Design Studio

ARCH 1108 . ARCH 1109 . ARCH 1119 . ARCH 1121

BOUNLESSNESS; extending the fixed limits of our habitual view

Tutor: Liz Lambrou + Fiona Newman
Schedule: Tuesdays 9.00am – 12.00 + 12.30pm – 3.30
Location: 8.11.18

Studio summary
This studio will investigate micro public spaces usually found on the periphery. The idea is to expose and adapt to the existing elements and conditions on the extreme edges of public space. Students will realise small-scale artifacts through site analysis within inner city locations. Students will consider how to inhabit and harness left over space and fragmented sites.
Important questions: What constitutes a state of place? How can space/place accommodate the fluidity of various contemporary phenomena?
Through the growth of city, infrastructure has created many isolated corners and pockets of unused or inaccessible space. The studio will investigate the accidental urban vernacular acting as urban detectives by cataloguing through photography/ mappings /collage/ diagram/installation the agility of Melbourne’s fabric locating sequential boundaries and surfaces hard /soft/ blurred /invisible to produce radical programmatic collisions and customization.

Technology summary
Students will process the findings from exploring and cataloguing the city into the design and construction of a series of resolved and refined artifacts.  The first phase will all be low fi work using hand sketching, model making, building, casting, drafting, technical drawing, collage, etching, text etc.  In the second phase where one or two artifacts are distilled we will still primarily focus on the low fi but will begin to translate the project into a presentation format with the aim being to produce a journal or history of the artifacts, a selection of refined or developed models, technical drawings and images of the project which can either be low or hi fi.

Student capabilities
Ability to research  and catalogue programmed sites and contexts through photography/drawing/diagram/collage/installation
Ability to synthesize complex program collisions into designed material and speculative spatial outcomes
Ability to effectively and creatively communicate observations and intent
Ability to make, craft, refine catalogue and exhibit  a series of artifacts
Ability to practice independent ideas through a range of explorative, experimental and speculative approaches to design

Key terms
Archaelogy
Appropriation + modification
Sequential boundaries
Trace

Precedents / references
Pet Architecture
Paul Virilio’s Bunker Archaeology
Lebbeus Woods
Rachel Whiteread
Atelier Bow Wow
Hitoshi

Texts, readings, essays
Urban Interstices: The Aesthetics and the Politics of the In-between edited by Dr Andrea Mubi Brighenti
Herzog & De Meuron: Natural History
Public assembly, The Installation as Aesthetic Object and Institutional Critique, Lawrence Lek
Made in Tokyo: Guide Book, 2001 by Junzo Kuroda (Author), Momoyo Kallima (Author)
Archaeology of the Mind, Herzog & de Meuron

WHERE THE WILD THINGS ARE - A CreATURELy LifE

Tutor: Andrew Miller
Schedule: Tuesdays 9.00am – 12.00 + 12.30pm – 3.30
Location: Pavilion 1 ­ 100.10.003

Studio summary
This studio works on the premise that architectural design is a semi-living thing Eg. In all its guises (for better or worse) - it is affective.
This premise will be explored through a ‘live’ project - the design of a tourist Lodge at Lake Michaelson, Mt Kenya National Park, Kenya -  a collaboration between the Kenya Wildlife Service (KWS) and a private developer, studio leader Andy Miller and associate, Chen Canhui.
The site is a sensorial wonderland of environmental conditions; situated at 4000m above sea level on Mount Kenya, the site is subject to dramatic changes in temperature, sun, snow, winds, ice, clear starry nights, a glacial lake and peculiar flora and fauna whilst embedded within a complex set of  socio/political relations.
Students will develop and propose a speculative design of a cabin (from the inside out) that will express, amplify or question the concept of semi-living architecture. This will be approached through an analysis of the client brief and the continuous relationships between interiority, exteriority, technical, cultural and natural systems encountered at and around the site.

Technology summary
The overall technological concern for this studio is for students to experiment, develop and express a design making language that is specific to the approach and logic of each students design speculation.  
As a way of developing and expressing this language participants will begin by producing a series of low tech speculative responses to the design brief, engaging with  techniques of sketching, hand modelling, photography, film and graphics. As the design process progresses through the semester, students will engage with digital modelling techniques using software packages such as, Rhino, Tsplines, and Ecotect, then prototype their ideas through digital fabrication techniques such as, laser cut model making, thermoforming and cnc milling.

