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WINNING DESIGN DESIGN QUARTERLY APPLIANCES PRENEUR

DESIGNQUARTERLY

MELBOURNE INDESIGN 2014

THE BUSINESS OF DESIGN PEOPLE PRODUCTS

HAUS OF ICONS: THE ARTFUL BRAND EXPERIENCE

MICHAEL TAY: CREATING CULTURALLY SIGNIFICANT RETAIL ENVIRONMENTS

THE SOURCE FOR AUSTRALIA’S PREMIERE DESIGN EVENT

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ISSUE 54

PAGE 81 / IN-DEPTH

PAGE 69 / INFLUENCERS

PAGE 97 / INTERACT

editorial

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editor Sophia Watson

inside word

xperiential branding has quickly become the industry’s new ‘marketing du jour’. It’s no longer enough to have a strong product or catchy marketing copy, businesses now need to think more readily about building engaging and interactive experiences for its users to earn its slice of market share. What this says about us as a consumer society is a little frightening to consider, but it does raise some interesting questions about strategic consumer targeting and ‘outside the box’ marketing.

Case in point, US-based company 12.29 recently hosted a marketing breakfast as part of the Virgin Australia Melbourne Fashion Festival (VAMFF) to explore the idea of “Olfactive Marketing”. This principle suggests that the memory of a scent and an emotion are forever linked together in your ‘olfactive memory’.

Here, Alice Blackwood talks shop with founders Dawn and Samantha Goldworm about using bio-chemical properties (in this case: scent) to create lasting experiential memories that trigger sensory associations with your brand. Take a whiff on pg 34.

And speaking of building unique brand experiences, we sit down with this issue’s international DQ DESIGNPRENEUR to discuss shifting our idea of retail strategy, and creating culturally significant environments. Now in the renaissance of his career, third-generation Executive Director of The Hour Glass, Michael Tay, dissects his 15-year journey to re-engineer the company’s direction throughout a period of unprecedented global change. Map his journey on pg 78.

This issue of IN-DEPTH, we look at the concept of ‘Fame’. When I began putting this feature together, I couldn’t have anticipated the nerve I was about to hit. Fame, as it turns out, is a highly contentious and all-over touchy subject – one that runs deep in creative disciplines. What became clear is that the industry isn’t too comfortable (if not a little cagey) about the idea of fame and what it says about a particular person or brand. And this, I have come to believe, comes from a total misconception of the term itself. Here, we will be looking at how fame – in the traditional sense of the word – impacts on the business of design, and in the process attempt to combat the industries “fame phobia” on pg 81.

It has been an explosive few months of global and local events this quarter: International Furniture Fair Singapore, Hong Kong Indesign and of course Milan.

It’s quite easy to get swept away with what is happening locally given our geographic obscurity down here, and that’s why this issue, we look at what is happening in the global design scene – think industry movement, thoughts, ideas, practice etc – and assess how those happenings translate to our local market. Get up to date on pg 97 with this issue’s INTERACT. But enough waxing intellectual; we are also keen on fostering industry cohesion! Take a peek behind the scenes of the industry’s hottest parties from all the way in Milan to right here in your backyard, pg 107.

DQ Editor Sophia Watson, dq@indesign.com.au

Editorial Director Paul McGillick, editor@indesign.com.au

CEO / Publisher Raj Nandan, raj@indesign.com.au

Senior Designer Frances Yeoland, frances@indesign.com.au

Online Editor Lorenzo Logi, lorenzo@indesign.com.au

PA to Publisher/subscriptions Elizabeth Davy-Hou, liz@indesign.com.au

Designer Alex Buccheri, alex@indesign.com.au

Contributing Writers Alice Blackwood, Annie Reid, Ben Morgan, Byron George, Carly Barrett, Elana Castle, Jen Bishop, Kerry Awerbuch, Leanne Amodeo, Lorenzo Logi, Marg Hearn, Nicky Lobo, Patricia Nelson, Stephanie Madison

Operations DIRECTOr Adele Troeger, adele@indesign.com.au

CONTRIBUTING Designer Giuseppe Santamaria Junior Designer James McLaughlin, james@indesign.com.au Junior Designer / Ad traffic Kelsie Barley, kelsie@indesign.com.au

EDITORIAL INTERNs Lara Smetannikov, Yen Dao

Production Manager Sophie Mead, sophie@indesign.com.au

PHOTOSHOOT ART DIRECTION Christopher Holt, HOLT Design

Financial Director Kavita Lala, kavita@indesign.com.au Accounts Gabrielle Regan, gabrielle@indesign.com.au Vivia Felice, vivia@indesign.com.au

Events and Marketing Tegan Schwarz, tegan@indesign.com.au Angie Boustred, angie@indesign.com.au Online Radu Enache, radu@indesign.com.au Ramith Verdheneni, ramith@indesign.com.au Ryan Sumners, ryan@indesign.com.au Nimish Shrestha, namish@indesign.com.au Advertising Enquiries Marie Jakubowicz (61 2) 9368 0150 | (61) 431 226 077 marie@indesign.com.au

