designquarterly

peopleproducts

parties

41

2011

au

tuM

n $

9.00

au

d $

9.00

nZ

d

MONA LAUNCHES IN HOBARTORGATEC EvOLvESLIGHTING ICON ERNESTO GISMONdI

+

TOP 10FORCES & FACES in DESiGn

inside worddesign quarterly issue 41 autuMn 2011

Published under licence by indesign Publishing Pty ltd aBn 96 101 789 262 sydney 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 subscriptions subscriptions@indesign.com.au australia $25 (inc gst) 1 year / $50 (inc gst) 2 years internatiOnal $50aud 1 year / $100aud 2 years

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 on CD at 300dpi with a minimum width of 15cm. 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 and Forest Stewardship Council (FSC) chain of custody certified. Printing inks are vegetable based. Paper is environmentally friendly ECF (elemental chlorine free) and recyclable.

Printed in Singapore.

Milan collection (2011) by Smartstone, Photo by Sharyn Cairns, Styling by Glen Proebstel

Alice portrait photo: Morgan Coyle

Print EventsOnline

It’s been quite a revealing experience bringing together Issue #41. In the course of this issue I found many of the conversations I was having with designers, suppliers, distributors, manufacturers, company directors and more gave voice

to similar concerns about employee retention and market strength. This led me on a research mission to discover the vast quantity of design talent that exists in Australia, and also the propensity for said talent to leave home shores in search of better opportunities overseas.

In this issue’s Business Report (page 61) writer and editor Andrea Millar investigates ‘what designers really want’ and what Australian employers have to offer in the way of career advancement and professional development. She finds that it’s a competitive market, interior designers in particular are ambitious and highly creative – a demanding combination when looking for ways to retain talented staff. In our interview with Kearon Carr (page 64), he too highlights a need for increased support of local designers (industrial and furniture in this case) from local suppliers and manufacturers. Carr reflects on the Australian design community and market, acknowledging that we have a lot to compete with in terms of market competition, international exposure, and the inimitable European industry where design is next to holiness.

In gauging the career aspirations of Australia’s up-and-coming designers, I found many were graduating from university with an eye to taking their skills off-shore – quick smart! One designer summed it up well saying she intended to “get some experience in Australia” before heading “overseas to the big fish!”

In bringing together this year’s Top Ten Forces and Faces in Design (page 73), I found the perfect opportunity to emphasise the strength of talent within our region. And while each Top Tenner is quite unique in their skills and practice, as a whole they show a commitment to working in (and with) local industry. In considering each Top Tenner, I encourage you to look at their work, but also consider what each brings to the design community and local market.

At the end of the day, though, the question still remains: Are we doing enough to retain creative talent on home soil? Perhaps this question was best articulated by Creative Director and 2011 Top Tenner, Jess Scully, who commented in our interview: “It’s very short sighted of us as a country to rely just on 19th Century primary industry [that is, raw materials] as the basis for our economy. We’re overlooking our strengths as a young, educated, affluent, connected society. We live in the 21st Century... but are we creating conditions for innovation and forward thinking to come from Australia?” Something to think on... and I’d love to hear your thoughts – alice@indesign.com.au.

Alice

dq editorAlice Blackwooddq@indesign.com.au art direction deputy art director Bronwyn Aaldersbronwyn@indesign.com.au

senior designerLauren Mickanlauren@indesign.com.au

designerMorgan Coylemorgan@indesign.com.au

Production ManagerSarah Djemalsarah@indesign.com.au advertising traffic/Office administratorHannah Kurzke hannah@indesign.com.au Online Manager Rish Raghurish@indesign.com.au

Online CoordinatorRamith Verdheneniramith@indesign.com.au

Junior designer/Web developerRichard Robertsrich@indesign.com.au Online account Manager Eunice Kueunice@indesign.com.au advertising enquiries /Online advertising enquiriesDana Ciaccia (61 2) 9368 0150 dana@indesign.com.au Contributing WritersAndrea Millar, Annie Reid, Ben Morgan, Collette Swindells, Elana Castle, KT Doyle, Lisa Kappel, Lynn Tan, Mandi Keighran, Marg Hearn, Meg Mundell, Monique Friedlander, Nicky Lobo, Peter Sackett, Stephanie Madison, Stephen Crafti Publisher/Managing directorRaj Nandanraj@indesign.com.au

