au Advertising Traffic Siobhan Markus, siobhan@indesign.com.au

Advertising Enquiries / Online Advertising Enquiries Laura Garro – Southern States (61) 423 774 126 laurag@indesign.com.au Contributing Writers Angela Ferguson, Anna Flanders, Ben Morgan, Byron George, David Harrison, Elana Castle, Jen bishop, Linda Cheng, Mandi Keighran, Owen Lynch, Patricia Nelson, Peter Sackett, Stephen Crafti CEO / Publisher Raj Nandan, raj@indesign.com.au PA to Publisher/subscriptions Elizabeth Davy-Hou, liz@indesign.com.au

t takes vision and determination to re-evaluate your business and shake up your brand culture. Changes in business structure or brand presentation are often borne out of necessity, particularly in the current highly competitive market conditions where repositioning a brand externally and reinvigorating it internally can improve a business’ prospects greatly. Take, for example, Melbourne-based surface supplier G-Lux who undertook a ‘design audit’ with design agency Studio Equator in order to re-align its internal operations and clearly define its market niche. The process, which addressed brand perception, website functionality and showroom experience, involved honest and direct feedback from industry.

No doubt it was a confronting process to undertake, yet ultimately strengthening for the business, pg 20.

From supplier to manufacturer, our DQ Designpreneur, Jean-Pierre Jardel of Planex, recounts Planex’s evolution from a manufacturer of architectural plan cabinets (in the 1970s era of computer-free workplaces), to a contemporary design-led producer of storage solutions for technologically advanced workplace environments. “When you’re turning your back on 70 per cent of your market, you have to have faith that the new strategy will prevail,” says Jardel, of the company’s ‘sea change’ moment a decade ago. Shifting from industrial manufacturer to design leader has involved some risk-laden decisions, resulting in a brand revolution, pg 74.

We’re not one to shy away from a good argument and so we’ve fearlessly taken on the topic of sustainability – but from a slightly different perspective. What does sustainability really mean to design businesses, beyond ensuring products are ‘green’ compliant? We find that in order for design enterprises to truly embrace sustainability, a psychological shift of seismic proportions is necessary. And there are some designers and companies within the design industry who have already embraced the new vision. We invite you to explore the issue further, pg 81.

The topic of diversity is a common bugbear in the politics of organisational culture. Angela Ferguson, NSW President of the National Association of Women in Construction, considers how diversity can benefit an organisation’s performance and profitability. Angela tackles diversity from a gender perspective, but considers it within racial and cultural terms as well. Join the discussion – we’d like to hear what you think about diversity in the workplace – particularly in design, pg 31.

Business aside, what about community culture? In DQ#51 we capture the very best of the Australian design community’s top events with full coverage of Sydney Indesign 2013. This year the event featured a plethora of leading edge showroom exhibitors, not to mention Sydney’s own design super studio, Galleria. Complementing this is The Project, product launches, parties and more. Proceed directly to page 91, and relive all the best moments from Sydney Indesign 2013 – it’s an experience to remember!

Editorial Director Paul McGillick, editor@indesign.com.au Operations Manager Adele Troeger, adele@indesign.com.au Financial Director Kavita Lala, kavita@indesign.com.au Business Manager Darya Churilina, darya@indesign.com.au Accounts Gabrielle Regan, gabrielle@indesign.com.au Vivia Felice, vivia@indesign.com.au Online Editor Owen Lynch, owen@indesign.com.au

Online Radu Enache, radu@indesign.com.au Ramith Verdheneni, ramith@indesign.com.au Ryan Sumners, ryan@indesign.com.au Jesse Cai, jesse@indesign.com.au Events and Marketing Tegan Richardson, tegan@indesign.com.au Angie Boustred, angie@indesign.com.au COVER IMAGE Net Effect collection by Interface Product: 601, 602, 603. Colour: Atlantic Creative concept, design and layout: Emma Warfield and Frances Yeoland