AD

BEHIND THE SCENES photography Kelsie Barley On the cover ‘ THE CURATED brand EXPERIENCE’

by Winning Appliances winningappliances.com.au Creative concept Christopher Holt, HOLT Design Photography Tim Robinson, timrobinsonphotography.com

Keep up to date with all the official Behind The Scenes action @designquarterly #dqmagazine

Corrections In issue #52 we published the Dessein Furniture ‘Flow’ side table designed by Justin Hutchinson, the ‘Spool’ stool by Jon Goulder and the ‘Parawood’ chair by Adam Goodrum (pg 52). DQ would like to thank Dessein Furniture and Michele Chow for supplying the product used in this Melbourne Indesign advertisement. These pieces can be viewed on their website desseinfurniture.com.

In issue #53 the Instyle Perfect 10 no.9 caption should be credited as ‘Moss on Natural’ on ecoustic screen print: DISC from the Ecoustic Collection by Michael Young (pg 33). This product can be viewed on their website instyle.com.au.

Design Quarterly (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. Subscriptions – never miss an issue by subscribing online at indesignlive.com, faxing us at (61 2) 9368 0289, or emailing subscriptions@indesign.com.au. 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. 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 dq@indesign.com.au. Any digital images should be supplied by email, downloadable link, or on CD at 300dpi, minimum 20cm wide. 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. 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 Our printer is Environmental Management System ISO14001:2004 accredited. Printing inks are vegetable based. Paper is environmentally friendly ECF (elemental chlorine free) and recyclable. Printed in Singapore. Published under licence by Indesign Publishing Pty Ltd ABN 96 101 789 262 Head Office, SYDNEY Level 1, 50 Marshall Street, Surry Hills NSW 2010 | (61 2) 9368 0150, (61 2) 9368 0289 (fax) | info@indesign.com.au | indesignlive.com MELBOURNE Suite 11, Level 1, 95 Victoria Street, Fitzroy VIC 3065 SINGAPORE 4 Leng Kee Road, #06-08 SIS Building, Singapore 159088 | (+65) 6475 5228, (+65) 6475 5238 (fax) HONG KONG Unit 12, 21st Floor, Wayson Commercial Building, 28 Connaught Road West, Sheung Wan, Hong Kong | indesignlive.hk

editor’s inbox

For the evolving workplace www.planex.com.au

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DESIGNING DWELL TIME words Alice Blackwood

INDUSTRY

Are we re-shaping the norms of traditional retail? Alice Blackwood uncovers the recent shifts toward curated cultural environments.

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This page / One Central Park residential and retail precinct, Sydney, designed by Frasers Property Australia (FPA) and Sekisui House, Photo: Simon Wood Photography

hen it comes to the design of shopping centres and department stores, it’s increasingly obvious that local community, customer demographic and on-site experience are the main influencing factors. Where previously the focus was on enticing visual merchandising (and to a certain extent it still is), there’s also this recognition that a carefully curated retail experience, not to mention customer engagement with an emphasis on community rather than profit, is re-shaping the traditional shopping centre as we know it.

The recent revamping of the long-standing Singaporean department store, Tangs, by Ministry of Design (MOD) offers an excellent case in point for this new-think approach to retail design. Celebrating its 80th anniversary in one of the region’s most transient cities, Tangs undertook a rigorous self-review that would see the company benchmark itself and question the role of the department store and its relevance in the contemporary retail-scape.

MOD’s Director of Design, Colin Seah, highlights two major retail sectors within Singapore: the “juggernaut retail machines (major mall developers), and the ground-up independent boutiques colonising [unexpected city] spaces.” Amongst this sat Tangs, looking to appeal to a new, fresh customer demographic while not wanting to ostracise its longestablished demographic.

“The answer we found was that the department store is still relevant,” says Seah, “if you maintain strong curatorial control and quality across the collection of labels/brands you represent.”

Rather than simply “jazzing up” the same old products, Seah’s four-month strategy study with Tangs found that more than just shopping, people were looking for different forms of entertainment within the actual department store itself.

“Whether it was food, education,

weekend lifestyle, the result was a need to integrate food and beverage, learning environments and [other attractions such as] a mini-museum, within the retail environment.” Things which would draw customers in for longer than half an hour.

A curatorial approach was also necessary, with interactive “centre stage” areas allowing curatorial teams to bring together different products into a lifestyle environment. These central spaces also cater for lifestyle activities such as cooking demonstrations and performances.

Conceived by MOD, this program driven approach has seen Tangs place a renewed emphasis on customer experience within its store, rather than simply focusing on how the space looks.

This focus on building community connection and experience has been integral in the development of Central at One, Central Park. Created by Frasers Property Australia (FPA), together with Sekisui House, this Sydney shopping complex is, in large part, designed to encourage increased “dwell time” within the centre, providing a range of varied environments which encourage customers to actively use and enjoy the centre.

