Sam Hecht is one half of Industrial Facility, the studio behind the widely acclaimed Branca chair for Mattiazzi that takes its inspiration from the wooden branches of a tree. As regular readers will know, we are very pleased to have recently added the Mattiazzi range of products to the Herman Miller Asia Pacific collection. We caught up with Hecht who revealed his own design story and his experiences working with the Mattiazzi family to create Branca. Enjoy our interview below.

What led you to pursue a career in design?
My father sold electrical products like radios and toasters. Sometimes customers would return them and for pocket money he would ask me to have a go at repairing them. He knew nothing about how things worked – he was a salesman – and so I took everything apart. I started to see why things were made they way they are. Some products – particularly from Braun – were very cleverly put together. This interest led me to design – but design were the workings of it can influence the way it looks and feels.

My father still asks me to fix things!

How would you describe your design philosophy?
Simplicity that is inspirational – why have something complicated!

How did you come to work with Mattiazzi and what was it about the company that appealed to you in partnering with them?
Mattiazzi had invited me to design a wooden product for their second collection – the first being by Nitzan Cohen. I visited them with my colleague of the last 15 years – the Japanese designer Ippei Matsumoto. I warned them that I had not designed a lot of furniture, and certainly not a chair, and this was the reason they had asked me. I think they were interested in me because of my innocence and naivety. Perhaps what I would be suggesting would push them further than they had gone before.

We inspected their factory, smelt the air and tasted the food. I loved it.

Could you tell us a little of the design story behind your Branca chair for Mattiazzi?
Branca was my first chair design. I had waited some 20 years to gather the courage to imagine what a modern and relevant chair could be. To respect comfort and lightness, but also to respect Mattiazzi and the knowledge they had built up over many years. It was a real team effort, and much of my role was making a series of careful decisions both functional and sculptural. There were no pre-conditions, and so I made my own. I wanted a chair that was fluid because I knew Mattiazzi could do this. Like a tree that forms a branch through growth rather than construction. I wanted a chair that had armrests but could also stack, and to fit under a table. I wanted a chair to be comfortable to the body and to the eye. When it was finally completed, we all stood back and said it was quite something. Within a year it had been selected by 4 museum permanent collections, had been honoured as Design of the Year 2011 and won many awards. It meant that the conditions that were self-made were correct because they had become universal – and that is no easy accomplishment.

Mattiazzi have disproved the modern myth that mechanised manufacturing is not a craft. How did their approach to manufacturing differ from other companies you have worked with in the past?
The difference with Mattiazzi that people seem to forget is that they apply a craftsmen’s attitude to everything. Anyone can buy a machine for manufacturing, but Mattiazzi use the machine like a they would a hand tool. They craft the mechanization. With this commitment to quality, they have pioneered a new typology for craft.

Can you tell us a secret about the chair? Perhaps a less well-known fact?
A chair with not a single screw!! It seems not possible. Also, the arms are parallel with the floor, so you can rest it upside down on a table for cleaning.

There are a few colour options with the product - which is your preferred?
I like two – natural ash (which reminds me of pasta with only olive oil – simple and classic!) and Green which is based on a tree colour we found in a forest in the south of England.

What’s your favourite piece of furniture (if you can choose just one!)
Such a difficult question – it changes all the time…..I would say the Landi Chair by Swiss designer Hans Coray.

What’s next, anything you’re excited about?
Some projects for Herman Miller [stay tuned! - ed.] – and a ‘Tent’ for Louis Vuitton.

Which is your favourite city in Asia Pacific and why?
Tokyo -  it’s where I lived and it influenced me a lot. In fact, it’s energy still surprises me whenever I go back.

Posted by Lauren Evans

We've found some interesting comparisons between Steve Jobs and Charles Eames recently. Over at the gigaom website, one of San Francisco's most influential tech websites, writer Om Malik suggests those who have read the Steve Jobs biography should see the recently released documentary Eames: The Architect and the Painter as an addendum to the book. He notes the similarities between Charles Eames and Jobs; "they both were very clear in distinguishing what is design and what is style. And more importantly both made simplicity their mantra". He references a review of the film that appeared in the New York Times that also references Jobs in its introduction questioning whether Jobs, like Eames was "primarily a designer, an engineer, a computer nerd or an artist? A benevolent guru or the center of a cult of personality?" The article is well worth reading, find it here.

