Design Studio

Second + Third Year
ARCH1108, ARCH1109, ARCH119, ARCH1121

Hartford Wash: Washing, Tracks, Maintenance (Outside), Mierle Laderman Ukeles,1973. Part of Maintenance Art performance series, 1973-1974. Performance at Wadsworth Atheneum, Hartford, CT. Courtesy of Ronald Feldman Fine Arts, New York.

Hartford Wash: Washing, Tracks, Maintenance (Outside),
Mierle Laderman Ukeles,1973. Part of Maintenance Art performance
series, 1973-1974. Performance at Wadsworth Atheneum, Hartford, CT. Courtesy of Ronald Feldman Fine Arts, New York.


Tutors: James Carey
Schedule: Tuesday 9:00 - 12:00 + 14:00 - 17:00
Location: 100.06.005


This studio is an exploratory-led process of investigations into concepts of time, process, maintenance and care, in the context of future residential design. As our populations and middle to upper classes grow exponentially, how do we as designers accommodate for small scale, multi-generational and flexible living? Australia has the largest houses in the world, has what is described as a ‘knock-down- culture’, has increased housing unaffordability, gentrification and urban sprawl. But it is in the inner cities that, as designers, we should be placing more of our attention to ideas of
medium density occupation, readaptation and the malleable.

The first half of semester will entail small scale experiments utilising the key elements of the studio – time, process, maintenance and care. The second half of semester will incorporate a residential design for a multi-generational family situated in Melbourne’s inner north.

When does time effect the interior?
When does process effect the interior?
When does the material and immaterial effect the interior?
When is the interior maintained?
When is the interior cared for?
When is it important to work responsively?
When do these confluence of forces come together to shape what it is we
call ‘home’?

Technology summary

The technology aspect of the studio will take part in a range of ways and
through a succession of approaches to time, process, maintenance and
care. Concepts of time, duration, house, home, space, the body, country,
history and context will be examined through small scale artifact making,
site observation, drawing, critical reading and documentation. In the second
part of semester, students will produce a range of documents to
communicate a multi-generational, residential design. Students will also be
asked to produce and experiment thoroughly with techniques of photography, drawing, diagramming, digital media, modelling and
installation practices.

Student capabilities

Students will learn through following activities and approaches:
Ability to engage critically and creatively with complex cultural and political issues
Ability to research and respond to theoretical concepts and precedent practices
Ability to explore specific and contemporary techniques and their relation to interior practice
Ability to explore making, drawing and image making to understand material relationships and their spatial effects
Respond, research and design in response to a specific brief
Ability to refine a design through multiple iterations
Ability to effectively communicate a series of design concepts through multiple visual and verbal techniques

Key terms

Time / duration / temporal / process / technique / material / immaterial / interior / space / drawing / rendering / maintenance / care / action / body / site responsive / habitual / familiar / house / home / decay / patina / effect / affect / live / lived

Precedents / References

Mierle Laderman Ukeles
Rachel Sussman
Roland Roos – Free Repair
Reneé Ugazio
Régis Perray
Billy Apple –Negative Cleaning Conditions
Ger van Elk, Well Polished Floor Sculpture, 2010
Bomb Collective – Next Wave 2014
Joseph Beuys’ Ausfegen [Sweeping Up] on 1 May 1972

Prefabricated homes – Muji House, Muji Hut, The Backcountry Hut
Company, ARKit, Archiblox, Modscape, Robin Boyd,Sean Godsell’s
Future Shack, Sears Homes, Tiny House
Chen Chow Little
Austin Maynard
Architects EAT

Texts, readings, essays

Manifesto for Maintenance Art 1969!, Mierle Laderman Ukeles
Practicing with Deleuze: Design, Dance, Art, Writing, Philosophy, Suzie Attiwill, Terri Bird, Andrea Eckersley, Antonia Pont, Jon Roffe, Philipa Rothfield, Edinburgh University Press, 2017
Bergsonism, Gilles Deleuze
Mediators, Gilles Deleuze
Matter & Memory, Henri Bergson
Bergson, Deleuze and the Becoming of Unbecoming, Elizabeth Grosz, Parallax,
Volume 11, Number 2
Constellations: or the reassertion of time into critical spatial practice, Jane Rendell
Thought in the Act, Erin Manning & Brian Massumi, 2014
Towards Anarchitecture:, Gordon Matta-Clark & Le Corbusier, James Attlee
The Art of Fixing Things, Lawrence Pierce
The Australian Ugliness, Robin Boyd 1960
Drawing Futures: Speculations in Contemporary Drawing for Art and Architecture, Edited by Laura Allen and Luke Caspar Pearson, Bartlett University Press 2016
Koolhaas Houselife, Documentary from the Living Architectures series, 2013

Turning Ballroom by Julian Busch

Turning Ballroom by Julian Busch


Tutor: Caroline Vains
Schedule: Tuesday 9:00 - 12:00 + 14:00 - 17:00
Location: Morning 100.06.003, Afternoon 100.04.005


This studio focuses on making models, specifically physical models.

Physical model making is integral to the design process. It is as crucial as drawing and the two often go hand in hand. Model making is particularly important in the spatial design disciplines. It enables designers and others to see what is otherwise difficult to visualize. Namely to visualize space in its full dimensionality, from multiple perspectives, all at once.

The spatial design disciplines are those that work in three or more dimensions in space (eg. the dimension of time). They include interior design, exhibition design, installation design, event design, urban interventions and pop ups, set design for stage and film, and performance design. Designers practicing in these spheres make models for a wide variety of reasons. To explore materials, carry out spatial experiments, test construction systems and detailing, trial new ideas, express theoretical, political and utopian ideas, and communicate design schemes.

Spatial designers have traditionally used model making in two primary ways - as ‘process model’ and as ‘representative model’. Through the semester we will investigate and build skills in both these modes. We will then turn our attention to what Thea Brejzek and Lawrence Wallen have called the ‘autonomous’ model.

In this process we will explore how model making enables designers to creatively experiment with
attributes such as: scale and size, object and idea, viewpoint and occupation, fixed and moving, abstract and immersive, materiality and immateriality. We will look into how to use the material practice of model making to design immaterial atmospheres, and affective and sensory experiences. Atmospheres are felt and experienced rather than observed. In Stuart Grant’s words:

Atmospheres shroud. We know we are in them, we recognize them, we experience them, but we find it hard to locate their origin or source. They are diffuse… We are immersed in [them], intermingled with them, permeated by them…[But] we cannot grasp their substance.
The studio will be made up of a sequence of projects through which you will make lots of models.  They will progressively introduce you to the three modes of model making – process, representative, and autonomous - and provide a framework for building your skill base.

