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Studio Paper

Studio Constantine

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Colophon

Studio Paper No.3

Contents.

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Studio friend and international lighting design talent ie introduces one of his interactive light installations, Ora. He shares some of the philosophy of its creation, the ways in which a person can interact with the piece and, in doing so, shape the space around them.

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Our man in London takes a look at trends in designing systems for public administration, from Healthcare records in Estonia and the uk Government’s digital identity, to our own meta data collection, bts considers the death of privacy, and the demand for transparency.

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mt and smc spent time with Studio Constantine on industry placement from their respective universities. We put them through a rapid prototyping process, a tool often used in collaborative workshops with clients to explore the possibilities in rethinking hi-vis clothing.

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Studio Constantine is an independent communication design consultancy in Melbourne, Australia. We draw together experience in branding, marketing, strategy and planning in Australian, European and US markets.

We would love your input for future issues, or to speak to you about applying these insights to your business. If you know anyone to whom this paper would be valuable, please feel free to pass it on, or contact us for supply of additional copies.

We work collaboratively with our clients to define and articulate the essential qualities of their work, and communicate beautifully and effectively through art direction, campaigns, stationery, signage, brochureware, websites, packaging, products, interiors and experiences.

studio@manualelectric.com +61 (0)3 9852 9886

Studio Constantine commissioned Melbourne photographer ht to produce a photographic essay examining the relationship between the individual and the space they occupy. An exercise in tension and scale.

The Studio Papers A periodical collection of themed words and pictures by thinkers and makers.

With governments ploughing funding into regional centres, in order to develop economic satellites, we humbly propose that Victoria’s V/Line carrier could better serve the traveling workforce with a forward thinking design-led refresh.

We are publishing The Studio Papers for clients, prospective clients, friends of the studio and peers. Each issue will draw together sector specific insight into design process and thinking, referenced global trend and opportunity reports, and practical design case studies into one resource.

SP #1 – Estate, 2013

SP #2 – Guild, 2014

We look at the urban future, increasing population density, hackable and multi-purpose spaces, home worksteads and collaborative development. We also share some thoughts on how design can create a sense of place, from the naming to the brand, and then the expression of both to the space through installation, wayfinding and more.

Insight and reports for artisan people and products was the core concept behind SP #2. We identified the opportunities for small makers and brands to sell to a global audience via online platforms, the appeal to mass market consumers of provenance and the story behind artisan brands. There is also a case-study on branding a provincial cider on a budget.

issues the rallying call for thoughtful and mature public commissioners of design. Rather than what currently is, what could design for the public realm be? What should it be? Some scenarios are offered here. smc

A stream of images from recent studio projects. Our client base and capabilities are varied, from multinationals to not-for-profits and startups. Each of the projects can be seen in more detail by visiting our website at manualelectric.com

Studio Constantine PO Box 8246 Camberwell North Victoria 3124 Australia

You can access both these back issues online at: issuu.com/studioconstantine


Public

The Public issue.

We believe that public administrations, agencies and service providers are missing a trick in failing to utilise rigorous design thinking to streamline processes, business models, public spaces, services, communications and experiences.

Our contributors

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Welcome to this third edition of The Studio Papers. We’ve taken the opportunity to consider design for the public realm. By this we mean design for governments, authorities, public service providers, yes, but also design for mass consumption, for the individual to interact with, and navigate through, their world.

How then have we come to a point where the public commissioners of design rarely stray from well worn commercial paths? A space where accessibility, transparency and sustainability become excuses for poor work, rather than a platform for compelling and democratic design.

We’ve asked friends, clients and collaborators to share with us, and you, their insights, interests and experiments. Within you’ll find a photographic essay on the individual and their interaction with space and volume, a trend report on the increasing demand for transparent public process and public / individual interaction, a piece on lighting for activation of public space, a rapid prototyping masterclass and reflections on how a design collaboration might support stronger economic links with regional economic satellites.

Moreover, how can a sector flourish without public commissioners demanding challenge of the status quo, and considering the longer term impact of work, beyond the next financial year or reporting period? An atmosphere that demands innovation and excellence creates a skill base to be much admired globally, and that is eminently exportable, not to mention beneficial to the local or hyperlocal economies.

