Adrian Lux Is God! (A Tribute)CLUB KERRY NYC: Vocal Dance & Electronic - DJ Kerry John Poynter add
drian Lux, real name Prinz Adrian Johannes Hynne from Sweden, has continued to find a place on my podcast. This is a DJ mix of my fave Adrian tunes and remixes. Enjoy!
Subscribe to my podcast:iTunes http://bit.ly/iTunesKerry RSSFeed: http://clubkerrynyc.libsyn.com/rss Choose Your Device: 30 Ways To Listen: http://on.fb.me/GROD86 (Android, Windows Phone, iOS) Club Kerry NYC iOS App: http://bit.ly/kerryiosapp Club Kerry NYC Android App: http://bit.ly/AndroidKerry Club Kerry NYC Windows App: http://bit.ly/KerryWindows Premium Subscribe for extra episodes!
Track List (56:38):
1. Torn Apart (Original Mix) - Adrian Lux ***DJ Favorite!***
2. Solid Ground (Adrian Lux vs Blende Remix) - Pnau
3. We're The Kids (Adrian Lux Extended Mix) - Parade of LIghts
4. Wild Child feat. Marcus Schossow feat. JJ (Extended Mix) - Marcus Schossow, JJ, Adrian Lux
5. Sooner or Later (Original Mix) - Adrian Lux feat. Kaelyn Behr
6. Dust (Adrian Lux & Savage Skulls Remix) - CLMD feat. Astrid S
7. Fire feat. Lune (Club Mix) - Adrian Lux Feat. Lune
8. Smoke & Mirrors feat. Last Lynx (Original Mix) - Adrian Lux, Last Lynx
9. Can't Sleep (Original Club Edit) - Adrian Lux
10. Angels (Original Mix) - Adrian Lux
11. Slow Down (Adrian Lux Remix) - BeatauCue
12. Teenage Crime (Original Mix) - Adrian Lux
13. Jane Doe (Adrian Lux Remix Club) - Rebecca & Fiona
14. Boy (Extended Edit) - Adrian Lux feat. Rebecca & Fiona
15. Damaged (Bottai Remix) - Adrian Lux
Adrian Barry on his Radio Journey (so far), Awards ≠ Success, and Missing out on Polymer! EP32The 1% Better Podcast add
In this Episode, I talk with Adrian Barry. Adrian is an Award winning sports presenter (PPI radio Sports Broadcaster of the year 2011), previously Sports Editor for Newstalk and, most recently, the Group Head of Sports Programming for Communicorp (which includes radio stations such as Newstalk, TodayFM, 98FM, and others). He’s regularly heard on Off The Ball, Ireland Number 1 sport show, and, of Most significance, he’s from Athlone, Co. Westmeath!
In our chat, Adrian very honestly and openly talks about his career journey so far. He explains he was not one that had a clear view of where he wanted to go during his school days, and almost picked Journalism by default. We talk about Career Guidance during the leaving cert and not getting a great perspective on what to do Next. Unfortunately, Polymer Engineer wasn’t of interest at the time despite it being the hot course. Adrian talks about his move to Hull University which was, as he says himself, an uninformed decision. He quickly moved to Glamorgan and got his degree from there.
After University, Adrian worked on a mid-morning magazine show for Midlands Radio 103 to gain experience doing a bit of everything. Over the next few years, Adrian travelled, gained life experiences in Australia and New Zealand to expand his horizons, and worked with Midlands Radio 103 getting his first taste in sports radio. Adrian was clear that he wanted to get travel and working abroad out of his system as he knew once he got into a serious role, he knew that he’d be fully engaged in that.
His first serious role was with FM104 and we talk about the funny interview experience in getting this role. Still, Adrian wasn’t fully sure the role was for him and left after 4 years to set up his own business. Which was a big move. One that Adrian learned a lot from. His concept was almost ahead of its time. The idea which is really only now taking off in radio. Timing was tough as it was late 2000’s and the recession hit. But we talk about learning so much through this experience. Which are skills that Adrian is now using in his current role.
Moving to 98FM, brought national success for Adrian, winning the PPI Sports presenter award in 2011. It wasn’t a definition of success in Adrian’s view. "It’s a lovely thing to have" Adrian explained, but that’s about it, aside from making his parents very proud.
From there, we go into details on his move into Newstalk at a time of great opportunity. Joining to initially produce and co-host the weekend show. As his role evolved over the last few years, he really started to feel part of something that he had an investment in and it's during this time, things started to fall into place. Adrian gives a great insight into how the show has continued to grow.
Towards the we touch on a range of topics that include:
Work-Life Challenge and how Adrian manages this
How his view of sport changes when you’re working in the business
Views on how Sport is presented on & how it’s hard to believe
Plans to produce honest reporting that are core to his values
Core values around honesty of conversation, ethical and genuine reporting
Belief that hard work doesn’t guarantee success – there is chance, luck and coincidence – but hard work helps!
What success looks like and what advice tips that stick – be yourself!
Taking responsibility for your own actions
Book Recommendations: The Club – Christy O’Connor
Podcasts Recommendations: An Irish Man Abroad – Jarlath O’Regan, 30 for 30 (sports)
You can connect with Adrian via Twitter at the handle @whosadrianbarry
If you enjoy the show, please subscribe so you can get all future episodes. Also, shoot me over a tweet, an email, a review on iTunes...I live for the feedback on how to make the show better!
Drake's Drummer - How to get the gig!180 Drums Podcast | Pro Drummers on: New Gear, Getting Gigs, Full-Time Musician Lifestyle, Tips and Tricks addDrake's Drummer Adrian Bent walks us through how he got the gig and played bass on some Drake tracks you love as well. Have you ever tried to understand how the guys touring arenas all over the world and playing on your favorite records first landed their big break? We have too and we know what that curiosity feels like. Getting a big gig is hard and there's a lot more than just one element involved. Hard work, network and opportunity all vary in their significance, person to person, but they matter. Adrian has all three working for him and explains how he practiced and put in the time to be prepared when the opportunity came knocking... Even though it did catch him sleeping ;)
Written by Jake Nicolle
"A lot of people can fall by the wayside... and give up. But, if they just stayed the course, they would realize nothing is built overnight." – Adrian Bent
Adrian Bent has played not just drums on Drake tracks you know... He's played the bass on several too.
Why listen to this episode? You will learn how to:Play Less and get hired to play drums more The value in a "straight groove" mentality Get big gigs Keep big gigs Develop a network Value playing less
Enjoy!Subscribe to 180 Drums Podcast Listen to it on iTunes. Stream by clicking here.****** Adrian's #180Seat Quotes
"People really don't understand drums…. You've gotta make it more relatable."
"Even when it comes to soloing you need to make reoccurring themes for people to understand."
"Stay the course."
"No one sees the groundwork."
"No one saw the hours I practiced in church by myself, they just assume I came out of nowhere."
"Everything will come that is supposed to come your way."
playing "Relatable Fills."
"We need to simplify to make it relatable."Connect with Adrian: Drake John Jr Robinson Ndugu Chancelor Jeremy Haynes Jay Z Josh Tietlebaum Zildjian Dave Weckl Vinnie Colaiuta Steve Gadd
Securing $20,000 Speaking Engagements with Chester EltonConsulting Success Podcast add
I’m very pleased to be joined today by Chester Elton, a recognized expert in business and leadership. Chester has worked together with his partner, Adrian Gostick, for over 20 years to create networks where people feel engaged, enabled, and energized. They are the authors of several leadership books, including the newly released The Best Team Wins: The New Science of High Performance. Known as “The Carrot Guys,” Chester and Adrian believe that as you motivate and recognize passionate people in the right positions and create a culture they connect with, business success will naturally follow. In our conversation, we dive into the importance of writing the best books, ways to successfully grow your consulting business, and how to increase your expertise so that you can increase your consulting fees, all on this episode of The Consulting Success Podcast with Chester Elton.
Writing The Best Books
Before becoming a world-renowned author and cultivator of successful business culture, Chester worked for his college newspaper at Brigham Young University in Utah. After graduation he worked in advertising in New York City, selling both ad space and ‘air space.’ Soon he started down the path of selling recognition programs, where he worked for 19 years to help businesses understand the importance of valuing and recognizing their employees. His first book was the genesis of his relationship with Adrian Gostick, as well as his positioning as a thought leader of recognition in the business world. 11 books, 1.5 million copies and 30 languages later, Chester and Adrian have clearly set themselves apart in exactly the ways they set out to.
Any consultant who has ever considered writing a book recognizes the mountain before them. It can seem entirely overwhelming to even know where to start. For Chester, there was little trepidation when faced with the daunting task of writing his first book, and he gives that credit to the support system that he surrounded himself with. Just as you’ve heard me say many times before, his network was the key to his success. His network became the critical link to his success. Between his partnership with Adrian, their editor, publisher, and the many mentors who supported them along the way, the partners were able to confidently conquer their first book, as well as the many other books that have followed. If you can surround yourself by people that will encourage you along the way, you will be able to conquer the mountain of expert writing as well, and you will enjoy the benefits that follow soon after.