While the studio is all about making, you will be asked to write short reflections on specific models as you go. To assist, we will be referring to two primary texts over the semester.

Materials & cost:
Factor in a cost of about $100 over the course for materials. Specific information regarding costs and material selection will be discussed in the first class.

Technology summary

The technology component of the studio will focus on developing your skills in the three areas of model making – process, representative, autonomous. You will learn how they differ and how they might overlap. In particular, you will develop the capacity to generate design through the iterative phase of process model making.
Process models are made during the concept design and design development phases of the design process. The designer makes them to ‘generate form, resolve issues of materiality and give physical manifestation to conceptual and programmatic ideas.’ In the process, they mediate what Brejzek and Wallen refer to as, a non-linear dialogue ‘between the emerging artefact and the emerging idea.’ This dialogue ‘constitutes an iterative and incremental self-referential method of continuous refinement.’ Many models are accordingly produced and many of these are often thrown away. Moreover, at this stage the models often have no scale and no clear function.

Student capabilities

Select and use different materials and how to work with their characteristics to make things
Develop innovative strategies for joining materials
Identify the different modes of model making and how designers use them through different stages of the design process
Use model making to facilitate non-linear thinking and generate design
Make models that successfully communicate aspects of a final design
Make refined finished models suitable for exhibition, client presentations, etc
Imaginatively speculate and project how a design might be experienced or felt at different scales.
Tune into their bodies and use them as instruments of site research and analysis.
Apply material means to generate immaterial design outcomes such as atmospheres and affective experiences
Chart the development of the autonomous model and comprehend it as a typology of in-between-ness. Design a habitable installation and position it as an autonomous model
Critically reflect on work in progress and write about these reflections

Key terms

Physical model making
Size – small, medium, large
Materials and joining
Atmospheres and experiences
Iterative, non-linear, emerging, refining,
Dialogue between idea and artifact

Precedents / references

Thea Brejzek and Lawrence Wallen, The Model as Performance: staging space in theatre and
architecture, Bloomsbury, London, 2018.
Stuart Grant, ‘Performing an Aesthetics of Atmospheres’, Aesthetics Journal 23 (1) June 2013.
John Hejduk, Elizabeth Diller, Diane Lewis and Kim Shkapick (eds.), Education of an Architect: The
Irwin S. Chanin School of Architecture of The Cooper Union’, Volume 2, Rizzoli, NY, 1988. – John
Julian Busch, Berlin Unseen: Architectural projections into the city’s hidden past, Akademie der
Kunst, Berlin, 2015.
Outi REmes, Laura MacCulloch and Marika Leino (eds.), Performativity in the Gallery: Staging
Interactive Encounters, Peter Lang, Bern, 2011

Texts, readings, essays

Gordon Matta Clarke, ‘Window Blow Out’, 1976
Elmgreen & Dragset, Nordic Pavilion, Venice Biennale, 2009
Brejzek and Wallen, 2018, Location 177, Kindle edition. biennale-elmgreen- dragset
Robert Lepage 2015, 887 Ex Machina 1:20
Charlotte Bouckaert & Steve Salembier, ‘Bildraum’ e72d-4674- bbf7-
Kate Anderson, ‘Guido Camillo’s Idea for the Theatre of Memory’
Studio KCA, ‘Head in the Clouds’, studio-kca-sculptural-cloud- plastic-bottles- depicts-one- hour-trash- nyc/
Kim Beck, ‘NOTICE: A Flock of Signs’ (at Omi)
Vito Acconci, ‘House up a Building’ &‘Where are We Now’.
Mies van der Rohe, ‘Barcelona Pavilion’
Venice Biennale (art and architecture)
Prague Quadrennial

Image by Pip McCully

Image by Pip McCully


Tutor: Pip McCully
Schedule: Tuesday 9:00 -12:00 + 14:00 - 17:00
Location: Morning 100.06.006, Afternoon 100.04.008


Every touching experience of architecture is multi sensory; qualities of matter, space and scale are
measured equally by eye, ear, nose, skin, tongue, skeleton and muscle. Architecture involves seven realms of sensory experience which interact and infuse each other.

Juhani Pallasmaa, excerpt from An Architecture of the Seven Senses
[An essay from Holl et al, Questions of Perception – Phenomenology of Architecture, 1994]

This studio focuses on retail design, context and experience, with the term ‘ephemera’ offering concepts of fleeting, short lived moments, interactions and transactions.
Situated within a saturated retail landscape, how does the design of a retail space entice a customer to engage and ultimately allure through seemingly ephemeral experiences? How do interpretations of atmosphere result in tangible experience?

We will explore an innate relationship between material selection, detail, object, site and encounter using the framework of retail design as an experiential case study. Questioning and experimenting with techniques of retail display, occupant ergonomics, engagement with site and responsiveness to site and market context, the studio aims to give students a conceptual insight into everyday processes of commercial interior design practice.

The studio will be broken down into the following three phases corresponding to the twelve weeks of teaching:

Phase 01: Atmosphere & Material will offer an analysis of existing retail space and the current retail climate of bricks and mortar case studies. Engagement with materiality, material details, material junctions and the sensorial and atmospheric qualities different materials can evoke. The aim is to question how we perceive space through material reading and the affect of material selection and detailing on our inquiry of atmosphere.

Phase 02: Display & Encounter will locate the object within a system of display, introducing concepts of approach and encounter and the acknowledgment of designing for an occupant. The aim is to promote an awareness of our occupation and movement through space, consideration of ergonomics and the testing of retail focused display.

Phase 03: Site Specifcity & Context manifested as a consumer based investigation will combine early explorations to result in the conceptual design and technical resolve of a retail experience, responding to a given site. The relationship of material selection, object, display, site and occupant experience will result in the totality of a constructed environment.

Research and precedent consideration will be offered over the course of the studio both by the studio leader and a selection of invited commercial practitioners of art and design, who will present their relevant praxis to the students.

Technology summary

The analogue store has to excite and work harder than ever before.

Masamichi Katayama – founder of Tokyo based interior design practice Wonderwall

The technology component of the studio will be woven closely to the conceptual framework, resulting in highly resolved, practical outcomes to each project proposition.

Key practices and techniques will be explored to result in the following outcomes over the twelve weeks:

Engagement with detailed material studies and research, methods of collage, 1:1 architectural detailing, model making. Focus on experimental and observational documentation of objects and methods of display. Result in the design of a retail space, focusing on material selection and a complete set of interior architectural drawings. The result of this exploration will be embodied in a technology summary assessed in full at the end of the semester.

