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1An essay presented in partial fulfi lment of the requirements for the degree of Master 
of Design at Massey University, College of Creative Arts, Wellington, New Zealand.
2010 Master of Design candidate: Jason Klenner
Supervisors: Tony Parker and Julieanna Preston
2
3Acknowledgements
I would like to thank all of the people who made this research and my personal journey possible.
Thank you to the designers and design industry experts interviewed during the initial phase of this study. I am extremely 
grateful for the time and information that was generously provided.
I would also like to thank my supervisors Julieanna and Tony for their support, knowledge and points of view that have 
challenged the way that I think and the way that I work as a designer. Also thank you to Mark Goellner, for his support and 
guidance as a supervisor during the initial stages of this study.
Also huge thanks to Eon and Erika for their enthusiasm and contagious love of life. To Sam and Oriwia who on my relocation 
to Auckland in the fi nal months of this study allowed me to ‘take over’ their apartment and transform it into my studio space. 
Finally, I would like to thank Kirsty, who has essentially been a widow to this project for two years, and during this time has 
put up with me continually saying, “I won’t be long…” or “I will be fi nished in fi ve minutes…” Her patience, support and critical 
design and art perspectives provided during this journey will never be forgotten. 
Thank you. So here’s to the future…
4
5Abstract
Title: My design identity... My future...
My research project involves the creation of a personal design identity in order to reposition myself within the design industry 
at a time when the existence of New Zealand designers who work within the mass design services market is being threatened 
by New Zealand based manufacturing and industry moving offshore.
The design-led research has involved the observation and analysis of designers that are positioned within the high profi le and 
high value area of the design industry including Ron Arad, Ross Lovegrove, Marc Newson and David Trubridge in order to gain 
insights and inspiration for developing my own personal identity. On the basis of the information gained a process of repeated 
experimentation and refl ection in the fi eld of design art was used to establish the foundation for my personal identity.
Symbolic of this personal design identity is a curiosity for experimentation with material and structure to create everyday 
objects that are not devoid of function, but not serious either.
The goal of this identity is to make users smile and to increase sentimental attachment and desirability towards these objects 
by offering experiences that can be described as surprising, memorable, enjoyable, light-hearted and even exhilarating when 
compared with utilitarian, mass market equivalents.
An example of this is a chair called ‘Sprung’ that integrates elastic cord with a 2-dimesional plastic sheet that fl exes into a 
3-dimensional springy form when sat in. This transformation is unexpected and the bounce experience fun, challenging how 
we view materials and structures and how chairs are perceived and used.
This research has personal signifi cance for my future career as the personal identity developed combined with my renewed 
enthusiasm for design can be applied to ongoing design art objects, allowing me to establish a track record in this fi eld and 
move away from the mass design services market.
6
7Contents
Introduction        8
Research overview       9
Contextual research       11
Personal refl ection and design experimentation    35
Personal identity and design development    59
Conclusion        93
Figure index        98
Bibliography        102
Appendix         105
This essay follows the American Psychological Association (APA 5th) citation style guidelines.
8Introduction
Due to the sale of Navman and Humanware to global organisations and the 
relocation of their operations offshore I was made redundant twice in one year. 
The industrial design services that I provided these organisations was viewed as 
a commodity service and therefore outsourced to providers closer to key markets 
in North America and Europe, or to providers integrated within their offshore 
manufacturing partners.
The globalisation of mass market design has threatened my existence as a 
designer. This has caused me to question my long term future as a New Zealand 
based designer, and consider how I can secure my future as a designer.
The Engineering and Manufacturing Association (EMA) claims that the New 
Zealand manufacturing sector is also under threat from globalisation, due to iconic 
companies such as Swandri, Macpac, ClickClack and Fisher & Paykel relocating 
some or all of their production facilities offshore (“Initiative launched to take on 
China,” 2007, p.5).
Andrew Little, national secretary of the New Zealand Engineering, Printing and 
Manufacturing Union believes that companies with offshore manufacturing 
capabilities will in time, also move research and development offshore as the 
function of design is so closely related to that of manufacturing (Scherer, 2009).
In summary, the sale of Navman and Humanware to global organisations has 
threatened my existence in the fi eld of mass market design services and the 
continued relocation of New Zealand manufacturing offshore has the potential to 
further threaten practitioners such as myself.
In contrast, New Zealand based craft designer David Trubridge has received 
international recognition and success for creating craft designed objects, including 
the ‘Body Raft’ chaise lounge and ‘Coral Light’,  for a global market.
“Around three quarters of his products are now exported to places as 
diverse as Australia, the United States, Europe, Asia and, in smaller 
quantities, South America... Trubridge’s lightingware was used in a 
Paris Printemps window display alongside Stella McCartney fashion” 
(“David Trubridge: Designing his own success,” 2008).
So the question arises, how has Trubridge, among others, gained international 
exposure at a time when industry continues to move offshore?
In comparison, on an international level, designers such as Ron Arad, Ross 
Lovegrove and Marc Newson have achieved celebrity status through the design 
of everyday items, transforming them into desirable products that are iconic, high 
profi le and command a premium price when compared with their mass market 
equivalents.
Again the question is, how have these designers used design to achieve international 
acclaim, and how have they maintained their position within the high profi le and 
high value area of design?
This design-led research project has identifi ed that the personality and point of view 
of Arad, Lovegrove, Newson and Trubridge are fundamental to their success and 
position within the design industry.
Consequently, this study investigates how I can establish my personality and point 
of view as a designer in order to reposition myself within the design industry during 
these challenging times. This process involved continuous personal refl ection and 
design experimentation, and uses the key elements that underpin the success of 
Arad, Lovegrove, Newson and Trubridge as reference points to position this study.
9Research outcome 2:
The establishment of 
a toolbox of knowledge 
that will aid the future 
development of my career 
as a designer.
Research outcome 3:
The creation of a limited 
edition, design art 
object that expresses 
my personal identity as 
a designer, which can be 
used for exhibition and 
become a signature piece.
Contextual research
Section 1:
Section 2:
Section 3:
My design identity... My future... Design-led research process
Personal refl ection and design experimentation
Personal identity and design development
Research overview
Research aim
My research aim is to use this study as an opportunity to free myself from the 
constraints associated with commercial projects and ‘fi nd myself’ as a design 
individual by establishing a personal point of view and identity that is expressed 
through the creation of a limited edition, design art object.
This object is intended to be a signature piece for exhibition with the goal of 
establishing a track record and reputation outside of the area of commodity based, 
mass market design services.
Research scope
This research postulates that designers such as Arad, Lovegrove and Newson are 
pioneers in their fi eld. They design objects that are considered forward-looking and 
refreshing when compared with mainstream design. Their status is achieved by 
producing iconic work that focuses on expanding the concept of function, exploiting 
materials in innovative ways, using new technology in groundbreaking ways and / 
or exploring new aesthetic boundaries (Fiell & Fiell, 2007, p.6).
The design-led research has been split into three sections: ‘contextual research’, 
‘personal refl ection and design experimentation’ and ‘personal identity and design 
development’ (refer to fi gure 1).
Research outcomes
There are three desired outcomes from this study: the fi rst is the creation of a 
personal design identity and point of view as a designer. The second is the 
establishment of a toolbox of knowledge that will aid the future development 
of my career and the third is the creation of a limited edition, design art object 
that expresses my personal design identity, which can be used for exhibition and 
become a signature piece.
Figure 1 Connections between the 
three sections and desired outcomes 
for this design-led research study.
Research outcome 1:
The creation of a personal 
identity and point of view 
as a designer.
10
Research objectives
The primary research objective is to understand the key elements behind the 
success of celebrity designers Ron Arad, Marc Newson, Ross Lovegrove and David 
Trubridge in combination with their personal design identities.
Secondary research objectives include; understanding how New Zealand designers 
Peter Haythornthwaite and Simon James have become acknowledged within their 
fi elds, understanding the ideology behind the limited edition design art fi eld, and 
research what national and international channels (e.g. trade fairs, galleries, 
competitions, groups and websites etc.) exist for designers wanting to gain exposure 
in this area.
And lastly, research what advances in direct manufacturing and rapid prototyping 
are available to support this study.
Research questions
Research question 1: How have celebrity designers Ron Arad, Ross Lovegrove, 
Marc Newson and David Trubridge achieved celebrity 
status through design, and how have they maintained 
their position within the high profi le and high value area of 
design?
Research question 2: What is the personal design identity of celebrity industrial 
designers Ron Arad, Ross Lovegrove, Marc Newson and 
David Trubridge?
Research question 3: How have New Zealand designers Peter Haythornthwaite 
and Simon James achieved success and acknowledgement 
in their fi elds?
Research question 4: What is the ideology behind the limited edition, design 
art fi eld, and what national and international channels 
support and promote this niche?
Research question 5: What are the latest developments in direct manufacturing 
and rapid prototyping?
11
12
Contextual research
This section investigates questions 1, 2, 3, 4, and 5 in order to gain contextual 
insights and information surrounding my research topic.
Data collection methods
A qualitative research strategy was selected for this component as it provides the 
fl exibility to combine multiple data collection methods in order to acquire detailed 
and extensive knowledge around the research topic (Robson, 1993, p.89).
Within this qualitative research component, two data collection methods were 
selected, semi-structured conversations and literature / context review.
This multi-method approach:
• Provides an understanding of the research questions from both a New Zealand 
and an international perspective. The semi-structured conversations are limited 
to a New Zealand sample. The literature / context review provides an international 
perspective.
• Triangulates the data collected, increasing the rigour and quality of the research 
(Robson, 1993, p.174).
Further information relating to the data collection methods are listed below:
Semi-structured conversations
The semi-structured conversations follow a set of predetermined questions that offer 
the interviewer the fl exibility to modify the order of the questions, omit questions, 
ask additional questions and request further explanations to questions based on 
the interviewer’s understanding of what seems appropriate (Robson, 1993, p.270).
In order to gain an in-depth understanding of the study topic from a variety of 
perspectives, not just design, the research sample consists of industry experts that 
span the areas of craft, design, manufacturing, distribution, marketing and retail / 
exhibition.
Due to this diverse sample of participants, the fl exibility offered by semi-structured 
conversations, allows for additional questions that are specifi c to the participant’s 
area of expertise. However, it is acknowledged that the ‘body’ of the research is 
to be consistent across all interviews as a lack of standardisation raises concerns 
about reliability (Robson, 1993, p.273) during data analysis.
Where possible each conversation is face-to-face and 1 hour in duration. Questions 
follow a proposed sequence and are read from a written questionnaire and recorded 
onto a digital voice recorder.
In addition to the questions, a series of ‘probes’ and ‘prompts’ are used to encourage 
interviewees to expand on their response to a particular question (Robson, 1993).
At the end of each conversation a session summary sheet  summarises the 
information obtained (Robson, 1993, p.477). The session summary sheet is used 
in conjunction with interview transcripts during data analysis.
A pilot study was conducted prior to the main body of research in order to test the 
research questions, the conversation process and equipment such as the digital 
voice recorder. This pilot study provided the added benefi t of building interviewer 
confi dence and polishing interview techniques.
Listed below is the semi-structured conversation sample. Refer to the appendix to 
view the conversation questionnaire.
Conversation 1: David Trubridge, New Zealand based, internationally recognised 
craft / furniture designer.
Conversation 2: Peter Haythornthwaite, leading New Zealand industrial designer 
/ design entrepreneur.
Conversation 3: Simon James, leading New Zealand furniture designer.
Conversation 4: John Hatrick-Smith, design specialist, Better by Design.
Conversation 5: Clare Mora, founder of design retail gallery Essenze.
Conversation 6: Object expert at Creative New Zealand (CNZ).
Conversation 7: Derek Manson, Rapid prototype expert, One.61.
13
Literature / context review
Literature / context review is described as a low cost and unobtrusive data collection 
tool that allows information to be assessed across a wide variety of existing 
documents including minutes of meetings, letters, diaries, speeches, newspapers 
and magazine articles (Robson, 1993, p.351).
During this research component, literature / context review is used as a secondary 
research tool to provide a wide angle and an international perspective to the 
information gathered during the semi-structured conversations. It also helps 
triangulate the information gained during these conversations.
Information was gathered by accessing a variety of books, journals, databases and 
internet sources via keyword searches.
During the data collection process, information  is collated and a document sheet 
created for each question, summarising its signifi cance and context for later data 
analysis (Robson, 1993, p.477).
Listed below are the keywords used and the sources accessed:
1. Keywords:  Various starting with combinations of ‘Ron Arad’, ‘Ross Lovegrove’, 
‘Marc Newson’, ‘David Trubridge’, ‘design art’, ‘limited edition’, 
‘personal design identity’ and ‘personal design style’.
2. Books:  Various including: ‘100 New Zealand craft artists’ (Schamroth, 
1998), ‘1000 Chairs’ (Fiell & Fiell, 2000), ‘Crafted by design: 
Inside New Zealand craft artists’ studios’ (Cook, 2005), ‘Design 
now’ (Fiell & Fiell, 2007), ‘Fragiles: Porcelain, glass and ceramics’ 
(Commentz, 2008), ‘Memphis’ (Fitoussi, 1998), ‘Limited edition: 
Prototypes one-off and design art furniture’ (Lovell, 2009) and 
‘Telling tales: Fantasy and fear in contemporary design’ (Williams, 
2009b).
3. Journals:  Various including: ‘Art & Australia’, ‘Crafts’, ‘Domus’, ‘Form’, 
‘Object’, ‘Prodesign’, ‘Wallpaper*’ and ‘Whitewall’.
4. Databases: Art, Design and Performing Art Databases including ‘Design and 
Applied Arts Index’ and ‘Scopus’. 
5. Websites: Various starting with ‘Designboom’, ‘Core77’, ‘Design Sponge’, 
‘Design Addict’, ‘Dezain’, ‘Contemporist’ and ‘D*Hub’. 
Data analysis methods
Analysis of the data collected during the semi-structured conversations and the 
literature / context review involve three stages as described by Robson (Robson, 
1993, p.476):
1. Data reduction: Key ‘themes’ are extracted, collated and placed into categories 
identifi ed as ‘codes’. Similar ‘themes’ are summarized into one single theme.
2. Data display: Key ‘themes’ are organized and displayed in a format that is easy 
to understand.
3. Conclusion drawing: Depending on the fi ndings, this will be achieved by either 
noting patterns, themes or trends and / or making comparisons.
Combined, the contextual insights and inspiration gained through this design-
led research will be used as reference points for positioning and informing 
my practice of design and personal design identity development during the 
following sections of this study.
14
Research question 1 
How have celebrity designers Ron Arad, Ross Lovegrove, Marc Newson and David 
Trubridge achieved celebrity status through design, and how have they maintained 
their position within the high profi le and high value area of design?
Findings are summarised with individual career overviews from which key themes 
have been extracted:
15
Career overview: Ron Arad
Ron Arad’s reputation is built on his innovative, experimental 
and infl uential furniture that has been created in small editions 
over three decades (Williams, 2009a).
In 1981 Ron Arad co-founded with Caroline Thorman, One-Off, a 
design studio, workshop and showroom in Covent Garden, which 
became a focal point for alternative design in Britain. Opposing 
mass manufacture, Arad gained the reputation of a designer who 
challenged convention by exploring the relationship between art 
and design, commanding art-market prices for one-off pieces 
(Dormer, 1991).
In 1989 Ron Arad Associates was formed, an architectural and design practice 
in London that allowed Arad to establish relationships with leading European 
manufacturers such as Vitra, Kartell and Moroso, developing designs that could be 
manufactured for mass production  (“Modern design dictionary: Ron Arad,” 2009).
