DQ preview mag Issue 48

the business of > design > people > products designer maker innovator: zip industries > 71 “the project manager is now the power broker� amanda stanaway, woods bagot > 44 digital branding create a campaign using online marketing tools > 20 designpreneur nick garnham, jardan > 80 indesignlive.com/dq 2 013 s p r i n g

AU $ 9 . 0 0

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inside word | ISSUE 48 summer 2013

dq looks at Y the real issues and challenges of being in the business of design.

ou may not have a business or marketing degree but it’s not limiting you from owning and running a successful design business. In fact, creatives qualified specifically in design (and architecture too) have a particular set of attributes that business graduates and professionals are now looking to gain. That is, critical thinking and collaborative skills, problem solving and creative interpretation skills, pg 38.

As our slowing economy continues to sort the weak from the strong, we see design businesses Australia-wide continue to hold steady, thanks to their creative vision, strategic business decisions and ability to think outside the box.

Putting this into context, DQ looks at the real issues and challenges of being in the business of design, going deeper on the operational side of the design industry’s intelligently-run practices and businesses, to provide readers with a resourcerich case in point. To this end, we this issue investigate the shifting power play between designers and project managers that’s seen project management develop into a stand-alone sector. The result is a control shift that’s caused some discord between project managers operating independently of design and architecture firms. Read our interview with Amanda Stanaway to hear her take on the topic, pg 44.

Another sector that’s been on the federal agenda and under the media magnifying glass is Australia’s reportedly ‘ailing’ manufacturing industry. Is manufacturing in Australia really reaching a breaking point? The Smarter Manufacturing for a Smarter Australia report released mid last year gives some indication toward the sector approaching a tipping point, pg 30. Here, we consider four Australian manufacturers whose operational structures and design innovations have strengthened their respective enterprises against various financial crises and offshore competition, pg 71.

Our DQ DESIGNPRENEUR series continues, with entrepreneurs Karinna Gobbo of Tappeti, a rug and carpet supplier that caters specifically to the designer-specifier market; Terri Winter whose retail brand Top3 By Design cleverly blurs the line between online and in-store experience; and Nick Garnham who has lead the turn-around of designermanufacturer, Jardan. Gobbo, Winter and Garnham have each established a distinct niche within the Australian market, and the ongoing success of their respective businesses in turn contributes to our design industry’s continued growth, pg 8.

On a finishing note, we’ve received some wonderful feedback on our new direction and we sincerely thank you for your support of DQ magazine – and for loving it so much!

The new look, size and focus is in direct response to the shifting market and we’re pleased to hear that the magazine is speaking to you loud and clear, pg 12. Please continue to send in your feedback and contact us to share your insights, at dq@indesign.com.au.

alice blackwood, editor

Senior Designer Emma Warfield, emma@indesign.com.au

Contributing Writers Alicia Sciberras, Anna Flanders, Annie Reid, Ben Morgan, Byron George, Elana Castle, Jen Bishop, Jenna Reed Burns, Marg Hearn, Nicky Lobo, Ola Bednarczuk, Patricia Nelson, Peter Sackett, Stephen Crafti

Designer Frances Yeoland, frances@indesign.com.au

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

Junior Designer Alex Buccheri, alex@indesign.com.au

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

Production Manager Shannon Smith, shannon@indesign.com.au

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

Advertising Enquiries / Online Advertising Enquiries Laura Garro – Southern States (61) 423 774 126 | laurag@indesign.com.au

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

DQ Editor Alice Blackwood, dq@indesign.com.au Art Direction

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Business Manager Darya Churilina, darya@indesign.com.au Accounts Gabrielle Regan, gabrielle@indesign.com.au Jana Kralikova, jana@indesign.com.au Online Editor Owen Lynch, owen@indesign.com.au Online Radu Enache, radu@indesign.com.au Ramith Verdheneni, ramith@indesign.com.au Ryan Sumners, ryan@indesign.com.au Events and Marketing Tegan Richardson, tegan@indesign.com.au Hannah Kurzke, hannah@indesign.com.au

COVER IMAGE The new Zip HydroTap®, available through Zip Industries, zipindustries.com Pictured: Drum table and Polar screen by Korban/Flaubert, korbanflaubert.com.au Model: Frances Yeoland, designer/illustrator, francesyeolandwork.blogspot.com.au Photography: Tim Robinson, timrobinsonphotography.com image credits Page 6: Alice Blackwood, Photo: Michael Gazzola, Studio 11 Page 8: Top left image, illustration by Frances Yeoland

