Creative Axis - Institute of Designers in Ireland

V O L 0 4 M A Y 2 0 0 4

Creative AxisIDI·THE NEWSLETTER OF THE INSTITUTE OF DESIGNERS IN IRELAND | 8 MERRION SQUARE | DUBLIN 2 | i d i @ i n d i g o . i e

Many people perceive design as being about image and style. But design is not justabout the way things look. It is also about theway things are used, how they arecommunicated to the world and the way theyare organised and produced. Design is alsoimportant in defining how we feel about theworld we live in.

Design is of great importance in society, asa means for achieving business success and inorder to enhance the country’s competitivestanding. However, Ireland has yet to realisefully the importance and crucial role of design.The 2002 report of the Irish Council forScience, Technology and Innovation (ICSTI)reveals that Irish manufacturers have a lowopinion of design, due in part to the lack of adesign culture in this country. For example itreports that only 18% of enterprises in theShannon region actively use design.

Many of the issues and problemsconfronting Ireland are multi-dimensional: anageing population, skills shortages, increasedcompetition from the east, high prices, theenvironment – and more. But the institutionswe expect to solve these problems –government, science, education, business andthe professions are not multi-dimensional.Design, therefore, has an important role.Designers use a combination of intuition,understanding and current knowledge todevelop innovative solutions. In a world wheremany new products and services are similar infunction and even performance, their design –shape, look and image – can make all thedifference.

Since its foundation in 1972, the institutespriorities have been to represent the interestsof designers from different disciplines who

practise on the island of Ireland through thepromotion of high standards of design and byfostering professionalism and emphasisingdesigners’ responsibility to society, to theclient and to one another. The institute makesevery effort on an ongoing basis to devise newways of serving its members and society. It hasput in place strategic affiliations and efficientdevelopment and communication systems.Most important of all, designers are activelyinvolved in the institute’s activities.

One of the core aims of the IDI is to identifynew issues that face design practitioners. Thecalendar of events and initiatives planned for2004 reflect the institute’s response to thesenew challenges.

In February 2004 the institute held its AGMin Dublin, soon followed by an evening withthe celebrated typographer Bruno Maag in TheVaults at Connolly Station with a rivetedcapacity audience. On March 4th Minister forArts, Sport and Tourism John O’Donohuelaunched the innovative Shamrock Uncoveredproject in The National Museum. This projectis a design research response to the theme ofglobalisation and the importance ofrecognising country symbols as a means ofretaining national identity. In April,representatives from the IDI will visited Bosniaas guests of ULUPUBIH The Association ofApplied Artists and Designers of Bosnia, it wastremendous success and heralded a newinternational link between the designers ofboth countries.

IDI and ICAD jointly presented ‘Dubbel’Dutch in late April, a highly commended talkand series of workshops with a show of work byUNA Amsterdam and Thonik the Dutchgraphic design firms. The event also showedthe benefits of working together for thebetterment of the design profession.

Events in May and June will include visitsby The Norwegian Design Council and ECIAThe European Council of Interior Architects.The publication and launch of a number ofimportant IDI publications including Therevised IDI professional code of conduct, anintroductory booklet on design for SchoolLeavers and ‘Why design’ a basic guide to thevalue design in business.

Continuing through the summer, eventsinclude a presentation on ‘pro bono creativedesign commissions’ by Ciaran O’Gaora, ZeroG. Fashion designer, Joanne Hynnes will showher much talked about work in Dublin andLimerick, and the IDI a series of mini-seminars to businesses in Cavan and Galway

President’s Letter‘The room must lookcomfortable, the housecosy, the courthousemust make a threateningimpression on the furtivecriminal, the bank mustsay, “Here your money issecurely safeguarded byhonest people.”’Czech architect, Adolf Loos

Continued overleaf >

IDI Creative Axis welcomes contributionsfrom members and non-members. Articlesfor publication should be sent to: RinaWhyte, Executive Officer, Institute ofDesigners in Ireland, 8 Merrion Square,Dublin 2. Email [email protected] every effort is made to check theaccuracy of information contained inthe Newsletter, the IDI cannot acceptresponsibility for errors and omissions.The views expressed by contributors are not necessarily those of the IDI.IDI wish to acknowledge the support ofEoin Tierney in the preperation of the Mayissue of the Creative Axis.

Section representative contact details:

Exhibition & InteriorDesign/ArchitectureAlex SimpsonT 01 677 5359E [email protected] SheehanT 01 638 4931E [email protected]

Product & Industrial DesignLorraine BrennanT 01 873 5420E [email protected] HollandT 01 878 0580E [email protected]

Fashion & TextilesAoife HarringtonT 01 236 0207 E [email protected] RocheT 01 668 0415 E [email protected]

Design EducationBrenda DermodyT 01 402 4242E [email protected] FaheyT 01 415 0400E [email protected]

New MediaCameron RossT 01 667 5360E [email protected] HanrattyT 01 670 8794E [email protected]

Design ManagementAndrew BradleyT 01 202 0535E [email protected]

Theatre, Television & Stage DesignCarol CoffeyT 01.2084150E [email protected] TreacyT 01 208 2307E [email protected]

Visual CommunicationsDavid SmithT 01 676 7425E [email protected] RichardsT 01 454 6377E [email protected]

O U R N E W S L E T T E R S P O N S O R S

paper assist ...

t h e m e d i u m i s t h e m e s s a g e

Unit 7 Bluebell Business Park

Old Naas Road, Dublin 12

t 01.450 0303

f 01.450 0316

e [email protected]

A comprehensive and

versatile range of quality

speciality and commodity

papers from Italy.

Samples and specifications

are available from:

Letters to the Editorp. 5

EU EnlargementSeveral articles relating to the recent EuEnlargement , including the IDI trip to bosniap. 7

IDI AGMThe IDI annual general meeting on February21, 2004 at Enterprise Ireland, Sandymountin Dublin.p. 8

Bruno MaagBruno Maag explains the development of thetypeface Sparkasse and disscuses the futureof digital typesetting.p. 7

Dubbel DutchThe Dubble Dutch event in March was acollaboration between ICAD and IDI to bringThonik and UNA, two Dutch Graphic designagencies, together in Ireland to present anddiscuss their work with Irish designers.p. 8

Event Newsp. 7

Diary / Calendarp. 7

Competitionsp. 7

One of the core aims of the IDI is to identifynew issues that face designers. The calendarof events and initiatives planned for 2004reflect members stated needs, the events areorganised to provide for all design disciplinesthroughout the year and across the regions.

Starting in February the institute held itsAGM in Dublin, soon followed by an eveningwith the celebrated typographer Bruno Maagin The Vaults at Connolly Station with a rivetedcapacity audience. On March 4th Minister forArts, Sport and Tourism John O’Donohuelaunched the innovative Shamrock Uncoveredproject in The National Museum. This projectis a design research response to the theme ofglobalisation and the importance ofrecognising country symbols as a means ofretaining national identity. In April,representatives from the IDI will visited Bosniaas guests of ULUPUBIH The Association ofApplied Artists and Designers of Bosnia, it wastremendous sucess and heralded a newinternational link between the designers ofboth countries.

IDI and ICAD jointly presented ‘Dubbel’Dutch in late April, a highly commended talkand series of workshops with a show of work byUNA Amsterdam and Thonik the Dutchgraphic design firms. The event also showedthe benefits of working together for thebetterment of the design profession.

Events in May and June will include visitsby The Norwegian Design Council and ECIAThe European Council of Interior Architects.The publication and launch of a number ofimportant IDI publications including Therevised IDI professional code of conduct, anintroductory booklet on design for SchoolLeavers and ‘Why design’ a basic guide to thevalue design in business.

Continuing through the summer eventsinclude a presentation on The Hospice designprojects by Ciaran O’Gaora, fashion designerJoanne Hynnes talks about and shows her workin Dublin and Limerick, and a series of IDImini-seminars to businesses in Cavan andGalway. The annual WHW lecture will takeplace in September and a talk by awardwinners De Paor architects October in Belfastsees a return visit by celebrated multi-mediadesigner Daljit Singh for a joint presentationwith last years IDI Grand prix winners Inferno.

The IDI will present a major exhibition inOctober in conjunction with Intertrade Irelandand in November, The IDI as part of designweek will present a lecture/presentation byAngus Hyland of Pentagram London. The novel‘Test of Time’ public display and exhibitionwill travel to Sligo, Letterkenny and Cork andthe IDI will present ‘Fashion Able’ aninnovative fashion event aimed at persons withphysical challenges. The years end sees anexhibition of the entries to the IDI Sellyourself competition on display at O’SullivanGraphics, Dublin and the ever popular ArtAuction at The Origin Gallery.

The continous dialogue that occurs in theIDI has been formalised in 2004, taking theform of monthly design themes, with issuesthat confront designers being discussed bymembers and non-members alike.

The IDI council meets on the firstWednesday of every month at 8 MerrionSquare Dublin. Design issues of importance inthe design profession are discussed at each

meeting. During 2004 themes includeCreativity, Professional practice, Insurance indesign, membership, design education,promoting design, affiliations, starting out,design for all, regional design andsponsorship. Members who wish to have theirviews included in the discussions at councilare invited to share their thoughts with councilrepresentatives at section meetings or [email protected].

Many of the criticisms alayed at IDI onCreative Ireland are borne out of ignoranceand those who make them can be forgiven fornot understanding and knowing the full extentof the work of the institute. If the IDI can befaulted on anything at the moment it is an out-of-date website which it appears is the onlycontact many have with IDI. The site isneglected which is hardly surprising when youconsider that many of the articulate andtalented resources who could be helping withthe daily work of updating and providingcontent for it are busy criticising IDI in aforum on Creative Ireland!

Soon the IDI will announce details of acompetition for the re-design of the idi web-site including which it hope will uncoversuggestions such as those made in some of themore constructive comments on the postingforum including the development of anextranet for members to have a dialoguesimilar to CI.

The IDI like other voluntary organisation isevolving all the time with new people comingon board bringing new ideas and challengingthe way we do our business and conduct ourprofessional and creative lives.

The reason the IDI is important to clients issimple. After almost 25 years working in theinterest design, the client community hasgrown to know that if you are a member youcare about your work and subscribe to aprofessional code of conduct in yourcommercial dealings.