FPA CEO, Guy Pahor, refers to Central as the “Living Mall”, the 1,200 square metre Patrick Blancdesigned vertical garden and sunreflecting heliostat shield (by artist Yann Kersalé) laying proof to this.

“Central has been designed to inspire, excite and stimulate our customers,” says Pahor. “We aspired to provide something unique and new to the shopping and dining scene in Sydney.”

Here, Central speaks to two key demographics. It caters for 120,000 local students with a strong youth fashion offering located within a simplistic common area that allows retailers to talk to their customer.

Emerging talent is also fostered through partnerships with local universities and on-site devices such as The Digital Wall.

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Designed by lighting expert Bruce Ramus, The Digital Wall is a permanent, interactive installation that harnesses art, technology and design to creatively deliver content to customers. The wall not only reflects ambient sound, pedestrian footfall and the weather, it can also engage with visitors through a series of software applications.

Local workers, too, are a key demographic for Central, with a highly accessible supermarket, and food and beverage offerings spread across two dining precincts. Outdoor areas, too, have been designed to invite lunch breakers to linger and engage.

The Creative Playground (Level 3) and Brand X encourage cultural community use with: a creative playground, gallery space, workspace for visual artists, retail, events and rehearsal spaces. It’s designed to encourage an open and organic exchange between tenants and visitors to Central so they can create, collaborate or simply observe.

Here too, the program of activities and initiatives seems to balance out the emphasis on spatial environment. And community, it is evident, counts for much. “We wanted to highlight the great creative work of local artists and performance in the area and provide a destination for Sydneysiders to come and be creative themselves,” says Pahor. Surely a destination that delivers on its “dwell time”.

Have you visited Tangs in Singapore, or Central in Sydney?

Tell us what your experience was like! dq@indesign.com.au

MINISTRY OF DESIGN MODONLINE.COM STUDIO@MODONLINE.COM

ONE CENTRAL PARK CENTRALPARKSYDNEY.COM (61 2) 8096 9900

This page / “Tuff Crowd” Illustration

by Alex Buccheri

How to handle complaints and consumer criticism online

words Sophia Watson

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ell hath no fury like an angry customer, particularly one with access to the Internet. Once upon a time customer complaints were dealt with privately; a letter was written, appropriate action was taken and kept between the two respective parties. Now, the rise of the Internet – and social media in particular – has given everyone a platform to air their gripes, where users can turn the smallest (and often imagined) slights into full-scale publicity nightmares.

Now more than ever it is critical to any business that disgruntled online customers are dealt with strategically, and used as an opportunity to turn negative word of mouth into a profitable outcome.

Here, we answer the most common questions for dealing with irate digital clients.

INDUSTRY

Get Active

1. DO I RESPOND? Yes. Yes you should. Not only should you respond, you should do so as quickly as possible. The goal here is to make your company appear transparent, open and approachable, which means you need to keep that two-way dialogue with your customers – especially when one of them voices their dissatisfaction.

words Jen Bishop

2. WHAT DO I SAY? To begin with, speak like a human. The only thing worse than ignoring an upset customer is responding with an insincere, template response. Your reply should be genuine, concise and consistent with the way you talk about your brand. Listen to their concerns and learn to empathise, because killing with kindness and understanding why your client is unhappy is the best way to diffuse the negative charge of the situation.

The final point to consider, and perhaps the most obvious, is to provide effective solutions. Once you’ve acknowledged their concerns, find an agreeable solution that resolves their issue and restores their faith and loyalty to your business. Fixing the problem is what really wins over critics.

theinteriorsaddict.com facebook.com/interiorsaddict pinterest.com/interiorsaddict Twitter @interiorsaddict

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ny business that doesn’t already have at least an online brochure site probably doesn’t deserve to do well in my (perhaps controversial) opinion! These days, it’s not enough to just have a site. The smart businesses are creating something altogether more interactive. I believe the digital world presents opportunities for almost everyone to make more money or at least make their business stand out; you just have to work out what they are.

Urban Couture is a great example. Run by stylist Katriarna Rodgers, it’s an online platform for people all over our huge country to style and create moodboards for their own homes, or for industry professionals to mock up ‘couture boards’ for their clients and share them via email or social media.

Even better, you can then order items you like on the spot and have them delivered to the requested destination.

“We wanted to be more than just an online shop,” said Katriarna. “So we thought why not offer a free e-decorating service? We believe it is not always necessary to charge a large interior design fee to do a site visit to a customer’s home. We are more than happy to help customers for free. We then developed this one step further by introducing the interactive mood board platform where clients can have a go at being there own designer using all the fabulous products we have hand-selected for them.