Student capabilities

Site specificity & context
Retail, consume, consumer, occupant
Atmosphere, experience & wonder
Material, materiality, material junctions; sensorial & atmospheric quality
Objects, arrangement of objects, object & field
Detail & detailing, modelling
Display, systems of display
Encounter, narrative
Ergonomics, occupy
Interior design praxis

Precedents / References 

Carlo Scarpa
Peter Zumthor
Faye Toogood
John Pawson
David Chipperfield
India Mahdavi
Aesop retail environments & associated designers / architects
March Studio
Rachel Whiteread
Ernesto Neto
Donald Judd
Studio Wonder
Design Office
Kim Victoria Jewels

*selection to be expanded upon in class

Texts, readings essays

Ann Petermans & Antjony Kent 2016, Retail design: A Contextual Lens
Gernot Böhme 1993, Atmosphere as the Fundamental Concept of a New Aesthetics, Thesis Eleven
Peter Zumthor 2006, Atmospheres
Steven Holl, Juhani Pallasmaa & Alberto Perez-Gomez 1994, Questions of Perception – Phenomenology of Architecture
Robert Irwin 1985, Being and Circumstance: Notes toward a Conditional Art
Mark Taylor (Editor) 2013, Interior Design and Architecture: Critical and Primary Sources Vol. 2 – Sensory Engagement
Mark Taylor (Editor) 2013, Interior Design and Architecture: Critical and Primary Sources Vol. 4 - Public Interaction
Neil Cummings & Marysia Lewandowska 2000, The Value of Things
*selection to be expanded upon in class


Emporium Melbourne
Dover Street Market
10 Corso Como
Aesop retail environments
Site visits: to a selection of retail spaces in Melbourne
*selection to be expanded upon in class

Film still from 'The Shining' 1980

Film still from 'The Shining' 1980

ROOM 237

Tutor: Georgina Cue + Narelle Desmond
Schedule: Tuesday 9:00 - 12:00 + 14:00 - 17:00
Location: 100.05.007


Memory is elusive - it slips away, deceives, constructs and falls. The interaction of remembering and forgetting is a time-based process, a re-presentation of immediate experience. Thus, remembering becomes an act of re-inventing the past.

Room 237 memory + space will examine the relationship between memory, history and interior space. Drawing from a range of archival material and historical sites, this subject explores how personal narratives and events from the past can inform and shape our experience of the present.

The studio aims to investigate how spatial structures form in our memory, and the role of memory in the creation of our built environment. Through a series of exercises, students will experiment with how the act of recollecting and forgetting can be used as an instrument for spatial production. By asking students to draw on their own recollections of spaces and objects, this studio aims to investigate the potential for the act of remembering and forgetting to be used as an agent for design.

The reinterpretation of historical artefacts and events become a device for understanding how we interact with and narrate space. This subject will borrow from a variety of discourse on memory and space, drawing from psychology, art, popular culture and literature. During the course of this studio, we will look closely at how memory and amnesia have been articulated in contemporary art and design. Students will experiment with traditional mnemonic devices such as the Method of Loci and Memory Palaces as a means of heightening their ability to memorize spatial details.

Themes to be explored:
How do we create images of the past?
How do we identify personal memory and collective memory?
Can we fully retrieve a memory by recreating it?
Is it possible to visually represent a memory?
What is the role of the designer and artist in preserving history?
How does space function in memory?
Is it possible to fully recover a memory using mnemonic techniques?
If a memory is irretrievable, how can these voids be visually represented in design?

Technology summary

The technology aspect of the studio will take part in a range of ways and through a succession of approaches to observation, design and production. The technology component of the studio will be interwoven throughout the studio through the approach to making and working with observational techniques, documentation, image production and material exploration. Techniques in collage, appropriation and restoration will allow students to work through ways of recognising the site as retaining material, spatial and atmospheric conditions that can be responded to, intensified and celebrated.

Students will engage with techniques of mapping, diagramming, drawing, and object modelling, and image making in order to address the complex ideas of program, use and identity.  Students will be asked to produce and experiment thoroughly with different modes of making such as collage, modelling objects, photography and drawing. In the end, students will have produced a series of 2D and 3D pieces that represent and perform qualities related to their design proposal.  Techniques in image production both through abstract and experiential imagery as well as design drawings and more practical imagery will be produced. Techniques in image making that explore deconstructed, rearranged, and reimagined potentials of site.

Student Capabilities 

In this subject, students will be asked to reflect on their own recollections of spaces and
events of the past. Using a variety of design techniques, students will be asked to visually
articulate images and details conjured by each artefact. Students will gain skills in
marquette and model making, digital and paper collage, creative modes of site analysis
and research methodology.

Key Terms

Space / Place / Site / Trace / Narrative / Spatial Response / Inhabited / Situation / Memory / Amnesia / Autobiography / Mnemonics / Tone / Haunted / Collective Memory / Individual Memory / Public Space / Private Space / Transition / Past / Future / Excavation / Surface / Artefact / Site response / Utility / Story / Experimentation/ Marquette / Tableaux / Memory of Loci / Ghost Signage / Aerial Model

Precedents / references

Callum Morton
Christian Boltanski
Lee Miller
Mike Kelley
Goa Rong
Rachel Whiteread
Pierre Huyghe
John Divola

Sites / projects

Bachelard, Gaston, The Poetics of Space, Universitaires de France, 1964
Benjamin, Walter, The Arcades, Bloomsbury Publishing, 1982
Curtis Barry, Dark Place; The Haunted House in Film, Reaktion Books, 1998
Rice, Charles, The Emergence of the Interior, Routledge, 2007
Gibbons, Joan, Contemporary Art and Memory; Images of Recollection and Remembrance, I.B.Taurus, 2008
Zumthor, Peter, Thinking Architecture, Birkhauser, 2010
Rugoff, Ralph, The Scene of the Crime, MIT Press, 1997
Barthes, Roland, Camera Lucida, Hill and Wang, 1980
Yates, Frances A, The Art of Memory, Routledge and Kegan Paul, 1966
Luria, A.R, The Mind of a Mnemonist, Harvard University Press, 1968
Borges, Jorg Luis, Funes the Memorious, Grove Press, 1942

Ryoji Ikeda - Test Pattern (physical installation photograph) & digital collage by studio INTERFERENCE

Ryoji Ikeda - Test Pattern (physical installation photograph) & digital collage by studio INTERFERENCE


Tutor: Tim Percy & Phoebe Gervaise
Schedule: Thursday 9:00 - 12:00 + 13:00 - 16:00
Location: Morning 094.02.013, Afternoon 100.05.004A


studio INTERFERENCE seeks to investigate the relationship between Psychology and Design, while exploring the effects of the Digital-Physical world through producing interior INTERFERENCES in everyday environments and public interiors.