Martin Gaffney IDI President

Dear Sir

I am interested to know what members thinkof the new street lighting on Cork’s PatrickStreet. As part of Cork’s urban renewal before2005 when it will be the European capital ofculture, the style and design is verycontemporary and the overall effect createdgives the street a carnival atmosphere. This isin contrast to the characteristic Irish Georgianstreet lighting which blends into its urbansurrounds. Were it not for a few loudshopfronts striking facades it would becomethe streets main feature!

Cora Crisham MIDI

3L E T T E R S T O T H E E D I T O R

in conjunction with the GDBA. The annualWilliam H Walshe lecture will take place inSeptember as will a presentation and debatewith architect Tom de Paor. October in Belfastsees a return visit by celebrated multi-mediadesigner Daljit Singh for a joint presentationwith last years IDI Grand prix winners Inferno.

The IDI will present a major exhibition inOctober and November, as part of designweek, the institute will also welcomerenowned designer Angus Hyland ofPentagram London to address members. Thenovel ‘Test of Time’ a public creative designexhibition in conjunction with the Chambersof Commerce will travel around the country toSligo, Letterkenny and Cork and the IDI willpresent ‘Fashion Able’ an innovative fashionevent aimed at persons with physicalchallenges. IDI mounts an exhibition inDecember of the entries to the ‘Sell yourself’competition on display at O’Sullivan Graphics,Dublin and at Christmas the ever-popular ArtAuction for charity at The Origin Gallery.

The continuous design dialogue that occursin the IDI has been formalised in 2004 andtakes the form of monthly design themes, withissues that confront designers being discussedvigorously by members and non-members. TheIDI council meets on the first Wednesday ofevery month at 8 Merrion Square Dublin.During 2004 themes include creativity,professional practice, insurance in design,membership, design education, design,affiliations, starting out, design for all,regional design and sponsorship. Members areactively contributing to this debate at each ofthe section meetings and by email and phoneto voluntary officers at [email protected].

Having run a graphic design practice forover 20 years I understand the challenges of

operating a business let alone a designbusiness in Ireland and the difficultyassociated with selling design in a non-designculture. I believe attitudes are changing, evenif slowly. The persistent ‘missionary-like’efforts of Irish design professionals down theyears are paying dividends. Design is slowlybeing integrated into mainstream business asmore designers establish themselvesthroughout the country. I echo the call of otherdesign profession representatives for thedevelopment of a government policy on designand for the introduction of financial supportsto encourage small and medium enterprises touse design actively in their business.

Although the IDI’s core audience comprisesits own members and the broader designcommunity north and south, this year we arepromoting design and awareness of design tobusiness, education, the public andgovernment. I am fortunate to be surroundedby a wonderful group of design professionalson this years council and I invite members totake part in as many of our activities aspossible and bring your own ideas to our table.

Martin GaffneyPresident 2004

2

> continued

P R E S I D E N T ’ S L E T T E R

COLOPHON

Creative Axis Volume 04, May 2004

Publisher: The Institute of Designers in IrelandEditors: Martin Gaffney & Rina WhyteDesigner: Eoin Tierney

Printed on: ?by Total Print

Creative Axis is printed four times a year.It is issued to IDI Members andaffiliated associations. The viewsexpressed by contributors to te CreativeAxis are noy necessarily those of theeditors or the IDI Council.

IDI8 Merrion SquareDublin 2UCD Innovation CenterT. 01 716 7885F. 01 706 [email protected]

The IDI Council 2004 are reviewing theCode of Professional Conduct issued toall members. The Code has been inexistence since the IDI was establishedand aims to establish a pattern ofprofessional behaviour for the benefit ofmembers, their colleagues and thosewho employ their services.Issues arising from the discussion atCouncil regarding the ‘Code’ covered:

• Setting industry standards

• Professionalism

• Language

• Addressing all audiences

• Copywrite

• Raising Design standards

The IDI has sought input from BNO inthe Netherlands before making finalamendments.

Membership Admittance was discussedat the April Council meeting and theprocedure and eligibility for admittancewere reviewed. Full membership stillwarrants a degree or diploma andexperience.

IDI Code of Professional Conduct

IDI MembershipAdmittance

Dear SirSome members have come across a recent

discussion thread on the CreativeIreland.comdiscussion boards titled "IDI – what's thepoint?". The thread began:

"have to renew my IDI membership fees thisweek. Its 225 euro and times are hard....Should I renew just to enter the awards orshould I just spend the money on somethingelse???"

The ensuing debate was one of the longestthreads to appear on the online forum, withthe issue creating extended debate over aperiod of days. Some participants attemptedto paint the IDI as a kind of exclusive "club",with fees that disappeared into the ether andno tangible benefits emerging other than theopportunity to enter the awards. I chipped inwith a firm argument in support ofmembership of a professional association,without getting dragged into any personalmud-slinging!

It's a well-worn debate that we are all, ofcourse, familiar with. What is perhaps mostdistressing is that fact the debate was takingplace online and in 'public', with participantsprobably representing exactly the kind of The new street lighting in Cork cityThe more traditional Georgian lighting

Letters to the EditorIDI – The Point is…

young designers that the IDI would be keen tohave on board.

It also illustrates the need for IDI membersto be visibly active in arenas such as thisonline forum, in order to highlight the progressbeing made by the IDI in every area. Debatessuch as this could easily contribute to theongoing awareness campaign we all face, andconceivably be leveraged into a membershipdrive - with a highly relevant audience takingin every word.The thread can be read at:http://www.creativeireland.com/forum/ubb/Forum12/HTML/002086.html

Rick Monro MIDI

I would like to address some of the criticismsin the design forum 'IDI. whats the point' overthe past week.

Unlike AIGA, The Design ManagementInstitute, D&AD, The IDI is a voluntary bodywith part-time administration. All who getinvolved do so in a voluntary capacity, workextremely hard and give up much of theirprecious time for the benefit of the wholedesign profession in the hope that theiractions improve the quality of designknowledge and the working lives of alldesigners on the Island of Ireland.

Street Lighting

The IDI requires a talentedphotographer that will capture aphotographic style for the IDI.

If you that person, please contactRina on 01 716 7885 [email protected].

All your work will be credited.

Are you a talented Graphic Designerwith a little spare time? How aboutusing your creative talent to promotedesign creatively?

Please contact Rina on 01 716 7885or [email protected].

All your work will be credited.

Voluntary TalentRequired!

Students were predominantly from theDepartments of Product Design and VisualCommunications at various points in their BAcourses. The session was very well attendedwith many questions from the floor. Studentsexpressed a keen interest in learning moreabout further study at MA level, howeverDublin was somewhat knocked on the headwhen it was noted that a pint of beer costs €5!

Collaboration between the DesignDepartments and local industry was debated.Sadly there appears to be little interaction andthis was borne out by a question that I posedto the manufacturers at the earlierpresentation to members of the BosnianExport Chamber of Commerce.

Our presentations and Q&A session endedon a high with Nick Cloake from Baselineoffering internships to the students andjudging from the students’ reaction he will beinundated with applications.

Regarded as somewhat of an authority onshopping, I seize every opportunity inwhatever country I happen to be visiting ofundertaking a comprehensive survey on theirretail environment!

(i) Due to being ill prepared for a rise intemperature (from a cool 9° in Dublin to abalmy 19° in Bosnia) the need arose topurchase more appropriate footwear. A fairlyhard task for me – no Prada, Gucci or Todds,but I managed! Had I been in the market forcurly toed, embroidered house slippers – noproblem. But not the appropriate footwear forthe amount of walking we had ahead of us.

(ii) Local crafts, again a dilemma. Indigenousaluminium products abound, but how doesone transport a stunning barbeque with anobelisk shaped funnel standing over 1 metrehigh home on the plane? Sadly I had to say no,even at €30 (Foko eat your heart out!).

A more transportable compromise wasfound by way of delightful local products in atiny wood turners shop. Wooden lidded bowls,spoons, spindles, etc. Balls of twine, webbingand robe, wooden handled carpet beaters andbrushes. Again, sadly I had to say no to a 2metre high pitch fork that I discoveredcasually leaning again the wall of the show.

To use "World of Interiors" speak, thehonesty and quality of these local productswas superb. Next time I’ll make contact with ashipping agent.

Prof Angela WoodsActing Head of Department of Fashion & Textiles and Head of Faculty of Design,NCAD

5I D I I N B O S N I A4

EU EnlargementWhat has design to say in an enlarged EU? May-day is hugely symbolic and traditionallycelebrated day in many cultures, throughouthistory. It was always linked both with animportant change in seasons and changes inthe society. Traditional bonfire would markleaving the old and welcoming the new.Therefore, it is no small coincidence that theEU has chosen to celebrate its day in May, andthat this year in particular, we witness such animmense change.

The borders of the European Union haveshifted and have almost come Europe’s naturalgeographical ones. But what are the naturalborders? Are they high mountains, deep andwide rivers, or strange peoples and unfamiliarlanguages?

Borders are most often only in people’sminds, in lack of communication, knowledgeof other and in lack of will to look further andbeyond. Creative minds and creativedisciplines, by default, break and shiftborders, and by virtue of creative thought andact, materialize new meaning and quality.Design and designers, are and need to beessential part of such processes. They usetools and methods of modern technologies,which have universal and multi nationalcharacter, with only regard to efficiency ofproduction and commercial viability.But designers are the ones in charge ofhuman, ethical and social aspects of suchprocesses, and have a duty to maintain

balance, by bringing these factors to industry.The enlargement of the European Union hasan important emotional meaning to the tennations joining. For Poland, Czech, Slovakia,Malta, Slovenia, Cyprus, Hungary, Estonia,Lithuania and Latvia, the May-daycelebrations mean resuming their rightfulplace and long-awaited homecoming. Any of us who took part in international designworkshops, seminars and conferences, notonly had an opportunity to expand knowledgeon design, but also to meet many of thecolleagues from some of the new EUcountries, and other parts of the world. Thestructure of our international affiliationsthrough ICSID, IFI and ICOGRADA, havecreated a variety of ways to communicate andbroaden the horizons, and has sometimes ledus to either of the countries.

Awards exhibitions like or Biennial ofGraphic Design in Brno, Czech Republic, waswell known and valued, even in the "Ironcurtain" days, and so was Biennial ofIndustrial design in Ljubljana, Slovenia, -tomention just a few.

It is interesting to note, however, that littleof this design practice is really known orseriously analysed in available design historyliterature in English. It seems that theideological barriers were upheld due to lack oftranslations or other historic reasons, so thatthere is a huge blank space, especially in the

period of 20th century after World War Two. Italso perhaps reflects general lack of texts ondesign and its development.