Society has a rich history of commissioning design for the public realm, playing patron and provocateur to innovative creative expressions; testaments to the values to which the leadership of the day aspired. For the Victorians – stability, justice, morality, education, civic mindedness edified in great neoclassical temples, public utilities whose presence and aesthetic were undeniably aspirational, infrastructure projects finished with the level of care and craftsmanship of any respectable residence. Or in the era of mid-century modernity and social focus – work that was conceptually and intellectually driven, ruthlessly economical in message and form, progressive in every sense.

We believe that public administrations, agencies and service providers are missing a trick in failing to effectively utilise rigorous design thinking to streamline processes, business models, public spaces and services, communications and experiences. We’re hoping that the following pages prompt some thought, and maybe even some conversation around what exactly design is, and where it might be used transformatively to previously unthinkable ends.

SMC

MT

HT

Archaeologist turned Graphic Designer Sarah McColl spent twelve weeks with the studio on placement in her final trimester at Billy Blue College of Design in Melbourne. She has brought her skills from a past life studying fashion and garment construction to our rapid prototyping workshop, along with the penchant for communicating the thinking of design with an opinion piece on design for the public realm.

RMIT student Madison Tierney also spent a fortnight with the studio during an industry placement. She participated in our rapid prototyping brief, and brought her knowledge and experience in photography to the table, making the documentary images for this publication.

Helen Tran is a Vietnamese photographer based in Melbourne. When she was learning how to walk she found herself pretending to be a ballerina and the sound of classical music soothed her racing mind. She captures the dynamic movement of the human body with an intuitive talent. We asked her to respond to the notion of the individual within space, and happily she agreed.

IE

BTS

Ilan El is the creative force behind eponymous lighting design atelier Ilanel. Ilan started life as an architect, before discovering the transformative power of light. His designs still consider the interaction of the light as both an object in space, but also as catalyst for interaction, narrative and delight. His unique understanding of people and spaces, as well as his ability to work with a variety of materials, makes him shine with bespoke briefs at a public scale.

Our correspondent from London who wishes to retain his anonymity. BTS works in a leading design and strategy agency, dealing daily in the currency of trend mapping and opportunity identification for some of the worlds biggest consumer brands. We asked him to dig a little deeper into the trends and undercurrents shaping the debate around public communication.


Studio Paper No.3

Trend Report: Transparent is the new black.

Opportunities

This post-privacy1 “Post-Snowden” world has been a topic of intense debate in the last few years, as society wrestles with the realities and moral mazes of a rapidly evolving technological landscape. This debate has not only looked at society, and our role as citizens, but also how we view our governments. 87% of people in the uk believe they have the right to know anything they want about the government2. Seven in 10 (68%) go on to say they should have the same total access to information about mps and public bodies, such as local councils and ngos. This trend is by no means restricted to the uk or Western economies – it’s a truly global movement. A recent survey by idb3 found that government transparency was a key priority of inhabitants in urban centres across Latin America. This need for accessibility, transparency, flexibility and collaboration that we often expect from big brands has spread to our connection with government and legislative bodies. The 2015 Edelman Trust Barometer4 points to an “evaporation of trust” in institutions and leaders worldwide. The annual survey finds a decline in trust overall, with more countries classified as distrusting than trusting. Globally, trust in business, media and ngos is at its lowest level since the gfc. While Australia is not yet among the 48% of countries regarded as distrusters, the public’s trust in media, business, ngo’s and the government has declined. We’ve identified some key areas in which governments across the globe are reaching out to their citizens with increased transparency and accountability. Our digitised lives have influenced how government is run – data is easier to access and share, either between governmental bodies or between citizen and government. This creates a new paradigm where accountability is easier to implement and openness is an intrinsic feature.

Privacy is increasingly being seen as a concept that we left behind in the 20th Century – from high profile phone-hacking (by both national media and secret services) to the rise of big-data, our ultra-connected, digital lives have created a belief system of total transparency.

