Interview with Shelley Mock

I would love to have more opportunity to explore environmentally conscious design, be that in terms of material, services or construction methods, or perhaps even new typologies of how we live as a society. There are some examples today, such as the Green School in Bali, that are challenging our notions of the norm and I think it’s a worthwhile investment.

I’m also interested in temporary structures for emergency situations, again using sustainable methods and materials. This is an issue that I think will become more pressing as climate change continues to bring large scale devastation events.

It may sound corny but believing in oneself is so important. When there are setbacks, pick yourself up and keep going. Learn from these times.

Some of the world’s leading Architects will work through details themselves, even though they are in senior positions. I think this is something that may separate good designers from great designers. It indicates that not only do they care about their work thoroughly, but they are also humble, and do not see themselves above any task. It’s an attitude as well as a dedication to the craft.

When everything down to the smallest detail is considered, and in some way reflects the design intent, this is when a good design becomes a great design.

This is a pertinent question, especially when it comes to interior spaces, as there are many courses, content videos and influencers available online providing design ‘tips’ free of charge. This has had an impact on the cost of good design. I agree, to an extent, that some things can be explored by an individual. But there are many aspects to design that requires the training and experience a designer/Architect has, that no amount of video watching can supplement.

I would like to work on the renovation of old buildings in a rural setting and turn them into a small hotel/retreat, incorporating as many sustainable principles as possible. It would include reusing all demolished material, passive heating/cooling techniques, permaculture, and of course retain the character of the place.

Japanese designers and Architects including Tadao Ando, Kengo Kuma, Terunobu Fugimori, Shigeru Ban, the list can go on.
Female Architects, designers and artists who have paved the way in a male dominated industry, including Zaha Hadid, Frida Kahlo, Patricia Urquiola, Ray Eames, Kerstin Thompson, this list also goes on.
Those who really challenged the norms, who envisioned something revolutionary, though I may not like their work, this in itself is inspiring. This list includes Antoni Gaudi, Jorn Utzon, Salvador Dali, Santiago Calatrava, Thomas Heatherwick, Philippe Starck, Vivienne Westwood, Iris Van Herpen, and others.

Archeology. Ancient architecture is fascinating. How people used to live and make do with what they had locally, is a source of inspiration to me. Understanding the most primitive methods can lead to some of the best design.
So, even if I weren’t designing, I imagine I still would have been involved in Architecture in a different way.

Not my husband, that’s for sure

I did not always have confidence in my design abilities. And I actually think this lead to poorer results, I was too afraid to push the limits. It also lead to my colleagues around me not having faith in me. It’s taken a long time to overcome that, and I’m not even sure how I managed, but I have learnt that believing in oneself is imperative to good work.

There are many ways to present work, as long as the message is clear it can be presented in any style that suits the designer. The key is that the presentation needs to reflect the phase the project is in, this means that in Concept design it should appear as just that - a concept. As the design is developed so too the presentations develop. In doing this, the client will also understand the process through which the design comes to life. I think these days AI imagery is used too early in the process, which is problematic for two reasons: firstly, it jumps too quickly into realism and the client won’t understand how the design came to be; and secondly it limits the possibility of design exploration.

I hope to see environmentally sustainable design become a priority worldwide. I hope to be able to work with business owners who put sustainability at the center of not only design but operation as well, and collectively we find a way to live in harmony with nature.

Good design can assist in creating a better community. Places that are safe, inviting, engaging, and nourishing. It can inspire people to be more empathetic and protective of their surroundings.

A few years ago I designed a space for a group of young professionals starting their own business. They all have strong personalities and we began with many ideas, but we managed to channel all of these into a solid concept for their brand’s visual identity, which truly is an extension of their own unique style. That particular location has sadly closed - thank you Covid - but I’m happy to know they have since opened a new location and retained the design concept I helped them create. Supporting business owners who are starting out and seeing their business grow is incredibly satisfying.

Explore all options. Leave no stone unturned.