Customers can choose to inspire others with their ideas by pinning

3. ONLINE OR OFFLINE? There is a lot of debate around this subject. Some feel the best approach is to stick with the medium on which the complaint was logged. For example if a customer posts an angry Facebook comment on your page, then respond to them with your company Facebook account. Others would suggest that this approach is too risky, and encouraging the customer to engage with you over the phone is the best course of action.

As is the nature of business, there is no one right answer. The solution will depend entirely on the demographic and personality of your general consumer base, and you as the owner of that business will need to make a judgement call. If your brand is targeted toward the Gen-Y crowd, chances are social media is the best way to communicate. If your clients are generally characterised by purchasing highly customisable or one-off products, then the phone might be the better course of action.

The main issue here isn’t whether you respond online or offline, it’s making sure your actions to resolve their issue are made public. The benefit of handling customer complaints online is that you open your company up to visibility through positive word of mouth by solving their problem in plain sight. If you do take the offline route, it is important to make your hard work public, much like you would promote any new initiative or product. Do not underestimate the value of marketing your company’s ability to empathise and solve problems fast.

4. I’VE DEALT WITH THE ISSUE. WHAT NOW? Follow through and follow up. If the customer wants a refund, give it to them. If they want to exchange the product, let them. If they want to talk to your boss (if you aren’t boss yourself) hand over the phone. Any minor inconvenience with money lost will pay for itself tenfold in customer loyalty and the positive word of mouth they will generate.

Lastly, seal the deal by following up. Once you’ve offered a solution and followed through, make sure you touch-base to ensure the solution was properly implemented, and produced a satisfying result.

Customers want to be assured the problem won’t be repeated, and the follow up is the most sincere way of proving your commitment to resolving the issue across the company.

their mood boards to social media platforms like Pinterest and Facebook.” And so the interactivity continues.

She believes consumers are more than ready to work this way.

“Although online shopping for furniture and homewares is still in its growth phase, who would have thought 20 years ago, that one day we would be purchasing clothes and shoes online without visiting the retail store? These days, people are living extremely busy lives, and are usually restricted to shopping for furniture and homewares on their weekends when they should be relaxing.

In order to save them the time of visiting multiple shops and perhaps still not finding what they had in mind, we have done the hard work for them.”

It’s possible to keep the personal touch too. “Although our design advice is online, our designer connects with the client via many email and phone conversations, supplying multiple design concepts and supporting the customer through every step of the process.” Offering their service outside usual store hours is often greatly appreciated too.

Outside of the website, Urban Couture also engages via social media. “It allows us to effectively display upcoming products to our range and new trends. Often, when choosing between two products, we find it useful to ask our customers via Facebook or Instagram, which one they personally prefer. This in turn helps us ascertain which items will be popular.” Now that’s smart.

URBAN COUTURE urbancouture.com.au (61 2) 9571 8030

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LAUNCH PAD TURNS T

his year, Launch Pad celebrates 10 years of nurturing new Australian design talent. It all began in 2004 as an exhibition of prototypes by young, emerging designers, held as part of Saturday in Design (now Indesign: The Event). This took advantage of the high volume of industry visitors to Saturday in Design, providing the designers with invaluable exposure, the opportunity to meet manufacturers and specifiers, gain vital feedback and connect with possible collaborators.

Since then, Launch Pad has developed into an annual competition, exhibition and mentorship program in its own right, propelled by the critical gap in the career path of Australian designers. Louise Olsen, former Launch Pad judge and director/ founder of Dinosaur Designs explains: “One of the hardest parts of being a designer is

What is your favourite Launch Pad moment?

Nick Rennie “Tom Dixon giving me the award for his favourite product for design in 2009. Well, that, and meeting a great bunch of people like myself striving to promote good Australian design.”

Ross Gardam “Out to lunch with Harald Gründl from EOOS for winning the Launch Pad Living Edge Sustainability Award in 2008.”

being able to produce; finding the right manufacturer that is willing to support you and take the risk.”

Launch Pad supports emerging designers at exactly this point, guiding shortlisted entrants to take their concept from prototype to production – a market reality often not covered by Australian tertiary institutions.

Launch Pad attracts over 150 entrants yearly, has helped launch the careers of numerous Australian design greats and has become entrenched as a yearly deadline for emerging designers to produce new work. Its unique mentorship program has attracted the support and personal involvement of notable industry figures – local and international – as well as connecting finalists directly with an exceptional network of commercial suppliers, manufacturers, retailers, consumers and media.

MAGIC MOMENTS

words Aniqa Mannan

JUDGES RETROSPECTIVE “ Launch Pad offers young Australian designers a fantastic platform to present their concepts to the wider industry.

Not only is it a snapshot of the latest and very best of Australian design talent, it’s also an up to the minute exchange of ideas and ways of thinking.”

– Brodie Neill “ Australian designers have a unique way of using materials and looking at things from a new perspective. There’s some really interesting ideas that are emerging which deserve our support as they have the potential to compete on a world stage and improve so many different areas of our lives.”

