Cobalt Design – Australian Good Design Team of the Year

THIS ACCOLADE CELEBRATES A DESIGN TEAM WHO CONSISTENTLY PERFORMS AT THE HIGHEST LEVEL IN THE ANNUAL AUSTRALIAN GOOD DESIGN AWARDS AND HAS ESTABLISHED A TANGIBLE DESIGN-LED CULTURE WITHIN THEIR ORGANISATION.

THE AWARD AIMS TO INSPIRE COMPANIES TO BUILD AND MAINTAIN A DESIGN-LED CULTURE THROUGHOUT THE WORKPLACE.

The longstanding success of Cobalt Design (Cobalt) is a result of their culture. Cobalt’s founders have designed a place where failure is transformed into learning, students grow into mentors and respect is afforded to all. The creative design and engineering group adds the 2024 Good Design Team of the Year Award to their long list of well-deserved accolades. 

Cobalt is based in inner-Melbourne and was founded in 1996 by Jack Magree and Steve Martinuzzo, who were later joined by Warwick Brown. Their team of over 30 people collaborates across a balance of international and Australian projects, infusing each with their signature innovation, accountability and integrity. One of their many achievements is designing the original reusable coffee cup, the KeepCup. 

Whether you speak to their executive leaders, ‘Nextgen’ level or their most recent graduate hires, Cobalt’s design culture is tangible. They uplift each other at all points of the design process and care deeply about client relationships. This commitment results in excellent staff retention, contributions to the design industry and the satisfaction of knowing the full potential of an idea has been realised. 

Founders Steve Martinuzzo and Jack Magree offered us a behind-the-scenes look at their award-winning culture. 


GDA: How does your design-led culture show up at an executive level and also during everyday interactions at Cobalt Design? 

Steve Martinuzzo: At the executive level, our job is to create the space where our team can be their best… There’s two sides to design culture. One is the culture that we have, that really gets the most out of every project, every opportunity, every brief.

There’s also the culture that we talk about with our clients. They are often very aligned, but that part of the culture is sometimes about convincing them why design is important, why they should be choosing us. Then the culture of, how do we manage the client’s expectations once the project gets underway? 

Jack Magree: How to run a design-led culture at an executive level is one thing that we’re conscious of every time our team comes to a project. They have to be able to be creative, pragmatic, complement the client’s team and lead a client’s team…. ​​Usually, our clients don’t have a designer on their own team. 

At an executive level, we have an agenda to have a lot of variety in our work. We founded Cobalt on the basis that we wanted that variability in our work. The variation is what makes us motivated and tick. So, we try to inspire those we employ and we try to see it in them first, and then we try to foster it whilst they’re here. 

GDA: Would you say the variation of the work you do is one of the main contributors to your excellent staff retention rate?

Steve Martinuzzo: Yes. I think that it’s very fulfilling being a designer or design engineer working in a company where there’s this sort of overlapping cycle of projects. Where you’re at the start of one, where everything’s possible and you’re excited by that, to the conclusion of another one where, where it’s really satisfying crossing that finishing line. And so you’ve always got that rolling excitement surrounded by peers.

One of the things that was a founding principle of Cobalt, was to have an environment where everyone feels like they’re part of that team. The point of not naming our design group, ‘Magree Martinuzzo’, or something like that, was we really wanted it to be not about the individual, but about the whole. That goes through everything we do.

We wanted everyone to feel respected no matter what their role is…. Hopefully that creates the sort of environment that people want to be part of.

GDA: When it comes to finding new team members, what do you look for in a designer?

Jack Magree: You’ve got to demonstrate to us that you can be part of a team. So, if we’re looking at graduates, we’ll be looking at their teamwork. For every product we’ve done, not one person can say, ‘That was just me.’ You definitely feel ownership over it, and you feel really proud of it. But, there’s so many hands along the way and collaboration from the team that we all feel a part of it. 

We’re looking for talent. The ability to visualise, either be it by sketch or by some other form.

The main thing is, will they fit? We do think that we’ve got the best of the best working for us. That means you can have some pretty high powered people, some young and also expressive and some who are quieter, but they all have to fit in.

GDA: Can you tell us about your ‘Nextgen’ level of leadership and how that came about? 