The quality writing that you produce, whether it be as monumental as your first book or as simple as a white paper or blog post, will be beneficial the success of your consulting business. Writing helps to solidify your why — not just what you do and how you do it, but why you are doing it and why other people should listen to you as a thought leader in your industry.
Charging Fees Like An Expert
Once you have established yourself as an expert, you can charge the fees that accompany expertise. Chester and Adrian started their speaking engagements at a mere $1,000 per event. But their success quickly escalated as they became more accomplished writers. As they charged more for their speaking events, they found that more important people started attending their sessions. When they started charging upwards of $20,000 per session, the CEO started showing up. As a result of their successful writing and speaking engagements, people began inquiring about the training options they offered. So once again the team tapped into their network, surrounded themselves with smart people and created a very successful training practice.
Along pathway to success, Chester and Adrian have always been sure to keep their focus front and center. By remembering their why they have been able to continuously enjoy success and help people wake up in the morning to a job that they love. Chester talks about the inspiration he’s gained from Marshall Goldsmith, and you may find similarities between him and the mentors that you have chosen to surround yourself with as you pursue your consulting success. Chester is another example of the successful consulting truth that I constantly share — your network is the greatest tool that you have in your possession.
The Intentional Evolution of a Successful Business
Creating a successful consulting business requires intentionality. Chester shares his story of the natural evolution of his business and points out that the key to success was the intentional effort that he and Adrian put into it. Again, the main and recurring theme of Chester’s success — like so many other consultants — is the network that he leaned on. The people that he surrounded himself with helped him to realize the success that he enjoys today.
Chester notes that one of the greatest things he’s learned from his mentors is the mistakes that they have made along the way. Like him, there is no reason for you to make every common consulting mistake yourself — you can connect yourself to the best people in your industry and let them teach you, based on their experiences.
You should also not be afraid to grow slowly, or be afraid to have patience with your company as you figure out how to meet your financial and timeline goals. If you feel like you’re rushing, have the confidence to step back and patiently work through the problems in front of you so that you can get it right. You’ll want to hear his advice to understand how it can work for you, too.
This advice he shares may seem obvious, but it has made all the difference in Chester’s success — intentionality shows through in everything you do. If you want to write a best-selling book, write a really great book! The intentionality that you put into any of your work will show through, and the transition from expert writer to expert speaker, and then to expert trainer will be a very natural one.
In addition to writing, Chester shares a second critical part of success, which is being very public about the work you are doing. You have to be willing to put yourself out there and connect with as many people as you can. LinkedIn is an excellent resource for building your network in any industry, and I hope you are using it to your full advantage. If not, listen to the challenge that Chester has for you to optimize your publicity and network opportunities, and you just may realize that there is more you could be doing to maximize the intentional success of your consultancy.
The Purpose Behind The Carrot Guys
Having a purpose is endearing to people. For Chester, the work of helping people motivate and appreciate their employees has become his purpose. He talks about his mascot, his motivation, and the voice that he has found from his work as one of the two very successful Carrot Guys.
As you listen to this episode of The Consulting Success Podcast, ask yourself — as you enjoy the journey, what are you doing today to live the dream? When you know your answer, you will be able to hone your message and fine-tune your brand. If you can share the why of your work with your friends and your network, you will be able to stay focused and stay successful in your growing consulting business.
As we wrap up our conversation, Chester shares some really great tips about the absolute importance of staying focused on your work, remembering your whys, and how you can find the consulting success you’ve been seeking as a result. You won’t want to miss out on the many ways that this advice has worked in his life, and you can hear all about it on this episode of The Consulting Success Podcast with Chester Elton.
[:20] Meeting Chester Elton — leadership expert, cultivator of thriving business culture and accomplished author.
[5:00] Finding the courage to author your first book starts with the strength of your network.
[7:25] Key tips for positioning yourself as an expert consultant, speaker, and writer.
[12:26] The intentional evolution of a successful consulting business.
[18:44] Chester’s top business mistakes — learning experiences — that you can learn from.
[22:13] Upcoming projects and excitement for Chester, starting with The Best Team Wins.
[24:30] All about the whys behind The Carrot Guys.
[27:09] Connecting with Chester.
Mentioned in This Episode:
“Writing helps to galvanize your philosophy of not just what you do and how you do it, but why you do it.” — Chester Elton
“When you charge $1,000 you get the staff; when you charge $20,000 the CEO will show up.” — Chester Elton
“Surround yourself with good people and smart people and realize — there are a lot of things you don’t know.” — Chester Elton
“Don’t be afraid to be patient, and don’t be afraid to grow your business slowly.” — Chester Elton
Episode 224: Developing and Debugging Azure Mobile Apps with Adrian HallMicrosoft Azure Cloud Cover Show (HD) - Channel 9 add
In this episode Chris Risner and Thiago Almeida are joined by Adrian Hall, Principle Program Manager on Visual Studio Mobile Center and Azure Mobile Apps. Adrian joins us to go over how you can debug Azure Mobile Apps locally and while running in Azure, how you can view log events as they come in, as well as to talk about his free online book on developing Xamarin apps with Azure Mobile Apps. After detailing how you can access and read his book, including how you can do it offline, Adrian walks though some handy tips for debugging issues you may run into with Mobile Apps.
Links from the show:[01:10] - How to Develop Mobile Apps with Azure and C#[03:30] - Debugging Azure Mobile Apps[05:47] - Turning on Diagnostics[08:16] - Using PostMan to access your backend[10:42] - Enabling debugging through Visual Studio[17:30] - Monitoring your app backend with Live HTTP Traffic[20:48] - Debugging Locally[25:38] - Debugging AuthenticationAdrian's Book on Developing Xamarin Apps with AzureUsing the Visual Studio DebuggerDebugging AuthenticationDebugging Offline CacheRunning Azure Mobile Apps with Azure Functions
Episode 10 - The Top TenCastMile High Game Guys: Boardgaming Podcast add
So for Episode 10, not our 10th episode, we decided to do something just a little different. For this episode we are leaving behind our normal format and dedicating an entire episode to our favorite games. Each of us took the time to develop our own criteria for what makes a game fir our top ten, then we applied that criteria to all the games we've played and this episode is the result! Thanks for listening and we hope you enjoy this special episode, we'll be back to our normal format next week with Episode 11.
- The Mile High Game Guys
Criteria for our lists.
02:14 Zach's Criteria
03:06 Jeff's Criteria
03:39 Adrian's Criteria
05:06 Adrian's #10
07:00 Zach's #10
07:51 Jeff's #10
09:49 Zach's #9
11:16 Adrian's #9
13:58 Jeff's #9
15:55 Jeff's #8
17:52 Zach's #8
19:21 Adrian's #8
21:13 Zach's #7
23:22 Jeff's #7
25:00 Adrian's #7
27:05 Adrian's #6
28:54 Jeff's #6
30:48 Zach's #6
32:00 Zach's #5
33:33 Jeff's #5
35:11 Adrian's #5
38:35 Adrian's #4
41:01 Jeff's #4
44:13 Zach's #4
45:10 Zach's #3
48:30 Jeff's #3
51:43 Adrian's #3
52:58 Jeff's #2
54:15 Adrian's #2
56:04 Zach's #2
57:03 Zach's #1
58:16 Jeff's #1
01:02:04 Adrian's #1
Games that didn't make the list
Games that are close to the list
Adrian Frutiger，卓越的字体设计师。跨越两个世纪的造字生涯，历经了铅火到光电的技术更迭；举凡无衬线体的风格分类，总有其无可缺席的代表作品。Frutiger 的字体渗透在我们日常生活的各个角落。
本期再邀主编 Rex，回顾 Frutiger 生平之事，共赏放眼皆是的 Frutiger 经典之作。
第十六轮抽奖活动开启，截至 11 月 20 日零时前。本期奖品为 Fontsmith 出品的期刊 TypeNotes, Issue 1（创刊号），由嘉宾 Rex 从伦敦带来。参考链接Adobe Illustrator CC 2018 支持 OpenType SVG 字体及 variable font在 Adobe Illustrator CC 的 22.0.0 版本中，日文标点避头尾和标点挤压功能存在问题，22.0.1 版本已修复11 月 11 日，方正字库在北京举办一系列活动，包括秋冬新品发布会、设计论坛；东京 TDC 2016—2017 作品选展也在同日开幕Tokyo TDC Vol. 28（东京 TDC 第 28 期年鉴）发售艾米尔·鲁德（Emil Ruder）著，周博、刘畅译．《文字设计》（Typographie: A Manual of Design）．北京：中信出版集团，2017．Adrian Frutiger，瑞士著名字体设计师下森（Unterseen），瑞士城镇，Adrian Frutiger 出生地苏黎世应用艺术学校（Kunstgewerbeschule Zürich），苏黎世艺术大学的前身Walter Käch，字体设计师，Adrian Frutiger 的老师Charles Peignot，ATypI 创始人及第一届主席，Deberny & Peignot 铸字厂创办人；ATypI 后来以他的名义成立 Prix Charles Peignot 奖项，表彰 35 岁以下的优秀字体设计师Univers，Adrian Frutiger 设计的 neo-grotesque 风格的无衬线体，Deberny & Peignot 出品；基于 Univers 家族，Frutiger 首创了两位数码的字重及样式编号系统斜体（oblique type）有别于意大利体（italic type）1972 年慕尼黑奥运会形象系统，由德国设计师 Otl Aicher 主导设计，采用了 Univers 字体VAG Rounded，Adobe 出品的几何无衬线圆体，Apple 曾在键盘键帽上使用该字体Univers Next，Linotype 基于 Univers 复刻的新字体家族，Nadine Chahine 参与设计，2010 发布西蒙·加菲尔德（Simon Garfield）著，吴涛、刘庆译．《字体故事：西文字体的美丽传奇》．北京：电子工业出版社，2013 年．Frutiger，Adrian Frutiger 设计的人文主义无衬线体；原型是为法国戴高乐机场所定制的导示字体，名为 Roissy；后又为正文印刷改进设计，命名为 FrutigerFrutiger Next，Linotype 基于 Frutiger 复刻的新字体家族，2000 年发布Neue Frutiger，Adrian Frutiger 晚年与小林章合作重新设计的 Frutiger 家族，2009 年发布Myriad，Robert Slimbach 与 Carol Twombly 设计的人文主义无衬线体，Adobe 出品Avenir，Adrian Frutiger 设计的几何无衬线体，Linotype 出品Avenir Next，Adrian Frutiger 晚年与小林章合作重新设计的 Avenir 家族，完整的字体家族于 2017 年发布OCR-B，Adrian Frutiger 基于 ECMA 标准设计的一款 OCR 字体，Monotype 出品OCR-A，American Type Founders 基于 ANSI 标准出品的 OCR 字体Heidrun Osterer, Philipp Stamm, & Swiss Foundation Type and Typography. Adrian Frutiger – Typefaces: The Complete Works. Basel: Birkhauser Verlag AG, 2008.嘉宾Rex Chen：Type is Beautiful 建立者、主编主播Eric：字体排印研究者，译者，Type is Beautiful 编辑蒸鱼：设计师，Type is Beautiful 编辑
欢迎与我们交流或反馈，来信请致 firstname.lastname@example.org。如果你喜爱本期节目，也欢迎用 PayPal 或支付宝向我们捐赠，账户与联络信箱一致：email@example.com。
102: Adrian Scoffham, Who Wants to Own a Porsche?Nomad Capitalist Live add
Andrew admires Millennials. They seem to get it right compared to all the other generations out there. Why own a home, or even a car, when you can travel and live a more freedom-based lifestyle? Andrew recently came across a Bloomberg article about Porsche changing up their business model to entice more Millennials into buying their cars. Car manufacturers are struggling because Millennials aren’t interested in the challenges and complications of ownership.
