For over 25 years, the DIA Hall of Fame program has celebrated the work of eminent design visionaries, leaders and unsung heroes.
The DIA Hall of Fame is an enduring record of the pioneers and ambassadors and their significant contribution to Australia’s economic development and cultural identity.
Induction into the DIA Hall of Fame signifies an outstanding body of work, contribution to the Australia design industry or achievement in furthering the profession. It is the ultimate industry recognition for design leaders across all design disciplines.
“We pride ourselves on acknowledging the diversity and contribution of Australian designers to global design, and the benefits that they have offered through their work to the broader community. The DIA Hall of Fame program is nominations based and peer assessed, so we encourage the industry to assist us in recognising and celebrating those unsung Australian design heroes.” Claire Beale LFDIA, DIA Immediate Past National President.
The 2019 DIA Hall of Fame Inductees are:
The late Dahl Collings (Graphic, Exhibition & Textile Design)
Dulcie Wilmott was born in Adelaide in 1909. From 1926 to 1932 she studied at East Sydney Technical College under Rayner Hoff and attended painting classes at the J.S. Watkins Art School. In 1933 she married Geoffrey Collings and they had two daughters, Donna and the artist Silver Collings. She and her husband worked collaboratively for most of their lives, cosigning the majority of their work Dahl and Geoffrey Collings, the name Dahl having been coined by Geoffrey as a term of endearment.
The Collings travelled to London via Spain in 1935 taking many photographs and making their first documentary film in the medieval town of Alquézar in the Catalonian region of Spain. In London, Dahl worked as a freelance designer until László Moholy-Nagy offered her a job in his studio working on the Simpsons of Piccadilly menswear store project in 1936. There she gained first-hand experience of European modernism and of Moholy-Nagy’s and György Kepes’s approach to design which she and Geoffrey embraced wholeheartedly.
Back in Sydney, they established a commercial and industrial design studio with Richard Haughton James in 1939. It was one of the nation’s first design-focussed studios and Dahl was a pioneer in introducing modern design principles to local industry. During the 1940s she exhibited with the Contemporary Art Society and the Australian Commercial and Industrial Artists’ Association, winning (with Geoffrey) four ACIAA awards in 1940. Dahl was costume designer for the films Eureka Stockade (1949) and The Overlanders (1946).
In the 1950s the family moved to New York. Dahl became a design consultant to the Australian Trade Commission, in charge of the Australian Display Centre in the Rockefeller Center. Back in Sydney in 1953, she and Geoffrey established their own film company, Collings Productions, with many of the films she produced and directed winning international awards.
From 1971 Dahl devoted herself full time to painting. She had solo shows at the Bonython (1976) and Holdsworth (1977) galleries in Sydney and at the City of Hamilton Art Gallery in Victoria in 1982.
The late Robert Foster (Industrial & Product Design)
Robert Foster was born in Kyneton, Victoria to art teacher parents who also painted and made pottery. He studied gold and silversmithing at the Canberra School of Art, now ANU School of Art, under renown silversmiths Ragnar Hansen and Johannes Kuhnen. He graduated in 1985 with a Bachelor of Arts (Visual) and a Post Graduate Diploma of Arts (Visual) in 1986. He went on to establish a studio, Fink & Co in 1993 and rapidly became a major figure in the ACT and national design industry.
Best known for designing tableware, lighting, furniture and other objects, he also had a number of major sculpture commissions including Ossolites in the foyer of the ActewAGL building in Canberra. Each piece he made is imbued with a distinctive personality and movement; objects ‘that might, Nutcracker-suite style, come to life as the owner sleeps.’
Foster’s iconic Fink jug epitomises his design ethos and technical prowess and is a landmark achievement in Australian design. When commissioned to create the jug by Canberra restaurant The Republic, Robert took aluminium tubing, an everyday yet sustainable material, and fashioned it into a sleek, economically-viable product. The original tooling involved old pieces of steel from his father’s tractor and wood from a fence post. The Fink jug now features in collections both nationally and internationally including New York’s Museum of Modern Art, London’s Victoria and Albert Museum and major Australian institutions including the National Gallery of Australia.
He won numerous awards including the ANU Alumnus of the Year award in 2015. He regularly lectured, gave specialised workshops and was a key-note speaker at international conferences.
Following his untimely death in 2016, two grants were set up in Robert’s name to ensure his dedication to helping others continues. One is the ANU Robert Foster Gold & Silversmithing Honours Scholarship and the second is the Capital Arts Patron’s Organisation’s Robert Foster Memorial Award.
The late George Freedman (Interior Design)
George Freedman was born, raised and educated in New York. He attended Syracuse University to study architecture. After travelling around Europe in the late 1950s, he worked for Tandy, Halford and Mills in London. He returned to New York in 1968 and took a role with Knoll International’s Planning Unit, where he was responsible for the interiors of Knoll’s globally based corporate clients. His projects included designing the VIP dignitaries’ hospitality areas inside the USA Pavilion for the 1970 Osaka World Fair.
In 1968, Knoll sent Freedman to Sydney to design the executive accommodation for the Bank of New South Wales (now Westpac). Soon after arriving in Sydney he met prominent interior designer Neville Marsh and began a long personal and professional relationship. Marsh Freedman Associates was established in 1973. MFA became an iconic Sydney design practice responsible for many of Australia’s most significant projects of the time including The State Bank of NSW’s executive floors in Martin Place, AMP Foyer, Leighton’s HQ, Bilsons in the Overseas Passenger Terminal Building, Quay restaurant, Berowra Waters, Claude’s, Five Way Fusion and the QVB restoration.
After Neville Marsh retired in 1986 and moved to Rome, George established George Freedman Associates (with Robert Chester and Sam Marshall). In 2002 he appointed a younger architect, Ralph Rembel, as his business partner and renamed the practice Freedman Rembel. This practice was dissolved in 2010 when Freedman joined architects Peddle Thorp and Walker as Head of Interior Design.
Freedman mentored a whole generation of Sydney Interior Designers. He told Monument Magazine in 1995, "It has given me great pleasure, because there has been lots of lovely interaction. It’s like watching flowers grow – seeing people develop into full bloom."
He was a Fellow of the Academy of Design Australia and the Design Institute of Australia. He will be remembered for his exceptional eye for colour, material and detail, and for bringing art, design and architecture together to create some of Sydney’s most remarkable interiors.
Nicholas Huxley (Fashion Design & Design Education)
Nicholas Huxley was born and brought up in Papua New Guinea as one of five boys. His mother worked as a correspondent for the ABC and his father was managing editor of the Times Courier newspaper. Huxley began his training in 1973 at East Sydney Technical College’s Fashion Design course, now TAFE NSW Fashion Design Studio, and after a few years in the industry, began teaching at the same institution until his retirement as head teacher in 2018.
He has been a teacher, mentor and studio presence for notable designers including Akira Isogawa, Alex Perry, Nicky Zimmermann, Lisa Ho, Dion Lee, Romance Was Born and Academy Award nominated Costume Designer Janet Patterson. He was instrumental in developing showcase opportunities for students at Australian Fashion Week and Strand Arcade runway shows.
In his youth, during their Australian tours, Nicholas befriended the likes of Bette Davis and Zsa Zsa Gabor, for whom he tailored a purple wool pencil skirt and jacket. As an active designer he has worked in film, TV, fashion magazines creating illustrations for Elle, Vogue and Marie Claire, and dressed film star Nicole Kidman.
In 1989 Nicholas was nominated for an AFI award for Costumes for Sons of Steel and has won two Fashion Industry of Australia awards. He has received nine nominations for the NSW Government Fashion Laureate Award and a nomination for the Fashion Group International Lifetime Achievement Award. He has also served on a number of design juries and design-based committees including the Victorian Premier’s Design Awards in 2017.
In 2015, Nicholas was invited by Miami Dade College to assist them in establishing the Miami Fashion Institute, which offers a degree course and he has been a supporter of the Fiji/Pacific Islands Fashion Week since its inception. He travels extensively and is an avid collector of jewellery, clothing, art and decorative objects. His first solo art exhibition was held at Maunsell Wicks in 2018.
Akira Isogawa (Fashion & Textile Design)
Akira Isogawa was born in Kyoto, Japan in 1964. He studied Fashion Design at the East Sydney Technical College (now Sydney Institute of Technology) from 1988 to 1991 and opened his first fashion boutique in Sydney in 1993. His boutiques later appeared in Melbourne and Brisbane. His first integrated collection debuted in 1996 during Australian Fashion Week and by 1998, Akira was showing his collections in Paris.
During his career, Akira has collaborated with other designers and artists including designs for four productions with the Sydney Dance Company since 1998, one of which was Salome. He has designed uniforms for the Australian Chamber Orchestra, designed costumes for the Australian Ballet, and collaborated with furniture designer Fukutoshin Ueno for an exhibition at the Living Edge showroom in Brisbane. He has created three collections for Designer Rugs, and worked with QANTAS, Australian tea brand T2 and other commercial entities.
Akira’s contribution to the design discipline includes acting as a Honda ambassador, masterclass work with the Fashion Design Studio (NSW TAFE) and participation in internship programmes with national and international tertiary institutions. He has served on panels and juries associated with the fashion design industry and acted as a judge for the Australian Wool Fashion Awards and student competitions.
Amongst Akira’s accolades are Designer of the Year at the Australian Fashion Industry Awards (1999), an Australia Post stamp in his honour, the Award for Fashion Excellence at the National Retail Association Fashion Design Awards (2006) and the Australian Fashion Laureate Award for his contribution to the Australian Fashion Industry (2007). His work has been exhibited at the National Gallery of Victoria (NGV), Museum of Contemporary Art (MCA) and most recently a retrospective at Museum of Applied Arts and Sciences (MAAS); Akira Isogawa: Unfolding a Life in Fashion, accompanied by a monograph of the same name.
Akira Isogawa is one of Australia’s most loved and celebrated designers. His work is collected by galleries and museums throughout Australia including the NGV, the Art Gallery of NSW and many private collections.
The late Neville Marsh (Interior Design & Interior Decoration)
Neville Marsh was born in Perth in 1931. He travelled in Europe in the 1950s and worked with Heal’s, a furniture store in London, returning to Australia in 1958 to work with interior designer Leslie Walford.
In the early 1960s, he worked with Robert Haines at the David Jones Art Gallery. By 1965 he had begun Neville Marsh Interiors based in Edgecliff, Sydney.
As Neville Marsh Interiors, with designer Ray Seide as a design partner (ca.1971), he designed the interiors of architect John James’ famous Reader’s Digest Building in Surry Hills in 1967 and in 1970-73 the practice re-designed the new Her Majesty’s Theatre interiors in Quay St, Haymarket. He also designed cinema interiors for Hoyts Cinemas in Perth and Melbourne. Although he had a number of corporate clients his practice centred on, and often preferred, domestic interiors.
In 1975 he formed a partnership with George Freedman with the practice embracing more commercial projects including the new State Bank building interiors in Martin Place. This project introduced a level of opulence and craft skills rarely seen in Australian corporate interior design of the time. Other commercial projects by Marsh Freedman Associates include the Leighton’s HQ building and Bilson’s for chef Tony Bilson in the Overseas Passenger Terminal Building at Circular Quay.
Marsh was an active member of the Society of Interior Designers (SIDA), participating in the organisation’s fund-raisers and the Black and White Committee’s exhibitions. His work was also included in Babette Hayes’ books, Australian Style (1970) and Design for Living (1978).
Marsh left the design partnership in 1986 for life in Italy, later returning to Australia to work with Carole and Peter Muller on the Amandari Hotel, Ubud, Bali. Declining health reduced his design output and he died in Sydney in November 1994.
Gavan Ranger FDIA (Architecture & Interior Design)
Gavan Ranger has a degree in Architecture from the University of Adelaide and a Master of Science in Engineering Science majoring in transportation, from The University of California, Berkeley. He is a graduate of the Australian Institute of Company Directors and a Fellow of the Design Institute of Australia. He has served on the Property Council of Australia Infrastructure and Planning Committees, is Vice President of the Committee for Brisbane, and is a member of the Academic Advisory Panel of the Institute of Sustainable Development and Architecture at Bond University.
Throughout his career, Gavan has worked on significant projects in the public and private sectors and has held the position of Principal of architecture and design practices in Adelaide, Melbourne, Canberra and Brisbane. These firms include Ranger Design, Woods Bagot, Mirvac and GHD. His work spans strategic input into the sectors of urban design, transport, institutional, commercial and residential projects, with roles ranging from key designer and design manager through to development manager and project director.
In 1996 Gavan received a Life Fellowship from the Australian Institute of Architects in recognition of his professional service to architecture and long-term involvement with the AIA at state and national levels. In 2017 he was recognised as one of South Australia’s 25 Design Icons and in 2018 he was appointed to the Design Institute of Australia’s Nominations Committee. He continues to provide leadership through his contributions at board level to professional, industry and not-for-profit organisations, including as Chair of Architecture Media and Artisan (formerly Craft Queensland).
Gavan has been a strong advocate for, and practitioner of, the necessary and early involvement of interior designers into the design and planning of architectural projects and believes that fully functioning interiors are an integral and inseparable component of architecture. He brings an energetic and proactive approach to strategic inputs, making connections, mentoring, team development and design management. Gavan is currently the Strategic Director at Arkhefield, a Brisbane based architecture and interior design practice.
Kirsten Stanisich FDIA (Architecture & Interior Design)
Kirsten Stanisich has made a significant contribution to the practice of interior design and interior architecture in NSW through her leadership roles, creative output and active participation in the Design Institute of Australia (DIA).
Born and raised in Melbourne, Kirsten studied at University of Melbourne and graduated with a Bachelor of Architecture Degree in 1994.
She joined SJB Architects in 1996 and remained with the company for 22 years moving to Sydney, becoming an Associate and then a Director of SJB Interiors. In 2018, with fellow Director Jonathan Richards, Kirsten migrated SJB Interiors Sydney to a stand-alone practice; Richards Stanisich.
Over her career, Kirsten has designed and overseen many significant Hospitality, Retail and Residential projects including 12-Micron at Barangaroo, A Private Residence - Sydney, Loftus Lane Apartments and countless other residential projects.
In her work, Kirsten is particularly interested in texture, lighting, colour and the concept of longevity within an Australian Context.
Her projects have won numerous design awards including the Best Decoration category in 2017 Australian Interior Design Awards. In 2017 she was also awarded Designer of the Year at both IDEA and Belle Coco Republic Awards.
Kirsten has long been a strong advocate for the Design Institute of Australia and a Member since 2008. She was a Board Director and NSW President from 2012 to 2014, a period of significant activity for the branch. During this time her focus included intellectual property, lobbying, corporate partnership and events including Milan Review, Top 3x3, Top 4x4, GOTYA and DesignEx. She also facilitated the induction of Sydney Lord Mayor Clover Moore as an Honorary Fellow of the DIA.
Kirsten has also been active with the UNSW Built Environment Advisory Panel and has been a judge of the Australian Interior Design Awards, BEST Awards and IDEA Awards, a participant in the 2018 Rigg Design Prize and is a regular speaker at industry events.
Harry Stephens FDIA (Interior Architecture & Design Education)
Harry Stephens graduated from the University of New South Wales (UNSW) as an architect in 1968 and runs his small architectural practice, hasarch, which is concerned predominantly with domestic Heritage Architecture.
Early in his career, Harry worked in the Design Section of the NSW Government Architect’s Branch alongside some of the most highly talented award-winning architects in the country. His first major task became a steep learning curve in interior design. He was charged with leading a team whose job it was to fit out the then new State Office Block designed by Ken Wolley in order to accommodate the NSW Premier, a number of Government ministers and various Government Departments.
In 1969 Mary White, one of our most treasured and celebrated interior designers from that period, engaged him to teach at the Mary White Art School in Edgecliff, Sydney. John Olsen, Peter Travis, Colin Lanceley, Robert Klippel, Marea Gazzard and others were teaching there at the same time. In 1970 he also began teaching Architecture at UNSW where he remained teaching until 2010. His interest in interior design never waned, leading him to run a variety of courses within the UNSW Architecture program that eventually led him to establish and run the first Interior Architecture degree course in an Australian University at UNSW.
As an educator in this field he initiated collaborations with other educators around the country which resulted in the establishment of IDEA, the Interior Design/Interior Architecture Educators Association whose journal has become the country’s most prestigious peer-reviewed academic journal in the discipline.
Serving for a time as a DIA NSW Council Member, with a term as President of the DIA NSW Chapter, he played a significant role on the organising committee for the DIA’s international conference, Sydney Design 1999. He served as a DIA National Director and was an inaugural Member of the Committee to produce the ASDAs (Australian Student Design Awards) which later segued into AGOYTAs (Australasian Graduate of the Year Awards). Harry was recognised as a Fellow of the Design Institute of Australia in recognition of his contribution to Education.
Images from the 2019 Hall of Fame Presentation are available on the DIA National Facebook page.
Over 100 designers have been inaugurated into the DIA’s Hall of Fame since the program’s inception in the late 1990s. The following people are DIA Hall of Fame inductees:
Alberto Alessi (Industrial)
Alberto Alessi was inducted into the Hall of Fame as the first International Inductee in 1996, the inaugural year of the Hall of Fame.
Alberto Alessi was born in Arona, Italy and is the eldest son of Carlo, and the first of the third Alessi generation. He graduated in Law in Milan before joining the Alessi family company to become responsible for marketing, communication and research.
From 1970 he has developed and worked with architects and designers world wide, making Alessi one of the most important names in the international design field. He is currently managing director and acts as general manager for strategic marketing, communication and design management.
He is the author of several books and a member of the Scientific Committee for the Domus Academy in Milan and of the Academic Board of the University of Industrial Art of Helsinki.
He collaborates with many international publications and writes and reviews issues of design.
He is a Senior Fellow of the Royal College of Art in London, Honorary Professor of the Hochshule de Bildenden Kunste in Saarbrucken, Germany, a member of the Honorary Committee of the Design Museum in London, and Doctor of Fine Arts at Miami University in Oxford, Ohio.
Gordon Andrews LFDIA (Graphic)
Gordon Andrews graphic designer, resided in New South Wales. 1914-2001.
In terms of legacy, Gordon Andrews was widely regarded as one of the founders of design in Australia, having exerted a pioneering influence on design since World War 11. His most prominent work was produced during a 20-year design consultancy to the Reserve Bank of Australia, during which he designed Australia’s dollar currency notes, bank interiors and developed the bank’s symbol and graphics.
Although graphic design was the mainstay of Andrews’ practice, his work embraced many disciplines including interior, exhibition, furniture and industrial/product design. He was one of Australia’s first jewellery designers as well as a talented artist, sculptor, painter, photographer, cartoonist and illustrator. Examples are held at the Powerhouse Museum.
Not only charting his own course, Andrews pathed the way for other Australian designers. Tellingly, he was one of a handful of designers who in the fifties was working abroad – drawing attention to Australian design capabilities. After initial experience in an advertising agency on home soil, Andrews practiced in the UK (1937-1939) and again in (1949-1956). There he worked with Sir Misha Black’s Design Research Unit, during the Festival of Britain era, a time associated with a post-war awakening to design and the profession. In Turin, Italy Andrews linked up with pioneers in corporate design, Olivetti (1950-1951). Setting up digs in Neutral Bay on return to Australia –- Andrews’ headed one of the earliest known design consultancies and graphic design practices.
Initially undertaking design and fine art training at East Sydney Technical College saw Andrews’ ahead of his time in so far as the availability of formal design courses, however he was committed to advancing professional design education throughout his career. Known for consistently setting standards at the top of his profession, Andrews also made the time to advise and nurture young aspiring designers.
The induction of Gordon Andrews to the Design Institute of Australia’s Hall of Fame in 2011 pays homage to his significant contribution to the development of a strong design profession through both professional practice and as a vocal advocate.
Ian Archibald FDIA (Interior)
Ian Archibald has pushed the envelope creatively throughout his practice as well as dedicating extensive time to advancing the profession.
Ian founded Ian Archibald & Associates Pty Ltd, a building and Interior Design business in 1975, followed by Decollo, one year on. This strategy enabled distinction to occur between the supply arm of decorating goods and services (offered through Decollo) and the consulting and Interior Design services.
With Jo Archibald joining Decollo in 1978, the two businesses worked in parallel to design, produce and distribute ranges of hand printed fabrics and matching wallpapers. Decollo Fabric designs were sold on various base cloths throughout Australia, New Zealand, Singapore and Hong Kong and have stood the test of time. Traces of the fabrics can still be found in some Merchant Builders houses of the era.
While residential work has been a major focus for Ian Archibald & Associates, the practice has also completed notable commercial projects. Early examples ranged from: the Victorian Grain Corporation offices; Armstrong Nylex extensions; Xerox and Océ Reprographics offices and showrooms Australia-wide; and assorted projects for the Victorian Dairy Industry Authority.
The mid 1980s saw Ian’s work orientated towards building design and building detailing. Several awards and commendations for Alterations and Additions, Multiple Dwelling Design, and Heritage Design – reflect the high calibre achieved. Examples of more recent commercial projects include: the fit-out of member and committee areas at the MCG; executive areas of the ANZ Bank head office and extensive hospitality projects through the Premier Hotel Group; the Sorrento Golf Club and Yarra Yarra Golf Club.
After joining the Society of Interior Designers of Australia (SIDA) Foundation Board in 2001 Ian has served as Executive Director since 2002 and is the current President (as of April 2013). Ian, who is also a DIA Fellow, upholds the ongoing work of the Foundation in establishing and supporting education and professional development to be of great significance in the future of interior design and interior decoration.
The DIA Hall of Fame recognises the achievements of Ian Archibald.
Mark Armstrong FDIA (Industrial)
Industrial designer Mark Armstrong is Founding Principal of Blue Sky, a leading Australian design consultancy. His commitment to design quality and innovation has resulted in a raft of Australian design awards and European IF Design awards for lighting and consumer products.
Mark’s formation of a joint venture with Philips Electronics over a five-year period during the 90s, provided access to new technologies to both Blue Sky and their clients. Key commissions have included: the design of the Olympic Torch for the 2000 Olympics in Sydney; the design of new trains for EDI Rail for the Sydney network; the design of a new check in system for Qantas; and the design of next generation products for Cochlear, which amped up the product aesthetically and functionally. Mark has also directed design programs for high volume products including: whitegoods, lighting systems, garden car products and medical equipment.
In addition to his involvement in creating a body of work that has showcased Australian design capabilities on a global scale, Mark has given generously of his time to shape and strengthen his profession. He served as Vice President of the Design Institute of Australia (DIA) NSW (1995-96) and as a member of various advisory boards and committees including: RMIT’s Industrial Design course Advisory Board (1997-98); UTS Course Advisory Board (2010-2011); the Deans Advisory Board University of NSW Industrial Design Department; Object Gallery Steering Committee (2011-2012); and as advisory consultant to the United Nations Philippines Government – Product Design and Development Centre of the Philippines.
In other professional appointments, Mark was engaged as Monash University’s Practice Professor, Industrial Design Eva and Marc Besen International Research Chair in Design in 2012 and Design Mentor for the NSW Government Design Integration Pilot Program in 2013. Always striving to raise the bar, Mark’s collaborative work with RMIT Centre for Design has also been at the leading edge of environmental design.