Thus we know very little about design in thepost-war period in these countries, bundled ina block-term Eastern Europe. What was themotivation among designers there and then?Were they by the very nature of the largelyplanned economies, starved of opportunitiesto engage and provide a meaningful service?What was it like to work as a designer in the15-year period after the fall of the Berlin walland how has the market economy affectedearlier traditions and professional values?On the other hand, how can their experiencebe compared with the relative creativeresignation of designers in the "West", oftenheavily compromised by faceless andcolourless drive of international capital?There are no quick answers to these questionsand they present a new opportunity to expandthe knowledge.

The Institute of designers in Ireland isjoining celebrations and is welcoming our newcolleagues and neighbors in the EU, at thetime of the Irish presidency. We look forwardto get to know each other, and we look forwardto learning our new Europe, with warm hearts.

Selma Harrington MIDI

Our aim was to establish links with theBosnian colleagues and make a presentationof work of our Institute and designers inIreland. It was anticipated that this visit couldoffer some mutual exchange of experience inusing design as a tool in moving forward theeconomy in transition.

The visit also coincided with the opening ofthe Annual Members’ Exhibition in Bosnia,which was a good opportunity for us to see thecurrent work of local designers and architects.

On the other hand, our group, all prominentdesign professionals, either principal partnersor practitioners, holding different officepositions in the IDI, truly reflected multi-faceted profile of Irish design practice, witharchitects, interior architects, product andexhibition designers, furniture and graphicdesigners and design management specialists.

With assistance from our Bosniancolleagues Mr. Fuad Hadzihalilovic, Directorof Collegium Artisticum and Mr Alija HafizovicHaf, President of the Bosnian Institute ofdesigners (ULUPUBIH), we made a variety ofcontacts ranging from design professionalsand academics to small businesses and policy

makers, to whom we presented IDI’s work andsome experience of Irish design practices.This was an opening of the debate, whichdemonstrated how design could be used as avehicle for a change in the economy. We alsooffered some expertise in institution buildingon an example of a small professional body,which is gaining strength both nationally andinternationally. Few presentations were made,among others to the furniture manufacturersin the Bosnian Chamber of Commerce and tostudents and academic staff at Department ofdesign at the Fine & Applied Arts Academy inSarajevo.

Our visit generated a lot of interest andsome local publicity, which was recorded onthe national radio, TV and in two daily papers.

We had a strong support from the IrishEmbassy in Slovenia/ Bosnia and theAmbassador Mr. Gary Ansbro, and anappointment in the EU Delegation in Sarajevowith the EU Ambassador to Bosnia Mr.Michael Humphries and his Senior Advisors.Our initiative was warmly welcome and highlycommended and some proposals for furtheractions have been tabled.

IDI Went To Bosnia!A group of 14 IDI members and friends spent five fantastic days in Sarajevo and Mostar in thebeginning of April.

Our IDI colleagues offered studentinternships for Product Design and VisualCommunications students, and we lookforward to follow up on such offers, whichattracted a lot of interest among youngSarajevans.

Selma Harrington MIDI

Lorem Ipsum

There is a time every evening when duskarrives, a quite time when the ‘wind goes tosleep’ and the pace of life slows. It is a goodtime for reflection and a time to organise inyour mind the events of the day. In Sarajevo itis a particularly appealing time. The advent ofdusk transforms the city and conceals theevidence of its recent and tragic past. The citylights up, slowly hiding the scars of war, jewelsof light begin to emerge, to sparkle and climbup the hillsides, and from my balcony theLibrary becomes again the imposingarchitectural statement that was intended byits Ottoman creators. Just before the city slipsinto night you realise what a beautiful positionSarajevo occupies on this earth.

If I remember anything about our recentvisit to Bosnia it will be the early evening lightand more importantly the people we met. Wewere lucky to meet a group of designers whohad overcome difficulties that we could neverimagine, difficulties that made our dailysearch for a new brand or some promotionalliterature for a manufacturing firm seemsomewhat trivial. In the fading light I suddenlyrealised just how comfortable and fortunatewe are here in Ireland to be able to practicedesign untroubled by real problems.

At the Collegium Artisticum we met a groupof Bosnian designers, members of theirInstitute ULUPUBIH, who we entertained witha very impressive show reel about Ireland. Thevisual imagery was wholesome, entertainingand reflected the very best values of ourcountry. In fact most of the Irish contingentwere pleasantly reminded of the country welive in – a country that I find hard to imaginein my hour long commute each morning fromRathfarnham to Mountjoy Square. Our Bosnianhosts then showed a presentation they hadcompiled for the recent ICOGRADA event inIstanbul. The presentation gave a cultural andhistoric background to Sarajevo and depictedunambiguously the war and the effect it hadand still has on their economy and theiroutlook. Suddenly, despite the unavoidableevidence I had seen of the war throughout thecity, this presentation more than anything

made me realise the difficulties, these mypeers in Bosnia, had endured.

Like all graphic designers I grudginglyadmit to a background in fine art, abackground that I can switch off and on as aclient demands. At this presentation I becameaware of the fusion between fine art andgraphic design. The poster as a powerful socialcommunications tool has disappeared in thewest to be replaced by its counterpart thatpromotes music events. The use of the posterformat by the Bosnians reconfirmed to me itspower. Slide after slide presented the posteras a formidable information tool and mostimpressively the need for language wasreduced to almost zero - pure graphic design.The use of icons and visual puns meant thatthe messages could be universally understood.During the darkest hours of the Bosnianconflict a series of posters were produced andthe most memorable, to me, was ‘AbsoluteSarajevo’ which was included on theirpresentation.

Although there were other formats andidentity projects presented I found the posterseries mesmerising and it struck me that if youcan, at some point, remove the commercialimperative from the process you can achievestaggering results.

An important element of any, formal orinformal, mission to visit our peers in othercountries is to ensure that you come homewith something. More importantly, if theexperience was positive you must devise a wayto ensure that it continues. As an Institute weshould keep in touch with the people we met –at Baseline we will make sure we do it on apersonal basis. All design is about influencesand the wider the spectrum of theseinfluences the better designers we become. I would like to thank the graphic designers ofBosnia for sharing their work and remindingme just how powerful a force our professioncan be. And to Haf and his colleagues – thankyou for having us!

Nicholas Cloake, MIDI

Absolute Sarajevo!

Angela Woods, SeanMcNulty and Nick Cloakegive a presentation tostaff and students at theFine & Applied ArtsAcademy

Shopping

7E U E N L A R G E M E N T6 I D I I N B O S N I A

The only things I ever heard about Sarajevoand Bosnia were the war, the Serb atrocities,the sieges and destruction. I expect theseimages discourage many people fromtravelling there.

The war ended eight years ago. There arenew buildings being built and old ones beingrestored. The most imposing one, the citylibrary, has a sign on the front describing howSerbian soldiers set fire to it and destroyedthousands of priceless manuscripts anddocuments. You will see bullet holes in all thecity structures. There are American, Frenchand Italian troops on the street but no gunsvisible. In fact there are signs at the entrancesto mosques, schools and public buildingssaying ‘no guns’. There are a lot of beggarsparticularly children and pick pocketing isprobably the biggest crime there now.

The city is relatively poor, by our standardsit is very very poor. One of our hosts describedit as Ireland in the 1950’s. Roads are rough,paths are crumbling, and some of the parksand grounds are scattered with debris, wireand rubbish. That is what you will see if youlook for evidence of war in the city.

You will also see a beautiful landscape – theriver winding down from the mountains andexpanding through the city. Beautiful bridgesspanning it and elaborate buildings guarding iton either side. As a capital city Sarajevoappears very small and more so because it isdivided in two parts, old and the new. Sarajevowas the centre of trade mainland Europe, thecentre of the Ottoman Empire. The old partand origin of the city was where the traderscame. You can stay in the original inns andpurchase rugs in the courtyards. People arestill plying the old trades- tinsmithing,cobbling, tailoring. There are lots of jewelleryand leather shops. If you know your stuff youcan buy interesting pieces for a fraction of theprice here. The new part of the city has all theusual high street brands and designer outlets.In comparison to the old part it is boring by

day but the place to be at night for the latebars and clubs.

We stayed in the Hotel Saray about tenminutes walk from the old part of the city. Itwas up a very steep hill but we managed it atall hours. The rooms were generous, allensuite, with TV etc. and most had balconiesoverlooking the city. The staff were veryhelpful, friendly and easy to chat to. Breakfastwas banquet style until 10 am.

There are a lot of places to eat ranging fromkebab houses (like a chipper here) tocafes,but they close at night, to various levelsof restaurants and late night bars. In a mostbeautiful restaurant (I would expect it was oneof the best in the city), the most expensivemain course was approximately €12. Food,alcohol, travel and accommodation areinexpensive, tips are appreciated.

I have been told that it is easy and safe torent a car and drive through the countryside.And although the roads can be very bad liketracks it is a spectacular adventure into “themost wonderful scenery in the world”. Atourist might be ignored by locals, throughfear more than anything.

We travelled with Malev Airlines. Flightswere €300 including taxes. There was astopover in Budapest for a couple of hours.The hotel was €40 per night. €40 per daywould see you for plenty of meals and drinks.The local currency is KM, convertible mark,and approximately €1 =2km. It is easier to getthe currency there and Euro is accepted inshop and restaurants but not at a good rate. Itis better to change back the currency to Eurobefore leaving the country also. It is difficultto get decent tourist information about Bosniaor Sarajevo even on the Internet but if you arewilling to be adventurous it really is worth avisit, you will be pleasantly surprised.

Ann Scroope

Travelling to SarajevoIf you are feeling adventurous, Sarajevo is really worth a visit

Selma Harrington, Steve Conlon and I werevery fortunate to have the opportunity to makepresentations of our respective work to a groupof local furniture manufacturers at a meetingorganised by the Bosnian Export Chamber ofCommerce, furniture group. The meeting tookplace in their building with its very stylish1970's interiors reflecting a time of greaterprosperity and confidence. Thanks to Selmaseffortless capacity with language we had noproblems communicating!

The purpose of the presentations was togive a snapshot of the way in which design isfundamental to our businesses as well astrying to get a sense of the issues concerningthe local furniture industry.

Selma introduced the group and thepurpose of the visit. With Steves concern withprocesses and methodology and ourexperience of design and manufacturing the 2 presentations complimented each other.