Above images generated with the Image Glitch Experiment. snorpey.github.io/jpg-glitch

Estonia is a world-leading example of this technologically driven shift in the relationship between citizen and government. After the fall of the Soviet Union, much of the country and its infrastructure needed to start from zero – this rebirth also coincided with the birth of the Internet, which was utilised from the very start by the government and economic bodies. One outcome of this is that the nation now has 99.8% of todays bank transactions performed online5. This flexibility and instantaneousness has manifested itself in almost all of the governmental facilities – citizens can view their educational records, medical records and even employment history online and directly request a change if there’s a mistake. Even starting up a business can be done online – it can take as little as 18 minutes to formally register a company and start trading. Transparency and accountability is built into the system – medical records are accessible across the country between doctors and government bodies, yet the system will show who looked at your records, allowing people to police their own data and flag any intrusion. For the Estonians the government is not an intrusive ‘Big Brother’ presence. For them, the citizen is in control of their own data. In Australia, the Digital Transformation Office has recently published the results6 of its surveys into how Australians feel about online interaction with government. Although the sample size is small, results indicate that there is indeed an openness to engaging with government in the digital space, with those already connecting with some government services interested in expanding the scope of those interactions to more agencies and services. Only 60% of respondents trusted the government to administer a safe and secure digital channel for transactions. Unsurprisingly, participants identified that there is still a gap across the board between the digital services offered by government, and the quality of those offered by the private sector.


Public

Citizens across the globe want greater transparency to result in greater collaboration for the good of society and its quality of life. Spurred by successful examples of brands cooperating together, to create superior products and services, governments are seeking to do the same. One asset that governments have is data, and it is this feature that is most likely to be harnessed to improve anything from public transport to health services. In Beijing, the city government has sought to collaborate with ibm to fix the city’s overwhelming pollution crisis7. The environmental services of the city already collect huge amounts of data on atmospheric conditions, air quality and a myriad of other factors, but lack the ability to model and utilise it as actionable initiatives. This is where collaboration with ibm helps – their expertise will turn the data into potential solutions and opportunities for positive change. From modeling weather patterns to anticipate smog problems, to analysing traffic management data, or quantifying pollution from heavy industries, ibm’s insights will deliver actionable insights to those in government. Transparency and openness of information by governments mean that citizens are more empowered within existing systems – with populations across the social-classes increasingly disillusioned with their political and administrative systems, many governments have made it an imperative to re-engage with their people. For example, in 2013 the Obama administration signed an open-data executive order, making data within the government agencies open to all. This had a big impact on healthcare, as they move towards more patient-centric systems in which people receive the most timely, appropriate treatment available.

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Citizens will have access to information about which hospitals provide the most cost-effective bypass surgery or hernia repair, and as a result will be empowered to make a choice that’s best for them. These open-systems will also attract private investment to make information more digestible, tangible and, ultimately, put the citizen back into the centre of the process. Governments are looking to use design tools to make very complicated aspects of the political system more tangible, digestible and accountable. In order to combat the growing disenchantment of political process by their populations, some governments have sought to achieve transparency by making intricate and complex aspects of administration more accessible. Legislative Explorer8 is one such initiative. Launched in the us, it consists of an interactive infographic that allows anyone to explore actual patterns and progress of law making in congress. Users can compare the bills and resolutions introduced by both senators and representatives, and follow their progress from the beginning to the end of a two-year congress. The level of transparency is so granular, that the data can be filtered by topic, type of legislation, party or even by the specific bill. This approach shows that further engagement by governments does not always mean the release of more information – greater transparency can also be achieved by making existing data more tangible and accessible for the general population. In June 2011, in her first ministerial statement to the act Assembly, the newly-elected Chief Minister, Katy Gallagher committed herself to ‘Open Government’, which she defined as ‘a way of working [that]... rests on three principles; transparency in process

and information; participation by citizens in the governing process and public collaboration in finding solutions to problems’9. How successful that government was in fulfilling it’s commitment is best judged by history, but at least it indicates a reading of the electoral climate, and the growing expectations of the constituency for transparency and participation. The rather dry-ly titled “Citizens’ engagement in policymaking and the design of public services”10 states the inherited historical motivation for citizen engagement as ‘maximising the flow of useful knowledge’ to decision makers in government. However, the article also acknowledges a more contemporary reading from British public policy adviser and consultant to the Australian Government, Geoff Mulgan; “[Today’s] citizens are far more educated, more knowledgeable, and more confident than their predecessors. As they use scientific knowledge and evidence of all kinds in their own lives-in everything from dietary choices to business decisions – they expect the same of their governments, are less willing to accept that governments have privileged insights, or that government is a mysterious dark art. Instead, in fields as varied as health care or climate change, they may have access to at least as much reliable information as government and are unlikely to respect governments which ignore what is known.”11

cratic values and notions of active citizenship and self-efficacy, which inform approaches that can be used by governments to meet citizens’ needs and to facilitate their agency as authors of their individual and collective lives. What is also common is the existence of strong mutual commitments to making partnerships between agencies and citizens work, and allowing collaborations to proceed in a manner and a timeframe that suits both the people and the purpose.”12