Examples of Arad’s iteration based design approach:
Figure 3 (top left) ‘Big Easy’ chair (1988).
Figure 4 (top right) ‘Soft Big Easy’ chair (1990).
Figure 5 (bottom left) ‘New Orleans’ chair (1999).
Figure 6 (bottom right) ‘Big E’ chair (2009).
Continuous experimentation and investigation with materials allowed Arad to 
develop iterations of a single design over many years. An example of this iterative 
process includes the limited edition welded steel ‘Big Easy’ chair (1988) evolving 
into the upholstered ‘Soft Big Easy’ (1990) for Moroso, later evolving into the limited 
edition hand painted fi breglass ‘New Orleans’ chair (1999) and most recently into 
the rotationally moulded polyethylene ‘Big E’ chair (2003), also for Moroso. 
Another example of this iterative product approach is a limited edition release of 
the 1981 ‘Rover Chair’ with Vitra. Arad describes the re-release as “It’s going to be 
what the new Mini is to the old Mini” (Haden-Guest, 2009).
Arad’s work within the area of design art has allowed him to create limited edition 
objects that can later be adapted for mass manufacture. For example, Kartell 
approached him to develop an adaptation of his tempered sprung steel ‘Bookworm’ 
bookshelf (1993) for mass manufacture from semi-transparent fl exible plastic. 
Another example, which became one of Arad’s biggest commercial successes, is 
the adaptation of the ‘Tom Vac’ chair (1999) for Vitra (“Ron Arad: No Discipline,” 
2008).
Arad’s 2009 exhibition, ‘No Discipline’ reinforces his position in the design industry 
as an individual who does not subscribe to one specifi c discipline. He lists the 
disciplines that he works in as architecture, industrial design, as well as studio and 
gallery pieces. He describes his studio and gallery pieces as:
“Things that are not designed to be sold in shops. And things that are 
not mass-produced. Things that are not necessarily practical solutions 
to real problems, but things that are done for their own sake—without 
considering or negotiating with anything or anyone” (Haden-Guest, 
2009).
Design museums and galleries around the world showcase Arad’s experimental 
work thereby reinforcing his international status and reputation as a sculptural 
furniture designer (“Modern design dictionary: Ron Arad,” 2009). There is no doubt 
that these high profi le exhibitions have created high demand and premium prices 
for his mass produced products, allowing him in turn to remain at the forefront of 
contemporary design.
Figure 2
Ron Arad.
16
Career overview: Ross Lovegrove 
Ross Lovegrove is renowned for creating sculptural objects 
that combine state-of-the-art materials and technology 
(Bearman, 2006). He experiments across the boundaries 
of science, technology, design and architecture (“Ross 
Lovegrove: Design Museum Collection,” 2007). Inspired by 
nature to create organic minimalism, he says:
“I’m interested in developing an aesthetic for the 
21st century which comes from the intelligent use 
of resources, materials and structures” (“Biography: 
Ross Lovegrove,” 2008).
After graduating from the Royal College of Art (RCA) in 1983, Lovegrove’s career 
began at Frog Design in Germany. At the time, Frog design was the leading design 
consultancy in the world, this allowed him to design for leading international 
companies such as Sony and Apple Corporation (O’Toole, 2004).
Lovegrove then moved to Paris where he worked as a consultant to Knoll 
International. During this time he was invited to join Atelier de Nîmes, a design 
practice to which Jean Nouvel, Philippe Starck, Martine Bedin and Gérard Barrau 
belonged, consulting to Louis Vuitton, Hermes and Dupont (“Ross Lovegrove: 
Biography,” n.d.). He describes this as a pivotal moment in his career where he 
met and mixed with internationally recognised designers such as Ettore Sottsass, 
Richard Sapper, Richard Meier and Andree Putman, believing this helped build and 
strengthen his reputation as a designer (Bearman, 2006).
Returning to London in 1986, Lovegrove established a design practice with Julian 
Brown. In 1990 he formed Studio X consulting to leading international companies 
such as British Airways, Cappellini, Driade, Herman Miller, Lucepan, Moroso, 
Olympus and Philips (“Ross Lovegrove: Design Museum Collection,” 2007).
During his career Lovegrove has actively participated in the design community, as 
curator of the British Design Museum’s fi rst Permanent Collection Exhibition in 
1993 (O’Toole, 2004) and as Editor of The International Design Yearbook  in 2002 
(“Ross Lovegrove: Design Museum Collection,” 2007).
Lovegrove has received numerous internationally recognised awards for his designs 
and the exhibition of his commercial projects has been prolifi c. More recently he 
has also exhibited his personal design art objects, showcasing his application of 
advanced and leading-edge materials and processing technologies. This approach 
has allowed Lovegrove to experiment with materials to achieve new forms. He says 
that the knowledge gained is then transferred to his mass production, commercial 
projects (“Biography: Ross Lovegrove,” 2008).
Infl uenced by his respect for artists Henry Moore and Anish Kapoor (O’Toole, 2004), 
Lovegrove has developed a unique design style that he calls ‘Organic Essentialism’ 
that is inspired by the natural world and reinterpreted into new and futuristic forms 
(Bearman, 2006).
In summary, Lovegrove’s high profi le reputation has been achieved through 
successfully fusing advanced materials and processing technology into a distinctive 
form to create breakthrough products that can be described as blurring the 
boundaries between art and design.
Examples of these breakthrough products span his career and include the 
magnesium ‘Go’ chair (2001) designed with Bernhardt Design; sculptural ‘Water 
Bottle’ (2001) for Ty Nant; ‘Supernatural’ chair and table range (2005) which 
incorporates advanced injection moulding technology for Moroso; ‘Muon’ (2007) 
limited edition two metre tall speakers for KEF made from super-formed aluminium; 
‘onehundred&ten’ suitcase (2008) for Globetrotter incorporating a new carbon 
fi bre and Kevlar composite; as well as the futuristic looking ‘Cosmic Angel’, ‘Cosmic 
Leaf’ and ‘Cosmic Ocean’ lamps (2009) for Artemide.
Examples of Lovegrove successfully fusing advanced materials and processing technology
with a distinctive form factor. In this case experimenting with lighting for Artemide:
Figure 8 (left) ‘Cosmic Angel’ lamp for Artemide (2009).
Figure 9 (right) ‘Cosmic Ocean’ lamp for Artemide (2009).
Figure 7
Ross Lovegrove.
17
Career overview: Marc Newson 
Marc Newson is renowned for designing both iconic products 
for mass production and design art objects, some of which 
have revolutionised furniture design and created a new niche 
within the area of high art (Brant, 2009). He is described as 
being perhaps the most famous established designer working 
in the design art fi eld and his collection of Carrara marble 
objects made for the Gagosian Gallery in 2007 are considered 
legendary within this fi eld (Lovell, 2008).
When working on commercial projects for clients ranging 
from Nike to Qantas, Newson offers a fresh perspective and 
corporate clients engage his services because “His design 
star status lends a ‘cool’ factor that boosts a company’s brand image timeliness 
and trendiness” (Jana, 2006).
Trained in jewellery design and sculpture, Newson initially gained international 
exposure through the design of hand-made, exhibition-specifi c objects. His 
breakthrough piece, the ‘Lockheed Lounge’, was fi rst exhibited in Sydney and 
appeared in magazines around the world. The exposure this gained led him to work 
and live in Tokyo for design entrepreneur Teruo Kurosaki and his company Idée, 
manufacturing and exhibiting pieces, such as ‘Orgone Lounge’, ‘Black Hole Table’ 
and ‘Felt Chair’, throughout  Asia and Europe (“Marc Newson interview,” 2003).
Upon moving to Paris in 1991, Newson worked on commissions for Italian 
manufacturers such as Cappellini and Flos before moving to London where Marc 
Newson Limited was established as a larger studio capable of working on more 
ambitious industrial projects. Projects for companies have included Alessi, Biomega, 
Cappellini, Flos, Ford, Magis and Moroso (“Marc Newson interview,” 2003).
In 1999 Newson designed the ‘Falcon 900B’ business jet, followed by a commission 
from Qantas for the A380 interior that resulted in his appointment as their Creative 
Director in 2006. In combination, this experience undoubtedly provided him with 
the reputation and credentials needed to design the concept for the EADS Astrium 
Space Jet that was released in Paris in 2007.
An Australian, Newson has become a national icon of Australia and, in addition to 
his relationship with Qantas, he has worked on projects for the Sydney Opera House 
and the 2004 Australian Olympic team (“Modern design dictionary: Marc Newson,” 
2007).
When discussing the relationship between limited edition projects and commercial 
projects Newson says, “When I make a sculptural object, its shape will carry on to 
commercial projects. It also works the other way around” (Jana, 2006).
There is no doubt that his diversity of work has contributed to his high profi le within 
the high value area of the design industry.
Examples illustrating how Newson’s limited edition projects infl uence
his commercial projects:
Figure 11 (left) Limited edition ‘Event Horizon Table’ (1992).
Figure 12 (right) ‘Haircare Appliance’ for Vidal Sassoon (2000).
Examples illustrating how Newson’s commercial projects infl uence his
limited edition projects:
Figure 13 (left) ‘Nimrod Chair’ for Magis (1997).
Figure 14 (right) Limited edition ‘Zenith Chair’ for Galerie Kreo (1998).
Figure 10
Marc Newson.
18
Career overview: David Trubridge
David Trubridge, a New Zealand based designer and 
manufacturer of furniture and lighting objects is 
internationally recognised in the fi eld of designed craft. 
He exhibits each year at the Milan Furniture Fair where 
he has received acclaim for his ‘Body Raft’ chaise 
lounge and ‘Coral Light’.
His designs, typically involving advanced wood crafting 
techniques, refl ect his background in naval architecture 
and his travels through the Pacifi c (Cook, 2005).
When interviewed, Trubridge says that the turning point in his career that led to 
the establishment of his international profi le occurred after his ‘Body Raft’ chaise 
lounge was licensed to Italian furniture manufacturer Cappellini following its 
exhibition at the 2001 Milan Furniture Fair.
Trubridge describes the objects that he creates as a refl ection of his surroundings 
in Havelock North which tell a unique and exotic story in American and European 
markets, claiming that this narrative and approach to design is what initially 
captured the attention of Cappellini.
When creating an object Trubridge breaks his process into three: art, design and 
craft. The art process involves developing the object’s narrative and point of view. 
The design process transforms this narrative into an object and the craft process 
involves making the object.
Trubridge believes that the craft process is key to his unique identity, saying it is the 
result of combining two processes not previously combined in the area of furniture 
design. These are the combination of traditional woodcraft skills such as steam 
bending with state-of-the-art Computer Numeric Control (CNC) cutting technology. 
Trubridge says that although architect Frank Gehry was doing similar work in 
architecture, no one had applied it to furniture, allowing Trubridge to achieve an 
aesthetic not seen before in the furniture industry and subsequently establish a 
niche.
When further explaining the craft process, Trubridge thinks that increased 
environmental design awareness is causing the value of craft to be reappraised 
and that this awareness will continue to have a signifi cant infl uence on this fi eld in 
the future. He says that the values which are inherent in responsible design have 
always existed in craft, believing that fundamental to both is the word ‘care’.
Trubridge considers the ‘Coral Light’ to be his most successful product, claiming it 
was simply the result of experimenting with the characteristics of a certain material 
with no brief in mind. He believes designers need to experiment with materials and 
ideas more and focus less on responding to a specifi c brief.
He also believes that it is imperative for designers wanting to establish themselves in 
the area of design art / craft design to have a workshop where they can experiment 
with materials in conjunction with digital tools.
When discussing creating a personal design identity he says, “You want to get those 
initial statements which are radical and strong to draw attention to your name and 
then build on that”.
Although there is no expectation regarding the number of new products exhibited 
every year at events such as the Milan Furniture Fair, Trubridge says that the media 
are only interested in showcasing what is new, so it is in the designer’s best interest 
to regularly exhibit new work.
In summary, Trubridge has established a personal design identity by combining the 
process of art, design and craft, resulting in his high profi le within the area of high 
value design.
Examples illustrating Trubridge’s skill and knowledge in the area of wood processing:
Figure 16 (left) ‘Body Raft’.
Figure 17 (centre) ‘Flax’.
Figure 18 (centre) ‘Pebble Bowls’.
Figure 15
David Trubridge.
19
Key themes common to the success of Arad, Lovegrove, Newson and Trubridge 
include:
Continual experimentation with materials and processes has been instrumental 
in establishing the personal identity of Arad, Lovegrove, Newson and Trubridge.
“The technical expertise of Arad’s studio is in constant state of 
evolution as he and his team vigorously exploit one material and 
process after another: from ready-mades and welded heavy metal; 
to extruded plastic and rapid-prototyping” (“Ron Arad: Celebrating 25 
years of design,” 2009).
Examples of Arad’s career long fascination and dedication to the experimentation with materials
and processes to achieve distinctive objects that blur the line between art and design:
Figure 19 (left) ‘Concrete Stereo’ (1993).
Figure 20 (centre) ‘Uncut Chair’ (1997).
Figure 21 (right) ‘Pic Chair’ (1997).
Arad, Lovegrove, Newson and Trubridge are renowned for their experimentation 
with materials and processes which allows them to create forward-looking and 
refreshing new objects. This approach appears to be a key element in achieving a 
distinctive and recognisable personal design identity.
Lovegrove, when discussing his personal approach says, “Materials and their 
intelligent or inventive application are at the root of what I do as a designer” (“Ross 
Lovegrove interview,” 2007). He has built a reputation as a designer who successfully 
fuses advanced materials and processing technology within a distinctive form to 
create a unique design style that he calls ‘Organic Essentialism’ (Bearman, 2006).
Examples of Lovegrove’s continual experimentation with advanced materials and
processes to achieve his personal design identity that he calls ‘Organic Essentialism’:
Figure 22 (left) One-off ‘DNA Staircase’ (2003) constructed from unidirectional carbon fi bre.
Figure 23 (centre) ‘Supernatural Chair’ for Moroso (2005) with advanced moulding technology.
Figure 24 (right) Limited edition ‘Muon Speakers’ for Kef (2007) made from super-formed aluminium.
Many of the materials and processes used by these designers for experimentation 
are the result of collaborations with technical experts at great development and 
implementation cost, involving leading edge and specialist technologies such as 
carbon fi bre and aeronautical metal forming processes. 
Newson’s experimentation with materials and processes has resulted in many 
distinctive objects such as the sculptural ‘Event Horizon Table’. Like many designers 
experimenting with materials and processes in this high profi le fi eld, Newson 
collaborates with specialist suppliers. As an example, for the ‘Event Horizon Table’ 
he commissioned a specialist Aston Martin subcontractor to produce the table 
from a single piece of aluminium in order to avoid visually distracting split lines 
(Rawsthorn, 1999, p.65).
Newson’s ‘Event Horizontal Table’ is the result of collaboration
with a specialist Aston Martin subcontractor:
Figure 25 ‘Event Horizon Table’.
20
In his 2006 solo exhibition at the Gagosian Gallery, New York, Newson experimented 
with a number of materials including marble and nickel. He says
“Sometimes I start with the material, sometimes the idea. In this case 
the materials were the inspiration. I began by identifying materials 
that I had always been interested in but had never used. Often the 
context of materials strikes me more than the materials themselves. 
Context is new, not materials” (“Marc Newson,” 2007).