Not withstanding the fact that BHZ has amajor resource in timber as well as,historically, a significant furniture industry itwas hard to get a sense what was happeningon the ground. In the course of our visit we didform some picture, almost by default, of whatwas going on. As a consequence of the warboth the industry and the market are veryuncertain and there much effort and time yetto be spent before they are able to regain theposition they held 10 years ago.

Arthur Duff, President Elect

T 01 855 8070 F 01 855 8095http://[email protected]

Duff/Tisdall @ The Malthouse, 537 NorthCircular Road, Dublin 1Showroom open Mon-Fri 9am-5pm Sat: 10am-5pm

Duff/Tisdall @ The Mill, Mill St. Dublin 8Shop open Mon-Fri 9.30am-5.30pm Sat:10am-5pm Sun: 2-6pm

Presentation to theBosnian Export Chamberof Commerce

(L to R) Angela Woods, Ann Scroope, Arthur Duff and Frank

Designed by Thomas Emmet Mullins this coinis one of Ireland’s ways of celebrating theaccession of ten new countries to theEuropean Union.

The swan is a symbol of elegance, grace andbeauty and is used here to symbolise Europewelcoming ten new countries to the fold. Theten eggs here represent the countries withtheir respective stars crowning the coin above.As it is an Irish coin, the design takes on acontemporary celtic style.

It promotes to Europe that we have a uniquestyle of native art. This is expressed throughthe stylised nest and motifs on the coin.

Thomas Emmet Mullins is a qualifiedGraphic Designer / Illustrator and has workedin his profession in Ireland for the past fouryears and more recently in Canada. He wasborn in Co. Wicklow and has always had ahuge interest in Art and Design. He also holdsa great respect for traditional Irish Art and wasdelighted to have the opportunity here toblend Irish heritage into contemporary design.He has received international illustrationawards and is currently on the Panel of Artistsfor An Post Irish Stamp Design. To view moreof his work, you can visit his website atwww.gilled.com

Eurocoin

IDI AGMThe IDI held its annual general meeting onFebruary 21, 2004 at Enterprise Ireland,Sandymount in Dublin. The AGM is animportant annual event and provides memberswith an opportunity to reflect on the past yearsactivities as well as looking forward to thechallenges ahead. During the AGM, IDIPresident (2003) Selma Harrington outlinedlast year’s activities and was commended onher tireless efforts for IDI. Treasurer FrankRyan presented the financial report thatshowed a healthy balance sheet. The Designfor Ireland account was summarised by SeanMcNulty and the IDI 2004 Councilappointments were confirmed, reports adoptedand accountants re-appointed.

Past President Libby Carton was thanked forher work over the three years of her term as anIDI officer. Martin Gaffney was formallyappointed as President for 2004 and wasjoined by President-Elect Arthur Duff. MartinGaffney gave an uplifting address and outlinedthe IDI calendar of events and his intention tocarry on the inspirational work of hispredecessors. The AGM concluded with anopen floor during which a debate on manyissues took place including views fromRichard Whelan DIT on design ethics and PaulHogan on the lack of growth in membership.Many who attended commented that it was anenlightening AGM and were looking forward toparticipating in 2004.

IDI President Martin Gaffney and members of the IDI Council

Frank Ryan Libby Carton and Selma Harington

9S P A R K A S S E8

IDI President Martin Gaffney with Brumo Maag

B R U N O M A A G

Sparkasse is a German bank that is made up ofa large number of independent businesses, alloperating under the same name. Over theyears this has led to a situation that all use thesame logo but other aspects of branding suchas colour and type are different from region toregion. Together with Interbrand in Germanywe were given the task to develop a newtypeface family that would help to bind thedifferent parts of the business together.

Initially, six Sans and two Serif weightswere required. The Sans for Office andexternal communications, whilst the Serif wasto be applied in their publishing arm only. Thetypeface design had to fulfil criteria such asfriendly, approachable, warm, legible. It hadto be modern but conservative also.

Based on this briefing we presented somedesign roughs to Interbrand to establish ageneral design concept. Once this wasclarified we refined the design conceptfurther, establishing height/width proportionsand design details such as termination ofcharacters and treatment of diagonal stems.During the following weeks the additionalweights and styles were added, including theSerif design which had to incorporate thesame features as the Sans. As time progressedthe typeface had become very liked by theclient, so much so, that two years after theinitial sketches the font family has altogether16 weights/styles of both Sans and Serif.

Once the design and spacing of the font wasconcluded and signed off we needed tooptimise the Office fonts for screen display.Windows users tend to be spoilt in regards toquality of type on the screen – Arial, Times etcare highly legible. We can achieve this qualityby means of ‘hinting’ a post design processthat adds extra instructions to the font to tellit how to behave depending on size andresolution of the screen.

All of the Sparkasse fonts are available inthe OpenType format, some with typographicfeatures that allow easy access to SmallCaps,alternative numerals and even properfractions. OpenType is a new font format,jointly introduced by Microsoft and Adobe.OpenType has three major advantages overtraditional font formats: one font file for both

Windows and MacOS, Unicode characterencoding and typographic features. Unicodefor example allows for language specificcharacters to be compiled in one and the samefonts. For example, Arial Unicode, availableon Windows holds over 55000 characterssupporting all the major languages of thisplanet. This enables cross platform documentexchange and native language web publishing.Nowadays, bearing the enlarged EU in mind afont should, as a standard, include at least thenecessary characters to support Eastern andWestern European languages.

Typographic features allow a font to alsoinclude additional characters that can beaccessed very easily. SmallCaps can bepresent in a font and by simply selecting theappropriate menu entry they are displayed.Ligatures can be supported automatically,provided they are present in the font. Forexample the user types f f i and the ffi ligaturewill be used. However, the application andsystem still recognise this characters in itsindividual components thus enabling spellcheckers and search facilities. Fractions caneasily be done: type 1 / 7 and the appropriatefraction, diagonal or vertical will appear.

Although, at present only the Adobe CScollection support OpenType typographicfeatures, this new font format is the future.The next versions of Windows and Office willinclude this, too and the Mac will follow suitsoon after. Unicode has been a reality onWindows for many years, and MacOS X hasfinally caught up. The coming release of Officefor Mac will have Unicode support.

However, many applications neither doUnicode nor features. Quark Xpress is one ofthem. In OSX this situation can lead toproblems with OpenType fonts that containlanguages beyond the traditional WesternEuropean characterset. It is up to the user tolet these software companies know what theywant by either bitterly complaining every day,or simply switch to applications that do the jobproperly.

Bruno Maag explains the development of thetypeface Sparkasse and disscuses the future ofdigital typesetting

Fig.a. Ascenders and Descenders proportions significantly affect the legibility of the type. Thetreatment of the terminal strokes will change thetexture of the type when seen in text.

Fig.b. Over and over we print the all the characterstogether for assessment. This allows us to identifyconceptional issues and problems with thedrawing of individual glyphs.

Fig.c. Once the design is completed we will optimise(hint) the font for better screen display. Using thisspecific tool we can control the appearance of acharacter to the smallest detail, independent ofresolution or size.

Fig.d. This comparison clearly shows that both Sans and Serif are from the same family. Besides theproportions we have carried over design detailssuch as the curved k-diagonal.

Fig.e Normally, most fonts only support WesternEuropean languages. For the Sparkasse we alsoincluded the necessary characters to allow settingin Eastern European languages, the Balticlanguages and Turkish.

Fig.f. These are our control characters. They allow us to illustrate the basic design concept, anddetermine hight and width proportions as well ascontrast between vertical and horizontal strokes.

Fig. g.Using the word Sparkasse we can identify thedesign details of the typeface. For example thetreatment of the p-curve into the vertical stem orthe whether to apply a curved or straight k-diagonal.

Fig.g.Fig.e.

Fig.d.

Fig.b.

Fig.f.

Fig.c.

In February, Bruno Maag of Dalton Maag,London, creators of custom fonts forMINI, BMW, Eircom, Tesco, sneak,Ministry of Sound and many more, wasinvited by the IDI to speak with designersin The Vault's, IFSC. A raffle was held aspart of the 'aftershow' with books kindlydonated by Dalton Maag. The response tothe event was positive and we lookforward to hosting more of its kind.

Fig.a.

10 1111

Hans Bochthink, Andre, Niky and Thomas Widdershoven

Hans Bochthink, and Andre of Una Amsterdam conducting the annual report workshop at Design Factory.

The Dubble Dutch event in March was a resultof a collaboration between ICAD and IDI tosuccessfully bring two Dutch Graphic designagencies together to Ireland to present anddiscuss their work with Irish designers. Thonikand UNA also both kindly donated many spotprizes including books, tulips and beer!

The following day, Conor Clarke ofDesignfactory very kindly closed his offices tohost a workshop by UNA to invited members.

Dubbel DutchO B I T U A R Y

Gerald Tyler, a long standing member of theIDI, sadly passed away on April 7th 2004.Gerald came to Ireland in 1969 as one of ahighly talented group of experts brought toKilkenny Design Workshops to aid theindustrialisation of Ireland.In 1989, Gerald expanded his horizons whenin co-operation with TDI, he established KDP,Kilkenny Development Partners, to offerservices to developing countries.Gerald is sadly missed by his many designcollegues in IDI. We have passed condolencesto his family on your behalf.

Gerald Tyler1943 - 2004

The Illustrators Guild of Ireland continues tomake the process of working with illustratorseasier for the design community. Good news isthat the illustratorsireland.com web site isundergoing a revamp by our web masters,Stephen Synnott and Steve Simpson. Theoverall design of the site will change radicallyand many new and useful features will beadded: Not least, stock illustration and privatework sections. We’ll keep you informed of thelaunch date that should be in plenty of timefor the next IDI newsletter.

Work is also underway on the first ever IGIillustration sourcebook; ‘This is the Book forIllustration!’ It’ll be an invaluable shelf-topresource for designers of every stripe!

Support Irish illustration! If you haven’tvisited our web site yet at:www.illustratorsireland.com, go take a look:There’s a wide variety of styles from which tochose, that will enhance any project. Justcontact your chosen illustrator and deal withthem directly, with no middlemen to clutterthe creative process. Many illustrators evenproduce giclée prints of their work to order,so… architectural projects can even avail ofall that talent!

Illustration Scribbles

Event News

The Institute of Designers and Minister ofTourism John O’Donoghue launched the IDI‘Shamrock Uncovered’ project in the NationalMuseum of Ireland to mark the celebration ofthe Shamrock as one of Ireland’s most popularsymbols.