Using the lens of environmental psychology and its underlying theories, studio INTERFERENCE will examine the interplay between spatial environments, INTERFERENCE and human behaviour. As a studio we will explore the role of experiment, data, intervention and measurement and their responsibility in design. We will investigate the concepts of stimulation, perception, INTERFERENCE and spatial interaction through questions including:

Can we predict behaviour from an environment? (Stimulation theory)
Why do people bond to particular places? (Place attachment theory)
What are the interior considerations of INTERFERENCE?
What research methods are appropriate for place and space?
How can we manipulate behaviours and outcomes through INTERFERENCE?
How invasive / intrusive are the methods of INTERFERENCE?
How do we apply, test and refine our knowledge?
What are the ethical considerations of INTERFERENCE?

These questions will allow us to use digital technologies to INTERFERE within site, creating affective interiors within the urban environment. This iterative process of measuring and ideating will be used to explore how studio INTERFERENCE can create meaningful propositions and outcomes. The semester will be broken into 2 Chapters, much like a novel, a story will be developed.

Chapter 1 . We will explore research and data collection methods, while engaging with critical theoretical texts, films and events. This will be accompanied by developing key INTERFERENCES within the city’s public interiors.

Chapter 2 . You will develop a critical brief and story, and extend on the previous learnings to define and create a final INTERFERENCE.


INTERFERENCE . To intervene in a situation without invitation or necessity.
Digital-Physical . A convergence of the actual and virtual.
Affect . Influence to cause change.
Data . Facts and statistics collected together for reference or analysis.
Psychology . The science of the human mind, mental processes, behaviours and

Technology summary

The technology aspect of the studio will explore the use of software and hardware such as Film Manipulation and Projection devices, 3D Modelling, Unity Game Engine and Oculus Rift, and low-fi graphical programming languages (Quartz Composer) to create INTERFERENCES within the physical world. Using data collected within the research programme chapters, we will manipulate, reassemble and iterate design propositions for site specific INTERFERENCES. Students will be asked to explore multiple digital and physical production techniques with the expectation of selecting one or two for the final INTERFERENCE outcome.

Student Capabilities 

Understanding of how Interior Design affects people in terms of psychological and behavioural outcomes

Theoretical principles of Affect, Place attachment, INTERFERENCE,
Environmental Psychology, Human Centred Design
Development of key research methods - data collection, analysis and measurement techniques
Fieldwork and thoughtful observation to study behaviours in environments
Ability to research, analyse and catalogue data points within context of site through diagraming, filming, interviewing and aural/textual recording. Model making (Physical and/or Digital)
Proposal and Story writing
Incorporation of measurement and INTERFERENCE findings into final studio outcome
Broaden exposure to research conducted in site and/or with specific populations
Create physical INTERFERENCES from digital content
Ability to make, craft, refine catalogue and exhibit a series of INTERFERENCES
Ability to pursue independent ideas through a range of explorative, experimental and speculative approaches to design

Key Terms 

Psychology . Qualitative and Quantitative Research . Data Analysis . Digital-Physical, Actual . Virtual . INTERFERENCE . Intervention . Wayfinding . Placemaking . Human Centred Design . Programming . Affect . Place Attachment . Environmental Psychology . Experiment . Observation . Environmental Design Research (EDR)

Precedents / references 

Ryoji Ikeda
Jan Ghel & Brigitte Svarre
Jess Johnson
Harold Proshansky
William “Holly” Whyte
Oscar Tuazon .

Texts, readings, essays 

2001 A Space Odyssey, Stanley Kubrick (released 1968)
2312, Kim Stanley Robinson (Orbit, 2012)
Attiwill, Suzie , ?interior, practices of interiorization, interior designs. RMIT PhD, 2013.
Deleuze, G. Logic of Sense (Columbia University Press, 1990 (Les Editions dt· Minuit , Paris 1969?
Deleuze, G. The Deleuze Dictionary (Edinburgh, University Press, 2005)
Specifically but not limited to: Event, Experience, Affect, Sensation, Actuality and Virtuality (Actual and Virtual)
Evans, G and Wener, R. “Crowding and personal space invasion on the train: Please don’t make me sit in the middle”. Journal of Environmental Psychology 27 (2017): 90–94
Ghel, J. Cities for People (Island Press, 2010)
Ghel, J and Svarre, Birgitte. How to Study Public Life (Washington, DC: Island Press, 2013)
Kamarulzaman, N, Saleh, A, Hashim, S, Hashim, H and Abdul-Ghani, A. “An Overview of the Influence of Physical Office Environments Towards Employee”. Procedia Engineering 20 (2011): 262 268
Masters, Jennifer . “Environmental Design Research and the Design of Urban Open Space: A Study of Current Practice in Landscape Architecture”. Masters Dissertation, University of Massachusetts Amherst, 2010.
Norman, Donald. Emotional Design; Why we Love (or hate) everyday things, (New York, Basic Press, 2004).
Scannell, Leila and Gifford, Robert. “The experienced psychological benefits of place attachment”. Journal of Environmental Psychology 51 (2017): 256-269.

Serpentine Gallery Manifesto, 2008

Serpentine Gallery Manifesto, 2008


Tutor: Nick Rebstadt & Giselle Laming
Schedule: Tuesday 9:00 - 12:00 + 14:00 - 17:00
Location: 100.06.002


‘Now’ has the appearance of simplicity but
is complex - ‘now’ is immediate, 
immanent and impatient. ‘Now’ is urban-acupuncture, interventionist, pop-up, event and playful. But it is also make-shift. It is not something that is for ‘then’ or ‘in the future’ it works with what it has available. Now is a hack. ‘Now’ has engendered in it an economy of innovation that takes advantage of available opportunities and conditions - whatever they are.

‘Now’ is also resonant of our current moment in which time itself (arguably) has collapsed. Downloading has tuned into live-streaming, time has accelerated and consequently condensed the vast expanse of the globe, and all its cultures into a cosmopolitan sensation of instant gratification. At the centre of this we thought of Now Space. A methodology for approaching spaces and designing within them, using their spatial qualities and any means at hand to alter spaces and cater for new potentials. From rearrangement, to model making, mock-ups and body storming, through to the omnipresent-ness of networked media (or “softspace”) students will be invited to experiment in their process of interior making - ‘now’.

Theorising and practicing interiors of ‘nowness’ has of course, implications for a wider interior design practice. Does ‘now’ engineer interior designers with a sense of agency that moves beyond traditional ‘project’ paradigms? What is the industry/workscape of ‘now spaces’? What are the complications of designing with speed and within environments? What is altered or compromised? What is gained? Now Space asks students to cultivate ‘immediate interiors’ through a process of analysis, critique, imagination and action. Students will be provided with a toolkit of theoretical, practical and performative design skills from model-making, bodystorming and networking; focusing on the way that these operate as a medium to cultivate the culture of spaces, challenging existing programmes and the power structures that enforce them. This sits within a wider conversation about how design can envision, affect (immediate) change, and practical ways designers can do it.

