DEAN HOMICKI PTY LTD » Designer

STEAM! – KEN EVANS & REBECCA RUSSELL. FILM BY DEAN HOMICKI

Dean Homicki — Thu, 08 Nov 2012 13:40:06 +0000

Ken Evans & Rebecca Russell merge man and machine into a graceful collision of Art, History & Engineering. These talented writers and directors are seen directing the finishing touches on the first and only dress rehearsal in a translucent and seductive setting that is the 100th Goldsmith Steam Rally.

Filmed by deanhomicki.com.au, this event demonstrates the innate qualities of two unique artists that know how to assemble a committed cast and crew in a regional location with limited resources. That said, I am sure you will see that this production is anything but limited. Rather, it is inspiring, beautiful, almost spiritual.

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STEAM! – KEN EVANS & REBECCA RUSSELL. FILM BY DEAN HOMICKI from Dean Homicki on Vimeo.

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BOISBUCHET FILM 2-(trans)formed Nature-TIMOTHY LIU-Mischer’Traxler

Dean Homicki — Tue, 18 Sep 2012 12:56:35 +0000

In this 2nd film by Dean Homicki, Timothy Lui (Taiwan), creates an artscape in the cellar of Domaine de Boisbuchet.

Artist/designer Timothy Liu presents his project of ‘(trans)formed Nature’ to the workshop participants of both Tomas Kral & mischer’traxler. Paloma Cañizares (SPAIN) of pcmdesign.es comments on Lui’s atmospheric and intriguing below ground installation.

Set in the South of France, Domaine de Boisbuchet, in cooperation with Vitra Design Museum and the Centre Georges Pompidou, CIRECA hosts a series of international summer workshops led by renowned designers, architects and artists who live and work together with the participants for a length of six to ten days.

In August 2012, DEAN HOMICKI – DESIGNER, ENTREPRENEUR, MENTOR – participated in workshops presented by pcmdesign.es (Paloma Cañizares), Tomas Kral and Mischer’traxler. These workshops where attended by thinkers, creators, designers from all over the world and alloyed cultures and people in a truly unique environment.

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BOISBUCHET 2-(trans)formed Nature-TIMOTHY LIU-Mischer’Traxler-film by deanhomicki.com.au from Dean Homicki on Vimeo.

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BOISBUCHET FILM 1-(trans)formed Nature-mischer’traxler workshop

Dean Homicki — Tue, 11 Sep 2012 08:37:35 +0000

In this first video by deanhomicki.com.au, artists/designers Émilie Desnoyer and Guðrún Theodóra Alfreðsdóttir present their joint project of ‘(trans)formed Nature to the workshop participants of both Tomas Kral & mischer’traxler. Katharina Mischer & Tomas Traxler comment on this intriguing and intelligent work by Émilie Desnoyer (France) and Guðrún Theodóra Alfreðsdóttir (Iceland)

BOISBUCHET-(trans)formed Nature-mischer’traxler workshop-film by deanhomicki.com.au from Dean Homicki on Vimeo.

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MADE BY PROCESS – DAY 4 – BOISBUCHET

Dean Homicki — Thu, 16 Aug 2012 03:06:37 +0000

Starting with P.V.C. tube and copper tests from DAY 3 – ‘MADE BY VICE – , the vice was trailed by clamping the copper at regular intervals. Intrinsically, pillow like bubble shapes appeared. Like lollies being sealed in plastic packaging on a conveyor belt, the copper takes on a unique, soft, ‘try and eat me quality’. Not that you would try?.

The researched linked back to DAY 2 – ‘MADE BY WATER’ object with almost a lattice like resemblance occurring. Old garden tool handles were cut and fashioned into braces (timber cross members) and the elements found themselves becoming a stool. This was a good vice to be in and being squeezed, as I was under the influence of Tomas Kral and Paloma Canizares of PCM, the object began continuing to announce its own distinct identity. It’s been a long day and I worked late into the night. Tomorrow is presentation day.

