Design Studio

Second + Third Year
ARCH1108, ARCH1109, ARCH119, ARCH1121

1970 Pinacoteca

1970 Pinacoteca

GHOST IN THE MUSEUM

Tutors: Angela Brophy
Schedule: Tuesday 9:00 - 12:00 + 13:00 - 16:00
Location: Morning 100.04.007, Afternoon 100.05.007

SUMMARY

Starting with several historic, theoretical and philosophical positions on the experience of viewing art, the studio Ghost In The Museum examines the plurality of perspectives relating to anachronistic and time-based curatorial strategies in art institutions and the of role of exhibition design towards this.

Much like Descartes' concept of mind-body dualism that positions the mind and body as being separable and distinct from one another (explained through the idiom Ghost In the Machine); the “ghost in the museum” here makes reference to a common criticism that art institutions conceive of their audiences as simply eyes without a body.

Within this context, the “ghost” also acknowledges the spectres of past, present and future that emerge through exhibition narratives and anachronistic physical contexts and the sliding sense of time that they engender. Through observational exercises at Melbourne art institutions, examined alongside international case study exhibitions and precedent curatorial models, the studio will consider the conceptual, spatial and material conditions that influence and affect audiences on both an emotional and physical level.

The studio concentrates on how the internal spaces of art institutions affect human behavior and set up the environmental conditions that reinforce assumptions made about public audiences and historically underpin the way in which we have learned to view art.

Exercises undertaken within the studio will accumulate toward major projects in the redesigning of case study exhibitions. Students will undertake exercises, site analysis and audience observation within art institutions; experimenting with material and spatial concerns whilst also learning about the historical trajectories of curatorial practice.

Key Questions

How can art and design slide through and open new paradigms for understanding time?
What strategies and material concerns might better encompass a physical/bodily understanding of audiences?
How might material experimentation in exhibition design enhance the relationship between artwork and audience?
How are time complexes delivered through institutional modes of display?
What is the value of exhibition design in contribution to exhibition conceptualisation and making?

Technology Summary

Whilst also engaging with material concerns in studio experiments that may incorporate object making, installation, photography, video; students will navigate through processes of observation of existing and historical art institutional frameworks through critical analysis, cognitive and spatial mapping using collage, digital and analogue image-making and model building to conceptualise spaces designed with consideration of the potentially transformative qualities of interior space upon both the mind and body of audiences.

Student Capabilities

In this subject, students will engage in site, exhibition and art institutional analysis to gain an understanding of museological and curatorial histories and frameworks and reconsider the public relationships to exhibition presentation. Through observation and reflection they will apply strategies of in constructing their own approaches to exhibition design using a range of design techniques, to visually articulate space material and concept. Students will gain skills in drawing, object and exhibition-model making, digital and analogue modelling, spatial mapping in site analysis exercises.

Key Terms

Institutional frameworks / Museology / Exhibition and curatorial history / Speculative time / Anachronistic design / Restaging / mmaterial art and design / Curatorial models / Exhibition-making / Exhibition design / Spectatorship and participation

Precedents / References

Armen Avanessian
Suhail Mailik
Pierre Hugyhe
Harald Szeemann
Lina Bo Bardi
Franco Albini
Claire Bishop

Key Texts, Readings, Essays, Films

Klonk, Charlotte. 2009. Spaces of experience: Art gallery interiors from 1800 to 2000. New Haven and London: Yale University Press.

Klonk, Charlotte; Maak, Niklas; Demand, Thomas; “The White Cube an Beyond”. Spring 2011

Bishop, Claire. 2013. Radical Museology: Or whats ‘contemporary’ in contemporary museums of art. 2013 London: Keonig Books.

Charles Esche, “A Different Setting Changes Everything,” in When Attitudes Become Form: Bern 1969/Venice 2013, 470.

 
Image by Kate Geck

Image by Kate Geck

METAVERSE MAKEOVERS: SPECULATIVE XR SPACES

Tutor: Kate Geck
Schedule: TBC 9:00 - 12:00 + 13:00 - 16:00
Location: Morning 100.06.005, Afternoon 100.05.004B

SUMMARY

This studio explores the creation of atmospheres around digital interfaces in the design of a speculative pop-up for augmented reality fashion label Metaverse Makeovers. Metaverse Makeovers is a trans-national femmetech start-up designing the world’s first ‘appcessories’: fashion nails that are activated through app based augmented reality to pop holographic content. The studio will explore a spectrum of real and digital materialities and the ways they can intersect in lived space, culminating in a speculative, experiential design for a retail pop up.

XR or extended reality refers to a suite of emerging technologies that include augmented, mixed and virtual reality. Metaverse Makeovers as a brand explores fashion experiences related to these technologies, and as a studio we will broadly explore the ways these technologies can integrate into lived space. XR comes with a unique and still emerging design vernacular that allows the human body to interface at 1:1 scale with digital space. Device based interactions with phones and computers offer us ‘windows’ into digital space. However, XR offers the potential to step into and overlay digital content at human and room scale in realtime. We will explore the implications of this for minds and bodies, as well as consider the ways the digital and real materialities intersect in hybrid interior spaces.

The speculative retail design will be attentive to these materialities, requiring informed choices around materiality and the integration of technology. We will consider a somaesthetic approach to designing sensory, technologically enhanced environments - how can we thoughtfully immerse bodies in digital space? Further to this, we will explore the tension that might arise between commercial motivations and individual well being by critically considering ways that retail space can interact with network cultures through social media feeds and online technologies.

Key Questions

How can we create atmospheres around digital interfaces, and how might real world materialities affect engagement with these technologies?

What potentialities exists for the human body to interface at 1:1 scale with digital space through XR technologies?

How could a spectrum of real and digital materialities intersect in lived space?

Can we engage a somaesthetic approach to designing sensory, technologically enhanced environments?

How can retail space interact with network cultures through social media feeds and online technologies, and what implications exist for human well being?

How can we engage audiences through dimensions of delight to pop up retail experiences?

Technology Summary

Timepieces
We will explore representations of real and digital materialities using Photoshop + Illustrator.

We will explore affections of real and digital materialities through tactile research and theoretical reading.

We will engage in design research that is performative, speculative and value sensitive, presenting across a range of communication modalities such as drawing and model making.

We will experiment with XR space, and so you will need a laptop with the latest version of Unity software installed which is free.

Student Capabilities

Develop an understanding of XR technologies and of the ways they may be implicated in lived space.
Develop an understanding of how real and digital materialities might intersect and how they could affect lived experiences.
Develop an understanding of the potentials for the human body to interface at 1:1 scale with digital space.
Develop an awareness of somaesthetic experience - how the design of technology affects the body.
Develop an understanding of human affect in retail space - how design decisions can contribute to delight and engaging experiences.
Develop an ability to use design to speculate on critical outcomes.

Key Terms / Significant components

Metaverse Makeovers (Shanghai, Melbourne)
XR - extended reality (augmented, mixed and virtual realities)
Affect Theory
Real and Digital Materialities
Somaesthetic Design (Kristina Hook)
Informance, Design Animism (Brenda Laurel)
Feminist Utopias (Shaowen Bardzell)
Speculative Critical Design (Dunne + Raby)

Precedents / References

Metaverse Makeovers
Kristina Hook Somaesthetics Series
Mariko Mori
Studio GGSV
Olafur Eliasson
MVRDV
Assume Vivid Astro Focus
Rosa Menkman
Mediated Atmosphere MIT Responsive Environment Group
Lime Crime AR Packaging

Significant Texts & Readings

Bardzell, S. (2018). Utopias of Participation : Feminism, Design, and the Futures. ACM Transactions on Computer-Human Interaction (TOCHI) - Special Issue on Reimagining Participatory Design, 25(1, February 2018), 1–24. https://doi.org/10.1145/3127359

DiSalvo, C., Jenkins, T., & Lodato, T. (2016). Designing Speculative Civics, 4979–4990. https://doi.org/10.1145/2858036.2858505

Clarke, R., Heitlinger, S., Foth, M., DiSalvo, C., Light, A., & Forlano, L. (2018). More-than-human Urban Futures: Speculative Participatory Design to Avoid Ecocidal Smart Cities. Proceedings of the 15th Participatory Design Conference: Short Papers, Situated Actions, Workshops and Tutorial - Volume 2, 34:1--34:4. https://doi.org/10.1145/3210604.3210641

Dunne, A 2005, Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design. 2nd ed. Cambridge: MIT Press.