[1:40] Porsche has a new subscription-based model out right now. Andrew reads an article from Bloomberg news about it.
[3:15] According to the article, the economy now has successful Millennials who have the financial power to own a high-end car.
[3:35] Andrew hasn’t owned a car for more than four years.
[5:20] The desire to own a car just isn’t there with the younger generation.
[7:40] Not owning a car is, frankly, fantastic. So much less stress.
[9:00] With the people Andrew works with, very few of them buy a car. Despite saving enough money in taxes to buy 10 luxury cars.
[10:20] Why do you want to be part of a system that forces you to own, forces you to pay high taxes, and gives you very little rewards in return?
[11:45] You can take advantage of the way the system (the law) is set up so you can go where you’re treated best.
[15:10] If Andrew ever wants to go back to the ‘ownership’ experience, he can… by renting a car for a day or for a month.
[16:00] Despite all the criticism Millennials receive, Andrew admires that they’re not interested in the status quo. They want a better quality life for themselves.
[18:15] Why are British people so darn likable?
[20:10] So many people in the UK have expatriated to other countries due to the bad economic situation that happened in 2008.
[21:20] What was Adrian’s journey into becoming a nomad?
[23:55] Lose your ego when you travel and be prepared to make a complete idiot out of yourself.
[26:20] When Adrian first went to Poland, it was 20 years ago and it was much, much different than it is today.
[28:25] What made Adrian decide to leave his home country?
[30:55] Andrew could never play the office politics very well and neither could Adrian. It’s one of the big reasons why Adrian became a nomad.
[32:05] After 20 years of traveling, what kinds of lessons has Adrian learned along the way?
[35:00] For many British citizens, Germany is quite the culture shock. How did Adrian manage so well in these ‘stricter’ countries?
[39:40] What made Adrian decide to settle down in one country?
[43:05] What’s the difference between the business mindset of the Czechs and the Polish?
[46:15] Doing business in Georgia with Georgians isn’t the easiest thing to do.
[49:10] Is Tbilisi the place to be for creative professionals?
[54:00] Is Adrian living in Georgia just on a tourist visa or how has he set that up for himself?
Mentioned in This Episode:
Episode 20 - Top 10 Game MechanicsMile High Game Guys: Boardgaming Podcast add
00:01:01 - List Criteria
00:04:30 - Adrian
00:07:29 - Jeff
00:10:59 - Zach
00:12:45 - Jeff
00:14:55 - Zach
00:16:22 - Adrian
00:18:57 - Zach
00:21:15 - Adrian
00:23:47 - Jeff
00:26:21 - Adrian
00:27:57 - Jeff
00:30:07 - Zach
00:32:24 - Jeff
00:33:45 - Zach
00:36:04 - Adrian
00:39:14 - Zach
00:41:14 - Adrian
00:43:00 - Jeff
00:45:58 - Adrian
00:48:39 - Jeff
00:51:43 - Zach
00:54:49 - Jeff
00:58:41 - Zach
01:00:06 - Adrian
01:03:53 - Zach
01:07:44 - Adrian
01:09:05 - Jeff
01:11:25 - Adrian
01:13:54 - Jeff
01:19:54 - Zach
#30 - Celebrating AdrianThe Baby Nation Show add
In today’s episode, we chat with Stacy about her son Adrian, who is turning 1 on December 29th! It’s been a long year for Adrian but he’s pushed through it all… after a bone marrow transplant, chemo treatments, and brain surgery, he’s come out the other side as a happy baby. Talking about the early stages of Adrian's journey, Stacy gives credit to Patti, a mentor assigned to the family through the Pediatric Brain Tumor Foundation… she also appreciates all of the moms she connected with on social media.
Just recently, Stacy and Adrian even met with the Tate family as they traveled to California. Also in this interview, Stacy mentions how grateful she was for a message Savanna Tate sent during a crucial time in Adrian’s hospital stay. Stacy also talks about how in October, she volunteered to be a donor through Be The Match after seeing other families wait for bone marrow transplants. On behalf of the Baby Nation community, happy early birthday to Adrian! Follow Stacy and Adrian on Instagram @sstayssee!
Happy Birthday Adrian
1 year old on December 29, 2017!
episode 2 - philip coxalllandscape conversations add
Gabion wall at Ballast Point Park. Image: McGregor Coxall
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Today’s guest on Landscape Conversations is the Sydney based Landscape Architect, Philip Coxall from the firm McGregor Coxall. Philip has more than 20 years experience working on projects in England, Asia and Australia. These range from broad scale master planning to new parks and gardens. The work has been widely published and received numerous awards. Examples of Philip’s work include BP Waverton Park, Ballast Point Park and Lizard Log at Wester Sydney Parklands.
Anton: Were you outdoors much as a kid?
Philip: No I wasn’t outdoors much, I was a city kid. And I remember that one plant that made an impression was at Auburn school was this Jacaranda tree that was in flower and it interested me that it flowered every now and then. But other than that Auburn at that time was very bitumen and concrete. I think I said at Barcelona at 16 my dad and I concreted the backyard, that’s what we did.
Anton: A spatial experience.
Philip: Yeah it is a spatial, but we did it for a pragmatic reason because we didn’t want to mow the lawn and it made a great cricket pitch.
Anton: That’s what interests me, these different conceptions of what landscape could be. You hear people talk about beauty in the landscape and that it's a given but then you see someone like -
Anton: The artist who represented Australia at the Venice Biennale a few years ago, Shaun Gladwell.
Anton: His thing is all about bicycles and cars and motorbikes, he did that series in the outback riding a motorbike.
Philip: Oh yes I know that one.
Anton: He also did a movie or video where he's riding a bicycle or someone is riding a bicycle across the headland at Clovelly beach on all the sandstone boulders. So he sees that sandstone headland as an opportunity to do some skillful riding whereas somebody else would see it as a romantic Sydney landscape and a whole bunch of architects would see it as touching the earth lightly and this amazing thing.
Philip: It's an interesting point isn't it.
Anton: So that’s what interests me is how different people who work in the landscape have formed their ideas about what a landscape should be and to what extent our education - if you didn’t have a huge conception of landscape early, well obviously everybody does but the idea of landscape as something out there with some agency is formed at some point. Whether you understand it as something that’s about property or whether you understand it as something about conservation or about ecology or a space you need to have flat to play cricket, everybody has got a landscape in their head.