- caromamarcnewson.com -

Introducing

the collection

AD

contents

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IN DEMAND

Industry

On the Move 5 Mins with Koichi Takada Debrief – G’Lux’s Design Audit Byron George A Perfect 10 – Cass Brothers angela ferguson, nawic

influencers

Workplace Products Kitchens & Bathrooms Tables & Chairs feature & functional Lighting Walter Knoll australia Blu Dot Minosa

Digital Business

Vicki Murphie WMK Architecture Jean-Pierre Jardel Planex Anton Assaad Great Dane Furniture

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ROUND TABLE DISCUSSION With Keith Melbourne, Jacqueline Foti-Lowe, Thea Macleod &company Anna lise de lorenzo

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iNteract

Terms of social media engagement

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In-depth

SYDNEY INDESIGN 2013

green vision sustainability from a business perspective

Full coverage from the industry’s premier event Launch Pad quench collective Clerkenwell Design Week PARTIES Sydney Indesign Techne Architects Abey Australia Winnings Appliances AIDA 2013 Timothy Oulton Melbourne Open House DESIGN DIARY

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1800 42 43 44

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INDUSTRY

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ow in her 11th year with the company, Woods Bagot’s Georgia Singleton takes on the global role of Director of Education, Health, and Science. Working internationally, Singleton will be responsible for the sector’s performance, new markets and pushing the research agenda to give Woods Bagot an ongoing competitive edge.

“Learning, as with design, takes place somewhere between the panic and comfort zone, I like to call this ‘agitated space’ and it can change the way people behave,” says Singleton.

Implementing Woods Bagot’s global growth plan from the studio’s Sydney headquarters, Singleton is firmly focused on the future. And above all, she is motivated by her professional endeavours. “I want to design and build socially relevant architecture. This drives everything I do every day, every design decision and business decision.”

WOODS BAGOT

woodsbagot.com (61 2) 9249 2500

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01 Academy Tiles

04 Geyer

Academy Tiles Melbourne welcomes Doug Jenkins to its commercial sales team.

Doug brings with him six years’ experience in promoting bespoke architectural glass products to architects and designers, both in the UK and abroad. Doug will be expanding Academy Tiles’ presence in the Melbourne A&D market, promoting its decorative and artistic tiles and mosaics.

Geyer has recently appointed Marc Shamma, former Director at DEGW, as Strategic Consultant, Asia. Marc has worked with clients as diverse as Nokia Siemens Networks, Microsoft and HSBC, forming workplace strategies that respond to each organisation’s unique brand culture, enhancing their business performance. » geyer.com.au (61 2) 9248 3222

» academytiles.com.au (61 3) 9429 2544

05 HASSELL HASSELL welcomes Mark Kelly, former Director at Woods Bagot (pictured left). Mark’s portfolio includes corporate headquarter projects for both Siemens and Cathay Pacific. He joins Mike Rendell, expert in residential design, and Megan Reading who recently received 2013 Building of the Year in the AIA Gold Coast Regional Awards for the Gold Coast University Hospital.

02 BVN Architects

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Neil Logan is the new Principal of BVN Donovan Hill. Neil’s architectural experience and skill, particularly in major projects in the health sector, adds depth BVN Donovan Hill’s innovative culture. Neil is currently managing a large team of architects and consultants to deliver a new Acute hospital in Campbelltown, New South Wales, by late 2014.

» hassellstudio.com (61 2) 9101 2000

» bvn.com.au (61 2) 8297 7200

06 LEESER Architecture

03 CoLAB Design studIo

LEESER Architecture appoints Scott Miller as the new Business Development Director. Bringing with him a wealth of experience on major built environment projects, Scott will complement LEESER Architecture’s ambition to continually produce innovative design responses. Scott is currently working on projects throughout Asia, Europe and New York.

Anna Drummond of Anna Drummond Design, partners with Trish Turner, former Woods Bagot Associate, to establish CoLAB Design Studio in Melbourne.

The pair has recently finished designing seafood restaurant The Fish Market in Richmond, Melbourne, and are already busy on new commercial and residential projects.