Further examples of Newson’s experimentation with materials, in these cases, 
white Carrara marble for his solo exhibition at the Gagosian Gallery in New York:
Figure 26 (left) ‘Extruded Chair’ (2006).
Figure 27 (centre) ‘Extruded Table 1’ (2006).
Figure 28 (right) ‘Voronoi Shelf’ (2006).
However, Newson has also demonstrated that the use of leading edge materials 
and technologies is not essential when creating a personal design identity. In 
1986 his debut product, ‘Lockheed Lounge’, with its refreshing and aeronautical 
appearance, was hand-made from pieces of aluminium riveted to a fi bre glass body 
(Brant, 2009).
Newson’s debut product, ‘Lockheed Lounge’ demonstrates that
leading edge materials and technologies are not essential when
creating a personal design identity and a statement object:
Figure 29 Newson’s ‘Lockheed Lounge’ (1986).
So successful, it appeared in magazines around the world after being exhibited 
at the Roslyn Oxley Gallery in Sydney (“Marc Newson: Designing modern Britain,” 
2006). The iconic status associated with this product was further reinforced when 
it sold at auction in 2009 for US$1.6 million, establishing a new record for a living 
designer (O’Shea, 2009).
Similarly, during my interview with Trubridge, he commented that the biggest 
breakthroughs in design come from advances in material and processes. When 
discussing the products he creates, he says that his unique identity evolved by 
combining two processes not previously combined in the area of furniture design. 
These were the combination of traditional woodcraft skills such as steam bending 
with state-of-the-art CNC cutting technology, which allowed him to achieve an 
aesthetic not seen before in the furniture industry.
Furthermore, Trubridge claims that his most successful product, the ‘Coral Light’, 
was simply the result of experimenting in his workshop with shapes and the 
characteristics of a certain material. He continues by saying that it is essential for 
designers to work and experiment with materials by hand, in order to understand 
their unique characteristics and to imagine their possibilities.
Trubridge’s ‘Coral Light’ was the result of experimenting in his workshop
with shapes and the characteristics of a certain material:
Figure 30 ‘Coral Light’ (2005).
It should be noted that the types of materials and processes experimented with 
are directly related to the statement that the designer wants to make with the 
object. These statements reveal the designer’s point of view and attitude regarding 
cultural, social and political issues.
21
Examples include the work created during the 1980s at Arad’s One-Off design 
studio. The work produced during this period became the focal point for alternative 
design in Britain, in opposition to mass manufacture it explored the relationship 
between art and design.
“In 1981 Britain was in a deep economic recession and the smokestack 
industries of heavy engineering, coal-mining and iron and steel 
manufacturing were closing. This context of a rusting Britain provided 
the theme and the much-imitated aesthetic of Arad’s work, which was, 
throughout the 1980s, coarse in its looks and usually made in metal” 
(Dormer, 1991, p.40).
The statement of rusting Britain is evident in the ‘Rover Chair’ which combines
recycled scaffolding with seats taken from scrapped Rover cars.
Figure 31 ‘Rover Chair’ (1981).
Furthermore, the objects created by Trubridge make a statement about respecting 
the environment and are often told through a story that relates back to nature. 
The ‘Three Baskets of Knowledge’ hanging light installation that is based on Maori 
mythology about three baskets that contain natural world knowledge, mankind’s 
rational knowledge and spiritual knowledge is such an example.
In particular, the wooden objects created by Trubridge feature a handcrafted quality 
and appearance which is used in combination with the natural characteristics of 
wood to create interesting structures. It is this use of wood and his woodworking 
processes that have earned Trubridge the title of an eco-designer in Europe 
(Trubridge, 2009).
‘Three Baskets of Knowledge’ is based on Maori mythology about three baskets that
contain natural world knowledge, mankind’s rational knowledge and spiritual knowledge.
Figure 32 ‘Three Baskets of Knowledge’ hanging light installation (2009).
Examples illustrating the handcrafted quality and appearance of Trubridge’s work,
which utilise the natural characteristics of wood to create interesting structures.
Figure 33 (left) ‘Nananu’ chair (2008).
Figure 34 (right) ‘Koura’ light (2009).
In summary, it is the continued experimentation with materials and processes 
that have allowed these designers to create distinctive and iconic objects as 
statements that reveal their attitudes and personality as design individuals, and 
ultimately establish their personal design identity. Being pioneers in the area of 
experimentation reinforces their international reputation and high profi le within the 
high value area of the design industry. 
22
Arad, Lovegrove, Newson and Trubridge have been endorsed through 
collaborations with leading international manufacturers and authorities who 
are renowned for design.
Traditionally endorsement through collaborations with internationally recognised 
manufacturers such as Cappellini, Flos and Moroso has provided these designers 
with the exposure and recognition required to enter the high profi le and high value 
area of design. Design renowned events such as the Milan Furniture Fair and the 
International Contemporary Furniture Fair (ICFF) are typical venues for designers to 
be discovered and offered commissions or licensing agreements – often for design 
furniture items.
While working in his Covent Garden studio One-Off, Arad gained the reputation of 
a convention-challenging designer by exploring the relationship between art and 
design, commanding art-market prices for one-off pieces that became the focal 
point of alternative design in Britain (Dormer, 1991, p.40). After establishing Ron 
Arad Associates in 1989, his international exposure grew to new levels as he 
focused on commissions that where produced in mass production for Vitra, Kartell 
and Moroso (“Modern design dictionary: Ron Arad,” 2009).
Arad’s iterative ‘Big Easy’ chair range began with the
‘Well Tempered Chair’ upon invitation to collaborate with
Swiss furniture manufacturer, Vitra:
Figure 35 ‘Well Tempered Chair’ (1986).
For Newson, the ‘Lockheed Lounge’ was his breakthrough piece. First exhibited in 
Sydney it appeared in magazines around the world and eventually led to him living 
and working in Tokyo for design entrepreneur Teruo Kurosaki and his company 
Idée. Here, pieces such as ‘Orgone Lounge’, ‘Black Hole Table’ and ‘Felt Chair’ 
were manufactured and exhibited in Asia and Europe, ultimately leading to the 
establishment of Marc Newson Limited in London (“Marc Newson interview,” 2003).
Newson’s ‘Lockheed Lounge’ led to him living and working in Tokyo
for design entrepreneur Teruo Kurosaki and his company Idée:
Figure 36 ‘Lockheed Lounge’ (1986).
Early in his career, when working in Paris, Lovegrove was invited to join Atelier de 
Nîmes, a design practice, to which Jean Nouvel, Philippe Starck, Martine Bedin and 
Gérard Barrau belonged, consulting to Louis Vuitton, Hermes and Dupont (“Ross 
Lovegrove: Biography,” n.d.). Lovegrove claimed that meeting these designers 
helped to build his career and strengthen his reputation as a designer, noting that 
Starck commented that Lovegrove was the designer he most wanted to meet in the 
world (Bearman, 2006).
Trubridge, on the other hand, believes the turning point in his career that established 
his profi le internationally was the licensing of the ‘Body Raft’ to Cappellini following 
its exhibition at the 2001 Milan Furniture Fair.
Trubridge’s ‘Body Raft’ exhibited at the 2001 Milan Furniture Fair led
to a licensing agreement with Cappellini, establishing his international profi le:
Figure 37 ‘Body Raft’.
23
Design writer and author of ‘Limited Edition: Prototypes, one-offs and design art 
furniture’, Sophie Lovell comments that most of the leaders in designer furniture, at 
the end of the twentieth century were Italian manufacturers and included Moroso, 
Cappellini, Flos, Magis and Alessi. However, she continues by saying that times 
have changed, and now the most talked about design furniture items come from 
galleries such as ‘Friedman Benda’, ‘Johnson Trading Gallery’ and ‘Moss’ in New 
York, ‘Contrasts’ in Shanghai, ‘Kreo’ and ‘ToolsGalerie’ in Paris. Unlike the Italian 
names, these are not industrial producers but rather gallerists, collectors and shop 
owners who deal with limited editions or one-offs that are commissioned through 
both established and up and coming designers (Lovell, 2009, p.165).
In summary, Arad, Lovegrove, Newson and Trubridge have been endorsed through 
collaborations with leading international manufacturers such as Cappellini, Flos 
and Moroso, other authorities renowned for design and more recently collaborations 
with gallerists, collectors and shop owners. These endorsements have helped 
establish their high profi le and international reputations and placed them in the 
high value area of the design industry.
Research question 2 
What is the personal design identity of celebrity industrial designers Ron Arad, 
Ross Lovegrove, Marc Newson and David Trubridge?
Findings are as follows:
It could be said that Arad’s values have been formed by his artist parents. Trained 
in architecture he works across many disciplines with the ideal that there is no 
line between art and design, believing that an object can have several existences 
depending on how it is presented (Greenwood, 2009).
Although continually evolving, his personal design identity can be viewed as a 
creator of sculptural objects that are informed through innovative and continued 
experimentation with materials, technologies and structures  (“Ron Arad: 
Biography,” 2009).
Examples of sculptural objects that are synonymous with Arad’s personal design
identity, being applied to both limited edition and commercial projects:
Figure 38 (left) Limited edition ‘Southern Hemisphere’ (2007).
Figure 39 (centre) ‘Ripple Chair’ for Moroso (2005).
Figure 40 (right) ‘PizzaKobra’ lamp for iGuzzini (2008).
As mentioned earlier, this approach with experimentation has allowed him to 
continually develop iterations of a single design over many years. This iterative 
approach has involved adapting his iconic limited edition objects for mass 
manufacture. Kartell, for example, asked Arad to develop his tempered sprung 
steel ‘Bookworm’ bookshelf designed in 1993, into a semi-transparent fl exible 
plastic adaptation for mass manufacture and release in 1996.
24
Another example is the adaptation of the ‘Tom Vac’ chair for Vitra, which became 
one of Arad’s biggest commercial successes (“Ron Arad: No Discipline,” 2008).
As with Newson, Arad’s limited edition objects also inform
and provide opportunities for his commercial projects:
Figure 41 (left) Limited edition tempered sprung steel ‘Bookworm’ bookshelf (1993).
Figure 42 (right) Plastic (polypropylene) ‘Bookworm’ bookshelf for Kartell (1996).
Throughout his career, Arad’s work has been central to many statements that have 
commented on cultural, social and political issues. An example of one of these 
statements is the ‘Rover Chair’ which combined recycled scaffolding with seats 
taken from scrapped Rover cars in reaction to the closure of heavy engineering, 
coal-mining as well as the iron and steel industry in Britain in the 1980s. Another 
example is the group of objects created for his ‘Not Made by Hand, Not Made in 
China’ series that as the name suggests, consisted of a collection of limited edition 
objects that utilised, for the time, leading edge laser curing rapid prototyping 
technologies. These statements have all helped position and maintain his personal 
design identity.
The statement that Lovegrove makes is that he considers himself an evolutionary 
biologist rather than a designer and has based his personal design identity around 
this concept. His work, which he relates to nature, serves a succinct function, uses 
appropriate technology and material effi ciently to achieve objects that are calm and 
have an elegance of form. He explains:
“My work also relates to nature, in an evolutionary sense as 
I’m concerned with reduction. I exercise what is called ‘organic 
essentialism’ which means using nothing more – nothing less than is 
needed” (“Ross Lovegrove interview,” 2006).
Examples of Lovegrove’s personal design identity – ‘organic essentialism’:
Figure 43 (left) ‘Go Chair’ for Bernhardt Design (2001).
Figure 44 (centre) One-off ‘DNA Staircase’ (2003).
Figure 45 (right) ‘Andromeda’ lamp for Yamagiwa (2009).
In addition, Lovegrove says that his approach is to be an artist with a studio that 
employs people that can support him in this art (Wolf, 2009). Although he debates 
ideas with the designers in his studio, he has fi nal say. He explains that the reason 
he has interesting projects is because companies like his philosophy, approach and 
resulting design signature:
“At the end of the day I can’t afford to have 16 styles, otherwise I don’t 
exist. I work for myself; they work for me, not the other way round. 
So, in a sense, they come to me because I display a philosophy, and I 
have an approach to design that they want to share and be a part of” 
(O’Toole, 2004).
Newson has a broad, contemporary design style that uses state of the art materials 
and processes to make everything around him better, in order to avoid being 
annoyed by poor design. His approach to design is, “Don’t just tinker with existing 
typologies, but take a long lateral look at them and imagine how the perfect version 
would be” (“Marc Newson: Designing modern Britain,” 2006).
If ‘imagining a perfect vision’ is the statement that Newson is making about his 
objects it could be argued, that for his corporate clients, this is the reason why he 
is the most popular designer of those researched; and why he is also able to, and 
willing to work across many product categories from furniture design to consumer 
electronics to airline interiors.
25
His reputation and popularity amongst corporate clients is due to “His design star 
status [which] lends a ‘cool’ factor that boosts a company’s brand image, timeliness 
and trendiness” (Jana, 2006).
Examples of Newson’s bold and vibrant personal design identity, described as having a ‘cool’ factor:
Figure 46 (top left) ‘Embryo Chair’ (1988).
Figure 47 (top centre) ‘Orgone Lounge’ (1989).
 Figure 48 (bottom left) ‘Felt Chair’ (1989).
Figure 49 (bottom centre) ‘Skybed Business Class Seat’ for Qantas (2003).
Figure 50 (right) ‘Nickel Chair’ (2006).
The ‘cool’ factor associated with Newson and his products may be a by-product of 
growing up in a beach front hotel in Australia where he was exposed to and inspired 
by Italian design objects from the Nineteen Fifties, objects such as Joe Colombo 
trolleys and Sacco bean bags. He says that growing up in Australia, a country 
without an indigenous design tradition was an advantage, “Coming from Australia 
and studying jewellery and sculpture, my design was self-taught and instinctive” 
(“Marc Newson: Designing modern Britain,” 2006).
The personal design identity of Trubridge unites his respect for the environment 
with his 35 year career as a craftsman working with wood (Trubridge, 2009). The 
wooden objects he creates express this statement by incorporating a hand-made 
quality and appearance using natural materials. John Hatrick-Smith from Better by 
Design describes Trubridge’s products as having an element of uniqueness that 
gives his customers the impression that the product has been made specifi cally 
for them.
Fundamental to Trubridge’s personal design identity is a point of view that does not 
subscribe to fashion or trends, a point of view, he believes, that provides him with 
integrity both as a designer and manufacturer. When interviewed for this research 
Trubridge commented:
“I just do what I do. I like that integrity, you don’t look around, you don’t 
try and copy, you just fi nd your own place and work from your own 
skills and you don’t follow fashions.”
Examples illustrating how Trubridge’s personal design identity expresses his respect for nature
and the environment that is captured through the hand-made quality and appearance of his work:
Figure 51 (left) ‘Three Baskets of Knowledge’.
Figure 52 (top centre) ‘Coral Light’.
Figure 53 (top right) ‘Glide’.
Figure 54 (bottom centre) ‘Flip’ and ‘Ruth One’.
Figure 55 (bottom right) ‘Kina Light’.
In summary, the personal design identity of these designers is a refl ection of the 
statements they make which is expressed through the objects they create. These 
statements offer a new or alternative point of view regarding cultural, social and 
political issues, often resulting in distinctive and iconic objects. These statement 
objects are also described as signature objects that typically receive media 
exposure, reinforcing the position of these design individuals within the high profi le 
and high value area of the design industry.
26
Research question 3
How have New Zealand designers Peter Haythornthwaite and Simon James 
achieved success and acknowledgement in their fi elds?
Findings are as follows:
They offer an in-depth knowledge that is focused within a specifi c niche.
