Trent Jansen graduated from the College of Fine Arts in Sydney Australia and trained under Marcel Wanders in 2004. Jansen's work is strongly influenced by his time with the Marcel Wanders studio, and its focus on narrative derived design. The Pregnant Chair, designed for Moooi, the Netherlands, is an excellent example of how Jansen translates a personal story to a simple functional object.
Creating a number of highly popular stools and bike products from reclaimed materials has provided a mechanism for Jansen to deliver on his passion for sustainability.
Jansen's design expertise has been commissioned by Edra in Italy, the State of Design Festival in Australia, The Substation in Singapore, Kaohsiung Design Festival in Taiwan and a number of private clients for the creation of bespoke made pieces. Trent Jansen is a founding designer of Broached Commissions.
Adam moved from Western Australia to Sydney to study industrial design at the University of Sydney. Since graduation Adam has created a small highly eccentric body of work, most of the pieces in manufacture reflect his passion for mechanisms (in particular designs that fold), bold colour and the natural environment.
Like many signature Australian designers before him Adam built his reputation through the most simple of designs that combined ubiquitous materials with clever joining mechanisms to create unique design outcomes. A great example is the Tsunami Bowl, boldly coloured chopsticks simply arranged to create a fruit bowl. The Tsunami Bowl is an excellent example of Goodrum's hands-on approach to prototyping and completion of many designs. It has been acquired for the permanent collection of the Ghent Design Museum, Belgium.
Adam takes from the visual arts, especially his love for the sculptural works of Alexander Calder, a passion for blocks of primary colour. The beautiful folding mechanism of the Stitch Chair (manufactured by Cappellini) is made all the more playful by the use of opposing primary colours on its various facets. The chair was selected as one of the best designs of 2008 by the London Design Museum and the ‘Best 50 Designs of the Last Decade' by Glam DIZAJN.
Adam's Sydney based design practice delivers self-initiated and commissioned based products and interior designs for a wide range of clients.
Charles Wilson is one of Australia's most celebrated industrial designers best known for his design of upholstered furniture. He has products with Menu in Denmark, and Woodmark and King Furniture in Australia. His designs have received The Bombay Sapphire Design Discovery Award, and the Australian Design Award. Charles Wilson's Swivel Chair and Candelabra by Menu are in the Powerhouse Museum design collection, Sydney. Charles Wilson is a founding designer of Broached Commissions.
Chen Lu is an object and interior designer based in Sydney, Australia. Lu has created design schemes and installations for Hermés, Art & Australia magazine, Akira Isogawa, Simon Johnson, Monument magazine and the Bombay Sapphire Design Awards. The study of modern Tokonama is an ongoing theme in Lu's work. Everyday objects are reduced to the essence allowing space for new meanings to emerge. Design rigour is focused on perfecting imperfections.
Lucy McRae is an Australian artist straddling the worlds of fashion, technology and the body. As a ‘body architect', she invents and builds structures on the skin that re-shape the human silhouette. Her provocative and often grotesquely beautiful imagery suggests a new breed: a future human archetype existing in an alternate world.
Trained as a classical ballerina, her work is inherently fascinated with the human body. The media call her an inventor, friends call her a trailblazer: either way, she relies on instinct to evolve an extraordinary visual path that is powerful, primal and uniquely Lucy McRae.
Max Lamb, born in the UK in 1980, grew up in a bucolic seaside town in Cornwall, England, an upbringing that imbued him with a love of nature and a creative spirit. This led him to explore materials by re-contextualising them in both conventional and unconventional ways. He exploits the inherent qualities of his materials and reconsiders their function. Lamb designs products that stimulate a positive three-way interaction between product, maker and user, through a visual simplicity that effectively communicates the obvious function of each piece.
After completing a degree in Three-Dimensional Design at Northumbria University, Lamb went on to receive a Master's Degree in Design Products from the Royal College of Art, London, in 2006. A frequent lecturer and design workshop leader, Lamb currently lives in London where he continues to develop new designs that challenge the traditional concepts of the materials he uses, and the processes with which he manipulates them.
Born in Fukuoka Japan, 1976. Flower Artist.
Azuma Makoto has been in the flower business since 2002, and is an owner of the haute-couture floral shop, “JARDINS des FLEURS” in Minami-Aoyama, Tokyo. He started his career as a flower artist in 2005. From 2007-2009 this prolific creative also Ran AMPG a private gallery in Kiyosumi-Shirakawa, Tokyo, to exhibit his private works.
At the end of 2009, he founded an experimental laboratory “Azuma Makoto Kajyu Kenkyusho” (abbr. AMKK; meaning Azuma Makoto Botanical Research Institute) and this platform has provided the ever expanding opportunity to test Azuma's creative engagement with plants.
Azuma Makoto's practice as a floral artist is entirely committed to teasing out the ironies of the cut flower market: its history, unsustainable practices and pushing at the boundaries of traditional arrangement.
Respecting nature and maintaining the dignity of plants are two driving forces of Azuma's practice. The result is an aesthetic that is as much a commentary on urban life as it is an act of floral arrangement.
Keiji Ashizawa The seamless integration of industrial and the simplest of craft poetics drew the Broached team to the work of Tokyo-based architect and product designer Keiji Ashizawa. The Hirosaki Knife Box was the tipping point, the piece that made us leap towards Keiji.
Prior to establishing a practice in his own name (2005) Keiji was a member of the Super Robot steel-furniture workshop. Keiji's product design work has been exhibited in Pad London 2012 at Galerie Maria Wettergren; Design Miami 2012 at Galerie Maria Wettergren; and Wallpaper Handmade in Milan in 2011.
Keiji is the recipient of an Australian National Architecture Institute Award for Wall House with Peter Stutchbury Architects and Keiji Ashizawa Design. Keiji also received a Good Design Award, Special Award, from the chairman of the Japan Institute of Design Promotion.
Keiji Design continues the refinement of the modernist architectural and product design project with a graceful simplicity that Japanese designers seem to excel at. It's as if the deeply embedded belief in incremental improvement fits hand in glove with the modernist insistence on simple geometries. Keiji Ashizawa's work exemplifies this beautiful marriage of cultural tradition and modern industrial design.
Naihan Li's focus on the transitory nature of contemporary urban Chinese life made the Beijing-based designer the perfect fit as a collaborator on Broached East.
Hailing from Harbin in 1981, Naihan had moved to Beijing in the mid ‘80s and spent her childhood amidst the explosion of imported cultural concepts that defined the era. She left Beijing No.4 High School in 1999 to study in the UK. After a few years studying design and architecture in London's Bartlett School of Architecture, Naihan returned to Beijing in 2004 and found the city in its most rapid and volatile state of simultaneous urban development and decay.
Living with The Crates – her famed portable interior furnishing collection – in an industrial studio space on the edge of Beijing, Naihan introduces furniture as a particular fashionable design response to a tangible social reality, thereby accommodating the modern and mobile lifestyle we live. Her work poses the question, ‘why not have furniture that reacts practically to how we are obliged to live?' and, ‘why not have fun with it?'. She does.