» leeser.com (61) 498 003 913

» colabdesignstudio.com.au (61 3) 9553 2210

07 sEEHOSU SeehoSu is excited to introduce Sara Bordina as showroom manager of Studio SeehoSu, located at 1 Mary’s Place, Surry Hills in Sydney. Sara is available to assist with all contract and retail requests for SeehoSu’s leading

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brands Maruni, Molo Design, Mud Australia and Neri&Hu. » seehosu.com.au (61) 413 610 790

08 WMK architecture WMK’s Melbourne practice appoints Danny Juric as Director – Practice. With extensive expertise in delivering innovative commercial and residential developments, and also corporate real estate solutions for some of the largest and best known companies throughout Australia, Danny has an acute understanding of the value that well-resolved built environment solutions bring to WMK clients. » wmkarchitecture.com (61 3) 9999 1610

09 WOODHEAD Woodhead welcomes Peter St Clair to the role of Sydney Design Director. Peter brings over 20 years’ experience having directed major architectural projects across numerous portfolios.

Peter will lead Woodhead’s healthcare, residential, education and commercial portfolios, while also strengthening its sustainability initiatives. » woodhead.com.au (61 2) 9964 9500

10 Woods Bagot Woods Bagot welcomes Darren Bilsborough as Director of Urban Innovation. With over 27 years experience, Darren delivers integrated design solutions for precinct scale developments.

Thomas Masullo (pictured left) has also been appointed Director in Adelaide. Thomas has extensive project management experience across areas of government and the private sector. » woodsbagot.com (61 2) 9249 2500

INDUSTRY

This page / Koichi Takada

with Koichi Takada of Koichi Takada Architects

interview Sophia Watson

W

hat makes the Koichi Takada brand unique?

My background, education and work experience in Tokyo, New York and London formed my fundamental approach to design, and flexibility for our firm to grow organically. Our firm is known for a unique design approach, drawing inspiration from the process of nature as well as contemporary urban lifestyle.

Sydney is a beautiful city, with a rare and good balance between the built and natural environment – it is our ambition for organic architecture to blend into nature.

To date, what has been your best business move?

My focus is the design of ‘interior architecture’, rather than architecture. This enabled us to establish ourselves in Sydney in a relatively short time frame in the industry, focusing on a

niche market of high-end multi-residential interiors.

We are currently responsible for the design of more than 3000 apartments in Sydney, which has proved that our focus on interior design was a good business move. Having gained good experience in the interior market, we are now transitioning into architecture, offering our clients a consolidated interior and architectural design service.

It has been a logical move, as we now have a solid understanding of what our clients and the residential market expect from us.

Entrepreneurially, what has been your greatest challenge?

Although I have 18 years of experience, it was still a great challenge to establish a new business and name for myself in the industry. I am lucky to be blessed with very good clients, who allow me to enjoy the

creative process – exchanging our thoughts and looking for our next architectural design or construction challenge.

What is the Koichi Takada signature or hallmark?

I am fascinated with nature.

Nature teaches us that there is more to architecture than just creating beautiful forms.

I hope that our signature design is recognised to respect nature and work in harmony with the environment. I am also interested in creating a sense of retreat through design, an escape from our demanding urban lifestyle; an experience similar to the effect nature has on lifting your energy and recharging your mind.

In a business sense, what are the biggest lessons you’ve learnt?

Andrew Andersons, my boss and mentor from [my time at] PTW Architects, taught me well in

this working environment.

In our busy business life and fast growing economy, Andrew taught me to slow down and think first before committing to anything. However, it was the global financial crisis in 2008 when I decided to establish my practice.

This was driven by an opportunity I saw in the industry as architecture across the board struggled and, in my eyes, became a more levelled playing field. A lot of people told me that I was very bold to start my practice in such a difficult time, but I saw it as a huge opportunity – and the timing has proved to be absolutely right.

KOICHI TAKADA ARCHITECTS koichitakada.com (61 2) 9698 8510

Pictures speak louder

words Jen Bishop theinteriorsaddict.com facebook.com/interiorsaddict pinterest.com/interiorsaddict Twitter @interiorsaddict

Clockwise from left / ‘Hashtag selfie’, illustration

by Alex Buccheri; ‘Faceburg’, illustration

by Alex Buccheri

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nstagram is fast becoming the social media of choice for designers. The reasons are fairly obvious. It’s quick and easy to use, free, and it appeals to the visually minded, more concerned with aesthetics than words. Why limit yourself to 140 characters when a picture, as they say, speaks a thousand words?