The comparisons being made are certainly thought provoking and it will be interesting to see how Jobs legacy grows as time and technology moves on - will he will remain as revered as the Eameses still are today, half a century later?

Read the full gigaom article here.  The documentary Eames: The Architect and the Painter will be released in the Asia Pacific region this year but for those who want a sneak peek, it can now be viewed online in its entirety via flash or as an app at the PBS website, here's the link. 

Posted by Lauren Evans

The above offering is by design retailer Moss and it comes with some fine pedigree. The two lounge and ottomans are original vintage Eames in Brazilian rosewood veneer as specified by Charles and Ray themselves, but a timber we stopped using for the lounges in 1992, when it became listed on the endangered species list. Moss have upholstered them in the Maharam fabric 'Repeat Dot' by Hella Jongerius. Personally, I'm a great fan of Hella and Maharam, so crossed with Eames it's a happy combination for me (I'll take the one on the left please!). What are your thoughts on them?

Posted by Lauren Evans

Norman + Quaine are true pioneers of Australian design. Since they began to work together in 1989, Katherine Norman and Caroline Quaine have paved the way for today's generation of designers. They designed a furniture range that developed a loyal following by interior designers and architects and along the way defined Australian style. They did this at a time when Australian design was a relatively new concept and the industry was a male dominated one. Their furniture is intelligent, playful and beautifully detailed with nostalgic references to the past and has featured in many a design magazine interior. However what is less known about N+ Q is their multi-disciplinary approach to design and the interiors, events and advertising they have designed and directed. Their long-association with Living Edge is testament to this as they were responsible for all showroom interiors, advertising and photographic shoots during their time there. More recently they've tuned their talents to 'upcycling' by taking old pieces of furniture and giving them the Norman and Quaine treatment, with delightful results. Norman + Quaine tend to quietly get on with things, so you may not have heard all that much about them - they don't tend to blow their own trumpet so to speak. That's why we're thrilled to bring you our interview with Kath Norman and shed a little more light on their creative and enduring partnership.

(above) Grace, a stallwart of the Norman + Quaine range

How did you come together as Norman and Quaine, can you tell us the story?
Caroline and I first met In 1984 working for the American based company Mitchell Giurgola + Thorpe architects on the New Parliament House project in Canberra. Our work involved designing the custom furniture for the building-we formed part of a team of four.  Our involvement with this project lead to a wide variety of contracts within the industry including manufacturers, some of which we would secure longstanding relationships(with) in the future years. After traveling abroad and working for architects and designers, Norman +Quaine was established in 1989 in a shared studio in Surry Hills Sydney working alongside architects and interior designers. In 1993 we relocated to  a Surry Hills warehouse/ showroom to showcase our designs as Norman + Quaine.

(above) Oliver Lounge

What changes have you noticed in the design industry in Australia since you began?
It's hard to talk of the design industry in the past 25- 30 years we have been involved, after all design stretches back for centuries and there is always change. As with many industries the design industry responds to the political, economic, environmental, and social fabric of the times. The Australian design industry has expanded with the advent of accessibility to travel and international projects, media and sophisticated communication technologies. In the past Australian designers looked towards European and US furniture and design. When we first started there were only a handful of Australian furniture designers emerging. The growth and acceptance of the new face of Australian product design with manufacturers, the design community, suppliers and retailers is a credit to our industry.

(above) Louie, the newest addition to the N+Q range

You strive to produce Norman and Quaine products in Australia, has this become more difficult with an increase in offshore production?
N+Q maintain our belief in supporting local manufacture in the country or region to whom we are selling. This remains our goal, however, if change is required to maintain the quality we require we would review our manufacture policy. Currently we manufacture in Sydney and regional NSW for the Australian market and China for the Asian/Pacific region.

Do you each have a personal favourite, in the Norman + Quaine furniture range?
The Demille Chair (see below) is one of our favorites and comfortably fits in to both commercial and domestic interiors. The combination of the elegant timber frame with the contrasting chunky seam detailing and scale of the upholstered seat are very compatible. The expressed finger-jointing to the arm adds a beautiful detail. Comfortable and classic!