Philip: It's a really interesting thing isn't it. I don’t even know how I got into it, in a lot of ways - when I first finished school I went and studied industrial design and worked for a local firm called Malleys. Malleys Whirlpool were manufacturing fridges and washing machines and stuff like that. I was wanting to design the washing machines and I thought there was something there. But then after I came back after a year, I was doing an apprenticeship at TAFE to study this and I came back from being on the beach because that’s the Christmas holiday we had, and there were these guys across the road, that we had a window looking out over, and this is in Auburn, and they'd built an apartment complex and these guys were building a garden. You know the old rocks and they put Nandina, Nana, with the Cordyline popping out of it and all that. And I just looked at it and I went - and they're in their shorts and suntanned, they're out there doing something and they're building gardens, that can't be half bad. And I went home and I asked mum that night, I said I saw these guys doing this I wouldn’t mind doing that actually. And we had a friend who was doing landscape garden building and so she put me in contact with him and I had a chat and he told me about Ryde school and horticulture. And I didn’t know a bloody plant and all of a sudden two weeks later I'm sitting in a class with the blokes in the boots and the shorts and the t-shirts you know dirty as all shit because they'd come from a day at work doing TAFE. Then one day I'm flipping through the library at Ryde and I came across the sand gardens of Ryoan-ji in Japan. The Japanese landscape book I was looking at had all the beautiful little gardens of Japan and then all of a sudden that sand garden came up. And I looked and I thought what a load of shit, what is this crap. But I loved all the other gardens. And then after I’d finished three years, probably right at the very end of my course I was in the same library looking for the same book for some strange reason, turned over and saw this garden and it was like somebody had hit me in the heart.
Anton: The same one again?
Philip: The same one again, but I just went oh my God that is just stunning.
Anton: It's amazing isn't it?
龍安寺 [Ryōan-ji] Kyoto. Image: Cquest
Philip: What happened!
Anton: I wonder.
Philip: What happened! Is it all that Australian thing that you're brought up in the suburbs you don’t appreciate beauty or you don't have that physical understanding of beauty or whatever and then at some process it matured and I was ready to appreciate it the next time after that. I just had to go to Japan, I had to travel there to see this. But how does that happen! How about for you?
Anton: So that’s still a long way from landscape design isn't it?
Philip: It is.
Anton: In a way garden design is part of it.
Philip: It's the starting point to understand space. And I suppose in a way to understand Ryoan-ji is to understand the wider spatial arrangement of landscape and using the imagination to take you places and those kinds of things.
Anton: The Spanish sculptor Chillida he talks about learning three dimensionality through being a goalkeeper in a football team at quite a high level, that’s where he developed this sense of the 3D of the space because he had to guard the goal.
Philip: Anton, that is gorgeous, I can use that can't I?
Anton: You can use that it's not mine.
Anton: So on that how was Canberra did that nurture the - what did they see landscape as being at that time?
Philip: I can tell you that when I went to Canberra I had been working building gardens and working in nurseries but I was desperate to get out. I had my own business and I did my back in like just did my back in. I was married and there was no future there so I had to take it to the next level. The first time I ever came across landscape architecture was when I was at Warriewood sewerage treatment plant doing planting with tube stock, you know the old bore hole machines, augers, but this is a bloody big machine blasting out in 40 degree heat and we’re just up and down putting the plants in the ground. And then up drives this guy in a Celica car, I still remember it, gets out, it's air-conditioned, he's got a shirt and shorts and looks the bit. We’re all dirty, filthy, sweating like pigs. He gets out the plan, points a bit, checks and walks and gets back in the car. I said landscape architect okay. Went in and that was -
Anton: That's me.
Philip: But it took me probably seven, eight years before I actually decided to do it but it was always sitting in there. And when I get to Canberra I had read Glen Wilson’s designing with Australian native plants, I don’t know if you know that book. And Glen was one of the first people to actually focus on using Australian natives. And he came up with these great ideas about putting three tube stocks in a hole so they get this twist - just all this kind of crap, I never even thought like this. So I was interested in that kind of thing already. And then of course - you didn’t study in Canberra?
Philip: But Canberra really they do take you out to the bush and it's part of the environment that you grow up in terms of education and so I responded to that. But did it have focus in terms of that, I don’t think so.
Anton: It strikes me that there's the educational spectrum that ranges across agricultural forestry ecology to one end and then much more architecture and visual arts to the other. I remember Craig Burton said in an essay, he denies this now but I'm sure he did, the essay was ‘Is landscape architecture?’
Philip: There's two great ones right there; the goalkeeper and that one that’s excellent.
Anton: It just interests me to what extent - and do you think you've retained much of that formation from Canberra or do you think you’ve -
Philip: If I got anything out of Canberra, there was two things; one that we studied with the architects and the interior designers and you know they set that system up that they were all kind of integrated. And that understanding of architecture I think was really important in the sense of design across those realms being not isolated but potentially part of the whole. And the other thing of course was we had James Weirick and James - did you get tutored by James?
Anton: No I didn’t, he came after I'd left at UNSW.
Philip: You know, sometimes people can respond to people like him and sometimes you can't. But one of his greatest crits to me, you know how you're waiting around for the crit and you’ve got your stuff drawn and you're waiting as the guy floats around and you get five minutes. And James finally came up to me right at the very end, I’d been dragging over it, and his summation was - one of the best things I ever got out of him, I was doing a design of a kind of national park type walkway with carpark type strategy but there was an information centre. And I’d drawn the information centre like ye olde worlde, verandah, Australia vernacular. He walks up and he goes, “If I see another building like that I'm going to puke.” And he walked off. And it was like - it was a really crystal moment because it made me realise that we’re not only looking at beautiful little curvy paths in the carpark but looking at everything and that we have to challenge everything. I went away from that, I got so much out of just that one little thing. But maybe I respond to that kind of criticism. But James was a great influence.
Anton: And then you went to Hong Kong after that didn’t you?
Anton: So that must have changed things, what was the agenda for landscape in Hong Kong?
Philip: Well before I went to Hong Kong I went to England and I was there for four years. In England it was just dead, basically they were doing visual assessments and any design that would come in the door they'd run a million miles. And I was like “I'll take it, I'll take it.” I remember I was working at one of the big practices, and I forget his name, anyway they walked down Friday afternoon saying we just got this new design project does anybody want to work it over the weekend. And they all buried their heads and I'm like, “Me, me, me”. I'd just arrived two days ago, I just wanted to do it. So England was just a grounding in nuts and bolts. And then to go to Hong Kong was another world all together. Have you spent time in Hong Kong?
Anton: No, but passed through.
Philip: Hong Kong at the time that I was there was an incredible period because it was just before the handover so they were doing all that work to spend all the coffers that the British had acquired before they handed it over to the Chinese so they didn’t have to give them any money. So they built the airport, they built the rail and they built all the new towns. So basically here I am tossed in to doing all that.
Anton: Was it mainly that urban scale?
Philip: Yeah, huge. And I remember the first time I sat down after joining them and we’re sitting at a long table and the guy’s briefing everybody on this monster housing development project that we've got to do and all the rest of it. And I went to the guys, “Wow!”. The guys they were like this one must be pretty bloody good, they all stopped and looked at me. So I had to learn pretty bloody quickly. And then I worked on the airport, I mean huge scale stuff. But the beauty of Hong Kong, there was no real design philosophy but what it did represent was an opportunity to explore design, get it built, see how you fucked up and do it again and again and again and again. Well you know what it's like, you learn from building. But I was drawing, they were taking it off the drawing board and physically building it the next day kind of thing, just incredible and I learnt so much. But at that time it's weird I don’t know how I got to but egotistical I wanted to be a look at me designer, I wanted to do stuff that people went wow check it out, and there was Martha Schwartz at the time, Peter Walker and that was kind of like -
Anton: That was the stuff?
Philip: Yeah. And then I thought I want to be a punk landscape architect, I want to walk into where they kind of go this is not a garden but it's something and I don’t know what it is, and it was crazy shit. And because it was engineering run, Hong Kong, they had to have a layer of landscape but essentially it's engineering run. So they didn’t give a shit and all the money was in engineering and it was all about - so they didn’t challenge me anything.
Anton: Did you challenge them, were you able to get into the engineering?
Philip: A little bit on the roadways, a little bit on the underpasses and the connectivity. When we worked on the airport like I wanted to do red runways, red and pink and blue runways.
Hong Kong International Airport. Image: Wylkie Chan
Anton: You’ve arrived in Hong Kong.
Philip: But the beauty was that I saw the work, I would go out after thinking this is going to blow peoples’ minds and look at it see it and just go “this is shit”. And then I started to realise that simplicity, maybe classical elegance maybe that’s not how I work now but a sense of strong form, shapes and those kind of things that are not timeless necessarily but they're not a vogue or that kind of thing; that’s what I see in my head anyway.
Anton: How did it work there, the culture, the office culture and the attitude towards the landscape?
Philip: Yeah. But it was great because nobody really interrogated it, the big game was the piece of infrastructure. I worked on the whole airport right and seriously nobody challenged me except for the pink and red runways. I’d just go for it, imagine whatever you want to I had a go at it. And then all the train stations all the way along, all the new towns all the way along, you're out there just - and then of course work would come across from China because China was opening up. So Friday afternoon they wanted a marina designed for Zhangzhou or wherever, and they needed it by Tuesday, so you'd have to work fast.