The Design Institute of Australia Hall of Fame recognises the achievements of Mark Armstrong.
Langdon Badger (Interior)
Langdon Badger’s role in the development of South Australian design culture rests on his interior design work, design retailing and occasional forays into Industrial design. After drawing courses at the SA School of Art, he trained in design (Design Diploma (Hons.) 1952 at Sydney Technical College with Phyllis Shillito as Head of Department and was a classmate of Tony Parker (Later Parker Furniture).
On graduation, he returned to Adelaide to establish a design firm retailing and providing colour consultancies and design services as “Langdon Badger Furnishings” from 96 Pulteney Street, Adelaide (1954), later at 113 Grenfell Street, returning to 186 Pulteney Street. On his return, he was one of two known SA interior design professionals. In the middle to late 1950s, Badger was introducing contemporary timber furniture from the eastern states, including Danish-sourced furniture as well as Fler, Parker, Moran, Featherston, Parker and Snelling Line. He also designed upholstered furniture for manufacture and retail in South Australia. In addition to his retail and design business, he was held on a retainer by Myer Emporium, Adelaide, Flavels, and Pope Products (later Simpson) designing window fittings and other hardware. He retired in 1998.
Peter Bayly FDIA (Industrial)
Peter Kingsley Bayly from Victoria is an industrial designer.
Working to the mantra that form follows function, Peter Bayly has significantly influenced the careers of generations of industrial designers and engineers while developing game changing products for many businesses. He became renowned throughout his career for his understanding of the critical link between design and manufacturing.
His practice, Bayly Design Associates Pty Ltd evolved from Bayly’s consultancy which began in Melbourne in 1971 and is now practicing as Bayly Design under the competent management of his son Mark Bayly who joined the practice in 1994. During Bayly’s fruitful 40 years of award winning design and development he has shaped more than 2500 different design projects for local and international clients. Bayly Design Associates Pty Ltd remains today, Australia’s oldest family owned product design consultancy. Many of the products have emanated from enduring relationships such as his designs for Hoover’s 500, 600, 700 and 900 series washing machines over 17 years; developing new Staysharp knife variants for a period 15 years with Wiltshire; the design of an array of new Willow plastic products for over eight years in addition to the design of Wilkinson Sword shavers and Dr Scholl foot care products for SSL Australia and SSL International over an 11 year duration. Bayly’s multifaceted capabilities across brand, product design, engineering, packaging and manufacturing solutions underscored Hoover’s ability to unveil their first ever upright washing machine to the world. Bayly was also the name behind the world’s first box fan for Mistral and the World’s first split-system Weatherwall air conditioners for Email.
For Wiltshire, an engineering file maker, Bayly created the Staysharp knife which won an Australian Design Award in 1971 and the Prince Philip Prize for Australian Design in 1972. Bayly was awarded the Dunhill Industrial Design Award in 1972 for the Mistral Gyroair as well as Design Awards for various products in 1983, 1985, 1987, 2003, 2004 and 2006.
Growing up in Adelaide Bayly undertook a fitter and turner apprenticeship at Phillips in 1956 just as the transistor and semi-conductor age kick started - providing him with the opportunity to design Phillips radiograms, car radios, phonograms, TVs and their remote controls. Alongside his apprentice training, Bayly completed engineering studies at the South Australian School of Mines and undertook art classes at the South Australian School of Arts. London beckoned in 1961 where he completed his diploma with 1st Class Honours in Industrial Design at the Central School of Art and again worked in parallel, at CREDA Design Centre on the design of cookers, stoves, fridges tumble dryers and other appliances while also freelancing.
Bayly has been long committed to serving his profession. Calling Melbourne home upon his return from London, he joined IDIA in 1966, and later the DIA where he served in executive positions at state and national levels between 1967 to 1974. His award of DIA Fellow (FDIA) is now complemented with his induction into the Design Institute of Australia Hall Of Fame 2011 in recognition of his significant contribution to Australian design.
Richard Beck (Graphic)
Richard Beck was an English designer who trained and studied in England and Germany, before coming to Australia. He was born in 1912, and educated at the Slade School of Art in London and the Blocherer School in Munich, before arriving in Australia in 1940.
On arriving in Australia, he established Richard Beck Associates, who produced packaging, corporate image design, exhibition and general advertising work. At the same time, he also worked as a freelance designer for several Melbourne advertising agencies. His diverse range of commissions included the design for the Melbourne’s first decorated tram during the Royal visit of 1954. He was also notably selected to design the official Melbourne Olympic Games poster for the 1956 games. The poster was part of a world tour of Olympic Games Posters of the modern games by artists such as David Hockney, Andy Warhol and Roy Lichtenstein in 2012. The exhibition’s curator declared Beck’s striking poster, the first not to feature an athlete, the best on display.
In 1998 his Orient Lines poster was one of 100 posters chosen from more than 10,000 posters housed by the Victoria and Albert museum to represent the history of the poster since Tolouse Lautrec in the 19th Century. The V & A also acquired his Olympic and London transport posters. One of Beck’s notable awards was the National Packaging Associations gold medal for the best Australian export pack of 1960 – awarded to him for the famous black and white Coonawarra Estate Claret bottle he designed. When people visited the Estate they asked where the path, featured on the label, was. So the estate dug one – a fine example of life imitating art.
The heritage listed Richard Beck mural on the eastern exterior wall of the former Hosies Hotel, is the first major abstract mural produced in Melbourne. In many ways the mural, unveiled in 1956, is a pre-curser to the current government-sponsored program to integrate public art into the city streets and buildings. Mimmo Cozzolino, student of Beck’s and a noted graphic designer in his own right, had this verdict on Beck and his mural: “I was lucky enough to meet Dick Beck when I was a design student in the late 1960s at Prahran Tech when he was teaching there. Dick was a big, softly spoken, shy man who hardly ever spoke about his own work. Hosies Mural was no exception. It was sometime after he died that I discovered he had designed it. I had seen it before I knew this and had always been intrigued by its imposing size (three storeys tall) and its quasi-religious feel (notwithstanding the fact that it was on a pub).
The mural displays the hallmarks of a Dick Beck design: stunning simplicity in form and colour. He stood out from his contemporaries because he could distil a visual concept until only the bare essentials were left. The mural is a quintessential bit of 1950s design where depth is achieved by the playful juxtaposition of cool colours at the back and warm ones at the front. As I stand with my back to Hosies Mural and squint towards Feld Square, I realise that it has taken nearly half a century for some other designer to emulate Dick’s groundbreaking architectural abstraction. Perhaps they were inspired by Hosies Mural?”
In 1969, he was appointed Head of Graphic Design at Prahran Technical College, and remained in this role until 1972. He was also a visiting lecturer at the Royal Melbourne Institute of Technology. Beck’s work is represented in several national and international collections including the Victoria & Albert Museum in London, the London Transport Museum, the Art Gallery of Western Australia and the Art Gallery of Victoria.
Early commercial art and graphic design archives, such as the collection of Richard Beck’s, highlight the breadth, scope and diversity of projects undertaken by designers working in Australia during the 20th century.
The Design Institute of Australia Hall of Fame recognises the achievements of Richard Beck.
Stephen Bennett (Design Management)
Stephen Bennett is the founder of Country Road Clothing Pty Ltd, and has been responsible for the creation and success of the company from its inception in 1974 to its pre-eminent position as a specialty retailer and wholesaler.
He has been directly involved in the fabric selection, development and direction of design elements at Country Road. Stephen has been driven by a quest for Australian authenticity, particularly with the company’s use of cotton, linen and wool.
The past twenty one years has seen the business grow from four people to more than 16,000, and from one shop to sixty two stores in Australia, sixteen in America, three in Singapore, one in Jakarta and Hong Kong. The company’s retailing network receives international acclaim as exponents of a quintessential Australian style.
Michael Bogle (Design Historian)
Michael Bogle is an Australian historian, educator, writer and curator whose expertise is Australian design, architecture and interior architecture. He has been instrumental in documenting and preserving our history and ensuring that it can be appreciated by future generations.
His diverse body of work for a wide range of clients spans research commissions for architecture firms; heritage advice, reports and consultancies; books and journal articles; design copyright research; and cataloguing of architecture and design collections. As supervising curator for Historic Houses Trust of NSW for 13 years, Michael worked across the spectrum of exhibition development, research and writing of publications, supervision of heritage conservation projects, curating, researching, conserving and cataloguing. Among Michael’s more recent projects is a commission to interview and record notable interior designers Australia-wide for the Society of Interior Designers of Australia Foundation Archive Project.
He is a member of the Design & Art Australia Online (DAAO) Editorial Board & the Design and Art Australia Online advisory group and a contributor to The Encyclopedia of Australian Architecture, Cambridge University Press, 2011.
As an educator, Michael’s credentials encompass a PhD from Royal Melbourne Institute of Technology’s School of Architecture and Design with a study of the architect Arthur Baldwinson and Regional Modernism in Sydney 1937-1969; a Master of Liberal Arts in history from Boston University with major work on 20th century Art and Revolution; and postgraduate study in Fine Arts and Decorative Arts, Syracuse University, Syracuse, New York.
He has lectured and tutored at several universities in Australia. Michael is an author of numerous publications on design, furniture, interiors and popular culture, including such works as Design in Australia 1880-1870 (1998); Designing Australia, Readings in the History of Design (2002) and Design In Flight (2009), a study of Marc Newson’s design work for the A380 Airbus.He has also written on design for a wide range of publications including The Sydney Morning Herald, The Age and the design press.
DIA Hall of Fame recognises the achievements of Michael Bogle.
Florence Broadhurst (Fashion & Textile)
Florence Broadhurst is being nominated as she was a female designer her made her way in business in the early C20th century to create wallpaper company that demonstrated innovation. Her impact has been lasting as other designers either use or reinterpret her designs today.
Florence Broadhurst was born in rural Queensland, Australia in 1899. In 1959 Broadhurst had established Australian (Hand Printed) Wallpapers Pty Ltd, ’...she designed, manufactured and marketed locally produced, high-quality, handcrafted wallpapers in luxurious, oversized patterns with vivid combinations of colours, inspired by an eclectic range of sources….Innovations included printing onto metallic surfaces, the development of a washable, vinyl-coating finish and a drying rack system that allowed her wallpapers to be produced in large quantities.’ In 1969, the company Florence Broadhurst Wallpapers Pty Ltd was established.
In recognition of her talent and contribution to the design world, The Powerhouse Museum, Sydney, holds a collection of her work and The Broadhurst collection is distributed now by Signature Prints Pty Ltd. Some of her fabric prints have been reinterpreted by Akira Isogawa, Nicole Zimmermann and other leading Australian fashion designers.
Michael Bryce AM, AE, LFDIA (Graphic)
Michael Bryce AM AE LFDIA from Queensland is an architect and visual communication designer and principal of Minale Bryce Design Strategy.
Michael established an architectural practice in Brisbane and expanded its interests to include graphic and industrial design. In 1977 he was elected the inaugural Queensland President of the then Industrial Design Institute of Australia and National President in 1979.
Michael was Principal Design Advisor of the 2000 Olympic Games in Sydney and currently advises the International Cricket Council.
Michael is Adjunct Professor of Design at the Queensland College of Art (Griffith University) School of Design and Architecture (University of Canberra) and the College of Fine Arts (University of New South Wales).
In 2003 the University of Canberra conferred Michael with the degree of Doctor of the University honoris causa.
In 2006 Michael was made a Member of the Order of Australia (AM) for services as an architect to the development of industrial, graphic and commercial design, reflecting Australian heritage and the environment, to education, and to the community.
Lester Bunbury (Furniture, Interior & Exhibition)
Lester Bunbury ‘Bun’ was a significant figure in the early years of design’s professional development in Australia. A colourful and flamboyant man, he received no formal design education but cut his teeth under the tutelage of Fred Ward in Ward’s Design Unit at Melbourne’s Myer Emporium from 1935 to 1939. His time with Ward was interrupted by WW2, after which he was engaged by the Australian Army in 1947 to travel to Japan to give design lectures and assistance to the British Commonwealth Occupational Forces rebuilding Hiroshima.
Returning to Melbourne, he established his own design practice, ‘Design Technicians’, and employed young architect Kevin Borland. He designed the ‘Herald Atomic Age Exhibition (1948) and the ‘Fashion Fair’ (1950) which attracted a record 40,000 + visitors. Other smaller exhibitions followed, including the Royal Robes travelling exhibition (1954), alongside designing Dining and Lounge suites for Doyle Productions for which he won first and second prize in the Guild of Furniture Manufacturers Design Competition (1953). His return to large-scale projects came with the ‘Chemex’ exhibition (1956), where his geodesic dome was widely praised by Robin Boyd.
Bun designed furniture and interiors for some of the most important public architectural projects of the time, including hospitals for Buchan, Laird and Buchan and the Arbitration Courts with Stephenson & Turner, which later led to the role of in-house designer in 1959 for William Latchford & Sons. When working for CEMAC in the early sixties he relocated to Sydney and worked with the furniture company Framac. Some notable projects of this period were Bankstown Square (1966) Goldfields House (1967) and Australia Square (1968).
Bun also wrote and lectured on design and was an inaugural member of the Society of Designers for Industry (SDI) in 1948. He taught at RMIT, Melbourne University Architecture Atelier, the National School of Design and East Sydney Technical College.
Bun’s contribution to the design profession cannot be underestimated. A contemporary of Ron Rosenfeldt, Grant Featherston and Clement Meadmore, he was described by Robin Boyd as “one of the most spirited industrial designers Australia has produced”. With a practice that encompassed design for furniture, interiors, exhibitions, products and corporate branding, he retired in the late seventies, after a successful career spanning four decades.
Dr Frances Burke (Fashion & Textile)
Frances Mary Burke, MBE (1907-1994) established Burway Prints, Australia’s first registered textile screen printery in 1937 and was an astute businesswoman, dedicated to promoting innovative and distinctly Australian textile design.
Frances Burke studied at the National Gallery School, the George Bell School and Melbourne Technical College, (RMIT). She successfully organised the financial and marketing aspects of her business that showed innovative textiles in vivid daring colours to a public that was hungry for visual stimulus after the war.
She believed that exposure to, and education about design were vital. She sought to educate her clients in the use of appropriate fabrics to create an ambience for the new wave of interior design and architecture generated by such practitioners as Roy Grounds, Frederick Romberg, Robin Boyd, Guildford Bell, Grant Featherston, Clement Meadmore and others.
In 1970 Frances Burke was awarded an MBE for services to design and in 1987 was awarded an Honorary Doctorate by the RMIT Faculty of Art.
Richard Carlson (Industrial)
Richard Carlson is an independent Industrial Design Consultant who has provided Australian manufacturers with over 200 export products. He was awarded the Prince Phillip Prize for Australian Design in 1980 for the design of the Decor Insulated BYO Wine Chiller, which is now on permanent display in the Museum of Modern Art, New York.
The Design Institute of Australia awarded Richard the Inaugural Gold Medal for Industrial Design in 1984.
Sue Carr FDIA (Interior)
Sue Carr FDIA from Victoria is an Interior Designer and is Principal of Carr Design Group.
Sue co-founded the ground breaking architectural and interior design firm Inarc and moved on to work alongside architects Denton Corker Marshall before opening Carr Design. Carr Design has been long recognized for a contemporary aesthetic with a strong focus on detailing and is one of the most respected design firms in the country.
Some of her major interior projects include the Adelaide Hilton, Melbourne’s Westin Hotel, Australian Stock Exchange, Deacons Law Tenancy National Roll Out and Brisbane’s Vision Apartments.
Sue has worked as an Interior Designer, educator and tireless promoter of the design profession and has worked throughout her career to raise the profile of Interior Design as a challenging and significant profession.
She has been a member of the Design Institute for more than twenty years and was made a Fellow in recognition of her outstanding contribution to Interior Design.
Dr. Ken Cato FDIA (Graphic)
Dr. Ken Cato is Chairman of Cato Design Inc. Pty Limited, established in Melbourne in 1970 and now with offices in Sydney, Perth, Tokyo, Jakarta, Singapore, Buenos Aires and Auckland.
Cato Design is the largest design company in the southern hemisphere, with projects ranging from graphic design, product design, fashion /uniform design, interior and environmental design. Cato Design has received numerous Australian and International awards and is extensively represented in exhibitions and galleries throughout the world.
Ken is an Honorary Fellow of the Design Institute of Australia, the Australia Marketing Institute, and a foundation member and former Chairman of the Australian Writers and Art Directors Association. He is International Director of Alliance Graphique Internationale, a member of the American Institute of Graphic Arts, ICOGRADA, Young Presidents’ Organisation, Type Directors Club of New York, Australian Type Directors Club, Industrial Design Council of Australia and the Australian Academy of Design.
David Clark (Interior)
David Clark is one of Australia’s most influential design commentators. As Editor in Chief of Vogue Living Australia for 10 years (2003 – 2012) he helped to define an era in Australian Residential Interior Design. In this role he also nurtured and promoted many Australian designers and reinforced the publication as a globally respected brand.
David holds a Bachelor of Design Studies (Architecture) and a Bachelor of Commerce, both from the University of Queensland. Over 30 years he has worked in the textiles trade, in architecture and interior design, in marketing and communications, publishing and curating. His publishing career began as Design and Deputy Editor of Belle Magazine, then Editor in Chief of Vogue Living. In 2012 he was International Editorial Consultant to Condé Nast for the launch of AD China.
David is sought after for high level input and advice to the Australian interior design industry. He regularly curates installations, promotes and advocates for Australian design and writes articles and authors books on design including the recent Hare+Klein – Texture, Colour, Comfort.
Gary Cleveland (Founder Design Centre of Tasmania)
Gary Cleveland (b 1930), design entrepreneur and one of the major promoters of design in Tasmania, was born in St Louis, Missouri USA. After working as a textile designer in Queensland and Britain, he was appointed as managing director and acting chairman of Kelsall and Kemp in Launceston.
Following the 1970s tariff reductions which led to the decline of Australia’s textile industry, Cleveland founded the Design Centre of Tasmania in Launceston to promote and market the work of the state’s designers. The Centre remains one of the few such private institutions in the world.
Active on many fronts, he was the prime mover in the establishment of ADDIT, an association involving all design fields, founded the Tasmanian Wood Design Collection, which he has arranged to be exhibited around the world, and brought international design figures and conferences to Tasmania.
In 2002 he sold the Design Centre to a trust with the Wood Design Collection as the sole beneficiary. He has received many awards for his services to design, and lives in active retirement in Launceston.
Edwin Codd (Industrial)
Edwin Codd has spent a lifetime crusading to improve the educational and professional standing of architecture and design in Australia.
Edwin is one of Australia’s most noted designers having a career spanning some 35 years.
He commenced private practice in 1968 and consults to both industry and government achieving many major developments in building systems technology and furniture. Products that he designed have received several Australian Design Awards and in 1984 Edwin was awarded the Price Phillip Prize.
As managing director of Codd Stenders in Brisbane, has played a significant role in advancing the profession of architecture, particularly through his position as the inaugural head of the School of Built Environment at the Queensland Institute of Technology. He established the School of Built Environment in 1975 where he reviewed and restructured courses in all building disciplines, as well as introducing 13 new courses. Between 1970 and 1989 Edwin traveled and worked extensively Asia, Europe, the Middle East and USA.
Edwin has held many roles with the profession including a role as a Council Member for the DIA in Queensland and has been named Queensland 2000 Architect of the Year by the Board of Architects of Queensland.
In recognition of his services he was made a Fellow of the Institute in 1989.
Susan Cohn (Jewellery)
Susan’s prolific talent, which nurtured the foundation of Workshop 3000 to encourage alternative ways of creating and producing jewellery forms, has been recognised by the National Gallery of Victoria by the inclusion of her work in its collection.
Her interests expand beyond jewellery into the design of small accessories, costumes, and into industrial design, and the design of all her price tags, labels and cards are evidence of her six years work as a trained graphic artist.
She has exhibited extensively in Australia, East and South East Asia, Japan and Europe. She has won several awards including an Australia Council Fellowship Grant in 1994. She is President of the Board of Craft in Australia and is represented by the Anna Schwartz Gallery.
Major recognition in 1995 was on an international scale, when Susan’s elegant and evocative bowl design was accepted by the renowned Alessi company of Italy for world wide distribution. She is the first Australian to achieve this acclaim.
Chris Connell (Interior & Furniture)
Chris Connell has been in practice for more than 25 years, and in that time has designed some of Melbourne’s most well-loved spaces, including Caffe e Cucina, Il Bacaro, Mr Wolf and Dukes. His projects are known for their simplicity and attention to detail, characteristics that deepen the endurance and longevity of the spaces.
Chris has also worked in furniture design, creating custom pieces for projects, including the Dukes stool, created for Dukes cafe. Some of these custom pieces have subsequently gone into production. His love of furniture design led him, along with partner Raoul Hogg, to start furniture company MAP.
In addition to serving on awards juries, his accolades include the 2016 Eat Drink Design Awards Hall of Fame for Il Bacaro, the 2015 Designer of the Year at Denfair, and the 2014 Interior Design Excellence Awards’ Gold Medal. His Pepe chair has been in the permanent collection at the Museum of Modern Art in New York since 1995.
Jeffery Copolov (Interior)
Jeff was born in Melbourne and graduated with a Fellowship Diploma of Interior Design from RMIT in 1980. After starting his career in the TV industry, he joined Bates Smart in 1983, where he is now the Interior Design Director. In 2013, Jeff was awarded the prestigious Gold Medal by (inside) IDEA for his excellence and extensive achievements and contribution to the design industry. He also won (inside) IDEA’s Designer of the Year in 2010.
With over 30 years experience, he has a classically modern, timeless approach to design and a reputation for producing highly refined, carefully targeted and appropriately economic solutions. He is known for his relentless attention to detail. Regularly working with the architectural teams from a project’s inception, Jeff oversees the entire design process to craft buildings from the inside out.
His broad experience in a wide range of building types, including retail, commercial, hospitality, residential, education, health and science projects promotes a diversity of cross-discipline thought.
With Crown Casino Jeff has taken the lead on the masterplan and design the expansive Crown interiors from hotel to retail to restaurants and commercial facilities.
He has designed and delivered in a committed, highly collaborative approach and to the creation of holistic masterplans and design solutions; Freshwater Place residential and commercial buildings, Crown Metropol, Promenade Hotel and Crown Towers, and more recently the interiors of 35 Spring Street, Melbourne and Royal Children’s Hospital, Melbourne.
He is known for his close knit relationships with clients; their longevity, loyalty and strength, obtained over many years of designing and delivering to meet their requirements.
Jeff is a Fellow of the Design Institute of Australia and has had an active engagement with the Institute over many years.
Aurelio (Ray) Costarella (Fashion)
Aurelio Costarella began his career studying Architecture at Curtin University WA. In 1983, whilst in his second year of Architecture, Aurelio began experimenting with garments. He began selling via underground store CRÈME SODA and soon went into partnership with then owner Kerry Giles.
In 1987 Aurelio opened a new store Chapter 2 and began wholesaling his collection Australia wide.