Dunne, A & Raby, F 2013, Speculative Everything: Design Fiction, and Social Dreaming. 1st ed. Cambridge: MIT Press.

Haraway, D 2017, Making Oddkin: Story Telling for Earthly Survival, YouTube, 23 October 2017, Yale University, https://www.youtube.com/watch?v=z-iEnSztKu8&feature=youtu.be.

Höök , K 2008, ‘Knowing, Communicating, and Experiencing through Body and Emotion’, IEEE Transactions on Learning Technologies, vol. 1, no. 4, pp. 248-259. 

Höök , K, Stahl, A, Jonsson, M, Mercurio, J, Karlsson, A, & Banka Johnson, E-C 2015, ‘Somaesthetic design’, Interactions vol. 22, no. 4, pp 26-33. https://doi.org/10.1145/2770888

Jakobsone, L 2017, ‘Critical design as approach to next thinking’, The Design Journal, vol. 20. https://doi.org/10.1080/14606925.2017.1352923

Leahu, L., & Sengers, P. (2014). Freaky: performing hybrid human-machine emotion. Designing Interactive Systems, 607–616. https://doi.org/10.1145/2598510.2600879

Lindtner, S., Bardzell, S., & Bardzell, J. (2018). Design and Intervention in the Age of “No Alternative.” Proceedings of the ACM on Human-Computer Interaction, 2(CSCW), 1–21. https://doi.org/10.1145/3274378

Lupton, E 2017, Design Is Storytelling. New York: Cooper Hewitt, Smithsonian Design Museum.

Neustaedter, C., & Sengers, P. (2012). Autobiographical Design: What You Can Learn from Designing for Yourself. Interactions, 19(6), 28–33. https://doi.org/10.1145/2377783.2377791

Nansen, B., van Ryn, L., Vetere, F., Robertson, T., Brereton, M., & Douish, P. (2015). An internet of social things, 87–96. https://doi.org/10.1145/2686612.2686624

Sutcliffe, T. (2007). Subjective Objectives. The Musical Times, 138(1850), 2. https://doi.org/10.2307/1003975

Tironi, M. (2018). Speculative prototyping, frictions and counter-participation: A civic intervention with homeless individuals. Design Studies, 59, 117–138. https://doi.org/10.1016/j.destud.2018.05.003

 
Amy.jpg

‘FACILITATORS’

Tutor: Ping Yan (Amy) and Sandra Tobias
Schedule: Thursday 12:30 - 15:30 + 16:30 - 19:30
Location: Morning 100.05.005, Afternoon 100.06.007

SUMMARY

“What is the role of school education in developing citizens for a rapidly changing world and just what is the basis for 'contemporary' learning and teaching?” - Hayball Architects, EXCHANGE: Collaboration, Convergence, Conversations, 2013

With Australia’s schools lagging behind global and disruptions to pedagogy and technology, the need for best-practice design to create outstanding educational environments is clear. Or is it?

School culture and the contexts that affect learning influence teachers’ abilities to use the elements of different classroom layouts, rather than these spaces dictating their practice. How can a creative space be designed that removes the teacher-directed classroom to one of facilitating self-directed learning? Can we design a multi-purpose space that functions for the contemporary student? One that provides sustainability, technological, environmental, movement and growth?

The studio Facilitators will discuss the Secondary Public Education sector in Australia and use interior design approaches to adjust the distance between the underfunded public education infrastructure and the rocketing top-down educational demand that is pressing both students and teaching staff. The studio focuses strongly on site-specificity, requiring students to conduct extensive research into current Educational climate pedagogy and education-related design.

In the first half of the studio, students will be asked to conduct a series of individual and group workshops investigating the contemporary education environment, learning spaces, technology and sustainability. Students will develop a better understanding of the educational psychology, pedagogical strategies, and behavioral management, including the utilisation of spatial intelligence for meaningful architectural solutions. Through a series of exploratory projects students will seek answers to:

-How interior design can better inform or transform the needs of teenagers aged 13 to 18?

-How the Learning and teaching environment, of which our adolescents spend 25% of their daily lives in, can be redesigned to improve critical and creative thinking?

In the second half of the semester, students will undertake a site-specific project based on their research to renovate and re-purpose the Pascoe Vale Girls College Art portable classroom. This design will encompass functional features and challenge the contemporary art education system. The space currently functions in an art classroom for years 10-12 studio arts students utilise this space to paint, draw, model, cut, research, and view presentations. It will be a multi-purpose space to incorporate wet and dry areas, ergonomic design, sedentary device benches, large drawing tables, and an installation and performance space. The proposed designs will also explore the possibilities of providing a modern learning environment through investigating the relationship between learning and teaching; the transformation between physical practice and digital technology; and a range of spatial solutions that accommodate the specific behaviors and activities that occur in a classroom environment.

The studio will explore a holistically sustainable perspective, attempting to reconcile ecological and social design impacts; design a creative space that removes the teacher directed classroom to one of facilitating self-directed learning; offer solutions of a multi- purpose space that functions for the contemporary student.

Key Questions

How do we design a contemporary senior arts class for contemporary Arts practice within a Public Secondary Education system?

What would make these classrooms more effective?

How can we create new environments for learning and teaching which may be more appropriate for our contemporary society?

How do we utilise the space to create a multi-purpose space that is stimulating, functional and allows students to use their critical and creative thought processes?

Is it possible to design a futuristic space one that is not teacher focused but rather teacher facilitator alongside a creative layout of the space?

What is the role of school education in developing citizens for a rapidly changing world and just what is the basis for 'contemporary' learning and teaching?

When the physical environment is purposefully designed to support particular values and beliefs it can become a 'teacher' in itself. What role does design play in making certain social and learning experiences possible?

Technology Summary

Here are some questions to help you state the role of technology in the project:

What will the practical and applied techniques and processes in the studio? 

Will it involve hands-on processes, analogue and digital processes?

Will it involve the knowledge, research and application of materials? 

Will it engage with digital drawing, modeling, media, and particular software programs?

Will there be analogue processes, such as hands-on making, drawing, modeling, prototyping etc.?

Students will learn how to adopt the appropriate method to achieve the final design outcome. They will be engaged with conceptual, technical and communication-based design tools such as 2D drafting, 3D imaging, online interactive programs, augmented reality, hand drawing, collaging, film production, model-making and so on. They will experience various researching, archiving and presenting modes including diagraming, essay writing, publication design, verbal and visual presentations, performances, exhibition and curatorial arrangement.

Technology is also a key focus for the first half of the studio, students will research into and explore contemporary educational technology applications, methods, challenges and possibilities in connection with the interior design practice. Case studies such as using ICT in practical subjects, blended learning and flipped classrooms, remote learning experiences, open sources strategies, second life in education, instant sharing and feedback, digital collaborations, etc. will be looked at, trialed, synthesised and extended.

Student Capabilities

Students will build a good knowledge of contemporary school environment through the lenses of technology, sustainability, and studies on engaging educational spaces. Students will research with a specific focus on education and develop their own concepts, processes and techniques to design an art space that is appropriate for contemporary learning. Students will also be able to conduct a self-directed design project going through their individual processes of investigation, development, reflection and refinement. Students will investigate the concepts of stimulation, perception, interference, interaction and probe into how they can be facilitated by interior methods and techniques such as spatial arrangement, room formation, material alteration, use of props, lighting, surfacing, etc. The studio will focus on problem solving and method development, students will start a constant consideration of how to facilitate a particular demographic, and an ongoing research and investigation into the possibilities and opportunities of interior design in a foreign organism or industry. At the conclusion of the project student will be competent in accomplishing a refined project that corresponds to the brief, designing for real world environments and providing solutions for contemporary teaching and learning, generating interior methods and techniques that contribute to future design in education.