– Louise Olsen “ Launch Pad has established itself over the last ten years as one of the most important competitions for anyone interested in Australian design.”

– Brian Parkes

Where’s your product now?

Nick “My Mori shelves (2005) were later developed and redesigned with the Italian manufacturer Porro and launched in 2008 as Chiku.”

Ross “I entered two years in a row, 2008 with Ply High Table & Flat Jack Bookshelf and 2009 with the Packaged Glow light. Each of these products were made in a limited edition and sold.”

This page / Brodie Neill; Louise Olsen; ‘Ella Table Lamp’ designed by Edward Wong, Launch Pad 2013 winner

INDUSTRY

2004 • Finalists included: Helen Kontouris, Tomek Archer, Daniel Barbera

2005

2006

• F inalists included: Charles Wilson, Nick Rennie, Ross Didier, Trent Jansen

• F inalists included: Nick Karlovasitis, Keith Melbourne, Donald Holt, David Knott

• J udges included: Cerentha Harris, George Freedman, Anne Watson

• J udges included: David Clark, Ronnen Goren, Dr. Paul McGillick, Andrew Parr

• L iving Edge joins as Founding Partner

2007

2008

2009

2010

• F inalists included: Nick Rennie, Keith Melbourne, Jason Lye

• F inalists included: Ross Gardam (Flat Jack and Ply High)

• F inalists included: Tomek Archer (Peg Leg), Ross Gardam (Packaged Glow)

• Finalists

included: Rob Caslick, Nick Seymour, Tom Fereday, David Pidcock

• J udges included: Tom Dixon, Pearson Lloyd, Jehs + Laub

• J udges included: John Gertsakis, Nicolas Hogios, Michael Trudgeon

• J udges included: Brian Parkes, Bsk + Hertzog, Tom Dixon, Niels Gammelgard

• J udges included: Brodie Neill, Mark Watson, Norman Johnson, Erna Walsh, Kate Hannaford

2011

2013

• F inalists included: Chris Hardy, Jonathan Logan, Coco Reynolds, Adam Weaver

• F inalists included: Edward Wong, Ash Allen, Ed Linacre

2012

• J udges included: Benjamin Hubert, Nathan Yong, Louise Olsen, Aidan Mawhinney, Brandon Gien This page / Launch Pad Exhibition and Judging night at Galleria for Sydney Indesign 2013; ‘Glide’ designed by Andrew Grigor, Launch Pad 2012 winner; Helen Kontouris; Nathan Yong; Tom Dixon; Benjamin Hubert

• Finalists included: Andrew Grigor, Ruth Allen, Tate Ansen

• H ow We Create joins as Major Sponsor

• J udges included: Aidan Mawhinney, Brandon Gien, Gavin Harris, William Dangar, Gyungiu Chyon, Helen Kontouris • P alamont join as transport partner

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• J udges included: Raymond Scott, Adam Goodrum, Aidan Mawhinney, Norman Johnson, Nathan Yong, Gavin Harris • W orkshopped join as Production Partner

LAUNCH PAD LAUNCH-PAD.COM.AU

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MONO CHROMATIC MARVELS 01 ATHENA CHAIR Design & Brand / Rossetto Supplier / Chair Solutions Chairsolutions.com.au (61 2) 9624 1733

Design, Brand & Supplier / Stormtech stormtech.com.au (61 2) 4423 1989

02 LD SERIES LED DOWNLIGHTS

07 TNK A500 TASK CHAIR

Design, Brand & Supplier / Clipsal

by Schneider Electric clipsal.com 1300 369 233

Design / Marcelo Alegre for Alegre Industrial Studio Brand & Supplier / ACTIU actiu.com (34) 966 560 700

03 ATMOSPHERE 02

06 TILE INSERT FRAME DRAINAGE SYSTEM

Designer, Brand & Supplier / Locker Group locker.com.au 1800 635 947 04 ALBEDO FLOOR LAMP Design / Ludovic Roth Brand / Dix Heures Dix Supplier / HALO Lighting halolighting.com.au (61 8) 9221 5544 05 MENU Design / Rafa Garcia Brand / Sancal Supplier / KE-ZU kezu.com.au 1300 724 174

08 WIREFRAME CLUB CHAIR Design / Sam Hecht and Kim Colin Brand / Herman Miller Supplier / Living Edge livingedge.com.au (61 2) 9640 5600 09 PLANET Q Design / Luca Casini Brand / Olivari Supplier / Bellevue Architectural bellevuearch.com.au (61 3) 9571 5666 10 SQUARE ALL-IN-ONE HYDROTAP SINGLE UNIT KITCHEN MIXER Design, Brand & Supplier / Zip zipindustries.com.au 1800 424 344

IN DEMAND

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CUSTOM CANVAS

words Nicky Lobo

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With the launch of their new ABW showroom in Sydney, Stylecraft has created an authentic space where users can engage the ABW movement and emmerse themselves within it.

BW, or Activity Based Working, has been the buzzword for a while now.