Technology summary

The approach to technology in this studio is based around facilitation and of ‘interior making’. Students will be expected to actualise and document these interior designs. This includes, but is not limited to:

Critiquing and analysing theoretical frameworks to facilitate strategies for ‘now spaces’
The development of an analytical diagrammatic language to express elements within the site, suited to ‘now space’ and other relational design practices.
Fabrication of apparatus’ to facilitate ‘now spaces’ Instructional documentation
Development and use of networked technologies to facilitate interior making
Documentation of ‘now spaces’

Student capabilities

Ability to explore the concept of dwelling/home/habitation through research into precedents and references  
Ability to explore a range of techniques and methods of observation
Ability to engage with architectural structures to reimagine their spatial potentials
Ability to document and present observations and creative perceptions of both existing and potential designs  
Ability to engage with various techniques of collage, drawing and model making
Ability to engage with theoretical concepts through reading and responding to certain key theorists

Key Learning Objectives

An understanding of ‘now’ and its relationship to contemporary interior design practices
Understanding of the temporal nature of interior spaces
The ability to understand and harness the use of available technologies for interior making
The exploration of the spatial programme in interior design practices
Questioning of, and operation outside of traditional interior design project paradigms
Entrepreneurial potential of interior design practices
Exploration of the potential of political agency for the interior designer
The ability to collaborate in a group format

Key Questions

How much can the designer (you) change your immediate space?
What is the definition of ‘now’ in relation to interior design?
What is program?
What is required to identify and action opportunities and potentials for change?
How do you acquire the knowledge to instigate change?
What is collective imagination? What can it do?
What is the lifespan of an interior?
How can networked technology be utilised to create interior designs?
Does the designer need to be present for their interior to be designed?

Is there emancipatory potential in designing with speed?
Instinctual / Analytical
What is now?


Gilles Deleuze & Félix Guattari. “Introduction: Rhizome” in A Thousand Plateaus.
Gilles Deleuze & Félix Guattari. “How do you make yourself a body without organs?” in A Thousand Plateaus.
Roland Barthes. “Myth Today” in Mythologies.
Roland Barthes. “Chopsticks” in Empire of Signs.
Nicolas Bourriaud. Relational Aesthetics.
Gilles Deleuze. “Intuition as Method” in Bergsonism.
Chris Kraus. “Little Creatures” in Where Art Belongs.
Nico Dockx & Pascal Gielen (eds.). Mobile Autonomy: Artists Self-Organisation.
Sander Bax; Pascal Gielen & Bram Ieven (eds.).
Interrupting the City: Artistic Constitutions of the Public Sphere.
Franco ‘Bifo’ Berardi. Futurability: The Age of Impotence and the Horizon of Possibility. Projects
Rirkrit Tiravanija (Thailand). Untitled (Lunch Box) (1996) part of the NGV Collection:
Bernadette Corporation (USA). Everybody is on the Floor. (2009)
Anne Imhof (Austria). Faust (2017). Installation / performance at the German Pavilion at the 57th Venice Biennale.
Jeremy Deller (United Kingdom). The Battle of Orgreave
Archive (An Injury to One is an Injury to All). (2001)
!Mediengruppe Bitnik (Switzerland). Opera Calling. (2007):
ASSEMBLE (United Kingdom) New Addington. Urban development strategy.
Bianca Hester (Australia). Please leave these windows open overnight to enable the fans to draw in cool air durang the early hours of the morning.(2010)
Faye Toogood (United Kingdom).
Sarah Sze (United States) . Triple Point (Planetarium) (2013)

IN-SECT[ION] poster by Christopher Kaltenbach, 2018

IN-SECT[ION] poster by Christopher Kaltenbach, 2018


Tutor: Christopher Kaltenbach
Schedule: Tuesday 9:00 - 12:00 + 14:00 - 17:00
Location: 100.05.006


“[The] science of biology is as important to the development of technology and science in the 21st century as physics and chemistry were in the 20th century.”
Department of Biological Engineering. (accessed February 1, 2018).

As global demand on limited agricultural resources continues to increase, the need to diminish the heavy burden on plant cultivation is critical. The investigation into insects as a chemical and food source provides avenues to rethink the materials from which products and pharmaceuticals are made, and energy is generated, to alternative sources for food.  How can design support and promote these science-based initiatives?

In this semester-long speculative project each student will create her/his own project brief and proposition for an interior design installation centred on the investigation of one insect.  Within a trade show booth project, students will define the form, structural system and programme of the installation from the analysis of that one insect. The semester will be divided into two phases: the first is the development of a single insect inspired building brick and second, the design of a trade show booth with that brick.

The title of the interior design studio, IN-SECT[ION] provides a conceptual framework to understand the three primary areas of investigation in this insect-based spatial design project: subject, aesthetic and communication.

INSECT (subject: Design Applied Environmental Entomology): Christopher Kaltenbach’s PhD design research explores the relationship between design and insects. One area of this exploration has been the design of large and small artificial insect habitats. It is his hunch that through a different appreciation of insects, brought about by a better understanding of how we perceive insects and manage our proximity to them, that new design strategies for engaging with an “environmentalism of the built environment” can be created. The research envisions insect terrariums and interior architectural installations that house terrariums for purposes that include bioengineering and food production, as well as keeping insect pets.

ION (aesthetic): It can be said that a similar aesthetic to the dense aggregate of ions can be found with insects, seen in massing morphologies of fire ant flotillas or hornet’s nests. The building brick the student will design can be understood as an ion. This metaphor allows us to understand that the brick, like a molecule or atom, comprised of one or two entities, is encircled by positive and negative components. What is at the centre of this building brick? How does its form (convex and concave sides) link with its identical corresponding bricks? What is the overall effect of the pattern of bricks?

IN-SECTION (communication): As a neologism, combining the “in” prefix (and in this instance an abbreviation for “interior”) with the word “section,” we find an expression to differentiate the section drawing in interior design. What are the differences between the section drawn for an interior proposition versus those drawn for architecture? What interior depths can be reached in a design proposition with this mode of communication?  In Phase 2 of the studio the function and the latent design potential in the interior section will be explored.

Technology summary

From a technology perspective, students will be required to understand the tectonic, material, and programmatic (micro and macro) characteristics of the individual insect-inspired brick they design. As it pertains to the actual assembly of that brick, they will develop a new sensitivity to tolerances and precision afforded by digital fabrication tools.