In 1991 the first Ray Costarella store opened on Perth’s, Bayview Terrace in Claremont and in 1994, Ray Costarella opened in The Strand Arcade Sydney alongside, Jenny Kee, Morrissey Edmiston, Dinosaur Designs.
In 2000 the eponymous brand Aurelio Costarella was launched at Australian Fashion week in Sydney. Guest Editor for Harpers Bazaar, Cate Blanchett naming it the show of the week.
Costarella is known for creating Demi Couture pieces using vintage fabrics and beading sourced from across the globe. Working with layers of silk organza, silk chiffon and silk tulle draped directly on the dressmaker’s dummy, Costarella sees the design process as telling a story. The design approach is an organic one, the garment treated as a blank canvas.
Costarella’s work has been included in the 2007 Powerhouse exhibition ‘Smart Works: Design and the handmade” and a 30 Year Retrospective of his work was held at the WA Museum in 2013. Recently an Aurelio Costarella piece featured in the NGV exhibition, ‘200 years of Australian Fashion’.
Aurelio is a strong supporter of the WA Fashion industry and has mentored many young WA designers. He is an ambassador of LIFELINE, The Telethon Adventurers and supports charities such as StyleAID, Youth Focus, Telethon and Breast Cancer WA.
Aurelio Costarella is represented at his flagship boutique in Perth and David Jones nationally and seen on celebrities and red carpets worldwide.
Dr Stephen Cummings FDIA (Industrial)
Dr Steve Cummings, an industrial designer and fellow of the DIA has held senior appointments for over 30 years in the bathroom product design industry. In 1976 he joined Doulton Australia as chief designer. Directly following this in 1980 he joined Caroma Industries in the position of Research and Development Manager. His long and enduring relationship has seen his design influence across countless products used by millions of people throughout the world. One would be hard pressed to find an Australian who hasn’t encountered a Caroma bathroom product.
Highly respected amongst the Australian industrial design community, Cummings’ work has focused on remarkable design solutions for Australian and global markets. A pioneer in sustainable product design he has passionately worked on the development and design of products which minimise water consumption and associated drainage systems. He is a recognised authority in his field internationally.
Arguably his most iconic achievement in design was the development of the dual flush WC technology launched in 1993. It has been proven to save up to 67% of water usage in most homes and has been internationally recognised as a groundbreaking Australian innovation.
Highly awarded by his peers some other outstanding design projects created by Caroma’s design team under Cummings’ direction include the development and introduction of the 4.5/3 litre Smartflush toilets together with the Cube 0.8 litre urinal, Cube H2Zero waterless urinal (also a finalist in the international INDEX: Award) and most recently the 2011 Australian Design Awards best in category winning Flow shower head.
Cummings’ body of work continues to be admired by many industrial designers including Paul Charlwood, former national director of the DIA commented, "It is a great achievement for a designer to have such a long standing career guiding the design and development of a company’s product range over 30 years. The success of Steve’s work is a shining example of Australian design innovation: beautiful, long lasting, highly innovative and environmentally conscious – something we all strive for."
In 2001, Cummings was conferred with the degree of Doctor of Environmental Design (by research thesis) by the Faulty of Environmental Design at the University of Canberra.
An active member of the design and engineering community he generously devotes his time and extensive knowledge to various Standards Australia Committees, the American Society of Mechanical Engineers (ASME) standard committees and is an associate of the Institute for Sustainable Futures at UTS.
Bryon Cunningham FDIA (Exhibition & Display)
An Industrial Designer specialising in Exhibition and Display Design, Bryon Cunningham has led a distinguished career. From the outset as a fledgling designer in the early 1970s, Bryon was paving the way in his profession. He participated in the first trade mission to China, in addition to working on a range of temporary exhibitions, trade shows and cultural exchange expositions in America, Japan and the Middle East.
Bryon’s extensive associations in the areas of science and conservation are attested by his contributions to significant projects throughout Australia. After establishing Cunningham Martyn Design in 1995, Bryon assumed conceptual lead in projects such as: the Shrine of Remembrance Master Plan and the Immigration Museum (both in Melbourne); Canberra’s CSIRO Discovery Science Centre; the Western Australian Maritime Museum; and the Australian Museum Exhibition Master Plan in Sydney. Further afield in Beijing, he worked on the Ceramic Calligraphy and Bronze Galleries National Capital Museum.
Diversity has continued to underscore more recent projects. Bryon set the creative direction for the Australian Wildlife Rescue Centre at Healesville Sanctuary; a boutique exhibition on the History of the Judiciary, The Sir Harry Gibbs Legal Heritage Centre in Brisbane’s new Supreme Court Building; while at the Mary MacKillop Museum in East Melbourne, he set out the life and beliefs of Australia’s first canonised saint. Bryon’s work on the Treasures Gallery at the National Library of Australia, which opened in October 2011, displays some of the most significant artefacts of Australia’s history such as rare documents, artworks and realia from Captains Cook’s first voyage through to Patrick White’s hand written manuscripts.
The Premier’s Design Award 2008 for Cultural Exhibition Design recognised Bryon’s depiction of Australia’s involvement in the Korean and Vietnam Wars, Iraq and Afghanistan through the Conflicts 1945 to Today Galleries at the Australian War Memorial. A further legacy is due to be unveiled in 2014 – as the redevelopment of the World War One Galleries at the Australian War Memorial Canberra is scheduled for completion.
The profession has been greatly enriched by Bryon’s expertise and willingness to share his vast knowledge - in his capacity as a lecturer in Exhibition Design and Visual Communications for RMIT University, Swinburne University, CSIRO and through active involvement in DIA forums.
Joanne Cys (Interior)
Joanne Cys is one of Australia’s greatest advocates for Design and the Design Industry. She holds a Bachelor of Arts in Interior Design, Master of Architecture and a PhD and is currently Professor and Head of School: Art, Architecture and Design in the Division of Education, Arts and Social Sciences at the University of South Australia.
Joanne’s long association with the Design Institute of Australia includes terms as SA President, National President (2008-2010), Convenor of the Australian Interior Design Awards (2004-) and Chair of the Hall of Fame Committee (2013-2015). She is a Life Fellow and Ambassador of the DIA and Co-chair of the Asia Pacific Space Designers Alliance Australia 2016 Conference Organising Committee. Joanne has also been a Board Member (2011-2014) of the International Federation of Interior Architects/Interior Designers (IFI) and Co-Chair (2011-2014) of the Global Interiors Education Open Forum (GIEOF).
Joanne’s research interests into the disciplinary sociology and directions of interior design practice and continuing professional education for design practitioners led to the development of the DIAs continuing professional development policy and education policy. Her research into design strategy led to the SA Government’s establishment of the Integrated Design Commission (now the Office of Design and Architecture SA). Past senior SA government Minister The Honourable John Hill has stated that Joanne’s work was instrumental and led to changes in the way government considers and managers urban development and planning issues.
In addition to her PhD, Joanne has authored and co-authored many publications on Interior Design and Architecture. She has also contributed extensively to professional design journals and spoken at international and national conferences.
David Davenport LFDIA (Industrial)
David Davenport graduated in Furniture and Interior Design at High Wycombe Institute of Art & Technology, UK 1954. He came to Australia in 1955 and worked with furniture makers, including Fler & Co. before joining Don Johnson Pty Ltd as a designer in1961.
In 1964 he began interior design practice as David Davenport & Associates and had an association with KG Wragg and Michael Knight in Melbourne from 1968 to 1972. His sole practice continued until he joined Richard Campbell to found Davenport Campbell & Partners in 1977, which grew to be one of the largest multi disciplinary practices in Australia and Asia, providing architectural services, facility planning, urban and master planning and interior design through offices in Melbourne, Sydney, Brisbane, Perth, Hong Kong and Singapore.
David was a major influence in establishing design as a profession in Australia and played a large role in creating the Sydney College of the Arts, where he lectured for many years on Professional Practice.
He was admitted as a member to the Industrial Design Institute of Australia in 1960. He served as a NSW State Chapter Treasurer and President in 1965 and in 1969 he was made a Fellow.
From 1970-1972 he served as Federal President of the Institute.
He was responsible for numerous interior design projects, some of which include The Australian Club, The Hilton Hotel Melbourne, The Australian National Press Club and the Menzies at Rialto, Melbourne.
One of his major contributions he has brought to the profession has been his training of young designers and the integrity and standing he has brought to the profession.
Accepting on David’s behalf was his long time friend and partner Richard Campbell.
Brian Davis (Industrial)
Brian Davis established the Australian Decor Corporation in 1958. The company manufactures and sells close to 500 different houseware products, and is an acknowledged leader in its field.
A major contribution to the company’s success is the work of independent designers Tony Wolfenden and Richard Carlson.
Décor products are marketed in 38 countries world wide via direct exports or licensing agreements. From the beginning the company has applied a philosophy of design excellence, with a strong emphasis on research and development. The excellence o f Decor products has been recognised with numerous awards, including more than 250 Australian Design Awards, the Australian Retailers Association Award for Excellence in Manufacturing, the Prince Phillip Prize for Design and several Australian Export Awards.
Arthur de Bono (Industrial & Design Education)
Professor Arthur de Bono is the Deputy Dean and Associate Dean - Graduate Research in the Faculty of Art, Design and Architecture, Monash University. During his 3 decades of service to design education and research, Arthur has held a number of leadership roles across his Faculty, the university and the broader design community.
As the Head of Design, a position he held from 1997 through to 2013, Arthur was responsible for the academic leadership of the teaching and research programs in Industrial Design, Interior Architecture, Communication Design and Multimedia Design. During this time, he curated the development and introduction of a number of new discipline areas and built a national and international reputation for the Department as demonstrated through alumni, student awards and international engagement.
At Monash, Arthur established the Higher Degree by Research programs for the design disciplines, drove change in the faculty’s research capability through his strategy for university and industry engagement and initiated the Master of Industrial Design at Monash’s Suzhou Campus in China.
Arthur has built a highly engaged research culture of partnership, integrating practice-based researchers and HDR candidates. This has resulted in a range of industry-funded Higher Degree by Research scholarships awarded to the Department, investigating issues relating to public transport, ground breaking med-tech initiatives and consumer objects. His grants and awards include 2 prestigious Australia Research Council Grants.
In 2014, Arthur was appointed Deputy Dean in the Faculty of Art, Design and Architecture at Monash University. Also in that year his contribution to design education and research were acknowledged with his induction to the Monash Honour Roll.
His service to the design community includes participation as a jury member on international design competitions. Arthur has also served as a DIA Councillor including a period as Victorian Branch President. His many contributions to the Institute include engagement with the membership through a successful forum series.
Stuart Devlin (Jewellery)
Geelong born Stuart Devlin is an accomplished designer in many fields. He designed the reverses of Australia’s first decimal coins in 1963 (released in 1966), and has since designed coins for more than 30 countries. In 1984 he designed Australia’s one dollar coin often referred to as the ’Mob of Roos’.
In 1965 and 1969 he designed and made maces for the university of Melbourne and LaTrobe University.
In 1975 he designed Australia’s new honours system The Order of Australia and in 1982 a new series of Defence Force Service Awards.
He designed the Sydney 2000 Olympic coin series and the winners’ medals for the Paralympics.
In 1964 he set up in London as a designer goldsmith employing 60 craftsmen at the height of his career. In 1980 H.M. The Queen appointed him a Companion of the Order of St Michael and St George (CMG) for ’Services to Design’. In 1982 he was appointed Goldsmith and Jeweller to H.M. The Queen. In 1988 he was awarded Officer of the Order of Australia (AO). In 1996-97 he became the first creative goldsmith to be Prime Warden of the Goldsmiths’ Company in London since its first Royal Charter in 1327. In 2000 he was awarded an Honorary Doctorate RMIT University Australia for his work in design and education and in 2009 RMIT Alumnus of the year. Also in 2009 he received a Lifetime Achievement Award of the Goldsmiths’ Craft and Design Council, London and in 2011 he was awarded ’Australian of the Year in the U.K.’ by the Australia Day Foundation.
Shirley de Vocht (Textile)
Shirley de Vocht (nee Martin) was an Aboriginal industrial designer based in Sydney who had a long and illustrious career as a post-WWII Australian textile and ceramic designer.
Shirley created the official towel for the 1956 Melbourne Olympic Games and worked in a number of design and manufacturing industries. During her career, Shirley focused on Australian flora and later fauna, creating colourful, intricate designs.
The Museum of Applied Arts and Sciences has a extensive collection of Shirley’s work from 1945-1955 that includes 13 textile designs using poster paint (gouache). The works feature waratahs, wattle, flannel flowers, gum blossoms, Christmas bells, kangaroo paws and daisies.
From 1944 to 1946, Shirley was a young art student attending classes on Fridays and evenings at East Sydney Technical College. During this same period she embarked on one of her very first jobs. She took on the technically challenging role of translating Australian artist Russell Drysdale’s paintings and drawings into multi-coloured designs for screenprinted furnishing fabrics. At the time, she was just 17 and working in the Design Department of Silk and Textile Printers (STP) in Darlinghurst. From 1947 to 1949, Shirley worked as a ceramic designer with Modern Ceramic Products in Redfern, and as a textile designer at Tennyson Textile Mills in Gladesville.
From 1950 to 1951, she worked at Coverings & Co in Mascot, where she produced complex multi-layered designs for jacquard weave furnishing fabrics, including the ‘Roses’ and ‘Poppies’ designs. During this time she married John de Vocht, a photographer with the Dutch Air Force. Throughout her career, she always sought more technically challenging projects and produced many marketable product designs, some incorporating Aboriginal motifs and symbols. Her work was selected for international exhibition and for inclusion in numerous competitions. Shirley de Vocht continued to work as an artist after the 1960s, painting flora and fauna, including endangered species such as the native cat, the quoll and the snowy numbat, onto mass-produced ceramic plates. Shirley passed away in 2003.
Collette Dinnigan AO (Fashion & Textile)
Collette Dinnigan is an Australian based fashion designer who was born in South Africa in 1965, moving to New Zealand to study fashion and textiles before taking up work in Australia in the costume department of the Australian Broadcasting Corporation (ABC). She has had a stellar career, becoming one of Australia’s most successful fashion designers, with her work featured in film and on television, and worn by celebrities and leaders of world fashion alike. Amongst many outstanding achievements, her philanthropic support of women’s health and her contributions to the Australian economy through fashion exports, are of note.
Collette Dinnigan first launched her own range of French-inspired lingerie in 1990 and her designs quickly began to garner international recognition, being purchased by department stores Barneys, Neiman Marcus, Harvey Nichols and Joyce. She opened her own retail stores in Paddington, NSW in 1992 and South Yarra, VIC in 1995. At around this time Colette Dinnigan gained further national and international recognition, winning a series of awards, including the Fashion Innovation Award (Australian Fashion Awards), the Elders Wool Award, Designer of the Year and Innovator of the Year (Australian Fashion Awards).
A third retail store was opened in Chelsea, London and the Victoria & Albert Museum honoured Collette, showcasing her label in their prestigious series of live Fashion in Motion Exhibitions. In 2005 Australia Post issued a postage stamp featuring Collette Dinnigan as part of its Australian Legends series. In 2015 Collette published her first book, ’Obsessive Creative’, and ’Unlaced’, an exhibition of her work opened at the Powerhouse Museum, Sydney.
The induction of Collette Dinnigan into the Design Institute of Australia’s Hall of Fame is a celebration of her achievements and recognition of her significant contributions to Australian design and the national and international fashion industry.
Ken Done FDIA (Hon), AM (Fashion & Textile)
Ken Done of NSW is an artist, designer and graphic artist.
Through painting Ken Done has communicated his passion for Australia and the environment in which he lives as he sees it, and projected it to the world. Adopting the view that art can work on many mediums in addition to canvas, Done’s distinctive and iconic style has emblazoned merchandise, fashion, bags, stationery, home wares, a BMW Artcar through to a series of works developed for the Sydney 2000 Olympic Games.
Done’s signature colourful style and original approach was honed at National Art School in East Sydney 1954- 1959, where he commenced at age 14 and was later complemented by a Bachelor of Design (Hon), Sydney Graphics College. He credits graphic design along with painters such as Van Gogh as influences on his work. He first made his mark as an art director and designer in advertising across New York, London and Sydney, scooping a coveted Cannes Gold Lion award in 1967. Done had always painted at every opportunity and made the transition to full time artist at age 40. After staging his first solo exhibition in 1980 he has now amassed more than 50 one person shows in various locations throughout Australia, Europe, Japan and the USA. A major retrospective, ’Ken Done: the art of design’ was held at the Powerhouse in 1994.
While paintings by Done are held in many collections, he has made art and design accessible to everyday people in everyday realms. Done’s paintings have been the catalyst underscoring his Australian enterprise - Done Art and Design which has in effect promoted Australian art and design to a global audience. In many quarters around the world, Ken Done’s work was considered symbolic of Australia and Australians as creative, optimistic and bold. In Japan, a new and original artwork was featured on the cover of Japanese magazine Hanako each week from the launch issue for over ten years.
The diversity of awards and accolades bestowed on Ken Done, speaks much about the widespread impact of his creativity ranging from Order of Australia (A.M.), for services to Art, Design and Tourism in (1992), The Japanese Foreign Minister’s Award (2007); the Spirit of Australia Award for excellence in the Australian Arts to Westpac Export Heroes Award (1999). Committed to helping others along his journey, Done gained recognition from Rotary International and has held the honorary position of Australian Goodwill Ambassador for UNICEF. The induction of Ken Done to the Design Institute of Australia’s Hall of Fame in 2011 concurs his significant contribution to Australian design.
Edmund Dykes FDIA (Interior)Edmund Dykes of NSW was an interior designer.
Edmund Dykes ASTC (Design), MSIDA, FRAIA, FDIA was regarded as one of Australia’’s first significant Interior Designers/Architects in private practice of the post-War era. His forte was exhibition, commercial furniture and aircraft seating while in the commercial arena Dykes developed projects for office, hotel and retail shop design in addition to commercial interior design.
After graduating from East Sydney Technical College in 1950, Dykes commenced practice with the late Donald Johnston offering interior and industrial design services. Gaining registration as an Architect by the Board of Architects Examination in 1958, Dykes then established the office of Edmund Dykes and Associations, architects and interior designers. For several years, the work of the Practice was largely consumed by commercial interiors with projects taking place in most capital cities in Australia in addition to Hong Kong and New Zealand. Dykes made a point of keeping abreast of global trends and feeding new ideas back into the Australian setting. He undertook five key study tours between 1969-1979 visiting Europe, USA, Canada, Hong Kong, Singapore and Manila. Each assumed a particular focus such as office landscape planning; banking institution planning for communications, document conveying and security; through to work stations and systems. His business expanded in 1979, becoming Edmund Dykes, Coward and Partners.
Noteworthy projects included: Qantas Airways as Dykes, Johnston (1956); Housing Commission of NSW Head office (1958); Public Trust Building (1972); PW Parker Furniture Factory Offices and Showrooms (1973); and National Australia Bank, Collins Street redevelopment in conjunction with Peddle Thorpe and Walker (1978/1982).
Dykes was an active participant in advancing the professions of architecture and interior design. He was elected Associate of the Society of Interior Designers of Australia in 1951 (SIDA) and became a member of the Industrial Design Institute of Australia in 1960, serving six years as State Councillor during the sixties. He was elected Fellow of AIA in 1970 followed by the Industrial Design Institute of Australia in 1971. The induction of Edmund Dykes to the Design Institute of Australia’’s Hall of Fame in 2011 recognises his significant contribution to Australian design.
Gerald Easden (Furniture)
Gerald Easden graduated from Wycombe Technical Institute in Furniture and Interior Design in 1950, and worked in the Drawing Offices of ’Ercol’ & ’Parker Knoll’ from 1950 -1957, less two years National Service in the RAF.
He came to Australia in 1957 and worked in the Design Studio of ’Radio Corporation P/L - Astor. From 1958 -1961 employed as the designer for ’Reliance Furniture P/L, winning 2 Good Design awards from the Victorian Guild of Furniture Manufacturers in 1960. From 1961 - 1962 employed as an Interior Designer in the ’Victorian Public Works Department’, designing furniture and interiors for Government Offices, Courts, Hostels etc. From 1962 - 1963 employed as an Interior Designer in the Design Studio of the ’Commonwealth Department of Works’, designed interiors and furniture for cabins and public spaces of the ’Empress of Australia’ liner, designed furniture for the ’Reserve Bank of Australia, airports in Melbourne and Sydney and Government offices.
In 1963 was appointed Assistant University Designer at ’The Australian National University’ in Canberra, designing furniture and interiors for University buildings, Department of Forestry, Halls of Residence, designing graphics for University publications and catalogues of exhibitions. Part time lecturer in charge of Interior Design at Canberra Tech.
In 1968 in Melbourne, began his own design consultancy in Interior, Furniture, Exhibition and Graphic Design. Designed interiors for retail and duty free stores and interiors and furniture for restaurants, hotels, motels, offices and domestic clients. Designed exhibition stands, domestic and commercial furniture for local companies such as ’Module’, ’Fler’, ’Ausgum’ and ’Aristoc’. Designed graphics for retail stores, stationary for manufacturers and office companies.
Winning over 20 Good Design Awards. Awarded Best of the Best for outdoor furniture in 2002 & 2003 at the Sydney International Furniture Show. Awarded ’Modern Icon’ status of ’Australian Furniture’ by the Australian Furniture Association in 2013.
Elected as an ’Associate’ member of the ’Industrial Design Institute of Australia’ in 1961. Elected as a ’Fellow’ member of the ’Design Institute of Australia’ in 1997. Awarded ’DIA Gold Citation’ from ’Design Institute of Australia’ in 2002.
Ian Edgar FDIA (Industrial)
Industrial Designer Ian Edgar’s contribution to the advancement of Australian design, the design industry and designers throughout his 56-year career has been prolific.
He initially completed a Cadet Automotive Stylist with British Motor Corporation in Sydney (1957-1959), before working at Kriesler in product design of radio, television receivers and a corporate identity program (1959-1962). A substantial 24-years with Philips Industries followed (1962-1986), during which Ian progressed from: Chief Industrial Designer for Philips Consumer Products Group; Assistant to Chief Industrial Designer Philips Industrial Holdings 1972 with a focus on the design of major domestic appliances; and in 1975 his appointment to Group Chief Industrial Designer and Manager of Central Industrial Design Division – with responsibility for management of all Industrial Design activity within Philips Australia Group of companies. Along the journey Ian’s involvement in the Outside Broadcast Van for New Zealand Broadcast Commission set a new standard of comfort and ergonomics. Ian garnered extensive international experience, including a term at the Philips Concern Industrial Design Centre in The Netherlands during the mid ‘70s. In 1986 Ian established Corporate Industrial Design Australia (CIDA), followed by CADABILITY 3D CAD Virtual Design Bureau in 1989 and RIJED PTY Ltd trading as CIDA Design in 1992.
Alongside his professional schedule, Ian has generously given of his time to champion Australian design and designers both internationally and at Government level. He has lectured and written extensively, spoken at the ICSID World Congress and numerous other conferences, forums and the like, served as a delegate to Government and as an Australian Design Award Panel judge. Ian is a former member of the executive Industrial Design Institute of Australia (IDIA now DIA), NSW, SA and Victoria chapters 1968-1985; President Victorian Chapter and Federal Vice President of IDIA 1976-1980; and Vice President Vic Chapter 1980-1982. He is a founding member of the DIA Industrial Design Practitioners Group.