But Stylecraft is a company of action, as they’ve shown with the opening of their ‘Inhabit, The Experience Centre at Stylecraft’ in the Sydney showroom.

The aim is “To offer a space where designers and architects can assist their clients in transitioning to flexible, collaborative and Activity Based Working,” Managing Director Anthony Collins says. Because although the concept of ABW is well-known and documented in the design community, the challenge can be communicating this effectively to clients.

Inhabit represents Stylecraft’s directional approach and dedication to their clients, and through them, the end-user. “We recognised the need for a testing facility, a change management tool, a laboratory for experiential experimentation that could be used for longer then just a period of hours,” Collins explains.

This recognition is what urged Stylecraft to dedicate valuable showroom space to assist their clients, enabling the end-user to experience new modes of work, learning and meeting, and therefore facilitating a more seamless transition.

Stylecraft brought on leaders in the field, Woods Bagot, to completely redesign their Darlinghurst showroom. “We approached the design of the space exactly as we might with a small ABW workplace,” says Principal Amanda Stanaway.

“The furniture components are consistent with most agile

working environments, ranging from a set of individual and quiet spaces to more team-orientated to collaborative spaces and with some new products such as lockers created specifically for the space.”

Designers’ clients are invited to use the Inhabit space in real time, in effect showing rather than telling, the benefits of ABW. There, they can work, collaborate, refresh, focus and work in private, to simulate their new working environment. Complete with a concierge, guests will also use a personalised locker storage, swipe activated technology, kitchen facilities, interactive technology, printing and video conference facilities and complimentary secure wi-fi.

“The palette of the space is neutral and simply graphic, to allow Stylecraft the flexibility to manipulate components as their ABW collection changes and evolves,” says Stanaway.

“By mixing the technical ABW work settings with Stylecraft’s loose furniture collection we have created a space that has a softness and sense of comfort and intimacy – which is consistent with current office trends.”

She continues, “Much of the focus in the visioning was around user experience and creating an authentic space that users can use to work within, pilot furniture and ultimately collaborate with Stylecraft.”

STYLECRAFT STYLECRAFT.COM.AU (61 2) 9355 0000

IN DEMAND

This page / Stylecraft ‘Inhabit: The Experience Centre’ ABW Showroom, Sydney, designed by Woods Bagotin collaboration with Stylecraft

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LARS SCHMIDT HANSEN

Clockwise from Clockwise from top top left / Comeback left / by ‘Scoop’ Chair, Chair, Designed designed by KiBiSi for Patricia Urquiola +Halle; for Kartell; Patricia CEO of +Halle Lars Schmidt Hansen Urquiola, Photo: Alessandro Paderni

INFLUENCERS

CEO of +Halle, Lars Schmidt Hansen, reveals the story and strategic thinking behind +Halle’s ongoing success as a furniture producer, developer and supplier.

words Alice Blackwood

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t a VAMFF1 marketing breakfast earlier this year, keynote speaker Craig Smith, brand communication director for Ted Baker, shared his formula for business success: Product + People + Passion = Profit.

It was a neat and pithy formula, and yet rang so true when, later that day, CEO of +Halle, Lars Schmidt Hansen, sat down with DQ to map out the strategic thinking behind +Halle (formerly of course Globe Zero4).

While the name +Halle may be new to the scene, the company itself is not. Having recently undergone an ambitious rebrand, +Halle is well established in the Australian specifier market, its product range bringing flexibility, personality and new-think solutions to commercial situations (public spaces, office places and more).

Perhaps most outstanding is the brand’s forwardthinking approach. It was this magnetic pull – the think-different, create-different ethos, which appealed to Schmidt Hansen when he joined the company a decade ago. “I came from the fashion industry, where I was working in areas of sales and marketing. It felt good to move into interiors – while it’s not the same industry the two do share similar values in terms of quality, tactility, form, colour and more,” says Schmidt Hansen. “Fashion companies, though, are very good at building brand and creating brand image, and I really think there’s a lot to learn from this.

“Part of the reason I joined [+Halle] was that, at the time, it was a fast mover, working with exciting young designers.” The company was a pioneer, an instigator, and Schmidt Hansen liked the vigour of a “young, fresh company that did things differently.”

In keeping with this rigorous approach to innovative thinking and doing, Schmidt Hansen undertook a comprehensive brand review and ‘shake-up’ that would result in a re-clarified company’s vision and ethos.

“About 18 months ago we were looking at ourselves and the story behind our brand and product. We were talking to a number of clients and also futurologists to understand the trends – human development, societal needs and our role in all this,” he says. “Because we’re not just a furniture manufacturer, we’re so much more than that. We are part of a significant culture, and we’re about creating human spaces.”

The process revealed an iconicity in +Halle’s products – the company had been on the right track for years which indicated it wasn’t the product range that needed changing.

In fact, the adoption of agile working models and domestic aesthetics into commercial environments resonated with +Halle’s ethos and current product offering almost perfectly.