For the uninitiated, Instagram is a picture-sharing app which allows you to post photos, add filters and share them with your followers. For those who make beautiful things, or indeed beautiful spaces, it’s both full of inspiration and a great way to share your own work and get it noticed.

Interior designer Leigh Boswell, of Queensland-based Highgate House, recently got a new client through Instagram and successfully used it to market her annual sale. “I had a call from a lovely lady who started following us on Instagram.

From here, she then visited our Facebook Page and website, and called us to help her with the renovation of her guesthouse and potentially work on her new, architecturally designed home which is being built next to it.”

She added: “For many years we have advertised our annual sale via the newspaper but this year I

took a leap of faith and trusted it to social media. It was huge, with record sales and people lining up half an hour earlier to get in!

Apart from general recognition, both by the public and within the design community, these success stories really prove that financially too, Instagram is a definite winner!”

Sydney furniture designer Michael Hayes has seen great results in a short space of time, with Instagram providing him with exposure and new connections.

“I’ve been making furniture for some 20 years now. In that time I’ve only made other people’s designs, not having much of a chance, or a place, to show my own. Due to the downturn in my industry, I’ve had a chance to work on my designs, and Instagram has been wonderful for showing my work. In a very short period of time, because of Instagram, I’ve been in contact with five interior designers, two stylists, and various magazines, giving me great chances to sell my designs. I didn’t have that before, as I’m only a micro business with no funds for marketing. With the type of work I do, it can become more about being in the right place at the right time, and Instagram is one of those right places.”

Top 5 Tips for using Instagram 1.

Make sure your profile explains who you are and what you do.

Include your name, business name and a link to your website.

2.

Use hashtags like #furniture #design and #interiors to make your pictures more easily found; include captions to explain your work and the ideas behind it.

3.

Follow people whose work you admire, and those who you would like to notice your work.

4.

Sharing a mixture of work and more personal, off-duty pictures

tells people about your personality, helps you stand out and builds rapport with others.

5.

Share your Instagram pictures via your Twitter and Facebook social media channels.

INDUSTRY

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rands the world over have been ‘set-a-Twitter’ with the possibilities that social media can offer to a business. While the marketing potential is undeniable, the potential for plagiarism and intellectual property (IP) theft is equally as promising.

Being a relatively new method of marketing, federal and international governments have been slow to regulate and define the laws when it comes to social media. So what exactly are the rules? In Australia, the ‘laws’ are set-forth and governed by the social media bodies themselves, independent of local law. These rules are commonly known as ‘Terms of Use’.

words Sophia Watson

STAY ON SOCIAL TERMS

WHERE YOU STAND

Facebook

Instagram

Facebook prohibits users from posting content that violates another party’s intellectual property rights. When a valid notice of IP infringement is received, Facebook promptly removes or disables access to the allegedly infringing content.

Facebook also terminates the account(s) of repeat infringers in appropriate circumstances.

Instagram is not responsible for, and does not endorse content posted within the service.

Instagram does not have any obligation to pre-screen, monitor, edit, or remove any content.

If your content violates these Terms of Use, you may bear legal responsibility for that content outside of Instagram.

Twitter

MOVING FORWARD

Twitter respects the intellectual property rights of others and expects users of the services to do the same. Twitter will respond to notices of alleged copyright infringement that comply with applicable law only when specific evidence is provided to them.

Twitter reserves the right to remove content alleged to be infringing without prior notice, at their sole discretion, and without liability to you. In appropriate circumstances, Twitter will also terminate an account if the user is determined to be a repeat infringer.

The absence of social media regulation is unlikely to continue.

Governments internationally have already introduced new laws specific to social media sites, and in Australia several state governments have developed guidelines for their departments and agencies.

In addition, Australian state and federal governments continue to push and extend some of the existing ‘traditional media’ regulations to new media that provide content services, including social networking sites.

However as it stands, the existing

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regulation focuses on content and the protection of children using these mediums; rather than protecting the commercial interests of those using the networks for communications, marketing or other purposes.

