ID:SR, SHEPPARD ROBSON'S INTERIOR DESIGN GROUP
With considerable experience designing and delivering a broad range of projects, Sarah’s work is underpinned by her expertise in the strategic briefing phases of projects. This ensures that the work she leads is built upon solid strategic foundations, with the finished design – whether it be a small-scale space or workplace masterplan – designed to perfectly fit the cultural aspirations and business plans of our clients, both now and into the future.
Clients that have benefited from Sarah’s strategy-led, thoughtful approach to design include major broadcasters as well as advertising and media organisation. Her award-winning designs have a track record of creating engaging and enduring places to work and socialise, with a keen eye for detail and adventurous use of materials uplifting these spaces.
Sarah is an established member of ID:SR, having joined the studio as a graduate and – after gaining wider industry expertise – returned to the practice in 2016 as an Associate.
Elliott Koehler is a globally accomplished designer currently positioned as the Creative Director at the International design agency, JPA Design. The London studio is split between transportation and interior design and has worked with brands such as Cathay Pacific, Singapore Airlines, the Taj Group, Belmond Venice Simplon Orient Express and Boom supersonic. In over 30-years since JPA Design was formed, the agency has placed a focus on future experiences driven by human centred research to craft the next generation of products that will further shape our lives. Elliott graduated from the top design school, College for Creative Studies, in Detroit MI, USA in 2010 and began his career as a diverse Product Designer at General Electric where he led the design of the Connected Home Division of CE Products as well as all appliances in the home. In 2015 Elliott moved to the UK and joined the London based studio LAYER before starting his current role at JPA in 2019. Elliott's focus as Creative Director is creating a studio that will define the way we work, live and communicate in the future, exploring the possibilities of transportation, materials and the next generation of human interactions.
The Conran Shop
Campbell is Head of Furniture & Lighting for the Conran Shop. He graduated with a BSc in Product Design and since then has gained over 15 years’ experience in Home retailing working for various brands including Skandium, Harrods and Heals. Campbell joined the Conran Shop in 2016 and oversees the buying edit across furniture and lighting, working with brands on exclusive collaborations and developing Conran Shop own brand furniture and lighting with prominent UK and international designers.
Royal College of Art
Jeremy Myerson is a design writer and academic. He is the Helen Hamlyn Professor of Design at the Royal College of Art, a Visiting Fellow in the Oxford Institute of Population Ageing at the University of Oxford, and Director of the WORKTECH Academy, a global knowledge network on the future of work. A former editor of DesignWeek, Creative Review and Would Architecture, he co-founded the Helen Hamlyn Centre for Design at the RCA in 1999 and was its director for 16 years, helping to pioneer the practice of inclusive design. He is the author of many books, including biographies of furniture designers Gordon Russell and John Makepeace.
Terence Woodgate is an Industrial Designer specialising in furniture and lighting and in 2014, formed his own eponymous lighting company. He works from his studio in Mayfield, East Sussex, England. One of the UK’s most respected industrial designers, Woodgate has become known for a stripped-down, elegant modern approach to design with an obsessive attention to detail and manufacture, exemplified in products like the ethereal Surface Table designed with John Barnard for Established & Sons. He became a Royal Designer for Industry (RDI) in 2003 and has received numerous international design awards, including the Red Dot Best of the Best and the IF ecology award. His current client list includes Established & Sons, Punt Mobles, SCP, Concord Lighting, Case, Objekten, RVB and Habitat International. Examples of his work are held in the permanent collections of the Museu d’Arts Decoratives, Barcelona and the Victoria and Albert Museum, London.
Joanna Biggs has worked in Hospitality Design for over 20 years and is currently a Director at GA Design in London. Joanna has had the opportunity to work with some of the world’s leading 5* hotel brands delivering luxurious, unique and timeless designs. Widely applauded for their lateral approach to problem-solving, GA believes strongly in supporting and reflecting a Client’s objectives through design.
Farrah & Pearce
Tom spent time working at some of London’s top design studios before co-founding Sebastian Conran Associates in 2009. He has since designed and developed hundreds of commercially successful products from concept through to consumer. His work is interdisciplinary with projects ranging from product and branding design to furniture, transport, lighting and sculpture. His products have been exhibited at both the Design Museum in London and the Design Museum in Ghent, and his work has received numerous international awards including multiple RedDot Design Awards, a Good Design Award, German Design Award and several Design Guild Marks. He has a unique sense of thoughtful design and creativity combined with extensive and varied experience, invaluable industry insight and complex technical knowledge.
What the judges say
A thoroughly enjoyable morning shared with a team of challenging and enthusiastic judges. We were presented with a diverse and interesting range of 2D submissions, demonstrating that imagination and commercial suitability can cohabit and create really useful, elegant and pleasing products.
— Professor Clare Johnson
Royal College of Art
It was wonderful to be part of the first year’s 2D judging panel and so exciting to see a variety of world-class British products presented. The winners of the prestigious mark are all highly deserving and set a benchmark for the years ahead.
— Fiona Knight
With so many products coming to market, design can often be regarded as a time consuming inconvenience. The entries that really stood out were those where design and designers were integral to the process and the judges could follow the route from original concept through to final solution and production.
— Peter Thwaites
Rapture & Wright
The inaugural 2D judging took place this year. I wasn’t sure what to expect!
However, it soon became apparent that when design integrity is at the heart of any product development, quality and completeness of thought is expressed ensuring a well considered product suitable for market.
— Corinne Pringle
The enduring quality of good design demands careful consideration of materials, process and form. While the panel doesn’t agree on all submissions, the debate and final consensus ensures the pedigree for the Design Guild Mark is one of respected quality.
— Simon Alderson
It’s always a pleasure to be asked to join the judging panel for Design Guild Mark Award.
The 2018 entries were all of an exceptionally high standard, showing quality craftsmanship as expected, but also originality and some elegant problem solving design solutions.
— Joanna Biggs
As a first time judge of the Guild Mark I was impressed by the quantity and quality of the submissions. I was also impressed by the diversity of the judging panel.
— Rodney Kinsman RDI
The standard in design, thinking and making of this year’s Design Guild Mark was not only hugely inspiring, but left me feeling proud of our British furniture industry. The critique of the submissions by the panel was tough, so the awards are well deserved and highlight that the level of ‘design excellence’ is getting higher each year.
— Tom Pearce
Farrah & Pearce
A wide spectrum of furniture items submitted this year which ranged from commercial to crafty but all of an exceptionally high standard and meeting our expectations. Innovation in commercial workplace was evident this year which was a pleasure to see.
— Pernille Stafford
The judging process allows applicants to present and talk about submissions with the objects right in front of them, this allows all the production processes and details to be fully explained and demonstrated which makes judging a lot easier.
— Campbell Thompson
The Conran Shop
The designs were a pleasure to judge with the work presented being diverse in form and function. There were some exceptional designs, well considered and executed. Design for me is a mix of art & technology and we certainly experienced designs at both ends of the spectrum.
— Terence Woodgate