In my interview with industrial designer Peter Haythornthwaite, he claims that the 
success of his Artifakts range of products was due to their focused niche, a niche 
he discovered by accident.
Initially designed for the North American mass market, the range was limited in its 
success and it was not until Haythornthwaite approached a Japanese marketing 
company to sell Artifakts in Tokyo that sales increased. Over time, Haythornthwaite 
came to realise that he had designed a range of products more suited to international 
design stores rather than the North American mass market specifi cally. Eventually 
the Artifakts range sold in design stores across Japan, Europe and North America. 
He says that this range was so successful that at one stage the tape dispenser 
became the largest selling item in the Museum of Modern Art (MoMA) store.
Consequently, Haythornthwaite encourages designers to create their own products 
as he created the Artifakts range and warns them to avoid the temptation of 
designing too many variations. When creating their own products, he recommends 
that designers keep things simple so they can remain focused and not confuse 
their audience.
Similarly, furniture designer Simon James, in an interview says that during the fi rst 
few years of establishing Simon James Design he experimented with exporting 
products overseas to markets such as North America. However, due to a number 
of reasons he realised that this was not feasible and decided to focus on the 
New Zealand commercial furniture market instead. His point of difference was to 
provide simple, contemporary products which were European rather than ‘kiwiana’ 
in style. As a result, his showrooms display his products alongside targeted 
products imported from Europe, in order to strengthen his niche and position in the 
contemporary furniture market.
In summary, Haythornthwaite’s and James’ success is the result of having an in-
depth knowledge of a specifi c fi eld, allowing a specialist niche and product offering 
to be developed.
They have an entrepreneurial approach to everything that they do.
Haythornthwaite believes that design has no barriers and that design opportunities 
exist everywhere. During his career he has taken an entrepreneurial approach 
to design. For example, during the late 1980’s Haythornthwaite used industry 
relationships to establish a collaboration between Greenpeace, Haythornthwaite 
Design and a leading print company. This collaboration allowed Haythornthwaite’s 
design team to develop Greenpeace’s message and profi le by applying it to a wide 
range of promotional material.
Another example is the wood burning stove Haythornthwaite was forced to develop 
and market during the 1987 stock market crash, in order to supplement revenue 
from his design consultancy. The wood burner called the ‘Studio Stove’ was the 
result of existing knowledge in this fi eld and industry contacts. Haythornthwaite 
says that he developed a brand and company for this product that he was able to 
later sell as a business when the economic pressure on the design consultancy 
market had lessened.
In summary, the entrepreneurial approach of these individuals has resulted in new 
opportunities, providing them with freedom and fl exibility to work across a number 
of different industries.
They collaborate with industry experts and establish strong relationships.
Throughout his career Peter Haythornthwaite has successfully collaborated with 
a number of industries to receive both national and international awards and 
recognition. He believes that New Zealand based designers can be internationally 
recognised and that connections are essential in receiving this recognition.
“You can produce the best stuff in the world and a lot of the time we 
are working in a vacuum, so often this great work just sits there and 
does not go anywhere.”
He says in order to gain exposure, New Zealand designers have to be prepared to 
go and knock on somebody’s door and tell them what they are doing.
27
He also believes that in order to create a great product, designers have to establish 
strong relationships with industry. Haythornthwaite refers to toolmakers and 
fabricators as development partners; saying that it is essential that they work with 
you to understand your vision. He uses the example of the relationship that he 
established with a toolmaker for the Artifakts plastic mouldings. At the beginning 
of their relationship Haythornthwaite showed him examples of mouldings by the 
manufacturer Braun, saying that if New Zealand was to succeed internationally, it 
had to be as good as Braun. Haythornthwaite believes that this toolmaker shared 
his vision and describes the quality of the Artifakts plastic moulding as probably 
better than anything else ever produced in New Zealand.
Likewise, Clare Mora, founder of design retail gallery Essenze also believes that it 
is important for designers to establish collaborations, in particular with retailers. 
She says that many New Zealand designers need to learn to view the retailer as a 
business partner, not the enemy. She encourages designers to form relationships 
with retailers and to create systems that will benefi t both parties. According to 
Mora, David Trubridge has learned a lot from working closely with retailers.
In summary, Haythornthwaite and James have demonstrated that forming strong 
collaborations with industry is essential to the success of a product. Haythornthwaite 
says:
“If you are creating an object, it is about playing around and getting a 
darn good companion company to work with.”
Research question 4
What is the ideology behind the limited edition, design art fi eld, and what national 
and international channels support and promote this niche?
Findings are as follows:
The ideology behind the limited edition, design art fi eld
Design art refers to limited edition, prototype and one-off objects that are described 
as chairs, tables and luminaires of which designers are commissioned to sell 
prototypes, one-offs or limited editions through galleries and auction houses. 
These objects are intended to be appreciated as sculptures and pieces to be used 
but do not fulfi l the defi nition of modern design, in that they are not designed for 
industrial mass production and do not necessarily solve problems to enhance life 
(Zehentbauer, 2008).
These objects often integrate a narrative as an integral part of their fi nished form 
and are considered to be ‘evocative’ and ‘symbolic’ when compared with utilitarian, 
equivalents (Williams, 2009a). Typically they are created by the designer outside of 
the industrial manufacturing system and are the results of exploring the boundaries 
of materials, process and medium (Lovell, 2008).
Gareth Williams, curator of the furniture department at the Victoria & Albert 
Museum (V&A) describes Arad and Newson as prophets in the design art fi eld. He 
says that Arad’s reputation is built on his innovative, experimental and infl uential 
furniture created in small editions over three decades. He goes on, to describe 
Newson’s output as more limited in range but no less visually distinctive with its 
rarity and panache contributing to its value in the market. Williams believes:
“These designers have almost completely disengaged with the design 
world for their most personal (and collectable) works, preferring to 
show at art fairs and with art galleries. Newson exhibits with the 
Gagosian Gallery in New York and Arad with London’s Timothy Taylor 
Gallery, alongside the painters Craigie Aitchison, Bridget Riley and Alex 
Katz. The contemporary art market has welcomed these designers as, 
relative to the cost of art, design objects remain affordable but no less 
distinctive” (Williams, 2009a).
28
Arad’s 2009 exhibition at the Timothy Taylor Gallery in London, a gallery that has sole
representation of Arad’s limited edition and design art works in the United Kingdom:
Figure 56 Exhibition ‘Ron Arad: New Work’.
Newson uses a hands-on sculptural process when experimenting with new and 
fresh shapes in his studio based design art work and later applies this knowledge 
to client and commercially based projects. Newson explains the benefi t of working 
between the areas of design art and mass produced projects as mutually benefi cial. 
“When I make a sculptural object, its shape will carry on to commercial projects. It 
also works the other way around” (Jana, 2006).
Examples of Newson’s experimental works were displayed in 2007 at
the Gagosian Gallery, a renowned New York contemporary art gallery:
Figure 57 Exhibition ‘Marc Newson’.
Design art work mutually benefi ting mass produced projects is also a point of view 
shared by Lovegrove:
“I approach my work also from the position of a sculptor of modern 
technology and the in-depth research I make with my limited edition 
pieces is fed back into the system to make my industrial design 
products a form of accessible art – my water bottle is a good example 
of this perhaps” (“Interview mit Ross Lovegrove,” 2008).
Lovegrove’s 2007 exhibition, ‘Endurance’ was displayed at the Phillips de Pury & Company’s New York 
headquarters featuring ten limited edition pieces. These objects capture the essence of Lovegrove’s 
‘organic essentialism’, being an opportunity for him to experiment and grow as a designer:
Figure 58 Exhibition ‘Endurance’.
In addition to Arad’s, Lovegrove’s, Newson’s and Trubridge’s use of design art to 
reinforce their high profi le status, a number of other designers such as Marcel 
Wanders, Hella Jongerius and Tord Boontje have also used design art to build their 
profi les.
In summary, the area of design art has provided the creative freedom for these 
designers to showcase distinctive objects that are the result of experimentation with 
materials and process. The work produced is free from the constraints associated 
with projects of a commercial mass production nature, and has allowed these 
designers to create personal objects that express their point of view and identity. 
Findings from this experimental work are often used to benefi t commercial mass 
production projects. This, in combination with the subsequent publicity received 
through public display, helps reinforce their high profi le status in the high value 
area of design.
29
Channels that support and promote the limited edition, design art fi eld
Summarised below is a snapshot of the national and international channels that 
support and promote the limited edition, design art fi eld. Clare Mora, founder of 
design retail gallery Essenze believes that it is essential for designers to understand 
how all areas of the design industry work in order to appropriately position an object 
and gain exposure as a designer. The information below will be used as a reference 
as I work to establish a track record and build a reputation in this fi eld.
National galleries
Creative New Zealand (CNZ) describes Objectspace in Auckland as an exhibition 
based organisation and a national exhibition space. It has a project committee that 
receives expressions of interest and proposals regarding exhibition types which 
they use to develop their annual exhibition plan. CNZ say that galleries such as 
Objectspace are great venues for designers wanting to build their exhibition track 
record. They go on to say that building a track record is essential for a number 
of reasons, including eligibility for funding and grants. Phil Cuttance is used as 
an example of a designer who participated in a 2007 Objectspace exhibition, 
‘Showroom’ and later applied for and received project funding to attend the Milan 
Furniture Fair.
The Victoria & Albert Museum (V&A) in London could also be described as a national 
gallery. Their 2009 exhibition ‘Telling Tales: Fantasy and fear in contemporary 
design’, curated by Gareth Williams, featured designers from around Europe who 
experiment with the boundaries between art and design (Williams, 2009b).
Figure 59 Website of the Victoria & Albert Museum’s 2009 exhibition,
Telling Tales: Fantasy and fear in contemporary design.
Curator and dealer galleries
Sophie Lovell in her book ‘Limited Edition: Prototypes, one-offs and design 
art furniture’ describes curator and dealer galleries as ‘the new patrons’ of 
experimental and contemporary design objects. These venues commission limited 
editions, collections and one-offs from a small selection of designers and architects 
(Lovell, 2009, p.165). A number of these galleries such as Moss in New York also 
have retail gallery spaces attached to them.
This is consistent with CNZ’s description of Auckland gallery Masterworks as a 
dealer and retail gallery. The dealer gallery exhibits artists’ work and the retail 
gallery display cabinet and shelf based work for sale.
Design specifi c retail gallery stores
New Zealand design store Essenze showcase and retail New Zealand made, 
designed and crafted objects for an international audience. Clare Mora, Essenze 
founder, says that they are selling the romance associated with New Zealand 
through their collection of objects that span furniture, lighting, fl oor coverings and 
lifestyle categories to the world.
With a head offi ce and retail gallery based in Auckland, Essenze also have a store-
in-store in New York and an affi liated offi ce in Amsterdam. She says that Essenze 
works closely with New Zealand designers and crafters such as David Trubridge, 
Peter Collis and Katie Brown to create craft orientated objects that can be scaled to 
production volumes. She calls this fi eld ‘designed-craft’.
Figure 60 (left) Clare Mora and the Essenze retail gallery, Auckland
Figure 61 (right) The Essenze retail gallery, Auckland.
30
Trade fairs and design specifi c events
According to CNZ the Milan Furniture Fair and the International Contemporary 
Furniture Fair (ICFF) are important events for designers. CNZ fi nancially support 
designers to attend these fairs through their various funding schemes. The 
importance of attendance at these fairs is reinforced by the understanding that 
David Trubridge’s initial exposure came from the Milan Furniture Fair.
Annually there are a number of general design fairs held around the world, such 
as 100% Design as well as more specifi c events catering to the design art industry 
such as Design Miami / Art Basel.
Auctions
The sale by auction of vintage twentieth century design objects in the 1990’s from 
designers such as Charlotte Perriand and Eileen Gray helped fuel the demand for 
contemporary design objects and establish the design art market (Lovell, 2008).
Phillips de Pury & Company (London) was the fi rst auction house to have a dedicated 
design art sale in 2001 (Williams, 2009a) and now Sotheby’s (London), Christies 
(London) and Wright (Chicago) also hold dedicated auctions.
The design art market has grown to such an extent that Newson’s ‘Lockheed 
Lounge’, designed in 1986 sold for US$1.6 million at Phillips de Pury & Company 
in 2009, establishing a new auction record for a living designer (O’Shea, 2009).
Creative New Zealand
CNZ is an arts development organisation that provides support and funding for New 
Zealand practitioners across a variety of art-forms including craft-object art. This 
category includes jewellery, ceramics, woodwork, metal, textiles and design.
Funding is available for the initial design stage, prototype stage and the public 
presentation of this work, including travel and freight costs if displaying at an 
international fair. The funding does not support the commercial production of a 
design project.
In terms of gaining exposure as a designer, CNZ recommend that practitioners 
approach CNZ at the appropriate stage of their career to build a track record. They 
describe the ‘quick response grants’ as being available to emerging practitioners, 
while the larger grants, have specifi c criteria that applicants need to meet.
Competitions
This research found no evidence to suggest that design related competitions 
provide designers with the exposure necessary to work as a design individual within 
the high profi le and high value area of the design market.
Blogs
There are a plethora of design blogs to promote designers and experimental 
objects. This research found no evidence to suggest that blogs, as a medium, 
provide designers with the exposure necessary to work within the high profi le and 
high value area of the design market.
31
Research question 5
What are the latest developments in direct manufacturing and rapid prototyping?
Findings are as follows:
Derek Manson is the founder of One.61, a New Zealand based design consultancy 
and rapid prototyping bureau. He can be considered a New Zealand rapid prototyping 
authority as he regularly attends Euromold, an industry tradeshow in Germany.
According to Manson the ‘rapid prototyping’ industry is attempting to change 
its name to ‘additive fabrication’ in order to alter the market perception of this 
technology. He says that One.61 is also exploring new applications for their Fused 
Deposition Modelling (FDM) rapid prototype machine and uses his electric guitar 
concept (“One of a kind,” 2009) as an example of a limited edition production item, 
rather than a prototype.
Manson’s guitar concept is made via the FDM process and features geometry that can be turned
on or off between builds so that no two guitars will look the same or produce the same sound:
Figure 62 Manson’s electric guitar concept.
He considers ‘Materialise’, a European based rapid prototyping bureau as a leader 
in the fi eld of additive fabrication. Manson cites the ‘Pininfarina Sintesi’ concept 
car, and a range of houseware products displayed at MoMA, as results of their 
collaborative experimentation with the design industry. These projects incorporate 
lighting and exploit the freedom of geometry that only the additive fabrication 
process allows. This experimentation demonstrates what rapid prototyping 
machines are capable of outside the area of prototyping.
Manson describes advancement of material properties and Finite Element Analysis 
(FEA) tools as signifi cant advances in the industry, saying that titanium and 
aluminium materials are now able to be laser sintered.
Materialise, a European rapid prototyping bureau uses a collaboration with Pininfarina
to demonstrate the possible applications of the additive fabrication process:
Figure 63 ‘Pininfarina Sintesi’ concept car.
When discussing new applications for rapid prototyping technology outside the 
experimental and conceptual fi eld, Manson says that the technology still has a 
number of limitations. These are poor surface fi nish, limited material types and 
limited colour choice when compared to processes such as injection moulding. 
Consequently Manson believes that the main future application for additive 
fabrication technology outside of the area of traditional prototyping is within the 
industrial product sector, rather than the consumer sector.
Haythornthwaite also believes that today’s fabrication technologies provide a new 
level of opportunity for designers wanting to develop their own products. He refers 
to David Trubridge as an example of someone who has achieved success through 
experimentation with fabrication technologies.