Pa to PublisherColleen Blackcolleen@indesign.com.au editorial directorPaul McGillickeditor@indesign.com.au

Operations ManagerAdele Troegeradele@indesign.com.au

Financial directorKavita Lalakavita@indesign.com.au

accountsGabrielle Regan gabrielle@indesign.com.auDarya Churilina darya@indesign.com.au Irina Davydova irina@indesign.com.au

Online editorBen Morganben@indesign.com.au events and Marketing Kylie Turnerkylie@indesign.com.au Grace Hallgrace@indesign.com.au Laura Sue-Sanlaura@indesign.com.auTegan Richardsontegan@indesign.com.au

contents

industry

89 PARTIES Indesign

Corporate Culture Tiger Beer Schiavello Artemide Classique Habitus Medland Metropolis

102 ON THE MOVE 104 DIARY

regulars

12 OPEN FORuM 14 NEwS 16 NEwS BITES 20 PRODucTS 26 BEST IN clASS: Top Design Graduates

design quarterly issue 41 autuMn 2011

Features

31 PEOPlE Ernesto Gismondi

Justin Lamont Jim Hannon-Tan Wonder Marc Sadler

Foundry

47 EVENTS Interieur

Orgatec Museum of Old and New Art imm cologne

59 BuSINESS Report: In Good Company

Industry Comment: Kearon Carr Revert

Milano Furniture Di Lorenzo

73 TOP TEN FORcES & FAcES IN DESIGN 2011

14

21

34

95

81

“ We need to

future proof

our community

and strengthen

ourselves

culturally”Top Tenner & Creative Director,

Jess Scully, page 84

26

TOP TENFORCES & FACES in DESiGn

04

01

02

06

PRODUCTS

01 sunni This is a knock-your-socks-off feature piece for outdoor settings. Constructed with stainless steel and plantation rosewood, it is perfectly paired with an outdoor table. Blok Furniture (61 7) 3876 4422 blokfurniture.com.au

02 cappelloItalian for “cap”, ‘cappello’ is set upon a cylinder of soft white Carrara marble. The cylinder piece is sourced from the marble off-cuts of Castiglioni’s ‘Arco’ light.molo 1 (604) 696 2501molodesign.com

07 aquaRibbon Venus‘AquaRibbon Venus’ is a flexible waterproof LED strip light with high level light output used for heating and cooling, indoors and outdoors. HotBeam (61 3) 9899 9411hotbeam.com

05 isisThe name says it all. ‘Isis’ by the Big Ass Fan Company, spans the area of nine small ceiling fans, while using a third of the energy.Big ass Fans (61 7) 5500 0690bigassfans.com.au

06 ceRamic speakeR Nendo couples Mitsuke Masagasu’s elaborate designs with digital manufacturing techniques, with this prototype set of audio speakers.nendo (81 3) 6661 3750nendo.jp07

03 Tao Barazza’s ‘Tao’ cooktops feature original round pan supports in cast iron, deep recesses for each burner, ergonomically organised cooking areas, and a digital programmer.aBey 1800 809 143abey.com.au

04 sanToRini This is engineered quartz at its most divine. Ideal for kitchen bench tops, splashbacks, vanity tops, bathroom walls and more. There are four new collections – here we see ‘Santorini’.smart stone 1300 888 607 smartstone.com.au

03

05

21designquarterly.com.au

08 Hedge Need some distance but don’t have the luxury of space? Orangebox’s ‘Hedge’ screen is a lightweight, freestanding screen manufactured under license in Australia. ensson (orangeBox – australia) (61) 438 698 655ensson.com.au

09 ulRikClassic with a few special tweaks, this little stool by United Kingdom-based designer, Alex Hellum, folds up to meet its user.alex Hellum (44) 0 1992 550 021alexhellum.com

11 Sub-Zero Pro 48 Made from heavy-gauge stainless steel, this stylish refrigerator features a digital exterior, allowing you to monitor temperature levels.multyFlex (61 3) 9421 0232 multyflex.com.au

10 decanTeRligHTThis crystal-ware by Lee Broom will turn your world upside-down. Sourced from antique markets and vintage stores, lights are available in original clear crystal, or polished gold finish.lee Broom (44) 0 2078 200 742leebroom.com

12 FRanke epos A practical design featuring toughened glass surround, and stainless steel bowls with a hygienic basket for food waste. Available in black or white glass. Pr kitcHens 1800 372 653prks.com.au

