Indesign magazine issue #68

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Issue #68 / Australia $16.50 / New Zealand $17.50 / Singapore $12.95 / U.S. $21.99

A professional resource for the design curious.

Viktor&Rolf, NGV Richard Stevens, forpeople Deloitte Perth, Geyer University of Melbourne Arts West, ARM Architecture and Architectus Snøhetta, Adelaide The ‘work, live, play’ issue.

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FROM THE EDITORS

On The Cover Viktor&Rolf: Fashion Artists explore the radical conception of “wearable art”.

The spectacular and avantgarde creations of the Dutch fashion duo are currently on display for the first time in Australia; an exhibition organised by the National Gallery of Victoria (NGV) in close collaboration with the designers themselves.

The cover image is from the Performance of Sculptures Haute Couture Collection show, S/S16, Photo: Peter Stigter. We hope you enjoy it!

100,000+ readers engaged across print, digital & social... indesignlive.com /indesignlive @indesignlive @indesignlive

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Does anyone else feel like agile is kind of old news now?

We get it, that’s a little controversial! Particularly seeing as it’s become the paradigm upon which modern workplace design is based. But in a world where change is the only constant, we’re pretty sure that ‘agile working’ – at least as we know it – is on a limited shelf life. So we’re moving forward, looking at where the future of workplace design is heading and courageously calling the shots on a new commercial revolution.

In this edition of Indesign: the ‘Work, Live, Play’ issue, we cut the buzzwords and vague terminology to uncover what our industry is facing in the world of workplace design. We ask, if agile has become the norm, then what will the new, radical concept look like?

Here, we take a critical look at current models of workplace wellbeing: is it all a load of rubbish, or could we just be using too narrow a definition in addressing it? Using some of the region’s most progressive commercial projects, we uncover how and why we are redefining the term to embrace emotional and spiritual wellbeing as a means for designing engaging and positive commercial environments.

As part of our up-to-the-minute survey on agile working, we take you behind the scenes of Orgatec 2016 to critically review the latest workplace fittings, fixtures, furnishing, big ideas – and even the relevance of the event itself! We also address the hot topic of commercial kitsch versus experimentation and how to navigate between what’s progressive and what’s naff. We’ve discovered that with the surge of popularity in material selection in contemporary workplace design, pairing our clients’ new-found appreciation for materiality with the big bad data movement could well hold the answer to that all-important question, ‘What is the future of the workplace?’ (Flip to page 172 to see what we’re getting at!)

In these many pages, we critically review the role of architects and designers in shaping the ever-evolving work, live, play dynamic, and the people, products and projects that are driving them. Enjoy the issue!

Indesign Co-Editors, Sophia Watson & Alice Blackwood

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IN SHORT

Think Pink

Four months ago, Danish dynamo’s Normann Copenhagen unveiled its newly conceptualised flagship store in Copenhagen, featuring a protruding mirrored corridor in the centre of the first floor, kitted out with rich pink velvet stairs which lead visitors down into a floor-toceiling-to-product basement.

Wanting to manifest the theme “raw and industrial”, the store has been designed to clash materials and texture in a kind of ‘you’d never put that with this’ way – but somehow, the stark opposition between the design elements are a match made in interiors heaven. This very strange blend of materials includes epoxy resin, steel, coloured acrylic and shimmering terrazzo.

What’s also interesting about the layout of the space is that the Normann Copenhagen design team seem to have borrowed some design strategy principles from the hardcore workplace sector. For instance, not unlike an agile office, the showroom is divided into four different areas: hall, stage, ballroom and gallery. Each is decorated completely differently so customers can easily identify and engage with the zones and their particular purpose.

“We want to give visitors the feeling they’re moving around in an art installation,” said Normann Copenhagen designer, Hans Hornemann. “We’ve played with the contrast between warm and cold in a contemporary interior environment that pays homage to premises that we feel are very worthy of preservation.”

Originally launched in 1999 by Jan Andersen and Poul Madsen, Normann Copenhagen has become increasingly responsive to new trends in the design industry, and their newest blend of workplace and showroom is strong indication that they’re not done experimenting just yet.

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IN SHORT

Big Data Is Like, So On Trend A custom-built big-data centre set provided the backdrop for Chanel’s spring- summer 2017 show at the recent Paris fashion week, which included models dressed as robots and bags with flashing LED displays.

Taking place at the Grand Palais in Paris, the brand’s famed creative director, Karl Lagerfeld – known for creating elaborate sets – transformed the historic site into the Chanel Data Centre.

“The data centre is something of our time,” says Lagerfeld. “It’s the idea of the modern person, whatever the time, the century or the circumstances. It’s not technology in a cold way, it’s intimate technology,” he added. “Even if you don’t like the idea, technology

rules the world because it changed the world and it’s made many things easier; work, live and play.” The catwalk was set in front of giant control panels complete with multicoloured wires. Models, including two styled similarly to stormtroopers, emerged from the machines into a stark white room. The colours seen in the wiring were repeated in the collection, having been applied to digital prints and the signature Chanel tweed. Accessories included brightly coloured baseball caps, robot-shaped bags and monochrome clutches with LED displays. If the old adage that ‘fashion leads design’ is true, then we can rest easy knowing big data is going to be big – and beautiful, too.

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IN SHORT

Big Data Is Like, So On Trend A custom-built big-data centre set provided the backdrop for Chanel’s spring- summer 2017 show at the recent Paris fashion week, which included models dressed as robots and bags with flashing LED displays.