Financial Director Kavita Lala, kavita@indesign.com.au

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contents | ISSUE 48 summer 2013

opinion

profile

brand

connect

AMANDA STANAWAY project managers are the new power brokers

shaun carter

jsb lighting

Cersaie

64

79

_ 44

Byron George

Is time to think an indulgence or necessity? _

the amazing ‘architecture’ race _

building a new brand experience _

analysing global bathroom trends _

nicole roesler

Own World

taking kaldewei to the high-end segment

refining the supplierspecifier relationship

Saturday in Design Singapore meet the market experience the scene

_ 34

22

_ 46

56

_ 88

tongue n groove a well timed arrival

_ 84

Karinna Gobbo Tappeti

_ 54

Terri Winter Top3 By Design

_ 62

ROUND TABLE DISCUSSION

Slowing economy versus rising building costs _

Nick Garnham Jardan

_ 80

50

design feature

“ We set out to make what nobody else made, certainly in Australia” cover story – zip | 71

NAWIC annual excellence awards for Women in Construction

_ 96

is australian manufacturing at breaking point? | 71

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 alice@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 L1, 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 115A Commonwealth Drive 05–18/19, SINGAPORE 149596 | (+65) 6475 5228, (+65) 6475 5238 (fax)

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the editor’s inbox | ISSUE 48 summer 2013

Finally, a magazine that discusses the real issues and challenges of being in the ‘business’ of design.

Love the new look, size and focus of DQ#47 (Spring 2012) and love the fact that my favourite sections (parties, products and features) have been supplemented by such bright and clever material as found in the DESIGNPRENEUR section.

The design industry has long needed a magazine that promotes the intelligence and worthiness of our chosen profession; I am sure that DQ will now help create more of a discourse not only amongst designers, but hopefully a much broader audience. Well done and big congratulations to the team. » Angela Ferguson Director Futurespace

“ The design industry has long needed a magazine that promotes the intelligence and worthiness of our chosen profession” Angela Ferguson

I really like the new look of DQ magazine, the compact size is very handy and I like the shiny paper. The cover looks great! It is interesting to read about the operational side of companies and learn about the behind the scenes of practices.

The social media bit is still my favourite part, always good to flick through the latest social happenings. Congratulations to the DQ team, well done!

Wow, congrats on the latest DQ Spring 2012. The revised size, stock, format and content really make the magazine a ‘magazine’ just dying to be picked up and read!

In particular the new topics showcasing designers and trade people gives DQ an individual and personal appeal. Some great reads and insights into how various professionals perceive our ever changing and evolving industry. Getting closer to and hearing from those who ‘make’ the industry tick is a nice touch.

DQ has well and truly come of age as an industry mag. It was always good, but it’s just got better.

Keep up the good work – looking forward to DQ#48 Summer 2012.

» Constanze Scholpp Marketing Coordinator Wilkhahn Asia Pacific

» Neil Ronaldson Owner Form + Function

The new DQ: content is great! I like the in-depth DESIGNPRENEUR section, opinion pieces and profiles.

Having a magazine delve into the issues we confront as an industry is relevant as we all have a lot more to think about in challenging times. Content moves from workplace to retail and hospitality and is relevant and punchy. Went looking for the thread that ties the issue together but not a must. I do miss the larger format and paper quality is a clear differentiator.

Overall a lot of improvement and I like the focus. » Angelo Di Marco CEO & Managing Director Woodhead

The new look DQ is filled with interesting and well informed content; the DQ DESIGNPRENEUR series gives a great insight into successful architects and designers of our local industry.

We love to the design diary too – thank you for organising us! » miriam fanning principal mim design

I just want to congratulate all involved. The quality, feel, look and size make it a far more readable and less cumbersome publication. The articles, product information and other details are second-to-none. » greg cheatley national contract manager warwick fabrics

Present your views on the issues that are shaping your design industry, and let us know what you think of the new Design Quarterly.

Email us: dq@indesign.com.au Write to us: DQ Editor, Suite 11, Level 1, 95 Victoria Street, Fitzroy VIC 3065, Australia

From our Inbox to Yours

Receive the Design Quarterly newsletter, four times a year.

We keep you up to date with all the important DQ moments, including new issues, DQ partnerships, special launches and more. Sign up to the DQ mailing list using the link below, to receive DQ’s quarterly newsletter – and the occasional special update! » designquarterly.com.au/sign-up

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source | on the move

on the move

>> finding her niche in a multidisciplinary studio opened Narelle Cuthbert to new career opportunities.

indesignlive.com/dq

C

raving the opportunity for a more diverse mix of project work and increased oneon-one client interaction, Narelle Cuthbert took on a senior designer position with Nexus Designs. Now, five years on, she has taken on the role of associate – an evolution which she says acknowledges her contributions to Nexus Designs’ 14-person studio in Melbourne.

