Q: How did that come about and did you work for Athfields? JC.
#Clarity ai august fund jony ive series#
So I had that as a very strong influence over a series of years. Revolutionary relative to, one: spatial manipulation, and, two: his social convictions relative to how space can affect people's lives and their behaviour. He was an artisan, he was a builder, a creator, in that sense, and was probably one of the most revolutionary architects in the last hundred years in New Zealand. That exposed me to a whole new architectural side since he was everything that the profession wasn't in general. JC: Let’s back up a little… I had another very strong influence, in my second year of design school, I went to live with Ian and Clare Athfield.
Q: What made you want to go into such an obscure field? I mean, if you think about it, mine was a class of 15 per annum that went through and probably half of those dropped out! In other words there wasn't a lot of jobs. It covered product, consumer design, ergonomic work, exhibitions, probably touched on the interiors side, a bit of retail.Īt that stage it was mostly the Fisher and Paykels who were engaged in employing graduates. The industrial design course was quite diverse as industrial design is in a sense. James Coe was the head of that institution and he was the founder of ergonomics in this country. It was the only place where you could study design - other than architecture – in Auckland. JC: I did industrial design at the Wellington School. Q: Where did you study and how would you describe your alma mater? So that degree sort of set me on the path. JC: Largely because I enjoy building things and it seemed to be more craft oriented, more hands on rather than sitting in an office with a white shirt and tie in an architecture practice. Q: Following in your father’s footsteps or.? I had to tell the career advisor at my high school that there was a thing called the School of Design in Wellington! At first I was going to do architecture but during the last two years of secondary school I changed my mind and decided to go into industrial design. Q: Did you then train in something similar? I was helping the cabinet makers with processing which I think exposed me to the practicality of materials and how things go together. Q: What were your early memories of visiting that factory? JC: I was fascinated with all the machines and built up the skills as a teenager to run some of those. In terms of furniture they were bed makers and dining furniture but that sort of tapered off as the engineering side grew. JC: It wasn't very contemporary, He focused on building the engineering side which ended up being a specialist in the country, for material handling equipment things like electronically controlled conveyors. Q: What sort of furniture was your father making? I also remember at the age of 16 going up to the annual general meeting of the Society of Industrial Designers and meeting people like Rudi Schwarz who was the foremost furniture designer at the time… so that was my early exposure to the industry. As a teenager I remember working in the factory, building furniture, learning a bit of engineering. JC: I was… my father was a design engineer and he built an engineering business that grew out of a furniture manufacturing business that he purchased in Hawkes Bay. Q: Were you predisposed to a career in design? The Gold Pin is coveted under each category as best in category, but its the very best piece of design in each discipline that is given the supreme Purple Pin and held up as work that raises the bar of New Zealand design. In 2017 the User Experience Award was introduced.īy 2020 Interactive became Digital and User Expereince was merged into digital. The Ngā Aho Award and Best Effect Award were added in 2012 and Public Good along with Moving Image in 2015. In 2010, Interactive was established as a distinct discipline. In 1992 the awards were expanded to include Spatial and Product design.īy 1998 the Best Design Awards became a annual awards programme. In 1988 the name was changed to the New Zealand Best Design Awards and enabled a growing community to benefit from the experience of a jury of international peers. Attracting 300 entries, the awards exhibited 130 works as part of a touring exhibition and lecture series. The National Graphic Design Awards were established in the mid seventies to celebrate New Zealand’s best graphic design.
Brought to you by The Designers Institute of New Zealand, The Best Design Awards is an annual showcase of excellence in graphic, spatial, product, digital and motion design along with three special awards - Value of Design, Public Good and Toitanga.
0 kommentar(er)