Anton: Given that you're so involved now or you seem to be heavily involved in construction - did that work like that there or there just wasn’t time you had to - it would be built before you could wake up the next day.
Philip: I did go out and do a little bit of construction but I wasn’t particularly good at it I must admit but I did learn it, as I went through the paces. But I don't do the construction so much anymore but when I have a precious project you take it from start to finish, everything relies on that end product for me.
Anton: How was that then bringing that experience back to Australia?
Philip: When I left Hong Kong after the seven years I decided I was going to give up and get a mowing run.
Anton: Say that?
Anton: With a bad back?
Philip: Oh no mowing was okay. And I thought I don’t want to do the thinking anymore, I don’t want to do any of that; I just lost it all, that old belief. And so I did, I set up a mowing business and just got the ute, drove around and mowed the lawns for two years. And then Adrian called me up one day and said - funnily enough the competition I went in was the one that you won for Mount Penang Gardens. And he called me up and he said do you want to have a go at this design competition and after two years it was kind of the right thing to do.
Anton: Did you think you brought that Hong Kong landscape mindset or had you always had the different view in the back pocket?
Philip: What I brought was all the fuck ups that I’d made I’d learnt from I think. Others could argue with me on that. But also because of my European connection through my wife, like for example, BP I was always fascinated when I was around Germany, where they’d used raw gal material and it was simple and raw, and with the elements that they had it seemed to work. And so that kind of understanding of material definitely. And I was always fascinated with materials, like for example in Hong Kong you get the material wrong and it will be destroyed so quickly because of usage, because of the weather and the climate there.
Anton: Looking at Ballast Point that level of detail, that’s quite beautiful, obviously could be traced back to your industrial design past couldn't it?
Philip: It could be. You don't know the little bits and pieces but I do know that I've always been fascinated with the idea of something can be used for something else - like for example, I took a train out to a site visit out past Green Square one day, and I got off at the wrong train station. When I got off, there was nothing there, they were starting the development, but they had gabion walls that the builder had built as a temporary measure, and they'd trucked in all the broken concrete from a wall that they'd demolished. And I got off that train station and I looked at that and I just went wow that’s actually quite interesting, I put that in my head. And then when Ballast came around it was always about the graffiti and trying to minimise graffiti on the walls and then the idea of those buildings being knocked down and then being chucked away how could that all - so bits and pieces coming together and then all of a sudden it kind of goes maybe that’s the idea. What's the brain doing, how does it put bits and pieces together, I have no idea?
Anton: Do you think the practice has a particular ethos about what landscape is?
Philip: I have a belief that - it started at university, it was a lovely little thing on one of the columns at university and it said ‘man is part of nature too’ and I thought about that quite a lot what it meant. And I came from Auburn, Silverwater you know the oil refinery plant and all the stink and the lights, which I lived right next to so I knew it all the time. And I was kind of fascinated with the idea that if we are part of nature, we can look at a beaver build a dam or we can look at a mole or we can look at insects, termite nests whatever, amazed at what they’ve done there. So I think the same about us, I can't look at anything that we've built and say it's not natural. And that challenge of it has to be natural because we’re part of it and we built it. We mightn’t like it, we mightn’t think it's beautiful and it's a change in what we perceive as nature. So for me that whole concept Adrian and I have been talking about kind of generated from this idea of the city being an organism. How much does that inform our thinking I think in the sense of things in things out, it's an organism so how do you respond to those things. So if you talk about reusing material, reusing water, reusing whatever; it's a system and how can you work that into the system that you're dealing with, so maybe to that level it is.
Anton: Just on that industrial, you say that and you mention growing up there but to what extent that’s also - you're known for Ballast Point and BP to industrial sites it's interesting that there is that recurring.
Philip: I think for sure, I think that - I was thinking about it the other day, you know like at BP the chain link fence. Story telling, I like story telling and there's little things in everything that I do that’s trying to tell a story about who you are in the process. So the chain link fence was when I was a little kid went down to the cricket nets in the park that was the most barren landscape that I've ever been to, you know those kind of parks. And I wanted to take that experience, that chain link fence that represented so much of my early life, and I know it's kind of industrial and all this and kind of replay it and try to find - I don’t think we achieved it but try to find another way of representing it and saying ooh actually it doesn’t look too bad, you know that kind of twisty connotation. And I think the same with Ballast, all the workers had put pieces in the wall, my whole family has got pieces in the wall.
Former BP Site Park. Image: McGregor Coxall
Anton: Do you think landscaping is about telling a story?
Anton: Not that’s it about one thing only...
Philip: No, but I think it is. For me my method of understanding it and working it is I have to have a story in my head that I'm trying to communicate. And once I've got that story I can then roll with it, I can answer everything for that storyline. That’s fundamental, and if I can't get my hook into that story I get a bit lost. Because what's the decision making process that we go through. When you start your process you're trying to evoke a feeling or an emotion when people go out there aren't you?
Anton: Yeah, we all try and understand it, in a way it's possibly the opposite trying to understand what's going on, trying to make sense of the place.
Philip: Interesting, what do you mean by that?
Anton: A whole series of questions about how the place works and what's the best way to be in it maybe rather than - I like to think that I'm not trying to change the world. You hear landscape architects saying I'm doing this because I want to change the world, I don’t want to change the world I just want to celebrate what's there and understand it rather than change it.
Philip: I hear what you're saying, I may be a little bit more self-indulgent.
Anton: I don’t have that, the angelical streak.
Philip: No I certainly do not have an evangelical streak, I do not believe in that at all. I think we’re basically little nothings doing absolutely pathetic little nothings.
Anton: ‘We’re the custodians of the landscape’, I always find that pretty pointless.
Philip: I have no time for any of that shit, absolutely no time.
Anton: We’re one amongst many.
Philip: Yeah. I get an opportunity to express myself and I think wow. It's like somebody being given a canvas to work on and saying well you can do something here. And surely as a designer - you can't go and ask your mum or your dad or the next door neighbour what you think you should do it has to come back to you what should be done. So it's selfish in that way because -
Anton: But it is playing against the social notions isn't it?
Anton: I mean landscape really is going through a phase now of being a vehicle for health and fitness and I guess landscape is being valued because it's instrumental in public health, ideas of public health and ecology. It would have been instrumental in demonstrating power in the times of the European kings.
Anton: So it’s interesting how that obviously changes and how we then respond to that and carve our own way through it.
Philip: I don’t know if this is relating to it but if - like I took my wife out to both BP and Ballast Point and she just said to me, “That’s not a park what are you talking about.” And I would imagine a lot of people would go out there and say come on, you know, that’s an affront.
Anton: Mr Keating.
Philip: Yeah well Mr Keating exactly. And you say to yourself okay why do you did it like that. And maybe it unravels because of my background and all the rest of it and on a challenge, but it's selfish it’s self-indulgent to the utmost. If I’d done something that was what people would want then it would have all been just lovely rolling hills and plant like he did at Barangaroo perhaps.
Anton: So it is propositional then, that’s always the question that what you're doing is putting forward a certain proposition about what landscape could or should be. And trying to articulate that is probably the hard thing.
Philip: Or is it taking the lead, like the story I did taking the lead, from where it is and then challenging how that might be interpreted in a way that you respond to it. I like the idea that you come to a site with a preconceived idea. It's a park therefore you’ve got this concept but when you go through it you're possibly challenging their thoughts as they're going through it. And I quite like that idea. I remember once I read about landscape is the stage set on which we live out our life. And so to build the stage set you can play with people and make them experience slightly different things in different ways. And maybe that’s important that we offer different experiences. And that has a valid design outcome.
Anton: But it does come back to what you were saying about Hong Kong in a way, the self-consciously controlling all this stuff whether it's in a delicate way or a punk way. It's a question of where do you stop, where do you need to.
Philip: Yeah, I totally agree.
Anton: What's your method for getting at that point, do you just have this sort of blinding instant realisation?
Philip: I can tell you -
Anton: You said you didn’t draw much.
Philip: No it's all in the head.
Anton: Do you write?
Philip: No, no writing.
Anton: Talk about it?
Philip: No. I pretty much walk around and put it in - I understand the issues, it goes in. And I'll go for walks before I go to sleep at night, when I'm in the shower, and I pretty much put it together in my head before I start drawing. And that’s truth. And sure then you'll explore it a bit further and a bit further but in essence the core issues that I'm trying to understand and resolve I kind of lined up in my head. I said so many times about - it was a great challenge to work over the top of your work at Ballast, I did not take that on lightly let me assure you, it sat in my head for a long time. The day that I went out and I walked, I remember I walked up the lighthouse at Palm Beach and it was there in my head the whole walk up. And it just came to me at one point it was about telling the story about the change in philosophy about how we respond, the fact that we’re going to build - we’re now going to build a park in a land that previously we just diced and dissected and put an oil well, storage facilities and shat all over the place. So how do we talk about that change in landscape and appreciation of it. And then of course the logical thing well I can't go out and destroy another landscape to tell that story I had to try and work with the basics that I've got there. Of course it didn’t work out purely like that but the idea, the genesis and the idea and from that everything kind of unfolded.