Today, we are confronted by an era where the public / private boundary is blurred, indeed, removed. An era where transparency is lauded as the antidote to abuse of privilege, and the flow of information is twoway. Accountable, rational process is a fundamental expectation. There is no silver bullet for success, but these words from the above report from the Australian Parliamentary Library come as close as any, “It is apparent from examples {in both the developing and Western World} that there is no ‘best’ model of engagement that can be universally applied. Rather, there are common principles, grounded in demo-

1 Wired, 2013, www.wired.com 2 Future Poll Consumer Attitude Audit The Future Laboratory: Consumer Futures Report 2013 3 IDB, 2014, www.iadb.org 4 www.edelman.com/insights/intellectual-property/2015-edelman-trust-barometer 5 Article: “Govern This”, Monocle Magazine, Issue 72, 2014 6 “How do Australians really feel about digital government services?”, 2015, www.dto.gov.au 7 NY Times, 2014, www.nytimes.com 8 legex.org 9 ‘Chief Minister outlines vision for open government’, media release, 23 June 2011, www.chiefminister.act.gov.au 10 www.aph.gov.au 11 G Mulgan, ‘Government Knowledge and the Business of Policy-making’, Canberra Bulletin of Public Administration, No.108, 2003 12 www.aph.gov.au


Studio Paper No.3

Process

Rapid Prototyping: Re-thinking hi-vis.

SMC and MT cleverly used lengths of tape placed side by side on a backing sheet of clingfilm to create different ‘fabrics’, which they went on to use as panels in the construction of their hi-vis vest. Their solution features neon green for visibility in the day, and a reflective white, used in the body and inside of the collar, for visibility in low light conditions.


Public

Sometimes, the best way to form a design response is simply to begin with what is to hand. Working quickly and intuitively to get your ideas from the tangible to the concrete. Fast. The notion of building out prototype objects, communications and digital experiences in this way, forms the basis of many of the creative workshops designed and delivered by Studio Constantine for clients and students alike. The point of the task is less about finding a solution, and more about coming to a better understanding of the problem; the opportunities and the constraints. Then the full design process can begin from a shared level.

manualelectric.com

The studio set young designers smc and mt the task of rethinking the conventional hi-vis vest to retain function, but set a higher expectation for form and aesthetics. The materials? A number of rolls of cloth tape, from which they may create anything they wished. Their results are documented above. If you are interested in speaking with Studio Constantine about facilitating creative workshops, please don’t hesitate to get in touch. We can tailor specific briefs to your needs, or work with more abstract principles for small or large groups.

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The collar is the structural heart of the vest, and creates a striking futuristic silhouette. SMC and MT applied a three dimensional chevron pattern to the surface of the collar to reference the visual language of road signs and construction. Photos are by MT. Model is SMC.


Opinion

Studio Paper No.3

Design for the public should lead, not follow. Sarah McColl considers the place of innovation in the public sector and makes the case for a user focused, democratic and design-led renewal.

The role of the public service is to organise the way we operate as a society, and without innovation, their ability to effect societal change will be impacted.

Public sector systems and design artifacts are often built in ways dictated by tradition. While this may avoid the inevitable backlash generated by change, it also means that progress can be limited.

Innovation is key to progress and it is therefore hugely important that the public service embrace innovative design as a vehicle for positive change. Design has the potential to make the public service more accessible and easier to understand, bridging the gap between the public and the systems, people and services in place to help them. The first consideration we must make is one of scale; design that exists in the public realm will inevitably reach a broader audience than design in almost any other capacity. This means that through public application design can have the greatest positive impact. While this opportunity for reach should excite the design community, it is often the case that design for the public is bound by regulations and traditions that limit innovation, and designers are reluctant to participate. A greater sense of investment in the creative process would surely engender greater enthusiasm from the design community and in-turn the contribution of truly innovative work to this space. The majority of design that is currently created for the public sphere is created within preexisting guidelines. This leads to repetition in the form and execution of public design that precipitates at worst

complacency, and at best overfamiliarity. In both instances undermining the potential impact of a considered, complete design process and its strategic insights or innovative advantage.