As well as your furniture range, the Norman and Quaine philosophy has been applied to interiors, exhibitions, advertising and styling. What ties it all together?
Our combined skills in interior and industrial design, allows us to delve in to all areas of design. It is a natural progression for us to expand into other areas of design (other than furniture). For us trying to adhere to a budget whilst producing exciting and stimulating visuals is always a challenge.

(above and below) One of each from a series of ads created for Living Edge, creative direction by Norman + Quaine

Recently you have begun working with vintage pieces, giving them a new life through restoration and combining old elements with new. Can you tell us what inspired this side of the business?
Norman +Quaine have always been interested in vintage pieces – a lot of our designs utilise the proportions of a bygone era. So it comes naturally to us to produce the combination of old with new - revitalising + recreating.

In a world which is ostensibly dependent on mass production, these individual pieces become collectors items and personalize the home.

(above) Edwardian Tea Trolley

Without revealing too many secrets, where do you find your treasures and what’s been your most exciting find?
Auctionhouses mainly, sometimes discards on the side of the road, they are usually not treasures in totality but in part can be reused as part of a table top or base for example. Our latest coffee table we love – an old tiled top incorporated with timber slats and metals base (see below).

What are you most proud of?
I guess we are proud to have had the architectural and interior designers embrace our furniture in lieu of imported product, which has allowed our business to flourish for 20 years.

Who are your design heroes?
Any designer/creator who has pushed the boundaries which existed in their time, and succeeded.

(above) Stool/side table

What inspires you?
A design solution which is so rational, so simple but immensely clever and effective.
OR a fabulous market !

How do you want your work to be remembered?
To be amongst the first few to design and produce Australian furniture in a European dominated market and to still be in business 20 years later.

Visit the Norman and Quaine website normanquaine.com.au for more information.

Posted by Lauren Evans

Steve Frykholm has been Herman Miller's Creative Director for over 40 years and in this time produced some of our most memorable graphic campaigns (see our previous post about Steve for a recap). He recently designed a poster to promote REACH and we're thrilled he'll be presenting a talk as a one of our special guest speakers on his very first visit to Hong Kong. Below is the recent chat we had with Steve.

As Creative Director of Herman Miller for over 40 years, you've been recognized with the AIGA  silver Medal, the highest honor in your profession. the industry and Your work is exhibited in design museums around the world. What stands out as your most satisfying achievement when you reflect on your career?
It is the AIGA Medal, but other recognition is very satisfying as well. I've received the Carl F. Frost Award in 1986, Herman Miller's highest recognition for an employee. I've been recognized as an annual report legend in Graphis and an American Design icon in the 50th Anniversary Issue of Communication Arts. Having several of my posters in the design collection of the New York Museum of Modern Art is also rewarding.

How have those who've come before you influenced your work? The George Nelson led graphic design campaigns must have been a hard act to follow in many ways!
Charles and Ray Eames and the designers who worked for them and George Nelson gave me a wonderful legacy of exceptional work. I believe their work established an atmosphere at Herman Miller to do original and creative work. That's the kind of work I enjoy doing, so it wasn't a hard act to follow. Rather than being intimidating, I was energized.

Herman Miller forms close ties with their designers with many designing repeatedly for the company - your own long career is a prime example. What is it about the Herman Miller process of working with designers and how do they maintain themselves as a design-led company?
Early in our history Gilbert Rhode, the Eameses, George Nelson, Alexander Girard, and Bob Propst taught Herman Miller leaders about design, and its problem-solving ability. Their work gave Herman Miller a very good reputation. Our leaders encourage and support designers to do what we do best - design. Today we'd say brand awareness is enhanced by doing good design in products, environments, and graphics. Today's designers are teachers too, and we continue to learn from them. There is an openness and trust between our designers and the company allowing good work to happen.

You have designed a poster for REACH in Hong Kong. Could you tell us a little about it and your ideas behind it?
I really wanted the poster to have a strong connection between China and Herman Miller. The Eames Lounge Chair and Ottoman is a strong symbol for Herman Miller, and a panda is a strong image for China. After doing my sketch of a panda relaxing in a lounge chair I knew it would be a strong poster. I hope people enjoy it as much as I enjoyed designing it.