The IDI ‘Shamrock Uncovered’ project aimsto capture a sense of the extent of its use,popularity and appeal. The project will use theskills and resources of the third level designcollege network both in Ireland and abroad inits quest to uncover shamrock symbolismaround the globe.

‘Shamrock Uncovered’ will culminate in aseries of lectures, exhibitions and acelebration during St Patrick’s week 2005. The project was initiated and launched in thelead up to the March 2004 St Patrick’sfestival.

Symbols are an essential and important partof communicating the distinct character of acountry. Over time they become embedded inculture and are easy to recall. The CanadianMaple leaf, the Welsh Rose, Scottish thistle,American Eagle, Spanish Sun to name but afew, are all examples of well known countrysymbols.

The Shamrock is one of Irelands mostpopular symbols and has been re-created oneverything from St Patrick’s statues tocompany logos to shillelaghs.

Many organisations have chosen theshamrock as the symbol that represents them;religious, tourism, business, culture, political,educational and many more, the shamrockappears in a multitude of shapes and stylesand is immediately identifiable as Irish.As the world becomes more and globalised it isbecoming increasingly important for countriesand organisations to be distinctive anddifferent. The shamrock has and will continueto play its role in communicating theuniqueness of Ireland and the Irish.

The Irish Ergonomics Society (IES) held itsannual AGM conference at the NCAD on theThomas Street Campus on the 26th March2004. The papers presented at the conferenceare designed to update members on currentdevelopments in the Ergonomics profession.The conference consisted of three sessionsand a Keynote paper delivered by ProfessorTim Gallwey (University of Limerick) on "The Role of Ergonomics Today".

The First Session consisted of three papersfocused on Design Ergonomics and waschaired by Selma Harrington, past Presidentof the IDI. In this session, GearoidO’Conchubhair (NCAD) gave an overview ofergonomics methodologies used in thedevelopment of a chair for orchestral players.This was followed by a paper which examineddesign implications of the new EU Directive onexposure to vibration. The third paper by EoinO’Herlihy (National Disability Authority) gavean overview of public policy and legislationregarding accessibility of the builtenvironment.

The Second Session, presented by Dr. MikeCooke and postgraduates of the InteractionDesign Centre (UL), was devoted to"Methodologies in Human ComputerInteraction". The papers focussed on theapplication of the "Think-Aloud" methodologyin assessing usability of different consumerproducts.

Two papers in the Third Session, presentedby Deirdre Corby (DCU) and Frank Power(Health & Safety Authority), concentrated onexamining various approaches to prevent andminimise injuries resulted from manualhandling activities. The HSA paper, inparticular, outlined the importance of good

The Design Ireland Skillnet is now over halfway through the training and eventsprogramme for 2003-04.

240 individuals from 37 companies areparticipating in this unique opportunity forDesign companies to develop key skills. TheSkillnet is running a series of Managementand Software courses throughout May, Juneand July. Some of the most popular coursesinclude Sales, Leadership, PresentationSkillls, Planning and Customer Care. Thesoftware courses include Photoshop,Illustrator, Quark Xpress, Dreamweaver, Flash,Excel, Word and PowerPoint.

For further information contact Barbara orGerard at 01 716 7810

Shamrock Uncovered

Ergonomics in Design IES Conference 2004 at NCAD

Selma Harrington with Minister for Tourism John O’ Donoghue and Brian Twomey of Tourism Ireland

Design Ireland Skillnet

I L L U S T R A T I O N

design as a preventative measure, as well ashighlighting statutory responsibilities ofdesigners.

Abstracts of the papers will be available onthe IES Website at the next update(www.irishergonomics.com). Copies of theconference proceedings, the Irish ErgonomicsReview (O’Sullivan and Chan, 2004) at €15(members) and €25 (non-members) each, isavailable from [email protected] Chan, Chairman of the IES

Illustration: Joven Kerekes

On Monday 24th May, the Royal Institute ofArchitects of Ireland (RIAI) announced thewinners of the 2004 Architecture Awards at areception in the Atrium, of the OPW Building,in Dublin's St Stephen's Green. Martin Cullen,T.D., Minister for the Environment, Heritageand Local Government, attended andpresented the six special category awards andTom Parlon, T.D., Minister of State at theDepartment of Finance, presented the OPWsponsored Best Accessible Project Award.

A total of 15 general awards were presentedby Anthony Reddy, President of the RIAI andFrank Ryan, Managing Director of Roadstone,who are the awards sponsors.

Anthony Reddy praised the extraordinarilyhigh quality of the work submitted, 195entries in all. He said:

"The fact that such a variety of successfulbuildings has won awards this year istestament to the continually rising standard ofbuilding design across the spectrum inIreland. In this regard we must acknowledgethe very important role played by thecommissioning client as it is the successfulinteraction between the client and the designteam that makes a building great.

Looking at the award winners this year, wehave a mix of the large and the small, thepublic and the private, the urban and therural. The South Dublin County CouncilBalgaddy A Housing Project is a fine exampleof what can be achieved in public housing withgood design. Meanwhile, the new RochesStores development in Henry Street, Dublin isa richly deserving winner in the BestContribution to Urban Design category. Let ushope it will act as a benchmark for othercommercial development in the centre city.

The North Kildare Educate Together Schoolin Celbridge is a particularly welcome winnerand shows how important good design is infacilitating a quality educational experience.The building was designed by GraftonArchitects but strongly reflects the desire andinput from the school community for highquality design with the emphasis on space,light and welcoming surroundings. Meanwhile,Justin Kilcullen's Earthquake ResistantHousing for the Poor in three communities inEl Salvador shows the contribution design canmake to improving the lives of people at themost fundamental level.

The individual housing winners, the DoubleGlass House in Dublin, the apartment in NorthGreat George's Street, Seafield, Coney Islandand the Stone House in Co. Wicklow show howgood design can be applied to housing in a citycentre context, in the suburbs and in thecountryside. The challenge that faces us is toensure that this high standard is applied tomore and more of our housing stock."

Mr Reddy stressed that good qualityarchitecture adds value, both economicallyand socially, not just to an individual project,but to the whole community in which thebuilding is located. By promoting andproducing high quality buildings, architectsare making a real contribution to the social,economic and cultural life of the country. It isrecognised that well designed urban centresstand the test of time, and there is no doubt

that the Roches Stores development will beevidence of this point. He went on to say:

"Vast sums of money are due to be spent onconstruction in this country over the next tenyears. It is incumbent upon the state and thedevelopers to see that this money is as wellinvested as possible, with the highest possiblestandards being applied, in order to maximiseboth the economic and the social benefits ofdevelopment to local communities and to Irishsociety as a whole."

An exhibition of the Architecture Awardwinning schemes, along with a further 47entries, will be on display in the ArchitectureCentre on Merrion Square from 31st May to30th July and, from there, will go onnationwide tour.

Special Award Winners

Best Contributions to Urban DesignRoches StoresArchitects: Newenham Mulligan ArchitectsClient: Roches Stores

Best Housing ProjectBalgaddy AArchitects: Howley Harrington ArchitectsClient: South Dublin County Council

Best Commercial BuildingPelham HouseArchitects: Horan Keoghan Ryan ArchitectsClient: Lalco

Best Practice in a Conservation ProjectThe Main GuardArchitects: Margaret Quinlan ArchitectsClient: National Monuments Services

Best Accessible ProjectTubbercurry Civic OfficesArchitects: McCullough Mulvin ArchitectsClient: Sligo County Council

Best Building in the LandscapeStone House (Extension), Co. WicklowArchitects: Henchion – Reuter ArchitectsClient: Private

Best Sustainable Building Coppinger CourtArchitects: Magee Creedon ArchitectsClient: Michael Finn & David McSweeney

13E V E N T N E W S

European DesignManagement Conference

The ECIA and IFI are publishing a DesignYearbook and have called for submissionsfrom IDI members. Any large projects oncommercial property, hotels, restaurants,swimming pools, spas, offices etc.

For further information contact:

Christine Borella-SnozziT 00 33 (0)1 42 60 42 01 E [email protected] www.borellaartdesign.com

Call for submissions tothe IFI Yearbook 2004

The eleventh annual general meeting of theEuropean Institute for Design and Disabilitywas held in Stockholm on May 8th. The Irishmember organisation, the IDD, wasrepresented by Paul Fortune. Also attendingwere Michal Ozmin, the current honorarytreasurer and Paul Hogan, President Emeritusof EIDD.

The president-in-office, Pete Kercher fromItaly, delivered an upbeat report on theactivities of the Institute in 2003, stressingthe efforts made at the European level topromote the practice of Design for All. Theseincluded high-level contacts with theEuropean Commission at commissioner andofficial level. The Institute is growing innumbers and influence and has members infifteen European countries and at the AGMadmitted a new National Member Organisationfrom Hungary.

The AGM was preceded by two conferenceson Design for All in Transport and Design forAll in Education. In the first, the impressiveSwedish experience in the area pf publictransport was showcased. Overseas delegatesgot an immediate taste of this in the newArlanda Express, a fully accessible trainconnecting Arland airport with the centre ofStockholm in a journey of twenty minutes. TheSwedish Parliament has decreed that the allpublic transport will be fully joined up andaccessible to individuals with functionaldisabilities by the year 2010. The Door-to-Door project has been set up to realise thisobjective with the active participation of theall the state transport authorities and therepresentative disability organisations. Alsopresented were the results of the NordicDesign Competition, The Modern Journey,open to professional designers and designschools in the five Nordic countries. The firstprize in the professional designer category waswon by Damsgaard & Lange of Denmark for aninformation system that provides informationfor disabled people in all areas of a plannedjourney. The system encompasses no less thantwelve different disability categories, clearlyspecifying the particular needs of eachcategory. The first prize in the studentcategory went Lars Christensen of the AarhusSchool of Architecture for his design of anaccessible railway platform.

The Design for All in Education conferencefeatured Elaine Ostroff, the founder of theCentre for Adaptive Environments in Boston,as keynote speaker. Other contributions camefrom Belgium and Sweden and it is clear thatmuch progress is being made internationally.It is now exceptional if architectural anddesign students are not introduced to theprinciples of Design for All (a.k.a. UniversalDesign or Barrier-Free Design).

At the first board meeting following theAGM Pete Kercher was re-elected President,with Finn Petren of Sweden as DeputyPresident. Michal Ozmin continues asHonorary Treasurer with special responsibilityfor organising the twelfth AGM in 2005 whichwill be held in Warsaw or Kracow, Poland.

