Third + Fourth Year
ARCH1289, ARCH1290, ARCH1291, ARCH1292, ARCH1293
ACTIVATING THE ARCHIVES
Tutor: Roger Kemp
Schedule: Wednesday 13:00 - 15:00
This specialisation will develop proposals for changes to the atrium space within the Design Archive building adjacent to the Design Hub. You will research the way in which archives work - their purpose and procedures. Your design proposals will seek to activate the space providing flexibility and increased public awareness, research participation and student engagement.
Key considerations include:
Archive (purpose and process)
Key learning objectives:
Identifying stakeholders and understanding complex relationships.
Developing a return brief.
Developing a design proposal.
Implementing effective communication strategies.
Site analysis techniques.
ACTIVATING URBAN SPACE
Tutor: Sarah Burrell
Schedule: Wednesday 18:00 - 21:00
In Activating Urban Space you will explore spatial intervention as a way of reframing the city and engaging local communities. In phase 1 of the semester you will interact with an assigned site through mapping, drawing, photography, video, and one-to-one testing. Your site research will then inform phase 2 where you will design a temporary urban classroom and event space.
The final phase of the semester involves formatting your design and site research as a public art proposal for the city of Melbourne; which will include a concept proposal, artist bio, project budget, and imagery of your design and site research. Throughout the course you will receive feedback from professionals working in the field of public art as well as curators from Public Art Melbourne. By the end of the course you will have a developed project proposal, ready for submission to a commissioning body or festival.
Tutor: Madeleine Griffiths
Schedule: Wednesday 13:00 - 16:00
Location: 100.01.004 (Worhshop)
Using a brief to delivery structure supplemented by in-class practical workshops Prop Up will comprehensively explore the prop making process. The semester will begin with practical workshops and theoretical presentations to build the skills needed to interpret a brief and to budget, design, develop construct, fabricate and deliver a professionally finished prop.
Covering design, theory and hands-on processes, students will:
Gain confidence in the tools and techniques to safely use the workshop.
Evaluate methods of construction to best suit each project.
Interpret briefs and work to a budget.
Adapt their design and approach depending on the outcome required.
Learn how to apply texture and effects to create a final finish.
Understand film theory, scale, design and art history and how to interpret a brief through these parameters.
Students will learn how prop making fits into film, animation and theatre design, its application for retail and gallery spaces and commercial outcomes such as branding and advertising. They will develop their understanding of design concerns relevant to a brief and adaptable processes to apply to varied outcomes. Students will assess what alterations are needed if the prop is to be handheld, for the stage, photographed, viewed from a distance or extremely close up. They will learn how to plan a project to stick to a timeline and budget and change the design to fit the parameters.
Using industry visits to The Melbourne Theatre Company and presentations by practising professionals, individuals such as Animator and artist Isobel Knowles, Art Director and Stylist Nat Turnbull and Photographer Stuart Crossett, students will be exposed to professional techniques and see the full scope of all aspects of prop making. We will discuss the environmental impact of creating a throwaway item, how to minimise waste and chemical footprint from a design perspective, and the simple, safe and cheap alternatives available. Students will be given a real world brief and be guided through the steps needed to deliver a finished professional prop. This will include budgeting, communicating with a client, time management, design considerations, construction and fabrication through to delivery of a well-executed Prop. The final outcome will be an installation of all props within an exhibition space.
ENCORE | DESIGN FESTIVAL AND FUNDING
Tutor: Caroline Vains
Schedule: Wednesday 13:00 - 16:00
When I did an online search for a contemporary definition of design-led performance and performance design I got a whole lot of hits on how to measure the performance of a building under duress! Typing in Scenography however was much more helpful.
The term ‘scenography’ includes all of the elements that contribute to establishing an atmosphere and mood for a theatrical presentation: lighting, sound, set and costume design. So what is performance design and how does it differ from scenography? Even more intriguing, what does the term ‘design-led performance’ refer to?
In this specialisation we will address these questions and begin to unpack the wonderful hybrid of contemporary practices working at the intersection of performance and design. Or more precisely, at the intersection of body, movement, costume, space, time and site on one hand, and between the disciplines of theatre, sculpture, live art, installation, sound, light and spatial design on the other.
Over the course of our investigations, we will dig into the archival treasure troves of the two largest global performance design festivals, each held every 4 years; the World Stage Design festival (held most recently in Taipei 2017) and the Prague Quadrennial (next scheduled for 2019 in Prague).
For the main project you will design a performance design, a scenography, or a design-led performance for the Prague Quadrennial. It will be a speculative proposal based on the recent brief for the Site Specific Performance Festival within the larger Quadrennial. This brief is a call to artists and designers from around the world to submit a performance design proposal that responds specifically to the site of the Prague Exhibition Grounds.
The brief describes these grounds as ‘a jumbled, aesthetically confused place where successive regimes have randomly placed buildings, structures or landscapes on top of one another to represent their view of leisure or culture. It asks applicants to draw on the site and its history as ‘a source of inspiration’:‘Its social and political history / the memories embedded in it and suggested by it / the traces or archaeology of its past
Its present use by the public and by organisations and businesses’.
We will also focus on developing skills in three other areas:
How to generate a design proposal for an international festival inclusive of its fit with the brief; its
consideration of context – event, site, visitors; its degree of innovation; and its potential for interaction, participation and engagement.
How to communicate this design to give it the best possible chance of success during the review process (inclusive of effective communication, technical resolution, practical do-ability).
How to write an application for funding to realise the project (inclusive of budget, timelines, production requirements etc.)