The firm operates in complementary areas of graphic, product and interior design – a multi-disciplinary set of specialisations which offers both residential and commercial clients a tailored collaborative design approach. Having worked across a multitude of projects – from Saturday in Design’s

The Project (Melbourne 2012) with Euroluce and Haworth to a penthouse residence in Tribeca, New York – Cuthbert has covered off everything from project management and team management (particularly on large projects), to forecasting and programing for the studio.

For Cuthbert, thinking fast on her feet and coming up against tight time and budget constraints are skills she’s honed over her 10 years in the industry.

“Prior to Nexus Designs I was working with Bates Smart, which is quite a different workplace, [with an office of around] 200 people,” she says. “I think with Nexus Designs being a small practice it’s very collaborative,

everyone pitches in and helps out, across graphics and product design, we all do a little bit of everything.” It makes for a diversity of focii with opportunities for travel and design discovery on an international scale.

Of her goals for the year to come Cuthbert says: “Nexus Designs is known for residential design, but we also undertake commercial work. What I’d like to do is encourage a greater mix of project work.”

Text by Alice Blackwood Nexus Designs nexusdesigns.com.au (61 3) 9690 2277

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source | digital business

have a bit of web-sav T

21:37

Illustration » Flash is Dead

by Alex Buccheri

70%

here are some things so blindingly obvious that they somehow end up getting missed. One is that if you’re in any kind of business these days, your website (of course you have one) is paramount. The second is, if you’re in the design business, the look and feel of that website needs to be pretty damn slick.

Obvious, right?

So why do so many people in the industry have ugly or, worse still, non-existent websites? Don’t get me started on the number of designers with beautiful photography on their websites that use Flash and are therefore redundant on iPad. The harsh reality is this: these days, many people will find you via Google. If your website doesn’t do you proud or it’s not easy to navigate, your competitor is just a click away.

Think about it from your own consumer perspective. If someone recommends a company to you, what’s the first thing you do? Google them, check out their website, their portfolio, perhaps their testimonials page? If someone did that for your business would they find a site that was the absolute best reflection of you and your work?

If not, you’re letting yourself down and potentially losing business.

On a more positive note, the fact we’re all so digitally minded these days means there are all sorts of free marketing tools within your grasp. My best tip is to make sure all your digital marketing carries a consistent look and feel:

website, e-newsletter, Facebook page cover image, the works.

Additionally, many über talented creative types are not good with words. If that’s you, get someone else to write – or read over – your web copy.

E-newsletters (send them for free using MailChimp) are a fantastic way of keeping in touch with your customers and those who have opted for updates.

Make sure you have a good reason to send one and don’t send so many people get annoyed and unsubscribe.

And then there’s the free digital marketing tool with the biggest potential reach of all: social media. If you’ve yet to dip your toe into this world, I suggest you do, before you’re the only one left who hasn’t. Its effect on your business and, perhaps more importantly, your personal brand, could be enormous.

Text by Jen Bishop online marketing tools Send free newsletters mailchimp.com Set up your business online gettingbusinessonline.com.au wordpress.com vistaprint.com.au Share your latest interior projects houzz.com dwellinggawker.com

Jen Bishop theinteriorsaddict.com Facebook.com/interiorsaddict pinterest.com/interiorsaddict Twitter @interiorsaddict

THE

Downlo in app m through

THE NEW DQ APP page | 20 DQ48_DQApp_QPDPS_FA3.indd 1

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“ If your website doesn’t do you proud or it’s not easy to navigate, your competitor is just a click away”

corporate culture app Having recently launched their first app for iPhone, iPad and iPod touch, Corporate Culture has effectively extended its reach beyond the showroom and the webpage. “We wanted the app to allow designers to search for products from a native application, without having to type out our website on a browser or jump onto a computer,” says business development manager (distributors), Jeffry Tsang.

In developing the app, the team at Corporate Culture researched app developers who were familiar with the workings of the furniture and design industry. “We chose one based on this understanding of the architecture and design industry and their ability to deliver on our brief… for a clean, easy-touse app,” says Tsang.

The rise of personal mobile devices is revolutionising the way we shop – both for personal and professional purposes. To this end: “The requirement of the app was to provide designers with quick information... from the ease of their mobile device.”

The company will now focus on incorporating their Australian design partners into the app.

Search for the Corporate Culture app via apple.com/itunes

prospecting with houzz Tipped to be one of the largest home design and renovations sites in the US, Houzz.com is already gaining traction in Australia.