Anton: And then what happens, it’s translated in some way to whoever is going to draw it?
Philip: Well I then draw, I do all the drawing and the detailing. I have to nail it at all the levels down, the walls, the way the precast sits over the top, that little delicate piece on the top that talks about the layers of delicateness. I've said it many times that the very fine handrail that the fact when you hold it it's not brutal. And all those things they're just all part of that story then aren't they.
Anton: I thought you were going to say you get on site and direct a lot on site given your background in construction.
Philip: When I was on site, I was on site twice a week for that one. We were changing stuff all the time because of the nature of that site as you well know but it was pretty clear where we were going. It was getting quality and working through the issues that building these things we’d never done before. And I wanted to be there to make all the calls. I mean how often do you get projects like that?
Anton: I know, exactly.
Philip: You get one beautiful shot at doing it.
Anton: Can you wait for another one?
Philip: Well I said to Adrian the other day that’s it I don’t know if I'll ever get anything like that again.
Anton: So that makes me think of the greenfield sites, well not the greenfield but if you like these sites with much context such as Ballast and BP versus the new town or the apartment development where you tend to be working with constraints that are not leftovers from context but are constraints that come from architecture, engineering planning. Do you find you gravitate towards particular type of project?
Philip: Well I gravitate to certain kind of projects because of the market at the time for example. You know as well there's a lot of residential development court yard spaces and we were both doing a lot of those kind of things.
Anton: Do you still do those?
Philip: Yeah a couple but I mean they were just funny shapes and things and a bit of whimsy really. You know to kind of fill in the space and maybe make it look a bit interesting. But they don’t have the heart and soul. We explore a little bit in some of them about first flush water and bits and pieces.
Anton: So system is important do you think?
Philip: Yeah I think so. I think it has a bit more than just a little bit of whimsy, it has that something where you kind of say and it does this. And it doesn't always work, they say great buildings leak. You’ve got to try, you've got to try and push things a little bit and so much of the stuff we've done, you know.
Anton: Do you think you pursue particular types of projects or where does your interest lie now?
Philip: Oh yeah, yeah.
Anton: Urban, natural or what?
Anton: And at what scale in terms of -
Philip: As big as I could get it, the city. I think that for me I hate the fact that as a landscape architect I get brought in after certain bigger picture stuff has been done and here’s that nice little piece for you to do, off you go. The city, I love the city and the bigger the thing. Of course I've had that experience in Hong Kong and working with rather large scale stuff so I'm comfortable in that area. But I love the idea of actually guiding the overall - imagine like Parramatta I know we did the thing, and then taking it and then starting to document and build it and work with the architects to get the form right and all the rest of it, that kind of stuff. We’re working on the very controversial WestConnex at the moment, which is really challenging. And you think well how do we make the city better, you either walk away from projects of complexity and nastiness or whatever it is or you get involved and see how you can move it towards something a bit better. And I am quite interested in challenge by that kind of stuff as well.
Anton: Do you have a particular way of working in those contexts with the multidisciplinary team, how do you set things up?
Philip: I don’t know how you see it but when you enter into those kind of environments and you know who you're working with, essentially it's an engineer driven project where the outcomes are to really move vehicles, masses of them, from point A to point B you're a little pest that’s flying around to possibly beautify it so it doesn't look so bad when they go and just flog it to the community. But I treat it like going into war and I know what battles I want to win and I'm the only one who knows what battles I want to win. And I'm prepared to lose a few battles but I've got this war and I want to win the war. So I'm very conniving. There's a lot of psychology working with the various people, understand what they want to get out of it so that you can use that when you want to. I do like that challenge of working through those situations and hopefully getting something out of it.
Anton: Do you find you're still designing then or you're taking up most of your time by -
Philip: I think the designing - how much is design that we all do.
Anton: Well there's an argument it's all design.
Philip: Exactly. One of my directors in a past life he was a really brilliant designer but he was in there one day in the boardroom and he was writing all over the place and I said what are you doing and he said I'm putting together a program for - this was the Chek Lap Kok airport in Hong Kong. And I said, “You shouldn't be doing that, I mean somebody can do that you're the designer.” And he said to me, “Phil, where do you think design starts?” And it is, design is everything. If we have an idea and we want to move it from the idea to the built outcome every bit in between is surely part of that design process isn't it. We might not perceive it as that. But the actual drawing and the actual ideas as we get older they come quicker and faster and a lot easier, I think.
Anton: How do you work in the practice then, how does that work do you tend to split projects?
Philip: Yeah, Adrian and I used to work together but you know Adrian.
Philip: Actually I'm a bit combative too, we’re very egotistic.
Anton: Healthy tension.
Philip: That’s it.
Anton: Productive tension.
Philip: It is. Actually a lot of our good projects have come about when Adrian and I worked together but it tends to be me leading and Adrian kind of sniffing at the edges, chucking bombs to say that’s crap and all this and I've got to rework a little bit here and there. But we found it was best off that we each ran our own projects and then crossed over now and then just to see how it's going. And I'm very much I'll sit down and say mate come on, come on you can’t be serious, come on. And he'll defend it. But then he'll go away like I do and you'll see it next time and it might be tweaked a little bit in that direction that you've talked about. So there is that feedback loop.
Anton: Do you consciously set up the projects to make that as productive as possible?
Philip: No we can't because it's too confrontational, like I sit down "okay Adrian now show me your design" [laughs] that doesn't work. So it's done a lot more loosely like it's sitting there and I'll say that looks interesting what's that. And he'll kind of talk a little bit about and I say have you thought about doing this and this and this. And he'll do the same to me.
Anton: What about the office culture, are you conscious of that, do you create that?
Philip: It's very, very important, don’t you think?
Philip: I think the office culture is -
Anton: And how do you do that, do you have - what is it? How do you do that and what is it?
Philip: As we’re getting bigger we’re finding different ways to address it. But when we were a lot smaller it was very much me going around sitting with all the guys, working through trying to teach, understand where they're at, listening to them. But fundamentally making them realise that we want to be the best design firm we can be and that what you're doing has to be the best. We’re not talking about good enough we’re talking about the best. So every time you pick up any piece of what you're doing with us it's an important role, I want to see it come back better because you picked it up. Everybody picks it up, polishes it, hands it on to the next person. It is fundamental. And if you don’t want to be part of that I'm sorry then you're not part of the team that we need you to be part of. And that is absolutely - and you know you're award winning practices, it reverberates back to the team. They know that we’re not here to do average work we’re here to do the best work and to push it. And then it comes down to employment of the right people obviously that are a part of that and understand it and want to build on it and enjoy working in those environments. And then as we’re getting bigger we’re setting up a leadership group that will make sure that the culture is passed on down to the younger team as they come through. And then of course design competitions are important I think and obviously getting away as a group and going and looking up projects together, which I'm sure you do, and all that kind of stuff.
Anton: Do you have a sense of the size practice that you want to be or want to stay at or become, is that something you -?
Philip: Of course we talk about it. For me Adrian and I are risk takers right, I have - you know I've done lots of things, travelled, blah blah blah. For me it's just interesting to experience life at all its different levels. I've never set up other practices in other countries so that’s what we’re doing at the moment to see what we can do.
Anton: Where's that?
Philip: We’ve got an office now in Shanghai with Jack, I don’t know if you know Jack our guy, and also Bristol which is with Mike who used to work with us as well. Why, because we figure we want to work in the best projects around the world and why can't we. You and I are good enough to work anywhere around the world, I would put our practices out there with anybody else. I'm looking at others and going wow we’re nowhere near as good as them - of course we are as good. We might come at different solutions but we’re as good as anybody so why haven't we got the opportunity to go and work on the big projects around the world, why not. If we can great, it if works great but if we don’t boo hoo we had a go at it. And I like the idea of having a go. And I learn.
Anton: What does that mean, you're involved in China and Brisbane and Melbourne and -
Philip: Not Brisbane but China, Melbourne, Sydney obviously and Bristol.
Anton: Oh Bristol, I thought you said Brisbane.
Philip: No Bristol just outside of London. Yeah it's just the challenge of life, have a go. Seriously mate if it fell on its face so what. I'm learning so much in the process of setting this stuff up that I didn’t know about, I find that really interesting.
Anton: Are you finding different attitudes, in a way part of this podcast is highlighting or talking about the different conceptions of what landscape means. You think you have a particular - the east coast, there's an east coast sort of take on what landscape is and how does that sit with China and England?
Philip: My personal belief, I'm not that into tastes or whatever, maybe I should be. But I just think good space, good design, intelligent thinking, good urban design is fundamental. Sure it changes according to the location maybe like for example in China and space and all that are different in their scale because of mass and all the rest of it. But understanding space and working with it, getting a composition right. If you get that right you’ve fundamentally got - you can think green or whatever but get that right and you've got the fundamentals.
Anton: You made that comment earlier about freeway projects which is really the landscape is there to sell it to the recalcitrant community. Is there a sense of what landscape does in China, why is there landscape in China on those Chinese projects?