As discussed elsewhere in this Studio Paper, there is an increasing push for transparency in the delivery of public services. This can combat disillusionment in two ways:

Innovative and strategic design on the other hand forces users to stop and engage. Because it challenges or subverts their expectations, they take a minute to study and understand it, engaging and absorbing more of the information presented.

First, the public sees the factors compromising the process and come to accept them as unavoidable.

As the design process is undertaken for the benefit of the public, the engagement of the public is tantamount to the proper functioning of any solutions rendered. A greater engagement in the functioning of the public service, in turn, leads to a greater capacity for improvement and redesign of systems. Members of the public who are actively engaged in the operation of the public service are better equipped to critique and contribute to its functioning.

Secondly, in that they become better equipped to critique the process, and thereby facilitate the creation of a better process, and better solution. The importance of involving the end user in the design process is recognised and embraced in the practice of modern designers. Projects are heavily researched and the opinions and ideas of the users are gathered to better understand what they want from the outcome. This democratic design process is one that equips designers with the skills to curate the opinions of a wide group and use this information to create work that is both functional and contextual.

A heightened awareness of the functioning of the public service can create dissatisfaction in areas where function is not optimum. Frustration can compound into disillusionment if the reason for inefficiencies or failings is not clear.

Accessibility is another factor that grows from designing for the end user. By understanding their limitations and lifestyles their needs can be catered to. Often, accessibility can be seen as akin to oversimplification or banality, but in design it is more

often associated with effectiveness; the more people who can access and engage, the more people are receiving the message. The nature of users will inevitably develop over time, and any system must be constantly adjusted to suit new needs. It is the role of the designer to interpret those needs into the relevant adjustments to ensure that progress continues. With no challenges posed to existing systems, social and institutional progress would slow to a halt. The nature of good design thinking is such that this stagnation would never occur; it requires constant analysis of both system and user, and ensures that both evolve together. In that way, innovative design is about challenging the norm in a way that always has purpose.


Public

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Experiencing transparent colour; Ora by Ilanel. Ilan El designs lighting for spaces private and public. His designs are interactive, contemporary and playful, making them whimsical and engaging. Experiential illumination is his passion.

Researching illumination unveils the field of coloured lighting with its implications on colour psychology. This study conveyed a realisation that there is merit in the use of coloured lighting in our living environments. Phenomenas of coloured illumination such as fire, and the sky from sunrise to sunset, borrow their appeal from the fact that they seem to release us from the customary visual world. Hence the admiration and apprehension of illumination since the beginning of time that manifested in ‘light worship’ by humans. One of the better known examples for the use of coloured illumination can be found in the early days of Christianity. The soft, diffused coloured light shining through many cathedral windows creates a solemn light, a light suited for deep thoughts and calm voices; it was seen as a mystic revelation of God. Nowadays, the use of coloured lighting is widely applied in settings such as theatres as a scenery enhancer, atmosphere generator in hospitality and occasionally in residential as mood maker. Colour can have an emotional meaning, and therefore coloured illumination can influence the atmosphere in a space. The colour of light can also have physiological manifestations; bluish, cool light has biologically a greater effect than warmer reddish light for example. Colour theorists throughout history have attempted to assign colours to particular human behaviours. They believed that seeing particular colours caused particular emotions. Others even created tests they claimed would reveal the personality of the participant.

Colour may affect the psychology of an individual or group formed by shared cultural associations. The fact that libraries often choose green shaded lamps, and relaxation rooms connected to theatres are called green rooms, does not make green a calming colour. Just as a car painted green doesn’t mean that it is particularly eco-friendly. In both instances, colour choices play off cultural associations and assumptions. As colour theorists devised ideas and systems linking colours to emotions, their results began to contradict each other and it became clear that no standard existed. Hard evidence proving that colour causes any quantifiable psychological effect upon humans does not exist. Referencing colours to emotions is developed by every individual when they feel an emotion and then see a colour repeated during this time. After the connection is ingrained the referencing can go both ways. Changing the appearance of a given space whilst performing physical activity, offers additional meaning to the art of illuminated environment. The direct act of colouring the atmosphere through interaction with Ora manifests this concept. Activity theory, here as a tool of constructivist learning environments, recognises that each activity takes place in two planes: external and internal. The external plane represents the objective components of the action; the actual reciprocal act of engagement with control switches and the illuminated outcome. The internal plane represents the subjective components of the action; the choice to colour a space or the selection of a particular hue.

