Second + Third Year
ARCH1108, ARCH1109, ARCH119, ARCH1121
Tutors: James Carey
Schedule: Tuesday 9:00am - 12:00pm + 1:00pm - 4:00pm
Location: Morning 100.05.007, Afternoon 100.06.002
becoming [un]finished is the first in a series of exploratory and process-based interior design studios that immerse students in a specific city, investigating notions of the urban and the public, the temporal and the spatial, and the confluence of forces that inform these.
“The conjunction between ‘urban and interior’ highlights the relation between interior and exterior conditions without the implication of an existing frame between the two conditions. […] This invites other possibilities for thinking and designing interiors – and the practice of interior design – and brings the sensibilities and techniques of interior design to the urban environment.” Suzie Attiwill.
The Victorian Government has announced an investment of more than $200 million over the next two years to reimagine Southbank and the precinct including a brand-new icon for Melbourne – NGV Contemporary. NGV Contemporary will be new standalone gallery that will focus on contemporary art and design. NGV Contemporary will be located at 77 Southbank Boulevard behind NGV’s St Kilda Road gallery, a site where the former Carlton & United Breweries building currently stands. When built, NGV Contemporary will be Australia’s largest contemporary art and design gallery. Arts Centre Melbourne’s Theatre’s Building, one of Melbourne’s most recognised landmarks, will be revitalised with upgrades to its theatres and public spaces.
The project will also return 1 City Road - one of the only available parcels of land in the area – to full cultural and public use. The site will become home to a new Australian Performing Arts Gallery, an expanded Australian Music Vault, Arts Centre Melbourne’s administrative offices, education and research facilities, and a new creative hub for small to medium and independent arts organisations.
The project will transform the area around the NGV and Arts Centre, creating 18,000m2 of new and renewed open public space, including an elevated pedestrian park and outdoor performance and event spaces. This will enable people to move seamlessly across the precinct taking in cultural organisations, restaurants and bars along the way. The new precinct is expected to attract an extra 3 million visitors each year.
The first half of semester will entail small scale experiments utilising the key notions of the studio – time, process, duration and the urban and public interior. becoming [un]finished will culminate in student projects that propose speculative [un]finished designs for this future and iconic Melbourne Arts Precinct.
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 is it important to design for the [un]finished?
When do these confluence of forces come together to shape what it is we call the urban and public interior?
The technology aspect of the studio will take part in a range of ways and through a succession of approaches to time, process, duration and the urban and public interior. Concepts of time, duration, urban, public, 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 proposal for an [un]finished design of the Melbourne Arts Precinct. Students will also be asked to produce and experiment thoroughly with techniques of photography, drawing, diagramming, digital media, modelling and installation practices.
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 temporal and 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
Time / duration / temporal / process / technique / material / immaterial / interior / space / drawing / rendering / maintenance / care / action / body / site responsive / habitual / familiar / urban / public / decay / patina / effect / affect / live / lived / civic consciousness
Precedents / References
Mierle Laderman Ukeles
Roland Roos – Free Repair
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
Texts, readings, essays
Urban Interior: Informal explorations, interventions and occupations. Suzie Attiwill, Kate Church, Mick Douglas, Mathias Heyden, Rochus Urban Hinkel, Marieluise Jonas, Scott McQuire, Jane Rendell, Alex Schweder La, Malte Wagenfeld. Spurbuchverlag, Germany 2011.
Practicing with Deleuze: Design, Dance, Art, Writing, Philosophy, Suzie Attiwill, Terri Bird, Andrea Eckersley, Antonia Pont, Jon Roffe, Philipa Rothfield, Edinburgh University Press, 2017.
The Public Interior as Idea and Project, Mark Pimlott, JAP Publishing, 2016.
Maintenance Architecture, Hilary Sample, MIT Press, 2017.
Hyperart: Thomassons. Genpei Akasegawa. Kaya Press. 2009.
David Cross and Claire Doherty (eds.) One Day Sculpture. Kerber Verlag 2009.
Brian Dillon (ed.) Ruins: Documents of Contemporary Art. Whitechapel Gallery 2011.
Claire Doherty (ed.), Situation: Documents of Contemporary Art. Whitechapel Gallery, London. 2009.
Manifesto for Maintenance Art 1969!, Mierle Laderman Ukeles
Bergsonism, Gilles Deleuze
Mediators, Gilles Deleuze
Matter & Memory, Henri Bergson
Bergson, Deleuze and the Becoming of Unbecoming, Elizabeth Grosz, Parallax, Volume 11,
Constellations: or the reassertion of time into critical spatial practice, Jane Rendell
Thought in the Act, Erin Manning & Brian Massumi, 2014.
Invisible Cities. Italo Calvino. (1st Harvest/HBJ ed., A Harvest/HBJ book). New York: Harcourt Brace Jovanovich. 1978.
A Burglar’s Guide to the City. Geoff Manaugh. New York: Fsg Originals, 2016.
Towards Anarchitecture:, Gordon Matta-Clark & Le Corbusier, James Attlee
Drawing Futures: Speculations in Contemporary Drawing for Art and Architecture, Edited by Laura Allen and Luke Caspar Pearson, Bartlett University Press 2016.
Blade Runner 2049, Denis Villeneuve, 2017.
Tutor: Phoebe Whitman
Schedule: Tuesday 9:00am - 12:00pm + 1:00pm - 4:00pm
image tactics, material adventures, surface encounters
In the unstable dynamic world in which they figure, images are therefore no longer defined by fixed divisions between inside and outside. Rather this division itself comes to shift or move outside forces, cause internal variations or as internal variations create new connections with the outside. In this way, we see that images belong to a dynamic rather than a static geography.
(Bernard Cache, Earth Moves; The Furnishing of Territories. Translators preface. A. Boyman, 1995 p.ix)
The meaning of the word image is traditionally concerned with something becoming visual, or the making of a picture or representation, which is a symbol or illustration of something seen through an optical interpretation. Images can convey absence and presence, the past and the present. This allows images to be experienced not as static objects or stationary instants in time. As such, images are composites of surfaces, with inherent materialities, which prompt qualities that can transform and proliferate to be expressive and dynamic depending on their relationship to time and space.
Materials, surfaces and images are in constant relationship with forces, phenomena, matter. This studio will explore how images have the potential to shift beyond imitation and adornment, to interiorize through relations and dynamics between surfaces and the world of forces. Due to the new possibilities of digital media, manipulation and editing, and the volume of visual material in circulation, the importance of the image has changed dramatically. Images do not operate in isolation, as the image is already made from a composition of other images. For example, the camera is used commonly and thus is part of represented and depicted reality. These various levels of imagery are the main focus of the studio. By exploring how images are compositions and assemblages of a multiplicity of things, there is imminence to how images can affect us because our access to reality is so heavily mediated.