Key Terms 

Contemporary learning space / Visible learning / Educational research / Evidence-based teaching strategies / Open source learning / Blended learning and flipped classroom

Precedents / References

Mary Featherstone
Rudolph Steiner
Reggio Amelia
Bauhaus: Art Education Reform
Ruth Catlow and Marc Garrett 

Texts, Readings, Essays

John Hattie: visible learning https://visible-learning.org/
Susan Wilks: Pedagogies and Spaces
Imms, W, Innovative learning spaces: Catalysts/agents for change, or ‘just another fad’?
Geahigan, G, Art Criticism: Reflections on the Evolution of an Educational Concept
TAKE 8 LEARNING SPACES: The transformation of educational spaces for the 21st century.
Learning Environment Design and Use: Towards Effective Learning Environments in Catholic Schools (TELE): An Evidence-based Approach (2015–2017)
Hayball, 2013 Exchange: Collaboration, Convergence, Conversations
Featherston Design: purposeful and flexible learning spaces
Cleveland, B: Why Innovative Learning Environments? Stories from three schools that helped establish an ongoing space and pedagogy agenda
Brian O’Doherty, Inside the White Cube 
Blended Learning and Flipped Classroom
Ruth Catlow and Marc Garrett: DIWO (Do-It-With-Others) and Free and Open Source Software 
Patrick Sisson (2018) Architecture on the air: The story of Open University’s televised classroom https://www.curbed.com/2018/1/12/16886438/modern-architecture-education-open-university-exhibit
Second Life in Education https://www.slideshare.net/iconolith/second-life-for-education
Sol LeWitt: A Wall Drawing Retrospective https://www.youtube.com/watch?v=c4cgB4vJ2XY
Churchill, R., Godinho, S., Johnson, N. and Keddie, A. (2015). Teaching: Making a Difference, 3rd Edition. John Wiley & Sons.
Climarte https://climarte.org/artclimatechange-the-book/
IBUKU and Green School Bali http://ibuku.com/portfolio/campus/
School of Sustainability https://www.schoolofsustainability.it/about/sos-is/

 
Image by Alis Garlick & Remco Roes

Image by Alis Garlick & Remco Roes

LABORATORIES OF COEXISTENCE (~~)

Tutor: Alis Garlick & Remco Roes
Schedule: Thursday 9:00 - 12:00 + 13:00 - 16:00
Location: 100.06.006

SUMMARY

As technology advances, we are constantly reexamining our understanding of space. As we melt between digital moulds and virtual shapes, only to take a breath IRL, our bodies remain stable, ‘continuous with the external world’ (Whitehead 1968). These blurred boundaries invite us to create a series of alternative interiors - ones that are stimulating and others that are increasingly inactive. We must find ways of repurposing technology and by this way, extend the virtual into the real. 

~

This studio will explore the interaction and exchange between the virtual (continual / timeless / limitless / non-material / visual) spaces that we occupy and the physicality of the bodies and objects that remain essential for this virtual occupation. How do our bodies inhabitat these interiors? How do our minds construct and navigate virtual spaces?

The first half of the semester will ask students to generate a virtual interior that departs from the rhythms of their bodies, spaces and physical objects collected from Melbourne’s urban environment. This IRL site will become a testing ground for weekly tasks, interventions, collections, models, scripts and performances in a physical space. These experiments and the spaces they originate from will be intensely observed and experienced through the body and subsequently documented and translated through digital mediums. 

These small scale tasks will contribute to a collection of physical and virtual designs that incrementally explore key ideas within the studio - time and process. The results will be exhibited in the Impact Festival at the Cultural Centre in Hasselt (Belgium) as part of the mid semester assessment.

How do we communicate virtual space in a real interior? 

The second half of the semester will reverses the trajectory of the first half whereby students will depart from a virtual site and transpose it into a design for a physical interior.  These projects will propose speculative designs for our bodies inhabitation of the virtual. ~

Key Questions

How can we orient ourselves in a virtual interior? 
How do our minds construct virtual spaces?
When does virtual become real? 

~

How can we construct a virtual interior when departing from the physical presence of a site? 
How do we communicate virtual space in a real interior? 
How does a work process affect the interior? 

~

What is the value of place (and physical objects?) within this virtual world?

Technology Summary

What are the limits of the virtual? 

The technology component of this studio will be an exploration and investigation into virtual interiors and our bodies within (in relation to) them. 

Concepts of time, process and virtuality will be examined through a series of small scale, experimental projects in the first 5 weeks. Students will learn how to actively respond to virtual and physical site through methods of (re)production, photography, video editing, diagramming, collection, artifact making, mark making and online navigation programs/tools. 

The second half of the semester will ask students to produce a range of documents and experimental digital material (using low fi or high fi technologies) to communicate their final proposal. 

Students will be expected to critique and develop their own theoretical positioning throughout the semester with weekly reference material and active in-class dialogue. Throughout the course, Remco will be present through virtual means. In this way, abstract explorations of virtuality are compounded by a very ‘real’ virtual presence in the studio environment.

Student Capabilities 

Ability to engage with virtual + physical site; to explore relations through observation and production.
Ability to undertake research through curation and exhibition.
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 explore specific technologies and their relation to interior practice.
Ability to communicate research through visual mediums, including physical and virtual.
Ability to effectively communicate a series of design concepts through multiple visual and verbal techniques.
Ability to engage in critique of one's own work through panel discussion and in class workshops.

Key Terms

Virtual / Digital / Body / Assemblage / Curation / Display / Collection / Performance / Manipulation / Production / (re)production / (im)material / (re)presentation / Site / Sight / Cite / Dérive / Detournement / Presence / Time

Precedents / References

Golan Levin
Rosi Braidotti
Bunny Rogers
Sonic Acts Festival 
School for Poetic Computation: SFPC NYC 
Catharina van Eetvelde
Michel Serres  
www.xrspace.io
Liquid Architecture 
Rachel de Joode 
Kate Geck 
Allan Wexler 
Jesper Rasmussen
Hans op de Beeck
Joelle Tuerlinckx
Nemanja Ljadic
Bill Viola
Michael Borremans 
Gideon Kiefer
Derek Jarman
Dieter Roth
Franz Erhard Walter
Nicolas Lamas

Texts, Readings, Essays

The Five Senses: A Philosophy of Mingled Bodies, Micheal Serres, 2009
“How do you make yourself a body without organs?” In A Thousand Plateaus, Gilles Deleuze & Félix Guattari, 1947.
E-Flux Journal - The Internet Does Not Exist, Julieta Aranda, Brian Kuan  Wood, Anton Vidokle, 2015
Gathering Ecologies - Thinking Beyond Interactivity - Andrew Goodman, 2018
Simulacra and Simulation - Jean Baudrillard, 1981
Invisible Cities. Italo Calvino. New York, Harcourt Brace Jovanovich. 1978.
Goodbye, World! Looking at Art in the Digital Age, Omar Kholeif, 2018
Grounding the Cloud, or, Mapping a digital metabolism through Art - Amanda Starling Gould, 2017
Anna Munster, ‘Digital Embodiment/Digital Materiality’, in Depletion Design: A Glossary of Network Ecologies, Carolin Wiedemann and Soenke Zehle, 2013 
Julius Posener, ‘Apparat und Gegenstand’, in: Veröffentlichungen zur Architektur, part 14, 1968
Warped Space: Art, Architecture, and Anxiety in Modern Culture, Anthony Vidler, 2011
The Transparency Society, Byung-Chul Han, 2015
Synecdoche, New York (film), Charlie Kaufman, 2008
Lo and Behold: Reveries of the Connected World, Werner Herzog, 2016
You Are Here: Art After the Internet, Omar Kholeif (ed.), 2018.
Robert Musil, The Man Without Qualities, 1996.

 
Ettore Sottsass Metaphors 1973

Ettore Sottsass Metaphors 1973

“A HOME AMOUNG THE GUM TREES”

Tutor: Bronwyn Uphill & Kyal Erdman
Schedule: Tuesdays 5:00 - 8:00pm + Thursdays 5:00 - 8:00pm
Location: HASSELL, 61 Little Collins Street, Melbourne

SUMMARY

At a time when we are becoming increasingly aware of the fragility of the land we live on, how can we develop our knowledge of local materials and associated construction techniques to build with a lighter touch? What are the unique nuances that come with using site specific materials? How can we celebrate our unique landscape through design? This studio will ask students to revisit the relationship between place and design. As we become more closely connected internationally through technology, how can we use design to strengthen our connection and understanding of the place we call home?