Steve Martinuzzo: We’ve been doing this for a number of years. It’s important that when we decide to, you know, hang up the markers or put down the mouse, or whatever the expression is these days, that the company itself continues on. As well as the systems and the relationships, the projects and the clients that rely on us…

We were both in our early thirties when we started Cobalt and started it from nothing. So there was, I suppose, no great risk… But now we’ve got a company that employs a lot of people… So for anyone taking up the ownership, it’s like they’re jumping onto a moving train, rather than starting something from scratch.

We don’t have an age base. It’s more about, do they have the capabilities and the ambition and the means to be potential leaders?

Jack Magree: We do pressure test them. They’ll take up project leader positions. They’ll guide projects to the point where they don’t necessarily need one of the founding Principles in there, other than mentoring… Failure is good as well. You learn from failure. We like to think that we allow people to succeed by letting them fail.

GDA: Your leadership team gives back to the design community through things like advisory panels, committees and media forums. What effect do you hope this will have on the Australian design industry?

Steve Martinuzzo:  We’re very aware of our responsibility. Really, it’s a privilege to represent the design industry on different forums, committees and industry initiatives.

I suppose, with design literacy and awareness Australia doesn’t rank that high… We see that and think, how do we help to improve it? 

Hopefully the companies and people that have dealt with us have a better understanding of that now, but I think the whole industry needs to do it. And obviously, what GDA does is part of that. What federal and state governments are trying to do is part of that too.

Jack Magree: Adding to that, when Steve and I were at university we went into our courses not knowing very much about industrial design at all. I had never encountered it before the year I went into it…

After we came out of university, Steve and I shared the same passion to go and teach. We didn’t know each other and we both had jobs as industrial designers in different companies. But we both went and taught teachers who taught art and design at high school. We would give sessions on how to teach industrial design… They had some interest, so we tried to foster that interest in them.

And the strangest thing was that I think maybe our third or fourth employee, actually was one of those students who we were showing how to use markers back when he was in year nine…  He came back and he went on to become one of the best designers we know…

We try to then repeat the same process with our own staff, and get them to teach and get them to give back because they inspire others.

[KeepCup designed by Cobalt Design Image: Cobalt Design]


GDA: Can you tell us about some projects that were especially rewarding? 

Steve Martinuzzo: The KeepCup is my go-to answer in terms of what we do. It really launched a whole new category, because before that there was nothing like it…

I think that for something to be really successful, you need probably four elements. One is the client. We really value our clients and value the fact that without them we can’t be designers… They come with a business strategy and the vision of what they want to achieve. The product design. The brand. And then there’s luck. 

You could call it luck or good timing. [The KeepCup] was when the market was right for something like that. It was a need that people had, but they didn’t know they had… Maybe I should call it magic rather than luck, because there’s something in it that’s hard to pinpoint.

Jack Magree: Timing can be such a magical thing when it’s on your side… Another project would be MoyoAssist® alongside magAssist. It’s a product that can seamlessly go from maintaining people’s hearts when they’re waiting for heart surgery, to during surgery and after.

It’s a significant project. You don’t get much more life changing than something that literally keeps your heart pumping…. That persistence, and being sort of welcomed as part of [magAssist’s] development process, has been really satisfying from our point of view as a design partner. And then, the product itself… I mean, obviously, we’re biassed, but we think it’s a fantastic product and really does raise the standard.

GDA: Cobalt Design has been recognised for so many project and industry achievements since your beginnings in 1996 and now you’re being honoured as the 2024 Good Design Team of the Year. What effect does this kind of recognition have on your team behind-the-scenes? 

Jack Magree: It shines a light on what we do. It makes you reflect on the impact you have and why you do it. We often think the things that motivate us to do this are more than the obvious. It’s made up of so many little things. Sometimes it’s just the joy of watching a smile spread across someone’s face when they’re using our product. Sometimes it’s just the sheer quantity of product you’ve impacted upon the marketplace, or a change of behaviour like with the KeepCup. 


Cobalt’s design culture starts with a resilient leadership team and results in a better design industry. People are their greatest asset, yet they are selfless with their talent. Cobalt’s founders give their all into nurturing each team member towards their full potential as a designer. They speak of their alumni with incredible pride, because Cobalt is a place designed to support people and the Australian design industry.

Congratulations to Cobalt Design on being honoured with the 2024 Design Team of the Year Award. 