This studio will examine and expand the conventional definitions of image production by challenging notions of representation and engage in the slippery territory between the subjective and objective. As image-makers, we will examine this condition of image making and question the cultural, material and spatial powers of images by exploring how images are in flux. Through the examination of materiality, symbolic potentials, context, content, authenticity, permanence and stability we will come to understand that images are vulnerable to manipulation by both the maker, producer and consumer in the post-internet age.
The studio will engage in material-led processes and close readings of theoretical texts to understand various concepts that challenge the conventions of the image and its perception. The images you will create will incorporate a series of materialities and matter such as photographs, drawings, installations, objects, text, sculpture, sound; from sculptures re-presented as photographs to photographs rendered as sculpture. With a particular emphasis on material, form, surface, composition and various topics, the project will question medium specificity and explore the indeterminate relationships between object and image, past and present, encounter and interior.
Produce images, artefacts and conditions through a range of materials, mediums and matter Experiment with techniques in composing images as well as techniques that explore the deconstructed, rearranged, reoriented and consequently reimagined
Engage with processes and modes of production, ranging from abstract to representational
Exploring ideas and material based processes
Experimenting with making artifacts that connect across sculpture, image, object and surface
Reading a series of philosophical texts
Exploring processes in citation, through making pictures from other pictures
Explore the relationships produced through the flattening of space, producing surfaces and two-dimensional imagery
Exploring how to produce assemblages; through various techniques of composing, arranging and putting into display
Ability to engage with material relations and material-led processes through making and assembly
Ability to experiment with image production through a range of mediums, activities, themes
Ability to undertake research through arrangement, display, curation and exhibition
Ability to engage with material-led processes, techniques and processes of production
Ability to engage with theoretical concepts through reading, critiquing and responding to significant theorists
Ability to critique one's own work and the work of significant references and precedents
Ability to communicate ideas through visual presentations and artefacts
Ability to engage in social and cultural relations in relationship to the topic explored
Key words, approaches, modes
Image. Surface. Proliferation. Abstract. Representation. Frame. Extraction. Slowness. Tableau. Display. Assemblage. Materiality. Past. Present. Future. History. Citation. Site. Encounter. Interiorization.
Michelangelo Pistoletto. Antonia Low. Elin Hansdottir. Hito Steyerl. Elena Damiani. Rachel de Joode. Wolfgang Tilmans. Everything Is Collective. Joëlle Tuerlinckx. Ian Kiaer. Celia Perrin Sidarous. Fiona Abicare. Céline Condorelli. Natasha Johns-Messenger. Anne Imhof. Gerhard Richter
Bernard Cache. Earth Moves; The Furnishing of Territories (1995)
Elizabeth Grosz. Chaos, Territory, Art: Deleuze and the Framing of the Earth. (2008)
John Berger. Understanding a Photograph (2013)
Lane Relyea. Photography’s Everyday Life and the End of Abstraction (2006)
Louise Schouwenberg. Material Utopias (2017)
Plato. The Allegory of The Cave (514a–520a)
Petra Lange-Berndt. Documents of Contemporary Art: Materiality (2015)
Suzie Attiwill. Between Representation and the Mirror – Tactics for Interiorization (2008)
MATERIALS MATTER - BRICK
Tutor: Millie Cattlin & Jo Norster
Schedule: Tuesday 9:00am -12:00pm + 1:00pm - 4:00pm
Location: Morning 100.05.004A, Afternoon 100.06.004
Material Matters is based on the following idea – as designers we should know the material we use. We should understand where it comes from, how it is sourced, its social, environmental and economic impact. We should seek to understand its histories in relation to human habitation and we should speculate upon its possible futures.
This studio will focus on bricks.
You will be guided through a self directed materials research process.
Here are some things you could do:
You could visit a clay quarry;
You could learn about bricks and their impact on Melbourne’s history;
You could build a kiln with bricks;
You could cast and fire a brick;
You could meet a geologist;
You could dig for clay;
You could interview a brick layer;
You could learn to lay a brick;
You could design and prototype a brick;
You could build a wall;
You could research the history of clay quarries in Melbourne;
You could learn about brick recycling;
You could draw a cross section through the earth;
You could mix and colour mortar;
You could grind mineral and make a glaze.
Focusing closely on the brick, your research and design work will encompass a broad range of times, scales and methods – Consider the brick in relation to geologic time, in relation to histories of human habitation, and in relation to possible futures of building and construction. Think of a humble red house brick. Now think about the age of the planet and all its matter. Think of a highly refined and beautifully glazed ceramic brick. Now think of those who dug up clay deposits in Brunswick in the 1850s. Think about the process of extracting material from the earth, and think about the movements of these materials all over the world. The studio activities will include field trips, lots of material testing and group building and making workshops in the first half of the semester. The second half of the semester will involve a self directed design project. We value hands on activities, critical thinking and hard work.
Why the brick?
How the brick?
When the brick?
What the brick....?
The technology component is all about physically making with and responding to materials and
Students will learn through the following activities and approaches:
Ability to engage critically and creatively with complex material issues.
Ability to research and respond to theoretical concepts that relate to materials.
Ability to explore specific and historic and contemporary techniques and their relation to the production of materials.
Ability to engage thoroughly with a range of making processes.
Ability to understand temporal and material relationships and their spatial effects.
Ability to research and design in response to a range of making-led projects.
Ability to refine a design through multiple iterations.
Ability to effectively communicate a series of design concepts through multiple visual and verbal techniques.
cast / carve / mould / dig / subtract / duplicate / replicate / matter / mud / bake / fire / stack /
Melbourne Geological Map
Melbourne Geology Bulletin
Victoria Industrial Minerals Report
Kaolin Quarries, Bulla
How to make adboe bricks
How to glaze a brick
How to build an igloo
Key Texts / Readings / Essays / Film
Cairns, Stephen., and Jacobs, Jane M. 2014. Buildings Must Die – A Perverse View of Architec-
ture. Cambridge: The MIT Press.
Ratti, C and Claudel, M. 2015. Open Source Architecture. London: Thames & Hudson.
Till, J. 2009. Architecture Depends. Cambridge: The MIT Press.
Ruby, Ilka and Ruby, Andreas, eds. 2017. Infrastructure Space. Berlin: Ruby Press.