How do you hope to spend some of your time in Hong Kong? Anything you’re particularly looking forward to?
I've never been in Hong Kong, and I'm excited about the opportunity to give a presentation and participate in REACH. Not only will I be spending a few days in Hong Kong, but after the conference I will be traveling in China for three weeks with Nancy, my wife. We will be going to Guilin, Shanghai, Xian, and Beijing. We're looking forward to seeing some of the country, feeling its energy and vitality, and learning about its history, culture, food, etc.

REACH is being held in Hong Kong on the 16-17 September 2011, visit the REACH website for full details and to book tickets to hear Steve Frykholm speak.

We've chosen to introduce you to Frank Eidlitz as the first Australian graphic designer to be featured on our Asian Pacific journey back into the 1950's and 60's. Eidlitz was born in Hungary and didn't arrive in Australia until 1955, but immediately set about creating a prolific body of work that defines graphic design in Australia of that era - his posters for the Shell Company are still much blogged about today. The Australian Graphic Design Association (AGDA) have a great tribute to him if you'd like to read more about the man who they describe as producing "some of the most dynamic graphic design seen in Australia before or since".

(above) Frank Eidlitz posters for Shell, 1964. Images courtesy of Re:collection

(above) The Fabulous Hill, a profile on Broken Hill's metal industry, designed by Frank Eidlitz, 1959. Images courtesy of Re:collection

(above) James Miller and Co. brochure page, designed by Frank Eidlitz, 1960's, Images courtesy of Re:collection

As the Asian Pacific member of the Herman Miller blog family, we thought it might be interesting to explore some of the local graphic design that was generated at about the same time as a lot of the classic furniture pieces in our collection. So if you’re looking for a modernist poster to go with your Eames rocker or just a little bit of history while you have a cup of tea, enjoy our first profile on Japanese designer Yusaku Kamekura.

Yusaku Kamekura (1915-1997)
Yusaku Kamekura has been described as the father of Japanese graphic design. He was a true pioneer of the industry in Japan, establishing a number of design associations, exhibitions and centres, bringing graphic design to the attention of the general public and establishing Japan as a world leader in post-war design. Yusaku learnt his craft at the Institute of New Architecture and Industrial Arts, Tokyo and was heavily influenced by Bauhaus design theories and the principles of constructivism. He is probably best known worldwide for his posters for the 1964 Tokyo Olympic games. What unifies his work is “ its dynamic composition, technical expertise and visual inventiveness, making full use of photography, colour and geometric elements” (ref. http://yusakukamekura.blogspot.com/). Below is a selection of our favourite pieces from Kamekura’s portfolio, enjoy.

(above) Ad for Toyo Rayon fiber co. 1950 [courtesy Grain Edit]

(above) Paul Rand: His work from 1946 - 1958. [courtesy Grain Edit]

(above) Nikon, 1954 [courtesy pink tentacle]

(above) Nikon Mikron Binoculars, 1955 [courtesy pink tentacle]

(above) Graphic '55 Exhibition, 1955 [courtesy pink tentacle]

(above) Atomic Energy for Peaceful Industry, 1956 [courtesy pink tentacle]

(above) Rayon and Synthetic Fibers of Japan, 1962 [courtesy pink tentacle]

(above) Tokyo Olympics poster, 1964 [courtesy pink tentacle]

To read more about Yasuku Kamekura, check out;
http://yusakukamekura.blogspot.com/
http://pinktentacle.com/2010/03/yusaku-kamekura-posters/

Steve Frykholm is Creative Director and Vice President of Herman Miller. He has been with us since 1970 and throughout his career he has created some of our most memorable and iconic pieces of graphic design. Late last year he was awarded with America's highest honour in the graphic design industry, the 2010 AIGA Silver Medal, joining the ranks of previous winners isuch as Paul Rand and Milton Glaser. Of the three designers awarded this year, Richard Grefé, AIGA's executive director said “Each has contributed to the way design can intrigue the spirit, engage curiosity, enhance business, explore creative use of visual technique, and communicate value that is respected by business, society and our popular culture.”