‘The final section and sample for the stool, the completed 2nd object of the workshop will be made today.’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The copper is cut to size from the schema devised to make the stool – A center line is found as we will work from the inside to the outer edge of each copper tube’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘To make the measuring simple and accurate, a positioning template is drawn up and made.’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The new template now make measuring fast and easy helping to all the copper tube segaments’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The first marks are made on the copper making them ready to be crimped by the vice’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The first centre crimp is made on all the copper segments. The parts are the inserted back into the template for the remaining measurement marks’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘A carpenters square is used to make all the measurements across all parts in one go.’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘This is a lt of fun..and a quick pic to remember just how much’ – Tomas Kral Boisbuchet – Image Anna Phillips

‘All marking for the crimping is complete. Ready to crimp the copper tube in the vice’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The first crimps are mad by the vice’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘A 90 degree bend is made one copper bubble up from each end. This will eventually be inserted and clamped by timber cross members’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Completed copper tube bubble segments ready for assembly’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Taking shape. The copper segments are loosely positioned for review.’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Close up of the complete ‘made by vice’ copper segments. The design is truly formed by it inherent process’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Time to make the timber cross members. Old Garden tool handles are salvaged from the workshop stores – Thank you Alessandro.’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Another template is devised, this time to mark the position of the holes in teh timbers cross members that will take the completed copper tubes .’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Final checks are made for the measurements – There is no more timber or copper available in the workshops – No room for error.’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The timber cross member are clamping in timber ready for drilling holes – Tomas Kral Boisbuchet – Image Dean Homicki

‘The holes are drilled using a drill press – (Many thanks to the industrious designer marionchatel.com who allowed me to use her tool ‘The drill press’ late in the night before presentation day…you are very kind’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘A timber cross member is release from the clamp device used for drilling the holes accurately. Now sanding is required to complete the finishing of the parts’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘A quick pic of other designers slaving it out late into the night inside the hall/barn of Domaine de Boisbuchet. That is not mess. It is transformative assembly!’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Tomas Kral comes to inspect and keep our spirits high. Tomas worked very hard with all the participants in his workshop. Thanks mate!’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘With all the timber cross members sanded and complete only assembly with the copper segments is required – Tomas Kral Boisbuchet – Image Dean Homicki

‘Final details. The copper bubble segments are rubbed with vinegar and steel wool for a crisp satin sheen’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The stool begin to emerge. The outer legs are assembled first held in position by a pair of timber cross members’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘A quick wooden press device was formed to squeeze the timber cross members against the last copper crimp on each leg segment’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The timber cross members are gentle forged against the last copper crimp on each leg segment’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘After squeezing of the timber cross members against the last copper crimp on each leg segment are completed, the vice completes the final locking crimp that holes the timber tight in place’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The vice completes the final locking crimp that holes the timber tight in place’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Successive crimps made by the vice locking additional timber cross members tight in place’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The process of assembly. Ready to take the middle copper tube segments’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Additional copper tube segments are added’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘All copper tube segments are now inserted in the timber cross members’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Now assembled the stool takes on its own identity born out of the process’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘A close up of the copper tube bubbles. It now really late so we can make the finishing touches tomorrow. There is always overtime!’ – Tomas Kral Boisbuchet – Image Dean Homicki

This document – ‘DAY 4 – MADE BY PROCESS – DOMAINE de BOISBUCHET France’ is authored by Dean Homicki. It is free to copy, use and alter providing attribution and reference to deanhomicki.com.au is noted. ‘DAY 4 – MADE BY PROCESS – DOMAINE de BOISBUCHET France’ – Dean Homicki – Designer, Entrepreneur, Mentor

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MADE BY VICE – DAY 3 – BOISBUCHET

Dean Homicki — Tue, 14 Aug 2012 14:32:47 +0000

Today I was out of the water and back on dry land in the Boisbuchet workshops. As Day 3 begins and the presentation of our object is looming, I started early fro Friday is the day after next. I further tested methods of ‘cold joining’ discovering some beautiful connections formed with tapered chisels and even the humble workshop vice. The Vice performed as a press, a hammer, and a texture maker. Pressings and twists acted like rivets interlocking elements to form a new aesthetic and joining method.

Other methods of joining where explored with the last test for the day being a pice of PVC tube being squeezed and twisted. A sample was made with timber and copper and real design magic happens.

Things are really being stretched in all directions and my ideas are like a hose filling a swimming pool on a hot French summers day – It just can’t happen quickly enough.