Taking place at the Grand Palais in Paris, the brand’s famed creative director, Karl Lagerfeld – known for creating elaborate sets – transformed the historic site into the Chanel Data Centre.

“The data centre is something of our time,” says Lagerfeld. “It’s the idea of the modern person, whatever the time, the century or the circumstances. It’s not technology in a cold way, it’s intimate technology,” he added. “Even if you don’t like the idea, technology

rules the world because it changed the world and it’s made many things easier; work, live and play.” The catwalk was set in front of giant control panels complete with multicoloured wires. Models, including two styled similarly to stormtroopers, emerged from the machines into a stark white room. The colours seen in the wiring were repeated in the collection, having been applied to digital prints and the signature Chanel tweed. Accessories included brightly coloured baseball caps, robot-shaped bags and monochrome clutches with LED displays. If the old adage that ‘fashion leads design’ is true, then we can rest easy knowing big data is going to be big – and beautiful, too.

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I N Fa M O u S

The Road Less Travelled Words Leanne Amodeo Photography Ryan Cantwell

Scandinavian architectural and landscape workshop, Snøhetta, recently expanded their practice to Australia – not in Sydney, nor in Melbourne, but Adelaide! It seems to be a hallmark of the brand to set up shop in traditionally obscure or overlooked locations around the world. Snøhetta’s managing director for Australasia and architect, Kåre Krokene, explains why.

It’s been almost 30 years since Snøhetta’s Norwegian founding partners established their first office in Oslo. The choice of location was certainly logical, but following the architectural practice’s inaugural commission to reconceive the Alexandria Library in Egypt, its ‘small town’ base was suddenly called into question.

Unsurprisingly, there were those who thought one of the bigger European cities would have been a more appropriate place for such a globally-focused firm to be operating, especially considering the significance of its growing portfolio.

Those same commentators were probably just as bemused when the practice established a studio in Innsbruck and most recently (and, quite possibly, most unexpectedly) Adelaide. Although Snøhetta’s second office is in New York and it now also has studios in San Francisco and Stockholm, it’s become a hallmark of the brand to set up shop in traditionally overlooked locations. Their choice to work out of ‘under utilised’ cities in the regions in which they operate has been necessitated by major commissions in each locale, while the studios’ resulting growth has been an organic process, sustained by active, thriving markets that want what Snøhetta does.

For the practice’s managing director of Australasia and architect Kåre Krokene, the impetus to establish a studio in the South Australian capital gained traction off Snøhetta’s first Australian project, the UniSA Great Hall (in partnership with JamFactory and Adelaide-based JPE Design Studio). As he explains, “We’ve had some really good momentum come out of that process and we saw this as an interesting opportunity to formally set up a studio.”

Of course, Adelaide is the ideal homebase for Snøhetta’s Australasian operations. It’s central to both the east and west coasts of Australia and is in close proximity to New Zealand. But the establishment of the Adelaide studio isn’t simply a narrative on geographical convenience or professional congeniality. Rather, it’s about being part of a newly identified creative hub in order to realise outcomes not able to be achieved elsewhere.

Snøhetta’s business agenda not only benefits the practice itself but also considers industry, creating win-win situations across the board. People, process and projects (in that particular order) are at the core of the practice’s values and its DNA is formed by generosity of spirit, manifested in the promotion of knowledge sharing, genuine collaboration and an understanding of social and cultural context.

“Gone are the days when the starchitect comes in, takes over and imposes their particular brand – it just doesn’t work anymore,” says Krokene. “It’s easy to do something incredible, but to do something credible you need local understanding and that’s why we’re going to be a plug-in, not a threat.” Krokene is working with a number of other Australian architectural practices, with the majority of projects currently based in Melbourne, including the Arts Centre Melbourne’s masterplan. By also situating the Adelaide studio in JamFactory’s CBD premises, the opportunities for ‘cross-pollination’ between the institution’s designers and makers and Krokene’s threemember team, are great.

Snøhetta could have just as easily set up a studio in Sydney or Melbourne, although there’s no reason to believe either location would have proven more advantageous. The new Adelaide studio exemplifies how borderless the architecture and design industries have become and its establishment encourages architects and designers to embrace the old cliché and think outside the square.

Being open to opportunities regarded as obscure or unpopular stands to disintegrate industry bias and misconception, as well as breed innovation and growth. “Technology allows for it, cultures allow for it and people are open to it working,” observes Krokene.

“And it’s a benefit getting somebody from somewhere else to come in and work with local designers, just as there are practices in Adelaide currently looking at international projects. It’s the way of the future and it shouldn’t be feared.” snohetta.com

Page 81-83: Architect and Snøhetta’s Managing Director for Australasia, Kåre Krokene in the firm’s first Australian location, Adelaide.

Page 84: Kåre Krokene on a building site in Adelaide for one of Snøhetta’s inaugural Australian projects.

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Mayday!

Is Agile Hostile?

Posing a 420-tonne inevitable homeward-bound calamity, the orbit of the ISS is determined on a path of unrepentant re-entry to Earth. After almost 30 years of braving a blistering sunrise every 90 minutes, the arbitrary spite of space junk, intercranial hypertension and spacecraft-induced radiation carcinogenesis, the ISS will be evacuated in four years and destroyed without apology. Is this a bleak glimpse into the fate of agile? Disposable, expensive and perhaps even damaging?

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IN TeresT

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What can DESIGn LEarn from KIm & KanyE?

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