Symbols surround us in myriad shapes and form an inextricable part of our daily lives. Although some may argue that their power and meaning is cultural based, unlike our spoken languages, schooling in symbolism is left to the individual initiative. While some, like Henri Bergson1, argue that forms (symbols) are conventions that hinder our inner life, others like John Dewey2 feel that it is our use of forms that makes us human. The Circle is the most common and universal sign to be found in all cultures. It is the symbol of the sun in its limitless or boundless aspect. It has no beginning or end, and no divisions, making it the perfect symbol of completeness, eternity and the soul. The circle is also the symbol of boundary and enclosure, of completion, and returning cycles. A reflected circle represents the dyad, the introduction of duality, and represents creation and manifestation.

Ora is a wall mounted piece for several reasons. Firstly, a reference to a cathedral’s rosette; a religious symbol. Secondly, the resemblance to the act of painting that emphasises one’s own act of creation. The user faces the luminary whilst colouring the atmosphere, suggesting an artistic creation. And, finally, the act of creating a personal coloured aura by choosing a highly reflective substrate that will act as a mirror and reflect the user’s face in it. You can see Ora in context, and view more of Ilan’s work by visiting his website at ilanel.com

Ora utilises rgb leds that contain red, green and blue emitters, using a four-wire connection with one common anode or cathode. To control its outcome, a switch panel of three knobs is fitted. Each knob adjust one colour spectrum, red green and blue. An optotronic ot rgb was connected to allow colour mixing by independently controlling three dimmable output channels and was supported by the optotronic ot stabilised led power supply.

Photographer: Ivan Lee (IJ Production)

1. Bergson, Henri, “Creative Evolution” New York: Modern Library, 1944 2. Dewey J., “Having an Experience” University of Chicago Press, 1973


Studio Paper No.3

Feature


Public

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The intersection of personal and public space.

Photographer: HT Dancer: Isabelle Beauverd


Case Study

Studio Paper No.3

A new regional rail experience.

To build business hubs in regional areas we need to service the traveling workforce in a manner conducive to productivity and sensitive to the requirements of modern work. Let’s get hypothetical.

The Task

We should start with the varying needs of different passengers and build out a series of experiences and spaces from there. We are all getting from A to B, but some want to rest, some to work, some to be social, some to be solitary. How might one train cater to each and all? What an opportunity to employ leading Australian design talent to create a cohesive and authentic, customer-centred experience, from the interiors, to furnishings, products and even staff uniforms.

Illustration by SMC & S.C.

What does that look like? Think less intercity bus on rails, and more mobile business centre. Less cramped cattle class seating grids, more laptop charging points, useful tables and conversation spaces, and dare we say catering? We see different task-oriented zones within carriages, clearly marked, intuitively adopted by passengers. This is who we’d turn to, to bring it to life.

Interiors

Hecker Guthrie x Jardan

Two wonderful firms, one (hg) adept at creating environments that are starkly contemporary, yet with sufficient warmth to avoid being institutional or clinical. An understanding of materials, and the capacity to choose those that will stand the test of time, even improving with age and wear will go a long way. Jardan have the manufacturing knowledge and synthesis of aesthetics and function to deliver seating and furnishings of a level befitting a cutting edge passenger experience.

We’d start with the proportion and layout of the seating grid, offering a variety of configurations and privacy levels – from the solo traveller, to the executive worker. Storage for long distance luggage would of course still be a priority, but so would communal tables, charging points and wifi connectivity. We’d lose as much of the plastic as possible and replace with natural materials, intended to patinate with wear, use of timber is a hallmark of both parties.

heckerguthrie.com jardan.com.au


Public

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Product Design

Daniel Emma x Henry Wilson

Uniforms

P. Johnson x Gorman

Both of these young Australian design practices are challenging the formalities of objects, and their intersections with material properties. Daniel Emma reduce and abstract forms, highlighting function through scale, colour and form. Whilst this playfulness will add a contemporary edge, Henry Wilson will bring an innate simplicity and style to the table. Henry’s work with wood, metals and leather exudes the sense of future design classics, from his kangaroo leather Tolix covers to his cast bronze vide poche.