The day started early in the south of France – Looking across the grounds of Domaine de Boisbuchet – Tomas Kral Boisbuchet – Image Dean Homicki

I got up early before the designer stampede began – Inside the main hall/barn of Domaine de Boisbuchet – Tomas Kral Boisbuchet – Image Dean Homicki

‘Tomas Kral reviewing yesterday’s work and research tests’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘I further tested methods of cold joining. Pine and Copper tube’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The timber is clamped ready to create test holes that will receive the copper tube’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Two test holes are complete’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Copper tube, cut to the combined width of the pieces of Pine, are inserted into the drilled holes’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The Copper tube is made flush with the outer surface of the Pine’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Using what was available, this steel bar was used to swage the Copper tube inserted into the timber’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘A quick review. All is looking schmik’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The test is successful’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The second Copper tube is inserted and swagging is repeated on both sides on the pine pieces’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘What else could we use the copper for? What about using the Copper tube as a crimp rather than a rivet? What tool could make this?’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The humble Vice – “Nice” as Tomas Kral would say – Tomas Kral Boisbuchet – Image Dean Homicki

‘Looking good. The vice ‘Tool’ is leaving impressions from the jaws on the surface of the Copper’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The crimped Copper tube is inserted through a pre-drilled hole in Pine’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The crimp acts as a ‘Rivert Head’ and allows for a second ‘Locking Crimp’ on the opposite side. This creates a Rivet’ – Tomas Kral Boisbuchet – Image Dean Homicki

“This is interesting Dean – Your tool is now a vice” Tomas Kral inspects one of the several test samples created – Tomas Kral Boisbuchet – Image Dean Homicki

”The Vice performed as a press, a hammer, and a texture maker. Pressing and twists acted like rivets interlocking elements to form a new aesthetic and joining method’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘It’s time to design a second product from this newly discovered tool. Time to draw’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘After drawings and further discussions with Tomas Kral, A stool design was conceived. Yet another sample showing the connection and joining section is created’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Additional Pressings and twists are tested. This is the start of the ribs that will become the seat’ -

‘Oh yeah, this is the humble vice. A long way from additive manufacturing’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘With the first crimp complete, a spacing for additional crimping is considered’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘A second crimp is formed by the vice and an additional spacing metric is calculated’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘A third crimp is pressed in the vice’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘A unique quality of tool, process and material is developing through repetative pressings’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The crimping is tested for distortion and material stress of the Copper’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘An amazing discovery and a pleasing result. The Copper tube has become a rope of pillows’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Testing of additional bends for what will become the seat strips of the stool’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘FInal design modifications are considered. This is what the vice made…’ – Tomas Kral Boisbuchet – Image Dean Homicki

This document – ‘DAY 3 – MADE BY VICE – DOMAINE de BOISBUCHET France’ is authored by Dean Homicki. It is free to copy, use and alter providing attribution and reference to deanhomicki.com.au is noted. ‘DAY 3 – MADE BY VICE-DOMAINE de BOISBUCHET France’ – Dean Homicki – Designer, Entrepreneur, Mentor

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MADE BY WATER – DAY 2 – BOISBUCHET

Dean Homicki — Tue, 14 Aug 2012 12:26:14 +0000

Today I decided to put down the hammer and explore other means of cold joining. Thomas Kral, who is leading the workshop ‘One Tool, One Product’, is inspiring the group to explore the possibilities of what a tool could and can be. Today I have choosen to use water as ‘The Tool’. The ‘water tool, will soften the wood allowing it to be transformed into a more malleable material. Here is what the water made.

‘Thin strips of wood were immersed in the river running thorough Domaine de Boisbuchet Lessac’ – Tomas Kral workshops Boisbuchet 2012 – Image Dean Homicki

‘Vertical and horizontal arrangements to weave a fabric of wood’ – Tomas Kral workshops Boisbuchet 2012 – Image Dean Homicki

‘The process is repeated until a textile is formed’ – Tomas Kral workshops Boisbuchet 2012 – Image Dean Homicki

‘The natural desire of the timber to curve itself. This innate quality was harnessed to create a support structure for the emerging product’ – Tomas Kral workshops Boisbuchet 2012 – Image Dean Homicki

‘A deck emerges, now floating in the stream, if not owned by the water, naturally appearing in the design process’ – Tomas Kral workshops Boisbuchet 2012 – Image Dean Homicki

‘Quickly becoming a vessel, the water has allowed the timber to be transformed in to a new context’ – Tomas Kral workshops Boisbuchet 2012 – Image Dean Homicki

‘WIth water lapping the structure, it is kept cool and soft’ – Tomas Kral workshops Boisbuchet 2012 – Image Dean Homicki

‘A hooded structure appears. As the exposed wood dries it becomes strong and stable – keeping its new shape’ – Tomas Kral workshops Boisbuchet 2012 – Image Dean Homicki