Ian’s innovative thinking is reflected in the various award titles to his credit. These include:
- ABC New Inventor week winner ‘Peg-it’ Tent Tool (2010)
- Australian Design Award, Design of the Year, Billi Purified Boiling and Chilled Drinking Water System (1995)
- Industrial Design Council of Australia – Australia Design and Design Selection Awards.
- Prince Philip Prize – Radioisotope Analysis Unit (1973) and Large Screen Stereo Colour Television Receiver Range (1984).
Hugh Edwards (Graphic)
As a designer Hugh has had an outstanding design career within the advertising industry, and also managing his own practice for many years. His work in Queensland dates back to the design of the corporate identity and mascot Matilda for the 1982 Commonwealth Games, through Expo88 and beyond.
The awards he has received over some forty years of consistent excellence in commercial practice speak for themselves, but it is an educator that he has made an outstanding contribution to the colleges, as well as the design community. This work has included the preparation of course curriculum for QCA. In addition, Hugh has worked tirelessly, and often thanklessly, with BAD Club for many years, and contributed significantly to AGDA. He is in the BAD Half of Fame.
Hugh has always been enormously admired for his selfless approach to his professional life. Within a few months of Hugh’s withdrawal from commercial design practice at Creative Plantation, he produced a painted portrait of former Greens leader Bob Brown. The picture is most complex in design and execution, for as well as the subject, it features over one hundred images of Australian endangered species. Hugh consulted with Bob Brown to receive endorsement of all to be included, and Bob Brown commented on the thoroughness of Hugh’s research and the reference gathered. A mammoth project.
Hugh entered this picture into the Archibald Prize last year . The portrait did not make the final, BUT was hung in the “Salon des Refusés”, at the S H Ervin Gallery, Sydney. An extraordinary piece of creative design achievement, in this case a recognised work of the world of fine art, and completed as his first project away from the commercial arena.
Garry Emery (Graphic)
Garry Emery is design director of Emery Vincent Design, an internationally acclaimed graphic design practice responsible for graphics programs for some of Australia’s most significant and high profile public institutions, corporations and projects.
Garry is highly regarded throughout the design world and has been the recipient of many prestigious international awards, including the Gold Award (1992) and Award for Excellence (1996) from the Tokyo Type Directors’ Club and the Gold and Silver Award from the Biennale of Graphic Design, Brno, Czechoslovakia (1994), two Awards for Excellence from the New York Type Directors’ Club (1996), Honor Award and two Merit Awards from the Society for Environmental Graphic Design, USA.
Garry was the winner of the inaugural Victorian Design Award for Graphic Design in 1996.
He is a member of many Australian and international graphic industry organisations and associations, including the Australian Graphic Design Association and Alliance Graphique Internationale.
Emery Vincent Design was established in 1980 in Melbourne and in 1987 in Sydney.
David Foulkes-Taylor (Interior)
David Foulkes-Taylor was a Designer, Art Connoisseur and Entrepreneur. He was born in Perth in 1929 and studied at Geelong Grammar, where his art teacher Ludwig Hirschfeld-Mack exposed him to the ideas of modern movement in arts, crafts, design and architecture.
Foulkes-Taylor enrolled in Architecture at Perth Technical School in 1947 but then moved to London and studied at the Central School of Arts and Crafts. After graduating, he worked for a furniture firm in the UK and also spent time travelling on the Continent and living in New York. He returned to Australia in 1954 and set up a gallery and business in the Perth suburb of Crawley. Here he displayed modern imported furniture and also designed his own furniture.
His Triangle Gallery opened in 1960 and was a gathering spot for the Perth arts fraternity. He advised on and furnished many projects, having a pervasive influence on the design of the ’new’ Perth of the 1960’s. Following his sudden death in 1966, The WA Institute of Technology (now Curtin University) staged a retrospective of his work in 1982 under the title ’The Foulkes-Taylor Years’. He is remembered as a catalyst for new ideas and an innovative promoter of other Western Australian artists.
Janne Faulkner (Interior)
Janne Faulkner has profoundly influenced many designers over five decades and ultimately the interiors experienced by Australians in everyday life. She founded Nexus Designs in 1967 as the business commenced a 20-year association working with Merchant Builders Interiors in conjunction with leading architects and designers. During this time Janne’s unique approach of using natural materials, and Australian contemporary art and craft and furniture came to the fore, as did forging a strong link between interior and exterior. While there was a ‘70s movement of Australia subscribing to international culture, Janne was driving a movement towards an Australian style.
In the commercial arena, the State Savings Bank of Victoria was the studio’s first of many key clients. Testament to Janne’s foresight was Nexus’ launch of a Product Consultancy Division in 1984 followed by a Graphic Design Division in 1985 to become a truly multi-disciplinary studio. Her company, Nexus, has been sought out by many of Australia’s product manufacturers – to develop product ranges, undertake colour and product audits, forecasts and to develop global trend analysis. Long-term consulting relationships have resulted with companies such as Bluescope Steel, Colorbond®, The Laminex Group and Boral.
A small sample of the diversity of projects undertaken by Nexus include: the refurbishment and new store rollout of 101 stores for Country Road (80s); Interior Design Consultants for the refurbishment of Government House, Canberra (1983); styling of the Commander telephone for Telecom; Interior Designers and art consultants for a New York apartment; modular kitchen system design for Radiant Steel Products; Interior Designers for The Presidents Cup 2011, Melbourne; Graphic Design consultancy to The Australian Ballet; and collaboration with Australian Centre for Contemporary Art (ACCA) NEW010 exhibition.
Janne has several books to her credit – Inside Australian Interiors, Using Australian Colour,The Making of a House and Nexus Living.
She was appointed a member of the Order of Australia for Services to Design and the Arts in 1982 and was named IDEA11 Interior Design Excellence Awards Gold Medal Recipient. Projects by the Nexus team regularly appear on the winning or commended list of esteemed Australian design awards programs.
Forty-six years on, Nexus continues to draw inspiration from architecture, art, landscape, technology, music, literature and history – and Janne remains involved in all design disciplines offered at the practice.
Grant Featherston (Industrial)Grant Featherston (1922-1995) was born in Geelong Victoria. Self-taught, he designed lighting and glass panels before serving in the army from 1940-1944. Returning to Melbourne he produced the first of his famous plywood shell Contour chairs in 1951.
Featherston Contract Interiors furniture showroom opened in 1956, and in 1957 he became a consultant to Aristoc Industries for 13 years. His design partnership with his wife Mary was formed in 1966 and they worked on major projects in the ensuing years, including the Expo 67 Talking Chair and the Numero range for Uniroyal.
Grant was a foundation member of the Society of Designers for Industry, the forerunner to the Design Institute of Australia.
Mary Featherston (nee Curry) was born in Shirley, Surrey England and arrived in Australia in 1953. She trained in Interior Design at RMIT and worked as a designer for Mockridge, Stahle and Mitchell Architects in the mid sixties, until she formed her lifetime partnership with Grant.
Major projects included the furnishing of the National Gallery of Victoria, the Children’s Museum of Victoria and Research into Play/Learning Environments for children.
Mary Featherston (Exhibition & Display)
Mary Featherston (nee Curry) was born in Shirley, Surrey England and arrived in Australia in 1953. She trained in Interior Design at RMIT and worked as a designer for Mockridge, Stahle and Mitchell Architects in the mid sixties, until she formed her lifetime partnership with Grant.
Major projects included the furnishing of the National Gallery of Victoria, the Children’s Museum of Victoria and Research into Play/Learning Environments for children.
Donald Fish (Graphic)
Donald Fish is a graphic designer, illustrator, writer and cartoonist whose career spans 60 years – from 1945 to 2005.
Fish has produced logotypes, packaging, illustrations and TV commercials as well as award-winning Australian poster designs.
In 1951 Fish moved to London where he created posters for clients such as Cadbury’s and National Benzole, and record covers for Decca and Telefunken.
The humour and drama of the European posters Fish found in Paris in the early 50s – particularly the work of Leupin and Savignac – fuelled his passion for the medium. ’The most striking thing was the way they used ideas, because the idea is the lifeblood of a poster – the visual penetrates the eye, but the idea penetrates the mind,’ said Fish.
Upon his return to Australia in 1954, Fish adopted the European-style poster – designing and writing arresting posters for national and international clients including AWA, the Commonwealth Bank, Johnson & Johnson, NSW Tourism, P&O, Peek Freans, Qantas, Resch’s, Schweppes, STC and Tooth’s Beer. 1955–60 saw his work appear in prestigious international design publications such as Graphis and Modern Publicity. At this time, Fish shared a studio with renowned Australian sculptor Robert Klippel, with whom he also collaborated on various industrial and packaging design ventures.
In 1957, Gordon Andrews commissioned Fish to design two large murals for the Australian Department of Trade’s Food Fair in Köln, Germany. Fish and Andrews also formed part of the group of designers and architects who inaugurated the Sydney chapter of the Industrial Design Institute of Australia in 1958.
Shortly after his return to London in 1961, the Australian Treasury invited Fish to submit designs for the new decimal currency of the 1960s, however he reluctantly declined the commission owing to his commitments in the UK.
Back in Australia again in 1964, Fish co-founded the Kaleidoscope, a famously avant-garde antique shop in Sydney’s Woollahra, with wife Victoria and friend Grant Roberts. Its success was confirmed by its choice as the venue for Liza Minnelli’s Sydney-based television show.
By 1970, Fish was Creative Director (Sydney, Melbourne, Adelaide) for the US agency, Compton International, winning a Bronze Lion at the Venice Film Festival for client British Airways with writer, John Flanagan. The same campaign also won a Silver Logie at the Chicago Film Institute in 1974. In 1976, Fish created standout poster campaigns for Harry M Miller’s productions of Jesus Christ Superstar and The Rocky Horror Show. The latter was awarded Poster of the Year by the Outdoor Advertising Association of Australia.
Joining advertising agency Fountain Huie Fish in 1976 as Partner, Fish went on to create an international campaign for TIME magazine in 1981 that utilised its iconic front cover. This was supported by the release of promotional ‘TIME’ watches to media buyers. Other FHF clients included Club Med and Lufthansa German Airlines. Upon the sale of the agency to Clemenger’s in 1987, Fish went on to design for Northwest Airlines (US), Pirelli and Citroën until his retirement in 2005.
Don Fish’s other significant passion is music. He recently created a series of over 100 cartoons based on classical music themes that ran for 10 years in the ABC magazine, 24 Hours. Today he is expanding on this series with a view to publication, along with composing and writing.
He lives in Sydney with his wife of 46 years, Victoria.
Donald Fish joined the Society of Designers for Industry in 1958 along with fellow designer Gordon Andrews. He later became an Associate of the Design Institute of Australia in 1972 and was recognised with a Fellowship in 1990.
Bryon Fitzpatrick (Industrial)
Bryon Fitzpatrick is an internationally renowned educator and designer whose impressive list of accolades during many decades as a practicing designer include European awards for: Movie Camera, Germany and Yugoslavia (1964); Glassware, Belgium (1966); and Portable Radio (for Bang & Olufsen), Denmark (1966) in addition to several Australian Design Awards. His considerable talent for drawing and rendering reportedly earned him the title ’the drawing machine’ from his peers.
Bryon originally studied Design at Queensland Technical College in Brisbane. His academic pursuits since have included: six years as Chair Industrial Design/Transportation Design at the College for Creative Studies in Detroit where the department was recognised as the world’s leading automotive design program; Art Center College of Design California and Art Center College of Design Switzerland as lecturer for nine years collectively; Rhode Island School of Design; Adelaide School of Design and Queensland University of Technology Brisbane as visiting lecturer.
Professionally, Bryon was also founding President of Design Ink Brisbane between 1979-1988 during which he was a featured artist on a nationwide promotional tour for Pantone. As a product designer for Ogle Design in Letchworth, England Bryon’s award winning work spanned automobiles, buses, bicycles, and motorcycles with the BSA Three and Triumph Trident models of particular note. Other roles held in the automobile industry included: Ford Motor Company in both England and Germany; and British Motor Corporation in Sydney.
During his time as chief designer of a large and prominent consultancy, Bernadotte & Bjorn in Copenhagen, Bryon’s work on photographic and cinematic equipment, table, glassware and audio products was awarded three European Gold Medals.
Geoffrey Fitzpatrick LFDIA (Furniture)
Geoff Fitzpatrick epitomizes those design champions who have established design as an essential professional and commercial activity in Australian industry. He has achieved this both by the exercise of his professional skills and by his continuous volunteer involvement.
His advocacy and support of professional design to government, industry and the community have had significant impact on the profession of design in Victoria. His design acumen in the areas of textiles, furnishings, floor coverings, consumer goods and furniture has resulted in great commercial benefit for his employers.
He has been continuously involved with the Design Institute of Australia (DIA), the professional body representing designers, on a state branch and national level since 1986. He has contributed extensively to its organization and programs including high profile events such as the Victorian Design Awards, Designer’s Saturday and Colourways.
He was awarded the status of Fellow (FDIA) in November 1989. On behalf of the DIA he instigated and edited the first thirteen issues of the design publication Artichoke - now a successful commercial publication.
He has been a valuable mentor to the design community though his balanced and diplomatic approach to furthering the interests of design and his comprehensive knowledge of the design environment in Victoria.
Peter Gacesa FDIA (Interior)
Peter Gacesa practiced at the forefront of Interior Decoration and Interior Design in Brisbane and the Sunshine Coast throughout his extensive career. An astute businessman and a talented design professional, Peter’s demonstrated capacity to read and respond to the needs of the marketplace and his clients was cornerstone to the growth of his dual practice.
His entry into the industry evolved from a formative decade-long association with Myer in the furniture department at Brisbane’s Fortitude Valley (1960-1970), during which he was appointed the state buyer for Queensland. Peter subsequently accepted a directorship and management offer of a small retail furniture business in Caloundra on the Sunshine Coast and later, after purchasing the business, he successfully developed and operated it for some 34-years.
During the 70s that involved employing and training a workforce to meet increased demand for professional Interior Decoration services arising from significant population growth in the region. The 80s heralded a new requirement for Interior Design services which Peter addressed with an expanded services offer that included: Interior Design, Interior Decorating, retailing, manufacturing and installations. To ensure his clients received the best finishes possible he also developed a network of trades and professionals. Project work ranged from: involvement in the design, construction and decorating of home unit complexes; design and decoration of homes: and in the commercial arena, work comprised the interior design and decoration of offices, hospitality, resorts and retirement projects.
Peter’s understanding of and respect for Interior Decoration and Interior Design as individual but complimentary disciplines was integral to his modus operandi. His approval to join SIDA in 1987 on the strength of his vast portfolio was testament of his achievements as a professional Interior Decorator and Interior Designer and was again reinforced in 1998 on his acceptance as a DIA member. A Fellow of the DIA, Peter’s interest in the profession has continued beyond his official retirement from practice.
Rae Ganim (Fashion & Textile)
&Rae Ganim graduated from the Gordon Institute of Technology in Geelong in 1974. She joined the central design team of the well-known Australian fashion company Prue Acton Designs Pty Ltd as fabric designer and buyer, before establishing Rae Ganim Designs in 1978 and producing her first fashion collection.
In 1980 Rae was joined in the business by her husband Anthony. They formed an award-winning dynamic team that over the next fourteen years, consolidated the appeal and innovation that became synonymous with Rae Ganim Designs.
The business grew in size and output until it was producing a total of four comprehensive collections a year for both women and children, with wholesaling distribution to 120 boutiques and department stores around the country and overseas. The company’s signature of bold Australian colour and pattern spread to encompass home textiles and product, furnishing fabrics, corporate dress and fine art applications.
Sadly, in 1994, Anthony died of cancer. Rae then chose to diversify the company’s design base and spread a new design influence into previously untried markets.
Today, Rae Ganim Design is a streamlined business successfully operating across a number of complementary and influential areas, with an increasing involvement in interior design, colour consultancy and home product. She is increasingly in demand as a design consultant on a wide range of projects which all have one thing in common, a desire for quality and excellence in interpreting colour and line in an Australian context.
Rae is represented in collections at the National Gallery of Victoria, The State Library of Victoria, The Museum of Victoria, Yulara Tourist Resort, Silvertons Development and the private collection of Mr and Mrs Malcolm Fraser.
Piero Paolo Gesualdi (Interior)
Piero Paolo Gesualdi is a visionary and multi-talented Melbourne designer. He is well known for expanding boundaries across many mediums with his innovative, approach evident in his architecture, fashion, clubs and restaurants, ventures and other projects.
Gesualdi started in the architectural field during the early seventies and, after a sojourn traveling the world, he returned to Melbourne in the mid-seventies and crossed into fashion, establishing the successful Masons retail stores which pioneered importing cutting edge international luxury fashion labels such as Jean-Paul Gautier, Comme des Garcon and Giorgio Armani.
During the late eighties he opened the iconic Melbourne cafes Rosati in Flinders Lane and Pieroni’s in Toorak Road. Gesualdi designed the interiors himself, which were widely featured across local and international interior magazines.
Rosati was sold in 2007 and the new owners developed plans to demolish it and build a 10 storey office building. In 2014 however plans were announced to retain the existing building and to refurbish the interior to its original 1980’s state.
Once of Gesualdi’s more recent projects it the refurbishment of an Army Drill Hall in George Street, Fitzroy into a spectacular showroom for the Textile Design and Importing Company ‘WorldWeave’. The building was featured on the cover of Habitus Magazine and shortlisted for an Australian Interior Design award in 2010. It was generously offered as the venue for the DIA VIC/TAS World Interiors Day celebrations in 2012, coinciding with the launch of a new range of WorldWeave products.
In August 2014, Gesualdi was inducted into the Stonnington Hall of Fame for his contribution to fashion.
He is currently working on a new project, MONDOPIERO – which is a space dedicated to the appreciation and creation of beautiful things.
The Design Institute of Australia Hall of Fame recognises the achievements of Piero Paolo Gesualdi.
Peter Geyer FDIA (Interior)
Peter Geyer is an independent design consultant operating as Peter Geyer-Designer Pty Ltd since October 2008. He founded Geyer Design (later called Geyer Pty Ltd) in 1977 which became Australia’s largest specialist interior design practice. In 2000 he initiated a succession plan enabling the next generation of designers to continue Geyer Pty Ltd without his involvement. He is a graduate of Interior Design and is current Chair of the Course Advisory Committee there.
He has contributed to several committees on Design Education and guest lectured throughout Australia. In 1988 RMIT awarded Peter with its Centenary Medal for outstanding services to the Institution. He has continually advanced the cause of Interior Design as a stand alone profession based on strategic, technical and professional aspects, as well as the important factors of creativity and aesthetics.
Robert Gill FDIA (Industrial)
Robert Gill FDIA has been a member of the DIA since 1967 and is widely acknowledged as a noted graphic artist, author and lecturer.
He began his architectural studies at the Gordon Institute of Technology and continued these studies under tutor CW Box while working in London from 1954-59 for Riley & Glandfield. On his return to Australia he worked for Godfrey & Spowers from 1960-68. While teaching at RMIT and developing new courses at Prahran CAE he also served on the advisory panel for the Victorian Education Department Teachers Seminars.
Robert’s membership of the DIA was in the discipline of furniture design (The VIKING Wall Storage System) but he also practiced in the area of sculpture, interior design and paintings.
He wrote four books published by Thames & Hudson, the best known being ‘Rendering With Pen & Ink’ (1972) which has been the publisher’s largest selling publication and is still available today. Other books include ‘Basic Perspective’, ‘Creative Perspective’, and ‘Basic Renderings’.
Robert was recognised for his contribution to the profession with a DIA Fellowship awarded in 1985, and due to illness was represented on the Hall of Fame evening by his daughter Helen McNabb.
John Gollings (Architectural Photographer)
John Gollings is a photographer specialising in the built environment.
He made his first photographs and received darkroom tuition at age eleven and later studied architecture at the University of Melbourne. His freelance work as an advertising specialist in fashion in the 1960s brought together his interest in photography and the discipline of architecture.
John has dedicated his professional life to perfecting his craft. He is widely admired for his insightful eye and his ability to amplify the subject matter so that the images take on an energy of their own. Not only does he record the architectural outcomes as a design achievement, John captures the essence of the architect’s intent and has contributed to many architect’s success through his imagery.
He has had many books published on architecture, life and art, including the monograph Beautiful Ugly, written by Joe Rollo. He was appointed co-director of Australia’s exhibition at the 2010 Venice Architecture Biennale and has lectured on architecture and advertising photography at Prahran College, Melbourne and Sydney Universities and Philip Institute amongst others.
Gollings twice received the Royal Australian Institute of Architects President’s Award, in 1990 and 1998. In 2004, he was named an Honorary Fellow of the Australian Institute of Architects and in 2008 he was awarded the President’s Prize from the Victorian chapter of the Institute. In 2013, he was awarded the Australian Institute of Architects’ William J. Mitchell International Committee Prize
John Gollings has been appointed a Member of the Order of Australia (AM) for his “significant service to photography through the documentation of iconic architectural landmarks in Australia and the Asia-Pacific region.”
Don Goodwin LFDIA (Graphic)
Don Goodwin began his design career as a student of industrial Chemistry but after one year he joined AWA as an Industrial Designer, where he designed car and mantle radios before moving to a printing and mail order company, where he developed his skills for print and packaging.
From 1961 to 1963 he practiced in the fields of exhibition, display, symbols, packaging and general print before leaving for London to work with the Henrion Design Office prior to joining Conran Design Group. Here he worked for five and a half years for clients such as British Airport Authority, Gillette,Oneida and Macy’s New York.
On returning to Australia in 1969 Don worked with Carl Nielsen to expand the graphic design facility within Nielsen & Associates and remained until 1973 at which time he joined with John Spatchurst at Corporate Graphics before founding his own consultancy, Goodwin Design in 1979.
Some of Don’s most recognized work include the Australian Bicentennial Symbol, the Ink Group logo, BOCM UK corporate identity and the Perisher Valley Hotel imagery. Don’s roles in the Institute have been as Hon Secretary [NSW] 1972-73, President [NSW] 1976-77, Delegate to ICSID Congress Dublin, 1977 and Federal President, 1978-79.
Don was recognised with a Fellowship in 1984 and awarded a Life Fellowship in 1991.
Kjell Grant (Education)
Kjell Grant of Victoria is an industrial designer, architect, artist and educator.
Not only has Kjell Grant made his mark internationally as a designer - he has shown many aspiring Australian designers the pathway. Scotland-born Grant completed a Master in Fine Arts at Stirling University in 1947. He then pursued sculpture at Royal College of Arts in London under Henry Moore and Barbara Hepworth and in 1953 graduated with a Bachelor of Architecture and a Master in Industrial Design from Illinois Institute of Technology in Chicago under the tuition of Mies van der Rohe. Grant attributes his entrepreneurial skills to time spent at the studio of industrial design pioneer Raymond Loewy in New York post study and speaks of the influences of his past teachers on his work as subconscious.