“The beauty is that you can produce 1 or 1000. In a way, the beauty is 
that you can design something, run 1, run 2, run 10, test the market 
and if you are feeling comfortable then you can run more. Certainly 
David Trubridge has proved this very well.”
Refl ecting on Haythornthwaite’s comment, I realised that Trubridge uses a ‘removal 
fabrication’ technique via CNC machining, rather than an ‘additive fabrication’ 
process. Compared with the additive fabrication process this approach offers 
Trubridge many more material, colour and fi nish options for his objects.
However, in recent years there has been a proliferation of objects that utilise removal 
fabrication techniques such as laser cutting and CNC cutting. These objects utilise 
similar materials and consequently all share a similar aesthetic quality.
For this reason, while aware of the potential of direct manufacturing and rapid 
prototyping techniques, I decided that I would not let this constrain the direction of 
32
my subsequent design experimentation and development sections.
I believe that this way of working would potentially provide me with the creative 
freedom necessary to arrive at a unique object by combining new or unconventional 
fabrication methods. This approach was inspired by Bertjan Pot’s ‘Random Light’ 
which:
“...started out as a crafted object, but now is mass-produced by Dutch 
furniture brand Moooi. The fi rst ones were hand-coiled, but then 
they invented a machine to do the coiling. So craft is helping develop 
industry.” (Fairs, 2007)
Example illustrating how hand-made processes can be used to inform automated
processes when working within the limited edition, design art fi eld:
Figure 64 Bertjan Pot’s ‘Random Light’ (2007).
To conclude, additive fabrication processes such as FDM printing and removal 
fabrication processes such as CNC or laser cutting are readily available within 
New Zealand. It is inevitable that some of these processing techniques will be 
employed for both the fabrication of an object created during this study and for 
later iterations or editions. However, drawing inspiration from Pot’s ‘Random Light’, 
these techniques will not be the focus of this investigation as I will be experimenting 
with other fabrication techniques including analogue and hand-made processes 
with the view that they could later be automated using digital technology.
33
Conclusion: Contextual research
In summary, the continuous experimentation with materials and processes to 
create objects that make statements is common to the personal design identity 
of Arad, Lovegrove, Newson and Trubridge. Their personal design identities have 
been endorsed through collaborations with leading international manufacturers 
and authorities who are renowned for design, and contributed to their celebrity 
status within the high profi le and high value area of design. The personal design 
identities of these designers are broader and deeper than the superfi cial aesthetics 
of a design signature and are a result of their individual point of view and attitudes.
In recent years the area of limited edition and design art has grown and become 
acknowledged as a fi eld where these designers can showcase studio based 
experimental projects that are free from the constraints of commercial projects. 
The international interest in this growing fi eld has been instrumental in reinforcing 
their celebrity status within the high profi le and high value area of design. This fi eld 
has also allowed a number of designers such as Marcel Wanders, Hella Jongerius 
and Tord Boontje to establish an international profi le.
Growth in the limited edition and design art fi eld has changed the way in which 
experimental work is showcased and endorsed within the industry. Curator and dealer 
galleries are now viewed as ‘the new patrons’ of experimental and contemporary 
design objects instead of the design renowned furniture manufacturers such as 
Cappellini, Magis, Moroso and Vitra.
In combination, these fi ndings have provided me with an understanding of the two 
important factors that need to be considered when establishing a personal design 
identity and creating an object that expresses this identity.
The fi rst area is to understand what statement I would like to make as a design 
individual. The second area is to experiment with materials and processes to defi ne 
an idea and object that refl ects this statement. This experimentation will consider 
the potential of direct manufacturing and rapid prototyping techniques but will not 
constrain any ideas generated. Time will also be spent experimenting with hand-
made processes with the view that they could later be automated using digital 
technology.
34
35
36
Introduction: Personal refl ection and design experimentation
This section involves the process of ‘personal refl ection and design experimentation’ 
to ‘fi nd myself’ as a design individual. The focus of this section will be on the two 
areas identifi ed during the previous section as being important factors to consider 
when establishing a personal design identity and a subsequent object that refl ects 
this identity.
The fi rst area of focus, understanding what statement I would like to make as a 
design individual, will be achieved through a process of personal refl ection. This 
process involves refl ecting on my point of view, values and approach as a design 
individual when creating objects for myself.
The second area of focus, experimentation with materials and processes, involves 
design experimentation where fi ndings from personal refl ection are transformed 
into actual concepts.
For the context of this study, the following defi nitions are provided:
‘Personal refl ection’ refers to the personal evaluation and analysis of me as a 
designer and the ideas that I generate during this study.
‘Design experimentation’ refers to the exploration of ideas generated through this 
study. In this context experimentation involves the creation of a number of concepts 
using sketching, modelling, fabrication, rendering and 3-D Computer Aided Design 
(CAD) techniques.
Personal refl ection
My nineteen year career as a designer has allowed me to work around the world both 
as a design consultant and as an in-house designer for a number of leading New 
Zealand and international organisations including Samsung Electronics, Navman, 
Fisher & Paykel Appliances, Navico, Lowrance, General Electric, Whirlpool, Esselte, 
Dymo and Humanware.
As a child I was curious. Typically this curiosity involved the question, “How does 
this work?” and “What happens if I do this?” This curiosity fuelled my enthusiasm 
for making things. The best afternoons after school were spent in my father’s shed 
either pulling something apart or building things. I would spread cake tins full of 
fasteners over the fl oor and spend hours imagining how individual components 
could be used in my inventions.
These inventions included a Batman suit made from newspaper and wire that should 
have allowed me to slowly descend from the top of a high fence, a spaceship that 
fl oated across my room on strings that acted as guide wires, a Star Wars inspired 
robot suit for my cat and a space invader machine made from fl ashlight bulbs and 
a car battery. While each varied in degree of success all shared the common theme 
of imagining how everyday items could be used in new contexts.
Inevitably, this curiosity led me to the fi eld of industrial design. A 1991 graduate 
of the Wellington Polytechnic School of Design, I received an Honourable Mention 
Award at Sony Design Vision 91 (an international student design competition) for 
the design of ‘My Pal Sony’, a children’s audio player.
The concept behind this product was the result of exploring and understanding 
new potential market categories and experimentation with ideas around digital 
technology. ‘My Pal Sony’ is an interactive product that grows with the child for the 
fi rst eight years of his / her life. Initially it acts as an intercom between the child 
and parent and is a source of passive learning, music and a night light. As the child 
grows the product becomes more interactive, facilitating their independence as the 
night light becomes a reading lamp and the intercom a microphone.
37
‘My Pal Sony’ is an interactive audio player that grows
with the child for the fi rst eight years of his / her life:
Figure 65 ‘My Pal Sony’ (1991) received an Honourable
Mention Award at Sony Design Vision 91.
Another object, also designed during my fi nal year at design school, was an 
outdoor chair that focused on the idea of multi-position seating when relaxing 
and socialising. The footrest and side platter move to allow the user to sit in a 
number of positions while the overall aesthetic of the object was chosen to express 
the feeling of relaxation and the outdoors. This project is referenced because the 
personal satisfaction gained during the design and crafting process of the chair 
made me realise that I had a passion for furniture design and creating objects that 
are inspired by observing them in different or new contexts. It could be argued that 
this object was the most personal created to date.
Outdoor chair that focused on the notion of multi-position seating when relaxing
and socialising. Perhaps the most personal object that I have created to date?
Figure 66 Outdoor chair (1991).
Upon graduating I was employed by Fisher and Paykel Appliances for fi ve years, 
contributing to the industrial design and Graphic User Interface (GUI) design for a 
number of refrigeration and laundry products, including the Smart Drive 3 washing 
machine.
This washing machine is a good example of the constraints that I have faced during 
my career when working on commercial projects. In this case the constraint was to 
restyle the product to match Fisher & Paykel’s new ‘Softline’ aesthetic by changing 
only one moulding, the top console. The result was a fresh looking product that 
maintained its position in a changing market.
An evolution of Smart Drive washing machine family designed for
the mid to high end American and Australasian domestic market:
Figure 67 Fisher & Paykel Smart Drive 3 washing machine (1994).
After working in New Zealand for six years, I spent another fi ve years in London 
working for two design consultancies, PSD:Fitch being one of them. At the time the 
Fitch network was the largest group of design consultancies in the world and I was 
given the opportunity to work on a diverse range of projects around Europe and 
India. 
Here I gained a reputation for designing products that solved problems and usability 
related issues, and I took great pride in my ability to quickly change my design style 
in order to meet client and brand requirements. The Dymo ‘Junior’ label maker, a 
label embosser for children, is an example of a product I designed to replace its 
iconic predecessor.
38
The ‘Junior’ label maker’s form factor was designed to complement Dymo’s
design language. Functionality was informed by user research:
Figure 68 Dymo ‘Junior’ label maker (2001).
The soft form factor of the label maker was designed to complement and grow 
Dymo’s design language and the details were informed by observing how children 
interacted with the previous product to understand their frustrations. These insights 
led to the product being reconfi gured to internally hold the embossing tape and 
allow the product to be gripped in a number of ways.
Following London, I received a two year contract to work at the Samsung Electronics 
Design Centre based in Seoul, South Korea. My role included; inventing new product 
categories and concepts for Samsung’s emerging technologies, guiding Samsung 
employees during the design process, providing an international point of view in 
order to help Samsung develop a design language that was more appropriate to 
their European customers. Again, I took great pride in my ability to quickly adapt my 
design style to suit the client, in this case Samsung.
I then returned to New Zealand and worked hard to establish a design presence 
within organisations such as Navman and Humanware where I contributed to the 
design of some very successful products. These included the Navman F20 which 
sold close to one million units, to become the United Kingdom’s second best selling 
in-car navigation product at the time, and the S-Series, a range of in-car navigation 
products that received a number of accolades throughout Europe for its compact 
size and ease-of-use.
Examples of products designed while at Navman that in time became viewed as mass
market commodity products. Perhaps this was a result of their nine month inception
to market time line that provided no allowance for design experimentation?
Figure 69 (left) Navman F20 in-car navigator (2006).
Figure 70 (left) Navman S-Series in-car navigation range (2007).
Refl ecting on my career to date, while it has been extremely enjoyable and rewarding, 
my focus as a commercial designer has affected the development of my own design 
personality.
I could be dubbed a design chameleon, whose camoufl age has been 
the identity of the brands I have been designing for...
Figure 71 illustrates this situation, in a humorous way, with my personality as a 
designer being safely disguised behind the brands that I have been designing for. 
It also illustrates some of the personal attributes that I have ‘road-tested’ during 
the ‘personal refl ection and design experimentation’ process of ‘fi nding myself’ as 
a designer.
It could be argued that being labelled a design chameleon is not undesirable, 
especially if the designer is offered job security. However, in recent years, for me, 
this has not been the case, hence motivation to ideally become acknowledged 
as a design individual through the design of studio based limited edition, design 
art objects. As with Arad, Lovegrove, Newson and Trubridge, it is intended that my 
work in this fi eld will also inform and strengthen my work, profi le and position as a 
designer when working on commercial projects, ultimately providing me with more 
autonomy and security than before.
39
Figure 71 Who am I, as a design individual, when I
am not camoufl aged behind the brands I design for?
Furthermore, when looking at my various roles as a designer over the past few 
years I have realised that I have become increasingly dissatisfi ed with my day-
to-day workload. The reason I was attracted to design as a child was because 
of my curiosity and enthusiasm for making new things. I have realised that this 
component of design is generally no longer part of my day-to-day life as a designer. 
Rather, the focus is on gaining known results quickly and effi ciently – not unknown 
results through experimentation, combined with the increasing administration 
responsibilities of being a design manager.
This realisation has reinforced my motivation to enter the limited edition, design 
art fi eld to gain more creative freedom and autonomy within the design industry. 
According to Williams, a number of well known designers have also entered this 
fi eld for the same reasons and same desired outcomes:
“These designers, often well-known names, are seeking more 
autonomy from the design-manager role prescribed for them, and 
more creative freedom than working to industrial briefs will allow. 
They realise that also art fees are potentially more lucrative than 
design royalties will ever be. For those designers without the backing 
of gallerists, small editions of self-initiated projects offer a way to 
produce their own work, giving access to collectors and a chance to 
build a media profi le” (Williams, 2009a).
Subsequent personal refl ection revealed that I have been serious for my whole 
career, having worked predominately on serious projects, which is in contrast to my 
personality of a fun-loving, not too serious individual who is easily drawn towards the 
quirky. The design style that I aspire to typically combines bold geometric shapes 
with bright colours and patterns that are more often than not inappropriate for use 
as a corporate designer. These two factors have also contributed to a desire to work 
on projects that offer greater creative freedom than my commercial projects allow.
In summary, the process of personal refl ection has provided me with a theoretical 
understanding of ‘who I am’ and what statements I could make as a design 
individual:
I am a designer that has always had a passion for furniture design. I have a 
natural curiosity and enthusiasm for making new things. I enjoy the challenge of 
using everyday materials in new and alternative ways. As a designer I would like 
to work on projects that provide more autonomy and creative freedom than my 
typically serious and rational commercial projects allow, by creating objects that 
are primarily ‘emotionally rich’. I have sense of humour and like to make people 
smile, laugh and be happy. I receive great satisfaction from seeing people enjoy and 
amuse themselves. I am drawn towards quirky ideas and objects. Bold geometrical 
shapes, colours and pattern provide me with great pleasure.
The challenge from here for the following ‘design experimentation’ 
sections is to change my way of thinking from that of a corporate 
focused designer to that of a design individual and to transform the 
above into a personal design identity.
40
Design experimentation 1
The goal of this section is to translate all of the knowledge gained into ideas, 
concepts and objects. 
But where and how do I start?
Not knowing where to focus, I decided to explore design art ideas that captured the 
essence of what I believe New Zealand is renowned for. In my mind New Zealand is 
famous for outdoor living, beaches, wine and a social culture that encapsulates all 
of these aspects, as illustrated in fi gure 72.
Figure 72 ‘The Zone, the contextual fi eld that I was initially working in.
The fi rst sketch was the hardest… I felt vulnerable creating ideas 
that expressed my personality... what if nobody liked or understood 
them?
Included is a selection of the initial thoughts generated during this stage:
41
Figure 73
A selection of sketches 
illustrating my initial ideas.
42
Figure 74
A selection of sketches 
illustrating my initial ideas.
43
Figure 75
A selection of sketches 
illustrating my initial ideas. 
Note how the sketches to 
date apply colour boldly.
44
Figure 76
A selection of sketches 
illustrating my initial ideas. 
On refl ection, the ideas to 
date are form driven rather 
than material driven.
45
Figure 77
A selection of sketches 
illustrating my initial ideas. 
Note that the BBQ ideas 
are based around food 
and eating in a social 
context.
46
Figure 78
Further idea generation 
involved understanding 
who I am as a designer. 
During this process 
repeated informal analysis 
of Arad, Lovegrove, 
Newson and Trubridge was 
used for guidance and 
benchmarking purposes.
47
Figure 79
Refl ection on the ideas 
generated to date.
48
Figure 80
‘Festive Outdoor Furniture’ 
incorporates a number 
of padded spheres that 
are attached to rods to 
form a seat platform 
that offers an interesting 
and dynamic seating 
experience.
49
Figure 81
‘Upholstery Allsort’ binds 
a number of layers of 
upholstery likes leaves in a 
book. The user can select 
the desired upholstery 
type based on their mood 
or house guest.