From the IDI point of view, there is muchsatisfaction in seeing that the initiative takenby the then SDI in 1990 in organising aEuropean Symposium on Design for Disabilityhas blossomed into a significant European andinternational movement which places designin the context of equal opportunities and civilrights.

Design for All

19th Biennial of Industrial Design,Call for Entries

SloveniaBIO 19, the 19th Biennial ofIndustrial Design will take place fromSeptember 15th to October 15th 2004in Ljubljana, Slovenia. This Biennial isopen to Product and Graphic Design andis endorsed by ICSID, BEDA andICOGRADA.

Please, let us know if you would like tosummit some work as the IDI is willing tomake a national selection for the BIO 19exhibition. Check out www.bio.si formore information.

Register your interest to [email protected] orby telephone to 01 716 7885 before the15th June 2004

12 N E W S

RIAI Awards 2004

The Barcelona Declaration Project was acontract awarded to the Institute for Designand Disability by the National DisabilityAuthority under the auspices of theDepartment of Justice, Equality and LawReform. The NDA appointed a SteeringCommittee to oversee the Project.

The Barcelona Declaration (1995) is amanifesto, which, if adopted, guides localauthorities in fulfilling their responsibilitieswithin the Equality framework regardingpeople with disabilities. The aim of the Projectwas to facilitate local authorities in Ireland tocreate a more inclusive society.

The Barcelona Project was of two and a halfyears duration, with a budget of €387,000and commenced on the 1st December 2001.The Project’s terms of reference includedraising awareness and promoting theDeclaration; securing the adoption of thedeclaration by at least 75% of localauthorities; delivering a programme whichwould enable local authorities to disabilityproof their decision-making process; issuingguidelines that would assist local authoritiesin developing plans of action for theimplementation of the Declaration.

The Project was launched nationally by AnTaoiseach, Bertie Ahern, in Dublin on the 14thFebruary 2002, followed by a Regional LaunchProgramme held in: Galway; Tralee; Athlone;Dungarvan; Dundalk; Nenagh; Castlebar andCork.

In the course of the Project: 83.33% oflocal authorities (95 out of 114) adopted theDeclaration, this is the highest nationalpercentage of adoption in Europe; theDisability Proofing Template for LocalGovernment has been produced andpublished; a Training Programme has beendeveloped to assist local authorities instructuring their pilot action plans for theimplementation of the Declaration, thusdeveloping models of good practice; thewebsite was developed to provide world-widepromotion and information about theDeclaration and the Project and to facilitatenetworking among Irish local authorities.

Working with local authorities, governmentorganisations and disability groups, it waspossible to establish three key essentialobjectives to be addressed by localauthorities, based on the social model ofdisability:

1. To develop Disability Awareness, at alllevels of management and administration.This is the prerequisite to a proofing process.2. To develop the Consultative process withoutwhich the Disability-proofing measures and decision-making process would be invalid.3. To provide tangible evidence of removing barriers which prevent people with disabilitiesfrom participating and functioning within thecommunity.

The success of the Barcelona DeclarationProject must be seen as the success of an IrishGovernment initiative in response to thedemand for social change leading towards thecreation of an inclusive society. The BarcelonaDeclaration has proved to be the right tool to

focus on Disability issues, addressing themdirectly at the local community level. Atpresent, most Irish local authorities are at thetransition stage between the act of adoption ofthe Declaration and the act of planning itsimplementation. The Barcelona Project hasset up structural models and produced theDisability Proofing Template for LocalGovernment. However, follow-up support forthe implementation process is now required.To achieve total success the momentum mustbe continued.

The IDD Barcelona Project Team consisted of:

The adoption policy for the Barcelona DeclarationCearbhall O’Meadhra & Councillor Patsy Treanor,Charged with adoption campaign as well asthe initial task of the preparation and launchof the Project

Production of promotional and training materialGraham ShepherdCharged with the initial tasks of designing andproducing material for the pilot presentations,and the Project launch and organising mediaand press coverage for the launch programme.

Seminars and training programmeKen Ewart and Ken TiernanCharged with the tasks of selecting expertsand scheduling the delivery of the programme.

Pilot Actions/Projects and GuidelinesCaitríona ShaffreyCharged with the tasks of reviewing materialrelated to the guidelines, actions and projects,and facilitating local authorities in developingimplementation plans for pilot actions andprojects.

Project ManagementMichal J. OzminCharged with the responsibility of overallplanning and management of the Project. Alsoco-author of the Disability Proofing Templatefor Local Government.

The post of Project Administrative Assistanthas been held by:

Evelyn Kavanagh from January 2002 to April2002 and Closing Conference April 2004

Trish Commons, April 2002-September 2003

Judy Kelly, September 2003-end of theProject May 2004

The Barcelona Declaration Project

The 8th European International DesignManagement Conference took place inBarcelona form March 21st to 23rd. Thetheme of this years conference was ‘Trends/04’ – Gaining Insight from Trends for DesignLeadership. The event was well attended with20 countries represented from as far a field asBrazil and New Zealand, and of course a goodIrish contingent.

The two and a half days of presentationsand workshops were packed with muchthought provoking material and practicalapplications in the areas of trends, productdevelopment, brand management,communications and research. Highlightsincluded a presentation by Mario Gagliardi,Allevio Design, Austria on the background and key dimensions of trends. MichaelEckersley, HumanCentred, USA explored therole of research in understanding trends, andthe concept of future proofing your brand was discussed by Scan Managementconsultants, BV.

Other speakers looked at how to developappropriate tools for detecting trends, whatcan be learned from trend futurists, and howto move beyond following trends toanticipating them. An underlying topicthrough all of the presentations was how tomanage design to achieve sustained designleadership beyond current trends.

Attendees also had the opportunity tobecome immersed in Barcelona’s vibrantdesign culture during the event, with theclimax being the tour of design studios. HPamong others have moved their design andR&D departments to Barcelona in recentyears, and the purpose built multi-disciplinarydesign studios were a truly inspirational partof the visit.

The conference, as usual presented manyexcellent opportunities for networking throughthe atmosphere of open, provocativediscussion that is the hallmark of the DMI.

Aileen Roche

15

ECIA held a Presidents meeting in Hannoveras guests of Domotex Fair. (this is the biggestfloor covering fair in Europe). on the 17/18January 2004.

11 countries were represented, Icelandbeing the exception. Six Presidents werepresent the remainder being delegates orBoard members. IDI was represented byPresident, Selma Harrington and GerryBrouder.

There was a report on the Inter ProfessionalMeeting, which took place in Brussels on the27th October 2003. This includedrepresentatives from ACE (Architects Councilof Europe), ECIA (European Council of InteriorArchitects), EFLA (European Federation ofLandscape architects) and ECTP (EuropeanCouncil of Town Planners)

The meeting discussed matters of mutualinterest, these included the proposedDirective on the Internal Market for Serviceswhich we understand, will include at least twovery strong recommendations, relating to thedevelopment of European Codes of Conductfor the professions and on the lifting of banson advertising.

The meeting also discussed areas ofpotential co-operation which include:

1. The scope to be covered by Codes of Conduct

2. Professional Indemnity Insurance3. Fee guidance in the context of the work of

Director General for Competition on the regulated professions.

4. Common Platforms under the QualificationsDirective

5. Intellectual Property Rights issues6. The link between the professions and the

market

All agreed that the meeting had been fruitfuland highly informative. A further meeting is totake in early 2004.

The principal reason for the meeting was tosign the revised Statutes. These have had tobe re-written to comply with Belgian Law. Theprincipal changes were the listing of FoundingMembers, the categories of membership toinclude Effective Members, Observer Membersand Honorary Members. The definition ofInterior Architect as a Liberal Profession, thelocation of ECIA headquarters in Brussels, there-naming of the Executive Board to Board ofDirectors.

The Statutes were signed and will now bepublished in the Belgian Law Gazette.

The other major item on the agenda was theresults of the "Crossing BordersQuestionnaire". Kees Spanjers from theNetherlands was responsible for compiling it.

Kees gave some background information onthe setting up of the Crossing Borders duringour General Assembly in Paris. He informedthe meeting that three member organisationsdid not respond to the questionnaire, namelyBelgium, Iceland and Italy, Denmark hasresigned from ECIA. He expressed the opinion

of the necessity to secure the quality of theprofession, especially in countries where legalrequirements are not necessary. There islegislation in three countries Germany, Icelandand the Netherlands where the title isprotected He guided us through thequestionnaire making comparisons i.e. allhave Rules of Conduct, Building Codes,including accessibility for the disabled.Standard contracts and professional indemnityare not required in some countries.

Kees showed a sample web site, using BNIas an example he would like all nationalorganizations to fill in the template with theirown information, there by creating a data basewhich can be cross referenced. This givesdetails of Membership/Legal aspects,Professional Practice and Education.

He also put forward a proposal fordiscussion relating to the establishment ofuniform admittance policy for all NationalOrganisations. This resulted from thequestionnaire where membership admittancepolicies of the ECIA member organizations donot vary widely. To enhance the possibilities ofexchange of people, ideas and knowledge andto further increase the importance of radiationof ECIA membership, we propose to harmonizeadmittance policies in all ECIA memberorganizations.

The Proposal

• All ECIA member organizations will have thesame admittance policy for normal full membership.

• This admittance policy is in line with IFI guidelines and the ECIA Charter of Education.

• To become a normal full member of a ECIA member organization, the interior architect must have: 5 years of professional education in one of the ECIA approved schools + 1 year of professional practice in an interior architects or architects office, or as a self-employed interior architect, proven by employers recommendation letter or portfolio.or;4 years of professional education in one of the ECIA approved schools + 2 years of professional practice in an in an interior architects or architects office, or as a self-employed interior architect, proven by employers recommendation letter or portfolio.or;in the case of insufficient education, 1.5 years of professional practice is needed as asubstitute for every year of missed education, proven by employers recommendation letter or portfolio and checked by an admission committee of the national organization.

• No other admission rules apply. In those countries where legislation on the profession exists and this legislation asks for higher standards, these higher standardswill apply.

• Other categories of membership (such as candidates, seniors etc) may exist.

• All ECIA member organizations will adapt their official rules and regulation, including

statutes if necessary, to comply with uniform admission rules.

• If agreed by the General Assembly, these new rules will come into effect two years later, or as soon as possible having regard tothe necessary change in rules and regulation.

• New members of the ECIA shall comply withthese rules.

• Existing members of the ECIA that cannot or will not comply to these rules will be expelled.

Selma Harrington thanked Kees for his hardwork and the time and effort which went intothe questionnaire.