In Praise of Shadows by Jun’ichiro Tanizaki
Wabi Sabi: The Art of Impermanence by Andrew Juniper

Antoni Gaudi

My favourite colour is olive green followed closely by dusty pink, and the two of them together make a killer combination.

The feeling of progress, of problems being solved, small tasks slowly being ticked off. There are always days where things don’t go as smoothly as others, and while those days are arduous they are also part and parcel of life as a designer. Of life in general, actually.

I work in a collaborative environment. I have my own business and regularly partner up with other people in similar positions for projects that require it. This includes designers, draughters, renderers, suppliers and contractors. It’s great because it means I work with many different people, all skilled in their own areas.

Commercial spaces that require a connection between brand identity and visual identity. The idea that different places could share a visual identity but be a completely different design is intriguing to me. This is where emotive narrative spaces transcend the visual appearance.

My first project was none other than a public toilet block! Hey, we all start somewhere.

Located in the park of a South-East Australian country town, it was built out of budget-friendly, durable and highly utilitarian concrete block and the ubiquitous Australian outback roofing material, corrugated sheet metal. But it did have a nice roof design that included high windows, allowing sunlight into the interiors throughout the day.

I’m inspired by nature. How the natural world is so intricate and balanced in its operation is awe inspiring. Being surrounded by nature rejuvenates me and encourages creativity.
Sitting in front of a computer scrolling through design images can open our eyes to new possibilities, but I do think that our own creativity needs to come from within, rather than imitating others, and this is especially important in these technology-driven days.

Having begun my career in Architecture, the interplay between volume and void is an instinctual focal point for me. Even now as I am working mostly on interior spaces, this structuring of spatial manipulation influences my design work at an intrinsic level.

Designing in a good state of mind is very cathartic. I find when I’m peaceful and relaxed, I do my best work. Which in turn brings about excitement and energy, at what possibilities I might have uncovered.

It’s incredibly exhilarating, that feeling of accomplishment and pride when something comes together. But even more so is the feeling when customers come in and comment on the space, unknowingly within earshot of the designers, just a purely honest reaction. All of my work is done with the customer in mind, and knowing that they are enjoying it is uplifting as anything can be.

Successful design is a perfect equilibrium between science, art and function. It of course must first and foremost meet the needs of the users, as well as be structurally sound and efficient in its operation. This in itself would be a good object, but when an artful, culturally relevant poetry has been incorporated then it is elevated to beyond merely good to great. When it elicits an emotional response, this is a successful design.

It’s a tough position to be in, because ultimately our work is for and belongs to someone else, i.e. the client. It is therefore the client’s decision on how environmentally friendly or socially conscious the building is. As a designer I do and always will promote sustainable solutions, materials and so forth, but whether or not the final outcome has those features is not in my control. So often in my experience, it ultimately comes down to budget. It’s not ideal, but it’s still the world we live in. Where I’m based, there needs to be many more Government incentives to encourage business owners to think sustainably.

Many and varied, and changeable depending on how I’m feeling at the time. Sometimes it comes from days immersed in nature, like hiking in and around The Shire (yes I visited New Zealand recently), or it may come from wandering densely populated cities around the world with vastly different histories to that of my own. I think the important thing is to be aware of your surroundings at all times, what has been done well, how could something be improved? A designer’s mind never stops analysing. Travel, if not already apparent in my answer, is necessary.

The question about my design style, I’ve always found to be a strange one. Depending on the type of project I’m working on, my style will adapt. I’ll design to meet the needs of the client. So, is my style even relevant?
For my own personal spaces, my style features plenty of flora (I hope this biophilic trend never dies!), geometric objects made from natural materials and structurally expressive elements. These could be called the main characteristics, and it may be possible that clients with similar preferences will gravitate towards me. Still, a beautiful project I design for a client may or may not be my style.

I am currently living in China, and while it is not my country of birth, it is part of my heritage. I’m Australian, and I think my mix of cultural background, coupled with having lived in both societies for a long time influences my work a lot. I imagine I subconsciously bring some ‘Australian-ness’ to my work here, and maybe vice-versa!