10

14 paVo A fan-style space divider of folded paper, printed using silkscreen. Once folded a unique visual effect appears through the warping and deformation of lines.Bcxsy (31) 0 647 162 410 bcxsy.com

08

12

09

14

11 13

13 Ruba designNever before have tyres looked so good! Ruba Design transforms recycled tyre matting into coasters, desk sets and more. Waterproof, heat resistant, dishwasher safe, non-slip.make designed oBjects (61 3) 9347 4225 makedesignedobjects.com

PEOPLE JIM HANNON-TAN

It hasn’t taken Jim Hannon-Tan very long to rack up an impressive resumé. The

Australian product designer is already a co-collaborator with some of the world’s stellar brands, the likes of which include Alessi, Magis and Marcel Wanders. Within a year of completing his industrial design degree at RMIT, Hannon-Tan booked a one-way ticket to Milan, in 2001. “I wanted to push my design skills further. Being the hub of the industrial design industry, it made sense to me to take a risk and kick-start my career there,” he explains.

Given the Italian traditional approach to design, it took Hannon-Tan a while to find his feet. “I quickly discovered that the Italians have a very particular way of thinking and making. Their traditions and practices stem directly from Renaissance times but once I learned to appreciate their philosophy, things fell fairly quickly into place.”

Hannon-Tan’s first major breakthrough came in the form of the ‘Antarctica’ bowl, a piece he designed as part of a collective exhibition at the Milan Salone in 2004. “The bowl was produced as a result of experimentation with rapid prototyping machines and mathematical algorithms. I like to push, to ‘misuse’ technology to create interesting effects.” The show garnered Hannon-Tan, who happened to be working in Australia at the time, significant attention and was the catalyst for his move back to Milan.

On arriving back in Italy, Hannon-Tan immediately set his sights on working with the Alessi group. “I had visited the factory

and presented sketches in 2001 but nothing materialised. When I returned, I participated in one of their workshops and it resulted in my first Alessi piece – the ‘Nut splitter’.” Hannon-Tan was inspired by a dinner guest who used a knife to open a walnut and subsequently developed the product to reflect the ancient method in which farmers and foresters crack open nuts – with both hands and a small hole punch.

“Working for Alessi not only exposed me to the inner sanctum of the company but to one of their most prolific and talented designers, Stefano Giovannoni. Last year we collaborated on the design of a phone for iida, a Japanese product manufacturer.” The brief challenged the designers to present a creative reinterpretation of the mobile phone for the Japanese market. “Giovannoni is a master of form and communication. It’s all about shape, beauty and the subtle details of an object.” The pieces are highly reminiscent of the playfulness often seen in the Alessi ranges, simultaneously speaking to a cartoon-loving Japanese market. “We were really happy with the result,” adds Hannon-Tan. “Throughout the design process we battled to ensure we maintained real design integrity.”

Not long after the project was completed, Hannon-Tan moved to Amsterdam to work with the ubiquitous Marcel Wanders. “In Milan I matured as a designer but also developed a broader understanding of the design world. Last year, I thought about opening my own studio but decided it would not be optimal to achieve that

in Italy and I chose to gain a new perspective abroad instead. I have always been inspired by the innovative design culture in the Netherlands. I also love Marcel’s work. He has created a fabulous studio and brand.” Hannon-Tan’s most recent collaboration with Wanders, was the ‘Troy’ chair for furniture design company Magis. “We designed a 3D plywood chair, using dual injection moulding to create high relief impressions in the surface of the wood.” The chair’s success has resulted in versions of the design being made into a range of materials.

“I am really excited about future possibilities,” says Hannon-Tan. He is involved in a large number of new designs at the Wanders studio as well as developing his own global strategy. “Ultimately I would like to return to Australia. I am a fan of what I see as the emergence of a distinctly Australian design style and I would like to be a part of its future development.” jim hannon-tan (39) 346 223 3017jimhannontan.com

a european unionPerseverance and a willingness to live abroad has seen Australian-born designer

Jim Hannon-Tan work with some of Europe’s best known designers, writes Elana Castle.

designquarterly.com.au 37

Clockwise from top left» Jim Hannon-Tan » ‘Nut splitter’ by Hannon-Tan for Alessi» ‘Troy’ chair by Marcel Wanders studio for Magis» Mobile phone by Stefano Giovannoni studio for iida and Alessi

“ I like to push, to ‘misuse’ technology to create interesting effects”

events Imm ColoGne

taking stock at immHeld at the huge Koelnmesse

exhibition halls in Germany’s Cologne, imm features

everything from lower-end flat-pack-style furniture to the latest from the world’s best-known high-end furniture, textiles and lighting brands. As the first trade show for the new year, imm is seen as the fair that sets the agenda and kicks off the trends for the year ahead.