In the first half of the semester we will work from marco to micro using low-fi processes.  Students will research, collate and map available Australian, and more intimately, Victorian construction materials and their associated construction methods. Following this, we will revisit the process of analysing site, exploring the different techniques and methods used to understand a place. Using this analysis, we will explore how site can be distilled and communicated through materials & objects (artefacts). Is it possible to communicate place through object? If so, what does this look like? What role does display play in this reading on object? 

The final project will require students to develop a deep understanding of a regional centre of Victoria. Students will be asked to propose a mixed use dwelling in this location for a specific client. The dwelling should be site specific, reflective of its location in materiality, construction and from. Students will be asked to consider the different programmatic uses for this architectural proposition, its life span, resilience to temporal conditions & impact on the land. There will be a focus on producing 1:1 details that explore the relationship between materials in the proposed built form. Students will be asked to speculate what unique spatial nuances and phenomenon may be experienced whilst inhabiting this built form. What would the quality of light be? Do the materials produce a scent? What are the surface textures? Could you consider the combination of these elements the distillation of place?

Key Questions

How can the use of contextual (site specific) materials and methodologies can strengthen our connection to place and people? 
How can we use site specific construction materials and techniques to strengthen our connection to place & increase our knowledge of the land? 
What might a future look like where Australians can build using ethical/sustainable resources from their own shores? 
How can using local materials increase the comfort of inhabiting a space? How do local construction materials perform in harsh conditions?   
What are the sensory implications of using local materials? How would a locally made space smell, feel (touch) sound like? What would the quality of light be? 
Can unpacking the tangible aspects of site create an understanding of the phenomenons that make it unique?
What role do materials & methodologies play in the bodies understanding of space?
By using building materials in close proximity to us, we are reducing our carbon footprint. How else does this process affect the future user and environment?

Technology Summary

Initially this studio will place a strong focus on knowledge, research and application of contextual materials & methodologies. Following this, the majority of this studio will involve analogue processes that will focus on creating an understanding of space at a human scale. We will avoid designing space digitally, removed from context. Instead we will design space in real time, creating 1:1 spatial experiments, analogue mappings & diagrams. Our proposals will be tested through iterative hand drawing and modeling processes before being refined through architectural drawings.

Student Capabilities 

Design process and iterative testing.
Design research and precedence development / analysis.
Presentation development, narrative & storytelling.
Mapping through collage, diagrams, poetry, video & audio.
Context examination & research (material collection, examination & cataloguing).
Context measure (site photos, team work, and existing condition development).
Analogue Collage, Drawing Modelling, Diagrams & Mapping. Process
Digital drawing of final proposals (rhino, 3ds Max, Revit, Adobe suite) Final proposal.
Architectural drawings (Site Plans, sections, elevations etc).
Prototyping of context / material specific construction methods.
Scaled model making with various materials (during studio & context visits). 
Construction tests.

Key Terms 

Context / Place / Site Specific / Site analysis / Side conditions / Landscape / History / Non Site / Object / Artifact / Display / Assemblage / Arrangement / Organization / Mapping / Documenting / Catalogue / Abstraction / Curation / Representation / Distillation / Communication / Spatial Phenomenon / Construction Methodologies / Materiality / Junction / Threshold / Detail

Precedents / References

Ettore Sottsass (Metaphors) 
Khurtova & Bourlanges 
Five Mile Radius  
Joost Bakker 
Richard Long 
Enzo Mari 
Robert Smithson
James Turrell 
Mayra Sergio 
Formafantasma 
Alistair Knox 
Robyn Boyd 
Alberto Ponis

Texts and Readings 

Dark Emu Chapter 3 “Population & housing” By Bruce Pascoe 
Baudrillard, Jean, “Structures of Atmosphere.” In Intimus: Interior Design Theory Reader, edited by Taylor, Mark and Preston, Julieanna, USA: Wiley, 2006.
Jacques, Claudia, “art+science: an emerging paradigm for conceptualizing changes in consciousness.” Technoetic Arts: A Journal of Speculative Research Volume 10 Numbers 2 & 3. 2012 Intellect Ltd Miscellaneous.
Walker, Joanna, “Ephemeral architectures: the body and landscape in augmented reality.” Digital Creativity, 2003, Vol. 15, No. 2.
Raumlabor, “Acting in Public”, Jovis (October 1, 2008).
Lim, Eugenia, “Speculative Economies” In The Coburg Plan, edited by Jessie Scott, Colophone 2018
Open Spatial Workshops : Converging in Time. Timeless and puzzeling: Enzo Mari’ ,2013, http://assemblepapers.com.au/2013/05/16/timeless-and-puzzling-enzo-mari/ 14.05/14 
Simon Swaffield ‘Theory in Landscape Architecture’,University of Pensylvannia Press, 2002. James Corner ‘Representation and landscape’ 1992. 
Barbara Radice, Milco Carboni ‘Ettore Sottsass Metaphors’ English Edition, Skira, 2003, Milano, Italy.

 
Image by Liz Lambrou

Image by Liz Lambrou

URBAN DIALOGUES: TO INTERFACE THE CITY

Tutor: Ying-Lan Dann & Liz Lambrou
Schedule: Tuesday 9:00 - 12:00 + 13:00 - 16:00
Location: 100.05.004B

SUMMARY

Objectives
Urban dialogues is a design studio which will be partnered with ACMI and The Capitol. The studio will ask students to uncover how public and urban interiors are in dialogue. This work integrated learning experience will enable students to meet with a live client and participate in a live project. Students will have an opportunity to work in a professional team environment, as well as independently.

Background
ACMI will be closed during 2019 - 2020 for renovations. The recently reopened Capitol will be hosting much of ACMI’s program; it is a dialogue between institutions, interiors and operations.

This studio will operate within and around the Capitol these spaces will serve as both testing sites and working space, enabling students to examine how physical and perceived interior spaces are negotiated between institutions. This enquiry led studio asks students to foster unforeseen relations between duration, programming, movement, identity and occupancy.

The studio builds upon concepts and processes explored within the time traveler studio in Semester 1 2019, through which students examined sites of urban interior en-route from ACMI to the Capitol, with the Capitol becoming a site of deep investigations. This research developed into a final public exhibition within the Capitol. This studio will offer the reverse itinerary, with students work out from the Capitol, into the urban realm towards ACMI.

Key Questions

Students will explore the idea of person-person, person-place, place-place interface.
What is an interface within interior design discourse?
How public and urban interiors are in dialogue?
How physical and perceived interior spaces are negotiated between institutions?
How can design outcomes foster unforeseen relations between duration, programming, movement, identity and occupancy?

Technology Summary

This work will occur within teams and individually using analogue and digital processes. Through research students will uncover modes of critical observation in relation to the urban condition through the following modes;
Iterative mapping through drawing and collaging techniques 
Light touch physical interventions at 1:1 located within the capitol and surrounding urban sites 
Critical analysis and reflection through diagramming 
Building a series of iterative models at a range of scales (Built in workshop and in response to site in and around The Capitol) 
Speculative design outcomes 

Student Capabilities

Ability to critically examine and synthesise precedents - Gain experience in creative modes of site-analysis. 
Ability to critically research and catalogue a physical site and its contexts through mapping/diagramming/drawing/photography/video/making / and installation 
Ability to process tangible and intangible spatial complexities through designed physical works and speculative spatial outcomes
Ability to participate in and reflect upon temporal conditions
Ability to effectively and creatively communicate observations and intent - Processes of transformation and transference through analysis, reflection, remaking & representations. 
Ability to practice independent ideas through a range of explorative, experimental and speculative approaches to design
This work integrated learning experience will enable students to meet with a live client and participate in a live project. 
Students will have an opportunity to work in a professional team environment, as well as independently.

Key Terms

interface/ threshold/boundary/interaction/connection 
Systems, subjects, organizations to meet and interact
urban interior/ public interior 
zooming macro to micro
movement /motion/ duration sequence/ passage/increment /shift 
Condition/ sets of relationships + exchange 
Program / context / usage/ ownership 
People to people/ person to place/ place to place

Precedents / References

James corner
Perri Kulper
Jorinde Voight
Ray + Charles Eames Powers of Ten

Texts and Readings

McCormick, Maggie. "The Transient City: mapping urban consciousness through contemporary art practice." PhD diss., 2008.
Matless, David, and Dennis E. Cosgrove. "Mappings." (1999): 193-212.