Working in a foreign environment has some very obvious challenges, language being at the top of that list. But it also comes with its rewards, I feel I’ve grown as a person as well as a designer after having to navigate this complex society. I’ve built a common understanding between myself and the people I work with. In the end we are all working towards the same goal, and for that reason it’s the international language of design that unites us.

Being an older millennial, my design process always starts with good old-fashioned pen and paper. I find word brainstorming a really useful and enjoyable place to start, before getting into hand sketching of ideas, patterns, shapes… I suppose you could call it doodling! This exercise is a way to open the mind, to look further than the initial logical response. With these new ideas in mind, I then go on to hand sketching floor plan options.
I find it best to visit the site in person. It is certainly possible to do without (although in truth I never have), but I think you get a much better feel for the space by being there, much more so than through photos and videos. You can do a SWOT based on tangible parameters, but can you do a ‘gut feeling’ SWOT? I don’t think so.

What a ‘typical day’ looks like varies throughout the phases of a project. During Concept design there will be numerous meetings with client, collaborators and site visits. We might also go and visit some places for inspiration. During Design development and Documentation however, we tend to hunker down and be glued to our computers. Once construction starts, the bulk of the project’s hours are spent on site in discussion with the contractors.
This formula means I don’t spend all of my time in the office, which helps to keep myself active and motivated.

Always keep the concept in mind, write it out and stick it on the wall above your desk if you have to. Don’t loose sight of it through the process.

Take the client on the journey with you.
We as designers are well versed in the steps required to end up with a fabulous design. But a client may not be aware, especially if it is their first construction project. It is important that the design process is transparent, from initial concept right through to Contract Administration. In doing this, they will understand the why as well as the how (not to mention, they will understand how much work goes into designing, and where their money is going!).

I could also talk about staying true to your vision, something about being able to see the forest and trees at the same time. But I feel that client management surpasses this. It could be an amazing project, but if it fails to meet the expectations of the client, it will not go ahead.

As mentioned above I still believe in hand sketching, I therefore have felt pens of all sizes and colours, rendering pens (textas, if you will), sketch paper, rulers and set squares, other paraphernalia. When it’s time to go digital I use Sketch Up mostly. I will then pass my work on to others I’m collaborating with who will use Auto CAD or Revit, Enscape or 3ds max.
I have a material sample library in my office, this includes things, objects (junk) that I’ve collected (not thrown out), that might have an interesting texture, or could be turned into something else interesting, or just in some way may prove useful in the future.

Back in the day when I worked at an Architectural firm, we would regularly do overtime, and when I say overtime I mean seriously late nights. It was part of the culture and I know this is an industry wide issue. Since branching out to work for myself, I have put a lot of energy into building my time management skills. I record all hours spent on each project and in what phase, so that I now know how much time I need to allocate for each task. I do not set unrealistic deadlines, for myself or for the other collaborators. We build our time schedule based on fifteen years practicing, and now we rarely do over time, nor do our projects run late. Understanding what you and your colleagues are capable of in a given period of time is crucial. And as we all know, good design cannot be rushed. It is a process.

How long is a piece of string?

‘There’s a weird corner in my living room, I don't know what to put there. Can you come over and help me fix it? There’ll be wine.’

There’s an adage about the hard times making you stronger. I can’t recall the exact expression right now, I’m a designer, not a wordsmith after all. But it’s true. It’s the failures that teach us the most. I’ve had projects that were not realised, for one reason or another. Either through mistakes of my own or mistakes of others, in both cases these are learning experiences.

Helping a company build their brand identity through interior design. I love creating something that is not only comfortable and visually pleasing, but exudes the essence of who the company is, at their core.

I’ve just finished the design phases of the fourth Supa Fama restaurant location, the follow-up to the project that won me this A Design Award! I’m very excited. It looks completely different, yet retains the brand identity, my favourite thing! Construction will begin shortly.

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