50
Figure 82
‘Picnic Furniture’ 
incorporates new and 
unconventional materials 
to portable picnic 
furniture. Materials 
include carbon fi bre and 
hand tufted woollen rugs.
51
Figure 83
‘Tabletop BBQ’ is a 
result of exploring the 
relationship we have 
between cooking and 
socialising. This delicately 
styled table mounted BBQ 
allows people to cook, eat 
and socialise.
52
Figure 84
‘Wine Storage’ is a 
sculptural object that 
explores a point of view 
that wine racks should 
look aesthetically pleasing 
and ‘complete’ even if 
they are not storing wine 
bottles.
53
Figure 85 Initial sketches of the ‘Festive Outdoor Furniture’ approach.
Figure 86 Scale model of the ‘Festive Outdoor Furniture’ approach that was 
used as an attempt to understand the realities associated with this concept. 
On refl ection, ‘quick and dirty’ full sized models should have been created 
instead. This would have taught me more about the idea and indicated 
whether this approach should have been pursed or dismissed earlier.
Figure 87 Initial sketches of the ‘Upholstery Allsort’ approach.
Figure 88 Scale model of the ‘Upholstery Allsort’ approach. The same 
comment applies as fi gure 86.
Looking back over these ideas it occurred to me that I had 
been sketching and making scale models of ‘forms’ in order 
to create a ‘design signature’. Using the examples, ‘Outdoor 
Festive Furniture’ and ‘Upholstery Allsort’, as ideas they 
were interesting but arrived at by accident and they did not 
necessarily refl ect the theoretical understanding of who I am as 
a design individual that was identifi ed earlier.
I realised that I was essentially sketching in the 
dark – creating shapes that did not necessarily 
have any substance. This was because I 
was struggling to transform my theoretical 
understanding of who I am as a designer into 
actual ideas that I liked and felt comfortable 
with.
Given this realisation, I decided to identify and analyse two 
objects in the fi eld of design art that I particularly admired in 
order to gain an understanding of the qualities I was drawn too. 
These objects and their analysis were then used as points of 
reference for my own subsequent design experimentation.
Interestingly and unintentionally, both objects selected were 
chairs, Ron Arad’s ‘Well Tempered Chair’ and Marcel Wanders’ 
‘Crochet Chair’.
A summary of my analysis follows:
54
Well Tempered Chair – Ron Arad
Figure 89 ‘Well Tempered Chair’.
Designed in 1986 the ‘Well Tempered Chair’ was 
designed at the invitation of Swiss Manufacturer, 
Vitra. The chair whose outline is suggestive of a 
stuffed armchair is made from tempered steel and is 
held in tension by bolts to provide softness and ‘give’ 
(“Ron Arad: Celebrating 25 years of design,” 2009).
This object has been selected as a reference point 
for its innovative and unconventional use of material, 
which creates a distinctive and unique object.
The way hard 2-dimensional material has been used 
to create a 3-dimensional form that is both fl exible 
and rigid enough to support the human body has 
excited me for a number of years. I fi nd this ‘play’ on 
materials personally appealing as it challenges the 
conventions surrounding comfort and structure.
Of particular interest is the relatively low-tech use 
of materials that do not necessarily require any 
specialist equipment, meaning that this object can 
potentially be made in low volumes by the designer 
in their studio. This approach to materials and 
processes will be an important consideration for my 
study and the resulting object I design.
Crochet Chair – Marcel Wanders
Figure 90 ‘Crochet Chair’.
Designed by Marcel Wanders, the ‘Crochet Chair’ 
was launched at Design Miami in 2006. The chair 
is constructed from individual, hand-sewn crochet 
fl owers that are formed over a mould and stiffened 
with resin in order to create a structure that is open 
and lightweight in appearance (“Crochet Chair by 
Marcel Wanders,” 2007).
As with Arad’s ‘Well Tempered Chair’, this object 
has been selected as a reference point for my study 
because of its innovative and unconventional use of 
materials to create a distinctive and unique object.
For me, the use of crochet fl owers evokes fond 
memories of my childhood and visiting family; 
consequently I have an immediate emotional 
connection with the object.
Like Arad’s ‘Well Tempered Chair’, of particular 
interest is Wanders’ use of materials and crafted 
construction. Again specialist equipment is not 
necessarily required as the process is relatively low-
tech. This allows the designer to make the chair in 
low volumes in their studio, offering a quality that is 
‘hand-made’, rather than ‘machine made’.
Festive Outdoor Furniture – Jason Klenner
Figure 91 ‘Festive Outdoor Furniture’ (scale model).
I am attracted to these two objects for their new and 
unconventional use of material and structure; and for 
their use of low-tech processes to achieve a ‘hand-
made’ quality, rather than a ‘machine made’ quality.
When I compared these two objects with my ideas 
generated to date, it became evident that my work 
did not fully incorporate these qualities. I also 
came to the understanding that my ideas were 
very naïve. They lacked an element of realism and 
the beauty of simplicity. To overcome this naïvety 
and absence of realism, I decided to combine scale 
1:1 experimentation with sketching during the next 
phases. In time this process allowed me to simplify 
my ideas, giving me greater confi dence in the ideas 
generated.
I also realised that I needed to narrow my focus down 
to the design of a specifi c object within the fi eld of 
design art. Consequently, I decided to focus on a 
chair as it is arguably the most accepted item that 
emerging designers use to gain exposure. Chairs 
/ seating objects designed by Arad, Newson and 
Trubridge are all good examples of this.
55
Design experimentation 2
This stage focuses on the exploration of materials 
and structures through making at scale 1:1 in order 
to create, test and refi ne chair / seating related ideas.
The images on this page are the initial ideas behind 
the ‘Spiral Chair’ and ‘Truncated Seat’ concepts 
presented over the following pages. These initial 
ideas were created specifi cally to ‘kick-start’ the 
exploration through making process.
Figure 92 ‘Spiral Chair’ scale model.
Figure 93 ‘Spiral Chair’ initial sketches.
Figure 94 ‘Truncated Seat’ scale model.
Figure 95 ‘Truncated Seat’ initial sketches.
56
Full size experiment 1: ‘Spiral Chair’
The fi rst idea was named the ‘Spiral Chair’. This chair 
uses two layers of spirally cut polypropylene sheet to 
sandwich four layers of spandex.
When sat in the 2-dimensional seat pan fl exes into 
a 3-dimensional form. This provides the user with 
an element of surprise, delivering a subtle bouncing 
motion that results in a memorable and unexpectedly 
comfortable seating experience.
Figure 96 ‘Spiral Chair’.
The polypropylene and spandex construction of the ‘Spiral Chair’ 
provides the user with an element of surprise when fi rst sitting in the 
chair due to the unexpected fl ex of the material. While seated the 
spring of the spandex offers a continuous and dynamic experience. 
Interestingly this idea was developed by ‘playing’ with materials 
rather than through sketching, a change in my usual design method.
57
Full size experiment 2: ‘Truncated Seat’ 
The second of the two ideas was the ‘Truncated Seat’. 
As with the ‘Spiral Chair’, the ‘Truncated Seat’ also 
explores the notion of providing the user with an 
unique experience. In this scenario the ‘Truncated 
Seat’ is both a chair and a chaise lounge – the rotating 
structure provides a variety of seating positions from 
formal upright through to laidback lounging. Unlike 
the proof of principle model shown here, the many 
legs attached to the truncated shell are intended to 
be both decorative and functional.
Figure 97 ‘Truncated Seat’.
The rotating structure allows the user to transform this object from 
an upright chair to a chaise lounge, thus providing a dynamic and 
interesting user experience.
As with the ‘Spiral Chair’, this idea was developed by ‘playing’ with 
materials rather than through sketching, a change in my usual 
design method.
58
Conclusion: Personal refl ection and design experimentation
This process of experimentation has allowed me to ‘fi nd my feet’ 
and understand at a high level what my personal design identity and 
statement is as a design individual.
This point of view builds upon my curiosity for material and structure to provide the 
user with a unique experience when using an object as demonstrated in both the 
‘Spiral Chair’ and the ‘Truncated Seat’ concepts.
Further research into providing a unique experience revealed the concept of 
‘experiential design’:
“The design needs to create a context for experience, rather than 
just a product. He offers the user a context in which he may enjoy a 
fi lm, dinner, cleaning, playing and working… with all his senses. It is 
his task to make the product’s function accessible to the user whilst 
allowing for interaction with the product in a beautiful way. Aesthetics 
of interaction is the goal” (Overbeeke, Djajadiningrat, Hummels, & 
Wensveen, 2002).
Interfaces within ‘experiential design’ are then described as:
“The interfaces should be surprising, seductive, smart, rewarding, 
tempting, even moody, and thereby exhilarating to use. The interaction 
with the product should contribute to the overall pleasure found in the 
function of the product itself. The experiential is assumed to lead to 
joy of use” (Overbeeke, et al., 2002).
The concept of ‘experiential design’ was used as a basis to further develop my 
personal design identity and the resulting object to create rich user experiences as 
it complemented my desire to create ‘emotionally rich’ objects that are not overly 
serious and have the potential to make people smile or be happy.
After informal research and personal refl ection the ‘Spiral Chair’ was identifi ed as 
the concept that offered the most rich user experience potential and was selected 
for further development in the following stage.
Figure 98 The ‘Spiral Chair’ concept was selected for further development as informal research and 
refl ection identifi ed it to have the most potential for achieving a rich user experience.
59
60
Introduction: Personal identity and design development
This section utilises  the practice of design to develop the ‘Spiral Chair’ concept, 
and to build the notion of ‘experiential design’ into my personal design identity. This 
process has involved many cycles of design development and refl ection.
A summary of this process is documented over the following pages:
61
Figure 99
A selection of images illustrating the ‘Spiral Chair’ refl ection process.
Refl ection and design development 1
Refl ection and informal research conducted on the 
‘Spiral Chair’ identifi ed at a fundamental level what 
people liked about this concept. These were the 
element of surprise that occurs as the seat transforms 
from a 2-dimensional sheet to a 3-dimensional shape 
and the ongoing, non-static interaction the user has 
with the chair while being seated.
However, the use of Spandex was seen as lacking 
quality and the exposed edges of the polypropylene 
sheet as undesirable. 
This information was used as a basis for subsequent 
development as illustrated over the following pages:
62
Figure 100
A selection of images 
illustrating the process 
taken to evolve the key 
elements of the ‘Spiral 
Chair’ into an object 
that better captures my 
theoretical personal 
design identity.
63
Figure 101
A selection of images 
illustrating the process 
taken to evolve the key 
elements of the ‘Spiral 
Chair’ into an object 
that better captures my 
theoretical personal 
design identity.
64
Eureka!
The moment of ‘eureka’ was arrived at 
while experimenting with lacing elastic 
cord and searching for a substitute for 
the Spandex.
I was immediately excited by the idea of lacing elastic 
cord into the spiral to achieve an element of spring; 
this also gave me a new level of confi dence in the 
design of the chair as well as my ability as a designer.
In addition, I particularly liked the potential for 
the elastic cord to add an element of pattern or 
decoration. By lacing the cord into the chair by hand, 
for example, an element of personalisation between 
chairs can be achieved. Possibly this would also allow 
me to adopt an iterative approach to this object, 
similar to that of Ron Arad.
Since arriving at my moment of ‘eureka’, I am of the 
opinion that this approach has excellent potential as 
a design art object.
At a high level of detail, the elastic cord can also cover 
and cushion the hard edges of the polypropylene 
sheet, potentially solving the issue around comfort.
The next priority was to understand the natural 
characteristics and limitations of elastic cord 
and then create a proof of principle prototype as 
illustrated over the following pages:
Figure 102 (top) Sketches illustrating the ‘eureka’ moment.
Figure 103 (bottom left) Mock-up of the cord stitch in wool.
Figure 104 (bottom right) The Tuft-Gun image that provided 
inspiration during this ‘eureka’ moment.
65
Figure 105
A selection of images 
investigating potential 
elastic cord stitch methods 
and elastic cord diameter 
to stretch ratios.
66
Figure 106
Pre-proof of principle 
prototype sketch 
development.
67
Figure 107
Sketch illustrating the 
construction of the proof 
of principle prototype.
68
Proof of principle prototype
This prototype proves the principle that elastic cord 
combined with cut 3mm polypropylene sheet can 
create a fl exible and comfortable seat pan structure.
Sixty metres of single-stitched elastic cord was 
incorporated to achieve a comfortable amount of fl ex 
for a variety of body weights. This amount of fl ex was 
arrived at through trial and error; initially over eighty 
metres was cross-stitched into the spiral and was too 
taut. The stitching process took between 30 to 40 
hours on both occasions.
The frame and spiral shape was intentionally kept 
simple for ease and speed of prototyping. Once this 
prototype was completed and evaluated, the frame 
was modifi ed to incorporate adjustable leg heights in 
order to experiment with different seat heights and 
seat angles.
Figure 108
Proof of principle prototype incorporating one 3mm polypropylene 
sheet and 60 metres of 2mm diameter elastic cord.
69
Figure 109
Images illustrating the 
fl ex of the elastic seat 
when sat in. These images 
are of the prototype with 
the initial cross-stitching 
that was later changed 
to a single stitch due to 
tautness. Note also, these 
images are prior to the 
adjustable legs being 
fi tted.
70
Refl ection and design development 2
This prototype was informally evaluated by a sample 
group consisting of users of varying size and weight. 
Of this sample, all followed a similar pattern of 
interaction with the chair. They approached and sat 
in the chair with caution in order to gauge how it 
supported their body and weight. Once they realised 
that the chair not only supported them but was 
relatively comfortable and ‘bouncy’, they all playfully 
‘bobbed’ up and down in the chair, enjoying what 
would normally have been a static seating experience.
This prototype successfully illustrates that 
fundamentally the elastic and spiral sheet concept 
supports people in a seated situation and is 
comfortable.
Seeing people interact with the prototype further 
increased my confi dence in the uniqueness of this 
idea. I was also gaining more confi dence in my 
maturing personal design identity, which included 
combining materials in new ways to offer an 
interesting, enjoyable and ‘different’ user experience 
when compared with users’ interaction with 
utilitarian, mass market equivalents.
However, the overall form and structure of the chair 
still needed a signifi cant amount of development and 
refi nement to fully express the uniqueness of the 
concept and my personal design identity.
Furthermore, informal feedback highlighted the need 
to increase the overall seat size and amount of fl ex 
within the seat pan to improve comfort.
The following pages illustrate ongoing development:
Figure 110
A selection of images illustrating the refl ection process.
71
Figure 111
Ergonomic with elastic 
cord stretch calculations.
72
Figure 112
Further elastic cord stretch 
calculations with the goal 
of achieving more stretch 
in the back rest area 
and less in the seat pan 
area. More stretch in the 
backrest area provides 
greater comfort and less in 
the seat pan area reduces 
the amount of plastic edge 
being exposed to the user, 
also improving comfort.
73
Figure 113
Structure and aesthetic 
exploration.
74
Figure 114
Structure and aesthetic 
exploration.
75
Eureka!
Finally… after frustratingly sketching 
the same predicable shapes for some 
time I arrived at another ‘eureka’ 
moment… a frame that incorporates 
the same level of uniqueness and 
fascination as the elastic cord seat.
Folded from a fl at sheet of aluminium, the frame 
incorporates a similar visual thinness as the elastic 
cord seat. The concept being that the aluminium 
sheet is attached to a pole which allows for the 
chair to be easily picked up and moved from indoor 
environments to outdoor environments. Indoors, the 
pole would slot into a marble block and outdoors into 
a large garden peg.