Top 3 Tips to protect your IP 1. K now your ‘Terms of Use’ – Facebook.com/policies – Twitter.com/tos – Instagram.com/legal/terms

2. M onitor and track your brand closely

3. D evelop a strict social

media plan for your business, and follow it to mitigate the risks

agent of change words Alice Blackwood

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esign Agent is a new enterprise, importing into Australia a carefully selected portfolio of products and brands that have not yet penetrated the local market. The design agent behind the name, Aaron Nicholls, has long standing experience in architectural and design specification arenas paving the way for an astute entry into the importation, distribution and representation of select northern European brands.

Nicholls is purposefully democratic in his mode of operation, echoing common business practices in the Netherlands – where some of his leading products are designed and made. “Many manufacturers in Holland meet regularly, to ensure their products don’t compete with one another, and often share resources for manufacturing, logistics, PR and marketing, with the aim of promoting the Dutch design industry,” says Nicholls.

As a result, “importers of Dutch product – even in Australia – tend

not to compete with one another.”

Following suit Nicholls has forged relationships with contract and retail brands including New Duivendrecht and Kranen/Gille.

Never before have these brands had direct representation in Australia, and for Nicholls the synergies between his own business and theirs are strong.

“Rather than become a keeper of many [brands] and a specialist of none, I want to do it a bit differently and be my brands first; hence our no-fuss company name,” he says of his unique portfolio.

Particularly with New Duivendrecht, a small Amsterdam-based studio with big potential, Nicholls is their first international dealer. “I wanted to [engage with and support] those who are trying to make a go of it like me,” he says. From a strategic perspective Nicholls believes the product translates “perfectly” into the Australian market – both in aesthetic and price point.

Another major catch is Memphis Milano (of the famed

Memphis Movement founded

by Ettore Sottsass in 1981), who Nicholls has secured on the strength of his selective, relationship-focused business model. “Aside from the deep respect I have always held for the movement, I think they chose to work with me because there’s no way Memphis could stand alongside other big brands; it just couldn’t breathe,” says Nicholls. “Many people have written off Memphis as a ‘phase’ not realising that the company has continued [to] engage designers and architects to produce incredible new collections. Ever since that first ground breaking one we saw rock the early 1980s.”

To date, the Memphis market in Australia has flourished within auction rooms; few people buy direct; but soon, with Nicholls heading up Memphis Milano in Australia, a series of specialised distributors in major Australian cities will take the iconic brand to consumer markets.

Design Agent designagent.com.au (61) 468 331 658

INDUSTRY

Trip-ups for start-ups

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ot all of us have the business savvy of Donald Trump or Steve Jobs. The design industry in particular throws up a number of challenges that even the most savvy of start-up entrepreneurs can find hard to combat.

According to the Australian Bureau of Statistics, in 2011 the number of start-up enterprises filing for bankruptcy jumped by 48 per cent over a 12 month period, and small business startups overall fell by 95 per cent within the same time frame.

While these statistics are less than encouraging, start-up success is indeed within reach.

Mitigating these risks begins not only with understanding the key to success, but recognising the key to failure. So what are the most common start-up mistakes?

words Sophia Watson

Top 5 Business Blunders Not knowing your niche Like the old saying goes, ‘A Jack of all trades and master of none.’

Identifying your business niche is imperative to a sustainable enterprise. If you do not understand the dynamic of your start-up, then how can you expect the market to?

Misdirected marketing If you fail to plan, you may be planning to fail. By not devising a marketing plan that targets your demographic specifically, you are wasting money and energy on a fruitless task.

Praising your product The ‘build it and they will come’ mantra has no place in start-up culture. The market is crowded, and competition is fierce. While a passion for your product is certainly important, the delusion that a great product alone will drive sales will not yield results.

Clockwise from top left / Treetops

by Ettore Sottsass for Memphis; Aaron Nicholls; GM2 by Giacomo Moor for Attraverso Collection; Hensen lounge chair from Kranen/Gille.

Opposite / Illustration by Frances Yeoland

The ‘friends as employees’ trap Many start-up founders hire their friends as their first employees.