As our Creative Director of 40 years, Frykholm has shaped our visual identity and helped develop and promote Herman Miller as a truly design-led company. He's said of his long term association “Herman Miller trusted designers; that’s why I’ve been able to do what I’ve done.” In turn, Frykholm has trusted the designers who have worked along with him, who commonly speak of his enthusiasm and encouragement to embrace all ideas and his respect and integrity of design, from process through to product. 

(above) Composite: 20 Herman Miller Picnic posters, 1970–1989 [source: AIGA website]

Frykholm's work has been widely acknowledged and exhibited by many leading Museums including the Museum of Modern Art, the Cooper-Hewitt, National Design Museum and the Danish Museum of Decorative Art. A series of 'picnic' posters he designed for Herman Miller's annual company picnic in the 1970's and 80's (see above) are part of the permanent collection at MoMA and among his best known work. His annual reports have always been much talked about (and apparently much copied) for what the AIGA desicribe as his 'tireless reinvention'. His sense of humour shows through in more than a few, with the 2002 report a notable standout, published after a very trying economic year, illustrated through a wild weather chart and plastic rain poncho attached to the cover.

Of course we're as proud as punch of Frykholm's accomplishments, so we thought we'd leave you with a few of his most memorable pieces thus far, in the safe knowledge that there's yet more to come...

(above) The notorious 2002 annual report featuring desposable rain poncho. [source: AIGA website]

(above) 1985's much lauded annual report 'Say Hello to the Owners' featuring a full length portrait of every employee of Herman Miller. [source: AIGA website]

(above) Still from Herman Miller “Get Real” video, 2003. [source: AIGA website]

(above)  Design Now posters, six from a series of 24, 2003–2007. [source: AIGA website]

To read more, check out the following links.

AIGA's article on Steve Frykholm's career
When you promote stuff, promote the stuff you believe in (HM Discover blog)
Herman Miller Picnic Posters, From Aba to MoMA (HM Discover Blog)

Irving Harper is one of the living legends of mid-century modernism. Born in 1916, he will celebrate his 95th birthday this July and he is still being re-discovered in this later stage of his life for his contribution to the design world. Harper was a designer for George Nelson Associates from 1947 - 1963, but was not always recognised personally for his work as at the time individual designers were only credited in trade publications, the consumer would see the design credited to the firm. So for much of his life he has been a bit of an unsung hero, even though his designs are some of the most recognised (and still very much coveted) of the 1950's and 1960's.

(Portrait of Irving Harper by Leslie Williamson, 2010)

It was during Harper's time with George Nelson Associates that he worked on a number of projects for Herman Miller, most notably designing our logo, which he first sketched in the late 1940's and which we're proud to still be using today. Harper has said (in Metropolis Magazine, June 2001) that our logo came about because when he first started on our graphic brochures, there were no photographs yet to work with, all he had was our name, so he created a stylised 'M' and used it initially in woodgrain to reflect most of the furniture of the period. It was refined as time went by, you can see how it was used in a graphic brochures (below) from the early 1960's. 

(The above images  are courtesy of the fabulous Matte Stephens who's quite the expert on Harper - read about the time he visited Irving and his wife in their home here)

Harper was also the man behind the Marshmallow Sofa, which was conceived in 1954 specifically to explore a production method of injecting moulded plastic cushions. The production method proved unsuccessful, which is why we manufactured it with conventional upholstery - an interesting story behind an iconic piece of furniture.

Harper has fond memories of working with George Nelson. "I have a tremendous respect for him. He made it all possible. His biggest contribution was to allow designers to do their own thing. He never pressured you to design anything you didn't want to do. He was like Diaghilev, able to locate talents who were brilliant in their own way, allowing them to flourish." And he goes on the describe the studio "The atmosphere was like a school," he says "An atelier-studio with everybody running around. Nelson would let you take all the time you wanted." ( Metropolis Magazine, June 2001). It's a fitting and romantic description for a time and place that produced so much wonderful work.

During his career Harper worked across many mediums including graphics, objects, furniture, interiors and textiles - he really was the quintessential multi-disciplinary designer. These days Irving lives in an apartment in Rye, New York where he is surrounded by his paper sculptures, a passion he has worked on most of his life. The New York Times ran an article only recently about Harper which included some wonderful photos of his home and sculptures, a few of which we'll leave you with as a wonderful tribute and testament to one of the great designers of our time.