As well as being able to use the chair in both indoor 
and outdoor situations I was further excited by this 
approach as the mounting pole effectively turns the 
chair into a swivel chair. This provides another level 
of user interaction and increases the potential for a 
rich user experience.
The following pages illustrate the subsequent 
development:
Figure 115
I was excited when I arrived at this folded sheet aluminium frame 
approach as it complements the thinness of the elastic cord seat.
76
Figure 116
Images illustrating 
Computer Aided Design 
(CAD) development of the 
concept, incorporating the 
folded sheet aluminium 
frame. The elastic cord 
seat shape features a 
fl atter curve around the 
seat water fall, to improve 
comfort through reduced 
pressure points to the 
back of the thighs.
77
Figure 117
Further frame design 
development.
78
Eureka!
Another break through… a swivel 
mechanism that is concealed and 
slim-line, providing an illusion that the 
chair is fl oating…
After deciding to simplify the chair concept, 
discarding the indoor and outdoor mounting 
brackets, I investigated how I could incorporate a 
swivel mechanism to complement the light weight 
and spacious appearance of the frame and elastic 
cord seat.
By accident, I stumbled upon the ‘Lazy Susan’ 
bearing – the bearings that are predominately used 
on restaurant tables. Their characteristics include 
being slim-line and able to be concealed from view. 
They can also withstand high weight loadings as 
well as forces from comparatively larger table top 
diameters.
These characteristics make it a good solution for 
a chair swivel and led to one being trialled in the 
subsequent prototype.
Figure 118
Sketch illustrating the desired visual thinness of the frame. A ‘Lazy 
Susan’ bearing was specifi ed to achieve this appearance.
79
Figure 119
Further frame design 
development.
80
Figure 120
CAD development.
81
Figure 121 ‘Sprung’ (rendition one).
Introducing... ‘Sprung’
Named ‘Sprung’ for two reasons, the 
fi rst refers to the elastic ‘fl ex’ that 
the chair provides, and the second 
expresses how I would like to use the 
chair to be ‘Sprung’ onto the design art 
stage.
Key visual elements of ‘Sprung’ are its thin 
appearance and a light-weight feeling. The thinness 
of the seat pan, in particular, was intentional. I 
wanted it to appear like a fl oating sheet, amplifying 
the 2-dimensional sheet to 3-dimensional shape 
transformation when sat in.
In addition to the seat pan transforming from a 
2-dimensional sheet to a 3-dimensional shape, the 
seat pan rotates above the base, offering another 
level of interaction and user experience. The seat 
legs that connect the base and the seat pan have 
also been designed to offer a certain amount of 
‘controlled wobble’, again to deliver a richer user 
experience.
82
‘Sprung’ prototype 1
This prototype proves that the 3mm aluminium sheet 
frame, bent along two edges is not rigid enough to 
support the weight of a seated body.
The images of the prototype shown incorporate the 
elastic cord seat from the previous prototype. Due 
to the weakness of the aluminium sheet frame the 
intended and more curvaceous elastic cord seat was 
not assembled with this prototype.
However, this prototype does successfully prove that 
the ‘Lazy Susan’ bearing specifi ed is rigid and can be 
used as a swivel for this chair. It also proves that the 
size and footprint of the chair is acceptable and that 
the speed and quality of the fabricators selected to 
build the individual components are also acceptable.
Although somewhat disappointing, the lessons learnt 
from building this prototype have been extremely 
valuable.
Figure 122
Sprung’ prototype 1. Unfortunately the 3mm folded sheet aluminium 
frame was not rigid enough to support the weight of a seated body. 
This issue was rectifi ed through development.
83
Refl ection and design development 3
The main issue this prototype demonstrated was 
the lack of frame rigidity. In essence, the ‘controlled 
wobble’ effect that I wanted to achieve created this 
issue. Subsequently, in order to reduce the risk 
associated with the frame being too weak, I decided 
to discard the ‘controlled wobble’ effect and change 
the frame material specifi cation and thickness to 
5mm mild steel instead of 3mm aluminium.
Ideally, I would have used 3mm mild steel for this 
component, but after consultation with the frame 
fabricator, there was still some rigidity risk associated 
with using 3mm mild steel.
In addition, the frame design was changed to include 
four bends, one for each leg instead of two. This 
design change improves the structural integrity and 
rigidity of the frame.
All of the other components assemble together easily 
with no interference.
Development in this phase explores alternative elastic 
cord stitching techniques to achieve a solution that 
is less labour intensive than the previous prototype, 
where the process could eventually be automated.
Figure 123
Sketch illustrating the improved frame design to be fabricated from 
5mm mild steel.
84
Figure 124
Images illustrating 
alternative elastic cord 
stitching technique 
development. From here 
a stitching technique 
similar to that of a sewing 
machine was adopted with 
the view that the process 
could later be automated.
85
Figure 125
Images illustrating 
alternative elastic cord 
stitching technique 
development. From here 
a stitching technique 
similar to that of a sewing 
machine was adopted with 
the view that the process 
could later be automated.
86
Figure 126 Final CAD detail design.
87
Figure 127 Final CAD detail design.
88
Figure 128
Images illustrating the 
elastic cord stitching 
and prototype assembly 
process.
89
‘Sprung’ prototype 2
This prototype successfully proves that the legs are 
rigid and support a variety of seated body sizes and 
weights.
The elastic cord seat feels spacious and supportive, 
and combined with its swivel base provides a dynamic 
and enjoyable seating experience.
This prototype validates my design and concludes 
my design development process. The focus is now on 
fabricating the fi nal ‘Sprung’ object for exhibition.
Figure 129 ‘Sprung’ prototype 2 validates my design and concludes 
the design development process. The focus is now on fabricating the 
fi nal ‘Sprung’ object for exhibition.
90
Conclusion: Personal identity and design development
Included is a summary of the ‘personal identity and design development’ section.
Having a hands-on approach and creating ideas through experimentation, without 
the constraints associated with commercial projects, has been a refreshing and 
rewarding experience. It has allowed me to ‘fi nd myself’ as a designer and defi ne 
my personal design identity. This can be described as:
Incorporating a curiosity for experimentation with material and 
structure to create everyday objects that are not devoid of function, 
but not serious either.
The goal of this identity is to make users smile and to increase 
sentimental attachment and desirability towards these objects 
by offering experiences that can be described as surprising, 
memorable, enjoyable, light-hearted and even exhilarating when 
compared with utilitarian, mass market equivalents.
An example of this is:
A chair called ‘Sprung’ that integrates elastic cord with a 
2-dimesional plastic sheet that fl exes into a 3-dimensional springy 
form when sat in. This transformation appears and feels unexpected 
and the bounce experience fun, challenging how we view materials 
and structures and how chairs are perceived and used.
91
Figure 130 ‘Sprung’ (fi nal rendition).
92
93
94
Conclusion
My Master of Design research project has involved the creation of a personal 
identity through design in order to reposition myself within the design industry at 
a time when the existence of New Zealand designers who work within the mass 
design services market is being threatened by New Zealand based manufacturing 
and industry moving offshore.
The aim of this study was to free myself from the constraints associated with 
commercial projects and ‘fi nd myself’ as a design individual by establishing a 
personal point of view and design identity, as expressed through the creation of a 
limited edition, design art object in order to establish a track record and reputation 
in this fi eld. The insights and information gained form a toolbox of knowledge that 
will aid the future development of my career as a designer.
The design-led research has involved the observation and analysis of designers 
that are positioned within the high profi le and high value area of the design industry 
including Ron Arad, Ross Lovegrove, Marc Newson and David Trubridge in order to 
understand the key elements that underpin their success and to gain insights and 
inspiration for developing my own personal design identity.
Observation and analysis also included that of established New Zealand designers 
such as Peter Haythornthwaite and Simon James in order to understand how 
they have achieved acknowledgement in their fi elds; the ideology behind the 
limited edition, design art fi eld along with the national and international channels 
that support and promote this niche; and fi nally the opportunities that direct 
manufacturing and rapid prototyping processes can provide to this study.
Following my analysis, particularly of Arad, Lovegrove, Newson and Trubridge and 
the limited edition, design art fi eld I realised that there are many alternative design 
career paths that can be explored as a New Zealand based designer. Of the various 
paths available, I decided to pursue the establishment of a personal design identity 
to be expressed through the creation of a limited edition, design art object with 
the aim of establishing a profi le in this fi eld and to ultimately be less reliant on the 
provision of a design service for mass market design.
This approach was selected as my research confi rmed that the personal design 
identities of Arad, Lovegrove, Newson and Trubridge have been fundamental to 
their success and position within the high profi le and high value area of the design 
industry; in addition research indicates that the limited edition, design art fi eld is an 
accessible platform to gain exposure as a design individual.
Common to the personal design identities of Arad, Lovegrove, Newson and 
Trubridge is experimentation with materials and processes. This experimentation 
has allowed these designers to create distinctive and iconic objects as statements 
that reveal their attitudes and personality as design individuals. It should also be 
noted that this experimentation with materials and processes does not necessarily 
need to involve leading edge technologies and can utilise hand-made techniques 
as demonstrated with Newson’s ‘Lockheed Lounge’ and Bertjan Pot’s ‘Random 
Light’.
Furthermore, the limited edition and design art fi eld provides a canvas for many of 
the experimental objects created by these designers. These are showcased through 
curator and dealer galleries that are viewed as ‘the new patrons’ of experimental 
and contemporary design objects rather than the Italian furniture manufacturers, 
such as Cappellini, Magis and Moroso, of the past.
When refl ecting on my point of view, values and approach when creating objects 
for myself, I realised that I had become increasingly dissatisfi ed with my day-to-day 
role as a commercial designer. Some factors that contributed to this dissatisfaction 
include the serious and primarily ‘rationally rich’ products that I have worked on 
throughout my career. There has been a lack of light-hearted, ‘emotionally rich’ 
objects that make people happy or smile while still serving a functional purpose. 
In addition, little creative freedom or autonomy exists to satisfy my curiosity and 
enthusiasm for experimentation using materials in new and alternative ways. Finally, 
I have been unable to create bold, quirky and colourful objects that aesthetically 
please me in my professional life.
The process of continual personal refl ection and design experimentation has 
allowed me to achieve my research aim of ‘fi nding myself’ as a design individual 
by creating a personal design identity that is expressed through the creation of a 
limited edition, design art object. This process has been extremely challenging as I 
initially felt vulnerable as I started to expose my personality to others, a personality 
that had been safely camoufl aged behind the brands that I had designed for over 
the past nineteen years as a commercial designer. Over time this has become 
easier as I gained confi dence in my ideas and ability as a design individual.
95
The process of design experimentation and design refi nement identifi ed that 
experimentation with materials and processes needed to be hands-on in order to 
test principles and ideas rather than experimentation through sketching. Although 
this sounds obvious, this was quite a shift from my approach as a commercial 
designer when sometimes months would go by without the use of a workshop. 
It should be noted that I now have my own workshop at home for this type of 
experimentation.
The goal of my personal design identity is to incorporate a curiosity for 
experimentation with material and structure when creating everyday objects that 
are not devoid of function, but not serious either. As well as to make users smile 
and to increase sentimental attachment and desirability towards the objects I 
create by offering experiences that can be described as surprising, memorable, 
enjoyable, light-hearted and even exhilarating. 
This personal design identity has allowed me to arrive at an object called ‘Sprung’ 
that incorporates the concept of ‘experiential design’ to create rich user experiences. 
The ‘experiential design’ concept complements my desire to create ‘emotionally 
rich’ objects that are not overly serious and have the potential to make people 
smile and be happy when using everyday objects, especially when compared with 
utilitarian, mass market equivalents.
Figure 131 ‘Sprung’ (fi nal prototype).
In particular, the statement that I wanted ‘Sprung’, the fi rst object to be created 
with this personal design identity, to make was that things do not always have to be 
so serious. Objects can fulfi l a function without necessarily being serious and that 
enjoyment can come from even the simplest activities performed on a day-to-day 
basis, in this case sitting.
In addition, the hand stitched construction featured in the seat pan is a reaction 
to the movement offshore of mass manufacture design services and industry. 
It explores techniques that can be processed in a studio workshop environment 
without being dependent on leading edge and specialist industry. 
Hand stitching was selected as a technique that could be processed within a studio workshop
environment, with the view that it could later be automated as a process for future editions.
Figure 132 Hand stitching construction of ‘Sprung’.
96
It is intended that ‘Sprung’ be the fi rst of a series of objects that utilise this personal 
design identity for the limited edition, design art fi eld. These objects will be used to 
gain exposure as a design individual, with the aim that these objects be showcased 
in curator or dealer galleries that exhibit experimental objects. 
Observing people interacting with and discussing ‘Sprung’ at the Master of Design 
exhibition fi nale on Friday February 11 2011 provided the following feedback:
The thin bold yellow seat pan with its fl oating position above the 
stainless steel base provides a striking and playful appearance 
that is attention capturing. The unusually fl at appearance, which 
interestingly still looks like a chair, reinforces the idea that it is not 
serious or rational.
Following this initial reaction to the chair, typically focus shifts to the spiral shape 
within the seat pan, the contrasting black elastic cord and the pattern this creates. 
Combined these provide a level of fascination with the object and a curiosity to trial 
it. Questions typically included: “How is it made?”, “What is it made from?”, “How 
does it work?”, Will it support me and can I try it?”.
When sat in for the fi rst time users would approach and cautiously perch on the 
chair in order to gauge how it supported their body and weight. A typical reaction, 
at this stage, was a large smile and an expression of pleasant surprise at how 
comfortable and supportive they found it. Upon realising that their body weight was 
supported a new level of interaction with the object was entered through a subtle 
bouncing and pivoting motion.
During the exhibition fi nale, at times, a queue of people formed to trial the chair. 
This sparked another level of interaction – between the person sitting in the chair 
and those queuing. This consisted of energetic bouncing so those queuing could 
see how the appearance of the chair changed during this motion.
The metal frame, stainless steel base and yellow cylindrical base fascia was 
intentionally kept visually as simple as possible to reinforce the striking, playful 
and fl oating appearance of the bold yellow seat pan. The integration between these 
components was also kept to a minimum for this reason.
Following the Master of Design exhibition, I believe that ‘Sprung’ expresses the 
statement that objects do not have to be serious to fulfi l physical or visual functions. 
I believe that ‘Sprung’ also refl ects my personal design identity and desire to create 
objects that provide ‘emotionally rich’ experiences. The feedback on ‘Sprung’ also 
indicated that the interaction the user has with ‘Sprung’ was surprising, enjoyable 
and entertaining and as a result, it was viewed a desirable object – being more 
than a seat.
Finally, my Master of Design study has provided me with a renewed enthusiasm for 
design. It has also given me a new sense of self confi dence in my ability and future 
as a designer along with a toolbox of knowledge to continue developing my career.
I am excited about continuing the journey of developing my personal 
design identity in the future and believe that it has the potential to 
secure my future as a designer…
97
Figure 133 ‘Sprung’ (fi nal prototype).