 
Bridie Lunney  Opening Out  for  Temporal Proximities  with performer Ned Wellyn Jones. Magdalene Laundries, Abbotsford Convent, 2019.

Bridie Lunney Opening Out for Temporal Proximities with performer Ned Wellyn Jones. Magdalene Laundries, Abbotsford Convent, 2019.

OPENING OUT: TRANSFORMING SITE

Tutor: Bridie Lunney
Schedule: Tuesday 13:00 - 16:00, Thursday 12:30 - 15:30
Location: Morning 100.04.003, Afternoon 100.05.007

SUMMARY

Using the site of the Magdalene Laundries at Abbotsford Convent as a starting point, this studio will investigate ways to transform and open out dormant interior architectural space. 

The Magdalene Laundries has been boarded up for 50 years; previously it was a site where ‘wayward girls’ were used for labor, finally reopening in March of this year. It is a site of trauma in a state of transition. A liminal state, raw and still unrealised in its future context. In this way the studio will have unusual access to a complex heritage site to speculatively transform.

Deleuze suggests that the lack of a beginning, end, or indeed present moment, of time means that the body never started at a particular state or will ever finish becoming. (Deleuze 1983, 47) Space is continuously reinvigorated and repurposed, never fixed. This studio will interrogate ways to both reflect and disrupt the pre-existing conditions of the site. Acknowledging its complex history and generating a new use within a diverse arts precinct.

Through using the body as a tool to negotiate the site, students will research performative methodologies in understanding space. Through movement, sound as well as material interventions the project will expand site responsively and intuitively finally generating a new interior space and use for the site.

Key Questions

How can interior designers use their body as a tool to negotiate and understand site?
How can interiors within heritage sites draw attention to what is already there while still creating a new functionality?
How can a site of trauma be transformed?
How can interior designers take advantage of a liminal moment within a site?
How can a project harness the potential energy of a site?
How does shifting the body’s relationship to architecture suggest other temporal and spatial dynamics?

Technology Summary

The body will be used as a negotiator and interpreter of site. There will be performative responses to site that will open out an understanding of the space. Thorough and consistent research through drawing, mapping, material investigations as well as photographic, video and sound recordings will be accumulated on site as initial sketches. These sketches will be refined and expanded into a combination of digital, analogue and spatial outcomes.

Student Capabilities 

Students will gain skills in thoroughly researching complexities of site. They will learn how to acknowledge historical precedents of a site and how to carry that knowledge through to their design. They will learn to initially use the body to interpret, engage and transform. They will learn how to use the body as performative element, which can activate objects and architecture. They will have the ability to refine a design through different mediums and interpretations and to collate complex ideas into a distilled presentation.

Key Terms

Body as tool / Transference / Transformation / Site / Activation through performance / Material as document / Space as material / Affect / Endless becoming / Materiality / Volatility

Precedents / References 

Temporal Proximities curated by Kelli Alred, Magdalene Laundries 2019
Helen Grogan
Katie Lee
Jill Orr
S.J.Norman
Gabriella Mangano and Silvana Mangano
Angelica Mesiti
Clare Rae
Rebecca Horn
Claire Lamb
Bianca Hester
Joseph Beuys
Walter de Maria
Pierre Hugyhe

Texts and References

Bennett, Jane. 2010. Vibrant Matter: A Political Ecology of Things. Durham and London: Duke University Press.
Hunter, Victoria. 2015. Moving sites: investigating site-specific dance performance. New York: Routledge
Griffiths, Billy. 2018. Deep Time Dreaming. Melbourne: Black Inc.
Lefebvre, Henri. 1991. The Production of Space. Oxford: Blackwell
Bachelard, Gaston. 1994. Poetics of Space. Translated by Maria Jolas. Boston: Beacon Press.
Hollier, Denis. 1990. Against Architecture. Cambridge: The MIT Press
Bruno, Giuliana. 2007. Public Intimacy: Architecture and the Visual Arts. Cambridge: MIT Press
Spector, Nancy. 2006. All in the Present Must be Transformed: Matthew Barney and Joseph Beuys. New York: Guggenheim Museum Publications
Grosz, Elizabeth. 1995. Space, Time and Perversion: The Politics of Bodies. Sydney: Allen & Unwin
Massumi, Brian. 2002. Parables for the virtual: movement, affect, sensation. Durnham: Duke University Press

 

 
KATE CORK.jpg

WORK. REST. PLAY

Tutor: Kate Corke
Schedule: Tuesday 9:00 - 12:00 + 13:00 - 16:00
Location: 100.05.006

SUMMARY

The sharing economy signifies a paradigm shift in the way we live, where we work, rest and play. It presents potential for new daily routine and rituals to exist. The concept questions ownership, design, urban landscape, and urban organisation. 

Under the broad umbrella of the sharing economy – a landscape where we own less, and share and borrow more,  we will also examine the ‘gig economy’, and ‘digital era’. The gig economy being a fast past, temporary way of working, opening up potential to work from anywhere,  and the digital era refers to the influence technology has on the way we live and work. 

How do we design for the sharing economy? Do we design for it, creating more utopian ideologies? Or against it - a dystopian landscape. What is the house of the shared economy and digital era?

The studio is both heavily research based and design focused; students will develop their own ‘space for living’, and present a respective daily routine or ritual for that space, set in the sharing economy.  What will these spaces look like and feel like. Are these spaces dystopian or utopian. Are they inside or outside.  As designers how do we work with or against this urban landscape?

The three key themes for the semesters are: 

  1. Future living spaces in a sharing economy 

  2. Daily ritual + routine 

  3. Documentation and representation in the digital era

We will examine how the traditional values of the labor movement - ‘ 8 hours work, 8 hours rest and 8 hours sleep’ fits into the ‘gig economy / sharing economy’. How does it effect the worker? Leisure time?  Where does Work.Rest.Play fit into a 24 hour city? How does it effect the way we inhabit and use spaces. 

As a group we will develop a digital platform through Instagram to document the semester digitally. Each member of the group will be contributing to this significantly, and we will discuss how these platforms help us, and hinder us. What role does ownership, sharing and borrowing play in our lives already. 

We will be look into existing home sharing platforms such as Airbnb, and unpack the effects, and implications these platforms have on our culture and our daily routines. How have these platforms publicised and globalised the way in which we live? Have they increased or decreased the value of ownership and privacy? 

The explorations will start as macro investigations, mapping typical and traditional building plans, materials, characteristics and the associated daily routine and rituals. 

The investigation will evolve into critical thought about how and why we use space in certain ways, what connection do we have with ‘spaces for living’; what associations have we created that no longer need to exist? What is a necessity, what do we need; what can be shared or borrowed?  

The series of investigations will expand into a mapping of the urban landscape of inner Melbourne. What relevance does neighbourhood character have? Are digital communities our new neighbourhoods? Where does culture emerge from in a shared economy? How and why are communities formed in this new landscape.

All propositions will respond to: Sharing Economy, Daily Ritual and Routine, Ownership, Digital Age, Adaptation, Australian dwellings, Community and the role of technology in this terrain.


Key Questions

How do we design for the sharing economy? 
What role does ownership, sharing and borrowing play in our lives already?
How have platforms such as Airbnb publicised and globalised the way in which we live? 
What is a necessity, what do we need; what can be shared or borrowed?  
What relevance does neighbourhood character have? 
Are digital communities our new neighbourhoods? 
Where does culture emerge from in a shared economy?
How and why are communities formed in this new landscape?
What does everyday routine, or ritual look like in a 24 hour city?
What does a dwelling look like in the emerging digital age?
 Where do the commuter, the city worker, the family and grandparents fit into this landscape? 

Technology Summary

The studio group will collaborate, and produce a body of research together. Watching, reading and visiting a series of exhibitions, viewing films, and reading texts that engage with the course concepts and themes. This body of research will be added to and adjusted throughout the entirety of the semester. 