“In September 2012 more than 700 professionals from Sydney, Melbourne and Brisbane have created Houzz profiles,” says business development director, Katherine Nannizzi.

Connecting over 7.5 million homeowners, home design enthusiasts and home improvement professionals, Nannizzi says the platform is fast becoming a “critical tool” for design professionals looking to reach potential clients and collaborate with current clients.

“A Sydney homeowner fell in love with a kitchen she saw on Houzz, built by a Seattle architect,” Nannizzi says by way of example. “She toured the architect through her home via Skype and introduced him to the local builder. He is now working on her home.”

With over 500,000 Australian unique visitors to the Houzz website in one month alone (September 2012), could it be that Houzz is an increasingly relevant tool for Australian studios looking to drum up new business?

Find the app at apple.com/itunes

Corporate Culture

HOUZZ

corporateculture.com.au facebook.com/ CorporateCultureANZ TWITTER @cultdesigned

houzz.com FACEBOOK.COM/HOUZZ TWITTER @HOUZZ_INC

your top productivity Apps at work!

Net-a-porter and Broadsheet They both have the best picks and cultural trends.

Shareen Joel, Share Design & Shareen Joel Design Dragon Dictation It converts your spoken message into a text message.

Peter Bates, marketing manager, Polyflor Australia Visual Budget It allows you to do your expenses on the go, print and email categorised, with monthly or annual expense statements in PDF format.

Timothy Burndred, regional manager, JEB International Photosynth It creates 360-degree interactive panoramas. This app visually captures an entire space very effectively and it can be shared online. It also creates still image panoramas.

I use it for exhibition and environmental design projects.

DropBox It’s a must!

Gregory Anderson, creative director, Trigger Twitter, Facebook and Instagram I need to keep across what the media are saying, and all the latest news.

The weather app For when I am running events.

Trish Nicol, director, The Trish Nicol Agency

the mag goes digital Download the complete Design Quarterly magazine to your iPad, iPod or iPhone. The magazine in app mode comes complete with special features and interactive content, available exclusively through Binder, your portable digital architecture and design library.

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source | manufacturing & design

manufacturing is on the federal agenda, but what of design? we ask the Australian Design Alliance.

design references “Recommendations 28 and 29 in the Smarter Manufacturing for a Smarter Australia report speak directly to the importance of placing design at the forefront of innovation” – AdA Recommendation 28 The non-government members of the Taskforce recommend that design be seen as a ubiquitous capability for innovation, and proposes that the Commonwealth Government commission an independent panel to advise on the changes needed to maximise the potential of design thinking on innovation in Australia.

Recommendation 29 The non-government members of the Taskforce also recommend that the design thinking approach form significant elements of the curriculum of the proposed Australian Leadership Institute.

Reader reference links: australiandesignalliance.com innovation.gov.au business.vic.gov.au

integrateddesign.sa.gov.au design.org.au industry.qld.gov.au

T

he release of the Prime Minister’s Manufacturing Taskforce report Smarter Manufacturing for a Smarter Australia in August 2012 revealed a number of references to professional design and the role it plays in innovation and competitive manufacturing.

The Australian Design Alliance (AdA), an alliance of peak professional organisations representing designers across the industry, examined the report in detail, releasing a full response late last year, (you can access this via australiandesignalliance.com).

Asked about the report’s relevance to Australian designers, AdA executive director Lisa Cahill said: “Part of the problem for the design sector has been a lack of recognition at the federal level.

A lack of understanding of what design has to offer as an enabler for innovation and the value that design thinking can bring to business and manufacturing.

“This report goes some way towards giving design that recognition. We hope the government will take heed of this and work with us towards a national design framework that we believe is sorely needed in this country, to take full advantage of what the industry can and is doing to ensure future prosperity for Australia.”

Cahill says the AdA is currently collating examples that demonstrate where design is making a difference to Australia’s competitiveness; it is these exemplars that will guide the formation of a national framework.

“Please get in touch and tell us what you want to see in a national design policy,” Cahill urges. Those examples already contributed can be accessed on the AdA website.

Cahill also notes that state governments too are leading their own design policy initiatives.

“The South Australian government has done some great work with its Integrated Design Commission that will hopefully be continued by the new Office of Design and Architecture under the leadership of state government architect Ben Hewitt.”

“ Part of the problem for the design sector has been a lack of recognition at the federal level... of what design has to offer as an enabler for innovation...”