That’s great for rapport and camaraderie, but how disciplined and knowledgeable are these friends? Do they possess critical industry insight? Chances are, they don’t.

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Multiple start-ups have failed because they lacked the presence of a seasoned professional who has been there, done that, and can solve problems fast.

Knowing when to pull the plug Always be mindful of the bottom line and be prepared for the worst case scenario. Accountability to your investors is paramount, and if your potential pay-off isn’t coming any time soon – after months or even years of investing, the best option may be to close, face the investors – and hopefully, try again.

Statistical figures are from the Australian Bureau of Statistics, abs.gov.au; start-up tips sourced from Start-up Smart Australia, startupsmart.com.au

Clockwise from top left / Jaan living sofa from Walter Knoll; Black Series chair from Walter Knoll; Walter Knoll staff hand-cutting leather at Walter Knoll factory, Photo by Marie Jakubowicz

southern belle

Walter Knoll’s South Australian factory defines luxury furniture supply.

DHGO 6022 L

words Owen Lynch

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5/08/13 10:55 AM

IN DEMAND

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the world’s leading names in home and contract furnishings.

Meeting the growing demand across Australia and South-east Asia, the decision was made to firm up the existing relationship Walter Knoll had with local crafts people and women who were, in the past, responsible for the local upholstery and assembly of select items through a licensing agreement. “The collective skill, knowledge and capability here is huge,” Gowland explains. “We have a number of staff that have been bringing these expert skills to Walter Knoll, relocating the business elsewhere would have interrupted that flow.”

With all local production there is a stringent adherence to monthly quality reports between Germany and Australia, placing an unswerving emphasis on accuracy, upholding the exacting standards of the brand.

Complementing the many skilled hands on deck in Adelaide, is the geographic argument for location. Almost halfway between Australia’s east and west coasts, Adelaide affords Walter Knoll Australia an even distribution offering as well as a strategic positioning in its local supply chain for a number of raw components.

“We have the capability to adapt to the necessity of the local market – we have that flexibility within Walter Knolls’s framework,” explains Hoffmann. “That’s what we’re bringing with a competitive advantage, we have the promise of a practical lead time with European quality and standards.”

Working with approximately $600,000 to $700,000 worth of stock and components in Adelaide, and over 40 per cent of the entire Walter Knoll portfolio materials in Australia, the ability to accommodate customers’ own material and offer a rapid release program sees all orders processed on a needs basis – diminishing stock loss and reducing cost to the end user.

In Adelaide’s Salisbury South the model for luxury international furniture supply is being turned on itself, with demand from the market driving a unique brand offering, at the hands of some very talented locals.

WALTER KNOLL AUSTRALIA walterknoll.com.au (61 8) 8182 3925

DHGO 6022 R

n the outskirts of Adelaide, South Australia, sits a little taste of Europe, a leader in German luxury that sits freshly in the morning light – a modern counterpoint to the surrounding timeworn industrial yards.

“The factory is a jewel. As far as factories go it’s nice – boutique in a sense,” says Samuel Gowland, Walter Knoll Australia’s regional director of sales and marketing.

“It has a value that transcends it.”

A fair appraisal.

This new Australian operation merges administrative offices, a showroom, meeting space and the all important factory floor – a relatively compact offering that shares a mere 1000m2 footprint. Outside the building’s envelope, the land boundary amounts to twice that, a hint that Walter Knoll Australia could be poised to pounce.

In 2007 Walter Knoll chose Adelaide to establish its first production facility outside Germany; the brand’s CEO, Markus Benz, investing resolutely in Australia over regional alternatives. Placing a high value on artisanal making and in the people that form the backbone of his almost 150-yearold family-owned company. In Adelaide, Benz is building on sound, proven relationships – shoring up the brand’s promise of delivering on quality through constancy. Situating this facility in Adelaide is no quirk of fate.

“We take responsibility for furniture design history,” enthuses operations manager Jens Hoffmann, referring to the company’s philosophy of fostering the ‘master principle’ and engaging expert crafts people.