Evans, R. 1986. Translations from Drawing to Building and Other Essays. Cambridge: The MIT
THE INTERIOR POTENTIAL OF A GRAPHIC OBSERVATION
Schedule: Thursday 9:00am -12:00pm + 12:30pm - 3:30pm
The studio will examine the potential of graphical visual language as the basis towards establishing interior experiences and built environments. Through active analysis and engagement, existing design elements and principles such as line, shape, form and space, will be withdrawn directly from site via a series of workshops focused on making and experimentation. These workshops will initially explore elements in plane space, progressively evaluating their spatial possibilities through 1:1 site testing, regular peer to peer reviews and scale model making.
These studies will aim to observe the site through a graphic eye, extracting it's present graphic conditions and analysing their potential towards spatial practice and interior implementation. These investigations will not only allow for alternative ways in which to visually communicate and represent interior conditions, but also influence the manner in which interior environments and experiences can be generated and assembled.
They will aim to establish an informative lineage / dialogue between dimensional fields and design disciplines, thus exploring the disruption of interior experiences through the use of spatial complexity.
How could graphical visual language become the main influential aspect upon spatial practice? Could this influence expand from simply a visual communicative representation of site, into the way site is created?
How could a detailed analytical view of design elements influence the interior experience?
What techniques could be carried out on location in order to extract existing graphic conditions and develop a graphical visual language specific to site?
Can scaled models and 1:1 experimental testing give way to the proposition of new/altered built environments and interior experiences?
How could establishing a dialogue between dimensional fields impact the production and destabilisation of the interior experience?
By emphasising the importance of process, can we create a high level of inquisitive investigation and critical thinking towards the interior experience?
Techniques such as simplification of form, overlapping, layering and composition will be applied across a range of plane space and spatial outcomes.
Hands on processes will be refined and spatially expanded into a mixture of digital and analogue outcomes as the unit progresses.
Hands-on processes may include, collage, drawing, photography, prototyping, model making, others.
1:1 on site testing, prototyping and documentation will be key to the developing of ideas.
Engagement with a range of Interior built elements and material construction is expected.
Examining a variety of built interior situations with the view to developing ideas through arrangement and material detailing.
Resolving details within built environments through scale models.
Responding to site through a strong finalised proposition / presentation.
Creating spatial complexities through layering, positioning, navigation, movement, engagement.
Generating graphical visual language and strategies through the use of line, shape, texture, colour, pattern, negative space, scale.
Developing a series of resolved details through prototyping and refined model making. Enhance initial on-site evaluations, engagements and experiments into possible site responses / interior design propositions. (Mid Semester evaluation)
Respond to site and program through the translation of graphical visual language into the proposition of interior experiences and built environments through spatial complexity. (End Semester evaluation)
Model making, prototyping, drawing, documentation, observation, simplification of form, inquisitiveness, the translation of spatial disciplines (2D > 3D), the production and destabilisation of interior experiences.
Younghusband Wool Store. 2-50 Elizabeth Street, Kensington.
Precedents / References
Kazimir Malevich (models)
Psycho Buildings / Artists take on Architecture (Group exhibition at the Hayward, London)
Egon Schiele (Line Drawings)
Texts, readings, essays
Form and Structure: the Organisation of Interior Space, Graeme Broker and Sally Stone
Adaptive Reuse: Extending the Lives of Buildings - Liliane Wong
Graphics and Space - Gingko Press
Elements and Principals of Design - Kevin Rigdon
(RE)PRESENTING THE GALLERY
Tutor: Hannah Moriarty & Alis Garlick
Schedule: Thursday 9:00am - 12:00pm + 1:00pm - 4:00pm
Location: Morning, 100.05.005, Afternoon 100.05.006
Over the past four decades, artists and curators have worked to develop new methods to activate the gallery’ in ways that move beyond traditional modes of display, often shifting the functional and institutional roles of the gallery itself. Identifying the complex systems of display and representation within the gallery is an essential element of this studio. In the case of an art gallery, art itself can be understood as a function of (re)presentation. This means understanding ‘art’ as a system itself within a much larger network. We must realign our thinking of the gallery in ways that move beyond a static space to house art and into a site of rupture, dislocated from architecture.
The first half of the semester will challenge ideas and knowledge through the act of weekly display and curatorial explorations. This will run parallel to a practice of making through methods of material discovery, model making and manipulation of matter. The production of concepts through actualised objects will inform, not only the structure of this design studio, but how students develop their own theoretical positioning. These fragments combined are to form narratives and potential of space.
The studio proposes a new working model for the contemporary Melbourne art gallery - West Space; who are due to leave their current location in the CBD. Students will work to rehome this power-house to a new location in the Collingwood Arts Precinct redevelopment. As interior designers, how can we begin to use curation as a strategy to extend the dialogue around the current gallery model?
Students will engage with theoretical concepts through reading and responding to relevant material accompanied by weekly site visits. This allows students to experience the diversity within the Melbourne art scene - not only through an exhibition and its contextualisation of art, but how pragmatic infrastructure allows a business to support its community.
How do modes of display affect/effect our engagement with objects?
Can relational display become a provocation for an expanded notion of the gallery and it’s curation?
How can interior design strategies and process begin to contribute to the discourse surrounding the gallery?
How do we design for future museum exhibition and gallery design?
How do we design for future museum and gallery exhibits?
How do we design for a future arts precinct?
How do we create a space for the development of non-hierarchical relationships between artwork, display, audience, and space?
“To the extent that it remains within the tradition of modern painting, [art] still finds the museum a hospitable environment, although the ideal place – even for a big Pollock – is in a private home. To me, museums are essentially compromises. Their weakness is that they are necessarily homogenized – emptied of all connotations other than art, and that finally is an artificial situation. Museums never were, and I think never will be, the absolutely right environment for works of art. I don’t think works of art are at their most interesting when separated from the whole fabric of life. It makes it possible for more of the public to see them, it’s convenient, it’s good for art history – especially as it preserves them – but it is a compromise.”
What modes of research + publication best support your design practice?
The technology component of this studio will be an exploration and investigation into Melbourne’s artist run, public and private galleries. Students will learn how to critically and actively respond to site through methods of (re)production, photography, diagramming, model making, mark making and drawing. Students will be expected to critique and develop their own theoretical position in the form of a short analysis or observation on each site including its temporal, ephemeral and relational conditions.
Students will then collate this material as printed matter to sit in relation to a final body of work. This catalogue will become ephemera - existing outside the boundaries of the gallery as a method to (re)present a body of research.
Ability to engage with site and explore relations through observation and production.
Ability to undertake research through display, curation and exhibition.
Ability to engage with model making and material manipulation techniques and processes.
Ability to engage with theoretical concepts through reading and responding to relevant theorists.
Ability to hold a theoretical position and develop a conceptual strategy.
Ability to engage in critique of one's own work through panel discussion and in class workshops.
Ability to communicate research through visual and graphic documents.