Meanwhile in Victoria the government recently released the Victorian Design Initiatives 2012-15 Designing the Future, (access this via business.vic.gov.au). “There is also great work being done federally by the Creative Industries Innovation Centre piloting design integration in business programs,” notes Cahill, also highlighting the previous Queensland government’s Ulysses program.

australian design alliance australiandesignalliance.com (61 2) 9368 1900

creat i ng beaut i ful o bj ec t s

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Clockwise from top left » Wilkhahn factory » Toby Read » Wilkhahn factory » Notepad illustration by Alex Buccheri

australian operations service asia, north u.s.

F

or renowned German brand Wilkhahn, the Asia Pacific region accounts for over 20 per cent of the global turnover of its business. The office and contract furniture designer-manufacturer has three manufacturing facilities throughout the world, one of which is in Australia.

“The decision was made in 1998 to establish a factory here,” says sales director Australia, Toby Read. “It gave Wilkhahn greater control over our marketing messaging and brand representation. It also has to do with the pricing of our product – we find it’s a more competitive offer to clients, representing directly, (as opposed to third party representation).”

Servicing the domestic market and surrounding Asia-Pacific region, Wilkhahn’s 3500m2 factory (sited in Alexandria, Sydney) also services markets further afield – such as North America – where “clients demand a high degree of customisation,” says Read.

With a capacity of upwards of 20,000 chairs per annum, Wilkhahn’s Australian operations

Efficient Lighting Systems

allow the company to supply product to local clients on shorter lead times, while also catering to specific specification requirements. “The other key benefit is that we maintain control of the product throughout production so, from a project manager’s perspective, we can pick the product up and give them a run-down at any point in the process,” says Read.

The first company in the industry to be awarded the top level platinum certification under the AFRDI Green Tick standard, Wilkhahn’s Australian arm also services and re-upholsters its products. It’s a return on investment, says Read, so that in the long-term the cost of purchasing Wilkhahn furniture comes down, and the furniture and brand continues to give back to its users.

Wilkhahn wilkhahn.com (61 2) 9310 3355

Gadens offices – Brisbane Featuring Efficient Lighting Systems dimmable LED Systemkanal

39 TINNING ST BRUNSWICK VIC 3056 PO BOX 5084 MORELAND WEST VIC 3055 PHONE: 03 9222 5522 EMAIL: info@elslighting.com.au

Continous LED light with the Systemkanal...the possibilities are endless

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www.elslighting.com.au

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designpreneur | KARINNA GObBO

a past career in corporate marketing taught Karinna Gobbo how to balance her business with her passion.

T

he commonly held corporate view that you should “work on your business, not in it” is no longer that relevant – especially for those small-to-medium businesses where it’s often the owner who is both the managing and marketing director. This is particularly the case for Karinna Gobbo, managing director of hand-crafted rug and carpet supplier, Tappeti.

Gobbo, who has a diverse background in corporate marketing and textiles, founded Tappeti with a clear vision to what she wanted to achieve and how she was going to do it. “It’s a challenge in our industry to balance business with passion.

I see a lot of creative individuals who are passionate about their products, but they are unsure how to bring them to market,” Gobbo says. “You really have

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to identify a market opportunity and have the drive and passion to go for it.”

Gobbo’s cool-headed approach to lucrative creative ventures is underpinned by years spent in corporate marketing.

She left school in grade 10 to attend business college before landing a marketing assistant role with Boral. Further studies in marketing, combined with a natural affinity for networking, saw Gobbo work her way up to a national marketing role at Boral.

“Here I was in an organisation with structure, discipline, very strict reporting systems. I also did a lot of marketing analytical work,” she expands. “I monitored prices throughout the business – which I thought was utterly boring, but when it came to starting Tappeti it made me formulate a marketing plan first, and actually follow

the textbook marketing rules of product place, market, strengths and weaknesses.”

From marketing to sales, Gobbo moved into the textile industry, where she worked with companies including Warwick Fabrics, Sheridan and Designer Rugs. From sales rep. to buying, product training, and national account manager, Gobbo fused her sales and marketing with an instinctive eye for trends and styles, and a love for the unique and different.

With Tappeti, Gobbo saw an opportunity in the Australian market for a rug supplier that focused on trade over retail, thus catering solely to architects, designers and specifiers. “Fifteen years ago furniture suppliers were generally wholesalers only. Nowadays, it is mainly the fabric houses who do not sell

direct to the public.” This growing popularity for retail comes down to a simple equation of retailpriced-products minus weekendstaff-costs; that is, “increasing the profit margin.”

But the problem with that outcome, says Gobbo, is that design professionals specifying those products are averse to supplying their clients with items that are different and unique – “something clients can’t already buy, or believe they can purchase for a lower price.”

