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.

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.

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.

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.

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

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

‘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

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

A rainbow in the sky:

So was it when my life began;

So is it now I am a man;

So be it when I shall grow old,

Or let me die!

The Child is father of the Man;

I could wish my days to be

Bound each to each by natural piety.”

~William Wordsworth, 1802.

Dean, his Sister and their Dad reorganizing the shed – the source for every idea. Why invent when you can innovate? – Jan 1980

In a general sense, my natural behaviour and the profound relationships I’ve developed have created some outcomes that relate to more specific, key findings on the matter.

But to start with, I have investigated the overall patterns in my life, what is referred to as “life-stage theory” and how it relates to the progress of my career in the design industry. I’ve also paid attention to my cognitive development, and taken a the closer look at the “childhood-adulthood connection”, concentrating on the soulful and positive (rather than negative) attributes of it and the influence it has had on my life.

Finally I have shown an evaluation of the particular behavioural characteristics exhibited by six-year olds. Adding in my own idiosyncrasies at that age, it is interesting to see the focus on the nature of chosen creative activities and understanding my own inventions and output at that time.

Shaping a new world – Structure was to be a ‘deanism’ – Nov 1980 – image Doreen Homicki

Life-Stage Theory

According to the theory of biologist, philosopher and psychologist, Jean Piaget (1896-1980), at six years old you are within a stage of (Pre) Operatory Thought and the two substages of it: the ‘Symbolic Function substage (2-7)’ and what appears critical to me, the ‘Intuitive Thought substage (aged 4-7).’

His central thesis, paraphrased here, was that:

• children develop and grow self-centric theories about their environment and about objects or persons in that environment;
• children base these theories on their own personal experiences interacting with persons and objects in their environment;
• children use “schemas” to master and gain information about the environment;
• childrens’ cognitive structures become more sophisticated as children grow and develops as do childrens’ ‘’schemas.’’

According to the theory of influential psychoanalyst Erik Erikson (1902-1904), at six years old a person is in a life stage where the balance is constantly sought between Industry and Inferiority whereas in middle adulthood the balance that is sought is between Generativity and Stagnation.

It is interesting to note that I now see the awkward moment that followed the sale of my business and came prior to launching into work towards my ‘business with soul’ as a period of necessary stagnancy, relative to Erikson’s theory. It was a period which I intuitively used to readdress my work-life balance, rediscover my ‘inner child’ or authentic self, and counter my period of business, or Generativity, in Erikson’s words.

Dean’s Father was an successful inventor during Dean’s Early years. Dean recalls, ‘I remember how happy my Dad was! – Aug 1982 – Image Boris Homicki

I have also came to the realization that my own father appears to have had the most joyful period of his life between the years 1980-1983, interestingly, when I was around 4-7 years of age – or during Piaget’s ‘Intuitive Thought substage.’ Later, following a job loss, he entered a darker period of his life and thus he took a volatile swing from a period of Generativity (he was a bit of an inventor too at the time) – during which time I ‘shadowed’ him industriously with my older sister in his shed, in the backyard, and in the garden – before he completely reinvented as a Reverend.

Dean, his Sister and their Dad cleaning a giant electrical valve in his the garage – Jan 1980 – Image Doreen Homicki

Childhood-Adulthood connectionThere are a disarming amount of articles describing the darker, negative side of a Childhood-Adulthood connection and far fewer expounding on the positive connection between these two major life phases.

One of the few articles that articulates the good, however, was found in reference to an educational setting. Constructed by a writer from U.S. Illinois University, it speaks to a campus childcare facility: “…from birth to adolescence, constructive play is vital to meet most aspects of children’s intellectual, emotional, social, and physical development. Consequently, play prepares children for academic learning – as they begin their school years and at each step along the way. Ultimately, play prepares children for rewarding adult lives. 

Many experts believe that adult personality may very well have its foundation in the play of the child…”Six year old behaviourI found it appropriate to hone in on the perceived characteristics of a current day to the average six year old and their ‘activity’ behaviour to see how it relates to my own perceptions of my behaviour at that age, as well as that of my family, based on conversation, memory and photographic aid.

Tools of the Trade – Lego and Dean’s imagination – Jan 1983 – Image Doreen Homicki

One of many parenting news writers, Monica Malpass summarises their generic behaviour as follows: (I have picked out in bold those aspects that relate to the verbal or physical ‘doing’ of things rather than the emotional aspects)

• They want to be first and are very competitive
• Love surprises and treats
• Can be bossy, teasing or critical of others
• Easily upset when they’re hurt
• Enjoy explaining things and sharing
• Love jokes, guessing games, poems, riddles and songs
• Tend to complain a lot
• Love to color and paint; like to experiment with clay and other media
• Increasingly interested in computers
• Like to “work” doing reading and writing
• Enjoy and learn from field trips
• Use temper tantrums and teasing to try out authority in relationships

‘My 1st bedside lamp out of cardboard and electrical tape for I had no lamp” recalls Dean – JUne 1983 – Image Doreen Homicki

The key difference between her summary of what current 6 year olds are ‘doing’ and my own behaviour at that age is that much of what I was ‘doing’ involved the making (or the finding and modifying) of things that I needed. At that age, like many children around the world, I did not always have what I wanted (and most of what I had needed was available in terms of raw material).