This provides another understanding of craft, in how digital technology allows for making hand-based tools that aid in expediting physical construction methods, such as a jig. The section drawing, while a communication tool, is a manifestation of a desire to reveal the underlying nature of a design. This tool will assist to reveal the potentiality of the student’s design proposition.

Student Capabilities 

Ability to understand how to translate aspects of biology into interior architectural form, structure and programme
Ability to demonstrate a process for design ideation based on science-based research they conduct
Ability to articulate how the design characteristics (e.g. form, colour, composition, scale, material) of a project is informed by specific research
Ability to understand how interior design can provide a framework for raising insects (animal husbandry)
Ability to work within a set of invented geometric rules
Ability to understand how the design process introduced in this studio is the basis for thinking in a mode of parametric modeling
Ability to understand the creative and pragmatic potential of the section drawing

Key Terms

Design Applied Environmental Entomology (Kaltenbach) / Environmentalism of the built environment (Steven Vogel) / Insectness / Insect inspired building bricks / Systems Thinking / Hypothetical System / Speculative / Micro- and Nanostructures / Periodic and Aperiodic Tiling / Density / Modularity / Bioengineering / Entomophagy / Pet Insect

Precedents / References 

Pig City, 2000 by MVRDV
Pigeon D’or, 2011 by Revital Cohen and Tuur Van Balen
Woolopolis, 2012 by Henry Stephens
H.O.R.T.U.S., 2012 by ecoLogicStudio
Insect Mound (Sanctuary), 2015 by Kengo Kuma
Insectarium, 2013–2016 by Christopher Kaltenbach
Cricket Shelter Insect Farm, 2016 by Terreform
X Filling Pieces, 2017 by FZDP design studio

Key Texts

Vogel, Steven. 2015. Thinking like a Mall, Environmental Philosophy after the End of Nature Cambridge, Massachusetts: MIT Press

Kaltenbach, Christopher and Majka, Christopher. 2015. Insectum: speculative design interventions, interdisciplinary design at NSCAD University, Halifax: NSCAD University

Cappelli, Lucas, and Guallart, Vicente. 2010. Self sufficient city: envisioning the habitat of the future: 3rd advanced architecture contest. Barcelona, Spain: Actar

Myers, William. 2012. Bio design: nature, science, creativity. London: Thames & Hudson

MVRDV (architecture studio). 2005. KM3, excursions on capacities. Barcelona, Spain: Actar

Lim, C. J., and Liu, Ed. 2010. Smartcities + eco-warriors. Abingdon, England: Routledge

Balmond, Cecil, and Yoshida, Nobuyuki. 2006. Cecil Balmond = Seshiru Barumondo. Tokyo: A + U Publishing Co


Casa da Música, OMA, Portugal

Casa da Música, OMA, Portugal


Tutor: Alice Parker
Schedule: Monday 9:00 - 12:00 + 12:30 - 15:30
Location: Morning 100.5.4B, Afternoon 100.10.01 (Long Room Corridor)


Something is near or faraway from me, not because of an objectively measured distance, but because of my concern for it. Martin Heidegger quoted in W. Large (2008, 50)

How can Sutton Gallery utilise existing surrounding streets, laneways and sites to create public spaces that offer quiet moments of contemplation? How does this idea relate to the existing gallery sites? This project will engage with Sutton Gallery as a primary reference point - and the aim is to explore how the gallery might expand their engagement with their audience through place-making. The objective is to address the City of Yarra by establishing connections with under-utilised existing spaces. This project will be used as a program initiative for Sutton Gallery – a space where ideas can be explored – not only about showing art, but how to engage with the public and heighten the experience of contemplation, conversation and education.

Aimed at the existing market as well as aspirational and young art collectors who are well travelled and culturally aware the project aims to provide a counterpoint to the existing gallery sites through creating softer environments that are approachable, warm, layered and engaging. The studio objective is to investigate how ‘spaces of contemplation’ can build a dialogue with the existing
community in Melbourne and beyond. The concept will respond to both existing gallery sites and specific Fitzroy streets, laneways and sites. Addressing issues related to interventions, revitalisation and the ordering of space. A concept for an intervention will be proposed, the responses will occur through several briefs that will address this idea by thinking through making.

The methodology of place-making will be explored during this studio, in particular the idea of a house becoming a home. A house is an object, but ‘home’ refers to the fabric of our human interaction with that object; the same goes for space and place. In the context of Sutton Gallery, place refers to the human elements within the existing site that co-exist alongside of the typical ideology of the gallery. The aim is to design ways to utilise aspects of the surrounding environments and to connect with users by creating opportunities for secondary activities that complement the gallery offer.

Technology summary

Observation. Looking. Process. Communication. Proposal Technology refers to the technical aptitude, knowledge and application necessary to the specific approaches in the design studio project.

What are the techniques and strategies for spatial production?

Student Capabilities 

Look at the social context and observe how design thinking can activate change.
Map and curate existing conditions to identify opportunities.
Respond to a cultural brief (Sutton Gallery - pop-up event alongside various stakeholder engagement).
Resolve concepts through reduction approach – produce a hypothesis and project proposal.
Create a narrative that targets a specific market/demographic to create a viable proposition for Sutton Gallery.
Application of creative and critical thinking to aid process-based making techniques
Project and time manage, utilisation of design processes and phasing
Articulate and present your ideas in graphic and verbal formats

Site Visits

Sutton Gallery
M Pavilion
Testing Grounds
25th Bienale of Sydney
Tarrawarra Museum of Art
Artist Run Spaces
City of Yarra

Precedents / references

M Pavillion
City of Detroit
The Highline, NYC, Diller and Scofidio
The Prada Transformer, Seoul, OMA
Alserkal Avenue, Dubai, OMA
The Martian Embassy, creative writing space for children
Arabeschi di latte
Ultra Modern

Texts, Readings, Essays 

Anholt, S 2007 Competitive Identity: The New Brand Management for Countries Regions and Cities, Palgrave Macmillan Basingstoke
Bishop, E 2005 Installation Art, Tate Publishing London.
Bourke, J 2016 Pop-Up Art: Performing creative disruption in social space, publisher TBC
Florida, R The Rise of the Creative Class, Publisher TBC
Gaut, B 2010 The Philosophy of Creativity, Blackwell Publishing London
Futuretense – Pop-Up Culture 2017, ABC, viewed 11 January 2017,, T & Ollson K 2016 ‘Cities of Culture and Culture in Cities: The Emerging Uses of Culture in City Branding’, in Urban Planning & Design in Times of Structural and Systemic Change, Routledge New York
Jodidio, P 2016, The New Pavillions, Thames and Hudson New York
Landry, C 2000 The Creative City: A Toolkit for Urban Innovators, Earthscan London
McGuigan, J 2016 Neoliberal Culture, Palgrave Macmillan Hampshire
Morrill, R 2015 Akademie X Lessons in Art and Life, Phaidon London
Springer, 2016 ‘City Competition of the Creative Class’, Journal of Cultural Economics, vol

Where the Wild Things Are, Maurice Sendak

Where the Wild Things Are, Maurice Sendak


Tutor: Bryan Spier
Schedule: Tuesday 9:00 - 12:00 + 14:00 - 17:00
Location: Morning 100.05.003, Afternoon 100.05.004A


This studio posits narrative structure as a model for the design of interiors. We will focus on the design and construction of visual narrative, and how its structure controls and distorts our experience of space and time. We will also examine how narrative structure can forge connections between unrelated elements, and bestow significance on otherwise neutral objects and events.