Student capabilities
The ability to engage analytically and imaginatively with complex relations of site and brief.
The ability to effectively express and articulate a design language in relation to the  logic of the design proposal.
The ability to understand making, drawing, crafting  and digital fabrication as a way of understanding materials and their spatial effects.
The ability to refine design through iteration.
The ability to analyse design precedents and articulate how they have been drawn upon in the design proposition.

Key terms
Semi-Living Architecture
Creaturely
Matter/Material
Sensuality/Empathy  
Assemblage
Ambiguity/Concrete
Speculation/pragmatics

Precedents / references
Greg Lynn Embryological House
R&Sie(n) Lost in Paris etc
James Turrell
Tiny House Movement/Pod Architecture
Gernot Nalbach
Archigram
Snohetta
Matthew Barney
Richard Neutra
Toshiki Hirano
Ant Farm

Texts, readings, essays
Greg Lynn – A new Style of Life
Jane Bennet – Vibrant Matter: A Political Ecology of Things
Peter Zumthor – Atmospheres
Juhani Pallassmaa – The eyes of the Skin: Architecture and the Senses
Eduardo Kohn – How Forests Think: Toward an Anthropology Beyond the Human
Dunne and Raby – Speculative Everything

HOME SWEET HOME

Tutor: Dean Foster
Schedule: Tuesdays 9.00am – 12.00pm + 12.30pm – 3.30pm,
Location: Pavilion 2 ­ 100.10.004

 

Studio summary
To ‘Own Your Own Home’ was always the Australian dream. The ¼ acre block in the ‘burbs. A garden, a shed and a dog. Today, the dream is all but gone; instead we are faced with a much different reality. Changing demographics, property prices and a cultural shift of lifestyle choices all contribute to an Australia who cannot afford to own their own HOME.
The studio will begin by exploring hotels as reference to expand the current paradigm for residential living. Hoteling models have been diversifying in recent years to appeal to an ever-aware market. Similar advances in residential design are limited and often based on construction technologies rather than design solutions.
Through observation, mindfulness, research, empathy and critical analysis, we will uncover and define house and home to propose new models for western urban living.

Technology summary
With a view through a pragmatic frame, this studio will explore the creative process with one foot planted firmly in commercialism of real-estate; and the other foot reaching for the clouds.
Multi-dwelling living might start with location-location-location but it lives and breathes with sell-sell-sell. In this two part studio, Phase I will use design analysis, mapping, re-interpretation and representation to formulate a client brief to e-pitch your design concept using new media.
The e-pitch will drive Phase II. Using more traditional design techniques and our newly developed skills of analysis and interpretation, Phase II will follow the findings of the e-pitch to explore and strategically implement those findings into a proposed site.

Student capabilities
Learn to Observe / research / record / analyse / represent
Use of functional Mapping, for analysis & representation
Develop an Ergonomic Design Process using recordings of temporal, spatial, material conditions, and human movement and behaviours
To formulate a pitch to sell your product
Ability to understand broader cultural concerns and tendencies

Key terms
High Density
Sustainability
Liveability
De-centralisation.
Universal Design
Community

Precedents / references
Le Corbusier [Charles-Édouard Jeanneret-Gris]
Adolf Loos
Walter Benjamin
Beatriz Colomina
Louis Sauer

Texts, readings, essays
Shashi Caan, “Rethinking Design and Interiors: Human Beings in the Built Environment” (London: Laurence King Publishing, 2011).
Antonino Saggio, “Louis Sauer: - The Architect of Low-rise High-density Housing” (Lulu, 2014)
http://architectureau.com/articles/where-is-australias-low-rise-high-density-housing/
http://www.highdensityliveability.org.au/
Lisa M. Tucker, “Designing Sustainable Residential and Commercial Interiors” (Bloomsbury, 2015)

leah studio s1.jpg

DESIGN FOR CARE

Tutor: Leah Heiss
Schedule: Tuesdays 9.00am – 12.00pm + 12.30pm – 3.30pm
Location: ONJ Cancer & Wellness Centre, Heidelberg