Understanding the ins and outs of design specification means Gobbo can cater to the exact requirements of residential and commercial specifiers alike. “The whole philosophy behind Tappeti is about offering something unique to the specifier. And the direct benefit to my clients is in the quality of product and pricing.”

Clockwise from left » Maxus reception by The Bold Collective, manufactured and installed

by Tappeti » Tight Continuum

by Tappeti studio » Sample from Tappeti in-house design collection » Karinna Gobbo

Asked to reflect on the longterm stamina of her business model and vision, Gobbo says Tappeti has come through the harshest of economic conditions in good shape. However: “In the Australian market, base costs have increased considerably so that even if you’re maintaining the same turnover you’re bottomline costs have increased. We’re definitely working a lot harder for our dollars,” she says.

Text by Alice Blackwood

RECENT APPOINTMENTS A long-time member of the Design Institute of Australia (DIA), Gobbo has just recently been appointed as New South Wales Vice President and National Director with the DIA. It’s an exercise in giving back to industry, says Gobbo of her voluntary involvement.

“It gives me an opportunity to stay at the forefront of the design industry as a whole. When you’re focused in your own discipline you don’t necessarily have access to that,” she says.

As part of her dual roles with the DIA, Gobbo is focused on increasing the DIA’s membership base – where membership indicates a designer or design business’s status as a qualified, experienced, ethical practicing professional.

Increased membership points towards better regulation and education, and Gobbo says it’s not only about accrediting interior designers for their qualifications. “It’s about us educating the community on the difference between a qualified designer and qualified decorator, for example.”

Tappeti tappeti.com.au (61 2) 9698 2735

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folio | commercial

Macquarie University Library goes digital with a cost- and space-saving ‘robot’. architect simon barr talks tech. “

T

he library of today has a completely different energy,” says FJMT project architect Simon Barr of the new Macquarie University Library in North Sydney. “It’s no longer a quiet, storage facility, but a highly collaborative environment supportive of advanced technologies, increased user populations and the cross pollination of ideas.”

Macquarie University’s brief called for a dramatic and accessible landmark, a physical manifestation of the university’s interdisciplinary approach to research and learning.

Planning-wise, this translated into a significant increase in the user population. “This necessitated a dramatic spatial response to the management of the library collection,” says Barr.

Unable to reduce their stack, and aware of its likelihood to grow, the university purchased an ASRS (automated storage and retrieval system), designed to reduce storage requirements. Playfully dubbed ‘the robot’, the imported warehousing system – the first of its kind in Australia – stores and controls a high density of material.

Located in a rhomboid-shaped wing, the completed temperaturecontrolled system currently holds around 80 per cent (more than one million) of the library’s books across its four aisles of towering storage. “It looks like something out of the matrix,” continues Barr.

“It’s a highly intelligent machine which enables staff to access a

book – any book – within seconds.

High system flexibility also means that books can easily be shuffled around to suit user demand.”

The “robot’ constitutes about one-seventh of the original floor space, resulting in considerable cost and space savings.

Additional kickbacks include collection preservation and eliminates the need for thematic or alphabetical classification.

The balance of the collection (open shelving) is arranged radially, the volumes extending out to meet users on two levels.

Given the library’s increased digital requirements, the coordination and integration of the remaining services presented a final challenge. “This was a complex element of the design,” says Barr.

Video conferencing, whiteboards (which are cleverly concealed in partition walls), network connectivity, passive air control, security measures, facade-integrated sun control technology, acoustic control and ‘cloud’ computing, amongst others, are almost invisible, resulting in a completely fluid and transparent design where the dramatic architectural elements speak volumes.

Text by Elana Castle

FJMT fjmt.com.au (61 2) 9251 7077

Reflex. Backrest with innovative slat system and mesh covering – moulds to and supports your body.

Reflex, Connexion. Design: Dieter Stierli

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BUILDINGS that ‘act’ sustainably

C

hange management is a critical part of the moving process, for any organisation shifting into a highly sustainable or Green Star-rated fit-out. “Often we design things anticipating that people will act in a certain way, but really there’s no guaranteeing that,” says Sarah Acton, senior interior designer at KANNFINCH. It may be space for recycling where a recycling program does not yet exist.

“We’re designing in the hope that systems and infrastructure will catch up,” she says.

That element of how a person or people use a space really comes into play once the fit-out is completed and the inhabitants move in.

In the case of ISIS’s new Perth headquarters, a project which transformed an old, existing site into a Green Star-standard building, KANNFINCH ensured the fit-out had certain systems in place which not only adhered to its Green Star commitments, but operated in a manner that’s user intuitive.