Part of this agenda-setting began back in mid-2010, when the imm cologne Trendboard gathered. Consisting of four designers and one member of the design media, this group of experts came together to develop their ideas for the coming months. This edition saw designers Harald Gründl, Patricia Urquiola, Defne Koz and Martin Leuthold join apartamento magazine Editor, Marco Velardi, to produce the annual imm Interior Trends 2011 book.

Sitting and listening to these designers talk was an interesting experience. They spoke very little about products; their focus not really on materials or colours, but on our perceptions of design and our relationship with products. This year saw each of the four designers put together a stand at the fair, reflecting the ideas they’d developed during the Trendboard meetings. While vastly different in content, they all shared one common theme: that design and designers in Europe are taking stock following some of the most harrowing years for business and finance in decades. These are people becoming introspective, trying to find their place in a newly ordered world.

Navigating the halls of imm you can spot these feelings in the pared-back displays, where there are fewer new designs, where imaginary living rooms are centred around one or two pieces and designs are simpler, uncomplicated.

So what, then, is the role of the designer in ‘a world of less’? If we refuse to slip back into overconsumption, will designers be the first casualties? If this year’s fair is anything to go by, then no; the designer is alive and well, they are simply being offered the opportunity to create meaningful design, rather than design for design’s sake.

We are seeing a slow realisation that our consumption of goods, from furniture to food, fashion to technology, must slow. It is a different world for which we are designing today and while many will go on consuming the way they were five years ago, there is an underlying sense that we’ve turned a corner.

Perhaps the best analogy for what we can expect from the rest of this year came from the emerging designers at the [D3] Design Talents Contest. Many of their products looked at rethinking materials, and ‘genetic splicing’ of forms and function – such as Meike Langer’s clothes rack/stool combo. The exhibition revealed a deconstruction of designs and objects we’ve seen before, put back together in new and exciting ways.

If the amazing imm cologne is anything to go by, as we move through 2011 we will be taking stock, designing with true meaning and re-evaluating the way we shape the world around us.

Text by Ben Morgan

Clockwise from top left» ‘Schwab/Panther SP7’ tables at [D3] Contest » Surprising Empathy stand, curated by Defne Koz » ‘Beaugars’ by Meike Langer, at [D3] Contest

what: Annual trade fair when: 18 – 23 January 2011 where: Cologne, Germany

» imm-cologne.com

IMM COLOGNE

SPACES revert

Woody AccentsIn Waterloo, the newly opened

Revert showroom literally stands out against a backdrop of freshly

completed, uniform steel framed units in the Sydney designer district.

“We took a completely different approach to the design and presentation of the new showroom,” explains Neil Gordon Chow, Revert’s Design Manager. “Revert has been in the timber business for over 20 years, but we have recently expanded to include recycled timber and a full design and installation service which ranges from door and window framing, flooring, decking and cladding to bespoke furniture and fittings. We wanted to use the space to showcase our new extended portfolio.” The result is a completely overhauled showroom. The standard steel sections have been clad with chunky timber pieces and the entrance is now an imposing wood panelled double door. The floors were ripped up and replaced with wide floorboards, milled from sections of de-metalised telegraph poles. Hemp curtains were installed and a panelled reception desk added as the final flourish.

The effect is remarkable. Despite the thicker nature of the wooden frames, the room proportions feel larger. Most significantly, the woody envelope gives the space a warm, inviting feel. “We work with aged timbers,” says Chow. “Some of them are over 100 years old, having spent their lives as wharf piles, bridge

members, and warehouse beams. The beauty is that recycled timber of this nature changes over time, giving the wood a variety of hues and markings rendering it completely unique. On occasion people will ask us to retain the cross cuts and features of their previous incarnation as it adds additional character to the products.”