 

Studio summary
Through the Designing for Care studio we will introduce RMIT Interior Design students to co-design within the healthcare context. The studio will address a range of issues, including but not confined to:
What could a care practice look like? Where is traditional interior design and architecture failing to provide environments that cater for the social and emotional experience of people – in addition to fulfilling their treatment needs?
How can we understand the lived experience of people as they move through and beyond the healthcare experience? Can we adopt a person-centred approach across the whole journey, which recognises the humanity and individuality of the person before the health experience, during and after treatment?
How can design thinking and interior design practice, which is focused on understanding social and emotional relationships in the spatial context, bring new ideas to existing patient experience issues?
How can co-design ideas be adapted to a spatial practice?

Technology summary
Design for Care will draw on a wide range of technologies, including: developing experiential tools for user engagement; creating films; diagraming user journeys through the care journey; developing drawings to communicate between patients, designers and staff; and learning to develop and conduct co-design workshops with patients and their families.

Student capabilities
Development of competencies around co-design principles as a way of engaging with patients through a care experience
Development of innovative ways to map the care journey through diagrammatic, filmic and other communication modalities
Development of a deep understanding of the care system and propositions as to how this could be improved through the process of design
Competencies in navigating the hospital system and development of an understanding of the role of design in care

Key terms
Designing for care
Co-design
Patient experience
Embedded practice

Precedents / references
PROUD Co-design
http://www.proudeurope.eu/
Lancaster University, Impact Lancaster Collaboration & Impact Toolbox
POKO, Children’s Oncology Department, University Medical Centre, Groningen
Imagination Lancaster University: Beyond the Castle
Children's Hospice Association Scotland, Robin House

Texts, readings, essays
Boyd, Hilary, Stephen McKernon, Bernie Mullin, and Andrew Old. ‘Improving Healthcare through the Use of Co-Design’. The New Zealand Medical Journal 125, no. 1357 (29 June 2012): 76–87.
Cross, Nigel, Designerly Ways of Knowing. 1 edition. Basel; London: Birkhäuser Architecture, 2007.
Dorst, Kees, and Nigel Cross. ‘Creativity in the Design Process: Co-Evolution of Problem–solution’. Design Studies 22, no. 5 (September 2001): 425–37. doi:10.1016/S0142-694X(01)00009-6.
Jones, Peter. ‘How the Design Industry Must Change’. In Design for Care. Rosenfeld Media, 2013. http://proquest.safaribooksonline.com.ezproxy.lib.rmit.edu.au/book/design/9781457102905/introduction/ch00lev1sec1_html.
Jones, Peter. Design for Care: Innovating Healthcare Experience. 1st edition. Brooklyn, N.Y: Rosenfeld Media, 2013.
Sanders, Elizabeth B. N., and Pieter Jan Stappers. 2008. "Co-creation and the new landscapes of design."  CoDesign 4 (1):5-18.
Sanders, Elizabeth B. N., and Pieter Jan Stappers. 2014. "Probes, toolkits and prototypes: three approaches to making in codesigning."  CoDesign 10 (1):5-14.

 

PERFORM // REFORM

Tutor: Qianyi Lim
Schedule: Tuesdays 9.00am – 12.00pm + 12.30pm – 3.30pm
Location:Pavilion 3 ­ 100.10.005

 

Studio summary
PERFORM//REFORM explores the contexts surrounding socially performative space in both formal and informal settings. Students will undertake theoretical research into performance investigating film, dance, art and set-design. From this position students will explore the CBD to understand informal social performance. A final design outcome will combine these findings and focus on a key performance space in Melbourne’s north.  The studio will focus on the ideas surrounding socially performative spaces and how interior architecture can reform that process. The theoretical context of performance will also be explored, where students will undertake precedent analysis of past and current performance media including dance, performance art, theatre and film. Additionally students will look at the informal social performances that occur in everyday life and how the urban and interior fabric allows these performative actions to take place.
The intention of the project will be to challenge and/or reform the role of audience and performer in a social context to create interior spaces of social and cultural engagement.