Queensland Health First Nations Design Framework – 2024 Indigenous Design Award

PROUDLY PRESENTED BY RMIT UNIVERSITY, THE INDIGENOUS DESIGN AWARD RECOGNISES AND CELEBRATES THE IMPORTANT CONTRIBUTION THAT AUSTRALIA’S ABORIGINAL AND TORRES STRAIT ISLANDER DESIGNERS MAKE ACROSS THE SPECTRUM OF AUSTRALIAN DESIGN. 

THE AWARD WELCOMES NOMINATIONS OF INDIGENOUS INDIVIDUALS AS WELL AS PROJECTS WHERE AT LEAST ONE MEMBER OF THE DESIGN TEAM IDENTIFIES AS ABORIGINAL OR TORRES STRAIT ISLANDER. RMIT AND INDIGENOUS COMMUNITY REPRESENTATIVES EVALUATE NOMINATED SUBMISSIONS AND SELECT THE OVERALL WINNER FOR THE AWARD BASED ON SPECIFIC EVALUATION CRITERIA.

Colonisation continues to cause disparities in Australia’s built environment and health systems. Aboriginal and Torres Strait Islander people suffer from disproportionately worse health outcomes and show poorer healthcare presentation rates. Additionally, previous efforts to create culturally safe healthcare have failed due to a lack of engagement with the First Nations community. 

The 2024 Indigenous Design Award Winner is The Queensland Health First Nations Design Framework (the Framework). It acknowledges the power of design on the journey towards health equity. The document provides a roadmap to engaging Traditional Custodians and First Nations community members in the development and delivery stages of health infrastructure. It includes recommendations for shaping the commercial, environmental and societal impact of infrastructure projects through co-design practices.  

Designed by Blaklash and commissioned by Health Infrastructure Queensland, the Framework was created in alignment with existing policies and frameworks by Queensland Health’s First Nations Health Office. It supports Queensland Health’s vision that built infrastructure has the potential to improve the healthcare experiences and outcomes of First Nations people.

We dove into the Framework’s co-design approach, inclusivity and use applications alongside Blaklash’s Principal, Tahlia Steadman and Managing Director, Troy Casey. 


GDA: What elements of health equity does the Framework aim to address? 

Troy Casey: It’s taking an approach that’s about holistic social change. For example, think about the Closing the Gap Report. The disparity between health outcomes is resulting in lower life expectancy rates for Aboriginal and Torres Strait Islander people. It also results in a higher likelihood that community will suffer from severe disease and preventable illness. 

Historically, Aboriginal and Torres Strait Islander people also show poorer presentation rates in terms of accessing health care for a range of different reasons. The ability for the First Nations community to access health care becomes critical to lots of other measures and metrics as part of that conversation. 

Tahlia Steadman: Historically the process of where facilities have been built has not been done in collaboration with Aboriginal and Torres Strait Islander communities. So there are times when sacred sites, scar trees, birthing trees have been removed to build a supposedly healing place there. 

This process means people may already feel as though they are going against their own culture to go to a site for whatever reason, so how do we expect our communities to present to facilities and access healthcare? But our view is that if you involve people in the conversation, you can become aware of these types of things and be sure not to repeat it.

GDA: In the journey to improve the healthcare experience and outcomes for First Nations communities, why is it so important to consider the design of healthcare facilities?

Troy Casey: There’s a number of factors that, once you present to a facility, lead to better health outcomes. One of them is something that we don’t have control of, which is clinical services and the way patients are treated when they present. Not treated medically, but treated personally, but also how they feel in those places and spaces. 

And so that’s the thing that we’re trying to tackle – how do we create culturally informed design responses that ensure Aboriginal and Torres Strait Islander people feel safe, welcome and invited into these spaces? Spaces that have often neglected them, or turned them away. Also, how do we ensure cultural practice is considered and supported through the design process? 

We need to move towards design that not only creates safe spaces where you can see your culture represented, but also places that have been designed to facilitate your cultural practices.

GDA: Can you give us some examples of changes under the Framework that could create more culturally safe and inviting facilities?

Tahlia Steadman: One example is thinking about how a building is actually sited. Thinking about where buildings are located and orientated and deciding things like what the views are from inpatient rooms and waiting rooms. Thinking about if there is a way to champion views to a particular geographical landmark that makes local First Nations people feel more grounded and connected to where they are. To feel safe and looked after. 