Initially visiting Australia in 1957 for Admiral to design televisions, Grant was to settle and launch Kjell Grant Design in his adopted country in 1959. Grant has developed products for Cartier, Orrefors and Rosenthal, while his Montreal chair design, made by Innerspace Australia (1967) is held in the permanent collection of MOMA New York and Powehouse Museum in Sydney. It was this hands on practice that earned Grant his promotion to the position of Professor of Design in the School of Architecture and Design at RMIT University. He was also instrumental in getting Melbourne Movement, not for profit collective off the ground in 1999. His vision of building an international reputation for Australian design has been achieved in spades after making the inaugural trek to Salone Internazionale del Mobile (Milan Furniture Fair) – with a group of young designers in 2000. Numerous prototypes exhibited at Melbourne Movement events have since entered production and have been sold to consumers via manufacturers such as Moroso, ONA, Zanotta, Schiavello Industries, Ekbe, Alessi and Ikea.
Ann Gyngell (Interior)
Sydney-based interior designer, Ann Gyngell is known for her avant-garde use of colour and innovative design. "Her jewelled interiors have been credited as defining Sydney during the 1960s and 70s" (Vogue Living Sept/Oct10 p189).
Ann has long been committed to industry best practice, becoming a member of the Society of Interior Designers of Australia in 1977. She initially trained at Woollahra Art School during the 50s (1954-56) in water colour, oils, fabric design, sculpture and design and later in Fine Arts and Interior Design at the renowned Inchbald School of Design in London (1973-74). Anne has been described as unwavering “in her love of the happiness that colour can bring” (Vogue Living magazine 2008), a claim corroborated by the Dulux Colour Award she received in 1987.
Before establishing her own practice, Ann Gyngell Interior Design Pty Ltd in 1983, a retail shop and interior design offices in Surry Hills, Ann’s early career influences hark back to interior design roles at: Mary White Interiors at Edgecliff (1956); Dykes, Johnston & Hodge Architects (1957-58); and Marion Hall Best (1958-1961).
As a designer, Ann has made her mark both residentially and commercially. Her work across a diversity of commercial projects has included: Qantas House, George Pattersons, Hyde Park Club (recipient of the House & Garden National Interior Design Award), Tradex Transport, Theiss Toyota, Sydney University Women’s College and Australian Consolidated Press Holdings. Residences of Mr and Mrs Thomas Keneally and the late Sir Frank Packer are among an array of prestigious homes in Ann’s folio.
Many of her projects have been featured in media and in addition Ann’s work as a design columnist, which was published in the Sydney Morning Herald during 1988 did much to raise the profile of the profession.
Marion Hall Best (Interior)
Marion Hall Best (1905-1988), modernist designer was regarded as one of Australia’s most important and influential 20th century interior designers. She was one of the first professionals to practice interior design emerging from the period where interior decoration was provided by department stores and art furnishers of the 1920s into an independent service provided by a practitioner. According to a report published in the Sydney Morning Herald by Alex May, Marion was “the first truly international designer” in Australia.
Dubbo born and initially trained as a nurse, Marion Hall Best’s eye for colour and texture won over. Her attendance at Sydney’s arts and crafts classes in the 1920s - provided a platform for developing contacts, which transpired into a series of private commissions. After completing first-year architecture at the University of Sydney in 1938, Marion undertook a New-York based correspondence course in interior decoration.
Other examples of her entrepreneurial spirit and eye for good design were evident in Marion’s establishment of Marion Best fabrics in the late 1930s. She sourced and stocked furniture by Gordon Andrews, Clement Meadmore, and Roger McLay along with printed textiles by Frances Burke and Douglas Annand and prominent international brands. Evidence of Marion’s ability to resonate with her clients was the store’s longevity, remaining in business through to 1974. She also opened a small shop in Sydney’s Rowe Street – where the precinct’s arts and craft leaning provided a source of inspiration for the local design profession. Marion Hall Best who is commemorated on the State Heritage Register with her Regent Theatre foyer design in Wollongong (1957), was a founding member of the Society of Interior Designers of Australia. Her impactful interior work was often a topic of conversation.
Meryl Hare FDIA (Interior)
Meryl Hare is the Managing Director of award winning interior design practice Hare & Klein, which she established in 1998.
Meryl was born in Johannesburg and trained in Durban, South Africa in Graphic Design. She worked as a Graphic Designer in Natal and then in a role of Marketing Management [for which she had also trained] for Barclay’s Bank in Johannesburg, following which she spent ten years as managing director of Gallery Interiors, before coming to Australia.
She was a full professional member of the South African Guild of Interior Designers and served as a National Councillor from 1986 to 1988. In Australia she was a full member of SIDA from 1989 to 1998, serving on the national Executive from 1990 to 1993, then as vice President from 1993 to 1995 before becoming President from 1996 to 1998. Meryl joined the DIA in 1989 and was a National Councillor from 1998 to 2000. She is a current Member, since 1998, of the Past President’s Board, and has served as President of the SIDA Foundation.
Meryl has contributed enormously to the practice and reputation of Interior Design and has regularly won awards at a National level and she is highly regarded by her fellow professionals. Meryl played a pivotal role in the amalgamation of the SIDA and the DIA.
She was awarded a Fellowship in 2001.
Babette Hayes OAM (Interior)
As an early member of the Australian interior design profession and an active member of SIDA, NSW, Hayes has written and/or edited a number of important books/ journals such as "Australian Style" (1968).
Born of French parents, Babette Hayes completed her education in England specialising in interior and mural design. She started styling interiors for Ideal Home Magazine, Good House Keeping, English House & Garden as well as writing cookery columns for Queen Magazine and the Telegraph in London before coming to Australia in the mid ’60s.
Hayes became one of Australia’s first Design Stylists at a time when the magazine scene was changing. She soon became a household name in the world of design as Design Stylist for Australian Home Journal, then Design Consultant for Belle for a decade, at the same time Interior Design Editor for Womens Weekly. She also ran a busy interior design studio and produced 14 books on design and interior decoration and cooking, another passion. She was Cookery Editor for Australian House & Garden for several years.
After a sojourn back in London in the late 80’s, Hayes retuned to Sydney, continuing with her private design work, styling and writing freelance for Vogue Living, Belle, House & Garden, Domain Home in the Sydney Morning Herald, also lecturing and holding courses in New Zealand, USA, UK, The Netherlands and Australia.
Hayes was an early and active member of SIDA, NSW and later the Design Institute of Australia. She was awarded the Order of Australia Medal (OAM) in June 2014 in recognition of her service to interior design and writing.
She inspires others to find meaning through creative expression and sees the home as an opportunity to create beautiful living, inspiring and healing spaces, where living, cooking and enjoying meals and celebrations with friends and family is an opportunity to explore its many facets.
Edward Healy LFDIA (Industrial)
Edward John Healy [Ted] has been a member of the Institute since 1958 and has served in many capacities from Council Member to Chapter President to Federal Vice President. Ted was a Foundation member of the Institute  and one of the signatories to the Articles and Memorandum.
Ted graduated in Industrial Design with an Associate Diploma from RMIT and was a Designer with A.G.Healing Ltd from 1949 -1959. Following this he was with Crown Crystal Glass 1959-62, Email Ltd, 1962 63, Chhief Designer at A.G. Healing Ltd, 1963-68. He was a practicing Private Consultant from 1971 for many years and his principle client was Pye Industries Ltd.
His history with the Institute saw him serve as Treasurer of the Victorian Chapter 1958-59, Committee Members NSW over various years, Vice President NSW Chapter 1971-72-73, President NSW Chapter 1973-74 and Federal Councilor 1972-73-74.
His great belief in design has been conveyed through his professional practice as an Industrial Designer and as a teacher in Design Education.
He is one of the few practicing designer who have made a significant contribution to design education by consistently teaching while practicing throughout his professional working life. As such he was awarded a Fellowship in 1974 and subsequently a Life Fellowship in 1991.
Emeritus Professor Thomas Heath (Education)
During his employment at Queensland University of Technology (QUT) from 1979 Emeritus Professor Heath contributed to the education of design practitioners and design academics. Prior to becoming an academic, Tom was the director of a leading architectural firm based in Sydney, Australia.
He was highly respected both nationally and internationally for his knowledge and expertise in the areas of design theory and design research. In association he was an active member of professional bodies such as the RAIA and EDRA. During his career he published numerous articles and papers across a breadth of aspects pertaining to design as well as books on design methodology.
Emeritus Professor Heath was the Dean of the Faculty of Built Environment until 1991, and on his retirement in 1995, was appointed as Emeritus Professor at QUT.
His significance was tangibly recognised within the University when he passed away in 1998. through the establishment of the Tom Heath Gallery within the QUT Art Museum.
During his working life and to today his influence on the design community is extensive.
Rolf Heins LFDIA (Interior)
Rolf joined the Design Institute as an Associate in 1979.
Hi personal career in Interior Design spans 27 year period and encompassed his employment, first as a student of architecture in the then firm Jenkins and Maclurcan Architects in Castlecrag, N.S.W., followed by a period in retail Interior Design with Artes Studios, before taking up the position of Head of the Design Unit of Sabemo Building Contractors, concerned with the developments of interiors for the company’s Design and Construct clients, (Fiat Australia, Olivetti, Flotta Lauro). This period included a consultancy commission by subsidiary furniture and fitmates for a number of government contracts such as, The Reserve Bank, Martin Place, Sydney and the Atomic Energy Commission, Lucas Heights, N.S.W., in association with John Anderson and Associates (consultants) and John Lacombe (Staff Designer).
Set up in a private practice an 1968 as Unicum Design. Early work mainly in residential area.
Since 1975 the practice expanded into corporate, commercial, exhibition and retail design (without abandoning its residential work). Its client profile includes C.S.R. limited, The Transfield Corporation, The Australian Gas Light Company and the Australian Corporation Projects.
His work for the DIA began when he served as N.S.W. State Chapter Secretary and Councillor from 1981 to 1986. He then served as Hon. Federal Secretary/Treasurer and then was elected federal President at the Federal Council Meeting of November 15-16, 1986 in Adelaide, South Australia.
In recognition of his contribution to the profession Rolf was awarded a Fellowship in 1986, and then in further recognition of his service to the National Council he was awarded a Life Fellowship in 1991. as N.S.W. State Chapter Secretary and Councillor for the preceding years since 1981.
Richard Henderson MDIA (Graphic)
A leading Australian graphic designer, Richard Henderson has contributed to the evolution of Australia’s visual culture over his 30-year career. In 2003, Richard established R-Co, a brand identity, image and internet solutions consultancy, where he is CEO and creative director. Richard has developed a diverse range of brand image projects for the retail, corporate, environmental and government sectors. His experience includes image identity work for Telstra, BHP Billiton, Australian Super, Crown, ANZ Bank, FoodWorks, Mitsubishi, Orica, Tennis Australia, Golf Australia, Hayman and the Melbourne Cricket Ground. In 2003, Richard was appointed visual identity consultant for the Melbourne 2006 Commonwealth Games.
Richard is also a visiting design professor at Chinese universities Southern Yangste University Wuxi and the Academy of Design Guangzhou. Richard has written two books on design including The Value of Creativity and Identity. He is a regular presenter at design conferences and business seminars.
Richard Henderson is the recipient of many awards including the Apple Master Award in 2000 and the 2007 Monash University Distinguished Alumni Award.
Gerard Herbst (Education)
Born in Dresden, Germany in 1911 Gerard attended Realschule Teachers Seminar College and then obtained Diploma Industrie & Handelskammer ID Textil Design, completing his studies in 1995.
Fleeing Nazi Germany in 1939, Gerard served with the Australian Military Services from 1939-1945. His manuscripts of this service with the Labour Battalion at Albury were accessioned into the Australian War Memorial Private Records Collection in 1995.
At the end of the war Gerard took job as an art director at Prestige Limited in Melbourne. In the Prestige Fabrics Design Studio Gerard was involved in the development of designs and printing manufacture that would revolutionise the look of Australian fabrics and fashion.
Whilst working at Prestige, Gerard conducted evening classes at the Melbourne Technical College School of Art from 1951. In 1955 he left Prestige and began part time teaching at Melbourne Technical College, later to become RMIT.
In 1960 he was appointed Principal Lecturer at RMIT Department of Industrial Design.
Upon his retirement in 1976, students of Gerard Herbst reflected on his contribution to the Department of Design. He was described as a teacher and mentor who "fought apathy, ignorance and reaction with great courage, dedication and extraordinary energy".
From 1969 Gerard was listed on the regular schedule of guest lecturers at the Pratt Institute in New York. He received the L’ordre Du ’Merite Culturel’ Warsaw in 1986 and was awarded the RMIT Centenary Medallion in 1987. A prolific writer, Gerard has also been responsible for the formation of a collection of over 2000 posters, representing a selection of design from the last 40 years.
The collection provides an overview of contemporary poster design practice in Europe with a smaller amount of material from the USA, Japan, Asia and Australia. This collection was given to The University of Melbourne in 1996.
The list of Gerard’s accomplishments continues: he has written articles, contributed to international exhibitions, served on the Standing Committee for Visual Communication at the University of Melbourne, received local and international film awards for a documentary on the Australian Textile Industry and conducted international lecture tours in Mexico, Chicago, L.A. and Florence.
Dr Tom Hewitt MDIA (Exhibition & Display)
Tom’s impressive list of completed works include the International Antarctic Centre in New Zealand, Bradman Museum, Bowral NSW, Old Commissariat Stores, Brisbane, Gold of the Pharaohs traveling exhibition, Sandakan Memorial Park, Malaysia, Wadlata Outback Centre, Port Augusta, Gallipoli Gallery, Australian War Memorial, Hermannsburg Historic Site, NT, Hellfire Pass Museum, Thailand, Wellington Museum City and Sea, New Zealand, Al Shaqab Museum, Doha, and the Pylon Lookout and Museum, Sydney Harbour Bridge to mention just a few. His Doctoral thesis, entitled ‘The role of design in the development of museum exhibitions’ was awarded in 2016.
Michael Hirst (Furniture)
“Michael Hirst designed and manufactured a range of stylish furniture pieces, including tables, chairs and bookcases, throughout a notable but until now under recognised career. He was also commissioned to design one off pieces for clients of well know contemporary furniture outlets, including Andersons and Georges in Melbourne, and the interior designer Marion Hall Best in Sydney. His designs were sold across Australia through leading contemporary home stores of the day and advertised in major journals in the 1950’s and 1960’s.” wrote Peter Atkins, contemporary artist and Meadmore collector.
Hirst was born on January 3, 1917 in Amersham, Buckingham, UK and migrated to Australia in 1923. He was educated at Melbourne Grammar and after a couple of years overseas, 1951-3 went on to self-train in design. Following his return from a visit to London in the 1950’s and after a brief period of employment with Bambra Cabinets in Melbourne, he set up a manufacturing enterprise in East Hawthorn and largely performed all the tasks required to produce items of furniture. At this time he met and collaborated with Clement Meadmore, and commenced a life long friendship. Together they produced the Meadmore Principle Coffee Table and the DC 601A Chair (National Gallery of Victoria)
Hirst was an excellent example of a self trained but passionate furniture designer whose reach and influence was significant. “I was never in the biggest league like Meadmore and Featherston. I’d never been a good promoter of myself….perhaps I should have but I didn’t.” Michael Hirst.
Hirst’s furniture is recognised in a number of collections in Australia today.
Derek Hooper LFDIA (Exhibition & Display)
Derek Hooper graduated from the RMIT Industrial Design Course in 1954.
From 1955, with the exception of 12 months during which time he worked for Peter Hutchinson & Associates, he has worked as a consultant on the areas of Exhibition Design and Product Development.
In the Exhibition Field he has designed exhibits for the Department of Trade in over fourteen countries. Clients in this field have included Fibremakers, ICI, Containers, the Australian Dairy Produce Board and the Department of External Territories, to mention but a few. His major clients included Mercedes Benz, and he designed many major projects including the Stockman’s Hall of Fame, Great Barrier Reef Aquarium, Townsville, ANZ Banking Museum, Museum Victoria’s Exhibition The Jews of Carlton and the Sydney Opera House Retail Shop.
Derek was also active in product development and worked on retainer with Dow Chemical Australia and developed products for Currie & Richards, Bramac Plastalon and Radio Corporation.
Derek contributed strongly to education and developed the Swinburne Industrial Design Course where he was Lecturer in Charge.
He joined the DIA in 1956 and was an active council member for eight years and was Vice President for several terms and was Chair of the Professional Practice Function Board. In 1974 he was elected as Federal President and served in this role until 1978.
A highly significant project for Derek was his work for the Koori Heritage Trust in designing the Koori Cultural Centre in Melbourne. The Centre contains a Library, Retail Space, Exhibition Centre and an Interpretive Centre, and it provides a significant resource for indigenous elders to educate their children in their culture and history.
Derek was recognised with a Fellowship in 1970 and was awarded a Life Fellowship in 1991.
Ian Howard (Industrial)
“Ian Howard is one of the true pioneers of the Australian furniture industry, with the insight and courage to collaborate with great designers and master craftsmen to achieve outstanding international acclaim.” - Patrizia Torelli, CEO, Australian Furniture Association.
Ian was the founder and CEO of Aristoc Industries Pty Ltd, the legendary manufacturer of Australian furniture, and a driving force behind Australian design and manufacture. He was to appoint Grant Featherston as the company’s Chief Design Consultant in 1957, and Aristoc was to be the first Australian company to employ an Industrial Designer. After producing a successful series of furniture products including theatre seating, Mitzi, Arabesque, Lido, Squareline and Dilma, Aristoc went on to design and supply the famed Talking Chair in 1967, which was the centrepiece of the 1967 Montreal Expo. Ian was also to take a director’s role in the Industrial Design Council of Australia.
The following years saw the production under licence of furniture designed by Charles Eames, George Nelson and Fritz Hahene for Herman Miller and Wilkhahn and for the company to go forward in 1984, to become Co Design, one of the major contract furniture companies in Australia.
Ian was recognised in 2014 by the Australian Furniture Association and awarded the inaugural Australian Furniture Master of the Year Award.
Linda Jackson (Textile & Fashion)
For more than 40 years of practice, Linda Jackson played a fundamental role in the development of a distinctly Australian approach to fashion design. Working as an artist outside the conventional fashion marketplace, she devised unique forms of clothing that evolved beyond the sphere of seasonal trends; defying the limits of Western fashion by drawing on an eclectic mix of influences from India, Africa, Asia and Australia.
Linda was born in Beaumaris, Melbourne in 1950. She studied dressmaking design at the Emily McPherson College in Melbourne, now part of RMIT, but left to work in a bridal salon. She then studied photography for one year before heading overseas in 1966 to Europe via Asia and the Pacific. During her years overseas she was able to learn textile traditions from Papua New Guinea to Paris.
On her return, she met Jenny Kee and began to sell dresses and prints inspired by local flora such as Sturt’s desert pea, waratahs and banksias, through Kee’s Flamingo Park boutique in Sydney. During this time she also collaborated with artists Bruce Goold, Deborah Leser and David McDiarmid to paint and batik motifs of local flora onto her silk taffeta, organza and chiffon gowns.
Her partnership with Kee continued until 1981, when Jackson started two new labels, Bush Couture and Bush Kids. In 1982 she began a partnership with Aboriginal women on Utopia Station in the Northern Territory to create clothes decorated with batik patterns inspired by local colours, plants and animals.
After closing Bush Couture in 1991, Jackson began to focus on interior and accessories design projects. Highlights have included a limited edition silk scarf design for the Australia Day Council in 1992 ad producing a rug for the Australian Embassy in Paris. She is also interested in industrial and product design, painting and writing.
Linda Jackson has been recognised in several survey exhibitions and publications relating to Australian Fashion and textiles, including a solo show at NGV Australia in 2012. She continues to collaborate with leading fashion and textile designers including Romance was Born.
Hirst’s furniture is recognised in a number of collections in Australia today.
Jenny Kee (Fashion & Textile)
Jenny Kee is an internationally acclaimed designer of fabrics, rugs and fashion and an artist who has been a trailblazer in introducing an Australian style to fashion design. Her eye for colour, art and design has embraced many mediums - from rugs, swimwear, jumpers, scarfs, fabrics, uniforms, ceramic murals and paintings. Bondi born, Jenny drew on Australian references that instilled a sense of national pride and identity. During the 70s she designed the first Australian fabric in Aboriginal themes, the first Australian themed knitwear designs and opened Flamingo Park Salon in Sydney’s Strand Arcade. Another first and a sign of Jenny’s enduring appeal several decades on was the launch of Jenny Kee as the first designer for Target homewares in 2008.
Today her fabrics and designs are part of the history of Australian fashion design. Jenny Kee jumpers became a fashion icon and drew attention to the idea of handcrafted design using Australian wool product as the material.
Commissions during Jenny’s illustrious career have included: uniform fabric designs for the Australian Bicentenary; costumes for the Opening Ceremony of the Sydney 2000 Olympic Games; and rug collections.
Jenny’s designs have featured in Italian Vogue and have been exhibited at the Art Gallery of NSW, the Australian National Gallery, Sydney’s Powerhouse Museum, London’s Victoria and Albert Museum and the Marimura Museum in Tokyo. Exhibitions of Jenny’s work continue to resonate with audiences.
As a respected member of the design, arts and cultural communities, Jenny was a contributor to the Australian Government Cultural Policy (1994). She was made a Life Fellow of the Powerhouse Museum in 2003 and in 2013 she was named winner of the Prix de Marie Claire Special Achievement Award and the Australian Fashion Laureate Award.
DIA Hall of Fame recognises the achievements of Jenny Kee.
Ian Kidd (Graphic)
Ian Kidd began his career in advertising.
During two years with Clem Taylor, Ian worked as a Junior Account Executive but created most of his own layouts and used the studio only for finished artwork. Graphic Design as we know it, was not being practiced. Aged twenty one he settled in London and was engaged by the large Polytechnic organisation to design brochures for their travel division.
A brief sojourn with Ottawa’s only advertising agency led to an appointment with the largest privately owned property developer in Canada, and for six years Ian was house designer of the corporation’s advertising, brochures, corporate identity and just about everything else. He worked closely with architects, engineers, builders, planners, marketing consultants and management at every level.
When he finally chose to return to Australia, he had a sound working knowledge of graphic design, particularly in relation to these disciplines. In 1968, with three major design awards from the USA for marketing commercial and domestic property, the first won by a Canadian company, he returned to Australia.
Ian was a founding member of the Adelaide Art Directors Club and is a past committee member.
George Kràl (Interior)
George Peter Kràl (1928-1978) was a passionate and influential graphic designer and interior designer during the 1960s and 70s in Melbourne.
Born in Prague, Czechoslovakia, George’s vocational school training underscored a career start as an advertising draftsman. He immigrated to Australia in the early 50s, becoming an Australian citizen in 1959.
George practiced as a consultant designer through to his passing in 1978, entering a number of creative partnerships along the way. He actively participated within the Society of Designers for Industry (SDI) and was thoroughly immersed in Melbourne’s lively design community. George’s first documented work is thought to have been a window display for John Browning opticians.
