stuart-mcfarlane

TOP DESIGNS 2010 Inside Professional Practice Stuart McFarlane Since Graduating in Industrial Design at RMIT in 2003, Stuart McFarlane has developed a unique "conscientious design" approach which has earned him international acclaim.

His studio creates interiors, product design, and edition furniture and lighting, all incorporating social, economic and environmental determinants.

Stuart’s awards include Top Australian Design Graduate of 2004 by Monument Architectural journal and finalist in the Bombay Sapphire Design Discovery Awards and the Rigg Contemporary Design Award. In 2007 he was appointed by the City of Melbourne as Ambassador for Melbourne Design in Milan.

Stuart McFarlane belongs to the permanent collection of the Powerhouse Museum. www.stuartmcfarlane.com 1. How do you get new business?

More often than not new business opportunities arise through recommendations. That is: Previous clients recommend my work to other interested parties. I may be approached directly via email or telephone, and in some instances I am given a lead to follow up.

Typically this is navigated through initial emailing. Promotion and press play a part also.

Promotion usually takes the form of exhibition or public speaking. These methods allow my practice to be introduced to new potential business either directly or indirectly with press opportunities.

R/L Australian design legend Kjell Grant Indesigns Richard Burne ŠStuart McFarlane 2010

Most importantly is networking. This common practice simply allows my studio the opportunity to engage with industry and potential clients on a casual level. It can happen anywhere and everywhere.

2. Tell us about some of your clients.

The majority of my clients first and foremost have an interest in creativity, innovation and design. And they vary significantly. They range from business owners needing a solution for their office or retail environment. Interior designers specifying a particular product I produce, architects requiring a solution for a project or entrepreneurs developing new projects.

Currently I am designing lighting for a Melbourne based architectural practice to be specified within three of their current projects. There is also a custom lighting program being designed for a creative agency in South Melbourne, also furniture for a company in Richmond. However the majority of my time is being spent researching biopolymer technology with a producer located in Altona. This project is aimed at discovering latent possible applications for the product they develop.

1

Totem Commissioned lamp series for Electric Dreams Studio 2009. ŠStuart McFarlane 2010

TOP DESIGNS 2010 Inside Professional Practice 3. How do you establish the needs of your clients/products?

Depending on the project, the needs of the client is established through an iterative process. Generally the client has the outcome in mind. It is my job to decipher what they mean and what they truly desire. To discover this I develop a series of questions for the client and I to discuss with relation to the project, and through this process I can develop a framework to design too. Concepts may be produced and presented to the client with the necessary alterations made. This process continues until the client is completely satisfied with the design proposal or concept.

Client meeting notes Extract from an initial consultation regarding an architectural lighting commission. ŠStuart McFarlane 2010

4. How do you make use of design briefs in your work?

Sneaker Freaker Initial interior design concepts. ŠStuart McFarlane 2010

Design briefs are very important. They act as a template (or middle ground) for both parties to understand the project in its entirety.

Briefs also establish a clear basis for fee proposals and payment, project timelines, objectives and contract drafting. I do not begin a project until the brief is signed off on by both parties. Most importantly briefs act as a springboard for initial concept development.

2

TOP DESIGNS 2010 Inside Professional Practice

5. What methods of research do you use?

In short, any research method that helps to achieve the desired goal is valid. The scope of my research methods extends from published print, historic archives, the internet, film, music, nature, social behaviour, personal observation, people...anywhere. However... the most important value for my practice is to know how to apply the research.

Antler chair Milan 2007. ŠStuart McFarlane 2010

6. How do you develop your design ideas?

My design ideas initially come from anywhere, but more often than not through observation and thought. Here nothing is absurd.

Developing an idea is much more complex. I begin with thought alone in an effort to really establish the validity of the idea or concept. If I proceed the process takes on a trajectory dictated by the concept. It may entail conceptualisation, form studies, technical research...any process that brings the concept closer to completion in an efficient manner.

Butterfly Design development. ŠStuart McFarlane 2010

7. How do you decide on the best design option?

My self-initiated designs are evaluated through their performance in relation to the initial concept they are derived from. Commercial projects are evaluated in a different manner. Due to the framework set by the design brief and contract, all completed projects should adhere to these conditions. In this way the project outcome should have been evaluated at a very early stage to ensure both parties are satisfied.

The decisions made to produce the best outcome vary from project to project and all have different nuances. They may be decided by technical constraints, budget or application etc.

3

Walking stool Original concept sketches (notice the tick of approval). ŠStuart McFarlane 2010

TOP DESIGNS 2010 Inside Professional Practice 8. How involved are you in the production of the final design?

I like to be involved in the production as much as possible. All of the testing is done by me with the final product being produced by experts to my specifications.

I enjoy the opportunity to establish new relationships with the producer in an effort to increase my knowledge of production techniques.

Chess Various production samples. ©Stuart McFarlane 2010

9. Which other professional practitioners do you collaborate with?

Throughout my career I have collaborated with numerous practitioners from multiple disciplines depending on the specific project requirements. These include: • • • • • • • • • •

Playwrights Film producers Musicians Event coordinators Curators Entrepreneurs Graphic designers Interior designers Architects Landscape Architects

In The Shed Multi disciplinary collaboration for the Melbourne design festival featuring, Moth Design, Pandarosa, Alex Hannaford, Peter Adams, Oliver Field and Damian Gentile. ©Stuart McFarlane 2010

10. How do you evaluate your work?

Self evaluation is gauged through client feedback, commercial response and public response. I treat this subject as a learning tool making note of any areas where my work and processes can either be refined or improved.

Lapel Permanent collection of The Powerhouse Museum Sydney Australia 2009. ©Stuart McFarlane 2010

4