Tutor: Linda Raimondo
Schedule: Monday 18:00-21:00
‘Ritual’ is a specialisation that will engage with sustainable, theatrical and community based design. The studio intends to produce a project that explores food rituals in both residential and hospitality environments. It will investigate concepts of food nutrition and culinary performance in both the home and public interior spaces. This will be realised through recording, documenting and observing food consumption and performance both in the past, present and future. Cultural food experiences, as well as sustainable eating and experiential design are some of the topics explored in this course.
The brief will require students to produce a project that creates a theatrical celebration around food consumption, preparation & life cycle. Students will be asked to initially research where food comes from and then investigate how this process can be incorporated into their project. Traditional and original values will also be researched and transformed into a conceptual design. They will be asked to produce a spatial outcome that will be located within their chosen site. The studio will focus on the creation of an experience involving a custom designed culinary ritual. They will develop methods to designing through diagramming, hand sketching and model making.
Key learning objectives:
Research analysis, design experimentation, developing skills in verbal design presentations, investigating spatial parameters.
Key learning activities:
Drawing, model making, research, graphic presentation, critique.
ADAPTATION | EXPLORING SPACE THROUGH REVIT
Tutor: Zoe Teltscher-Taylor
Schedule: Thursdays 18:00 - 21:00
This specialisation will explore joinery design within Revit. Although the focus will be on developing a skill set around detailed component modelling, the students will also be asked to explore conceptual ideas of what joinery is and what it could be. By positioning the subject within the field of exhibition design, the students will be asked to design a series of flexible joinery pieces that are adaptable and contribute to the changing function of the space. The students will choose two artists from a provided list and design the space according to the requirements of these two clients. The subject will be focused around asking the following questions: what does joinery contribute to the practice of interior design and how can the design of joinery be both functional as well as an engaging experience in its own right?
Tutor: Sandra Githinji & Jackson Bi
Schedule: Wednesday 18:00 - 21:00
SITE-ING is a research based speculative and experimental workshop whose design process is grounded in the practicality of a feasibility study. The specialisation will explore the representation of site as an agency of both analysis and design generation.
The subject of this research is located a site within Melbourne CBD, which you will analyse and investigate through 2D and 3D measured mapping techniques. SITE-ING invites you to curate a 3-dimensional spatial ordering / composition, containing extensive site research in the form of photographs, drawings, mappings, artefacts and text. Mapping will be an essential design tool in critically study the site, while broadening the contextual relationships through considered drawings. Model making will be adopted as a design methodology to summarise your site research and generate initial concepts, by understanding 3 dimensional relationships of site while exercising form, mass, scale and planning.
The design outcome of SITE-ING aims to devise an architectural language through building upon the research to develop a spatial outcome in the form of a bodily experiential pavilion that integrates with the urban fabric, to promote a series of sensitivities to the current context and catalyses public interaction.
Tutor: Georgie Brooks
Schedule: Monday 18:00 - 21:00
Retail Therapy will explore designing displays for objects in retail design, specifically contemporary jewellery. Students will research Melbourne contemporary jewellery and design a small retail space and its displays. Each design will be accompanied by a linking temporary retail space in the city for a curated collection of artists.
Currently in Melbourne the market is saturated with permanent gallery spaces and an online social media presence, but how can we generate a retail presence that is tangible yet temporary? The development of smaller linking retail displays will question these ideas.
The site for this small retail project will be located at Northcity 4 studios in Brunswick. Founded around ten years ago by Ali Limb & Anna Davern, this studio houses twelve permanent tenants of established contemporary jewellers. It is one of the largest collectives of contemporary jewellery professionals in Victoria. It also has temporary project spaces where designers & artists can apply to work on a project for 3-6 months with guidance and mentoring from the permanent tenants. Not only is the studio an exciting environment of professionals, it also contributes to the wider contemporary jewellery community by running seminars, classes and workshops.
Currently in the pipeline is the development of a retail gallery space to be located at the front of the studio. This space will not only provide a platform for the tenants to display their work and develop exciting projects, it will also be a space where external practitioners will be invited to run temporary retail projects.
Tutor: Phoebe Whitman
Schedule: Wednesday 15:00 - 18:00
is a specialisation that will explore notation, as a concept, creative approach, compositional device, artifact, situation, experience. Notation as a practice is inherently connected to design and the communication of thought and intention, interpretation and translation. Notations such as writing, text, footnotes, drawings, marks, visual gestures on a page, recordings can carry a compound of readings, implications, qualities, transgressions and
Notations produce atmosphere. They can linger and they can disperse.
The Melbourne-based poet, architect and academic, Dr. Alex Selenitsch writes that ‘notation is a way of inventing a composition, of putting together a complex artefact or a set or relationships. Therefore this emergence; fuzziness, ambiguity, materiality, misinterpretation and mistakes are valued.’ (Selenitsch, 2015. p267)
This specialisation will give students opportunity to explore processes of notation. Through the production of notations, students will develop a deeper understandings of the way an interior could emerge to form relational potentials and open up to new modes of experience and encounter.
How can notations bring awareness to time, place, space, and atmosphere? How can notations produce new possibilities for spatial encounter? How can an interior be experienced as notational?
Students will explore notation as aforementioned, as a way of generating an interior. Their notations will produce relations, spatial qualities, atmosphere, temporalities and situations that will collectively come together as a body of work to produce a notational interior.
Through various mediums, materiality’s and contexts a body of work will emerge. WIL is engaged with through the situating of the body of work in a critical framework such as an academic context and/or format. By the end of the studio each student will propose an academic paper, film festival, online journal or publication, exhibition, performance, or event (...)