Philip: One of the interests that we have and I don’t know if you know we've got Dave Knight who's working with us now, used to work with Aquatica. But anyway he's a water sensitive urban designer and a really great lateral thinker. Our interest in China is that how do we bring landscape and the ecology water, you know water in China is just screwed their groundwater is all polluted. They need real help in this area and so the idea of working over there with water and landscape and bringing the two together and showing how they can both benefit one another is an interest that we've got and we'll see if we can get some projects to do there. And of course they’ve got some bloody big projects that will challenge us as well and how do we respond to that.
Anton: Because obviously there's huge cultural difference and engaging with that is interesting.
Philip: I've got seven years of working over in Asia, I have a certain understanding of it.
Anton: That raises that vexed question of context and sense of place doesn't it, we've been through a few variations on that.
Philip: And then you get the greatest designer supposedly or urban designers and they built fucking Canberra, the most people devoid experience you'd ever want to go to. So do we really know what we’re doing, do we? We think we do, we think we’re getting better but I don’t know? You just have a punt and hopefully it works out.
Anton: You negotiate the terrain as you find it.
Philip: [laughs] Yeah. I don't know, I've never really figured it out, never. And to teach it I don’t think you can even teach it. I think you can kind of nudge people but if they haven't got it basically embedded in their brain I think it's extremely difficult.
Anton: Well I suppose you made me think about an article I read last night by a painting professor from the US who was saying that critical theory, she teaches it in art history but in the painting studio she thinks it's totally destructive because it sort of comes before the fact of actually finding what you might discover in doing. And that possibly raises that complex question what is landscape architecture for you as a thinking, is that what - where’s the nub of it, engineers do technical drawings.
Philip: But that’s where it comes down to, I mean it's not a science it hasn’t got a formulaic approach to it, there is no right or wrong. Like an engineer you can argue the arch is going to fall down if you do it at that thickness. The landscape architecture, you can't. We can crit it and we can say I don’t think that because of this but there's no mathematics behind it.
Anton: No but it's that interesting question of what makes landscape architecture, at what point - why is your back garden not landscape architecture and something else is?
Philip: That opens up the Pandora’s box doesn't it?
Anton: Yep. And the comment I heard in Melbourne, somebody from ARM saying architecture is not about buildings, architecture is about drawing. That’s what architects do they make two-dimensional and I suppose now digital but two- dimensional work, that’s their work making two dimensional things. The builders make the buildings.
Philip: Yeah we do the drawings.
Philip: So where does landscape sit if you take that view?
Philip: Mate I love esoteric questions, I love the esoteric question yeah and I think you could - I know a lot of designers, and I'm sure you do too, who've probably never written a spec in their life. But for me so much of the design, the nuance the delicacy, is in the specification isn't it. That moment when you're out on site and you're flipping over and you wanted that Phillips head countersunk recessed screw that had a male and female joint that knocked one another out and sealed the joint perfectly. And when they go through the spec it's not in there and the guy’s brought along this coach-head bolt and this thing and he's going to shove the two together. And you go mate sorry where is it. It's a lovely question.
Anton: Well that says a lot I think, that’s interesting. It comes back to the industrial design and your love of detail.
Philip: But the talk of what is landscape architecture, I think we've been going on about this for years and years and years and years and we'll never define it. Because the beauty is it has no edges, it has no squares or circles, it is exactly all those things that you said isn't it, and it's beautiful in that way.
Anton: It is, yeah.
Philip: And luckily we can't capture it because we'll always be chasing it.
Anton: Yeah I suppose the question was really about where the work lies - and I agree the work life is throughout but to use that term what's specificity, what is it. Specificity in painting is the materiality of the paint, that’s what they deal with, they have to learn the materiality of the paint because you're dealing with it in a very tactile manner. And what is it in landscape; it's a vague question, it's a vague concept.
Philip: I like vague questions and vague concepts because it allows you to just imagine, float away in it. All I know is that I can do it.
Anton: Well, is it context, does it come back to responding to context? And I don’t mean slavishly genus loci sense of place some sort of authentic context but just is it about responding to what's out there, which may be others like architects maybe don’t do or engineers in that it's a mathematical technical sphere they're in, their context.
Philip: When you respond to context it's responding at the age that you're at with the experience you have, with the state of your mental inner being and whether you're happy or sad, whether you just saw something, a movie, an art piece, a bit of music that just absolutely - and somehow or other it wells up. I don’t know about you but I quite often hear music and there's a kind of quality to the whole -
Anton: Because you go into battle.
Philip: Yeah there's the music.
Anton: Into war.
Philip: There is. And it's not pop, this one’s not pop this one is classical and it's got this wonderful quality about it and then there's moments where it rolls on. And all those things come into it. I haven't got a fucking clue where this design is going when you sit down with that blank piece of paper, not a clue. And I wonder whether at the end of it somebody put it up on the wall and they can say ‘that’s Anton’s work’. And if you’ve been brought in as a young graduate and they'd shown you your work when you were mature whether you'd recognise your own work, and how did it get from there to there.
Anton: Who's that boring old fart.
Philip: I did that, or wow or I did that, shit! How did we get there? And why are we talking, why are we talking out of all the professionals that are out there. Because you got drawn into doing the masters to explore and to think about it. That I'm perceived to be a certain level perhaps within the profession. And so we’re having this game, circumstance all comes together. I love life, I think it's a fascinating process, continually mystifies me and I wake up every day going wow what's the next one going to be.
Anton: Will Alsop I heard him say something very funny, he said, “When I was 20 I was full of ideology and total convictions. When I was 40 I had some strong ideas. When I was 50 I had some notions. I'm 60 and I don’t have a clue anymore." [laughs]
Philip: Yeah I think that’s a lovely thing, which honestly I don’t feel like anything. I still think someone is going to call me out and say he's a fake, a fraud. You know that kind of - I was lucky once or twice, [laughs] circumstance happened and I was okay once or twice but couldn't do it again. And the guy’s all over himself haven't got a bloody clue what he's doing.
Conversation: Philip Coxall + Anton James
Audio recording: Anton James
Audio editing: Angela Grant
Website content: Matthew Kneale
Funding: RMIT University School of Architecture and Design SRC Grant
Ep 29: Adrian Shaughnessy - British graphic designer, writer, lecturer & co-founder of Unit EditionsArrest All Mimics: The Original Thinking and Creative Innovation Podcast add
The word 'legend' is tossed around far too lightly. In the world of visual communication, I have no problem attaching that word to the name of British graphic designer, writer, educator, publisher and creative innovator Adrian Shaughnessy. Adrian co-founded Intro, a design studio, in the late 1980s, steering the company to 40 members of staff and pioneering work in digital media and motion graphics. He is now the senior tutor of visual communication at the Royal College of Art.
Adrian's book, How To Be A Graphic Designer Without Losing Your Soul has sold over 80,000 copies worldwide and following this, he became a founding partner of Unit Editions, a publishing company producing books on design and visual communication.
Taking us through his outstanding career, discussing the vastly changed design landscape we now exist in and the challenges we face, Adrian details the brilliant story behind their iconic work with the band Primal Scream and the XTRMNTR album art-direction, his work with British graphic design veteran Ken Garland and his disdain of corporate culture.
An hour with a man of Adrian Shaughnessy's stature and industry respect is rare, so this is a must listen episode for anyone with even the most tenuous connection to the arts.
Episode 29 is supported by Illustration Ltd: http://illustrationweb.com, Heart Internet: http://heartinternet.co.uk and Printed.com: http://printed.com
https://twitter.com/AJWShaughnessy Adrian on Twitter
https://www.instagram.com/adrian.shaughnessy/ Adrian on Instagram
http://www.uniteditions.com/ - United Editions
https://www.instagram.com/uniteditions/ Unit Editions on Instagram
https://twitter.com/uniteditions?lang=en-gb Unit Editions on Twitter
http://www.rca.ac.uk/schools/school-of-communication/visual_communication/ RCA Visual Communication programme
https://www.amazon.co.uk/Graphic-Designer-Without-Losing-Your/dp/1856697096 - How To Be A Graphic Designer Without Losing Your Soul
http://www.intro-uk.com/about/intro/ - Intro Design
Heads Up with Remko - Adrian MateosPoker Central Podcast Network add
This week on the Heads Up with Remko podcast it's Spanish young gun Adrian Mateos who tells the story of his life in the game of poker.2:21 - The 2017 Player of the Year honors, setting it as a goal and being able to complete it. 3:55 - Adrian proudest victory, the WSOP Europe Main Event which allowed him to live and play what he wanted. 6:12 - Finding the game at age 16, and quickly becoming one of the best players in Spain. 8:54 - The difference between studying and learning the game in Spain versus being a part of the global English-speaking community. 11:50 - Carlos Mortensen, his popularity, chasing him on the Spanish all-time money list and becoming Number 1. 14:55 - Why and how $5 million in cashes doesn't corresponds directly with the profit Adrian takes home. 18:15 - The life-changing aspects of winning a million euros in 2013 at age 18, jumping in the deep end with high roller events and growing as a player. 21:05 - The perception is his success by friends, family and the media in Spain. 23:15 - The first time in Las Vegas, playing the Main Event a few days after his birthday, thinking back to watching the biggest event in the world before he was able to participate and winning bracelets. 29:00 - What's next for Adrian Mateos? 31:50 - The Big One for One Drop in 2018, will we see Adrian participate? 33:50 - The video game rating of Adrian Mateos, in line with a tradition that Bryn Kenney started on the podcast. 37:20 - Going up against 'The Germans', a strong collection of players that shares information and helps each other reach new heights, versus what the Spanish high roller players are up to these days. 40:32 - GTO vs exploitative, the future of poker in Spain and being called "The Conquistador". 44:59 - 2018, The Bahamas, Miami, US Poker Open and not getting into non-hold'em games just yet. 48:38 - Quick questions! Partying after a big win, renting a big villa in Ibiza, and his drink of choice.