Known for his meticulous attention to detail, his design aesthetic was described in the RMIT Design Archives Journal (Vol 3 No2 2013), as a “combination of minimalist spatial design with rich textured surfaces.” George Kral’s retail interiors were “particularly admired” in the way he approached the display of luxury products by creating a “pared back” setting with a focus on the objects, while his use of lighting was lauded as being “well in advance of its time.”
A diversity of projects unfolded during the 50s including: furniture design; showroom and motor show displays for Volkswagen; interior design for several homewares shops and hospitality venues such as - La Caprice Restaurant in Collins Street Melbourne (comprising interiors, furniture and lighting), Esquire Restaurant in Canberra and interiors for the iconic Southern Cross Hotel. Exhibition designs were another prominent feature within his body of work as were the commissioned designs by the Department of Trade for several world expos namely Osaka Japan and Montreal in Canada. In addition, it was George’s graphic design output that was would be later recognised by a posthumous Penpoint Hall of Fame award from AGDA in 1998.
Gallery A in Flinders Lane (1959 through to approximately 1964) was a particularly formative time spent with design colleagues and friends, Max Hutchinson, Clement Meadmore and Bernard Joyce. George was director of design at the Gallery’s expanded South Yarra premises - ahead of the firm’s shift to Sydney – coordinating interior designers, graphic designers, furniture designers and architects. In another collaboration: George, Derek Hooper and Bernard Joyce formed a design group within Bogle & Banfield Architects. He also taught Interior Design briefly at RMIT during 1961.
During the mid 60s and 70s (1964-1977), George practiced from various studios providing design services to: Stewart’s Jewellers, Visy Board, Auski, Trevor West Menswear along with completing a bar project at Tullamarine Airport.
David Lancashire (Graphic)
Born in the United Kingdom David Lancashire studied fine art before settling in Australia. After working in advertising and design he set up his own practice in 1976. David’s experience encompasses a wide range of design disciplines including exhibition and environmental design, corporate identity programs, packaging, and publication design.
His client’s have included Dulux, BHP, Australian Airlines, Air New Zealand, Berri Estates, Kraft, Sportsgirl, Oberoi Hotels, Mitre 10, McPhee Gribble Publishers, Penguin Books, National Parks and Wildlife (Victoria), the Australian Nature Conservation Agency, the Melbourne Museum and the Koorie Heritage Trust.
David has directed work on two projects for the ANCA in Kakadu National Park, namely the Bowali Visitor Centre and the Warradjan Aboriginal Cultural Centre. He directed the interpretive and graphic elements for the World of Platypus display at Healesville Sanctuary, Victoria’s Open Range Zoo and the Galeena Beek Living Cultural Centre.
His work has been recognised with many awards and has appeared in numerous Australian and international graphic design publications. David’s standing in the design community is reflected by his membership of Alliance Graphique Internationale.
A former Victorian President of the Australian Graphic Design Association and President of the Melbourne Art Directors Club, David has served as a judge on many award committees and was a member of the Advisory Committee for the RMIT Photography Department, the Advisory Board of Australia Post, and the Graphic Design Advisory Committee for Phillip Institute of Technology.
In 1998 his company merged with Steve Blenheim Design to form Lancashire Blenheim Design where he is Design Director. He is currently Design Director for the Aboriginal Centre at the new Museum of Victoria’s Melbourne Museum and the Aboriginal Visitor Centre in Karijini National Park, Western Australia.
William Le Lievre FDIA (Interior)
William and Keera Le Lievre have enjoyed a successful business partnership in Interior Design and have actively supported the design industry and the arts for almost three decades.
Now retired, the couple formed the business partnership William Le Lievre of Melbourne after their marriage in 1956. The following year they added a retail showroom to their design studio which had opened in Armadale in 1955.
In 1969 they formed the company William Le Lievre Interiors Pty Ltd with an expanded studio and showroom. By 1972 they had moved to a larger premises and incorporated the Le Lievre Centre for Designers, Artist and Craftsmen. William and Keera closed the showroom in 1984 and worked from their home studio until they retired.
Commercial projects included companies such as CIVIL, Dunlop, Tioxide, Repco, Shell, Hungerfords and Pioneer Concrete. Both William and Keera were graduates of the first diploma of Interior Design at Royal Melbourne Institute of Technology established by Frederick Stern in 1946.
Keera Le Lievre FDIA (Interior)
William and Keera Le Lievre have enjoyed a successful business partnership in Interior Design and have actively supported the design industry and the arts for almost three decades.
Now retired, the couple formed the business partnership William Le Lievre of Melbourne after their marriage in 1956. The following year they added a retail showroom to their design studio which had opened in Armadale in 1955.
In 1969 they formed the company William Le Lievre Interiors Pty Ltd with an expanded studio and showroom. By 1972 they had moved to a larger premises and incorporated the Le Lievre Centre for Designers, Artist and Craftsmen. William and Keera closed the showroom in 1984 and worked from their home studio until they retired.
Commercial projects included companies such as CIVIL, Dunlop, Tioxide, Repco, Shell, Hungerfords and Pioneer Concrete. Both William and Keera were graduates of the first diploma of Interior Design at Royal Melbourne Institute of Technology established by Frederick Stern in 1946.
Madeline Lester AM, LFDIA (Interior)
Madeline Lester LFDIA from New South Wales is an Interior Designer and Design Manager and Principal of Madeline Lester Design Management.
Madeline has made an exceptional contribution to the design profession in Australia, to academia and to design at an international level.
As a founding partner of Interni, a well recognized and respected Interior Design Practice and now managing Director of Madeline Lester Design Management, Madeline has worked at the top level of her profession for many years.
During this time she has also undertaken the role of New South Wales State President of the Institute (several times) and was National President during a significant period of change for the DIA. She was the Director and Chair of the highly acclaimed Sydney Design 99, an international conference sometimes referred to as the Design Olympics. On the academic side she has lectured at KvB College, UTS School of Design and is Adjunct Professor of Design at the University of NSW.
Madeline has been a member of the Institute for more than 20 years and has been made a Life Fellow in recognition of her personal contributions.
Madeline has worked tirelessly on numerous committees, councils and boards to professionally represent the profession of design and currently she is the President of IFI, the International body that represents Interior Designers globally. This is a significant role and the first time it has been held by an Australian.
Khai Liew (Furniture)
Khai Liew arrived in Adelaide in 1971. His early pragmatism serendipitously led to a decades-long championing of Australian colonial furniture as an important component of our material culture. Liew has curated many significant private collections and provided expert material in several books and articles on the subject. Public collections in state and national art institutions now showcase numerous definitive examples of Australian pioneer vernacular furniture and objects provided and conserved by Liew.
Drawing on his cultural heritage and his experience and knowledge as a specialist conservator, Liew also designs furniture informed by the old and the new, the regional and the international. His works are synonymous with being beautifully crafted and always of their time and place. The production of limited editions and one off furniture commissions takes place in Liew’s Adelaide workshop, founded in 1996. The studio has also been an important training ground for the numerous emerging and experienced craftsmen who produce his work.
Liew’s designs and works have been widely published in many languages and collected both nationally and internationally. He has exhibited at the Victoria and Albert Museum London, The Design Museum London and the Triannale Di Milano Italy. His work is represented in the permanent collections of the National Gallery of Australia, The Powerhouse Museum Sydney, The Art Gallery of Western Australia, The Samstag Museum Adelaide, Admiralty House Sydney and the Art Gallery of South Australia.
Liew is adjunct professor, School of Art, Architecture and Design, University of South Australia, Fellow of the Design Institute of Australia and in 2011 was awarded the South Australian of the year for the Arts Award for his important contribution to the state.
Margaret Lord (Interior)
Margaret Lord (deceased 1975) was a pioneer in interior design in Australia.
Born in Warrnambool in regional Victoria, Margaret studied art at Swinburne University for three years and continued to hone her skills under guidance from artists after graduation. She travelled to London and further afield on a quest for further knowledge in 1936 and undertook further study at the Central School of Art. She gained a position at Reens Arta interior decorating firm in London - fulfilling her aspiration to break into design. Margaret also taught at the prestigious Arnold School of Interior Decoration until the onset of the war.
Returning to Australia she was actively involved in the development of interior design between 1940 and 1960 and was sought after in print, on radio and in practice for her new ideas and talents. Margaret was a regular contributor to The Australian Home Beautiful(1940-1943) and she also authored three books: Interior Decoration A Guide to Furnishing the Australian Home (1944), A Decorator’s World: living with art and international design, Sydney1960, and Interior Decoration in Practice, Sydney 1971. An inspiration to many, she was a regular voice on radio broadcasts.
Margaret was particularly recognised for her use of colour in the industry and was at one stage colour consultant for paint manufacturer, Lewis Berger and Sons Pty Ltd. Her considerable legacy in modern design also included the design of interiors across a broad spectrum including: Sydney University Union, Shell Carrington Street building, Johnston and Johnston factory Botany, Australian Glass Manufacturers factory Waterlook, Women’s Hospital Melbourne and several ships. According to Women and Modernity in Interior Design: A Legacy of Design in Sydney, Australia from the 1920s to the 1960s, as part of a thesis by Carol A. Morrow in 2005 (Chapter 7 pages 215-260), Margaret approached design decisions with intelligence, care and individuality. She was concerned with beauty, use and efficiency – this extended to health and well-being of her clientele. Ever an advocate for interior design, Margaret assisted with the incorporation of SIDA in 1964.
The DIA Hall of Fame recognises the achievements of Margaret Lord.
Fred Lowen AM (Industrial)
Born in Germany in 1919 Fred escaped to Belgium in 1938 after Crystal Night. He entered England in 1940 via the Dunkirk evacuation and was interned and transported in ’true convict style’ on the Dunera to Australia where he was interned in Hay and Tatura.
In 1942 Fred was reclassified as a ’friendly’ enemy alien and was released for work as a fitter and turner. By 1945 he had started a small business as a wood turner selling salad bowls, platters and other items to gift shops.
A partnership with Ernest Rodeck saw the opening of FLER (a combination of the two partners’ initials). An interesting start to a business as Fred made woodware and Ernest made propelling pencils! But the partnership led to much bigger things and by 1948 FLER had entered the furniture market.
Fred completed a basic course in Furniture Design & Construction at Melbourne Technical College (RMIT) from 1949-50. He was joint managing director and chief designer of FLER and from mid 1964 took a sabbatical year to undertake Design Studies with Professor Herbert Hirche at Stuttgart Academy.
In 1966 FLER was taken over by Australian Controls and for two years Fred continued as Design Director of the company.
Selected by Robin Boyd, Fred was one of three designers who contributed special designs for the Australian Pavilion, Expo Montreal, Canada in 1967. In 1968 he left FLER to start up TWEN with Howard Lindsey. Known to us today as TESSA, the company has exported to many countries throughout the world since 1969.
His most notable awards include receipt of the Dunhill Design Award in 1970, the Sebel Design Award in 1972 and a Special Commendation in the Prince Phillip Design Awards in 1973. In 1974 three of his designs were included in the ’One Hundred Modern Chairs’ exhibition at the National Gallery of Victoria. These three and two other designs are now in the Permanent Collection of the National Gallery of Victoria.
Fred received the Advance Australia Award, for Outstanding Contribution to Furniture Design in 1981. In 1985 he received 5 ’Classic Designs’ Awards from the Industrial Design Council of Australia. In 1986 Fred retired from active work with TESSA and worked as a design consultant for the next four years.
In 1987 he was made a Member, General Division, Order of Australia (AM) for service to furniture design and manufacturing. Fred Lowen’s story is also chronicled in the Immigration Museum, as part of the Impacts display, which celebrates the contribution migrants have made to our industry and culture.
Alma Maccallum LFDIA (Interior)
Alma Maccallum began her professional design career in 1968 as a fashion designer and manufacturer and after some seven years she changed direction to Interior Design and Decoration working for others for the next thirteen years. In 1988 she commenced her own practice and dealt with both residential and commercial projects as well as marine fit outs both in Australia, New Zealand and Japan.
Her clients have include Rene Rivkin, Retirement Villages, Medical Surgeries and Nike International.
Alma became a member of SIDA in 1988 and became an active committee member from 1990-1995. In 1998 she became the SIDA NSW Convener and, upon amalgamation, she became a DIA NSW Council Member. She was thereafter elected to DIA National Council in 2001 and made a Fellow in 2001.
Alma became President of the NSW Council in 2004-05 prior to which she was elected President of the SIDA Foundation in 2002-03 and continues on the Executive of the Foundation to the present day. She was conferred a Life Fellowship in 2006.
Ross Madden (Industrial)
Ross Madden established one of Australia’s first local design-oriented wholesale outlets, Aero Design, in 1974, and today owns and manages R.G. Madden, a retail chain of eight stores around Australia. The company maintains a strong philosophy of support for Australian designed products.
Aero Design opened as a retail showroom in 1976 in Bridge Road, Richmond. The philosophy of the company was simple but effective: well structured furniture that was aesthetically pleasing and functional, mainly designed and made in Australia.
Ross sold the business in 1986 and in 1987 he opened a designer home wares store, appropriately named By Design, in Toorak Road South Yarra.
In 1990 the name of the store was changed to R.G. Madden to reflect the personal direction of the business.
Ross is a past Board member of the Victorian based Artists and Industry and is currently a Board member of the Australian Academy of Design.
Professor Emeritus Robert Miller Smith FDIA (Graphic)
Bob Miller-Smith has been a passionate and effective contributor to design education for close to 40 years. With professional qualifications in typography, Bob Miller-Smith’s academic positions have included Professor and Head of Design at Swinburne University; Principal of Duncan of Jordanstone College of Art and Design, University of Dundee; Head of the South Australian School of Design; Head of Visual Communications DJCAD; and Co-ordinator NDD Typography London College of Printing Design Department; Lecture/Graphics Leeds College of Art. He currently holds a position with Swinburne as Emeritus Professor of Design. Over the years, Bob Miller-Smith has been a great advocate and champion of design and the Design Institute of Australia and has been an active and committed DIA member at State and National levels where his opinions and knowledge of the design industry and education have made an invaluable contribution. As an educator, Bob Miller-Smith’s passion for the design sector has encouraged many cohorts of design students to become active in their chosen profession and professional body.
Imré Molnar (Industrial)
Imré Molnar (1941-2012) was an inspiring designer and devoted educator and mentor. He was respected for his passion for knowledge and development of the next generation of creative minds.
After migrating from Hungary to Australia in 1957, Imré attended secondary school in Canberra followed by Industrial Design studies at the National Art School in Sydney (1970-1973). Later Imré completed his masters in fine arts, illustration at the Art Centre College of Design in Detroit (1990-1993).
Professionally Imré’s career started at Whirlpool and the NSW Public Works Department as a designer on a range of consumer and industrial products in addition to freelance work in exhibition and graphic design. He was a founding partner of Folio Design in Sydney (1980-1985) with a client base that included IBM, Honeywell and government authorities. Imré spent over six years as field officer and NSW state director for the Industrial Design Council of Australia where his impact was profound. Internationally and his last commercial role, Imré was director of design at Patagonia Inc, the distinguished American outdoor clothing, apparel and gear company located in Ventura, California.
Imré’s academic work started as assistant professor in Industrial Design at Canberra College of Advanced Education (now University of Canberra). Between 1989-1997 he was the full-time faculty and director of education at Art Center (Europe) College of Design spending time at the Vevey, Switzerland campus and in Pasadena, California.
From 2001 until his passing, Imré was the academic head at renowned design school - the College for Creative Studies (CCS) in Detroit. He was pivotal in the expansion of the School’s transportation design program informed by former consultancy roles for Ford, BMW, and General Motors Corporation, among others.
DIA Hall of Fame recognises the achievements of Imré Molnar.
John & Ros Moriarty (Graphic)
John Moriarty and Ros Moriarty co-founded Jumbana Group in 1983, an Australian Indigenous design and strategy company. After establishing in Adelaide, they moved the studio to Sydney in 1997, and have built significant business relationships domestically and internationally inclusive of: Qantas; Nespresso; Bank of America; Football Federation Australia; U2; Sydney Opera House; Accor Hotels; Stockland Corporation; and Village Roadshow.
The Group, which celebrated 30 years in 2013, comprises a contemporary design studio – Balarinji, and the Indigenous communications and facilitation practice, Balarinji Consulting. Its range of design and related services include graphic design, interpretive and wayfinding design, artist engagement, event collateral and merchandise, public art, web, visual effects and animation. Industry relations, community engagement and government relations are other key areas.
John Moriarty AM is a full member of the Yanyuwa people of his birthplace, Borroloola, Northern Territory. He is honorary chairman and co-founder of the Jumbana Group, and co-founder of the company’s not-for-profit Nangala Project. John attained a Bachelor of Arts from Flinders University and is a Churchill Fellow. He has previously served on many boards – namely - the Sydney Harbour Federation Trust, the National Indigenous Council, the National Aboriginal and Islander Health Council, the Australian International Cultural Committee, the Northern Territory Tourist Commission and South Australian Museum. John is also a former chairman of the Aboriginal and Torres Strait Islander Arts Board of the Australia Council and the National Aboriginal Sports Corporation of Australia, and a former deputy chair of Indigenous Business Australia.
Ros Moriarty heads the Jumbana Group, is creative director of Balarinji Studio and co-founder of Nangala Project. After attaining a Bachelor of Arts from the Australian National University, Ros worked as a journalist with Radio Australia and held senior positions with the Federal Department of Aboriginal Affairs and Australian Volunteers Abroad. Ros has also served on numerous boards including: the Council of the National Gallery of Australia, Australian Major Events, the Council of the Australian Academy of Design, and the Board of the Menzies School of Health Research, Darwin. She was inducted into the Australian Business Women’s Hall of Fame in 1999 and was a finalist in the 2012 NSW Telstra Business Women’s Awards.
John and Ros who are also award-winning authors, have long advocated for Indigenous rights and Indigenous arts. The Design Institute of Australia Hall of Fame recognises the achievements of John Moriarty and Ros Moriarty.
Fred Moylan (Fashion & Textile)
Fred Moylan is regarded as the `Father’ of the Australian Mohair and Cashmere industries. In 1950 he founded Moylans Woollens to create exciting new wool fabrics. The company grew to be a world leader in new cloth developments and fashions, and supplied brilliant cloths to the top fashion houses in Europe, USA, Japan and Australia, including Christian Dior in Europe.
He formed the first Mohair Growers Association in 1958 and was president for 12 years. During the 70’s he promoted the Australasian Cashmere industry as Managing Director of Kinross Cashmere Company. He was twice Rural Finalist in the BHP Awards of Excellence before retiring in 1988.
He is an Honorary Life Member of the Angora Mohair Association of Australia, Australian Cashmere Growers Association and Cashmere Producers of New Zealand.
Gerry Mussett FDIA (Industrial)
Gerry Mussett is a true leader of the Australian industrial design profession. Although ever youthful, to generations of designers Gerry has been lecturer, employer, teacher, mentor and friend. He also led through example and inspired his staff and clients to reach new heights through his passion and belief in design.
Gerry served on the DIA committee for many years and set the standard of how professionals can contribute to their industry through service. Some of the designers Gerry has worked with, and influenced many of Australia’s current pool of industrial designers, including; Phil Slattery, Mike English, Paul Taylor, Cheryl Fraser, Matthew Lewandowski and Steve Martinuzzo amongst many others. He also served as Victorian State President and was elected as Fellow of the Institute in recognition of his strong contribution to the profession at both a state and national level.
Marc Newson (Industrial)
Marc Newson has been touted as one of the most influential designers of his generation. His gargantuan body of work has embraced a multitude of platforms ranging from furniture, household objects, bathroom product, mobile phones, built-in cooking appliances, bicycles, cars, aircraft, yachts and even the luggage to take on board. Marc’s client list boasts some of the most prestigious brands in the world in manufacturing, technology, transportation, fashion and the luxury goods sector. Many of his designs have achieved the status of modern design icons and can be viewed amongst major museum collections including MoMA in New York, London’s Design Museum and V&A, the Centre Georges Pompidou and the Vitra Design Museum. In demand for bespoke architectural and design commissions, the rollout of the Marc Newson designed Qantas A380 interior, the First Class Lounge at Sydney airport and the Qantas Skybed, ensued following his appointment as Creative Director of Qantas Airways in 2006.
Sydney born, but much travelled, Marc Newson has lived and worked in Tokyo, Paris and London where he now calls home. Soon after graduating from the Sydney College of Arts, Fine Arts in 1984, where he specialised in jewellery and silversmithing, interest in Marc’s work was gathering momentum. Turning his hand to experiment in furniture design, the fledgling designer’s first solo exhibition “Seating for Six” was presented at Roslyn Oxley9 Gallery, in 1986. More than 21 solo exhibitions have since been amassed during his 30-year career, taking in Japan, Sweden, France, Italy, Germany, UK and the USA.
By the 90s he had established a studio in Paris from which designs for Cappellini and Moroso were produced followed by the founding of Marc Newson Ltd in London in 1997 working with collaborator Nicolas Register.
Marc’s remarkable work has been the subject of: television documentaries; a postage stamp; a retrospective monograph; several world auction records: and a plethora of awards. Among those are the Red Dot Design Awards for: Embryo Chair (1999); Grande Date watch (1999); Samsonite Scope luggage range (2006); Pentax K-01 (2012) and Polycarbonate Glasses for Palm Products (2014).
Arguably, most notable of all, has been Marc Newson’s ability to speak to a truly global audience through his designs. His bevy of Citations include: naming by Time magazine as one of the world’s top 100 most influential people in 2005 and his appointment of CBE (Commander of the Order of the British Empire) by Her Majesty the Queen in 2012.
The Design Institute of Australia Hall of Fame recognises the achievements of Marc Newson.
Carl Nielsen LFDIA (Industrial)
Carl commenced his own practice in Sydney in 1961, and during his years of practice he became a founding member of the Society of Designer for Industry, NSW Chapter, a founding and council member of the Industrial Design Institute of Australia, the NSW Chapter President and then the Federal President. He also held positions as Chairman of the IDCA Editorial Advisory Committee and Deputy Chair of the IDCA Education Committee. He went on to hold many posts in the field of Education.
In recognition of his significant contribution to the design profession he was made a Fellow in 1970 and then accorded a Life Fellowship in 1991.
Carl is considered to be an outstanding candidate for the Hall of Fame.
Jane Parker (Fashion & Textile)
Jane Parker has a Diploma in Design and Pattern Making and worked as a design assistant prior to joining her brother Stephen Bennett shortly after Country Road was founded in 1974. Her role was pivotal in the sourcing of fabrics, designing and the establishment of the renowned colour palette and look of Country Road products.
Jane is currently responsible for the direction of Country Road’s collections for the company’s international network of stores in Australia, New Zealand, America and Asia.
Robert Pataki LFDIA (Industrial)
Robert Pataki has been a practicing designer and an effective contributor to the profession for the past forty years and a member of the Design Institute of Australia since 1978.
Robert graduated in Industrial Design at the Royal Melbourne Institute of Technology and commenced work at John Holland Constructions. His career has seen him work with major industries such as Phillips (in Australia and Holland), ACI Design Centre and then as General Manager and Design Director of PA Consulting.