These design decisions are actually beneficial for everybody. It’s not just Aboriginal and Torres Strait Islander people that would benefit. 

Troy Casey: Also, facilities could take family size into consideration. The family size of Aboriginal and Torres Strait Islander people is often bigger than average. And so, how do facilities start to think about particular spaces that can facilitate large group gatherings?

Tahlia Steadman: Even little things like thinking about if you’re in a community that has different clan groups and avoidance practices that need to be respected, thinking about how separate waiting spaces or other design outcomes can be considered … There’s lots of different opportunities to explore that are very different depending on where a project is located.

[The Blaklash team behind the Framework – Winner of the 2024 Indigenous Design Award Image: Blaklash]


Blaklash has delivered a portfolio of Country-led design projects over the years. How does your process change during a policy design project compared to an architecture or interior design project? 

Troy Casey: What we’ve learnt from delivering projects without having a framework or a policy has been critical. We’ve seen firsthand, within projects, where we could have created really valuable outcomes if we had the right conversations earlier in the project timeline. That understanding enabled us to work closely with Health Infrastructure Queensland and say, ‘How might our tried and tested methodology align with your infrastructure delivery processes?’

The work that Haylene Grogan has done as Chief First Nations Health Officer at Queensland Health in creating these other frameworks is so critical. It’s about the way in which all of these frameworks and policies integrate to create a holistic approach to better health outcomes for our community. 

The Framework prioritises the perspective of two First Nations engagement groups – Traditional Custodians and broader First Nations community members.  What went into defining these groups and how did that contribute to the holistic nature of the Framework?

Tahlia Steadman: We say that it always starts with Country. So to respect and honour that, Traditional Custodians need to be acknowledged as those who can talk to Country and share that insight. So, in developing the Framework it felt like an obvious route to go down to identify Traditional Custodians as one of the key stakeholder groups  to be engaged for these projects.

But then we also had to keep in mind that often people that use or work within these facilities, if you’re thinking of more urban and regional settings rather than remote, may not be Traditional Custodians of that area. Yet, there may be high populations of Aboriginal and Torres Strait Islander community members from all over that make up the local community, including Elders that could have lived there for 50 years. 

For this reason, the second engagement group focuses on First Nations staff members, First Nations community members, consumers and people that are using these facilities for healthcare. They need to have their lived experience embedded into design outcomes as well so the Framework makes sure that their voices are heard as well. 

GDA: How did you ensure the Framework was user friendly and able to be implemented at different stages of the health infrastructure design and delivery process and why was that important?

Tahlia Steadman: We’re very conscious of the fact that a lot of frameworks are developed and then sit on a shelf and are not be used, at least to their fullest. For this framework, we have tried to provide clarity and tangible actions for people to make implementation more approachable. 

The Framework outlines how everyone has clear roles and responsibilities, so things don’t get blurry. The aim is that people know exactly where they stand in the process, which also makes self evaluating more effective too… The idea is also that the Framework can continue to evolve over time, it isn’t stagnant. In implementing it on projects, it can be tried and tested and continue to improve through learnings heard from community and project teams

GDA: The Framework achieves multiple aspects of inclusion, such as economic inclusion. How does the Framework benefit First Nations businesses? 

Troy Casey: One of the major things that we always push for on projects that we deliver is the opportunity for economic impact. At the very minimum, that’s ensuring that community who contribute to the project are paid for their time… like any consultant would be if they provided their expertise on a project. 

The second part of it is, how do we scaffold impact across the whole project from the outset? One way might be by engaging us as an Aboriginal business to guide the design. But further to that, we’re ensuring that other First Nations businesses, who can provide products or services to the construction or fit out phase, are engaged and involved in these projects from the beginning, throughout and beyond into operations and maintenance.

Everything we do is always trying to create more opportunities for other Aboriginal and Torres Strait Islander people.


As the 2024 Indigenous Design Award Winner, the Framework is an exemplar of how good co-design can drive Country-centred and community-led outcomes. By outlining how Aboriginal and Torres Strait Islander communities can be involved in projects from start to finish, it lays the foundation for the design and delivery of culturally safe healthcare facilities. 

The Framework complements Queensland Health’s initiatives and deeply considers user needs to maximise the potential for positive impact. Congratulations to the team at Blaklash for using Country-led design to create opportunities for First Nations communities.