  1. Engaging in design research that is speculative, value sensitive to the studio themes 

  2. Digital documentation of design process and methodology – Instagram

  3. Film making + photography – all students will create both films and photographs

  4. Image making through mixed media – both real and digital materiality’s

  5. Mapping of sites and communities 

  6. Multiple forms of communication, verbal, visual, digital platforms 

Student Capabilities 

Ability to engage with architectural structures to reimagine their spatial potentials and flexibility
Ability to effectively communicate a series of design concepts through image making Ability to collect/ document/ observe, and present these observations and creative perceptions through various techniques
Ability to explore the concept of dwelling/home/habitation through research into precedents and references
Ability to engage critically and creatively with complex cultural and political issues
Ability to engage with theoretical concepts through reading and responding to certain key theorists
Ability to explore specific, contemporary and futuristic ideologies and their relation to interior practice
Ability to explore making, drawing, collage and image making as a form of effective communication
Ability to respond, research and design in response to a specific brief
Ability to achieve design outcomes based off individual research and ideologies Ability to refine a design through multiple iterations

Key Terms

Sharing economy / Digital documentation / Ownership / Daily ritual and routine / Gig economy / Housing, spaces for living / Urban realm

Precedents / References

Koolhaus
SuperStudio
Archizoom
MAIO 
OMA
Nishizawa
Pezo von Elrichhausen
Dogma
Bureau Spectacular
Andres Jaques
DOMA .

Texts and References

Koolhaas Houselife, Documentary from the Living Architectures series, 2013 
Jan Gehl, The Human Scale (2012)
Architecture and order. Approaches to social space. Michael Parker Pearson & Colin Richards
The Australian Ugliness, Robin Boyd 1960
Rapoport, A. (1998). Using “ Culture” in Housing Design. Housing and Culture,
Bergson, Deleuze and the Becoming of Unbecoming, Elizabeth Grosz, Parallax, Volume 11, Number
The Transparency Society, Byung-Chul Han, 2015
You Are Here: Art After the Internet, Omar Kholeif (ed.), 2018.
City Scape - The Guardian Online
Lo and Behold: Reveries of the Connected World, Werner Herzog, 2016


 
Gezi Park Protests, Istanbul

Gezi Park Protests, Istanbul

COLLECTIVE CITY

Tutor: Sarah Burrell
Schedule: Tuesday 9:00 - 12:00 + 13:00 - 16:00
Location: 100.06.006

SUMMARY

Cities are spaces we inhabit collectively and where we live close together, which causes us to negotiate difference and engage in dialogue. The idea of collective space is related to the political concept of ‘The Commons’. The idea that we have shared resources that go beyond private property: the air we breathe, the soil we walk on, the space we inhabit together. 

Public space, at first glance, is a deceptively simple concept. It has a mythologized standing in contemporary culture, bringing to mind images of democratic participation, free dialogue, and the ancient agora. It is considered as essential infrastructure for human well-being and is a symbol of the utopian possibilities of civic life. But upon closer inspection, there is an accompanying paradox to idealistic aspects of collective space. Discourses of democracy, access, and participation can be appropriated as facades to mask flows of global capital and power relations in the age of neoliberal austerity. A more careful examination is needed of what public spaces look like today, who they are designed for, and how they used. Through research and practice we will explore the complexities of designing amongst the spatial politics of togetherness, prompting the question: How can interior design be used as a powerful tool for activating the collective spaces of the city?

The studio will examine the role of the interior designer in this context through investigation of the concepts of the urban interior, and relational design approaches such ‘commoning’ and hosting. In the first half of the semester, students will conduct a series of exploratory workshops (both individually and in groups) that investigate temporary and informal strategies for activating urban sites. The workshops will be used to build up an understanding of the conditions of the contemporary city and a ‘library’ of design techniques for working into it. These techniques will include expressive forms of social participation such as procession, parade, and protest—reinvented through the lens of design. These workshops will inform the second half of the semester, where students will work individually on a major project.

Key Questions

What is the role of the interior designer in the collective city?
What are the conditions out there?
How can we develop tools, strategies, and protocols that allow for the construction of collective space where the idea of a commons is not only a right but a reality?
How can designers and artist model alternate possibilities for social expression and the inhabitation of the collective city? 
How can interior designers use our knowledge of events, our understanding of space, and the relationships and activities it facilitates, to design spaces of collective and communality in the city? 

Technology Summary

Hands-on processes: 

  • 1:1 prototyping using various materials

  • Scale model making & sketch modelling

  • Interventions (both performative and object/material-based)

  • Existing condition observation (photography, sketching, material collection, collaborative methods)

Digital processes:

  • Collage, diagrams & mapping

  • Digital drawing of final proposals (Rhino, 3ds Max, Revit, Adobe Suite)

  • Plan, section & elevation drawing

  • Video & photographic documentation 

Student Capabilities 

Upon completion of the studio, students will be able to:

  • Identify and articulate the underlying social and political relationships that operate within public spaces in the city

  • Engage in-depth with urban space at a 1:1 scale

  • Effectively communicate design concepts through visual, written and verbal mediums

  • Explore a range of technologies relevant to interior practice 

  • Critically reflect on their own project work, and the work of others

  • To develop their own critical positioning, in relation to reference material and in-class conversation

  • Use a variety of hands-on and digital design processes to propose activations of urban sites. 

  • Develop skills for working both collaboratively and as a solo practitioner


Key Terms

Site research / Site specificity / Socially-engaged practice / Intervention / Collectivity / Public space / Urban Interior / Public Interior / The Commons / Commoning

Precedents / References

Archigram, Instant City, 1963
Francis Alÿs, Sometimes doing something poetic can become political, sometimes doing something political can become poetic, 1995
Muf Architecture/Art (multiple projects)
Raumlabor Berlin (multiple projects)
Theaster Gates, The Dorchester Projects, 2010-ongoing
Mick Douglas, Ride on Dinner, 2006
Lucy + Jorge Orta, 70x7 Meal Act L, 1970
Tahrir Square Uprising
Black Lives Matter Movement
Eugenia Lim, The Australian Ugliness, 2018
Studio Morrison, Impossible Rainbow, 2015
One Day Sculpture (multiple projects), 2009
Ideas City Festival, ongoing
Sibling Architecture, Over Obelisk, 2017

Texts and References

Certeau, Michel de, and Steven Rendall. The Practice of Everyday Life. Nachdr. Berkeley: Univ. of California Press, 20.
Crawford, Margaret. "Contesting the Public Realm: Struggles over Public Space in Los Angeles." Journal of Architectural Education 49, no. 1 (1995): 4-9.
Gates, Theaster. How to Revive a Neighborhood: with imagination, beauty, and art. Filmed March 2015 in Vancouver, BC. TED video, 16:53. 
Hamilton, Olivia. “Process of Commoning in the Production and Proliferation of Shared Space”. The Plan Journal 3, no. 2 (2018).
Hinkel, Rochus Urban, and Suzie Attiwill, eds. Urban Interior: Informal Explorations, Interventions and Occupations. Baunach: Spurbuchverlag, 2011.
Iannelli, Laura, and Pierluigi Musarò, eds. Performative Citizenship: Public Art, Urban Design, and Political Participation. Social Science, n. 1. Place of publication not identified: Mimesis International, 2017.
Kong, Thomas. “Lives in Large Interiors.” In The Handbook of Interior Architecture and Design, edited by Weinthal, Lois, and Brooker, Graeme, 165-179. London: Bloomsbury Publishing, 2013.
Massey, Doreen B. For Space. London ; Thousand Oaks, Calif: SAGE, 2005.Pimlott, Mark. The Public Interior as Idea and Project. Heijningen: Jap Sam Books, 2016.
Stavrides, Stavros. Common Space: The City as Commons. London: Zed Books, 2016.
Urbonas, Gediminas. Public space? lost and found. SA+P Press, MIT School of Architecture + Planning: 2019.
Whyte, William Hollingsworth., Municipal Art Society of New York, Street Life Project, Direct Cinema Ltd, and Bainbridge Brass Quintet. The Social Life of Small Urban Spaces a Film. Santa Monica, CA: Direct Cinema, 2005. 