In particular are two bifold doors, opening eight metres on either side. “We wanted to pursue a mixed mode of ventilation, as Perth is quite temperate,” says Acton. But in doing this, the naturally ventilated areas needed to be sealed off from mechanically ventilated spaces – achieved using sensors on the doors.

“If you rely on people’s knowledge of how to use a space, they need to know opening doors on outside means closing the ‘barrier’. But you can’t rely on the fact that that message will continue.” Hence, when the doors are open, the barrier comes into place and airconditioning automatically switches off.

“It’s all pretty intuitive,” says Acton, acknowledging that while we all want to act sustainably, we’re not perfect creatures.

KANNFINCH kannfinch.com (61 2) 9299 4111

Clockwise from top left » Macquarie University Library, Photo: John Gollings courtesy FJMT » ISIS Perth headquarters

On the L produ

Also try t The cont wash Could Available exclusively through 07 3846 5877 | info@baselinecs.com.au www.baselinecs.com.au

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page | 67 17/08/12 11:10 AM

brand | tongue N groove

a well timed launch can take the market by storm. european oak board supplier Tongue N groove provides a strong case in point.

I

t was 4am in the morning when Richard Karsay finally sent his builder home. They’d been working through the night preparing to open Tongue n Groove’s compact Melbourne showroom, to host 1700 guests later that morning for Saturday in Design (Melbourne, August 2012). Several things remained to be done, including the fiddly installation of LED accent lighting, and setting out take-aways: stacks of printed material and sample sections of engineered floor boards the company produces. Energy was running low, and he was feeling the congestive preamble to a head cold, but excitement, plus a last-minute dash to his hotel for a restorative shower, fortified him for the 10am onslaught.

Karsay, Tongue n Groove’s managing director, explained that a couple of years ago, he and his colleagues had seen an unexploited opportunity to improve a good product that had an undeservedly second-rate reputation. “Engineered flooring” has numerous advantages over solid boards: it doesn’t warp or cup, and requires no finishing after installation. But the term always had a pejorative ring to it, as if its numerous manufacturers over the years – try as they might – could never match the primacy of solid wood. The surface material could be splendid, but the underlayers of plywood or oriented strand board made it, to architect and consumer alike, something akin to Chicken McNuggets – merchandise made up of inferior spare parts.

“The point of difference,” Karsay says, “is that Tongue n

Groove uses European oak for all three layers of the board.

The wood quality is consistent throughout. With that information, few people choose to go with plywood instead. An all-oak structure just sits well with them.”

He is also frank about his own bias for the wood (all from Germany and Austria) remarking on its adaptability. “Oak is beautiful timber, and offers a diverse appearance depending on how it’s finished,” he says. “That gives it broad market appeal.

Australian wood is hard to work with on a large scale and its colour can be inconsistent. Oak takes you further.”

Tongue n Groove had their soft launch in 2010, then opened their Sydney showroom last year. Their Melbourne quarters, in a blocky, cinder-coloured building on Church Street in Richmond, are dimly lit and redolent with the organic tang of fresh Danish oil.

Four immense box frames, like thick cross-sections of a wooden shipping container, are moored to one side of the room, almost touching the ceiling.

Each facet of these is clad in a different shade, width and texture of engineered oak boards, displaying the company’s wares in swatches big enough to convey their effect on a large scale.

“Opening the store for the Saturday in Design event was by far our biggest strategy – no better demographic,” Karsay notes. “We’re targeting architects, but we’re already seeing people – the end users – come through our doors every day. For something new, that’s terrific.”

Text by Peter Sackett

Tongue N Groove tonguengrooveflooring.com.au (61 3) 9427 7000

page | 84

Ground Floor, 575 Church St Richmond VIC

Clockwise from top left » Tongue n Groove showroom, Photo: courtesy of Tongue n Groove

“ We’re targeting architects, but we’re already seeing people – the end users – come through our doors every day”

indesignlive.com/dq

page | 85

dq scene | saturday in design 01 Tina Lee, Iris Yap, Hui Min, John Au, Anthony Lim 02 Andrew & Divya 03 Karen Fairfax, Paul Leadbetter 04 Gilles Marino, Paul Levy, Fernando Iglesias 05 Guest 06 Joy Tan, Shashi Caan, Constance Ann 07 Dilhan Surin, Jessica Golding, Kendra Elsie, Amy McCuaig, Catherine Yohn, Richard Baker 08 Jasmine Kaur 09 Rita Tang, Phoebe Ong 10 Katherina, Natasha Angeline 11 Sally Tang, Meggy Lim, William Chng, Pauline Chung, Photos: Yong Sze Yuen Kelvin

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the singapore scene

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saturday in design singapore What VIP networking evening at Asia Square and Indesign, Cubes and Habitus Director’s Dinner at Senso Ristorante & Bar, Singapore.