 

 

Technology summary
Students will be expected to use a wide range of media to communicate their design and process, and as a tool for experimentation.
In addition to model making, diagramming and hand drawing; explorations into time based media, in both digital and analog forms, will be experimented with. These experiments will occur throughout the design process, from site analyses to the final communication of the design.
Study into a wide range of design and fine art precedents will also be developed as a reference for the theoretical basis of the project.

Student capabilities
On completion of this studio, students will have the following capabilities:
Ability to recognise complex social and cultural narratives that contribute to a stronger understanding of context.
Ability to analyse and understand performative actions in a range of creative media and arts in order to pursue an independent design approach
Ability to pursue an independent design approach through a process of experimentation

Key terms
Action
Reform
Performance
Informality
Formality
Social engagement
Black box
White box

Texts, Film, Artists
Dogville; 2003, Lars Von Trier
The Holy Mountain; 1973, Alejandro Jodorowsky
Tree of Codes, Olafur Eliasson
Imaginary Landscapes, Noguchi
Triadisches Ballet; 1922, Oskar Schlemmer
Marina Abramovic
Philip Adams (Balletlab)
Luke George
Atlanta Eke
Nick Cave artist
Matthew Barney - Blood of Two
Festival of Live Art (March 2016)
Rebecca Horn
Public Domain: In Search of New Public Domain; Hajer&Reijndorp, 2001
Sense of the City; Zardini, 2005
Volume Magazine #33: Interiors
Volume Magazine #36: Ways to Be Critical

THE OUTSIDE MIND; DEMENTIA AND INTERIOR DESIGN

Tutor: Rosie Scott
Schedule: Tuesdays 9.00am – 12.00pm + 12.30pm – 3.30pm
Location: 8.11.46

Studio summary
This studio aims to explore ways in which interior design practice can respond to and positively affect living scenarios for people with dementia and their carers. The notion of ‘care’ will be explored as both a design methodology (a practice of care) and as the location for the studio (residential care). This studio aims to address the many physical, spatial and logistical challenges and dementia care environments, whilst also responding to the overlapping notions of interiority that relate to dementia.  The etymological root of the word ‘dementia’ literally means “being out of one’s mind”. This idea of an outside mind, or a psychological dislocation is compelling in the context of an interior design practice responding to dementia care environments.
This studio will examine three areas of concern in dementia care environments: social space; physical space (including accessibility, safety, way finding); and body/mind/interior space.

Technology summary
Students will study the Australian Government's Disability Discrimination Act 1992 (DDA) and Australian Building Code to gain thorough knowledge of the standards and requirements to make spaces accessible for people with special needs. Students will also research further into the specific requirements and/or unresolved physical challenges of dementia care to identify opportunities for creative improvement.

Student capabilities
Develop excellent research skills across design precedent research and non-design based fields (such as dementia care and psychology).
Learn how to engage with specific research from other fields through interior design practice, to understand the role of interior design in a dementia care setting/system, in order to develop relevant and compelling design responses. Students will apply critical analysis to existing approaches to dementia care environments.
Become confident in proposing new, creative, experimental, design responses to the many logistical, physical, psychological, bodily, social, institutional challenges of dementia care. Through applying conceptual and theoretical frameworks to this topic students will learn to examine the limits and challenges of dementia environments in order to find opportunities to generate design with enthusiasm and creativity.
Develop care, aesthetic sensibility and skill in design development and presentation.
Build knowledge around requirements for designing accessible and specifically dementia care environments in relation to DDA and to further this knowledge with creative solutions to everyday physical challenges in the environments of dementia care.

Key terms
Inside / outside
Memory
Boundaries
Thresholds
Conditions
Identity
Belonging
Connectivity
Narrative
Atmosphere
Affect
Perception

Key approaches
Overlapping notions of interiority and the idea of the ‘outside mind’ (including boundaries, thresholds and connections)
Normative and non-normative space
Ideas of place, belonging, narrative, identity, familiarity, 
The production of stabilization/destabilization and orientation/disorientation
Aesthetics, affect, atmosphere, experience and perception (including watercolour practice).