Workshops will focus on the understanding and application of visual narrative strategies. This will begin with broad formal aspects: such as the spatial arrangement of forms, the use of colour to direct the eye and add dramatic emphasis, and also how pattern can be employed to slow and quicken the viewers apprehension of space. In the second part of semester we will look at constructing the content of narrative. For instance, identifying and documenting the key elements and broader context of the narrative, the construction of characters and the personification of inanimate objects, and finally the authorial voice of the designer/ narrator.

The studio will emphasise the use of sketching, observation, hands-on construction and the use of physical materials. This is because the peculiarities of individual style and decision making will be shown to be crucial to the narrative discourse. The final project will ask students to design a multifaceted interior that leads the user through distinct phases, creates unexpected connections, overlays an authorial discourse, and transforms inanimate interior objects into irreducibly complex entities.

Technology summary

Observational drawing, sketching, and notation. (Sketchbook, pencils, eraser)
Use of colour (paint/ pencils/ watercolour/ coloured paper etc)
Collage as a means to experiment with spatial arrangement (paper, coloured paper, scissors/ knife, glue)
Design of complex patterns. (Adobe Illustrator)
Montage to set up narrative juxtapositions (Printed materials, scissors/ knife, glue)
Traversal of the urban environment. (Walking shoes)
Indiscriminate documentation (Camera)


Student Capabilities 

Analysis and understanding of visual narratives.
Understanding of composition and spatial arrangement as narrative device.
Practical application of colour sequences and colour priorities.
Use of pattern to control apprehension of time and space.
Collection of raw material and skills to edit, juxtapose, and allude.
Development of authorial voice.

Key Terms


Precedents / references

Carlo Scarpa
Peter Zumthor
John Pawson
India Mahdavi
Aesop retail environments & associated designers/architects
March Studio
Rachel Whiteread
Ernesto Neto
Donald Judd
Studio Wonder
Design Office
Kim Victoria Jewels

Precedents / references

Pieter Bruegel the Elder
Mieke Bal
Charles Le Brun
Artemisia Gentileschi
Clifford Possum Tjapaltjarri
Jimmy Pike
Georges Seurat
Noël Skrzypczak
Reko Rennie
Iain Sinclair
Marjane Satrapi
The Situationist International
Dr Seuss
Helen Johnson
Constant Nieuwenhuys
Louise Bourgeois
Louise Paramour
Cara Walker
J.G Ballard
Jean Luc Godard
Hilma af Klint
El Lissitzky
Will Eisner
David Batchelor
Maurice Sendak
Tai Snaith

Siteworks, Brunswick

Siteworks, Brunswick


Tutor: Robbie Rowlands & Michael Graeve
Schedule: Monday 9:00 - 12:00 + 12:30 - 15:30
Location: Siteworks, Brunswick


How can you enter the complex potentials of sites and situation?
What do we pay attention to and what do we ignore?
How can you continue to challenge the notion of interior and interiority, exploring the boundaries and thresholds these attempt to define?

Observe, reflect, challenge, reject is a design studio that explores site-specific, responsive and spatial and sonic practices. Through multi sensory deep investigations students will research specific sites, building critical knowledge that can inform new ways of reading and responding.
The title works as a series of prompts that question our preconceptions of our usual modes of experiencing site and situation. Through site audits, collecting and research, students will develop creative outcomes that offer new ways of challenging and interpreting environments.

Working with a variety of materials, processes and sites, students will be encouraged to explore, construct, deconstruct, improvise and record their experimentations and outcomes. Working with peer and tutor feedback students will develop new thinking and resolutions for iterative project outcomes. This studio challenges perceptions of site and situations looking for ways to see and hear beneath the veneer of our built environments. Students are encouraged to question the political and social layers within sites through the structures and traces that exist.

At Site Works, there is potential to consider the many and varied interior, exterior and (ex)interior spaces that reside within the boundary of the site and the broader landscape and sites. From these you will develop considered creative responses based on your own development of a design brief.


Challenging perception of sites and situations
Broad explorative approach to investigating site
Greater observation skills that challenge visual or aural biases

Technology summary

Students are encouraged to explore multiple methods and technical approaches to capturing, investigating and responding to site. Technologies may include any number of process such as drawing, writing, painting, 3D, performance, photography, film, sound, sculpture, projection, animation, etc. There is no hierarchy of preferred technologies, rather an emphasis on collection, exploration and play. Students are to bring notebooks and drawing implements, camera, audio recorders, smartphones can be utilised.

Key Terms

Participatory practice
Food source
Social ritual
Theatrical performance

Precedents / references

The eyes of the skin by Juhani Pallasmaa
An Anecdoted Topography of Chance by Daniel Spoerri, Robert Filliou, Dieter Roth
One Place after Another by Miwon Kwon
Background Noise : Perspectives on Sound Art by Brandon LaBelle,
Making : anthropology, archaeology, art and architecture by Tim Ingold
Listening to noise and silence towards a philosophy of sound art by Salomé. Voegelin
Public Interactive Sound Sculpture by Ros Bandt
Sound by Caleb Kelly

Instrument builders project
Everyday listening Blog
Liquid Architecture
Ubu Sound

ACMI, Melbourne

ACMI, Melbourne


Tutor: Roger Kemp & Liz Lambrou
Schedule: Tuesday 9:00 - 12:00 + 14:00 - 17:00
Location: 100.05.004B


Situated in the heart of Melbourne in Federation Square, the Australian Centre for the Moving Image (ACMI) is Australia's national museum of film, TV, video games, digital culture and art. Formerly the State Film Centre, ACMI opened in 2002 and recorded its highest visitation numbers in 2013.  ACMI is currently undertaking a review of its operation and future direction which will encompass an assessment of all spaces including the foyer, gallery spaces and public areas.  

This studio will generate interior propositions that respond to the key objectives of ACMI’s current renewal project.