Tune into PokerGO for a chance to watch Adrian Mateos play during the U.S. Poker Open. The series runs through February 11th, with a daily live-stream with the exception of Super Bowl Sunday. Sign up now for PokerGO and use the promo code REMKO for $10 off the annual subscription.
95: Adrian Ballinger - World Class Mountaineer with 7 Mt. Everest Summitsendurance Junkie Podcast add
Adrian Ballinger is a big-mountain climbing rockstar who has thirteen 8000m+ (26,000 feet+) summits to his name, including 7 times Mt Everest. In 2017, Adrian summited Everest without the use of supplemental oxygen; a feat that less than 200 people in the world have ever achieved. As founder and head guide of Alpenglow Expeditions, Adrian has been guiding full-time for fifteen years and has led over 100 international climbing expeditions on 5 continents. Adrian is the only American who has skied two 8,000 meter peaks, was the first person to ski Manaslu, the 8th tallest mountain in the world, and in 2011 became the first person to summit three 8,000 meter peaks in only 3 weeks (Everest twice and Lhotse once). You can follow Adrian on Facebook, Twitter and Instagram.
In this interview we talk about:
– Adrian's sporting background and how he got into big-mountain climbing
– How to train (technically, physically and mentally) for big-mountain climbing
– Differences between summiting Mt Everest with or without supplemental oxygen
– How to maintain composure & clarity during adverse moments
– Future goals and ambitions
095: Adrian (@AdeyF69) – Why it pays to be relentlessly process driven, and when stats countChat With Traders · Conversations with talented traders—in stocks, futures, options, forex and crypto markets. add
For this episode, the trader who I had the opportunity to speak with, and who you’re about to hear from, is Adrian—or @AdeyF69 on Twitter.
Adrian was a pro sailor for almost two decades, but for the past six years, he’s been on dry land, taking an income from financial markets as an independent day trader.
Adrian primarily trades the Bund and the DAX, though he initially started out in foreign exchange. His trading strategy is influenced by support and resistance areas, volume profiling, order flow, and stats.
After talking about how Adrian’s survived storms at sea, torturous sleeping patterns, and run-ins with pirates, we spend a fair amount of time discussing; how Adrian uses stats and some things to watch out for, and why it pays to be process driven.
011 EnduranceThursday · Adrian Hayes · Record-Breaking Polar Explorer And CampaignerInspiring Adventurer · Daily Outdoor Sports Podcast · Surfing, Climbing, Kayaking, Skiing, Mountain Biking & more add
Adrian Hayes is a record-breaking polar explorer & adventurer, keynote speaker, business coach, author and campaigner. Having set two Guinness World Records by reaching the Northpole, the Southpole and summiting the Mount Everest in the shortest period of time and by having completed the longest unsupported snowkiting journey in the Arctic history, Adrian is inspiring to people around the world. Adrian’s Daily Habits · Look up to the sky · Tapping into nature · Listening to music Adrian’s Quote ‘Courage is not the absence of fear, rather the willingness to face it.’ Adrian’s Powerful Sentence ‘I’m an adventurer of the mind as much as I’m an adventurer of the body.’ […]
See the original post at 011 EnduranceThursday · Adrian Hayes · Record-Breaking Polar Explorer And Campaigner.
The Mojo Radio Show - EP 52 - Life, Leadership, Business and Success with the Leaders Leader - Dr Adrian GeeringThe Mojo Radio Show add
Dr Adrian Geering is the leader’s leader. Adrian is a world leading coach of CEO’s and future leaders. An author, coach and keynote speaker, Adrian Geering was voted the best CEO coach in the world by leading CEO organisations Vistage and TEC. The highest performing leaders in any field need a mentor or coach and Adrian Geering is at the top of his game. His work has transformed the life, leadership, business, ideation and success of leaders across the world. This show is powerful, so make sure your pen and journal are at the ready, as there is GOLD in them there hills! Here’s what we cover with Adrian: What are the trends occurring in CEO leadership?Why have a mentor?What makes a great mentor?Leading with strategy, purpose and empathyHow leadership is about “sacrificing self interest"The characteristics that separate great leaders from the restWhere are we falling down in our leadership of a business?Accountability in Life, leadership and businessAre we lacking discipline and how design beats discipline?What unessentials has Adrian taken out of his world that have had a profound effect on his life?World class people have one thing is common……. ?Daily rituals for high performanceThe book by Parker Palmer that led Adrian’s life purposeYour most valuable superannuation - your health!Is there a point to being the richest person in the cemetery? The final word from Churchill
Ep 90 - The Clash of Spirituality & Materialism of Modern Yoga With Adrian Cox | Validity Of Psychedelic InsightsPsychedelic Milk add
Adrian Cox is the founder and director of Yoga Elements Studio,
a licensed NLP Trainer, and yoga teacher for over 15 years. His teachings and work with people draw upon an in-depth study and practice of yoga, Ayurveda, meditation, philosophy, mind, and linguistics. He is a licensed trainer and coach of Neuro-Linguistic Programming (Society of NLP/ Christina Hall), and certified clinical hypnotherapist,. Adrian applies a keen understanding of language, state, and change processes to facilitate learning and change in a accelerated and generative way.
Subjects covered:Life in Bangkok as a westerner Vision that moved Adrian to Bangkok The chaos and order of Asia Westernization of eastern spirituality Cluelessness of eastern symbology in the West Asana practice vs spiritual practice South India vs North India yoga practices 4000 years of yoga? Aesthetic practice of yoga Postures' origination Negative western influence of modern yoga Positive western influence of modern yoga Yoga materialism Yoga being sold as an exercise product Is yoga's true essence being hijacked by capitalism? Maslow's hierarchy of needs Dualism of money and spirituality Connection between the emotional state and the amount of business of Adrian's studio Qualities of a good yoga teacher The goal of congruency Rise and fall of yoga masters Does lineage matter? Nama, Niyama Separating the artists' works from the artists' deeds Psychedelics and yoga Smoking weed and yoga Adrian's relationship with psychedelics Microdosing psilocybin
Continued in our PLUS+ Extension:Disruptive tendencies from psychedelics and how it affects our lives in the marketplace Ayahuasca insights leading the Adrian's divorce Do insights from ayahuasca align with the Ayurvedic points of view? Acting upon the advice given by the psychedelic "Pink Cloud" Did the plans shown by psychedelics pan out at the end? Rewards from patience Specific instructions from ayahuasca Distinctions of your inner voice or legit psychedelic advice The "heart" in Thailand
Unlock Full Access With Psychedelic Milk Plus+ on http://www.psychedelicmilk.com/plus
Tools you need to understand the system you are part of | Adrian KerryScrum Master Toolbox Podcast add
When we work with organizations and teams that adopt Scrum, we need to have an understanding of what might be the inherent organizational and personal barriers to adoption. There are a number of tools we can use to learn about which barriers are active, and from that generate ideas about what might be the next step.
In this episode we refer to Henrik Kniberg’s Scrum Checklist (PDF), the Spotify Squad Healthcheck, and Adrian’s own post about the journey towards applying Scrum.
About Adrian Kerry
A Scrum Master who specialises in Mobile and User Centred Design based approaches, Adrian comes from a testing background and he still finds that he champions making testing easier for the teams he works with. Due to that Adrian is also a strong advocate of XP practices (and, from that, BDD)
You can link with Adrian Kerry on LinkedIn.
013: Inside a Mobile Design Consultancy with Adrian CrookPlaymakers: The Game Industry Podcast add
Adrian Crook is an award-winning game design consultant with over 20 years’ experience in the social, casual, and core games sectors. He has produced and designed over two dozen products across platforms ranging from early Nintendo and Sega Genesis to PlayStation 1, PlayStation 2, PC, Xbox 360, Wii, Facebook, iOS, and Online. In 2006, Adrian was named Producer of the Year by the Canadian New Media Awards and his products have won numerous awards, including “Game of the Year.”
In January 2008, Adrian founded Adrian Crook & Associates, a game design and strategy consultancy that has contributed to the success of over 90 valued international clients. Adrian’s experienced team is focused on social and mobile game design, gamification, business development, and startup growth strategy.
Adrian is an advisor to several game industry firms and is currently a creative mentor at Execution Labs, a game incubator, and accelerator. He has given interviews on G4TV and other TV, print, and online news outlets, and has spoken as a social games expert at conferences such as GDC, SXSW, ICE, Casual Connect, INplay, and GameON: Finance.
Visit www.playmakerspodcast.com to get access to the full blog post for this episode and much more!