Theory, Research Input, Practitioners
Immanuel Kant
Elizabeth Grosz
John Zeisel
Victoira Whitman (clinical social worker, manager at Eastern Health)
Cecilia Heffer (fashion PhD candidate at RMIT, based at UTS)
Hogeweyk, Dementia Care Village, Netherlands.

INHABITING THE MAP; Cartographies of Urban Life

Tutor: Sanné Mestrom
Schedule: Tuesdays 9.00am – 12.00 + 12.30pm – 3.30
Location: B45 / 01.005D

 

Studio summary
‘Maps are shaped by the beliefs, rituals and prejudies of the people who made them”
Prof. Jerry Brotton, author of A History of the World in Twelve Maps.
In this studio we explore the potentials of mapping to examine issues around personal, physical and cultural geographies.
Inhabiting the Map will give students the opportunity to explore memory, loss, gain, movement, and transition in the context of public space – interior and exterior.
Mapping is a process of trying to understand the relationship between the world and the self. Students will gain an understanding of the differences between physical space and representational space through briefs that map the self against the physical spaces they occupy.  Through site-responsive projects and urban interventions the studio will raise questions such as: how do we inhabit site, and how is the ‘map’ itself inhabitable? How reliant are we on the map? And, can we exist without it?
Maps continue to be at the forefront of current debates around subjects such as border policies, resources, territoriality, cultural identity and migration. For centuries artists have been drawn to the subject of maps and have used cartography to explore self-positioning and question who actually creates our ‘world view’. The importance placed on maps today is evident in how readily available they are and to whom. Once maps were for the privileged few, today they are for the masses. We can no longer ask who owns the map but rather whose world is being mapped?
Analysis, documentation and production in Phase 1 will be experimental and playful, captured and transformed through innovative mapping methodologies – transitioning between two-dimensional and three-dimensional form – combining sculpture, image, object and sound.

 

 

In Phase 2 of the studio, we will collaborate with the City of Hume to see students using their interior design practice to map the heart of the Broadmeadows Town Hall, due to be demolished (and refurbished) later this year. Questions raised around this project include: What is ‘public space’, as in the case of a public site such as a town all? Who ‘owns’ these public spaces – those that build it, or those that inhabit it? What shifts occur when those sites are altered or destroyed?
Observational studies and experimental projects - combining diverse mapping methodologies from walking, tracing, collage, sound and film through to photography, drawing and sculpture - will investigate how small urban sites, parks and other indoor & outdoor gathering spaces are used, and speculatively expand on their potential.

Technology summary
Two central conditions will be of focus
1. TOPOGRAPHY AND THE BUILT ENVIRONMENT; the physical ‘infrastructure’ of the site including recreational facilities, neighbouring streetscapes, access areas, threshold spaces, circulation areas, ‘open’ sites, outdoor ‘rooms’, altered sites and interventions…

2. SOCIAL + ECONOMIC FABRIC; the non-physical aspects of the site, which include personal, social, cultural and historical factors (culture, participation, education, memory, phycology, health and well-being) as well as the productive capacity of the site as a sustainable resource. Incorporate aspects such as demographics, cultural histories, personal narratives, social interaction, authorities, stakeholders and support structures and networks.

Student capabilities
Learn how to unpack the opportunities and challenges of site and transform them into design;
Understand how to relate the self to existing and potential narratives of site;
Learn to produce sensitive findings in physical sites, community, cultural and historical contexts by teasing out latent potentialities and affordances of site;
Explore a range of methodologies and techniques in observation, documentation, analysis and production;
Develop a series of guided mapping methodologies that respond to a series of sites, themes and conditions;
Discover ways of mediating the relationship between the human scale and the urban scale through design;

Key terms
Cartography
Digital mapping
Film
Photography
Mark-making
Walking watching writing
Circulation, density, entry, pedestrian, people, sidewalk, time-lapse photography counting, mapping,  tracking

Precedents / references
Theory
Mwon Kwon
Jan Gehl

Artists
Richard Long
Gordon Matta- Clarke
Justin Trendall
Paul Yore
Bruce Nauman
Lawrence Weiner
Francis Alys