Gallery / Assemblage / Curation / Display / Collection / Matter / Manipulation / Production / (re)production / Enso / Publication design / Catalogue / Artist Books / Manifesto / (re)presentation / Mise-en-scène / Gesamtkunstwerk / Relation / Site / Sight / Food / Community / Art
Collingwood Arts Precinct
Lyon House Museum
Heide Museum of Modern Art
Muma - Monash University
World Food Books
*to expand and contract
Precedents / references
Texts, Readings, Essays
Cummings, Neil and Lewandowska, Marysia, 2000, The Value of Things, Basel: Birkhauser - Publishers for Architecture
Zaugg, Remy, 2013, The Art Museum of My Dreams or A Place for the Work and the Human Being, Sternberg Press, New York.
Steinbach, Haim 2013, The Window, x-rummet, Statens Museum for Kunst
Columina, Beatriz, 1992, Sexuality in Space The Split Wall: Domestic Voyeurism, Princeton Architectural Press
Tanizaki, Jun'ichirō, 1967, In Praise of Shadows, Harper & Row
O’Doherty, Brian 1976, Inside the White Cube, San Francisco: Lapis Press
Attiwill, Suzie 2008 ‘Exhibition as Research’, paper presented for the interiors Forum World
Bishop, Claire 2011, Participation and Spectacle: Where Are We Now?, Living as Form Cooper Union, New York
Buren, Daniel. The Museum That Did Not Exist, Munich ; New York: Prestel, 2010.
Farquharson, Alex, I Curate, you Curate, We Curate, Art Monthly, September 2003, No.269
Gombrowicz, Witold. Operetta. Trans. Louise Iribarne. London: Calder and Boyars, 1971.
Obrist, Hans Ulrich, Can Exhibitions be Collected? with Noah Horowitz, 2006, in Everything You Always Wanted to Know About Curating*, Berlin; Sternberg Press, 2011.
Obrist, Hans Ulrich. A Brief History of Curating. New York: JRP|Ringier, 2012.
Rubin, William, “The Museum Concept is Not infinitely expandable,” Artforum 13, no.2, October 1974.
Obrist, Hans Ulrich, “Can Exhibitions be Collected?” with Noah Horowitz, 2006, in Everything You Always Wanted to Know About Curating*, Berlin; Sternberg Press, 2011. P34
Mattsson, Helena, Place and Displacement: Exhibiting Architecture, 2014, Life as a Full-scale Demonstration: Konsument I Oandligheten, 1971
Herb and Dorothy - The Art of Collecting (2009)
Beatriz Colomina - The Total Interior: Playboy 1953–79
Hans Ulrich Obrist - The Art of Curating - TEDxMarrakesh
Not Quite Art Series
The Museum as Sculpture
The Dilemma of Collecting
Tutor: Nick Rebstadt & Giselle Laming
Schedule: Tuesday 9:00am - 12:00pm + 1:30pm - 4:30pm
Location: Morning 100.05.006, Afternoon 100.01.004
We are about what everyone is talking about. 100% IN is the next thing – the current thing and why nobody even considers the past thing as a ‘thing’ anymore. 100% IN is the interior of (IN)conspicuous consumption and those deep and dirty desires that drive us to want, create, imagine – and consume. We ask: “How might [a designer] evade culture’s demand for marketable identity in her person, products, style and career?”
We begin with the designer as embodied (and productive) subject. Through the gaze of a ‘consumptionist’ we expand the relation between the designing of desire, the individual the world around them – and of course how the designer is mediator within this.
The arena of the ‘consumptionist’ is consumable space – we are situated in the arcade both historical and present, enhanced by social media, and the image – the consumptionist’s tools are a critical mind, an active body and an enthusiasm for play, irony and actualization.
100% IN asks students to cultivate ‘immediate interiors’ (of and through consumption) with a process of analysis, critique, imagination and action. Students will be provided with a toolkit of theoretical, material and embodied design skills focusing on the way that consumption operates, and its potency as a medium to cultivate cultures in spaces and subject, challenging existing programmes and the power structures that enforce them.
Upon completion of this studio, students will be able to demonstrate a knowledge and grounding in issues of contemporary consumption, its expanded relation to the subject – as designer, consumer and interior (retail, arcade and event). Students will learn how to act with this knowledge, crafting real-world temporal event-based outcomes that are self-actualized in an active, playful and entrepreneurial way.
THE 9TH BERLIN BIENNALE WEBPAGE .HTTP://BB9.BERLINBIENNALE.DE
The approach to technology in this studio is based around facilitation of interior making. Students will be assessed on their ability and competency to actualise and document temporal event-based interior designs. This includes, but is not limited to:
Critiquing and analyzing theoretical frameworks to facilitate strategies for ‘now spaces’
Fabrication of apparatuses to facilitate urban events and temporal designs
Development and use of networked technologies to facilitate interiors and interorization
Upon completion of this studio, students will be able to demonstrate a knowledge and grounding in contemporary consumption, its expanded relation to the subject (as designer, consumer and interior). Students will learn how to act with this knowledge, crafting real-world temporal event-based outcomes that are actualized in an active, playful and entrepreneurial way.
Key Learning Objectives
Contemporary retail environments and urban arcades
Critique of the role of the designer in cultivating, motivating and designing desire within a ‘consumable’ space
Brand, subjectivity and identity and design
Online product / persona experiences
Product display and merchandising
Consumption of social media
A competency in performative and embodied design strategies
Understanding of the potency of temporal interior (arcade) spaces within the urban environment
The ability to locate, understand and harness the use of various online and social media technologies for interior designing
Exploration of the entrepreneurial potential of interior design practices
The ability to collaborate as a group
Understanding of the interior designer’s ability to use spatial branding, event and online identity as part of strategic retail encounters
Key Learning Outcomes
Critical and theoretical analysis, articulation, reflection and action on that analysis
Alternate visual diagrammatic techniques to express the above analysis
Material and apparatus fabrication
Self-initiated temporal urban event design
Can you produce whilst consuming?
Can you produce consumption?
Can you activate consumption?
What is ‘desire’?
The potency of designing with the commodity fetish
Can interior designers subvert or critique consumption in a substantial and effective way? If so/not, what can they do to stop enable this through design?
How can embodiment and performance be used as a strategy in interior designing?
Where is the threshold between a labour of ‘love’ and general labour?
Where does the process of consumption begin and end?
What is the role of the latest trend in our design processes?
What is the interior designer’s relationship to the production of subjectivity of themselves and others?
Texts / Essays / Video / Projects
Readings, viewings and site-visits will be handed out, walked and encountered during the semester.