‘Again the natural curve of the wood allows for arm rests to be proposed – What is making the material comfort – transfer it’s qualities into the product?’ – Tomas Kral workshops Boisbuchet 2012 – Image Dean Homicki

‘The finished item’ – made by water – where will & where can our tools take us – Tomas Kral workshops Boisbuchet 2012 – Image Dean Homicki

This document – ‘MADE BY WATER – DAY 2 – BOISBUCHET’ is authored by Dean Homicki. It is free to copy, use and alter providing attribution and reference to deanhomicki.com.au is noted. ’MADE BY WATER – DAY 2 – BOISBUCHET’ – Dean Homicki – Designer, Entrepreneur, Mentor

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MADE BY HAMMER – DAY 1 – BOISBUCHET

Dean Homicki — Mon, 13 Aug 2012 13:52:46 +0000

Set in the south of France, Domaine de Boisbuchet is international workshop affiliated with the Vitra Design Museum. Along with my wife Anna, an interior designer, this unique opportunity we will have us exposed to a creative environment with participants and cultures from all over the world.

PCM & Thomas Kral, who are faciltating the workshop ‘One Tool, One Product’, proposes the question, “What could we make if we confined to one method of fabrication.”

Today I decided to pick up a hammer and gently.

‘The Hammer transforms the round galvanised wire into flat section’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The transformation is repeated along the galvanised wire length’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The transformation creates natural curves. Hit it too hard and it fractures. Can we join it back together?’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘A simple lap joint end-to-end of the galvanised wire length’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The lap joint is formed and a neck-wear is created. This what a hammer made’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The same forging and joining principal is applied to a length of copper’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The copper wire is wrapped and twisted together. It is then forged with the hammer again. The old anvil decorates the surface of the object’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘This is made by hammer. One Tool, One Object ‘ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Made by hammer in a jewelry context ‘ – Tomas Kral Boisbuchet – Image Dean Homicki

‘The cold forged galvanised steel neck-wear and copper wire wrist-wear’ – Tomas Kral Boisbuchet – Image Dean Homicki

‘Tomas Kral comes to investigate. ‘What other tool could transform a material. What about wood Dean. What tool/scould transform it?’ – Looks like I know what material we will work with on Day 2 of the workshops’ – Tomas Kral Boisbuchet – Image Dean Homicki

This document – ‘MADE BY HAMMER – DAY 2 – BOISBUCHET’ is authored by Dean Homicki. It is free to copy, use and alter providing attribution and reference to deanhomicki.com.au is noted. ‘MADE BY HAMMER – DAY 2 – BOISBUCHET’ – Dean Homicki – Designer, Entrepreneur, Mentor Singulair

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EVERYTHING TECHNIQUE

Dean Homicki — Tue, 06 Mar 2012 09:59:27 +0000

Aluminium has been a material that I have been curious about since I was very young.

The ‘DTAC EDGING KIT’ – Designed in collaboration with pidgeon.com.au – the ‘bag’ (shown before its unwrapping to the client) – communicate the product as precious and bespoke.

The ‘bag’ (shown before its unwrapped by the client) – communicated the designs as a set of tools or pens; something new draw with rather than just another product – The ‘DTAC EDGING KIT’ – Designed in collaboration with pidgeon.com.au – Dean Homicki for DTAC

As young boy, in my Fathers shed, I was surrounded by numerous pieces of textured and grain embellished aluminium sections. Dad collected de-comissioned military radio and medical equipment. He would pull out the guts of the machines and recycle the aluminium. I would be in the waiting to collect the device’s carcass and investigate the aluminium by continuing the deconstruction of the assembly.

316 Stainless Steel, powder coated milled aluminium. The DTAC EDGING range pushed all the boundaries – Dean Homicki for DTAC – Image David Pidgeon

With all this investigation in my father’s shed I grew to understand that aluminium could be harden by a special process know has hard anodising. This technique allowed for the dying of the material to be deeper making colours suitable for horizontal surfaces.

‘Corduroy’ – The first section in the DTAC EDGING Range – These design elements became the basis for the collection – Dean Homicki for DTAC – Image David Pidgeon

In time I discovered the intrinsic possibilities of aluminium’s grain, strength and rigidity. Versatile and malleable, the material could be adapted for many applications and functions permiting decoration of a machined aesthetic.

‘Pleat’ – a simple negative and positive (Yin & Yang) relationship – A subtraction of the earlier ‘Corduroy’ design – Dean Homicki for DTAC – Image David Pidgeon

When the opportunity came to design a series of architectural trims for DTAC in Australia, know as DTAC EDGING, the extrusion and hard anodising processes became the natural method and finish.