The recycled telegraph poles are Revert’s primary recycled resource. “The product is a finite source,” explains Chow. “We are also able to maintain consistency in quality and colour, the hardwoods being red and grey Ironbark, Tallowwood, Spotted Gum and Blackbutt. Not to mention the environmental benefits.” Here, Revert’s products are carbon neutral and coated with a chemical-free oil sourced from Belgium.

Chow also points out the showroom’s latest addition, a hybrid design featuring two recycled struts, a glass top and a heavy-duty lazy-susan style support with integrated LED lighting. “We worked with our engineer to detail the structure and mechanics of the piece,” he adds. Chow refers to the base, which allows the table to swivel, creating a range of installation opportunities. “We feel we are constantly developing Revert to ensure there is a synergy between manufacturing, engineering, eco-sensitivity and design creativity.”

Text by Elana Castle

Address: 1A, 207 Young Street Waterloo NSW 2017 Phone: (61 2) 9690 0558Showroom opened: October 2010Designer: Neil Gordon ChowSize: 80m2 (interior), 50m2 (exterior decking) » revert.com.au

revert

events museum of old and new art

agIdeas2011InternationalDesignForumagideas.net

Over 3 days, 45 design and creative leaders from across the globe present design is difference. Sharing their insights and experiences with 2,500 designers.

Tickets will sell outBook Now

Melbourne Convention& ExhibitionCentreAustralia3–5 May

DQ41_AGIdeas.indd 1 28/01/11 4:05 PM

spectacular spaces

www.radfordfurnishings.com

Christian Lacroix for

DQ40_Radford_QP.indd 1 7/02/11 3:52 PM

designquarterly.com.au 53

What: Australia’s largest privately owned & funded museum When: Opened January 2011 Where: Hobart, Tasmania

» mona.net.au

museum Of Old And new ArT

Back in December 2010, during the last few days before Christmas, Melbourne

architect Nonda Katsalidis wrapped up a few loose ends – including answering questions from the media about his design for the Museum of Old and New Art, which opened in Hobart amid much fanfare. In spite of his best efforts at quiet clarity, early buzz about the museum (nicknamed MONA) in the media had been somewhat nettlesome for both architect and client.

Katsalidis’ modest adjectives and unembellished descriptions of what he views as a relatively uncomplicated building had seemed to yield some sensational – even lurid – chatter and press reports of what lay behind its rusted steel walls, as well as in the mind of its owner, art collector and Hobart native, David Walsh. “The building is about being a container for the artwork,” Katsalidis says. “The idea was to give David something with a simple layout.”

Walsh had succeeded, over the course of a handful of interviews, to convey his distaste for pageantry and his preference for directness in both architectural design and presenting art to the public; visitors would descend into MONA unceremoniously

through a hole in the ground; works would appear without labels or explanatory text; paintings would hang on frames with their backs exposed. And Walsh’s idiosyncratic art collection happens to include elements that some people find vulgar – representations of body parts and images of blood and guts. That, coupled with a scarcity of publicly circulated photographs or renderings in the months leading up to the opening, may have contributed to salacious hype. But even without them, the sight of the growing museum expressed itself as forcefully from a distance as it did up close.

At this writing, Google Earth satellite images still show the bite mark made by the angular, concrete-and-Corten steel hull that now occupies the rounded sandstone bluff like a mechanical prosthesis for the worn hip of the peninsula. “In a way, there is no architecture when you arrive; you’re not aware of a museum per se. It just looks like a landscaped forecourt,” says Katsalidis. “There are no windows. It unfolds as you go through it. It’s an internal experience.”

A week before the official opening, Walsh, with wild salt-and-pepper hair

Clockwise from top left» MONA’s outer facade » An interior view of MONA, Photos: Matthew Newton

and a dark, steady gaze, wandered through the building, stopping to confer with employees and construction workers. He remained admiring of his architect even while arc welders buzzed atop scaffolding and fluorescent-vested crews tucked rolls of fresh sod into the landscape. For him, action outshines completion. “I want to see how all of this works,” Walsh says. “That’s the exciting part, and the part I most enjoy. The process has been the most interesting. If I had known more at the start about what I was getting into with this project, I probably would have done it completely differently… but there it is, you know?”

When phrases like “shock and awe” appear in print, it rankles. “All of that is wrong,” Katsalidis says. “There are some spectacular spaces, but ‘shock and awe’ is a complete overstatement.” In contrast to Walsh, he looks forward to the time when the dust – both literal and metaphorical – has settled. “When David fills the place with his exhibits, it’ll be interesting to note how much of the building there is left to see.”