Roland Barthes. “Myth Today” in Mythologies
Walter Benjamin. The Arcades Project
Bennett Simpson. “Techniques of Today - Bennett Simpson on Bernadette Corporation” (Artforum, September 2004) http://www. bernadettecorporation.com/introduction.htm
Bernadette Corporation. 2000 Wasted Years
Luc Boltanski and Ève Chiapello. The New Spirit of Capitalism
Nicolas Bourriaud. The Exform
Banjamin Bratton. The Stac
James Bridle. New Dark Age: technology and the end of the futur
Byung-Chul Han. Psycho-politics
Gilles Deleuze & Félix Guattari. “How do you make yourself a body without organs?” In A Thousand Plateaus
Félix Guattari. “Balance Sheet for ‘Desiring-Machines’” in Chaosophy
Henri Lefebvre. “Theory of Moments” in Critique of Everyday Life.
Sven Lütticken. “Liberation through Laziness. Some chronopolitical remarks” in Mousse Magazine (No. 42): http://moussemagazine.it/ sven-luetticken-refusal-2014
Hito Steyerl. “Art as Occupation: Claims for an Autonomy of Life” in eFlux: https://www.e-flux.com/journal/30/68140/art-as-occupa- tion-claims-for-an-autonomy-of-life/
Bernadette Corporation (USA). Everybody is on the Floor. (2009)
The 9th Berlin Biennale http://bb9.berlinbiennale.de
Jean Genet. Un Chant d’Amour (1950)
Trinny Woodall: https://www.instagram.com/trinnywoodall/?hl=en
Yaeji. Last Breath (2015)
Anne Imhof (Austria). Faust (2017). Installation / performance at the German Pavilion at the 57th Venice Biennale.
Mediengruppe Bitnik (Switzerland). Opera Calling. (2007): https:// www.bitnik.org/o/
Faye Toogood (United Kingdom).
Studio Formafantasma (Netherlands)
Nendo Design Studio (Japan)
BEFORE THE PERFORMANCE
Tutor: Chris Free + Bron Uphill (Special guest star – Laura Casey)
Schedule: Tuesday & Thursday
Tuesday 4:30pm - 7:30pm
Thursday 4:30pm - 7:30pm
We want you stop for a second and think back to the last live performance you attended. The crowd. The atmosphere. The sound. The talented people before your eyes. It’s a pretty amazing moment, isn’t it?
But what happened before the performance.
This studio will explore the space that surrounds a performance. We will explore how the curation of a pre-show journey can extend or enhance the experience of viewing the performance itself. How can different types of performance be translated into a different spatial experience? How does this interior journey express itself architecturally and spatially? How do you encounter this experiences? How can this form a spatial narrative?
Before the performance will propose temporal and permanent architectural insertions for both conventional and more unusual sites in the Melbourne CBD. These proposals will require a sensitivity to the existing architectural fabric of Melbourne and its existing arts community.
The final project will lead students from concept design through to basic documentation in order to simulate typical professional practice. We aim to follow a research driven design process that HASSELL practices, in order to produce a design outcome that is truly contextual and considered.
A loading dock on Flinders Lane is the site. How can you activate this site and create a new pre show space. A threshold into one of Melbourne’s premium performance spaces. The studio will be low fi. No computer rendering. We want to create images and models that evoke a spatial experience. Model making will be used to explore conceptual ideas and represent site. Hand sketching, collage and drawing will be used to communicate interior proposals. Design CAD drawings will be developed to communicate the final design in the second half of the semester.
We will have some of the leading industry professionals come and chat to you. We have FREESTATE who are one of the world’s leading experience design studios talk to you about designing experiences and narrative.
“Sun never knows how great it is until its hits the side of a building or shines inside a room”
How can we extend performance into an interior journey?
How does this journey inform a narrative?
How can we map experience, how can these mappings be used to design/inform further experiences?
What are the series of designed elements that create the overall journey? How do these elements connect to each other?
Do certain sites suit certain performances? Do certain performances require certain sites?
How can we create suspense, drama, intrigue, excitement and entertainment through spatial design? How does program effect this experience?
How does the space function when not in performance mode? How does it fit into the existing architectural fabric of the Melbourne CBD?
How can we support your design practice?
We aim to follow a research driven design process that HASSELL practices, in order to produce a design outcome that is truly contextual and considered. The studio will take a hands on approach to conceptual design and design development. Model making will be used to explore conceptual ideas and site representation. Hand sketching, collage and drawing will be used to communicate interior proposals. CAD drawings will be developed to communicate the final design in the second half of the semester.
Ability to analyse the different designed elements that add to an experience. Ability to use this knowledge to design with rational and narrative.
Ability to conduct a thorough site analysis in order to create a design response that is sensitive and contextual.
Ability to present researched material (performance type) in an engaging and concise way. Ability to use this research to form a client and inform the design.
Ability to test many ideas in sketch form (drawing and modeling) in order to explore many possibilities before selecting one idea.
Ability to create layered collages/drawings that convey the feeling of a space without creating a computer generated 3D image.
Ability to create a series of architectural drawings that are clear and legible, in order to communicate the design.
Artists, Designers + Performers
HASSELL + FREESTATE
Mies Van Der Rohe Drawings.
Diller + Scofidio
Herzog + De Meuron
Claire Doherty [Curator & Founder of Situations] - Situations http://www.situations.org.uk/ *there is a book called ‘situations’ which has lots of wonderful artists / reference texts
Richard Serra [Artist] - Verblist https://www.moma.org/collection/works/152793
Marti Guixe [Artists / Ex-Designer] - Lots of wacky and wonderful performative installations
Lisa Young [Artist] - http://www.sarahscoutpresents.com/web/lisa-young/
Lisa creates art objects / installations which sit between objects of display, architecture, sculpture. They do not quite belong but feel strangely familiar. Her works offer some interesting ideas in relation to the interior.
Marco Tirelli - http://www.marcotirelli.com/?lang=en
Centre Pompidou Paris – Vues D’En Haut (Translation: Views from above)
Was an exhibition I visited in 2013 that brought together art from across different time periods which studied the ‘view from above’ it exhibited different techniques of map making, image making centered around the theme of views from above. There is a plethora of artistic references. Unfortunately the below is in French. I am trying to find an English translation.
Theoretical Texts / References
(1) Rendell, Jane. Art and Architecture: A Place Between. New York: I.B Tauris & Co Ltd, 2006.
Art and Architecture: A Place Between by Jane Rendell explores the blurring of boundaries between art and architecture. Rendell gives insight into the multitude of places in which art can function outside of the conventional gallery system and how in turn it can be propelled into public space prompting social and political debates, the expanded field. The text looks at space, place and site and what these terms can bring about; performance of site, curation of site, and reorganisation of site.