98
Figure index
Figure 1: Flow chart
Figure 2: Ron Arad. Retrieved November 28, 2010, from http://www.
momedesign.com/19,0-ron_arad.html
Figure 3: Big Easy chair (1988). Retrieved June 28, 2010, from http://
artblart.wordpress.com/2009/08/
Figure 4: Soft Big Easy chair (1990). Retrieved June 28, 2010, from 
http://artblart.wordpress.com/2009/08/
Figure 5: New Orleans chair (1999). Retrieved June 28, 2010, from 
http://artblart.wordpress.com/2009/08/
Figure 6: Big E chair (2003). Retrieved June 28, 2010, from http://de-
sign-mi.blogspot.com/2008/08/ron-arad-big-easy-chair-at-
abitare-il.html
Figure 7: Ross Lovegrove. Retrieved November 28, 2010, from http://
www.momedesign.com/26,0-ross_lovegrove.html
Figure 8: Cosmic Angel lamp (2009). Retrieved November 29, 2010, 
from http://petersteinhauer.fi les.wordpress.com/2010/05/
cosmic-angel-sospensione-by-r-lovegrove-02.jpg
Figure 9: Cosmic Ocean lamp (2009). Retrieved November 29, 2010, 
from http://www.designmagazin.cz/interier/8455-ross-
lovegrove-navrhl-svetela-cosmic-pro-artemide.html
Figure 10: Marc Newson. Retrieved November 28, 2010, from http://
busylizzyseasle.blogspot.com/
Figure 11: Event Horizon Table (1992). Retrieved November 29, 2010, 
from http://www.marc-newson.com/ProjectImages.aspx?Grou
pSelected=0&ProjectName=Event+Horizon+Table%0D1992+-
+Pod&Category=Unique%20Pieces
Figure 12: Haircare Appliance for Vidal Sassoon (2000). Retrieved 
November 29, 2010, from http://www.marc-newson.com/
ProjectImages.aspx?GroupSelected=0&ProjectName=Haircare
+Appliances%0D2000+-+Vidal+Sassoon&Category=Products
Figure 13: Nimrod Chair for Magis (1997). Retrieved November 29, 
2010, from http://www.marc-newson.com/ProjectImages.asp
x?GroupSelected=0&ProjectName=Nimrod+Chair%0D1997+-
+Magis&Category=Products
Figure 14: Zenith Chair for Galerie Kreo (1998). Retrieved November 29, 
2010, from http://www.marc-newson.com/ProjectImages.
aspx?GroupSelected=0&ProjectName=Zenith+Chair%0D%
0A1998+-+Galerie+Kreo++Pod&Category=Unique%20Pieces
Figure 15: David Trubridge. Retrieved November 28, 2010, from http://
www.dwell.com/articles/david-trubridge-interview.html
Figure 16: Body Raft. Retrieved June 28, 2010, from http://www.via.fr/fr/
evenements_matieres08.asp
Figure 17: Flax. Retrieved June 28, 2010, from http://www.via.fr/fr/
evenements_matieres09.asp
Figure 18: Pebble Bowls. Retrieved June 28, 2010, from http://www.
seedsandfruit.com/2009/04/david-trubridge-artist-and-
designer/
Figure 19: Concrete Stereo (1993). Retrieved November 30, 2010, from 
http://artblart.wordpress.com/2009/08/
Figure 20: Uncut (1997). Retrieved June 28, 2010, from http://artblart.
wordpress.com/2009/08/
Figure 21: Pic Chair (1997). Retrieved December 1, 2010, from http://
www.dezeen.com/2009/07/12/ron-arad-no-discipline-at-
moma/
Figure 22: DNA Staircase (2003). Retrieved October 25, 2010, from 
http://www.designboom.com/eng/interview/lovegrove.html
Figure 23: Supernatural chair range (2005). Retrieved June 28, 2010, 
from http://www.designboom.com/eng/interview/lovegrove.
html
Figure 24: Muon Speakers for Kef (2007). Retrieved June 28, 2010, 
from http://gizmodo.com/254010/limited-edition-kef-muon-
speakers-pricing-announced-brace-yourself
Figure 25: Event Horizon Table. Retrieved June 28, 2010, from http://
about.nsw.gov.au/collections/doc/event-horizon-table-by-
marc-newson/
Figure 26: Extruded Chair (2006). Retrieved June 28, 2010, from http://
artnews.org/gallery.php?i=1263&exi=14741&Gagosian&Marb
le
Figure 27: Extruded Table (2006). Retrieved June 28, 2010, from http://
gdr.typepad.com/weblog/2007/01/marc_newson_gag_1.html
Figure 28: Voronoi Shelf (2006). Retrieved June 28, 2010, from http://gdr.
typepad.com/weblog/2007/01/marc_newson_gag.html
Figure 29: Lockheed Lounge. Retrieved June 28, 2010, from http://
www.blueprintmagazine.co.uk/index.php/design/supersonic-
design/
99
Figure 30: Coral Light. Retrieved June 28, 2010, from http://
besthomenews.com/coral-lightshade-by-david-trubridge/
Figure 31: Rover Chair (1981). Retrieved February 17, 2011, from http://
www.swide.com/luxury-magazine/Faces/Artists/Ron-Arad--
restless-as-ever/2010/2/16
Figure 32: Three Baskets of Knowledge hanging light installation (2009). 
Retrieved June 28, 2010, from http://www.diito.be/page5/fi les
/88fcd40b3960e03d3d8a9f7be2b0768a-12.html
Figure 33: Nananu chair (2008). Retrieved February 17, 2011, from 
http://www.dwell.com/products/nananu.html
Figure 34: Koura light (2009). Retrieved JFebruary 17, 2011, from
Figure 35: Well Tempered Chair (1986). Retrieved June 28, 2010, from 
http://artblart.wordpress.com/2009/08/
Figure 36: Lockheed Lounge. Retrieved June 28, 2010, from http://
www.blueprintmagazine.co.uk/index.php/design/supersonic-
design/
Figure 37: Body Raft. Retrieved June 28, 2010, from http://www.via.fr/fr/
evenements_matieres08.asp
Figure 38: Southern Hemisphere (2007). Retrieved June 28, 2010, from 
http://artblart.wordpress.com/2009/08/
Figure 39: Ripple Chair for Moroso (2005). Retrieved June 28, 2010, from 
http://teoriadodesign.wordpress.com/2009/12/09/o-tedio-e-
o-pai-da-criatividade-ron-arad/
Figure 40: PizzaKobra lamp for iGuzzini (2008). Retrieved June 28, 2010, 
from http://artblart.wordpress.com/2009/08/
Figure 41: Tempered sprung steel Bookworm bookshelf (1993). Retrieved 
June 28, 2010, from http://www.dezeen.com/2009/07/12/
ron-arad-no-discipline-at-moma/
Figure 42: Plastic (polypropylene) Bookworm bookshelf (1993). Retrieved 
October 25, 2010, from http://www.giant.co.uk/kart13.html
Figure 43: Go Chair (2001). Retrieved March 28, 2010, from http://www.
bonluxat.com/a/Ross_Lovegrove_Go_Chair.html
Figure 44: DNA Staircase (2003). Retrieved June 28, 2010, from http://
www.designboom.com/eng/interview/lovegrove.html
Figure 45: Andromeda Light (2009). Retrieved June 28, 2010, from http://
www.designboom.com/weblog/keyword/ross-lovegrove.html
Figure 46: Embryo Chair (1988). Retrieved June 28, 2010, from http://
www.leblogdeco.fr/fauteuil/848-fauteuil-tripode-de-forme-
organique.html
Figure 47: Orgone Lounge (1989). Retrieved June 28, 2010, from http://
designmuseum.org/design/marc-newson
Figure 48: Felt Chair (1989). Retrieved June 28, 2010, from http://
designmuseum.org/design/marc-newson
Figure 49: Skybed Business Class Seat for Qantas (2003). Retrieved 
November 30, 2010, from http://images.businessweek.com/
ss/06/12/1214_marcnewson/source/10.htm
Figure 50: Nickel Chair (2006). Retrieved June 28, 2010, from http://
www.gagosian.com/exhibitions/24th-street-2007-01-marc-
newson/#/images/3/
Figure 51: Three Baskets of Knowledge hanging light installation (2009). 
Retrieved June 28, 2010, from http://www.diito.be/page5/fi les
/88fcd40b3960e03d3d8a9f7be2b0768a-12.html
Figure 52: Coral Light. Retrieved June 28, 2010, from http://
besthomenews.com/coral-lightshade-by-david-trubridge/
Figure 53: Glide. Retrieved June 28, 2010, from http://www.seedsandfruit.
com/2009/04/david-trubridge-artist-and-designer/
Figure 54: Flip and Ruth One. Retrieved November 30, 2010, from http://
www.seedsandfruit.com/2009/04/david-trubridge-artist-and-
designer/
Figure 55: Kina Light. Retrieved November 30, 2010, from http://www.
seedsandfruit.com/2009/04/david-trubridge-artist-and-
designer/
Figure 56: Ron Arad: New Work exhibition at the Timothy Taylor 
Gallery. Retrieved October 26, 2010, from http://www.
timothytaylorgallery.com/exhibitions/ron-arad-new-work/
Figure 57: Marc Newson’s 2007 exhibition at the Gagosian Gallery. 
Retrieved June 28, 2010, from http://www.gagosian.com/
exhibitions/24th-street-2007-01-marc-newson/#/images/8/
Figure 58: Liquid Table range. Retrieved October 25, 2010, from http://
gdr.typepad.com/weblog/2007/01/ross_lovegrove_.html
Figure 59: Telling Tales: Fantasy and fear in contemporary design. 
Retrieved October 25, 2010, from http://www.vam.ac.uk/
microsites/telling-tales/
Figure 60: Clare Mora and the Essenze retail gallery, Auckland. Retrieved 
October 25, 2010, from http://www.essenze.co.nz/documents/
Clare%20Mora,%20Inspiration1.pdf
100
Figure 61: Essenze retail gallery, Auckland. Retrieved October 25, 
2010, from http://www.essenze.co.nz/documents/Clare%20
Mora,%20Inspiration1.pdf
Figure 62: Derek Manson’s electric guitar concept. One of a kind (2009, 
April / May). Prodesign, p.21.
Figure 63: Pininfarina Sintesi concept car. Retrieved October 25, 2010, 
from http://www.gearlog.com/2008/03/2008_geneva_
motor_show_pininfa.php
Figure 64: Random Light (2007). Retrieved February 22, 2011, from 
http://www.fl ickr.com/photos/kuantanboy/1331861634/
sizes/m/in/photostream/
Figure 65: My Pal Sony (1991)
Figure 66: Outdoor Chair (1991)
Figure 67: Fisher & Paykel Smart Drive 3 washing machine (1994)
Figure 68: Dymo Junior Label Maker
Figure 69: Navman F20 in-car navigator
Figure 70: Navman S-Series in-car navigation range
Figure 71: Illustration: Who am I?
Figure 72: The Zone
Figure 73-79: Conceptual sketches
Figure 80-84: Initial concepts
Figure 85: Initial sketches of the Festive Outdoor Furniture approach
Figure 86: Scale model of the Festive Outdoor Furniture approach
Figure 87: Initial sketches of the Upholstery Allsort approach
Figure 88: Scale model of the Upholstery Allsort approach
Figure 89: Well Tempered Chair (1986). Retrieved June 28, 2010, from 
http://artblart.wordpress.com/2009/08/
Figure 90: Crochet Chair (2006). Retrieved June 28, 2010, from http://
conceptrends.com/2008/03/01/crochet-chair-by-marcel-
wanders/#more-73
Figure 91: Scale model of the Festive Outdoor Furniture concept
Figure 92: Scale model of Spiral Chair concept
Figure 93: Initial sketches of Spiral Chair concept
Figure 94: Scale model of Truncated Seat concept
Figure 94: Initial sketch of Truncated Seat concept
Figure 96: Spiral Chair prototype
Figure 97: Truncated Seat prototype
Figure 98: Spiral Chair prototype
Figure 99: Spiral Chair refl ection
Figure 100-101: Spiral Chair concept development
Figure 102: Sketch development
Figure 103: Mock-up of the cord stitch in wool
Figure 104: Tuft-Gun. Retrieved June 28, 2010, from http://www.
jacobsenrugs.com/or-def.htm
Figure 105: Elastic cord stitch development
Figure 106-107: Sketch development
Figure 108-109: Proof of principle prototype
Figure 110: Prototype refl ection
Figure 111: Ergonomic development
Figure 112: Elastic cord stretch development
Figure 113-115: Aesthetic sketch development
Figure 116: CAD development
Figure 117-119: Further frame sketch development
Figure 120: CAD development
Figure 121: Sprung (rendition one)
Figure 122: Sprung prototype 1
Figure 123: Sprung sketch development
Figure 124: Elastic cord further exploration
Figure 125: Further sketch development
Figure 126-127: CAD development
Figure 128: Prototype assembly
Figure 129: Sprung prototype 2
Figure 130: Sprung (fi nal rendition)
Figure 131: Sprung (fi nal prototype)
Figure 132: Hand stitching construction of Sprung
Figure 133: Sprung (fi nal prototype)
Figure 134: LCP Chaise Longue. Retrieved February 20, 2011, from http://
www.ballerhouse.com/2010/11/25/relax-with-the-kartell-lcp-
chaise-longue/
Figure 135: Icila Chair. Retrieved February 20, 2011, from http://cubeme.
com/blog/2009/11/03/icila-chair-by-cecile-planchais/
Figure 136: Interlace Chair. Retrieved February 20, 2011, from http://www.
matthewplumstead.com/2010/06/interlace-chair/
Figure 137: Kolo Armchair. Retrieved February 20, 2011, from http://
missdelite.blogspot.com/2009/07/design-blogs.html
Figure 138: Stretch Chairs. Retrieved February 20, 2011, from http://www.
digsdigs.com/bright-colored-vivid-chairs-stretch-by-jessica-
carnevale/
101
Figure 139: Silk Chair. Retrieved February 20, 2011, from http://www.
contemporist.com/2011/02/07/the-silk-chair-by-alvi-
design/#more-26275
Figure 140: Elastic Chair. Retrieved February 20, 2011, from http://
andrewreedstudio.com/work/2010/2/20/elastic-chair.html
Figure 141: Flex Chair. Retrieved February 20, 2011, from http://blog.
ponoko.com/2008/11/07/steve-watson/
Figure 142: Linka Chair. Retrieved February 20, 2011, from http://
thedesignmatrix.wordpress.com/2010/02/21/naughty-and-
nice/
Figure 143: STRETCHout. Retrieved February 20, 2011, fromhttp://blog.
ponoko.com/2007/05/07/transforming-2d-into-fl uid-3d/
Figure 144: Uncut Chair. Retrieved June 28, 2010, from http://artblart.
wordpress.com/2009/08/
Figure 145: Spring Wood Collection. Retrieved February 20, 2011, from 
http://www.contemporist.com/wp-content/uploads/2011/01/
sw_100111_03.jpg
102
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Internet search results of chairs utilising material that fl exes for effect when sat in:
Figure 134 ‘LCP Chaise Longue’ by 
Maarten van Severen for Kartell.
Figure 138 ‘Stretch Chairs’ by Jessica Carnevale.
Figure 142 ‘Linka Chair’ by Helen 
Kontouris.
Figure 135 ‘Icila Chair’ by 
Cecile Planchais.
Figure 139 ‘Silk Chair’ by 
Åsa Kärner.
Figure 143 ‘STRETCHout’ lounge 
seat by Tim Miller.
Figure 136 ‘Interlace Chair’ by 
Matthew Plumstead.
Figure 140 ‘Elastic Chair’ by 
Andrew Reed.
Figure 141 ‘Flex Chair’ by 
Steve Watson.
Figure 137 ‘Kolo Armchair’ 
by Jouko Järvisalo.
Figure 144 ‘Uncut Chair’ 
by Ron Arad.
Figure 145 ‘Spring Wood Collection’ 
by Carolien Laro.
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