In 1987 Robert created The Neo Group of Companies, including NeoTechnics, the largest industrial design consultancy in Australia, with offices in Melbourne, Sydney, and Singapore and NeoProducts Pty Ltd in 1989, electronics manufacturers. He has also worked extensively in many other Asian countries.His particular areas of expertise are in appliances, professional and technical equipment, home wares, packaging and graphic design. His clients have been major industrial companies including Motorola, Phillips, Black and Decker, Vulcan, Varian, Honeywell, GE, Kambrook, and Fischer & Paykel.Robert served on the Victorian State Council of the Institute and was active on the course advisory committee of the Industrial Design programs at the Royal Melbourne Institute of Technology and Chairman of the Course Advisory Committee at Monash University.In recognition of his services and commitment to the profession he was made a Fellow of the Institute in 1985 and inducted into the Design Hall of Fame in 2007.
Pamela Easton and Lydia Pearson (Fashion)
Pamela Easton and Lydia Pearson first met in 1977 through friends in their hometown, Brisbane.
Before starting their design partnership, both women spent time working in the fashion industry. Easton worked for Sportsgirl in Brisbane as Merchandise Manager and State Manager before moving to Melbourne to work at their Head Office as a buyer. After a decade, she returned to Brisbane to start her own label. During this time Pearson established her label Lydia Pearson Atelier in 1980 and opened a store in the Brisbane Arcade in 1986. Easton and Pearson formally started their design partnership in 1989 under the brand Bow and Arrow by Easton Pearson. Oh! by Easton Pearson followed a couple of years later, finally amalgamating into Easton Pearson. In 1998, the label showed at Paris Fashion Week and it has been stocked in some of the finest stores nationally and internationally including a long standing presence in David Jones. In 2009 a retrospective of Easton Pearson’s work was to be the first fashion design exhibition at the Queensland Gallery of Modern Art. The exhibition, displayed across four rooms and featuring more than 70 outfits, explored and celebrated Easton Pearson’s unique artistic and creative design processes.
For Australian Mercedes Benz Fashion Festival 2013 in Sydney, Easton Pearson was selected as just the second Australian designer to receive the globally recognised honour of Mercedes-Benz Presents. After 27 successful years, the couple closed the business in 2016 to focus on other creative persuits and, in the case of Pearson, teaching at QUT. Easton Pearson’s collections were characterised by their intelligent, thoughtful, and often quirky, approach to clothing and fashion. Their use of pattern, print and embellishment is a recognizable aesthetic. A disinterest in following trends of the moment meant that each piece had a sense of longevity, earning a permanent position in the wearer’s wardrobe.
Professor John Redmond FDIA (Education)
Professor John Redmond is Foundation Dean of the Faculty of Art & Design, and holds a Chair in Industrial Design, at Monash University. Prior to taking up this position, he was the Foundation Head of the Department of Industrial Design at the University of New South Wales. He is a graduate of the Royal College of Art in London, and a Fellow of the Design Institute of Australia. He has had a wide involvement in industrial design consultancy through UNSW and Monash companies. Design work has been undertaken for Major Australian and international companies as well as research corporations. His research interests have ranged from equipment for the handicapped to a current work in the theory of form. It is this work that saw him appointed by the Attorney General as a Consultant to the Law Reform Commission’s Review of the Design Act.
John has been an active member of the Institute for many years and acted in the role of Federal Secretary, NSW State President and State Secretary. In recognition his Fellowship of the Institute was awarded in 1985.
David Robertson AM, LFDIA (Industrial)
David Robertson has arguably been the single most significant contributor to the professionalisation of the design sector in the history of design in Australia.
Prior to his election as DIA National President in 2000, David was South Australian DIA council and State President. Since assuming the role of National President, David has developed and consolidated the administrative, financial and marketing infrastructure of the Institute. Some of his many major initiatives and achievements include the establishment of the new ABS occupational categories in design practice [Australian & New Zealand] the annual Institute salary survey, the DIA web site, a new DIA membership system and most recently, the relocation of the Institute’s National Office as an autonomous operation with dedicated staff.
David has authored many media articles and web-publications that document the history and current state of the design sector in Australia. His service to the design profession in this country is unparalleled.
Max Robinson (Graphic)
A respected visual communicator, designer and an artist, it’s been Max Robinson’s relentless passion for quality that has set him apart.
Since his humble career beginnings that involved washing brushes at an advertising agency back in 1952, Max Robinson is today a venerated figure in the Australian Graphic Design industry. Included in the Graphis ‘Whose Who in Graphic Art’, he cites Jimmy Haughton-James, Peter Clemenger and Max Forbes as key influences in his career trajectory. Partnership with Clement Meadmore was another significant juncture while friendship with Barry Humphries resulted in some memorable and “bizarre parodies.”
It’s Max Robinson’s vast body of work over 60-years in addition to his advocacy for the Graphic Design profession that led to his induction in the Australian Graphic Design Association’s (AGDA) Hall of Fame (2010).
Creation of the original symbol and numerous program designs for the Melbourne Film Festival during the 1950s not only elevated the event, but also drew attention to Max’s ability to engage audiences from his career outset, as did his cover designs for World Record Club. During a 12-year stint during the ‘60s in London, some of Max’s key clients included: Avis, BOAC Airlines, Trust Houses Forte, Caledonian Airlines, Stamps of the World, Quant, and Qantas. On Australian soil, the equally impressive list included: the Reserve Bank, Yulara Tourist Resort Ayers Rock (signature and signage), Global Funds Management, Department of Trade, BHP, Western Mining, Esanda, Hospitals of Australia, Colonial Mutual Life, Alcoa, Spotless and Gribbles.
Publically, Max is perhaps best known as the designer of the $10 note while his talent for painting was on display at Whitechapel Show in London.
The DIA Hall of Fame recognises the achievements of Max Robinson.
Ron Rosenfeldt LFDIA (Industrial)
Ron Rosenfeldt LFDIA was one of the founding members of what is now the Design Institute of Australia, and played a pivotal role in the establishment and formation of the design profession in Australia.
Ron completed his formal training at the Melbourne Technical College (now known as RMIT University) and then trained in the Industrial design studios of the ‘Myer Emporium’. The Second World War intervened and after discharge from the AIF he rejoined Myer at its furniture production centre. Here Ron built the platform for his furniture career with responsibility for the design of contemporary furniture and contact furniture, which included equipment and furnishings for offices, hotels, shop, hospitals and institutions. This was followed by a move into private practice with Walter Gherardin to establish a dual practice of industrial design and architecture, covering a wide range of design briefs.
Ron’s field of experience included a wide variety of domestic consumer appliances and office equipment, scientific and electronic equipment, engineering products, building material, plastics, furniture, graphics and packaging, exhibitions and plate ware, gold and silver. His practice was responsible for the design input for items such as the ‘Vulcan’ range of products ‘Ogden’ garden sprinklers, ‘Brownbuilt’ office equipment and filing cabinets, ‘Sellotape’ dispensers and more.
He was one of the original members of the Society of Designers for the Industry and after many years in 1955 he was elected President, retaining this office until 1958 when the Society became the Industrial Design Institute of Australia – a forerunner of what we know today as the Design Institute of Australia. He was elected the first President of the new Institute and served as Federal Secretary, giving continuous service on Chapter and Federal Councils, and was again elected Federal President in 1968. He was a founding member of The Industrial Design Council of Australia and was a tireless worker for the recognition by Industry, Commerce and Government of industrial design as a profession, and the role of industrial design in Australian manufacturing.
He served as a member of the Melbourne Olympic Games Industrial Design Exhibition Committee of 1956 and was a part time lecturer in Design at the School of Architecture, Melbourne University and part time lecturer in the Industrial Design Department at the Royal Melbourne Institute of Technology. As a well recognised practitioner in his field he was the author of articles on industrial design in national and trade journals and was highly sought after to talk on radio and television and for presentations to trade and professional groups. He served on numerous judging panels for national design competitions and in later years he was an invaluable member of the Past President’s Board.
Ron was awarded a DIA Life Fellowship in 1971.
Pia Francesca Ruggeri FDIA (Interior)
The bespoke residential interiors designed by Pia Francesca Ruggeri throughout Sydney, Melbourne and Queensland are characterised by a less is more signature style that is calm and streamlined. As a versatile designer, Pia has also traversed commercial interiors, delivering fit-outs for: Bang & Olufsen’s Bondi showroom; Kytes restaurant in East Sydney and several offices.
Since establishing her practice Pia Francesca Design Pty Ltd in 1980, Pia’s work has featured collaborations with architects - Luigi Rosselli, Giles Tribe Architects, Andre Porebski and Martin Pickerell. Pia’s skillful use of colour and texture is a nod to her initial training at Queensland College of the Arts and has been corroborated through industry awards and magazine features showcasing her work.
Pia has won recognition in the House & Garden Awards in 1986 and 1987, and other notable accolades from the Society of Interior Design of Australia’s (SIDA) National Design Award program include: Best Residential Interior Design – Roche residence in 1995; Best Contemporary Design for the Point Piper residence in the 1998 and Best Use of Textiles and Textures Interiors Award for the Point Piper residence in 1998.
During her practice extending more than 30 years, Pia has generously contributed her time to the design profession. She served on the executive committee of SIDA in 1988 and between 1995 to1998, becoming a board member of the SIDA Foundation in 2011. After joining DIA as a member in 1995, Pia was awarded a Fellowship in 2001. She has also conducted Interior Design Trade Forums with the endorsement of DIA NSW.
DIA Hall of Fame recognises the achievements of Pia Francesca Ruggeri.
Brian Sadgrove (Graphic)
Brian Sadgrove is Principal of Brian Sadgrove and Associates, a Melbourne based design practice.
After studying at the Royal Melbourne Institute of Technology, Brian Sadgrove worked as an editorial designer at BHP and the Department of Trade and later as an art director for USP and J Walter Thompson.
In 1968, Brian Sadgrove commenced private practice as a graphic designer and his work includes corporate, packaging, editorial, stamp and currency design. The practice has won numerous awards in Australia and overseas and its work has been represented in most major design publications including Graphis, Idea Magazine, Design, Design World (Australia), Design Down Under.
The practice’s work has been featured in the Powerhouse Museum in Sydney and at the New York Art Directors’ Exhibition. Brian Sadgrove served as a member of the Stamp Advisory Board and he is a Member of the Course Advisory Board of Swinburne University, the Australian Design Academy, AGDA, and he is a fellow of the Design Institute of Australia.
Jonathan Sceats (Eyewear Designer)
Jonathan Hennessey Sceats is an Australian Eyewear Designer who follows in his father’s footsteps in the Australian Optometry and Eyewear Industry. Jono has had a stellar career, becoming one of Australia’s most successful eyewear designers, with his work featured in film and on television, and worn by celebrities and world fashion leaders alike.
Jono grew up watching his father perform eye tests and expertly fashion bespoke optical frames for his clients. He developed a great love of the craft and inherited the same devotion to quality and workmanship. After a brief foray into finance and stock broking, he enrolled in art school after discovering Yellow House, a radical art milieu started by Sydney artist Martin Sharp, and home to some of Australia’s most influential artists of the time.
Later, after inheriting an inspiring box of I950’s cats eye frames from his father, Jono began designing frames under his own label. When other brands were playing it safe back in the I980’s, Jono was a creative innovator; shaking up the industry by always doing the opposite of what people expected. The first frames and sunglasses were ahead of their time and optometrists thought them too unusual and colourful until an article in Vogue magazine kick-started demand.
With a passion for change, superior craftsmanship, and a distinctive culture rooted in 1980’s Sydney, Jonathan Sceats became the number one eyewear brand in Australia, selling over one million frames. Jono’s history of bold experimentation with design was recognised when he was appointed inaugural Chairman of the Design Council at Sydney’s Museum of Contemporary Art. He also represented Australia in the design section of the World Fair in Barcelona and the Powerhouse Museum in Sydney holds a permanent collection of his early work.
Jono’s eccentric flair for life is the embodiment of his work but underneath the mayhem is a product that he takes very seriously. Whether it is supporting the collaboration between independent designers and independent optometrists around the world, hand filing his own samples or creating unique and individual pieces, Jono always puts the needs of optometrists and their clients first.
The induction of Jonathan Hennessey Sceats into the Design Institute of Australia Hall of Fame is a celebration of his achievements and recognition of his significant contributions to Australian and international design.
Paul Schremmer ASTC (Mech Eng), MIE (Aust), LFDIA (industrial)
Paul Schremmer took his inspiration from the pre and post war design pioneers of the US and Europe and became an inspiration and example to a generation of Australian designers in the 70s and 80s.
Born December 31st 1929 Paul was educated at St Patrick’s College, Strathfield in New South Wales. With a keen teenage interest in the evolving form of cars and planes he aspired to work in one of these industries. Following graduation in 1946 he took the advice of the chief engineer at De Havilland that he should study engineering, and took up a cadetship to train as an engineer with consultant H.A. Rooke, Sydney.
His increasing interest in the work of international industrial designers and some sound vocational advice directed him to the consumer goods manufacturer Email. In 1948 he transferred his cadetship to Email and started a relationship with the organisation that spanned twenty years.
He completed his cadetship and received a Diploma in Mechanical Engineering from the East Sydney Technical College in 1951. He subsequently studied Theory of Colour & Design under noted design educationalist Phylis Shillito at the East Sydney Technical College, attending night school classes for two years while working for Email’s Advanced Product Development Department during the day.
In 1954, at the age of 24, he travelled by sea to England where he studied with the London School of Arts and Crafts for one year. He secured a position with the design department of Ford, England, and for eighteen months had the pleasure of realising one of his teenage dreams detailing car components. Another dream was realised when he sailed on the Queen Elizabeth to New York and found employment with Avro Aircraft in Toronto, Canada.
Paul returned to Australia in 1956 and rejoined Email where he was asked to set up an industrial design department, one of the earliest examples of a formal work group of this nature in Australia. Email was part of the Westinghouse group and he was sent to several Westinghouse design centres in the US to gain further experience. His tenure at email culminated with Paul being appointed Product Planning and Design Manager Email Ltd. (Consumer Products Division), a position that he held from 1961 to 1967.
At the time of his return to Australia professional designers were actively organising on behalf of the professional sector and energetically promoting the commercial benefit of design to industry and government. Paul became an active participant in this promotion of design.
The professional designers organisation founded in Melbourne in 1947, the Society of Designers for Industry (SDI), established a Sydney chapter in 1955. The SDI then formed an incorporated body in 1958, the Industrial Design Institute of Australia (IDIA), at the same time amalgamating with the Melbourne based Interior Designers Association of Australia (IDAA). This broadening of membership away from manufacturing interests in part prompted a new organisation in Sydney, the Society of Industrial Designers Australia (SIDA, founded in 1958). Paul Schremmer along with several other notable Sydney designers was a founding member of this group and served as one of its presidents. In November 1966 SIDA merged with the New South Wales chapter of the IDIA.
In 1958 the combined lobbying from professional design groups resulted in the Federal Government forming the Industrial Design Council of Australia (IDCA) to promote the role of industrial design to industry. Paul became an active participant in these promotions. In the early 60s the IDCA commissioned him to give a series of lectures called ’Design for Mass Production’ to be delivered in Sydney, Melbourne, Brisbane and Adelaide. His extensive corporate experience in Email and internationally ably equipped him for this role.
Some content from these presentations was published later by the IDCA in its magazine, Design Australia and reprinted in Michael Bogle’s collection of design essays, Designing Australia. (Paul Schremmer, ’Product Planning and Design’, Design Australia (1967-75 Industrial Design Council of Australia), 4/1968, pp 39-44 (Reprinted as a booklet, 1968.) Included in Designing Australia - Readings in the History of Design. Edited by Michael Bogle, Pluto Press 2002. Included in Curve, Issue One, 2002 as a brief interview and pictorial essay.)
On leaving Email Paul commenced private practice. He consulted for the next 31 years, from 1967 to February 1998, initially as Paul Schremmer and Associates and in the later years with a partner, Andrew Crick, as Schremmer Crick Industrial Design. Paul’s client list included Rheem, Bonaire, GEC, Sunbeam, Crane, Victa, B&D, 3M, Union Carbide, Primus, Zip, Ring-Grip, Rank Arena and many others. He has been the recipient of over twenty Australian Design Awards and twelve Good Design Labels. Most Australians will have mowed a lawn, sat in front of an airconditioner, had a shower, cooked a meal, or made a phone call, or even brushed their teeth with a product that Paul designed.
His work has been published throughout his career in Australia’s various design magazines and in newspapers, and shown at trade fairs and international design meetings. He has been a frequent speaker on design to the community and to tertiary education, including a paper given at the international design symposium, Sydney Design ’99.
In 1970 he was one of the first six designers given Fellow status in the Industrial Design Institute of Australia (IDIA, now the Design Institute of Australia). In April 2002 he was awarded Life Fellowship of the DIA in recognition of services to the design industry and in particular as a leading industrial and product designer for over 40 years, and as a past president of the Society of Industrial Designers Australia. Paul Schremmer was inducted into the Design Institute of Australia Design Hall Of Fame in 2011 for a lifetime’s exceptional service to the design professions.
By observing and responding to post-war developments in industrial design, gaining international expertise, and championing the value of industrial design Paul Schremmer provided a valuable service to Australian industry and the development of professional design in Australia.
Michael Simcoe (Industrial)
Mike Simcoe holds an Associate Diploma of Art Industrial Design from the Royal Melbourne Institute of Technology. He commenced work as a designer with Holden in 1983 and had subsequent appointments as Senior Designer and Chief Designer before becoming Design Director in 2001. In 2003, he became GM’s Executive Director Asia Pacific Design, a regional design role that incorporated responsibility for Holden design. In that role, he was responsible for the management of collaborative projects with GM alliance partners such as Daewoo, Suzuki, Fuji Heavy Industries and Isuzu. Simcoe then served in Executive Design Director roles at GM North America from 2007 until 2011.
He returned to GM Holden in 2012 and in 2014 was appointed Vice President of International Design. He relocated back to GM North America in 2016 and is currently GM Head of Global Design, arguably the biggest automotive design job in the world, and certainly the oldest. He occupies an office designed for Harley Earl in 1955 in the Warren Technical Center, a National Historic Landmark building.
As well as leaving an indelible mark on a long line of Holden cars, Simcoe has led design development for many GM products including: GMC Terrain, Buick LaCrosse, Chevy Camaro and Equinox as well as Cadillac CTS Sedan, Wagon and Coupe and the acclaimed Buick Avenir concept.
Roger Simpson LFDIA (Graphic)
Industrial Designer Roger Simpson has been a driving force in Australian design. He has been involved in over 10,000 design projects since 1972, typically as design director. Roger has been an exceptional advocate for the design industry.
Roger has mentored and fostered talented young designers in both industry and academic settings. At the other end of the spectrum, he has been instrumental in engaging with CEO’s and business leaders to inform their understanding of how design innovation can be a cornerstone to business growth strategy. A former State and National President of the DIA (1989-1995), Roger initiated the amalgamation of DIA and Society of Interior Designers Australia (SIDA) and was researcher and author of the DIA submission to National Review of Design for the Industry White Paper 1994-1995. Roger was designer, strategist and organiser of the DIA Design Congress Bid in Glasgow 1993 – securing three international design organisations to Sydney in 1999. He was also the first DIA member to be elected to Life Fellowship in both Industrial and Graphic Design disciplines.
As founder and director of Design Synergy Pty Ltd since 1975, Roger has provided over 40-years of Industrial and Graphic Design consultancy throughout Australia, Asia and Europe. An internationally recognised authority on design analysis, Roger has delivered many keynote presentations nationally and internationally on a range of design topics.
Roger has always been driven by the philosophy that “designers have a responsibility to their clients and the community to research and identify real marketplace opportunities and to develop break-through design solutions that provide measurable commercial and end-user benefits.”
He was strategist for the establishment of the National School of Design Swinburne University of Technology, Prahran Campus and was appointed Adjunct Professor by the School in 2001 and later, Professor and Director Swinburne Design Centre (2004-2010). Roger’s legacy includes having chaired the Course Advisory Committee, identification of course expansion opportunities, policy implementation, management and project management.
Now with a focus on strategic design consulting, Roger continues to add value to businesses through design integration, focusing on design innovation and design thinking. He is also Adjunct Professor at University of Canberra.
The DIA Hall of Fame recognises the achievements of Roger Simpson.
Brian Smyth (Industrial)
Brian Smyth FDIA (1931-12/01/2018) was a South Australian Industrial and Automotive Designer.
Brian joined the Institute in 1963 and was President of the South Australian Council (possibly the second president replacing Hugh Whisson) from 1976 to 1979, and was made a Fellow in 1979. He spent ten years on the Administration Committee of the Design Council of Australia.
Brian joined Chrysler Australia in 1949 and was involved in the design of many vehicles including the Simca Station Wagon and the legendary Valiant. He also worked internationally and contributed to design programs in Detroit and also in South Africa.
When he left in 1977 it was noted that ’he left behind him at Chrysler Australia a well organized department with a number of trained stylists highly competent in the areas of clay modeling, colour and trim design, and general styling and design activities. Brian Smyth is a man of outstanding ability, experience and achievement in the field of industrial design.’ signed I.E. Webber, Deputy Chairman, Chrysler Australia.
Harry Sprintz LFDIA (Interior)
Harry Sprintz FRAIA AACA LFDIA M.ACAA, MA Design/Research for Disability (LGU) from Sydney is an architect, interior designer, educator and writer.
As the plethora of post-nominal letters after Harry Sprintz’’s name suggests, he has packed a lot into his 45 years of continuous private practice and 58 year involvement with the architecture and interior design professions. Sprintz is a Registered and Nominated architect of the NSW, ACT and Queensland Architects Registration Board’’s, a Fellow of the AIA and of the Chartered Society of Designers in the UK. Also a DIA Accredited Interior Designer and ACAA Accredited Disability Access Architect/Consultant, Spritz is best known for his accessibility design within the built environment surrounding disability, safety and ageing issues. The author or some 30 papers and articles on these topics in addition to two books, Workplace Accessibility and House Adaptations, Sprintz is a sought after presenter internationally and domestically and respected lecturer in Australia and London.
Commencing private practice initially in Melbourne (1965) then Bowral, Canberra, followed by Sydney (from 1990), Sprintz was principal/founding partner (1966) of McAndrew, Burgess & Sprintz, Architects & Interior Designers P/L, which in 1993 transitioned to Harry Sprintz, Architect & Disability Access Planner. He is the principal architect and consultant architect to design studio 22 in Coffs Harbour, Grafton and Kiama. Private housing both new and renovations/adaptations, is a major focus of his practice in conjunction with the provision of expert opinions and expert witness work. Sprintz’’s commercial footprint has encompassed health care/disability access design, laboratories, office fit outs, retail fit outs (designing 151 during 78-92), exhibitions, clubs, tourism, restaurants, cinemas recreational and industrial projects. Personally committed to Universal Design Principles Sprintz said he hopes from his work that "many people feel that access in the built environment is a basic right and a responsibility for all connected with the building industry and particularly architects and designers."
Awarded the Byera Hadley Post Graduate (travelling) Scholarship in 1996 by the Board of Architects of NSW for architecturally related research, Sprintz completed his Research Masters Degree in Design Research for Disability from London Guildhall University in 1998. In addition to Sprintz’’s five years of architectural education and architectural pupillage in the UK, he studied at RMIT University, Melbourne University, NSWIT and the University of NSW.