(2) Grosz, Elizabeth A. Architecture from the Outside: Essays on Virtual and Real Space. Cambridge, Mass: MIT Press, 2001.
Architecture from the Outside: Essays on Virtual and Real Space by Elizabeth Grosz looks at ideas of how we can understand space differently to build and inhabit spaces differently. Grosz looks at time and duration, the possibilities of the ‘becoming’ of space. Grosz looks at the possibility of architecture as dynamic structures and the potential for buildings to fold, to link, to transform. Throughout Grosz’s essays she looks at ways in which we could reconsider our current approach to making space, her essays call for a more dynamic approach which involves the architecture infecting the interior.
Elizabeth Grosz has a P.h.D in Philosophy from the University of Sydney. Grosz is a professor of Women’s and Gender Studies at Rutgers University, New Jersey. She also teaches Gender Studies and Architecture at the University of Bergen, Norway and the University of Sydney, Australia.
(3) Moreno, Gean. “Farewell to Function: Tactical Interiors”, e-flux journal, #15, April 2010.. www.e-flux.com/journal/farewell-to-function-tactical-interiors/
Gean Moreno’s contribution to e-flux journal #15 ‘Farewell to Function: Tactical Interiors’ begins to look at the art installation and how these sometimes mobile structures can begin to propose new ways of creating space. Moreno refers to a range of relational systems and the way in which these relations between, with, for and of begin to generate distinctive forms. Here he begins to talk about the interior as not only a container for participatory art projects but also a platform for these projects to be generated and perhaps in the latter discussed and critically reflected.
Moreno analyses the post war interior one where behaviours began to be shaped by objects. The interior of the 1960’s as Moreno describes is one ‘where expendable goods sat inside immovable walls’. Moreno traces these changes within art and the interior through history and begins to unpack these transformations in the relation of oneself to the interior.
Gean Moreno is an artist and writer based in Miami. His work has been shown at various galleries worldwide including North Miami MoCA, Haifa Museum Israel and Invisible-Exports New York. He has contributed texts to various magazines and catalogues. In 2008 he founded [NAME] Publications, a platform for book-based projects.
(4) Kaye, Nick. Site-specific art: performance, place and documentation. London New York: Routledge, 2000.
Nick Kaye’s text ‘Site-specific art: performance, place and documentation looks at space, materials, sites and frames. Kaye’s text unpacks these ideas of site, place and space and offers an in depth understanding of these terms. Kaye touches on ideas of the gaze and the landscape.
Nick Kaye is a Professor of Performance Studies at the University of Exeter, United Kingdom. His research focuses on the history of post-war experimental performance with an emphasis on the relationships between distinct but related disciplines such as; sculpture, architectural theory, conceptual & performance art.
(5) Hester, Bianca. “A provisional context for discussion: thinking-making material relations, fashioning situations, and exhibiting practices in motion.” Paper presented to Situation Symposium, Melbourne, August 1, 2014.
Bianca Hester’s contribution to the Situation Symposium ‘A provisional context for discussion: thinking-making material relations, fashioning situations, and exhibiting practices in motion’ looks at ideas of arrangement, curation, participation, relations and the event. Hester introduces a range of terms; affordance and indeterminacy. Most importantly Hester highlights that what is present is not irreducible to matter; encompassing forces and events.
Bianca Hester is a Post-Doctoral Research Fellow, Sydney College of the Arts, University of Sydney. From 2005-2012, she taught in the department of Sculpture and Spacial Practice at the Victorian College of the Arts. She completed her PhD (by project) in sculpture at RMIT in 2007.
Meet you before the performance.
THE IMPLICIT BODY: CHOREOGRAPHY AND THE INTERIOR
Tutor: Liz Lambrou & Shelley Lasica
Schedule: Tuesday 9:00am - 12:00pm, 1:00pm - 4:00pm
Location: Morning 100.06.007, Afternoon 100.06.008
In the last few years the term “choreography” has been used in an ever-expanding sense, becoming synonymous with specific structures and strategies disconnected from subjetivist bodily expression, style and representation. Accordingly, the meaning of choreography has transformed from referring to a set of protocols or tools used in order to produce something predetermined, i.e. a dance, to an open cluster of tools that can be used as a generic capacity both for analysis and production.
Choreography is a curious and deceptive term. The word itself, like the processes it describes, is elusive, agile and maddeningly unmanageable. To reduce choreography to a single definition is not to understand the most crucial of its mechanisms: to resist and reform previous conceptions of its definition. (....)
Choreography is the term that presides over a class of ideas: an idea is perhaps in this case a thought or suggestion as to a possible course of action (...) Choreography elicits action upon action (....) Choreography’s manifold incarnations are a perfect ecology of ideo-logics; they do not insist on a single path to form-of-thought and persist in the hope of being without enduring.
William Forsyth Choreographic Objects from Action! Catalogue Kunsthaus Zurich, 2017
This studio will explore choreography in the expanded field as a tool for understanding interior space as a set of conditions in relation to concepts of time, sequence duration and the ‘implicit body’.
Students will examine choreography in the expanded field as a means to understand relationships between individuals, situations and constructed environments.
In this sense choreography is used as a framework, a set of tools that can be used as a generative capacity both for analysis and production of interior space and experience.
In the first half of the semester students will conduct an exploratory-led process of investigations that will respond to intensive workshops at the Substation, Newport occurring in week 1 + 2.
Students will develop the investigations from the Substation through a process of refinement and reflection, to generate works exploring notions of the implicit body, perception, memory, time, duration and sequence through;
Physical site analysis and intervention
Physical movement workshops
Notation mapping + diagrams
Modelling relational and adaptive environments
Using findings from phase 1 as a framework students will design speculative non-permanent living environments within the Substation through a retrofitting process. Students will draw upon and situate the work in relation to a number of examples of speculative architecture and built design outcomes including;
Shusaku Arakawa and Madeline Gins ‘procedural architecture’
Diller and Scofidio ‘Slow house’
Frederick Kiesler Endless House
The Walk-in Camera Obscura at Fürstenfeld Regional Hospital
The final design will articulate adaptive conditions of living and inhabitation. Students are required to sequence a specific time frame for the inhabitant/s and respond to the spatial implications of this time frame.
‘Arakawa and Gins believed that changes in bodily perception would lead to changes in consciousness. Consequently, they developed architecture and constructed environments that challenge the body as a way to "reverse our destinies." Arakawa and Gins wish for visitors to explore the site like children and to reorient perceptions and discover the unlimited possibilities of the body.’
How does space unfold through time?
How does time unfold through space?
How does time affect and effect the interior?
