Annotated Bibiliography

‘We believe that if design today does not contribute towards a better way of living, it is both irrelevant and irresponsible. Our vision is to be able to promote ideas more than products. We do not create a new form to seduce you into buying something you do not need.’
(Trubridge, 2009, The Three Baskets of Knowledge, ¶4)

Discuss this statement and debate the pros and cons of sustainable practices in relation to contemporary design. What changes does this issue provoke in contemporary design practice? Include specific examples.

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Bamford, R. & Williamson, L. (2009)., Sustain Me: Contemporary Design. [Exhibition Catalogue]. Ivan Dougherty Gallery, Sydney: UNSW.

Coinciding with The Sydney Design Festival 2009 this exhibition gives insight into the development of sustainable practices in design with current contemporary design examples. ‘Contextualising the exhibition opens up the similarities and differences between the perceived barriers to sustainable design experienced in the past, for example consumer guilt and the aestheticisation of poverty, and provides an opportunity to reflect on how they are, to a greater and lesser extent, resonant today’ (Moline., K., 2009, Tensions Between Sustainability and Design: Third Time Lucky, Sustain Me: Contemporary Design, [Exhibition Catalogue], Ivan Dougherty Gallery, Sydney: UNSW). This is a valuable resource as it provides solid reference points and is theoretically very well considered by lecturers of varying design disciplines whom are at the forefront of this issue.


Borschke, M. (2007)., Designer Guilt: Why Sustainable Design Matters, D*Hub Powerhouse Museum. Retrieved 08-09 from www.dhub.org.

Resource collated by the Powerhouse Museum Sydney discussing various opportunities sustainable awareness offers to designers and ways in which global warming can be seen as one of the most positive catalysts for contemporary design, citing various examples and with Designer’s input. This article provides differing perspectives from scholars, designers and politicians giving insight into both the pros and cons of this movement. This reference is a useful resource because of its solid references and design examples, as well as its provision of a wide range of reactions and perspectives to this issue, each with strong theoretical backing.


Cerver, F. (1998)., The New Modern Furniture Design. New York: Whitney Library of Design.

This book gives an overall view of modern furniture in its many and varied forms. It gives insight into the philosophies of particular prominent designers, specifically furniture designers Charles and Rae Eames. This resource is useful for its insights into processes of material applications and design development, discussing how a culmination of processes and connections forms the final object outcome. Whilst too broad to be a substantial source, relevant design examples will be referenced and this has also broadened research into some of these designers’ specific works.


Clement, G., Borasi, G., & Rahm, P., (2007). Environ(ne)ment: Approaches for Tomorrow. Canada: Skira

Landscape designer Gilles Clement and architect Philippe Rahm present their contrasting visions for contemporary architecture and design through installations designed for the Canadian Centre for Architecture. Considerations surround biological diversity and uses of energy and climate to inform form. This book considers the relation of humans to design and architecture and various outcomes of this relationship are represented through installations, this work is not dissimilar to that of Designer David Trubridge and is useful as an example of sustainable considerations forging their place into contemporary design.


De Botton, A. (2007). The Architecture of Happiness: The Secret Art to Furnishing Your Life. London: Penguin.

Philosopher De Botton discusses the inter-relationship between history and psychology, and architecture and interior design. Investigating what attracts or repels people regarding their surroundings and the effect this has on areas of design or how it might inform design. This book is relevant in that sustainability must not be ignorant of aesthetics and must address philosophical and psychological needs. This resource not directly address sustainability so has clear limitations, however it informs the basis of a broader consideration of contemporary design and its relationship to human needs.


Eat Green Design (2009). Sydney Design 09. Retrieved 08-09 from www.eatgreendesign.com.

Group presenting a temporary sustainable environment created to explore sustainability issues on many levels for individual interpretation. From ecologically intelligent design principles, environmental responsibility in design and architecture, cradle-to-cradle design and rematerialisation, to how the current trends in food consumption translate to the design industry. This endeavour is an interesting example of local initiatives and their effects, which includes reference to lectures by various contemporary designers discussing sustainable processes in their work or research.


Fry, T., (2009). Design Futuring: Sustainability, Ethics & New Practice. New York: Berg.

The work of Professor Tony Fry who heads the Master of Design course at Queensland University, exposing the limitations of ‘Green Design’ Design Futuring systematically presents ideas and methods for Design as an expanded ethical and professional practice. This book argues that responding to political, social and ecological concerns now requires a new type of practice that recognizes Design’s importance in overcoming a world made sustainable. Focusing specifically on ways in which ethics and sustainability can change the practice of contemporary design. This book provides solid groundwork for discussing the pros and cons of sustainability and its effect on Design practice, though its shortcoming is that it does not provide specific examples of Designers work to substantiate its theoretical base.