Texts, readings, essays
Roland Barthes – Death of the Author (& Contemporary critiques) -who is the author, who is the user of space?
Phil Hubbard - Cities from above and below
Michelle Griffin - Putting Borady on the Map
Frank Bongiorno - What we talk about when we talk about bogans
Mwon Kwon – One Place After Another

NOMADIC AFFORDANCES

Tutor: Tim Sullivan
Schedule:  Tuesdays 9.00am – 12.00 + 12.30pm – 3.30
Location:  Bld 94. Level 5. Room 24

Studio summary
Nomadic Affordances will be researching the notion of the nomadic, its relationship to the interior and its potential future:  utopian digital nomads or apocalyptic Mad Max.
The studio is the first of an ongoing industry partnership with Jayco Australia a caravan manufacturer. Nomadic Affordances will focus on identifying potential research pathways for future studios.
The studio meets for only 3 hours per week but includes a week long intensive with visiting international designer Ido Bruno at the Testing Grounds compound in Sturt St (the image above is the site in 1855).  At this intensive you will become a literal nomad, living, eating and even sleeping (at least for one night) at the Testing Grounds site. Over the week the testing grounds site will be transformed, by us (and a forklift and a welder), into an open public exhibition. Your work, your nomadic spaces and yourselves the urban nomads, will be exhibited.
This studio and particularly the intensive will be run in tandem with an industrial design studio of the same name, there will be opportunities for some exciting cross disciplinary collaborations.

 

 

Technology summary
Throughout the studio will use the ethnographic technique of curated field-notes to document your research into nomadic cultures and technologies.  The field notes will culminate in a student built nomadic public exhibition displaying your research and work. The A5 field notes will be open to multiple 2D techniques, drawing, painting, photographs, prose, diagramming, collage...whatever.  
The field notes process will introduce you to reflexive thinking so that you can better analyse your design decisions and gain insight into what the ‘Interior’ means to you. This will give you a bedrock to start to strategise your position within the practice and the cannon.
We will be discussing some interesting ethnographic texts (not too many) and researching fascinating nomadic cultures and technologies. 

Student capabilities
Understanding nomadic spatial and technological systems
Reflexive thinking practices
Curatorial thought
Ethnographic field work techniques for design
Exhibition design

Texts/movies
Davidson - No Fixed Address - Nomads and the fate of the planet
Chatwin - Songlines
Malinowski - Method and Scope of Anthropological fieldwork
Till - The unfinished
Mad Max 2, 3 & Fury Road

Precedents/references
Canning Stock Route Project
Ido Bruno’s paper sheet exhibitions
Tim’s Wonga Beach house
Fujimoto - Nomad house
Kundig’s shack homes 

Key terms
Nomads
Exhibition design
Reflexivity
Ethnography
Functional minimalism

FEED BACK

Tutor: Ross McLeod + Chua Khoo
Schedule: Tuesdays 9:30am - 4:30pm
Location: 8.7.44 - Electronic Projects Laboratory

Studio summary
FEEDBACK is animated by three conceptual concerns: site-specificity; sensory experience; and individuals’ connections to place. The studio will explore the creation of new sensory relationships between people and place, building a sense of belonging to the larger community through the built environment.
FEEDBACK will be conducted as an interdisciplinary design studio that will bring together students studying interior design, industrial design and landscape architecture. Students will work alongside a team of academics who have extensive expertise in the manipulation of sensorial phenomena in the production of public works of art and design.
FEEDBACK will engage in the design and construction of feedback systems that will mediate the relationship between buildings and their occupants. Students will engage in a study of the psychological and social aspects of interaction and will be involved in developing digital tools that will translate human responses to the built environment into sensorial spatial effects.
FEEDBACK will focus on two sites for which interactive spatial systems will be developed, these are the RMIT Design Hub and the RMIT New Academic Street. The central concern of the studio will involve the identification of modes of interaction and the subsequent development of translation devices that express attitudes and feelings as spatial atmospheres.