There was a discussion on education and itwas suggested that due to the lack ofinformation on schools offering interiorarchitect courses that a similar questionnaireshould be sent to schools in relation tocurriculum, teaching staff etc.

The second day of the meeting was taken upwith continued discussion on the Practice of Crossing Borders. The difficulties of workingin another country and getting recognition ofones professional qualifications werediscussed. It was suggested that ECIA shouldprepare a paper on how to behave if workingabroad, it was suggested that initially it wouldbe better to work with a partner in the hostcountry, the national organisations playing a role in bringing the parties together.It was suggested that we should ask peoplewho have worked outside their own country toprovide us with information of their experienceso we will have an overall view.

It was suggested that people working abroadregularly or who settle in another countryshould be able to apply for Guest Membershipof the host organisation whilst still a fullmember in their own country. Cost of Guestmembership should be the same as hostcountry. After a period of time normalmembership can be applied for in the hostcountry. A uniform Access Policy is thedesired route but this would require changesin national organisation’s statutes to accepteach other’s qualification. There was a generaldiscussion on fees in relation to GuestMembership. There was general agreementthat fees should be paid to the nationalorganisation in the host country.

In relation to the enlargement of the EU theBoard has been in contact where possible withthe National Organisations representingInterior Architects in the various countries.

ECIA has set up an Educational WorkingGroup which will have its first draft for theGeneral Assembly in September 2004.

The ECAI General Assembly will take placein Verona, Italy during ABITARE Fair, from16th 20th September 2004.

All present agreed that it was a goodmeeting and the hospitality provided by theorganisers of DOMOTEX was wonderful.

Sadly the ECIA Board Meeting scheduledfor 8th May has had to be postponed due tounforeseen circumstances, but it is hoped tore-schedule it for a date in early July 2004.

Gerry Brouder

14 E V E N T N E W S

ECIAReport on HannoverMeeting

Upcoming EventsI

IRELAND

IDI Events, June - September 2004

Norwegian Design Council Visit Dublin, May 2004

Introduction to DesignDublin, Athlone, Waterford June 2004

The Irish Hospice EventDublin, July 2004

One to WatchDublin and Limerick, July 2004

IDI Graduate AwardsDublin, August 2004

Design in BusinessDublin and Galway, August 2004

William H Walsh LectureDublin, September 2004

Design in BusinessCavan Crystal Hotel, September 2004

INTERNATIONAL

London

DMI Senior Executive Workshop –Strategies for Developing, Maintaining, andSustaining a Powerful BrandJune 16-18, 2004, London, UK.Presented by Professor Stephen A. Greyser,Harvard Business School, and Peter L.Phillips.This highly interactive and intensiveworkshop has been created for seniorexecutives responsible for creating, orrecreating, brand identity and meaning tomultiple stakeholders. Learn more about theworkshop.

London - Exhibitions

ArchigramUntil July 4th 2004Ask any young architect to cite theirinfluences and one name is almost certain toappear – Archigram. The exuberant, pop-inspired visions of the Archigram groupdominated avant garde architecturethroughout the 1960s. Founded in 1961 bysix young London architects - Warren Chalk,Peter Cook, Dennis Crompton, David Greene,Ron Herron and Michael Webb - Archigram hasremained an enduring inspiration to architectsand designers today. Its 1960s experimentsalso influenced such famous buildings asRogers and Piano's Centre Georges Pompidouin Paris. This exhibition presents Archigram toa new generation.

Designer of the YearUntil July 13th 2004Every year the Design Museum celebrates theUK's design talent by giving a £25,000 prizeto the British designer who made the biggestimpact on design in the past year. This year'scontenders were multimedia designer DanielBrown; product designer Sam Buxton; lightingdesigner Paul Cocksedge; and Craig Johnston,

the former Liverpool FC footballer who hasdesigned the world's best selling football bootworn by David Beckham. Last year's winnerJonathan Ive of Apple, designer of the iPodand iMac, announced the result on 24 May. Itwas won by Daniel Brown.

History of Modern Design – In The Home From the glacial elegance of a BauhausMaster's House in 1920s Germany and one ofVerner Panton's pop-inspired 1960s diningrooms, to a contemporary live-work spacespecially designed by the Bouroullec brothers,this exhibition explores the History of ModernDesign - in the Home. Drawn from the DesignMuseum Collection and other importantarchives, it tells the stories behind thelandmarks in modern design that havetransformed our homes and the way we usethem. As well as reconstructing the iconicinteriors that influenced design in particulardecades, the exhibition will deconstruct thedesign and development of such influentialobjects as the Penguin paperback and AppleiPod.

Plant Power – Ronan and Erwan BouroullecUntil 13th June To celebrate spring and the 200th anniversaryof the Royal Horticultural Society, the Frenchdesigners, Ronan and Erwan Bouroullec, arecreating a model modern garden in the DesignMuseum Tank. The ceramic pots, planters andtrellis in Plant Power reflect many of thecentral characteristics of the Bouroullecs'designs being compact, mobile and endlesslyadaptable. Like all installations in theriverfront Design Museum Tank, Plant Power isfree for everyone to see regardless of whetherthey visit the museum.

Interaction SpaceRediscover your favourite vintage video games– from Pong and Pac-Man to Tomb Raider – byplaying them in the Interaction Space on thesecond floor of the Design Museum. Visitorscan also discover the work of the pioneeringmultimedia designers who are defining theimages we will see on our computer and TVscreens in the future in the virtual galleries ofthe Digital Design Museum. Or they can learnmore about the designers, architects andtechnologies featured at the museum inDesign at the Design Museum, our onlineresearch archive.

London – Talks

Patrick Le QuementTuesday 29th June In nearly two decades as head of global designat Renault, Patrick Le Quement has emergedas one of the world's most influential cardesigners thanks to innovations such as theTwingo 'character car', the new Clio andMegane, and the controversial Avantine.

David Bailey Wednesday 7th July In the first of The 1960s Conversations, asummer talks programme organisedcollaboratively by Tate and the Design

Museum, the acclaimed photographer DavidBailey will discuss fashion and photography inthe 1960s and the decade's enduringinfluence, at Tate Britain.

Alan FletcherWednesday 4th August As a founder of Fletcher Forbes Gill, AlanFletcher was at the centre of London's graphicdesign scene in the 1960s. He revisits graphicdesign in that era and explores its legacy todayin the second of our The 1960s Conversationswith an introduction by Peter Saville.

Discovering Modern ArchitectureTuesdays until 22nd June 2004, 7pm to 8.30pm Contact: www.designmuseum.org

London – Trade Shows / Fairs

International Jewellery5th-8th September 2004www.jewellerylondon.com

Top Drawer AutumnLondon 12th-14th September 2004www.pulse-london.com

100% DesignLondon 23rd - 26th September 2004www.100percentdesign.co.uk

Chelsea Craft FairLondon 12th-17th & 19th-24th Oct 2004www.craftscouncil.org.uk

Moscow

Golden Bee 6 – Moscow’s InternationalBiennale of Graphical DesignJune 15th. Endorsed by ICOGRADAhttp://www.goldenbee.design.ru/eng/

Germany

Grafic EuropeBerlin, 14th-16th October 2004Contact: www.graficeurope.com

TendenceFrankfurt 27th-31st August 2004www.tendencelifestyle.messefrankfurt.com

France

Maison et ObjetParis 3rd-7th September 2004 www.maison-objet.com

Premiere VisionParis 22nd-24th September 2004www.premierevision.fr

USA

SOFAChicago, USA 5th-7th November 2004www.sofaexpo.com

Diary / Calendar

Following on from the success of the IDI visitto Sarajevo in Bosnia some weeks ago (whichis being reported on in this newsletterelsewhere) a visit to India is being planned formembers during the winter of 2005. The tripwill focus on 3 centres in India over a period ofapproximately 10 days. Mumbai, thecommercial capital on the west coast and alink between the north and south of thecountry, Ahmedabad, in Gujarat, the designcentre of India with the principal schools ofdesign and architecture located here and NewDelhi in the North, the centre ofadministration and seat of power. En routevisits will be made to rural centers ofmanufacturing and design. By the nature ofthe scale of the country this will visit will beaction packed! We will have the opportunity tomeet with a great range of designers workingin a country experiencing enormous changeand the inevitable anxieties. A detaileditinerary and schedule of costs is being workedup and will be circulated shortly.Interested parties should contact Rina [email protected]

17

Design Week 2004Design Week is a fixture in all members’calendars and this year will be no different,however, in addition to many events of interestto designers and would-be-designers this yearwe are making a particular effort to create agreater awareness of Irish design in thecommunity. With the huge commercialisationof design through TV and magazines there is adanger that design is being reduced to thevisual equivalent of a sound bite. Throughoutthe city retailers and galleries are beingapproached to actively promote Irish designproduct for the week, A design trail is beingdeveloped to link the venues. Any ideas on thiswould be most welcome. Contact AD at [email protected]

16

IDI IndiaDesign Mission 2005

IDI and INI CollaborationThe Institute of Designers and Invest NI’sDesign Group have agreed to work inpartnership on a range of cross border designevents and IDI members will receiveinvitations to all Design Group activities.

Design Group at Invest Northern Ireland co-ordinates a range of initiatives todemonstrate and develop the value of designto business. Their calendar of seminars,conferences and lectures promote anddemonstrate the strategic importance ofdesign in solving problems, adding value,differentiating products and building brands.

Design Group provides design guidance on aone-to-one basis that comprises projectspecific assistance as well as broader strategic issues such as design management,consultant assessment, partnerships, trendsand intellectual property.

Our Design Development Programmesprovide companies with long-term sustainablecapability in design and new productdevelopment processes. They assistbusinesses to respond to new marketopportunities, develop business strategies,refine techniques for creative thinking,provide seven days consultancy with designprofessionals and generate new ideas and concepts for development.

To enable businesses to address consumerneeds, identify market opportunities andrefine business strategies, Design Groupprovides access to international best practice,latest thinking on design, colour analysis andconsumer lifestyle trends.

For more information contact Gillian ColhounInvest Northern Ireland Design Group,Invest Northern Ireland,Lisburn.

T +44 (0)28 92623036 E [email protected] www.investni.com

Call for submissions toIDI Council MonthlyDesign Themes:

All members are invited to submitqueries, questions or topics fordiscussion to the Council monthlydesign debates. Council meetings areheld on the first Wednesday of everymonth.