How are we ‘together' in relation to each other in the spaces that we inhabit?
How do we understand these shifting circumstances physically?
The technology component of the studio will begin with an in depth site analysis at the Substation. Students will research and document in and out of site in relation to concepts of time, sequence and duration through methods of observation, recording and spatial production. Students will be expected to use a wide range of media to communicate their design process, and as a tool for experimentation including; Photography, drawing, mapping, diagramming, model making, animation and installation practices.
In the second part of semester, students will produce a range of documents to communicate their final design. Students will research (and implement within their final design) movement and mechanisms used in construction and joinery that transform and activate through; research, observation, analysis and technical drawings.
Students will learn through the following activities and approaches:
Ability to participate in and reflect upon physical exercises
Gain experience in creative modes of site-analysis.
Ability to research and catalogue a physical site and its contexts through photography/video/drawing/diagram/making /processing / editing and installation
Ability to process tangible and intangible spatial complexities through designed physical works and speculative spatial outcomes
Ability to effectively and creatively communicate observations and intent
Processes of transformation and transference through analysis, reflection, re making & re presentations.
Ability to practice independent ideas through a range of explorative, experimental and speculative approaches to design
Choreography in the expanded field/ time/duration/sequence/the implicit body
Movement /motion/ duration / time /timeline/ sequence/ passage
Perception /tangible / intangible
‘Procedural architecture’ /Shift / boundary / threshold/ moment/ action
Condition/ sets of relationships + exchange
Program/ context / usage/ ownership
Inhabit/ dwell/ / Living/ permanence/ non permanence
Precedents / References
Brian O’Doherty “Rope Drawings”
Bruce Nauman, Days, 2009
Diller + Scofidio. Slow house, 1991
Endless House: Intersections of Art and Architecture” MOMA,2016
Frederick Kiesler Endless House, project, 1950–60.
Raimund Abraham, The House without Rooms, project, 1974.
Richard Murphy "box of tricks" house, 2016
Shusaku Arakawa, Madeline Gins Reversible Destiny Foundation ,Bioscleave House (Lifespan Extending Villa), 2008
The Walk-in Camera Obscura at Fürstenfeld Regional Hospital / balloon architekten ZT-OG, 2017 Texts, readings, essays
Allsopp, Ric, and André Lepecki. "On choreography." (2008): 1-6.
Bissell, Bill, and Linda Caruso Haviland, eds. The Sentient Archive: Bodies, Performance, and Memory. Wesleyan University Press, 2018.
Cook, Peter. Drawing: the motive force of architecture. John Wiley & Sons, 2014.
Deleuze, Gilles, and Francis Bacon. Francis Bacon: The logic of sensation. U of Minnesota Press, 2003.
Forsyth ,William Choreographic Objects from Action! Catalogue Kunsthaus Zurich, 2017
Lambert, Léopold. The Funambulist Pamphlets: Vol. 08: Arakawa+ Madeline Gins. Vol. 8. Punctum books, 2014.
Pallasmaa, Juhani. The eyes of the skin: architecture and the senses. John Wiley & Sons, 2012
Phillips, Patricia C. "A parallax practice: a conversation with Elizabeth Diller and Ricardo Scofidio." Art Journal 63, no. 3 (2004): 62-79.
The Funambulist Interviews: Architectures of Joy: A Conversation between 2 Puzzle Creatures
Tutor: Zoe Teltscher-Taylor & Andrea Giuradei
Schedule: Tuesday 5:30pm - 8:30pm, Thursday 9:00am - 12:00pm
Location: Tuesday Architectus Studio, Thursday 100.04.003
Looking through the current lens of the ever-growing co-working environment, this studio will investigate what the social and spatial influences on the workplace are, and explore the question of what the future of workplace design will be.
During the first half of the semester the studio will seek to investigate and understand key elements that contribute to a successful place of work. Research into office spaces of the past, as well as current trends, will be explored through site visits, design exercises, research and discussions, including multidisciplinary contributions from the Architectus team.
Particular attention will be given to the evolution of the co-working and the wellness model and how it is rapidly expanding and changing the way we see the design and operational function of the workplace. The students will be asked to produce a series of case studies that respond to the typologies explored each week. From here, a base foundation of knowledge and individual design thinking will be formed, allowing for a direct connection to the final project to follow.
The second half of the semester will draw on the pool of knowledge developed during the first half of the semester and will focus on a proposal for the office and way of working in the year of 2100.
Key questions include:
Is de-localisation a positive phenomenon for the future of the workplace?
What is the space of an individual within the workplace environment?
What part will the communal space play within the office of the future?
Will the office exist in 80 years or will the de-localisation make it a redundant space in thefuture?
How does the trend of mixed typologies co-existing, inform the future of the office as a unique type of space?
What spaces beyond the immediate workplace play an important role in the expanded field of workplace design?
What part will the workstation play within the office of the future?
How do we design to facilitate the crucial, non-physical operations of an office environment?
How do we design for optimum health and wellness in the workplace?
How do we maintain a healthy balance between the social and digital environments of the future workplace?
How can we learn from the office spaces of the past to inform the workplaces of the future?
The design studio will run in two blocks of 3 hours per week, over a 12 week period. The proposed time is on Tuesday night between 5:30PM - 8:30PM and Thursday morning 9:30PM - 12:30PM. While the morning session will be spent on site visits and/or at the RMIT campus, the evening session will be held in the Architectus Office (Level 25, 385 Bourke Street).
Developments in genetics, artificial intelligence, robotics, nanotechnology, 3D printing and biotechnology, to name just a few, are all building on and amplifying one another within the workplace environment. Considering the role of expanded technology within the workplace, students will be asked to consider the point at which these technologies meet the social factors of collaboration and team based working environments.
The focus of the design studio is to work with the students in order to develop an understanding and ability to:
Understand the processes and key contributors to workplace design;
Apply knowledge learnt through readings, class discussions, design case studies and site visits;
Analyze and respond to a series of key questions and topics of investigation;
Produce a considered and ‘future thinking’ design proposal;
Contribute to a creative approach within the field of workplace design;
Evaluate how the practice of design led thinking can contribute to the developments of the future office;
Adapt a series of technologies to produce a creative response to a given brief.
Recall key learnings, approaches and precedents within the field of workplace design;
Clearly communicate an individual approach to a creative solution.