 
Mervyn Skipper

Mervyn Skipper

LIVING SYSTEMS

Tutor: Raphael Kilpatrick & Shakira Everett
Schedule: Tuesday 9:00 - 12:00 + 13:00 - 16:00
Location: Morning 100.05.007, Afternoon 100.04.007

SUMMARY

The end of the world is nigh? Or perhaps just the world as we know it? It can be difficult to see a possible future in light of the projected population growth, climate change and political instability. In 2100 the world will have almost doubled its human population and environmental conditions could displace over one billion of those people. To accomodate that growth we would need to build about 35 houses every minute, there could also be less rain, less arable land and compounding disasters. How could we possibly live in a world like that and what on earth does that have to do with Interior design?

Cities, in which 90% of Australians live, are complex and inter-reliant social, environmental, economic and political systems. The socio-spatial arrangement of these can determine everything from how healthy you are to whether you go to University. In other words, where you live can change your life. The network of interiors, in which we spend 90% of our lives, contribute to our ability to engage in society.  

In this design studio you will look at the spatial systems of Melbourne and explore how the suburbs, in their current state, might adapt to a predicted future. Through extensive reading and a reflective look at your current living conditions, wants and desires you will be required to rethink and adapt your life to a 2050 scenario. You will then be asked to consider how these ideas might come together to form a shared vision.

Despite Melbourne being the fastest growing city in Australia it faces an unlikely problem, loneliness. Social isolation has become a major health concern. This is largely impacted by where we choose, or are forced, to live. Loneliness leads to the loss of everyday social networks, shared norms, values and understandings that facilitate co-operation and reciprocity. Many of these attributes are in play when we require collective action to solve problems, like how to adapt to a rapidly growing population and changing climate.

There are spatial conditions that can contribute to these social networks being formed. Common bonds often occur through horizontal ties between individuals, within walking distances for example. So we will need to evolve our ideas of the “home” as domesticity and the familiar and see it instead as individual networks of interiors. Can these interiors become sites of agency rather than control and isolation? Can the “suburban dream” adapt and survive?

“the city is a massive aggregation of interior environments; our home, our workplaces, the restaurants and bars that we socialise in, our daycare services and schools, our doctors office. Those are the places where we dwell, learn, and become citizens and individuals” - Brendan Cormier

Technology Summary

You will be required to document, through site observation, drawing, mapping, diagramming, documentation the spatial, social, environmental and economic systems you engage with in your life. This will be expanded and supported through extensive reading and research into the possible future conditions of Melbourne in 2050. You will be required to develop a manifesto stating how you would like your living conditions to be in the future, your future.

These individual visions will then be negotiated as a group with a collective design for a “neighbourhood” in Melbourne. You will be required to work effectively as a group and develop components of a detailed design proposal positioning the interior within a complex system.

You will have to work as a group to rapidly test and work up design strategies and delegate shared tasks. You should be prepared to utilise existing skills such as hand drawing, photography, film, collage, model making and CAD.

Student Capabilities

An expanded analysis of ‘site’ with the understanding that it is a confluence of many interacting material and immaterial forces.
Forming an evidence based understanding of the future.
Ability to connect spatial design with social impact.
Articulating complex ideas verbally, graphically and spatially.
Working effectively as a community.
Ability to adapt to change through design iteration.

Key Terms

Resilience / Social Capital / Community / Civic Participation / Change / Agency / Housing / Suburbs / Systems Thinking / Adaptive Capacity / NIMBY / Equity / Climate Change / Population Growth / Housing Affordability / Meanwhile Design / Social Capital / Disobedience / Resilience

Precedents / References

Andrés Jaque - disobedient architecture
Alejandro Aravena - incremental housing
Neave Brown - social housing
Paul Karakusevic - social housing
Giorgos Kallis - degrowth and dematerialisation

Texts, Readings, Essays, Videos

Some notes towards an Interior Archipelago - Brendan Cormier, MONU Issue 21, 2014
Resilient Melbourne Strategy - Rockefeller Foundation 2016
Urban Forest Strategy - Making a great city greener 2012-2032 - Melbourne City Council
The Land Before Avocado - Richard Glover, 2018
Public hits back at 'hostile architecture' in European cities - thisisplace.org
City Scape - The Guardian Online
Wash Magazine - washmagazine.com
From Skyrail to sewer, Victoria embraces a new state of play - The Age
IKEA Disobedients (Madrid 2011), Andrés Jaque - https://vimeo.com/67141899

 
Leanne Failla_Jaime Vella - In Production ways to reside 2016.jpg

THE RESIDENTS

Tutor: Jaime Vella & Leanne Failla
Schedule: Tuesday 9:00 - 12:00 + 13:00 - 16:00
Location: 100.06.003
Costs: Heide visit - $20

SUMMARY

The main focus of the studio will explore the theme of residing through the lens of the cinematic, how it is present and experienced through various mediums, methodologies and spatial conditions. To reside relates back to one of the most basic elements of design consideration, with the importance of this function critical in success or failure of final outcomes. Exploring the notion through process based theoretical exercises, we aim to inform a strong relationship between a final design and a sense of how someone occupies that design. The use of the terms Residents refers back to self, and considers scale of self within the context of the broader term of Residence.

Through the use of the key terms of Narrative, Performance, Materiality and Site, a series of experimental processes will be undertaken in order to expose how these elements exist in relation to our presence in site and how this can be used to inform a method for design. We will take a cinematic approach to site and investigate how terms which are used in scene construction can be applied to design thinking. 

The studio will be divided into an initial period of process work, which students will then use to develop a Design Manual from which they will base their work in the second half of semester. The initial body of work will engage with various references and precedents in relation to the key words of Narrative, Performance, Materiality and Site. The purpose of the first body of work is to allow student to begin to identify the idea of the resident through these keys terms, and begin to explore means of observing, altering and displaying what residing might become.

At mid semester students will be asked to communicate their body of process work through the presentation of their Design Manual, being a curated publication, which succinctly maps their journey through the first half of semester, a design logic which exists within this journey and how they will then apply this to a design project.

The second half of semester will be devoted to using the methodology they have devised in their design manual to create or reinsert moments of residence back into a site. This will be explored through development of a series of designs exploring key moment of activation within site.

Questions & Research Inquiry

To reside is a notion on which design is based. We automatically insert a sense of selves into a scene but are rarely highly critical of what this means and how it effects a spatial condition. This studio aims to break this idea down in order to help give a sense of recognition of the elements of surrounding, more predominately at the scale of self and intimate tasks but also how they exist within a greater context of site.

The use of cinematic references gives grounding as to how to control a viewpoint of the above. The terms Framing, Props, Set and Scene will be used alongside Narrative, Performance, Materiality and Site to isolate and examine spatial conditions, giving a chance to have a form of pause over a constantly moving environment. 

Technology Summary

First half semester – Weekly tasks

We will be engaging with the following methods of making in response to precedents and references discussed in class based on weekly themes of Narrative, Performance, Materiality and Site –

Photography, film making, model making, diagramming, critical examination of reference and texts.

Parts of these tasks will be undertaken during class time which will allow an opportunity to provide technical assistance to students that require it in order to maintain an acceptable standard of work. 

Mid semester – Publication design 

The “Design Manual” will take on the form of a publication which students will use as a guide when undertaking their site analysis for the final project in the second half of semester. This will be a printed format of work.

End of Semester

Will see these skills been demonstrated through a series of design iterations represented through digital (technical drawings, renders, or digital image making and film) and analogue (1:1 scale explorations, hand drawings, diagramming and model making). How each student chooses to interpret these parameters will be based on objectives and outcomes relevant to their own work, however there should be a sense of spatial communication through evidence of design exploration.

Student Capabilities

We will be engaging with photography, film making, model making and diagramming skills in order to work through the explorative stage of the first half of semester. We will be asking students to consider how this method of expression can be representative of process and theoretical aspects of their work and demonstrate a physical manifestation of thought processes which can be referenced when considering the creation of a final design.

Students will be asked to present a curated publication of their work at the mid semester point which will represent their process work. This will require students to be critical of their work in order to produce a clear and concise message about where their explorative stage has led them and how they will apply this to their next piece of work. 

Students will also need to work through a process driven project which results in a design which relates back to a real world site. This will require students to translate their explorations into a series of design interventions of a standard  which demonstrates how their work exists in site.