Design Themes for the remainder of theyear are as follows:

June – Insurance for DesignersJuly – Promoting Design to Governmentand BusinessAugust – National and InternationalAffiliationsSeptember – Setting up in DesignOctober – Design for All and DesignersresponsibilityNovember – Ireland, the regions andNorthern IrelandDecember - Sponsorship

Contact Rina 01 716 7885 or email [email protected]

College ExhibitionsAthlone IT Degree and DiplomaSaturday 5th JuneOpen to the public 8th and 9th June

Carlow IT DegreeFriday 11th June Open to the public 11th - 17th June

Cork College of Art & Design DegreeFriday 18th JuneOpen to the public 18th - 28th June

Cork IT Degree and DiplomaThursday 10th June

Griffith College DegreeMonday 14th Open to the public 14th - 18th June

Limerick IT DegreeSaturday 19th JuneOpen to the public 19th - 23rd June

NCAD Fashion Show DegreeWednesday 2nd June

NCAD Degree Friday 11th JuneOpen to the public 12th - 20th June

Sligo IT DegreeMonday 28th June

University of Ulster DegreeMonday 31st MayOpen to the public 31st May - 3rd June

Letterfrack Furniture College DegreeSaturday 12th JuneOpen to the public 12th - 20th June

Waterford IT DegreeTuesday 8th JuneOpen to the public 8th - 12th June

IADT Dun Laoghaire DegreeThursday 3rd JuneOpen to the public 3rd - 13th June CLOSED BANK HOLIDAY WEEKEND

Competitions

The Dyson Ireland Student Design Award isrun in association with Design Ireland, TheInstitute of Designers in Ireland, EnterpriseIreland and Invest Northern Ireland. Itpresents a unique and exciting opportunity foran emerging Irish designer whose work bestdemonstrates the ability to think differentlyand create needed products that work better.

The Dyson Ireland Student Design Award isaimed at all degree and diploma year studentsstudying Industrial Design or Product Designcourses throughout the island of Ireland.

Entries close 5:00pm Friday 30th July 2004

www.dyson.ie

Dyson Ireland StudentDesign Award

ICAD Awards

The date for the ICAD Awards has beenset for the 1st October, but is subjectto change.

GDBA Awards

The GDBA Awards will take placearound mid-September.

IDI Design Awards

October

Illustration Awards

News

Test of TimeThe 'Test of Time' event in December is acelebration of marks, products, fashion etc.that members have nominated as 'classic'pieces of design.

We welcome your input and suggestions to:[email protected] 716 7885

DynamoWe've just been published in a new book byBeverly Hills Design Consultancy, AdamsMoroika. The Book is called the logo designworkbook and focuses on the various roles thatthe modern logo plays in life, culture and business.

By examining the process of logo andidentity development, the authors draw onexamples by companies such Pentagram,Landor associates, Johnson Banks, andDynamo, as the only Irish consultancyfeatured. Dynamo's design team arequoted throughout and the book features arange of Dynamo's work, includinga promo programme for the Beckett on Filmfestival, Rococo corporate identity work,Meteor's brand identity and advertising forIrish furniture retailer, Enclosure.

Damian Cranney

Sean Adams and Noreen Morioka are partnersof AdamsMorioka in Los Angeles. Their ideasof clarity and purity have continued to lead arevolution in the design world from complexity,chaos and distopia to simplicity and honesty.

Since AdamsMorioka's founding in 1993,the firm has been globally recognized by everymajor competition and designation including;Communication Arts, AIGA, Graphis, The TypeDirectors Club, The British Art Director's Club,ID, and the New York Art Director's Club.

AdamsMorioka was recently given a soloexhibition by The San Francisco Museum ofModern Art. Adams and Morioka hold thehonor of being named to the ID40, who has cited them as two of the 40 most importantpeople shaping design internationally.

Sean and Noreen are both Fellows of theInternational Design Conference at Aspen andadvisors on the Appleton Design Council. Seanis a past member of the AIGA National Board,and a faculty member at CalArts. Noreen is apast president of AIGA/LA, and chair of theAIGA National President's Council.

AdamsMorioka's clients include ABC, MTVNetworks, Gap, Old Navy, Frank GehryAssociates, Nickelodeon, Oxygen, VH1 andSundance.

EducationAt present the Education Officers are workingon a consultation exercise among students toidentify and assist in professional and developmental needs of student members ofthe IDI.

Currently, all student members in their finalyear are eligible for the Graduate DesignerAwards, prestigious awards made once everyyear in several sections – visualcommunications, interior design/architecture,new media, textiles, fashion, ceramics,furniture.

Student members are also eligible to attendall IDI events free of charge during the periodof their membership.

However, if you are a student member andthere are any other membership benefits youwould like to see, or changes you would like tosee made, this is your chance to give yourviews!

To participate in this consultationexercise, simply [email protected] or [email protected] express your opinions.We look forward to your replies and will reporton them for the next newsletter

As part of the Cork European Capital ofCulture celebrations in 2005 there will be anexhibition devoted to the history of theKilkenny Design Workshops (KDW). Thisexhibition which is being jointly funded byCork 2005 and the Crafts Council of Irelandwill be organised by the curators: Dr PaulCaffrey and Anna Moran, lecturers in thehistory of design at NCAD.

This will be the first major exhibitiondevoted to the Killkenny Design Workshops.The exhibition will show examples not only ofgraphic and industrial design but of textiles,ceramics, glass, silver, and furniture. KDW,established in 1963 under the direction ofWilliam H. Walsh, brought together world classdesigners from Ireland and abroad. It createdanew vision of craft and design, helping bothto raise design awareness at home andbringing Irish products before a newinternational audience. The Exhibition willdraw on the KDW archives and the NationalIrish Visual Arts Library (NCAD) and theNational Archives. It will present the latestresearch on this unexplored aspect of designinnovation and promotion.

The curators are most interested to talk withdesigners and all of those connected withKDW. We would be very grateful if you couldcontact us at the following e-mail address:annamoran@ireland .com

19N E W S

Designing Ireland: Kilkenny DesignWorkshops 1963-88

18 N E W S

A slice of the big apple!

John-Paul Doyle gives us an update on what’shappening in the offices of Neworld New York.

Greetings from Neworld New York! Our newventure in the US is steaming along steadily,and we received a huge boost when PatKinsley was invited to give a seminar at the28th DMI International Design ManagementConference in Cape Cod last October. Pat’sseminar, ‘From Three Breads to One Brand’,dealing with our brand overhaul of Irish Pridewent down a storm with our design peers inthe US and with potential design buyers in theaudience. It served as a wonderfulintroduction for us to the design world of theUS and the uniformly positive feedback andencouragement from our fellow delegates hasgiven us new impetus and drive.

On the ground here in the ‘Apple’, terrificconnections are being made, headway is beinggained and lots of skin being pressed as wemake our name known throughout thebusiness community here. Our clients here inthe US are extremely impressed with our workand methodology, leading us to believe that inan apparently crowded marketplace, there’sstill plenty of room for us.

If you want to get in contact with our New Yorkoffice, you can contact John-Paul at:Neworld Group NYC,Suite 16, 314 East 9th Street, NYC, NY,10003T 212 533 9824, M 646 642 2896. E [email protected]

24% more sales – Superquinn’s award winningnew website

Superquinn recently commissioned Neworld tooverhaul their online shopping service,Superquinn4food. The new site had to conveythe Superquinn brand values, whilstmaintaining an easy-to-use interface.

The starting point of Neworld’s approach tothis project was to go back to the essence ofthe Superquinn brand by identifying the corevalues of Superquinn and what it means to theonline consumer.

Neworld conducted a thorough audit of theold Superquinn4food site. From this audit, weidentified practical changes that could bemade to the site navigation, content anddesign that would make the shopping interfacemore user-friendly.

We used these findings, coupled withfeedback for customer focus groups, toproduce a design concept that truly reflectsthe Superquinn brand. Using a unique palettefor colours and strong imagery, the new siteillustrates fresh-food quality, customer serviceand innovation that Superquinn are well-known and respected for. While retaining allthe shopping functionality of the original site,the new interface is significantly smaller infile size, resulting in a faster shoppingexperience for Superquinn’s online customers.

The most important result is that sales haveincreased by up to 24% in the monthsfollowing the launch of the new site provingthat employing careful research and wellthought out design can really make an impacton your bottom line. This innovative websitealso won us the Design for Digital Media Awardat the O2 Digital Media Awards 2004. If you’dlike to have a look for yourself, the webaddress is:

www.buy4now.ie/superquinn

Have you got mentalogy™?

A new campaign has just kicked off to promotea brilliant new board game calledMentalogy™. In November, the press gatheredto check out members of the public pittingtheir wits against each other in a Mentalogy™Marathon at the Odeon and a comprehensiveradio campaign was launched in time forChristmas. So far, sales have been excellent,with most shops selling out over the Christmasperiod. Mentalogy™ is now going global. Ittook a stand at The American International ToyFair, held in New York on 15-19 February. Thiswas the first exposure to the internationalmarket and it was a huge success.

For those who don’t know yet, Mentalogy™ isIreland’s fastest selling high-speed, mindexpanding board game. Players use theirshort-term memory to remember words,numbers and symbols. The players raceagainst each other to recall a series ofdifferent card selections. As the gameprogresses more and more cards are added tothe mix. Words, numbers and pictures allcompete to tax the memory and the brain.Word association, number sequences andphotographic memory all come into play butlady luck might still extinguish the brightestspark!

The history behind Mentalogy™ isfascinating and inspiring. Pat Howe, creator ofthe game, spent years in hospital undergoingpainful treatment for a variety of illnesses. As

a result, he suffered from learning difficultiesdue long absences from school. Despite thehorrific suffering during his formative years,Pat went on to work successfully in a variety ofjobs, then decided to buy a taxi plate andbecome his own boss.

Pat had a brilliant idea for a learning gamewhich could genuinely help people withlearning difficulties. He used his taxi as ameans of meeting people to talk about it,making all his contacts through picking themup as a fare. Pat met our own Director ofNeworld Group, Pat Kinsley, four years ago.They discussed the idea and have spent thelast four years developing Mentalogy™ theboard game, which was launched in themarket place last April.

So if you fancy expanding your mind andtickling your brain cells why not getMentalogy™? It’s easy to play, enableslearning through fun, develops memory skillsand all the family can play! Mentalogy™ isavailable from Smyths and all leading toystores. For more information on the game youcan contact David Conn at:[email protected] Tel: 353 1 416 5669

Neworld