(Photographs courtesy The New York Times Magazine)

As well as the articles and sources referred to above, you can learn more about Irving Harper through a Facebook page set up in his honour.

While busy studying for a Masters of Architecture, Josh Carmody has managed to score a couple of significant goals with his furniture design business. Second runner up in the recent Herman Miller Asia Pacific design competition for 'Triplicate', Josh also won the Maurice Lacroix award at Launch Pad in 2010. We couldn't wait to find out what's next for this talented emerging designer.

What led you to pursue a career in design?

Design and architecture was a pretty natural step for me. All the things I enjoyed most at school were the subjects that revolved around art, woodwork and design. So once it came time to choose a career path I decided to study architecture. In my first year of architecture, I found that I missed building furniture and after getting a small commission offer I decided to start a small design business, as a side project to develop while I study.

Describe a typical day at the office.

To be honest, at the moment I don’t really have a typical day at the office. Mainly because I don’t have a consistent routine, or an office. Being an architecture student takes up a lot of my time, which results in my furniture design taking place during the occasional moments of downtime. Last year I designed a few pieces throughout the year but had no time to build the prototypes. So I blocked out 5 weeks over December and January to build those new concepts and start designing some others. Those 5 weeks also doubled as my holiday time, so the pace in my workshop back in Canberra is pretty relaxed.

How would you describe your design aesthetic?

My design aesthetic at the moment is still developing. So far my furniture designs have all been based around timber, because it is a material I have a pretty good understanding of. The aesthetic of my work so far is the result of my focus on joinery. I usually try to push or test different woodworking joints, which in itself creates a pretty interesting design. In ‘Triplicate’, I reapplied and developed some joints and then exploited them to enhance the overall aesthetic of the piece. The broad focus in ‘Triplicate’ was to design a flat packable piece of solid timber furniture without compromising on quality joinery. I think the design outcome has been a pretty good result overall.

How has your approach evolved over the years?

I am becoming more comfortable with my design approach. Circumstances have led me to do my furniture design work in my downtime. So I have embraced that and do most of my furniture design work while kicking back on the couch after uni or work. It is also a good excuse to sit on the couch, watch a movie … and tell myself I am working.

Beyond that, my approach to manufacturing has changed. I used to design and build furniture on a commission basis, which meant I had the freedom to do what I wanted when it came to the joinery. This often meant I would design complex joints that could only be made with a mallet and chisel. Now I have bigger goals in mind, so designing with the intention of larger scales of production has caused me to rethink and develop a lot of my design thinking.

What inspires you?

Inspiration comes from anywhere and everywhere but architecture would have to be the major inspiration for my furniture designing. Constantly drawing and modelling different building designs means that my mind is often working on an idea. Different details or ideas from that architectural side of my designs will often resurface in my furniture design.

Who has influenced you?

When it comes to design, there are too many people to mention them all. Aalto would be a key influence as he was a great architect and designer.

What have been your most rewarding achievements?

Winning the Maurice Lacroix award at Launch Pad 2010 was a big achievement for me. It was the first time I have had my work critiqued so publicly and to get such a positive response was a pleasant surprise and a big motivation.

What’s next?

2011 is the final year of my Master of Architecture at Melbourne Uni so from the start of March I will be focussing a lot of my time on that area. With that being said I have just finished building 3 different prototypes and I have another two on the drawing board. So I will be occupying my spare time looking for a good local manufacturer for those concepts, particularly ‘Legless’ and ‘Triplicate’. I also have the intention to do some overseas travel at the end of 2011 and into 2012. There are a few designers around the world that I would like to meet and learn from. So I will have a go at trying to make that happen.

How do you want your work to be remembered?

Beyond the sustainability ideas surrounding the use of timber and recycled timber to produce long-lasting but environmentally friendly designs, I haven’t really thought about that too much and I should probably think about it further. But I like the thought of my furniture being passed down through a family. It would also be cool to have my furniture being sold in retro furniture shops in 50 years time. Beyond that I just hope people like my work and would like to own it.