‘a salvaged foam based go-cart with salvaged wheels for I had no bike’ Dean Homicki aged 6 – Image Doreen Homicki

Computers did not find their way into our home at that time, given my generation, but bits of Dad’s electrical and telecommunications kit, garden equipment and tools did.

Dean in his Father’s Dad’s garage with electrical multimeter – Jan 1980 – Image Doreen Homicki

Always under a watchful eye – but a knowledgeable and patient watchful eye – I was allowed to examine and try out all manners of things with a sense of inventive purpose: the land was dug, walls were built, and all things were made anew into some new and fantastic project without being thrown away. Jobs were done. The annual shed was sorted out too. At the age of six, it was my work and my play and I couldn’t get enough of it.

Dean in his Father’s Dad’s garage with electrical multimeter – Jan 1980 – Image Doreen Homicki

“It’s interesting, I actually remember doing this. It’s an Australian product but I think it has a French motor!”

Dean with pickaxe digging up old concrete – Sep 1983 – Image Doreen Homicki

My readily obtainable media was of the natural variety found out-of-doors, found through playing at home, in the garden and in my immediate community. Mud, sticks, stones and water featured strongly. I tinkered, made and reenacted as my friends watched on.

Dean with his river games & military battleground landscape – A pickaxe and a water hose – Dec 1983 – Image Doreen Homicki

I had few other toys, although was treated to a set of lego with which I built my own Star Wars –esque communities, cities and transport on the bumpy surfaced brown carpet next to the vinyl record player.“It’s really empowering looking at all of this, in terms of what I am doing now and what I was doing then.”I was definitely more of a lego designer preferring joining by clipping on at the time than a nuts and bolts meccano approach.

Dean with latest construction – July 1979 – Image Doreen Homicki

I am not sure about the ‘rights’ or ‘wrongs’ of these differences, it’s not really the point of this article. What I believe is the point is the insight that can be gained from looking at the things are that six year olds do especially in their creative play as a pointer for how we later as adults may find ourselves being drawn to reflecting upon this time in order to evolve and build upon our natural talents that are clearly manifested during that period in order to move forward to become our authentic selves and evolve ‘businesses with soul.’

Creative Play and what it can lead to…The fact that my own childhood play was orientated towards creative play in the natural environment has drawn me to looking at the lifetime work of two key influencers or protagonists of this kind of play: Rudolf Steiner (1861-1925) and Dr Maria Montessori (1870-1957) and the two education approaches that have evolved from their teachings; the Waldorf and Montessori methods. 

Without going into detail of the differences of the two methods, this overview by Susan Mayclin Stephenson describing their ‘common ground,’ is in my view a rich model in itself for evolving not only an authentic educational system for children but also a ‘business with soul.’

• Montessori and Waldorf are the fastest growing educational systems in the world today.
• Both are based on many years of experience, with all kinds of children, the world over.
• Both have great respect for the child as an individual, spiritual, creative being.
• Both believe in protecting the child from the stresses of modern life, overuse or misuse of technology such as television and computers.
• Both emphasize the education of the whole child, spiritual, mental, physical, psychological, over any particular academic curriculum.
• Both stress the importance of the natural environment, absence of plastic, keeping in touch with nature and natural materials.
• Both systems base their education on the needs of the child, believing that this will lead to meeting the needs of society as a whole
• Both schools provide a rich variety of art, music, dance, and theater at all ages.

All of this study has allowed me to see more clearly how I myself fit into the web of life, comprehend better the relationship between childhood and adulthood, resurface positive aspects of my own childhood and cherish in particular those moments around and about the age of six, where I would spend hours ‘inventing’ and fabricating ‘products’ at home, inside and out.

A visionary moment? Standing proud on top of the new retaining Dean and his Father wall made from recycled materials – Aug 1982 – Image Doreen Homicki

It has given me the means to enhance the development of my ‘business with soul’ with the rich spin-off that It naturally endowed me with time and space to appreciate and foster the parallel development of my own son.

Perhaps you will now feel drawn as I have to explore the latent period of your life whan you were six; the positive connections held within it and the nature of your own creative play, as part of your own journey for developing your ‘authentic self’ and ‘business with soul.’

I certainly hope so as I feel as if I am ‘returning,‘coming back to my roots,’ however you would like to put it, in terms of what I do and how I go about things as I continue to create my ‘business with soul.’

Nana Paula & Pupa Alex’s Garden, all relaxing in their country garden – Jan 1980 – Image Doreen Homicki

I do also remember Nana Paula & Pupa Alex’s Garden…a place had ‘soul’ too, that was one lovely place where we were when I was six when I wasn’t doing what I was doing.

For I was not a hanger-oner you know. I was a do-er! All of us, especially my Dad.

Dean & his Dad – Always doing and doing it together – Jan 1986 – Image Doreen Homicki

Authorship & Copyright

This document “What I was doing when I was six” is coauthored by Mary Bon & Dean Homicki and has been Edited by Sonja Hall for deanhomicki.com.au. It is free to copy, use and alter providing attribution and reference to deanhomicki.com.au is noted. “What I was doing when I was six” – Dean Homicki – Designer, Entrepreneur, Mentor

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

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