‘Pinstripe’ – The removal of the ridges from ‘Corduroy’ and ‘Pleat’ – The natural aluminium was revealed after the anodising process by hand finishing – Dean Homicki for DTAC – Image David Pidgeon

Through great tenacity I worked with serval manufactures to communicate my vision and process techniques. While some extrusions where to be simply ‘Anodised’, others would be milled, stamped, subtracted and multiplied.

‘Checker’ – Extruded and Milled Aluminium – A subtracted ‘Pinstripe’ section – Dean Homicki for DTAC – Image David Pidgeon

Some of the designs where also translated into milled 316 stainless steel sections for bespoke architectural applications.

‘Suede’ – Antislip insertion – Dean Homicki for DTAC – Image by David Pidgeon

Pushing the limits of the material and available processes, or rather negotiating with manufacturers to create the designs in the manner to which the finished result would transpire, lead to a series of architectural elements that would be very special and precious.

‘DTAC EDGING’ – Applied as stair trims – Dean Homicki for DTAC – Image by David Pidgeon

Aluminium is often assumed to be cheep, throw away material and only worthy of soft-drink packages. The transformation of extruded aluminium into the collection of trims known as DTAC EDGING range was truly special in the finale.

This document ‘EVERYTHING TECHNIQUE’ is authored by Dean Homicki. It is free to copy, use and alter providing attribution and reference to deanhomicki.com.au is noted. ’EVERYTHING TECHNIQUE’ – Dean Homicki – Designer, Entrepreneur, Mentor

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EVERY LAST DETAIL – D+ to DTAC

Dean Homicki — Fri, 10 Feb 2012 01:02:06 +0000

The trade show of March 2001 started a new era for Dean Homicki. Sparked by a bid that he won to create what he calls “tactile indicators” with LAB Architects for Federation Square in Melbourne’s Victoria, his sights were set on presenting DTAC with the tagline “Safety Just Got Sexy” and a campaign to guide the vision-impaired through small, stainless steel circular designs that, as he states, “acted like brail for the floor”.

DTAC – The new company 2001 – Designbuild trade show that would shape the next 11 years and merge Homicki’s design and entrepreneurship on an unprecedented scale.

The contract he landed to create the tactile indicators for Federation Square occurred during a simultaneous push for new and interesting architecture nearby that had just begun to really take off in the late 1990s. Only helping the desire to create a more visually stunning public masterpiece, the tactile indicator business was a definite turning point.

‘The tactile ground surface indicator’ (TGSI) – Homicki went on to design an international systemised business that would shape the future of the entire disability industry.

Homicki’s explicit attention to every last detail made his DTAC tactile indicator designs an uncompromised and high quality thing of simple, durable beauty. Along the same line, only the best digital signage would represent the “Safety Just Got Sexy” idea. Homicki paid a small fortune for his booth’s signage at the trade show of 2001 to make sure it showcased the invested energy and time he put into his work.

It was a point in his career that marked a certain honor in creating pieces that he is proud of, pieces that rose to the occasion with the same integrity he had retained through good times and the bad as an individual designer in a complicated and competitive industry.

‘Mini Albert’ – D+ by Dean Homicki – 2001-2004 – Sand Blasted white opaque acrylic – Image John Gollings

During the same time period, from 2001 to 2003, Dean Homicki also started another line of lighting designs that fell under a customization service on the side of dahdah that he called D+. Over this two year period, he created pendant lighting pieces for residential and commercial applications that hovered over a space with subtle grace.

‘Full Albert’ & ‘Beatrice’ pendant lamps – D+ by Dean Homicki 2001 – Image John gollings

Using sand-blasted acrylic pieces that fanned out, the diffused pendant luminaires named Albert, Beatrice, “030610” and Anna-P were technical to manufacture –with a central core and tangent angular fans that locked in with teeth – but delightfully easy on the eyes.

‘Anna P pendant light’ – D+ by Dean Homicki – 2001-2004 – Sand Blasted white opaque acrylic – Image John Gollings

In addition to the smaller lighting pieces, D+ also landed a huge lighting project in 2002 for a large residential complex. The lighting fixtures became 2.4-meters tall and 600-mm wide, with a similar core to the smaller lighting fixtures that featured interlocking fans.