The induction of Harry Sprintz into the Design Institute of Australia Hall of Fame for 2011 recognises a significant contribution to Australian Design and caps the Gold Citation in 2002 and Life Fellowship in 1997 for the Foundation member of 1957 and former Chapter President and National Councillor.
Geoffrey Stewardson LFDIA (Interior)
Geoffrey Stewardson’s career in design has spanned many spheres but his most notable role was as a director of the eminent firm of Riddle Marley, which focused on the area of residential interior design and decoration.
Geoffrey was strongly engaged in the Society of Interior Design [SIDA] and served as National President from 1994 to 1995 and subsequently assisted in the establishment of the SIDA Foundation.
As a national director of SIDA, Geoffrey played a pivotal role in the successful amalgamation of SIDA with the DIA in 1998. He then continued to serve on the board of the DIA and was national treasurer of the Institute from 2000 to 2002.
His broad experience included work for the firm of Latchfords, Melbourne, which was a firm specialising in high end corporate furniture and fit out in the 1970s.
Geoffrey’s dedication to the profession has been exemplary and he continues to contribute strongly.
He was awarded a Life Fellowship in 1998.
Joan Stewart FDIA (Interior)
Joan Stewart FDIA has been a member of the DIA since 1957.
She is a graduate of the Interior Design Diploma course at RMIT (1958) and has a Diploma of Education (SCV Hawthorn 1976), a Bachelor of Education (University of Melbourne 1983) and a Bachelor of Arts. Since 1970 she has had a long standing involvement with Design Education in a number of roles at both RMIT and the Melbourne College of Decoration.
Joan has been in private practice since 1968; prior to this she worked as a staff designer in the architectural field. Her experience covers a wide range of industrial, commercial and domestic projects.
Joan has made a significant contribution to the DIA over a number of decades holding, many roles and responsibilities and as such she was recognised with a DIA Fellowship in 1989, and is now a DIA Hall of Fame member.
Alexander Stitt (Graphic)
Alexander Stitt from Victoria is a graphic designer, illustrator, writer and animator.
Alexander Stitt admits to consistently taking a different approach and having had a predilection for packing in as much meaning as possible to each of his works. Informed by modernism, Stitt’s work was driven not simply by pure design, but also by narrative. He preferred simple stories and simple forms.
His beautifully realised book ‘Autobiographics’ published in 2011 by Hardie Grant Books provides a window into Stitt’s 50-year career. The global design community is indeed all the richer thanks to Alex and his co-author and business partner Paddy Stitt’s journey into their archives (otherwise known as Alexander Stitt & Partner since1989).
Commencing as a freelance graphic designer before graduating from Melbourne Technical College (now RMIT University) with a Certificate of Art and Diploma in Advertising Design in 1956 was an early cue as to Stitt’s appetite for work. A trailblazer from the outset, Stitt created the first animated TV spots in Australia in 1956 and on cofounding Weatherhead & Stitt design studio with Bruce Weatherhead in 1964, they were the only design studio offering broadcast media as well as print. His Al et al studio picked up 17 awards in the Melbourne Art Directors’ show in their first year (1973), one for their own corporate style.
Stitt likened the task of being asked to design stamps that would depict metric conversion, to Olympic selection. His use of cartoons to humanise the subject certainly got people talking. Stitt also called the nation to action. An association with Phillip Adams since the 50s in advertising led to a brief in 1975 that evolved into one of the best loved and longest running ad campaigns in Australia’s history. He brought us Norm, the couch-loving icon devised for the Life. Be in it campaign which commanded 94 percent awareness. Likewise Stitt’s dancing seagull in Adams’ Slip Slop Slap campaign for Cancer Council Australia launched in 1980, was one of the most successful campaigns in Australia’s history. Stitt’s work also asked people to think about disaster preparation, to read and do maths with their kids. It was his grinning devil graphics for Fred Schepisi’s first feature film in 1976, while working together at The Film House that prompted the director to name the film The Devil’s Playground. Their work on films continued beyond the business. Design and illustration for Bill Hannan’s Victorian Secondary Teachers magazine was another association that spanned decades.
Stitt thrives on having a significant creative project on the go, and continues beyond his retirement in 2007 to enjoy challenges void of deadlines. Inducted with Bruce Weatherhead into the AGDA Hall of Fame in 2002, Alexander Stitt’s induction into the Design Institute of Australia’s Hall of Fame for 2011 recognises his significant contribution to Australian design.
Kim Thornton Smith FDIA (Interior)
Kim Thornton Smith is a Partner at Geyer Design in Perth Western Australia, a firm responsible for Architect and Planning.
Kim trained at the West Australian Institute of Technology, now Curtin University, and graduate with a degree in Industrial Design. He worked in design and production management at T.V. Davidson, before moving to Commercial Industries. He held the position of Senior Designer at Design Sales until 1986 following which he established the practice of Blake Thornton Smith with co-director Ben Blake.
Kim joined the Design Institute in 1992 and served on both the State and National Council over several years. He is a Member of the Curtin University Alumni and the Australian Academy of Design.
Kim has been a prominent member of the design profession for many years and acts as a mentor and fine example of professional practice to younger designers.
He was awarded a Fellowship in 1996.
John Truscott (TV, Film & Theatre Set)
John Truscott began his remarkable career learning a trade at Caulfield field Technical College. At 16 years of age, after submitting a folio to Gertrude Johnston at the National Theatre, he was employed to design A Midsummer Night’s Dream, so beginning a journey that would take him from Melbourne to Hollywood and back again.
In 1955, John started a seven year association with Melbourne’s Little Theatre as resident designer, working on and enhancing over 80 productions. While at the Little Theatre, he accepted commissions as guest designer for The King and I, West Side Story, Music Man and The Most Happy Fella from Garnet Carroll, for several productions for Frank Thring’s repertory company, and for the Caine Mutiny Court Marshall on HSV7, the first television drama produced by a commercial television station.
The King and I was a big success for John and he was then invited to design sets and costumes for Camelot for JC Williamson in 1963. Camelot was the show which catapulted him to fame.
He was actually on his way to London to study when the producer of the London production of Camelot, on the advice of Sir Robert Helpmann, offered him the show’s design contract. Other London commissions included productions at Guildford Theatre, for Sadler’s Wells and the Festival Ballet.
John was then invited to Hollywood to design the sets and costumes for the film of Camelot. He triumphed winning two Oscars, one for Costume Design and the other for Art Direction, and he stayed in Los Angeles for fourteen years, working on films like Paint Your Wagon, which also earned him an Oscar nomination.
In 1980 George Fairfax, former General Manager of the Victorian Arts Centre, went to Los Angeles to persuade John to return to Melbourne to undertake the massive task of designing the interior finishes of the Centre. It was a bold stroke and one that has given the Centre international standing.
Five years later the task was done, one he considered the most important of his career because he saw that this project could be the springboard for others, refocusing the city and drawing people back to it.
John returned to Melbourne in 1989 as Artistic Director of the Melbourne Festival, and over his three festivals he taught Melburnians to take to the streets and join in a major arts festival. He dressed up the city with lights and fountains and flowers because he believed passionately that it was the right of all people to experience and enjoy the best. Each year he ensured that some element of the Festival remained to permanently enhance the city: the fountains in the moat of the National Gallery of Victoria, the lights in the gardens around the Arts Centre and the lights on Flinders Street Station.
His last, though unfinished work, was back at the Victorian Arts Centre as artist-in-residence, to re-assess and refurbish the Arts Centre for the10th Anniversary of its opening, and to plan for the next decade at the same time imbuing another generation with his insistence on quality and style. John Truscott died in Melbourne, the city he adored, in 1993.
David Unaipon (Industrial)
David Unaipon was a preacher, author and inventor born in 1872 at the Point McLeay Mission in South Australia. His father James was the Congregational mission’s first Aboriginal convert. David attended the mission school from the age of seven, leaving in 1885 when he left to become a servant to a master who fostered his growing curiosity in philosophy, science and music. Upon returning to the mission a few years later he continued to read widely, play the organ and honed the skills required in boot making. He was growing frustrated at the lack of work for educated Aborigines at mission settlements, and in the late 1890s he took a job as storeman for an Adelaide bootmaker. By the early 1900’s, Unaipon had begun inventing and developing a number of practical items. He first designed and patented a handpiece for shearing, at the same time becoming preoccupied with discovering the secret of perpetual motion. Over the next few decades, he made patent applications for numerous other inventions – including a multi-radial wheel and a mechanical propulsion device, but over time the patents lapsed. Unaipon’s fame, sophistication, particular manner of speech and strong Aboriginal identity flew in the face of the stereotypes of the day. His lectures for the Anglican Church stressed improvement and aspiration, and his rhetorical skills were renowned. From the early 1920s he studied Aboriginal mythology and carefully compiled his versions of legends, drawing influence from the classics but also his researches into Egyptology at the South Australian Museum. An important element of his work was speaking in schools on Aboriginal legends and customs, as well as his visions for the future of his people. Unaipon was a highly influential figure in fighting for Aboriginal rights. In the 1920s and 1930s he influenced government policy on the treatment of Aboriginal people. In 1926 he advocated a model Aboriginal state in an attempt to provide a separate territory for Aboriginal people in central and northern Australia. For half a century he travelled south-eastern Australia, giving evidence to various commissions on Aboriginal issues and giving lectures in churches of various denominations. In 1953 he received a coronation medal, and continued to travel on foot preaching until the age of 87. In his 90s he returned to the mission and continued to work on his inventions until his final days. Following his death, the national David Unaipon award for Aboriginal writers was established in 1988, and an annual Unaipon lecture was established in Adelaide. His legacy lives on. The Design Institute of Australia Hall of Fame recognises the achievements of David Unaipon.
Barrie Tucker LFDIA (Graphic)
Barrie Tucker is one of Australia’s most outstanding and distinguished designers and has been a practicing designer and a major contributor to the profession for the past forty two years.
Barrie worked in both Zurich and London for several years before returning to Australia in the early seventies. He became the first Australian to have his work included in the New York Art Directors Awards Exhibition and Annual. He became design consultant to the South Australian Theatre Company and as a result of his outstanding work he was the first Australian-born designer to be commissioned for a cover of Graphis Magazine.
As a testament to his skill, Barrie has won numerous national and international awards and has been honoured by being elected to membership of the Alliance Graphique Internationale.
Barrie has been a member of the Design Institute of Australia since 1984. In recognition of his outstanding achievements in the profession he was made a Fellow of the Institute in 1986 and a Life Fellow in 2001.
Leon van Schaik (Education)
The contribution to Architecture and Design by Leon van Schaik, Professor of Architecture (Innovation Chair) at RMIT University, has been far-reaching.
Architect, academic, educator, writer, curator, design critic, moderator, pioneer through to serving on boards and advising organisations related to architecture, culture and the arts – Leon’s work has been widely honoured. He became a Life Fellow of the (then) Royal Australian Institute of Architects (2009); was the recipient of the Neville Quarry RAIA Education Prize (2005); and named Officer (AO) in the General Division of the Order of Australia.
Leon initially studied at the Architectural Association School of Architecture in London, and also taught and practiced from there during 1971 to 1986.
In professional practice, Leon has worked on self-help and conventional housing, the design and building of complex educational buildings, art galleries and factories.
He pioneered a criterion-based process at RMIT University for consultant appointment, which has transformed the university’s reputation for architecture and urban design through award winning buildings. Leon’s involvement in other key consultant appointment processes have included: a Civic Centre in a New South Wales regional city; the Australian Centre for Contemporary Art; the UNISA faculty of architecture; and Spencer Street Station, Melbourne.
Leon van Schaik’s Ph.D. examined the relationships between communities and expert knowledge in design. He pioneered a design practice research program that engages architects and designers in evidencing the nature of their mastery in their field. The program now operates in Australia, Asia and Europe.
His service on boards included: the Australian Centre for Contemporary Art (1992-1999); the Australian Housing and Urban Research Institute; the Architectural Association Asia, and the Asian Urban Laboratory. Leon is a moderator of the Asia Design Forum and was Commissioner for Australia at the Venice Biennale 2000 in the 7th International Exhibition of Architecture. He was curator for Australia for the 2005 Biennale. Leon served as a member of the Victorian Arts Centre Trust, where he advised on the redevelopment of the precinct (2007-2013).
A selection of Leon van Schaik’s vast body of written works ranging from authoring and co-authoring books is listed below.
The DIA Hall of Fame recognises the achievements of Leon van Schaik
Further information: Written work by van Schaik:
Meaning in space – Housing the visual arts (Lyon Housemuseum 2012)
By Practice By Invitation, Design Practice Research at RMIT 1986-2011, co authored with Anna Johnson (onepointsixone 2011)
Procuring Innovative Architecture, co-authored with Geoffrey London and Beth George (Routledge 2010).
Spatial Intelligence: New Futures for Architecture (Wiley Academy 2008)
Non Fictional Narratives, Denton Corker Marshall (Birkhauser 2008)
Design City Melbourne (Wiley Academy 2006)
Mastering Architecture: Becoming a Creative Innovator in Practice (Wiley Academy 2005)
Leslie Walford LFDIA (Interior)
Leslie Walford is perhaps one of the best know figures in this country in Interior Design and Decoration and has worked at the top levels of design for several decades, not only in Australia but also in Europe, Asia and the UK and Walford and Horgan Interiors is a byword for excellence in design.
Leslie was educated in the UK and France and rose to prominence early and during his career he has won numerous awards.
A great deal of his work is known to us through the major publications and Leslie himself is a writer of note.
He has been appointed to numerous committees and is a Director of the NSW Art Gallery and was a foundation member of the Society of Interior Designers and National President from 1965 to 1966. In recognition of his contribution to the profession Leslie was made a Life Fellow of the Institute.
Fred Ward (Furniture)
Fred Ward stands as a major figure in the history of Australian design.
Fred was a Foundation Member of the Industrial Design Council of Australia and Design consultant to Australian National University from 1949 to 1961. Following this he acted as Design Consultant to the Reserve Bank of Australia, to the Treasury, the National Capital Development Commission and to the National Library.
In 1964 he was the first recipient of the Essington Lewis Award for Outstanding Service to Industrial Design in Australia.
Prior to his sojourn in Canberra Fred’s story begins in Melbourne where he trained and graduated from Melbourne National Gallery Art Schools. Fred then worked in the design department of Myer Stores in Melbourne and later lectured in Interior Architecture at the University of Melbourne.
Fred’s life fits into two consecutive, convenient periods his formative years of 1900 to 1950 in Melbourne and 1949 to 1990 in Canberra. The story of his Melbourne years have been discovered from many sources, and what is revealed is that his design philosophy was one that was not only inherent to his commissioned work, but to his lifestyle.
Fred was recognised for his outstanding contribution to the Institute and to the profession when he was awarded a Life Fellowship of the DIA. As a footnote this was due to the efforts of fellow inductee and then National President, David Davenport.
Lyndon Whaite (Graphic)
Lauded by his peers as a graphic designer’s graphic designer, to have worked alongside Lyndon Whaite is spoken of as an influential and memorable time. To have been a student of Whaite’s is considered in the industry - a badge of honour.
The self-taught Whaite’s instinctive talent was not lost on an Adelaide advertising agency that offered the then post secondary school student his first job on the strength of his folio. Shared space in private practice with the late Les Mason in Melbourne proved a fortuitous opportunity, from which Whaite as a fledgling designer gained invaluable mentoring and inspiration.
A springboard into the international arena soon ensued from the reproduction of a poster Whaite designed, in the Swiss published Graphis Annual. Graphis Magazine became the platform for many subsequent appearances and global admiration. Practicing as Whaite solo and as part of a six-year union with Garry Emery (as Whaite & Emery) marked a period of pioneering work. Adding Brian Sadgrove and Andrew Fowler-Brow to the mix during the early seventies (1971-1972) proved a powerful combination known for world-class output and exacting standards at a blistering pace.
A stint lecturing at a tertiary institution, now Monash University Caulfield, led Whaite to employ former student Richard Henderson who commented, "What Les Mason had given to Lyndon, Lyndon gave to me. He passed on the baton. The craft, the discipline, the Bauhaus principles."
Drawn back to South Australia in 1975 to pursue a vineyard lifestyle while continuing freelancing and teaching, Waite turned his hand to full time teaching in 1977 at the School of Design at Underdale.
Whaite’s best known works include: the symbol for The Australia Council (1983); the complete identity for the sesquicentennial of the state of South Australia (1986) and a stamp series created in conjunction with Grant Jorgensen for Australia Post. After his work was judged the ’Most Beautiful Stamp Series in the World’ in annual competition based in Italy, Whaite was inducted into the 7th AGDA National Biennial Awards - Hall of Fame in 2004. Fittingly, Whaite now adds to his swag of accolades - Design Institute of Australia Hall Of Fame inductee 2011 in recognition of his significant contribution to Australian design.
Harry Williamson (Graphic)
Harry Williamson has led a pioneering design career for more than five decades since graduating from the London School of Printing and Graphic Art in 1959.
A common thread in his extensive body of work has been the idea of less over more and identifying the opportunity to create art in everyday realms albeit - postage stamps, currency, film graphics through to publications. Harry was recognised in the Australian Publishers’ Association Book Design Awards Hall of Fame for contributions to design and typography and was inducted into the AGDA Spicers Hall of Fame 2010. He has also given back to industry – championing the designers of tomorrow as an assessor and lecturer at several universities and colleges.
During the 60s Harry’s start was as an assistant to Gordon Andrews, visualiser, graphic designer, art director and art editor. The 70s marked a foray into exhibition graphics and corporate graphics along with commemorative postage stamps for Australia Post. It also saw a period of prolific book design and production. Working in Sydney as Harry Williamson Design Partnership during the 80s and 90s, encompassed prominent commissions for signage and information programs for the National Gallery of Australia, the High Court of Australia and Singapore’s Mass Rapid Transit System. His currency design for the Reserve Bank of Australia resulted in two classic bank note designs – the $100 Mawson note and the $10 Bicentennial note. It was the latter that proved a complex and politically sensitive commission - provoking fierce debate over the use of imagery.
Work in building graphics, signage standards and electronic information systems – included Sydney Airport’s International Terminal. Harry’s interest in book design and production continued to flourish– with titles for Harry Seidler and Marion Hall Best in that mix. So too the production of corporate graphics and house styles for key clients such as the Arts Council of NSW and UTS. The 2000s saw a focus on corporate reports, graphics and publications – in particular as book designer for Giramondo Publishing - several productions for Imax Films and the Biennale of Sydney – further contributing to Harry Williamson’s diverse portfolio.
DIA Hall of Fame recognises the achievements of Harry Williamson.
Tony Wolfenden (Industrial)
Tony Wolfenden arrived in Australia from London via North America in 1962. His work in a variety of design disciplines of interior, product, lighting and furniture have won numerous awards. Major design projects include The High Court of Australia and the new Parliament House, Canberra.
Edmond (Ted) Worsley (Design Education)
Ted has had a long and distinguished career in design and design education, including a sixty year involvement with the DIA and its forerunners. In 1956 Ted was appointed the first Secretary of the Society of Designers for Industry (Ron Rosenfeldt was the then President), which was the forerunner of the Industrial Design Institute of Australia, later to become the Design Institute of Australia.
From 1954 to 1969 Ted was a director and part owner of Stuart Furniture, South Yarra. From 1969 to 1972 he was Head of the Department of Art & Design, Prahran College of Advanced Education, and from 1973 to 1974 he was State Director, Victoria, of the Industrial Design Council of Australia. In 1974 to 1979 he was Principal Lecturer, Caulfield Institute of Technology, and during this period he was seconded to the Department of Education, Canberra, as Acting Director, Canberra School of Art (1976-1977).
Ted retired in 1984 as Head of the Department of Graphic Design, Chisholm Institute of Technology (now Monash University) and has gone on to contribute to advisory boards and councils in the field of design education in Victoria. Ted is a Fellow of the DIA.
Derek Wrigley LFDIA (Industrial)
Architect, industrial designer, solar consultant.
Currently Derek can be described as being retired and a solar utilisation researcher experimenting with low-energy and low resource retrofitting of existing houses. Derek has been a practicing designer since the early 1950’s. A qualified architect, Derek was a founding member of the NSW Chapter of the Society of Designers for Industry, which subsequently became the Industrial Design Institute of Australia and eventually the Design Institute of Australia. He was the first Honorary Secretary / Treasurer of the NSW Chapter and was a close associate of many of the founding members of DIA such as Fred Ward, Ron Rosenfeldt, Colin Barrie, Charles Furey, and Carl Nielsen.
Derek was also an initiator of the Design Council along with Ron Rosenfeldt and was recognised by the Institute and awarded a Fellowship in 1970. His field of practice was in Furniture and he worked in conjunction with Fred Ward and also worked in the field of design of lighting and street furniture.
Derek received his diploma in Architecture in Manchester in the UK, and was an associate of the RBIA, RAIA, and a Fellow of RAIA.
Derek has lectured in Architecture at UNSW and worked on the design of ANU. He was a former President of the Canberra Art Club and Founder and Chairman of the Cultural Clubs of Canberra [Griffen Centre] and Founding member of the Craft Association of the ACT.
Derek has maintained a continuing engagement with design and education practice and was recognised again in 1986 when he was awarded a Life Fellowship of the Institute.
Since 1977, upon leaving ANU, Derek has been engaged heavily in disability design and in environmental/ ecological/ sustainability design [products and systems], involving inventions, research, prototypes, and product designs.
Derek was awarded a member of the Order of Australia in 1980 for work on technical aid to the disabled.
He is currently engaged in the research and preparation of his next book.
Phillip Zmood FDIA (Industrial)
Phillip Zmood began his design career with General Motors Corporation in 1965 as a designer and is currently the General Manager of the Mid/Luxury Car Division of Holden /GM International Operations (USA), leading and contributing to future design programs.
As Assistant Chief Designer for GMH Australia from 1967 to 1969, Phillip was a key contributor to the contemporary HQ Series of vehicles.
From 1969 to 1981 he was Chief Designer in both Australia and Germany and was responsible for the UC/LX, Australia’s first hatchback, along with several other models, including the Ascona 500 rally model for Europe.
Phillip was Executive in Charge of Design from 1986 until 1995 during which period Holden Design Australia became one of the most cost effective automotive design units in the world.
Dario Zoureff FDIA (Industrial)
Dario Zoureff has been a practicing designer for almost fifty years and has been a member of the Design Institute of Australia since 1958.
Dario completed his studies in Interior Design at the Royal Melbourne Technical College an immediately commenced work at Zoureff Pty Ltd as a furniture designer and manufacturer of custom built furniture. He continued in this role until 1966 when he established his own private practice, which services an established clientele of residential and small commercial projects.
Dario served on the Victorian State Council of the Institute and was active on the course advisory committee of the Interior Design program at the Royal Melbourne Institute of Technology.
Dario has had a passionate commitment to his profession and he consistently attends and supports a great number of functions and activities initiated by the Institute.
In recognition of his services and commitment to the profession he was made a Fellow of the Institute in 1990.