This led Schmidt Hansen to focus more on the identity of the brand. “We realised that the name Globe Zero4 no longer made sense. If we wanted to be honest to ourselves and the brand and [really push] what we were doing, we needed to make a bold and drastic change.”

Halle (pronounced Hell-eh) references the company’s family ownership, carrying with it a renewed sense of personalisation and familiarity.

The + symbol, says Schmidt Hansen, “is a significant sign that, for us, partnerships are the most important thing, and clearly indicates that without the [human-ness and open-mindedness] of our partnerships we simply wouldn’t be here.”

Creating human spaces sits at the very core of the company’s mission, defining the way in which the brand is presented and its product development.

“The way we [as a society] work has changed a lot.

It’s no longer about a desk, table and square meeting board; it’s about breakout zones – comfortable spaces, great colours, varying furniture options.

Now more than ever it is about creating human spaces,” says Schmidt Hansen.

“Our thinking, our culture, our ethos and our storytelling around this communicates the very purpose of our company – and this is what resonates with our clients worldwide.”

Story-telling is shared through collaborations with young and charismatic designers; beautiful branded print collateral (presented as a publication, not a catalogue), and topical social media content.

“Bringing knowledge into our story-telling is how we can best share [our views],” notes Schmidt Hansen. +Halle’s passion for ‘creating human spaces’ is like a trickle-on effect that starts at the very top.

Both a champion and enthusiast for the brand, Schmidt Hansen reveals: “I’m passionate about our products, our designs, and what’s going on around us. [I’m fascinated by] how cutting edge companies treat their people today, and the fantastic environments and fantastic results that come of it.”

And so the story continues.

AMFF refers to the Virgin Australian V Melbourne Fashion Festival (March 2014).

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+HALLE INTERSTUDIO.COM.AU (61 2) 9698 7774

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words Sophia Watson

hen I began putting feature together, henthis I began putting couldn’ttogether, have thisI feature anticipated the have nerve I was I couldn’t about to the hit. nerve Fame,Ias it turns anticipated was out,toishit. a highly about Fame,contentious as it turns touchy subject – out,and is aall-over highly contentious that runs deep in several andone all-over touchy subject – disciplines. onecreative that runs deep in several After approaching a number creative disciplines. of potential case studies – After approaching a number designers, architects, of potential case studies retailers – what-have-you – itretailers became designers, architects, clear that the–industry isn’t too what-have-you it became comfortable (if not aisn’t littletoo cagey) clear that the industry about the(if idea and what comfortable notofa fame little cagey) it says about particular person about the idea ofafame and what or brand. this, I have come it says about And a particular person to believe, fromcome a total or brand.

And stems this, I have misconception of the term itself. to believe, stems from a total Fame in its form is misconception of rawest the term itself. the state ofrawest being known Fame in its form isby traditionally, themany state people, of beingand known by haspeople, been more synonymous many and traditionally, and haswith beenrecognition more synonymous achievement with recognition than and anything else. Unfortunately, the rise of achievement than anything new media and the PRrise machine else.

Unfortunately, the of confused the with newhas media and the PRterm machine a somewhat has‘celebrity’ confused –the term with crass phrase –often associated with ‘celebrity’ a somewhat crass cheap, un-earned success. phrase often associated with The key difference is credibility, cheap, un-earned here success.

The we as an industry should keyand difference here is credibility, toan reconfigure the idea andwork we as industry should of to fame as an earned status – work reconfigure the idea rather fleeting celebrity of fame asthan an earned status – andthan limelight chasing. rather fleeting celebrity Here, we will be looking at and limelight chasing. how fame – inbe the traditional Here, we will looking at the word – impacts on howsense fameof – in the traditional theof business What sense the wordof–design. impacts on is value of a personal thethe business ofbuilding design. What is do umbrella thebrand? value ofHow building a personal suppliers effectively brand?

How do umbrellaleverage the existing reputations of the suppliers effectively leverage carry? What are the thebrands existingthey reputations of the consequences defamation brands they carry?of What are the in creative industries?

How can consequences of defamation in an individual or brand tread creative industries?

How canthe anline between celebrity? individual or fame brandand tread the line Is it possible to strategically between fame and celebrity?

In the Is itcultivate possiblerecognition? to strategically coming pages, we consider cultivate recognition?

In the thesepages, questions, and in the coming we consider process attempt toin combat these questions, and the the industries “fame phobia”. process attempt to combat the industries “fame phobia”.

IN-DEPTH

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: INDESIGN THE EVENT Melbourne’s most well-designed weekend.

22 – 23 August 2014

words Aniqa Mannan

R

Book your date with design Melbourne Indesign is free to attend, all you need to do is pre-register at melbourneindesign.com.au. This provides you with an all-access-pass to the event programmes*, showrooms and their activities on the day. It also entitles you to free all-day travel on the Melbourne Indesign hop-on/hop-off shuttle buses.