‘GIANT Albert’ – D+ by Dean Homicki for Bates Smart Architects, Fresh water place – 2001 – Sand Blasted white opaque acrylic – Image Emma Cross

Each lamp was suspended by stainless steel wires that hung from base plates hidden behind the plaster of the ceiling using bolts that Homicki designed especially for this project. With four huge fluorescent tubes that came down the middle, the magnificent, effortless light fixtures brought him that much closer to his love for large-scale, architectural design.

‘Mini Albert’ – D+ by Dean Homicki – Sand Blasted white opaque acrylic – Telstra Corporation Offices, Melbourne Docklands 2001

This document ‘EVERY LAST DETAIL’ – D+ to DTAC’ is coauthored by Sonja Hall & Dean Homicki. It is free to copy, use and alter providing attribution and reference to deanhomicki.com.au is noted. ‘EVERY LAST DETAIL’ – D+ to DTAC’ – Dean Homicki – Designer, Entrepreneur, Mentor

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A HEAVY DOSE OF COURAGE

Dean Homicki — Wed, 25 Jan 2012 02:31:36 +0000

While the few years we spend in university surely does not shape us for the rest of our lives, they offer a brilliant starting point in describing the progress we make as highly evolved human beings.

For the Australian designer, inventor, and entrepreneur we know as Dean Homicki, his years of fine arts study with a focus on goldsmithing and silversmithing at the Royal Institute of Technology in Melbourne certainly started his quest for wanting to help make people’s lives easier. And since his years at RMIT, it is evident that this ideal of his has not changed at all.

The first of six limited edition lighting designs crafted by Dean Homicki. Made form recycled parts and found objects – 1995 – Image Sam Karanikos.com.au

Instead, the initial phase of Dean Homicki as a creative designer in his last year at RMIT may be loosely described by his fascination with post-WWI, Dadaistic views of “out with old and in with the new”. While it now seems like a fleeting time in his life that he felt compelled to reject the past, Homicki very much agreed with of the European avant-garde mentality at the time. Enough so, in fact, to create an industrial design company he titled dahdah in his final year that both pays homage to the ideals of Dadasim set by the negative reactions to World War I while doubly serving as the repeated initials of his full name: Dean Alexander Homicki.

While his belief set would eventually become more appreciative of preserving the past – just as he began to appreciate the theories behind architectural design – the first designs he created on behalf of dahdah reflected contemporary artistry in the form of six limited edition lighting designs he crafted in 1995.

Each table light incorporated an assortment of irregular, geometric pieces of recycled metals. Since the lamps were made from only found objects with re-conditioned light fittings, they were especially unique and unlike anything people had seen at the time. Containing a bulb whose glow could be seen on all sides of the fixture, the limited edition lamp designs showed off Homicki’s ability to direct illumination using an original piece of early “green-friendly” art. In fact, they were so far ahead of their time that they won an eco-design competition in Sydney, Australia back in 1995 for Homicki’s use of reclaimed materials.

The second of six limited edition lighting designs crafted by Dean Homicki – 1995 Private Collection – Image Sam Karanikos.com.au -

“The process of making each light was an assembly using rivets,” reflects Dean. “They were completely ‘cold-joined’, without welding or soldering. This is still a process I use today. It has a low impact on the environment as all the parts can be disassembled after use.”

While Homicki’s RMIT education was curated by the teachings of fine artists such as Junju Kinishi, Marion Marshall, Daniel Jenkins, and Debbie Sheezel in everything from jewelry to metal sculpture, it took more than skill to launch his lighting designs and embark on a career in design, it took a heavy dose of courage. Always following the beat of his own drum, Homicki says it best: “Design became a way to see the world – to view, communicate and improve the world through personal development and career.”

The ‘Anna-P pendant’ Dean would go on to make some 7 years after graduating from Fine Arts at RIMT – Cold joining at it’s most elegant – 2001-2002 – Private Collection – Image John Gollings

Now an insightful design entrepreneur in the industry who is dedicated to inspiring young designers to take calculated chances on their own creativity, Homicki’s roots with his inventive dahdah work is a conversation worth having from start to finish. As we all know from personal experience, there is no better way to learn and grow than to overcome the trials and tribulations that arise when setting out on your own.

This document ‘A HEAVY DOSE OF COURAGE’ is coauthored by Sonja Hall & Dean Homicki. It is free to copy, use and alter providing attribution and reference to deanhomicki.com.au is noted. ’A HEAVY DOSE OF COURAGE’ – Dean Homicki – Designer, Entrepreneur, Mentor

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