Learning Outcomes -

Weekly tasks (initial body of work) -

  • The production of material for discussion and the basis for further outcomes

  • Produce work which shows a level of refinement in produced outcomes and further develop applied skills

  • work which displays a design methodology 

  • work which acts as means of experimentation and testing of ideas

  • work which has a clear expression of progression over the course of the semester

  • using weekly tasks as a chance develop new skills  

Class discussion and analysis (first half of semester) -

  • Being critical of outcomes on a regular basis as a way of making work an expression of intention

  • Being able to discuss themes of the course in a way that is enhancing the discussion and understanding its basis in interior design

  • Being involved in group discussions and fostering working relationships with your peers

  • Being critical of precedents in order to engage in class discussions and apply this to further the creation of a body of work

  • Using group and class discussions to work through trouble spots in order to better grasp precedents and readings

  • Being about to discuss your own work in a way that engages with the themes of the course and displays a critical understanding of the work you are producing

Final design project  -

  • Being critical of design decisions as a way of incorporating discussions into a final design

  • Having developed analytical, critical and theatrical skills in first half of semester, applying those skills in the implementation of final design

  • Developing a design package which is legible and able to inform the building of final 1:1 work

  • Working through issues which arise between design stage and final work

  • Working with a nominated site in an analytical and practical way to achieve a successful outcome

  • working with other students in nominated site in order to successfully gather relevant information for later use

Primary learning activities

Making – 1st half semester 

Weekly tasks - Each week students will be asked to produce a physical outcome (photograph, film, model, diagram) which will relate to precedents and texts provided through the first half of semester as well as weekly class discussions. The outcomes are a method of solidifying each students thought process for the week and will be used to further extrude from.  The idea of the ongoing body of work is to explore a method of process by which students can have a physical reference of week to week discussions, an illustrative research path, mapping through analogue processes and developing making skills.

Mid semester – 

Presentation – students will be asked to produce a critical reflection of their body of work in the form of a publication. This publication should consider formatting and design as well content to create an engaging representation of their process body of work and outcomes. Students should also consider how this publication can be activated in order to create a presentation to the class (loose pages, fold out, etc).We are going to engage with the idea of an active presentation, in which areas of the explorations are happening throughout the presentation.

Making – final design / exhibited work

  • Final design outcome – as translated through a design package. The proposed design will be documented as to how it will exist and be constructed within a prescribed site. Students should consider details and information provided in this package to be at a standard whereby their design could be constructed within the space.

Analysis – throughout semester

  • Critical reading – will be part of class discussions to engage further with texts

  • Critical thinking - will be part of class discussions around their details

  • Curation – creating a cohesive expression of your body of work in the form of a formal presentation (mid semester)

  • Site – through creating a final work which is site specific

Key Terms

the resident / the residence / to reside / narrative / program / performance / action / materiality / site / prop / set / scene / framing / montage / process driven outcomes / research driven outcomes

Precedents / References

Donald Judd
Jeff Wall
Lars Von Trier (Dogville)
Robin Boyd
Bianca Hester

Significant Text

Gilles Deleuze – Cinema

 
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Image: Millie Cattlin + Nick Rebstadt in process of designing strategies for  Designing Strategies for Defining A District*  (2019)

Image: Millie Cattlin + Nick Rebstadt in process of designing strategies for Designing Strategies for Defining A District* (2019)

DESIGNING STRATEGIES FOR DEFINING A DISTRICT*

Tutors: Millie Cattlin + Nick Rebstadt
Schedule: Tuesday 9:00 - 12:00 + 13:00 - 16:00
Location: 100.06.007 + Brunswick on occasion

How do we, as interior designers, develop novel strategies for defining a district?

Students undertaking this studio will examine, reflect and question what role professional and sub cultures play in urban communities, and what potential they bring to the culture of a place. 

Situated in the newly established ‘Brunswick Design District,’ the studio asks where and how interior design can identify, work with and cultivate this (very new) district, that provides meaningful value – economically and socially now and into the future.

An establishment of a ‘district’ assumes that there’s an ‘inside’ and an ‘outside’. Beyond a physical location and boundary, how can this be defined? What provides a sense of identity, of community, of belonging? 

To be inside something. To be connected, collected, affiliated, associated. To be at the heat of the matter. What is it to be on the inside? How do you arrive? How do you belong? How do you co-exist on the inside? How do you relate to the outside?

During the semester there will be presentations, briefings and symposiums by key stakeholders in the Brunswick area, providing insights into the needs, goals and cultures of the people in the area.

Through working within the district, students will develop a nuanced understanding of what interior design can offer in the establishment of districts such as this and will develop proposals that seek define a district.

Brunswick Design District Teaching Cluster

This studio is part of a cluster of seven studios being offered across the School of Architecture and Urban Design in the Landscape Architecture, Urban Design and Architecture programs.

While each studio is run  independently, students from across disciplines will gather together, and collaborate during the semester.

Students will be presenting to the project stakeholders and the other studios at the conclusion of the semester.

In this studio:

  • We foreground relationships between people / spaces / activities

  • We embrace uncertainty and change as a condition of cities

  • We reject the premise that all urban issues have a built solution

How will we do this?

Soft Infrastructures (Part I)

For the first 8 weeks, we will think a lot about soft infrastructures. 

Examples of these are – field guides, manifestos, directions, scripts, governance structures, and operational manuals. 

These and other observation and situation-based experiments will be compiled and organised through the design of a book.

(Intermission)

A Symposium in the Brunswick Design District with students from Landscape Architecture, Masters of Urban Design and Architecture.

Spatial Programs (Part II)

For the second part of the semester, we will enact and test these soft infrastructures within Brunswick, and in doing so design spatial and time-based programs. 

This will be a highly collaborative and participatory project!

Some Relevant Texts, Projects & Practitioners

Brunswick Design District:

> Brunswick Design District. Business Moreland.

Texts

> McGuirk, Justin. Radical Cities. Verso, London: 2015.

> Mouffe, Chantal. On The Political. Routledge, United States: 2005.

> Rosler, Martha. “Culture Class: Art, Creativity, Urbanism: Part I”. in e-Flux

> Workman, Jason. “Architecture on the Fringes of Legality: Santiago Cirugeda & Kyohei Sakaguchi”. In Un Magazine. vol. 5.2, 2011.

> Boltanski, Luc. & Chiapello, Ève. “The Projective City” in The New Spirit of Capitalism. Verso, London: 2017

> Kundsen, Sven. “The Aboriginal Tent Embassy: Aliens on Australia’s Doorstep.” In Un Magazine. Vol. 5.2: 2011.

> Bennett, Jill. “Living in the Anthropocene” in Documenta 13: The Book of Books. Hate Cantz, Germany: 2012. p.345-347.

> Fleck, Ella & Scudder, Alan. “One Diagram To Mind Them All: Hyperspace in the 1970s” in Frieze.

> Radboy, Babak. “Circle Time: Babak Radboy, What is Money?”. Dis Magazine: 2018.

> Frichot, Hélène. “Step Three: Construct a Conceptual Persona and an Aesthetic Figure” in How to Make Yourself a Feminist Design Power-Tool. AADR, Germany: 2017.

> Kraus, Chris. Where Art Belongs. Semiotext(e), United States: 2010.

> Holert, Tom. Civic City Cahier 3: Distributed Agency, Design’s Potentiality. Bedford Press, United Kingdom: 2011.

> Zhang, Zhexi Gary. “Art Versus Silicon Valley: Are Artists Losing the Conceptual Advantage? As startups looks towards increasingly abstract schemes, where is the art that answers to today’s deeply networked structures” in Frieze.

> Bingham-Hall, John & Kaasa, Adam “Making Cultural Infrastructure

> Odell, Jenny. How To Do Nothing. Melville House Press: United States. 2019


Projects & Practitioners

> Rojava Film Commune: Forms of Freedom. State of Concept, Athens (2018)

> ASSEMBLE (United Kingdom) New Addington, 2011-2013.  

> Taktal (Glasgow)

> Agile City (United Kingdom)  

> Designers In Residence 2014: Disruption. Design Museum London.  

> Waiting for the Barbarians. Curated by the Heart & Sword Division. (Greece) 2017-2018.

> ΦΥΤΑ - (sounds like: FYTA) (Athens)