The interior scheme and furniture set the mood, but the lasting impression is made by the human scale expressions of the brand. Clever integrated hangers for jackets, storage racks for bags. Charge points cleverly hidden in plain sight. Take a walk to the dining carriage with its bespoke tableware, utilitarian, yet stylish and ergonomic, weighted specifically for use on the move. Head to the silent / rest carriage and observe the complimentary pillows and blankets, made from Australian fabrics by Australian manufacturers.

An iconoclastic pairing; P. Johnson the epitome of suave contemporary Australian tailoring, and Gorman, masters of bold, eclectic colour and print. Poles apart in some ways, but we believe an exquisite partnership to deliver staff livery that is uniquely modern Australian in its parlance, yet evocative of a golden age of travel through silhouette, cut and stitching. Obviously V/Line is a part of the wider rail infrastructure, yet it is sufficiently separate an experience to make a case for bespoke staff uniforms.

We’d look to the landscapes of regional Victoria and commission Gorman to develop a number of fabrics from this inspiration. From a woven Australian merino tweed, to bright graphic cottons and silks, Gorman would set the visual language of the uniform. From there it is over to P. Johnson to transform the raw materials into a uniform for the 21st century. Practicality and style must be paramount; what better task to set the maker of the lightest suit in the world.

daniel-emma.com henrywilson.com.au

pjt.com gormanshop.com.au


Portfolio

Studio Paper No.3

A selection of recent studio projects.

Everything we do starts with identity; who are you, and what do you have to say? The answer to the question can be articulated in any number of forms. Perhaps a symbol, a logotype, a publication, some advertising, signage and interiors, or even packaging.

#campaigns

#property

#packaging

#interiors


Public

Reiko Kaneko is a British-Japanese ceramic designer based in Stoke-on-Trent (UK). Above is the logotype that Studio Constantine created for Reiko Kaneko Ltd, in tandem with the adjacent makers mark. A contemporary, neutral sans-serif was used in order to introduce a contemporary fashion aesthetic to the world of Fine Bone China.

The maker’s mark concept derives from research into several centuries of British backstamps, combining the three most common motifs (initials, heraldic devices and place of origin) into a single form. The shield also mimics the form of a clay vessel.

This is one of three different logotypes that Studio Constantine created for Kew Student Residence as part of an identity refresh and communications campaign. Each logotype represents a different colloquial name used for the organisation. All logotypes used fonts from within the Akzidenz Grotesque type family to ensure continuity.

A contemporary, simple Mediterranean restaurant with a hole in the wall diner footprint, Uncle Johnny’s wanted an identity that referenced the vernacular scripts of both genres, but took a fresh approach. A loose, more natural script logotype was paired with sober, neutral sans-serif typography in application.

Monash Views Estate is a premium land release in Victoria’s Latrobe Valley. Studio Constantine worked with the owner syndicate to create a visual identity system that reflected the pricepoint of the offer, and set high expectations in the market. We used an extended all caps sans-serif type treatment to reference a luxury aesthetic akin to clothing or alcohol markets.

An importer of some of the world’s best natural and manmade architectural stone needed a name and visual identity with which to approach the Architect and Designer specification market. Working with Vibe Design Group, who were designing a showroom and consulting pavilion to showcase the product, Studio Constantine proposed a name that put the material and it’s global origins at the centre of the concept. The typographic treatment re-enforces the solidity of stone.

#product

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#education

To support the principal logotype, shown above left, Studio Constantine developed a crest device. This referenced that the estate is integrated with one of the best golf courses in the region, but also gave a prestige badge for use in circumstances where a lighter touch was needed in application; shirts, golf balls, wine, etc.

A sibling cabinet making business to Stōnik also needed a name to bring it into line with the new direction and audience. The visual identity also needed to sit comfortably next to the Stōnik logotype, whilst still being clearly its own entity.

#food

#architecture


SP

Studio Paper No. 3: Public  

In this third edition of The Studio Papers, we consider design for the public realm. By this we mean design for governments, authorities, pu...

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