 

 

Technology summary
Students will be introduced to the basics of electronic prototyping and digital media in order to experiment, iterate, and reflect upon the three core concerns of the studio. Using a thematic approach to sensory input/outputs – ocular, aural, kinetic – students will tackle the creation of interactive systems by building on ‘black-boxed’ C code and prototype circuits using breadboards, microcontrollers and sensors. Students are expected, with guidance, to research and source sensors specific to project needs.
As we will be using WiFi-enabled microcontrollers, opportunities exist for students to explore rich loops and mappings between real-world sensing, and that of the Internet.

Student capabilities
The following key capabilities are suggested from my perspective and capacity as technical tutor. Feel free to edit it to fit the overall scheme of things:
Evidence of knowledge of key concerns in interaction designAbility to develop meaningful mappings between analog/digital modes of being and makingDevelop basic technical competency in coding, electronics and sourcing of parts to enable experimentation with interactive prototypesDemonstrate ability to document process and production through suitable media such as video/photos/website, where appropriate.Degree of independence of self-driven technical research and experimentation

Precedents / references
Soegaard, Mads. Dam, Rikke Friis. (Eds.) (n.d.). The Encyclopedia of Human Computer Interaction, 2nd Ed. Retrieved from
https://www.interaction-design.org/literature/book/the-encyclopedia-of-human-computer-interaction-2nd-ed
Soegaard, Mads. Dam, Rikke Friis. (Eds.) (n.d.). The Glossary of Human Computer Interaction. Retrieved from https://www.interaction-design.org/literature/book/the-glossary-of-human-computer-interaction
Meyer, Adam. (n.d.). bildr.org. Retrieved from http://bildr.org/

Texts, readings, essays
Lakoff, G. & Johnson, M. (2003) Metaphors We Live By. University Of Chicago Press
Weiser, Mark. Brown, John Seely. 1995. Designing Calm Technology. Retrieved f  from http://www.ubiq.com/weiser/calmtech/calmtech.htm
Monk, S. (2015). Make - Getting Started with the Photon: Making Things with the Affordable, Compact, Hackable WiFi Module. Sebastopol: Maker Media.
Jeremijenko, Natalie. 2005. If Things Can Talk, What Do They Say? If We Can Talk to Things, What Do We Say? Retrieved      from http://www.electronicbookreview.com/thread/firstperson/voicechip
Jeremijenko, Natalie. 2000. Delusions of immateriality. Retrieved  from http://museum.doorsofperception.com/doors6/doors6/transcripts/jeremijenko.html
UnitedVisualArtists (UVA) https://uva.co.uk/
Troika http://www.troika.uk.com/projects/
TellArt http://www.tellart.com/
Media Facades http://www.architonic.com/ntsht/media-facade/7000408
http://www.suzannvictor.com/national-museum-singapore/museum-red-dragon.html

PROPS & MEDITATIVE ACTS IN TABLEAUX

Tutor: Phoebe Whitman
Schedule: Tuesdays 9.00am – 12.00 + 12.30pm – 3.30
Location: 8.11.47

It must have been an odd object to begin with.
Now the ghosts of its uses
Whisper around my head, tickle the tips
Of my fingers. Weeds
Reclaim with quick silence the beams, pillars,
Doorways. Places change, and a small object
Stands defiant in its placelessness.
Durable because it contains intensely meanings
Which it can no longer pour out.

Jimmie Durham, ‘Object’ (1964), in Jimmie Durham, A Certain Lack of Coherence (1993)


Studio summary
The studio will engage with techniques and ways objects and environments can intersect. Students will be asked to approach the object as situation for the production of multiple 3D and 2D compositions. With a particular emphasis on experimentation of material, form and surface to explore the spatial potentials of images and objects, the studio will question medium specificity and trace the ambivalent relationships between the original and the copy, as well as ideas of appropriation, iterative processes memory and acts of repetition.
The studio will explore contemporary ideas of retail through the interplay between exhibition and retail, object and material by challenging the consumer relationship and experience. Through binary associations of object/subject, consumer/user, function/fashion, the studio will explore approaches of meditation and re-imagining.
This studio will examine and expand the conventional definitions of retail as more than the commodification of objects and user relations through a series of projects that explore rituals, instruments, symbols, through concepts on memory, intimacy, value, narrative and time.
Objects function in a number of ways, often indicating, a particular time, place and situation, and arranged to express relationships about culture and relationships. The studio will explore these ideas through the construction and deconstruction of materiality and making material transformations.