As the oldest upholstery company in Germany, Walter Knoll’s tradition and expertise defines its place as one of

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words Sophia Watson

akira Isogawa

INFLUENCERS

Akira Isogawa and Woven Image unite fashion practice with commercial enterprise.

aware of their long standing tradition of collaborating with artists. I was keen to see how we could work together to bring a unique fashion voice to their offering,” he says.

Akira’s love of fashion and knowledge of textiles meant that he and Woven Image were able to investigate new and unique production techniques for this collection. Botan for example (meaning Peony in Japanese) used commercial-grade velvet upholstery, requiring several weave trials to determine the level of cut and uncut velvet on the flowers.

In addition to the velvet upholsteries, Akira developed three new printed wall-covering designs: EchoPanel Mura Nami, Kome and Haku. These concepts also pay homage to the Shibori technique, along with exploring the relationship between printed texture and pattern.

For Woven Image, this was the first time that more than two pigments had been used in the printing process, and in order to get just the right metallic pearl effect, an extremely high level of detail was required in the mixing of pigments.

The collection in its entirety exemplifies Akira’s chameleon-like ability to adapt to all facets of design, and marks him as the poster-boy for malleable creative philosophy.

For Akira, the worlds of fashion and interior are inseparable. “When you design women’s ready-towear collections, you would naturally think of the ideal environment where the collection would sit,” he says.

“In fashion we work with the human body as well as textile. I work with mannequins and drape fabric over it to determine styles and conduct numerous fittings on the body to ensure it’s the right fit. For me, I imagine this process isn’t particular to just fashion.”

A

kira Isogawa is Australia’s designer du jour.

While primarily known for his fashion prowess, the Akira name has become synonymous with fluid design principles that move seamlessly between all creative vocations. And it is from that reputation that Akira enters the world of textile design, joining forces with Woven Image in the launch of their new collection of upholstery and verticals.

Born in Kyoto, Japan, Akira moved to Australia in 1986 where he studied fashion design at the Sydney Institute of Technology, drawing inspiration from contemporary Japanese design. Since 1998 he’s achieved international recognition for his unique contemporary designs – sought after in major fashion capitals worldwide.

Akira’s work has subsequently been fondly embraced by the Australian arts sector. In 2004–2005 Akira Isogawa: Printemps Ete opened at the National Gallery of Victoria – the first solo fashion and textiles exhibition by an Australian fashion designer to be presented at a major national or state institution (touring thereafter in Singapore, Manila and Bangkok).

In 2003 the Sydney Festival staged an exhibition of his garment construction techniques at Object Gallery, creating the most successful show in the gallery’s history. Akira has also been invited to exhibit at the Museum of Contemporary Art, and has twice been included in the Powerhouse Museum’s Fashion of the Year retrospective.

With a laundry list of achievements attached to his name, Akira’s collaboration with Woven Image represents the next stage in his illustrious career.

“It seemed to be a natural progression,” says Akira.

“There are similarities in the creative journey between designing furnishings and designing fashion.“ The initial design concepts were inspired by Akira’s recent fashion collection involving the traditional Japanese ‘Shibori’ technique – a dying method where the fabric is hand-stitched, bound or sewn into place using grains of rice. After the fabric is dyed and untied, a three-dimensional effect is created. The Shibori concept was the key inspiration for both the upholstery and wall coverings designed by Akira for the Woven Image collection.

“From the first conversation, I was excited about the prospect of working with Woven Image, as I was

WOVEN IMAGE wovenimage.com.au 1800 888 650

Clockwise from top left / Akira Isogawa; Botan fabric by Akira Isogawa from Woven Image

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GREEN S

ustainability is a broad and highly contended subject which has become slightly ubiquitous in its presence among society, politics and design business.

Egged on by a rising demand from consumer sectors for sustainably designed and produced products, the Australian design sector has slowly begun to embrace sustainable operation and practice. However, the perceived value of sustainability remains low – it’s a costly exercise, it requires a monumental shift in organisational culture, it demands a complete revision in the way we think, act and make decisions.

Sustainability as a term has become ambiguous and confusing – particularly from

a business perspective, and here in lies the challenge. The way in which we think about sustainability can be misguided, we tend to focus on producing sustainably but not practicing sustainability, and often financial concerns railroad us into apprehensions around short term expenditure, rather than visions for long term investment.