“The Renewal Project significantly alters the interior architecture of the whole building and provides significant new social, creative industry, and educational spaces, combined with a visitor flow more conducive to a modern museum experience.”


“ACMI has refined its future vision and it aims to ambitiously re-think and broaden its embrace of the moving image in all its forms. Central to achieving this aim will be re-envisioning of all the areas of the building in which visitors engage with, or create, content. The ultimate goal is to animate the entire building, integrating objects, storytelling and a bold use of technology to create an entirely new visitor experience that will deliver greater reach and ongoing impact, and also put ACMI at the forefront in museum presentation for the next decade to come.”

We will consider the role of ACMI as an integral part of Federation square together with its relationship to the broader urban environment. We will explore ways in which people can occupy and navigate within and around both public and exhibition spaces, exploring modes of way finding, spatial experience and spatial sequence in relation to physical environments, contemporary media and digital devices.

“ACMI’s challenge is to employ technologies that transcend individual fixed-screen- or mobile-style interactions, and support visitors as they encounter a new kind of digital platform which is woven into the fabric of the museum.”

As agents of change you will develop collaborative approaches to design, engaging with specialised fields such as lighting, projection, curation, and wayfinding.


How do you provide immersive engagements with technology that extend beyond the embedded mediascape we currently live within?

How can these engagements exist beyond the physical site of ACMI and connect with opportunities for out-of-gallery access through digital means?

Is the ‘black box’ still an appropriate spatial format for contemporary digital media.

What is the role of the designer within the highly technical environment of the gallery?

Technology summary

The technology component of this studio will initially be focused on analysing the existing conditions of the ACMI interior and surrounds through documentation via drawing and video recording. Lighting and projection of image and other forms of integrated media will be investigated with support from ACMI technical staff. Scenographic models will be constructed to test experiential effects and relationships.

The latter half of the semester will focus on the documentation of proposed interventions and alterations to ACMI via construction drawings, material tests and diagrams..

Student capabilities

Students will learn through following activities and approaches:

Ability to research and catalogue programmed sites and contexts through photography/drawing/diagram/making /processing / editing and installation
Ability to synthesize macro and micro complexities through designed physical (material), virtual (digital) and speculative spatial outcomes
Ability to effectively and creatively communicate observations and intent
Create drawing, object design, animation and virtual space through various materials and media.
Experience in creative modes of site-analysis.
Processes of transformation and transference through analysis, reflection, re making & re presentations. 
Ability to make, craft, refine catalogue and exhibit a series of workings
Ability to practice independent ideas through a range of explorative, experimental and speculative approaches to design

Significant elements involved in the studio

Modes of operation / participative environments
Systems of sensory awareness/sensorial engagements/ immersive environments
Active modes of arrangement/curation/ frame/ display/ accommodation
movement/ flow/ pathway/ journey/ narrative
inside / outside/ permeability/ conditions of open and closed / access/ visibility/ sight lines
physical /non physical boundaries/ interface
foyer/orientation /arrival/welcome
transition/moving through
conditions of time/ sequence/ syncing/ glitching
image moving still/ movement/motion
linear and non linear time based media
media/ / real space / filmic space
physical and non physical boundaries

Precedents / references

Foyer/ Gallery/ Museum/ Public space
Rendell, Jane. Art and architecture: a place between. London: IB Tauris, 2006.

Cook, Peter. Drawing: the motive force of architecture. John Wiley & Sons, 2014.
Cosgrove, Denis, ed. Mappings. Reaktion Books, 1999.
Tufte, Edward R. Beautiful evidence. Vol. 1. Cheshire, CT: Graphics Press, 2006.

Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. London; New York: Verso, 2002.
Logan, Robert K. Understanding New Media : Extending Marshall McLuhan. New York: Peter Lang, 2010.
McQuire, Scott. The Media City Media, Architecture and Urban Space. Los Angeles, Calif.: Sage, 2008.


Emery Studio
Owen, William. Mapping: An illustrated guide to graphic navigational systems. RotoVision, 2005.

Urban Innovation District presentation by Dan Hill

Urban Innovation District presentation by Dan Hill

Urban Eco Acupuncture: Melbourne Innovation Districts 2018

3rd Year Students ONLY

Tutor: Dr. Michael Trudgeon + Chris Ryan
Schedule: Mondays 9:00am - 2:00pm + Wednesdays 5:30 - 8:30pm
Location: Mondays @ MSD Room 118 + Wednesdays @ RMIT


This semester, VEIL will join forces with the RMIT School of Architecture and Urban Design to deliver a multidisciplinary super studio. The collaboration will focus on developing design proposals and implementation strategies that transform the inner Melbourne urban landscape, incorporating the aspirations of the Melbourne Inno vation Districts Project, underpinned by dramatically enhanced sustainable transport supply including three Melbourne Metro Rail Projects (MM1, MM2 and an airport Metro), additions to the tram network, cycling and walking infrastructure.

15 teams will each develop their own project for a nominated site at a range of scales including transport interchanges and new public spaces, through to future forms of living and working spaces. The design proposals will integrate innovative responses centered around public realm, resilient and distributed systems of provision, adaptive reuse, digital infrastructure, spaces in between, future living and education, addressing three main targets:

• Distributed production Systems: Energy and water production and consumption
• Transport: Car-free city by 2030
• Intensification: Accommodating a population of 8 million by 2050.

The teams will then stitch and blend their individual projects to form a combined, considered and holistic masterplan showcasing the potential development and transformation of Melbourne. Here is an opportunity to create a set of vibrant, sustainable urban experiments, a living laboratory to test radical propositions across may scales of intervention from urban design, architecture, landscape architecture to industrial design and service design. There will be an emphasis on physical model making in this studio and we will hold an introductory session in the Fab Lab at MSD. The studio will be taught at MSD on Mondays and with our RMIT collaborators on Wednesday evenings from 5.30pm to 8.30pm at RMIT.


Eco-Acupuncture is a process that supports urban communities to co-develop visions of transformed, low-carbon, resilient futures – in response to the anticipated environmental, social and technical impacts of a changing climate. These are twenty-five year visions of new urban conditions that are then used to design and plan many small interventions in the current environment, as seeds for the development of the transformed futures. The program has operated across thirteen urban projects in Victoria and in Europe since 2008. Decarbonising the economy and building adaptive capacity to deal with changing climate and extreme weather events is an urgent societal challenge.

This is particularly critical for cities where addressing climate challenges requires complex transformation of the existing urban environment and its support infrastructure (energy, water, food, waste, transport). Because cities are complex social and cultural entities, transformation of the physical and technological environment involves the re-framing of urban life, the negotiation of new, desirable patterns of living that are compatible with the altered bio-physical
form of the urban environment.