Text by Peter Sackett

MATT WOODS • jereMy cOle • Abby SeyMOur & kATherine Wheeler • kT DOyle • jAMie MclellAn MichAel lugMAyr & evA DijkSTrA • AnnA DruMMOnD • jeSS Scully • TAkeShi iue • DAniel bArberA Je

ss S

cully

, Cre

ativ

e S

ydne

y ev

ent,

Pho

to: D

anie

l Bou

d

73designquarterly.com.au

DQ presents tHe top ten forces & faces in design for 2011. reaD on to be inspireD anD enligHteneD.

features

TOPTEN

‘11

75

He describes himself as a “born and bred city kid” who loves substation-spotting

in his hometown of Sydney. But he’s equally as passionate about the environment. As we talk to this creative character on life and design, we discover it’s just one of many quirks and honest contradictions that epitomise both his personality and the interiors he’s completed so far. Meet Matt Woods...

THE LOOKI really like eclecticism and love the rawness of materials in their original condition. That said, I am also somewhat of a minimalist – which can conflict with the eclecticism. It’s a tough balancing act.

This contradiction fits in with my thinking of what constitutes a good design aesthetic, that is, a sense of contrast and drama.

THE CITYGrowing up in the concrete jungle has had a profound effect on my life and I’m really influenced by what society deems to be obsolete. My preferred environments are not the so-called ‘new and improved’ gentrified spaces, but are rather derelict and dilapidated buildings that are deemed no longer of use.

How we can adaptively re-use these buildings without losing their intrinsic character is an exciting design challenge. Sydney is rife with these beautiful old masonry

substation structures and I would love to beat my way through the radiation and call one of these home.

THE PASSION/STIMULII’m a bit of an audiophile and have a fairly extensive music collection. I’m yet to be convinced by the age of the MP3 and still buy 99% of my music in a tangible form, be it CD or vinyl.

THE APPROACHSo far, I’ve just taken opportunities when they have arisen and put faith in my own creative abilities. I’m very focussed on delivering projects that are well resolved and no matter what the project, or its budgetary constraints, I aim to ensure it is an exciting and stimulating environment to be in.

THE PROMISEI invest a lot of personal time and energy into my projects and I want spaces to appeal to me. I enjoy being part of a world that has the ability to make positive change. I’m critical of poor design, it would be hypocritical of me to make decisions that contradict my moral sensibilities and personal aesthetic.

THE PLANSI’m an industrial designer by trade and I’d like to diversify and get a few products and objects into production. I have mates in interior design and other fields that I’d like to collaborate with. I’m just waiting for the right opportunity to present itself.

Text by Nicky Lobo

features top ten 2011designquarterly.com.au

Clockwise from top left

» Bloodwood fit-out» Bloodwood fit-out,

detail, lighting by Volker Haug

» Avido fit-out» Bloodwood fit-out

» Avido fit-out, detail» Avido fit-out

Bloodwood photos: The Moment It Clicks

& Will Reichelet, Avido photos: Will

Reichelet

matt woods01

Discipline: Interior design & industrial designDQ loves: Matt’s penchant for transforming dilapidated spaces into inviting interiorsContact: (61) 421 848 462

» killingmattwoods.com

MATT WOODS DESIGN

PARTIES corporate culture

cult following

01 Brian Roberts, Freddy Costa 02 Showroom detail 03 James Hung, Melody Chen 04 Samantha Parsons, Brian Steendyk, Kevin Miles 05 Adriel Lack, Shannon Cloete 06 Wendy Moore, Brett Saltan 07 Jennifer Dalrymple, Megan Harrison 08 Katherina Sparti 09 Ellen Yang, Di Farmer, Dylan Moody 10 Nichola Curtis, Amy Coats, Miranda Boyle 11 Tim Stewart, Roger D’Souza

What: Brisbane showroom launchWhere: Ann Street, Fortitude ValleyWhen: November 2010Guests: Brisbane A&D community, clients & friends contact: (61 7) 3852 4220

» corporateculture.com.au

corporAte culture

“ the newly added 800m2 of showroom space

quickly filled with a clan of ‘cult’ supporters”

01

05

04 06 07

08

09 10

11

02 03

Design Quarterly issue 41out 30 March

Click here to subscribe to DQ magazine