In the coming pages we address the psychology of sustainability, and look at the resources available to us. We consider companies who are actively shifting their view on sustainability through unique initiatives and programs, and we conduct a case study on Australian suppliers who have initiated in-house lifecycle stewardship programs.

Clockwise from top left / Mr. Dowel Jones by Dale Hardiman & Adam Lynch from Lab De Stu, winner of the Green Award at VIVID 2013; ‘Confontations’ – the making of series

by Formafantasma for the Vitra Design Museum, Photo

by Luisa Zanzani

IN-DEPTH

VISI N THE business OF Sustainability

intro Sophia Watson Alice Blackwood

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DOWN TO Sydney Indesign 2013

words Sophia Watson

I

Opposite page / Indesign Podium Galleria: designed, manufactured and constructed by europanel, Geyer and The Initiative, WorkLife seminar hosted by Dr. Paul McGillick, Photo: John Doughty, Spy Photography

t’s not often that architects and designers are afforded the opportunity to engage with suppliers and manufacturers one-on-one. This year’s edition of Sydney Indesign (SID) facilitated an interdisciplinary dialogue, providing an energetic forum in which the Australian and international design industry could openly engage, exchange information and get down to the business of design.

Taking place in Sydney, the event spanned an intensive three days (15 – 17 August 2013), spreading across five design precincts, including 3000m2 of exhibitor space at the inaugural Galleria. Among the usual exhibits, showroom events, and product launches was the addition of several initiatives intended to bring the members of industry together and stimulate growth within both business and the community at large.

Among these ‘added platforms’ were three new speaker series, entitled WorkLife, LiveLife and Indesign Podium. Running concurrently in Galleria and selected showrooms, speaker events tackled the topical issues to generate industrywide discussion, teasing out real opinions and first-hand

experiences from noted design identities – both Australian and international alike.

Indesign Podium (designed and built by europanel, Geyer and The Initiative), opened the first day of SID with the WorkLife series hosted by Dr. Paul McGillick. The full day seminar looked at the future of the workspace, led by 14 global thought leaders including dwp|suters CEO Leone Lorrimer, futurespace director Stephen Minnett, and HASSELL principal Matthew Blain.

The audience of architects, designers, developers, builders, engineers and end-users participated in a lively Q&A in which the state of Australia’s commercial landscape was debated and assessed.

In the spirit of business development and growth, the Friday and Saturday seminars engaged the topic of business in design, drawing on industry insiders’ real knowledge and practical insights to map and analyse successful and unsuccessful business practice.

Here, the NAWIC/BOLON forum opened a dialogue around women leading creative industries around the world. Directors of Swedish flooring brand BOLON (The Andrews Group), Marie and Annica Eklund, canvassed the state of women within creative markets internationally, alongside local female leaders NAWIC’s Angela Ferguson and Bridgeen Rocks from Hassell. The forum prompted an active exchange between the panelists and audience members

alike, the conversation focusing on how and why women are leading change in the business of design.

The outcome suggested that locally, Australia is lagging behind the high standards set by Europe, and Scandinavia in particular.

Where the Bolon sisters posited that the business culture in Europe is a fairly level playing field, the Australian panelists and audience members alike remarked that the balance in Australia remains unresolved. Here Rocks pointed out that she is often the only woman in a boardroom of 10 male colleagues, a notable lack of diversity which was echoed by several women in the audience.

SID 2013, while certainly expansive, wasn’t entirely ‘out with the old’. True to its ethos of encouraging collaborative endeavours between industry professionals, The Project returned to facilitate collaborations around the theme of ‘Process’ between suppliers, manufacturers, architects and designers.

The outcomes were not only experiential, educational and space transforming, they stimulated new opportunity for creative engagement between collaborators and visitors.

Some of the standouts from The Project this year included KE-ZU with Yellowtrace, Tables, Chairs & Workstations with E2, Evie Group with Kikki.K and Warwick Fabrics with Group GSA; all fusing the creative powers of design firms and suppliers – to great effect.

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