When October 2012 Guests VIP guests and Saturday in Design supporters Âť saturdayindesign.com.sg info@saturdayindesign.com.sg

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“ It was a great evening bringing together our key supporters and industry leaders amidst good food” 18

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Rachel lee-leong, Editor, cubes magazine

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WORK AND LIFE BALANCED

OWNWORLD.COM.AU

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OWN24355_DQ_Own_World_1-4_Page_Ad_FA.indd 1 DQ48_Own world_QP.indd 1

12 Mark Tan, Jason Bird, Alex Lotersztain, Anthony Collins 13 Carl Sriber, Jennifer Hu 14 Marie Jakubowicz, Luo Jingmei, Emelie Heden 15 Alan Fan, Mark Tan 16 Sharon Joy, Julie Neo 17 Sally Brazier, Matt Pepper 18 Philip Hannaford, Fernando Iglesias 19 Anne-marie Harris, Rachel Lee-Leong 20 Hilda Wee, Satomi Ono 21 Caroline Burns, Michael Brisbane, Photos: Yong Sze Yuen Kelvin

PRESENTING: BEND CRASSEVIG DESALTO FORNASARIG FRAG LACIVIDINA LOLL MINT PABLO PLY COLLECTION VIOSKI

page | 95 16/10/12 4:49 PM

DESIGN DIARY JANUARY

dq scene | upcoming events

FEBRUARY

MARCH

IMM Cologne Cologne, Germany 14 – 20 January 2013

Stockholm Furniture Fair Stockholm, Sweden 4 – 10 February 2013

Design in the Park Perth, Australia March 2013

» sydneyfestival.org.au

» imm-cologne.com

» stockholmfurniturefair.com

» designinthepark.com.au

Maison & Objet Paris Paris, France 18 – 22 January 2013

Australian International Furniture Fair Decoration + Design Sydney, Australia 6 – 8 February 2013

Adelaide Festival Adelaide, South Australia 1 – 17 March 2013

» aiff.net.au

Melbourne Comedy Festival Melbourne, Australia 27 March – 21 April 2013

EVENTS

Sydney Festival Sydney, Australia 5 – 27 January 2013

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» maison-objet.com

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Sustainable Living Festival Melbourne, Australia 9 – 24 February 2013 » festival.slf.org.au

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EXHIBITIONS

» artisan.org.au

Anish Kapoor Museum of Contemporary Art, Sydney Until 1 April 2013 » mca.com.au

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» adelaidefestival.com.au

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» comedyfestival.com.au

International Furniture Fair Singapore (iffs) Singapore 9 – 12 March 2013 » iffs.com.sg

iffs

Robert Baines: Metal Artisan gallery, Brisbane 17 January – 2 March 2013

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The 7 th Asia Pacific Triennial of Contemporary Art Gallery of Modern Art, Brisbane Until 14 April 2013

WOOD: art design architecture Jam Factory, Adelaide 15 February – 6 April 2013

» qagoma.qld.gov.au

» jamfactory.com.au

Inspired by… 2012 V&A Museum, London Until 21 April 2013

Lichtenstein Retrospective Tate Modern, London 21 February – 27 May 2013

» vam.ac.uk

» tate.org.uk

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Confounding Contemporary Photography National Gallery of Victoria, Melbourne Until 24 March 2013 » ngv.vic.gov.au

Le Temps: Explorations in Phenology DAB Lab, University of Technology, Sydney 6 – 29 March 2013 » dab.uts.edu.au/dablab _

The Creativity of Meenas Artisan, Brisbane 8 March – 15 June 2013

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» artisan.org.au

Against the Grain – Wood in Contemporary Art, Craft and Design Museum of Arts and Design, New York 19 March – 16 June 2013 » madmuseum.org

COMPETITIONS

anish kapoor

Staron Design Awards – Edition 1 Entries open until 31 May 2013

Street Seats Design Challenge: international outdoor furniture design competition Entries close 1 February 2013

Top Design Award 2013 Entries close 17 January 2013

» designmuseumboston.org/

» austaron.com.au _

» arena2013.newdb.mtp.pl

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streetseats

10th Australian Interior Design Awards Entries close 22 February 2013 » australianinteriordesignawards.com staron design awards

page | 104

jam factory

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See how we can help spark your imagination at

wovenimage.com

Photo: Jonathan Wherrett

By Alex Miles, Designer, Imagination Partner Zip and Quiz for indoor/outdoor