Make sure to pre-register online before Monday 18 August. You will receive a personalised pass, skip the queues AND go in the running to win gorgeous early registration prizes from select exhibitors.

Head online now: melbourneindesign.com.au * Some event programming is ticketed. See the program at melbourneindesign.com.au

eturning this year to Melbourne is the Asia Pacific region’s favourite commercial design event, the all-new Saturday in Design, now Melbourne Indesign: The Event. The new name unites the event globally, with Indesign: The Event including Singapore and Hong Kong Indesign, as well as Melbourne, Sydney and Brisbane Indesign. This evolution premiered in Sydney last year, with record numbers nearing 8,500 visitors.

Melbourne Indesign is already promising two days packed with its trademark design attractions: design precincts, activated showrooms, product launches, The Project installation series, free hop-on/hop-off bus travel, experiential branding, design trails, international guests and a festival atmosphere. This is the strong, high-value offering that has enticed the Melbourne design community out of their studios for the past decade.

In 2014, exciting new additions to Melbourne Indesign include Galleria; a Melbourne take on the Milan-style ‘super studio’, as well as an expanded DQ

Design Collective; a showcase of Australian design. A new partnership with Dulux means The Project installation series will have a greater presence than ever before. The knowledgesharing element has been expanded to include workshops, architecture and photography tours, demonstrations, talks and seminars, with guest programming by the editors of Indesign and Habitus magazines.

Unlike most international design trade events, Melbourne Indesign’s unique approach balances its international vantage with a firm sense of local belonging. The curation of exhibitors includes the highend of respected global brands tempered with the most exciting emerging local design houses.

Attend the quieter preview day on Friday, the bustling main event day on Saturday, or both.

You’ll see why this has become not only the industry’s favourite design trade event, but a richer, stimulating way to network, socialise, do business, exchange ideas, learn, and generally live and love design.

INTERACT

THE DESIGN PRECINCTS M

elbourne Indesign unites showrooms and pop-up spaces across the city in four distinct design precincts, active for the duration of the event: Friday 22 – Saturday 23 August, 10am – 6pm. Rather than the traditional trade hall dynamic, brands and suppliers have free reign to embellish their venues and express brand and culture creatively, as well as collaborating on installations, hosting relevant workshops, talks, demonstrations and welcoming hospitality.

The four precincts for Melbourne Indesign 2014 are: Collingwood, Fitzroy, Melbourne CBD and Richmond. As well as the familiar faces of Flinders Lane, Melbourne CBD will include Galleria; a multi-level converted warehouse super studio that will include exhibitions from Archilux, Satelight, Savage Design and Stormtech, to name a few. The venue and layout will feel somewhere between ‘so Melbourne’ and ‘so Milan’.

At the north end of Melbourne CBD, Corporate Culture are headlining as Major Sponsor to the Launch Pad national emerging design competition this year. Not only will they have their latest ranges on show, but will also be hosting the exhibition of Launch Pad finalists’ prototypes. See the best of the new generation.

Heading into the inner-north, there’s been so much movement to Fitzroy and Collingwood that, for the first time, they’re bustling with enough showrooms and design energies to merit two separate precincts. Some highlights include Interstudio’s new space in Fitzroy, and the newly merged Café Culture + Insitu, with their new space in Collingwood sure to impress.

Clockwise from top left / SeehoSu Showroom, Surry Hills precinct during Sydney Indesign 2013; 69 O’Riordan Street, Alexandria precinct during Sydney Indesign 2013

East of the city, Richmond is an established high-energy design hub, with exhibitors including Artedomus, Arthur G, CDK Stone and Pad Furniture – formerly Image Interiors, who now have a whole new product range, showroom and atmosphere to match the new brand identity.

We’re also excited to welcome Designer Rugs to the Richmond precinct. Their designs can’t help but be arrestingly gorgeous, so be sure to explore their new showroom at Melbourne Indesign.

The DQ Design Collective will be a special experience bridging all four design precincts. As in previous years, the DQ Design Collective will showcase the work of Australian designers, but this year, includes Australian products across the entire event. Visitors can keep an eye out for the specially labeled products as they visit different showrooms, or experience the Australian focus by travelling along the dedicated DQ Design Collective trail.

Galleria is a Milan-style super-studio concept that proved exceedingly popular at its Sydney Indesign 2013 premiere. There, Galleria had a distinctly Sydney feel as it took over an old train workshop in the creative, young inner west. Likewise, 2014 will feel distinctly Melbourne, as the Melbourne Indesign team has acquired an abandoned, multistorey warehouse in the CBD, which will be reworked as an immersive design space, hosting high-end local and international exhibitors alike.

Galleria will be open from 10am - 6pm both days, housing a lively mixture of brands, product launches, The Project installations and interactive events.

COLLINGWOOD FITZROY MELBOURNE CBD RICHMOND

MELBOURNE 2014 99