Key Terms & Precedents
Social Engagement/Collaboration/Virtual Working/Cloud Based Computing/Integrated Technology/Wellness/Multifunctional /Hot Desking/Agile Spaces/Alternative Workplace Strategies/Work points/Open Plan/ Sensory Stimulation/ Biophilia/ Behaviour mapping/ Aesthetic Benefits/ Networking/ Community/ The Start-up Effect/ Communal work/ Expanded Amenities
Architectus Office, Melbourne
720 Bourke Street, Melbourne
Art West, Melbourne
Microsoft HQ, Milan, Italy
Facebook HQ, Menlo Park, USA
Zappos, Las Vegas, USA
ThinkGarden, Milan, Italy
Corus Quay, Toronto, Canada
Etsy, Brooklyn, USA
Lego, Billund, Denmark
Ogilvy & Mather, Jakarta
The Port House, Antwerp
White Mountain, Stockholm
Royal Bank Tower, Montreal
Red Bull, Sydney
Selgas Cano, Madrid
RPBW HQ, Genoa
The Commons, Melbourne
Recommended texts include:
1984, George Orwell
Creative Cities, David Yencken
Work and the City (Edge Futures) Paperback , Frank Duffy
Design for Change: Architecture of DEGW Paperback, Jeremy Myerson
The Elemental Workplace, Neil Usher
Workplaces Today, Juriaan van Meel
The Social Organization, Jon Ingham
Work&Place, Online Journal http://workplaceinsight.net/premium-content/workplace/
Recommended movies include:
Fritz Lang’s Metropolis @ 1927 - Jacque Tati‘s Playtime @ 1967
Steven Lisberger’s Tron @ 1982 - Ridley Scott’s Blade Runner @ 1982
Michael Radford’s 1984 @ 1984 - Terry Gilliam’s Brazil @ 1985
Tim Burton’s Batman @ 1989 - Besson ‘s The Fifth Element @ 1997
Spielberg ‘s Minority Report @ 2002 - Katsuhiro Otomo’s Steamboy @ 2004
Christian Volckman’s Renaissance @ 2006 - Kosinski’s Tron Legacy @ 2010
Nolan’s Inception @ 2010 - Joseph Kosinski’AOblivion @ 2013
Denis Villeneuve’s Arrival @ 2016
Black Mirror Series 1 @ 2011: The National Anthem; Fifteen Million Merits, The Entire History of You”
FUTURE OF CARE
Tutor: Leah Heiss
Schedule: Tuesday 9:00am - 12:00pm + 1:00pm - 4:00pm
Location: Morning 100.05.004B, Afternoon 100.04.003
Future of Care will focus on the spaces, technologies and services that enable us to live well and healthy lives into the future. Future of Care will traverse scales, engaging with a spatial intervention, a technology enhancement (wearable or environmental) and a service proposition. Students will focus on an area from across space, technology, service to create a final project. All projects will have at their core an interest in the human experience of individuals as they navigate health and wellbeing in contemporary life. As such, students will be exposed to the real stories of people who are living in the community and in care environments.
The Future of Care studio will partner with Bolton Clarke, providers of at-home and community-based support for older people; Marchese Partners – healthcare architects and designers; Umps Health - creators of smart technologies to enable people to live at home for longer; and the Master of Design Futures in the School of Design. This industry-partnered model will expose you to real-world problems and challenge you to design spatial and experiential solutions for people in your community.
We will draw from co-design practices and develop skills in engaging with people from across society. You will be challenged to run workshops, interview people and develop a strong understanding of the needs of potential clients. These skills will help you to navigate in your future career practice. You will also be exposed to human-centred design methodologies and develop skills in prototyping experiences, approaches and strategies that can be tested with final users.
In parallel to engaging with healthcare businesses you will also engage with a number of Master of Design Futures students. This engagement between undergraduate students and post-professional MDF students is beneficial in both directions. For you it will provide direct access to people working in service design, policy, strategic design, architecture etc.
Your design work will be communicated to the world via an industry-partnered Future of Care exhibition, symposium and publication to distribute to stakeholders, students and supporters.
to expose you to industry-partnered healthcare design practice
to skill you up in human-centred design practices
to build your confidence to engage with future clients
to expose you to the cutting edge healthcare design work happening in Melbourne
to build your awareness of design trajectories that you may follow in the future: service design, experience design, human-centred design, technology design
to encourage you to develop a prototyping practice to test your design ideas with final users.
Technology will traverse wearable technologies, human-centred design methodologies, ethnographic approaches, diagramming, film-making, sound recording, drawing and other approaches to capturing the human experience of people in environments. Students will develop a unique approach to technology for their final project.
Co-design in healthcare
Prototyping experience and design outcomes
Drawing as an iterative practice
Co-creating problem and solution
Nigel Cross. (2007). Designerly Ways of Knowing (1 edition). Basel; London: Birkhäuser Architecture.
Pink, Sarah. Doing Sensory Ethnography. London, Thousand Oaks, CA: SAGE Publications Ltd., 2009.
Dorst Kees, and Nigel Cross. “Creativity in the Design Process: Co-evolution of Problem–Solution.” Design Studies 22 no. 5 (2001): 425–437. Accessed December 18, 2015, https://doi.org/10.1016/S0142-694X(01)00009-6
orst, Kees. “The Core of ‘Design Thinking’ and its Application.” Design Studies 32, no. 6 (2011): 521–532. Accessed September 21, 2017, https://doi.org/10.1016/j.destud.2011.07.006
Gerber, Elizabeth, and Maureen Carroll. “The Psychological Experience of Prototyping.” Design Studies 33, no. 1 (2012): 64–84. Accessed March 29, 2017, https://doi.org/10.1016/j.destud.2011.06.005
Gooch, Daniel, Laura Benton, Rilla Khaled, Dominik Lukeš, and Asimina Vasalou. “Creating Bridges:
The Role of Exploratory Design Research in an Intelligent Tutoring System Project.” Interacting with Computers 28, no. 3 (2016): 372-386. Accessed September 21, 2017, https://doi.org/10.1093/iwc/iwv009
Kasali, Altug, and Nancy J. Nersessian. “Architects in Interdisciplinary Contexts: Representational Practices in Healthcare Design.” Design Studies 41, Part B, (2015): 205–223. Accessed March 29, 2017, https://doi.org/10.1016/j.destud.2015.09.001
Kruger, Corinne, and Nigel Cross. “Solution Driven Versus Problem Driven Design: Strategies and Outcomes.” Design Studies 27, no. 5 (2006): 527–548. Accessed November 15, 2015, https://doi.org/10.1016/j.destud.2006.01.001
Newell, Alan F. Design and the Digital Divide: Computer Support for Older and Disabled People. 1st ed. San Rafael, CA: Morgan & Claypool Publishers, 2011.
Yang, Maria C. “A Study of Prototypes, Design Activity, and Design Outcome.” Design Studies 26, no. 6 (2005): 649–669. Accessed March 29, 2017, https://doi.org/10.1016/j.destud.2005.04.005