At Herman Miller’s Reach festival we witnessed the far reaches of innovation reach fruition, while also discovering the true depths of our collective disengagement.
“What is innovation?” muses Amanda Stanaway, principal at Woods Bagot and speaker at Herman Miller’s Reach festival on the future of work and workplace design. “There’s everyday innovation and disruptive innovation.” Most organisations, says Stanaway, want everyday innovation – they’re looking to build speed and efficiency into their workforce, processes and systems.
In her 15-minute key note address on innovation, Stanaway spoke of innovation not as a “state of mind” but rather a “white room” in which people are given the proverbial “space” to think, create, prototype, fail and thus, innovate.
A harsh truth of the 21st century, notes Stanaway, is that any process we might imagine being carried out by a machine, will most certainly be. Technology as an innovator is certainly a disruptor.
But it also gives rise to what Stanaway refers to the as the “creative economy”. “Being human and being able to create will be fundamental to us in the future,” she says.
Stanaway was joined by fellow key note speakers and industry figures including Brenton Smith of Bates Smart, Heidi Smith of Gray Puksand and Gavin Harris of Futurespace (to name just three). Each spoke with passion and verve on topics as far ranging as staff engagement, designing an experience, and sector differences defining contemporary workplace design approaches.
In Heidi Smith’s keynote lecture she noted that just 31.9 per cent of workers are engaged at the office. “For every one person disengaged, we have 1.5 engaged,” she elaborated. “Those disengaged staff cost over $54 billion a year.” And while workplace design isn’t wholly responsible for this, it is certainly an important part of the “engagement puzzle”.
Offering a cutting edge solution to the disengagement issue was Forpeople’s Richard Stevens and Joohee Lee, who presented their new Keyn Chair for Herman Miller. A meeting chair that directly addresses what Stevens and Lee refer to as “the boring meeting syndrome”, the Keyn is designed to move and shift with the body.
“Research shows that people move up to 53 times an hour while seated; you only have to watch people in a meeting for a short time to see how much they shift and fidget. So it made sense for us to consider how we enable the chair to move with the user,” they say.
In developing the concept and design of the chair, Forpeople spent a lot of time observing people in meeting spaces. “We [took] Herman Miller’s experience of high performance task chairs and ergonomic understanding, and leveraged that into a group of products for meeting spaces.”
The result is a chair that offers enough seat back flex that you can change your posture and shift around in a really simply way, while still seated. Thus the discomfort of boredom is alleviated by a flexible, malleable seat that offers spinal support. Even better, “the design of the seat back has enough flex to remain in contact with your back as you recline.”
It was a day of revelations and rich engagement among the architecture and design industry. And, with room full of Keyn chairs for visitors to sit in, there wasn’t a ‘bored syndromer’ in sight.
INDESIGN is on instagram
Follow @indesignlive
A searchable and comprehensive guide for specifying leading products and their suppliers
Keep up to date with the latest and greatest from our industry BFF's!
When Italian furniture maker, Pedrali partnered with design studio, Formafantasma, the collaboration was always going to result in something both elevated and imbued with impeccable detail and flair.
In the last instalment of our three-part performance seating series, Alex Bain from Architectus explains why sitting well shouldn’t feel like sitting at all and explores an unexpected success metric of the hybrid workplace: the grounding power of emotional support.
As Woven Image celebrates 40 years, it introduces a new collection developed in collaboration with Australian artist Ben Goss, inspired by his original artwork Where the Kookaburra Sits into a vibrant collection of digitally printed EchoPanel® murals and patterns.
At a packed awards night in Melbourne, the design community from all corners of the Asia-Pacific region came together to celebrate an incredible range of winners.
Celebrating its 10th anniversary, the 2026 INDE.Awards recognised the outstanding people, projects and products shaping design across the Indo-Pacific.
After two decades of creative partnership, Kim Colin and Sam Hecht of Industrial Facility step into a joint role as Herman Miller’s Global Creative Directors – a reminder that the brand’s ethos isn’t defined solely by their products, but also by the quiet thread of thought that shapes the space in-between, crafting a purposeful, human-centric and enduring trajectory.
Aeron Chair’s new shades, Nightfall and Jasper, arrive with a sense of quiet cohesion – no bells and whistles, no loud technicolour; just two timeless, perfectly versatile near-neutrals. But the new hues aren’t just about colour – and their significance is much more profound than their surface-level subtlety might suggest.
The internet never sleeps! Here's the stuff you might have missed
Ahead of Saturday Indesign, six architects and interior designers consider the assumptions that continue to shape homes, apartments and neighbourhoods – and the conversations the industry could be having more often.
Developed by bangdesign for Stylecraft, Kinn is an Australian-made collection of seating and occasional tables, shaped by modest proportions, practical detail and the changing demands of shared interiors.