Technology summary
The technology aspect of the studio will take part in a range of ways and through a succession of approaches to hands on making. The technology component of the studio will be the primary source of physical material for the larger project to be undertaken within the second part of the studio. These preliminary undertakings will be adopted, transferred, re-animated, into an Interior context. The final phase of the studio will engage in technical approaches that will predominantly be motivated through individual activities in object and image making techniques. Some of the work will be produced at 1:1 for the final exhibition.

Student capabilities
Ability to explore the interior though objects and their relationship to interiors, culture, history, context and value
Ability to explore techniques of object / image making through various mediums and media
Ability to integrate materials into the design process through hands on making, experimentation and exploration
Ability to engage with a range diverse processes and pictorial modes of production, ranging from abstract to the representational

Precedents / references
Faye Toogood + Studio Toogood
Eva Hesse
OKOLO
Cos
Nel Verbeke
Design Office
Ronan & Erwan Bouroullec
Centre for Cosmic Wonder
Shifting Worlds
Nendo

Key terms
Object
Subject
Repetition
Duplicate
Transform
Memory
Value
Narrative
Exhibition as Retail / Retail as Exhibition
Materiality
Curatorial
Arrangement

Texts, readings, essays
Anthony Hudek (Ed.) Documents in Contemporary Art; The Object 2014
Amelia Groom (Ed.) Documents in Contemporary Art; Time 2013
Neil Cummings and Marysia Lewandowska, The Value of Things 2000
Paul O’Neil (ED.) Curating Subjects 2011
Kent Kleinman, Joanna Merwood-Salisbury and Lois Weinthal (ED.) After Taste; Expanded Practice in Interior Design 2012
Alex Coles (ED.) Documents in Contemporary Art; Design and Art 2007    

CLUB HOUSE

Tutor: Debra Kunda
Schedule: Tuesdays 9.30am - 4.30pm
Location: Pavilion 4 - 100.10.006

Studio summary
Club House will ask students to propose a design response to notions of a clubhouse that mutates and changes over time and through use and participation.
Students will be asked to unpack notions of what a clubhouse is through exploration, inquiry and speculation and to explore concepts around the framing of site and cultural exchange. Through investigation, the studio will consider the traditional dichotomies of site and intervention, subject and object, art and design and exhibition and audience engagement.
The studio is exploratory in nature and will consist of a range of weekly readings, site visits, guest speakers and will be broken down into 3 phases, beginning with exploring urban sites and the language and power of symbols in urban spaces.

Technology summary
Through discovery, examination and testing, this experimentation will become the basis for forming the conceptual and physical elements of an architectural intervention.
Consideration of how the physical intervention might relate to or counteract its surrounding environment will be explored and documented.
This approach will engage mapping, drawing, film and other methods that highlight the interactions that occur in physical spaces. This part will consider various conceptual and process driven art and design practices and the interaction of space as a generator of form rather than as a result of conventional design process.

Student capabilities
Ability to experiment, explore & engage with student’s own creative process and interests.
Ability to interpret and engage in critical approaches to reading and writing in regards to theoretical texts.
Ability to interpret ideas in 2d and 3d forms; graphic representational techniques and material selections and in non-traditional ways
Critical understanding of contemporary practice in relation to trends in art, writing, design and presentation

Key terms
Collaboration
Cultural exchange
Audience
Ephemeral
Engagement
Installation
Flexibility
Connectivity
Objective / Subjective
Site specific

Precedents / references
Mobile Homestead, Mike Kelley
DAMP
Atelier van Lieshout
M Pavilion
Agnes Dean
A Centre for Everything
Art As A Verb, MUMA

Texts, readings, essays
Relational Aesthetics, Nicholas Bourriaurd
The (Un)Sitings of Community Miwon Kwon
One Place After Another Miwon Kwon
The Expanded Field Rosalind Kraus
The Present Tense of Space Robert Morris