Kane, L., (2007). Arranged Marriage: David Trubridge Unites Craft & Design, American Craft. 67 (5), 54-55. New York: American Craft Magazine.

Article on New Zealand-based designer/maker David Trubridge who is on a mission to persuade people that craft and design can coexist. Trubridge's woodworking skills have earned him his reputation within the craft community, and his brilliantly conceived and executed designs have made him a fixture at destination design fairs such as the International Contemporary Furniture Fair in New York and the Milan Furniture Fair in Italy. To solve the question of how manufacturing can supply the needs of everyone indefinitely, Trubridge proposes that craft's more lasting value should be recognized despite, and even perhaps because of, its often higher price point, and that design should be undertaken with this in mind. Introduces the relationship between sustainability and Design philosophy and intentions. This resource provides an excellent and focussed example of the contemporary practitioner and the effect of the sustainability movement on contemporary object design.


Lehrer, J., (2009). Greener is Smarter, Print. 63(3), 20-22. New York: F&W Media.

Paper discussing the eight reasons why the principles of sustainable design are at the heart of good design. Discusses the effect of the current economic downfall and the positive aspects to be gleaned from this competitive Design climate pushing designers to create the best work possible. This resource is applicable as it provides reference to the relationship between sustainability and graphic design processes, as well as providing additional discussion on the principles of sustainable design which will be an important point to define.


Maze, R., & Redstrom, J., (2008) Switch! Energy Ecologies in Everyday Life. International Journal of Design, 2(3). 55-70. Taiwan: National Taiwan University of Science and Technology.

An overview of the Switch! Design research program, on how interaction and product design can promote awareness of energy use in everyday life. The design of interventions into energy ecologies and the use of design methods as a platform for exposing existing habits and hidden norms as well as for proposing alternative actions and views. These propositions have been developed through practical experimentation and the materialization of design examples. Central to this groups work is the consideration of how critical practice can enable designers to examine concepts and ideologies underlying sustainable design. This article provides a useful example of current practitioners in design and their conceptual considerations of the sustainability issue and direct discussion of how the issue is integrated into or effects their designs.


McDonough, W. & Braungart, M. (2002). Cradle to Cradle: Remaking the Way We Make Things. New York: North Point Press.

McDonough and Braungart explain the principle of ‘Waste equals food’ and explain how products can be designed from the offset to provide nourishment for something new. This resource makes the case for putting eco-effectiveness into practice. McDonough & Braungart’s research investigates ways and means of redesigning various products to make them more ecological effective. This book is relevant as it discusses various situations affected by design as influenced or affected by sustainable practices and how they might be improved, as well Designer’s feeling the pressure to create sustainable objects or use sustainable materials in design. The main limitation of this article is that it is a broad reflection on sustainable practice and gives no direct examples relating to object design. This resource will provide a solid basis for further research and is a good starting point for investigation into sustainable design practice.


Shedroff, N., (2009). Design is the Problem: The Future of Design Must Be Sustainable. New York: Rosenfeld Media

Design makes a tremendous impact on the produced world in terms of usability, resources, understanding, and priorities. What is produced and even people’s understanding of how the world works is all affected by the design of models and solutions. This book focuses on the unprecedented opportunity contemporary Designer’s have to use their skills to make meaningful, sustainable change in the world. In Design is the Problem: The Future of Design Must be Sustainable, Nathan Shedroff examines how the culture of design often creates unsustainable solutions, and shows how designers can include sustainable considerations into their design processes to produce more sustainable solutions. Discussion includes explanations and examples of sustainable practice and how to implement those practices into existing frameworks, which are useful in consideration of this topic.


Shedroff, N., (2008). Design: A Better Path to Innovation, Interactions.15 (6), 35-41. New York: ACM

This magazine article discusses the importance of innovation in design and the relationship between design innovation and sustainability. This should be considered in relation to Shedroff’s work in the previous reference and is on the same topic, this article is useful solely for its introduction of the consideration of design Innovation to this question.


Trubridge, D., (2009), David Trubridge Design. Retrieved 08-09 from www.davidtrubridge.com.

New Zealand based Designer David Trubridge has sustainable core values and creates work with a strong cultural message. As a contemporary object designer Trubridge is a good example of how sustainable practice can be forged into a Designer’s philosophy to enhance their work and its meaning. This site features various interviews with Trubridge on his practices, as well as notes on his philosophy and designs, which are each relevant to this topic.



Young, P., (2009). Work the Green Dream, Journal of Applied Arts. 24(4), 28-32. Berlin: Illustrative.

Article discussing new movements in graphic design and what practices can be implemented to reduce the environmental footprint of contemporary designs. Discusses definitions of sustainability and interpretations related specifically to graphic design practices. Limited in that it discusses no other disciplines, but a valuable resource in consideration of the Graphic discipline.