2013
MADA NOW
22 November –
6 December 2013
The Home Beautiful.
‘Home’ is a space that all people are familiar with; if we are not at home we crave it and if we don’t have one we seek it. Home is a central part of our lives, yet it is a surprisingly difficult thing to define. What constitutes home for any individual varies and it seems that there are infinite factors that contribute to it. This project explores some of these factors: home as a place, home as doing, home as people and home as the mind within a three dimensional illustration.
poster design
A poster made up of a thousand words, yet the only part visible is the name of the poster and the counterforms of each character.
Matsuo Basho is a famous Japanese poet from the 1600s. The Narrow Road to the Deep North is an inspiring journey through the dangerous and the unknown of Japan. A thousand words are not read on a poster, and so being inspired by the Japanese woodblock artists, this poster aims to reflect the beauty of Basho’s writings and his journey through Japan.
typeface design
A typeface inspired by the typewriter. The type specimen romanticises the typeface through the context of love notes.
type design
My everyday hero is my uncle; who suffers from Motor Neurone Disease.
Drop caps a set of cards, and tells a story of all the qualities he posseses. Through selling the cards, we hope to raise money and awareness for the disease.
Crucify me is a Drum and Bass track from Phetsta and Shock One. At the time I was developing my skillset with particle animation within After Effects. This experimental music video is using amplitude values from the song’s elements such as a Snare and Kick to drive the particle generator that created some interesting results.
I was approached by MLB design in Melbourne to animate this promotional video for a concert being held by the Wilderness Society in Federation Square to raise awareness for the Kimberly Project. The turn around time was fairly shot however; the concert was a massive success with scores of people cheering on Musicians at Federation Square.
This Ident was produced as a final year project for the Grad Show in November. Being an experiment with form and light, each student’s name is recreated using sticks that line up with the camera behind a simple light source. Even when not aligning, the names create abstract shapes in the backgrounds that inspired it’s name Happy Accidents.
Project Rainguard was my self-driven project attempting to learn animation within Cinema4d. Over the course of 5 months I put together a three-episode set of short animations that were shortlisted for the NewStar student design awards and exhibited at the State Library of Victoria in May.
LENNO, is my final year Major Animation Project. Over the course of 5 intensive months I modeled, animated and composited this science fiction short. This piece is meant to serve as a technical demo of my skillset with 3D production after some 2 years of experimenting and learning various techniques.
I began my three-year course unsure of what I wanted to do. During my break between 1st and 2nd year I began to experiment with motion design using the Adobe Suite. This eventually introduced me to 3D motion design and visual effects. Over the course of my remaining two years I attempted to develop skills using a number of industry pipelines and applications used in cinema and the advertising industry.
Being passionate about visual effects and animation, I hope to one day be involved in the production side of the digital entertainment industry.
A nature inspired design can provide a layered space TO facilitate ‘fully private’ or ‘shared private’ spaces. Combining this with common elements in nature will accentuate the therapeutic and stress relieving effects of the proposed design.
A biomimic approach to stress relief...Corals are known to have a layered form that can provide protection and sustain living organisms to balance the underwater ecosystem.
Privus Sanctuary
Privus Sanctuary aims to create spaces offering privacy of body and mind for Monash students to reduce and remedy stress. Research focused on the lack of student privacy due to constant surveillance and the rush and crowding of the campus and how nature’s forms can have therapeutic effects and alleviate stress. The proposed site, Monash Caulfield Gym, is currently enclosed by a glass façade and exposed to the public, showing no regard for privacy. The program’s intervention transforms this to secluded, private and semi-private spaces for self-reflection, prayer, meditation and group therapy activities. The cohesive use of coral shapes, combined with natural materials and diffused lighting creates pockets of spaces with an intrinsic connection to nature offering different levels of privacy, transitioning from the public to private realm.
All is transient, everything flows and nothing lasts. What connects us most intimately to our individual past is memory but memory is fractured. It penetrates and recedes from the mind, distorting the lines between abstraction, fantasy and the felt presence of direct experience. Retrospection thus is at threat of becoming unstable as it falls victim to a constantly changing psychology and the adapting sensibility of the mind it harbors within. This series of paintings are a personal union of images that act to revive moments gone but not forgotten, using photography and memory as a process and a narrative, exploring and transcribing what was recovered and what remained lost in translation.
Software: Processing (Computer Programming_MAC)
Idea of the interactive design came from Lego toy. Every time it comes up with different colours and detect the movement of the person by using the kinect camera.
Software: Abode illustrator CS6 (MAC)
Mouse scared of cat. A robot mouse should be scared of normal cat?
Software: Abode illustrator CS6 (MAC)
Strong, powerful and independent woman in my mind.
+61404555386
won_9013@hotmail.com
Inspired by the works of Del Kathryn Barton, ‘Zine’ is an experimental piece, wherein illustrations are used to depict the narrative.
‘Home’ is a commentary on the rise of modern technology, and how it has affected how we communicate and interact with our loved ones. This is a fully embroidered work, contrasting an outdated technique with a modern application.
My work incorporates a range of 2D and 3D media to explore humour, absurdity and uncanniness in life and the cognitive processes activated through creation. ‘Flowspace’ draws influence from stylized cartoons to explore ‘flow’, a psychology concept defined by Mihaly Csikszentmihalyi as a mental state of operation in which a person is fully immersed in the process of activity and creation.
Alongside the drawing exercise, I explore collaborative video and sculptural work, focusing on the displacement of objects in space, uncanniness of the readymade and the absurdity of subject/object relationship.
My projects are an ongoing exploration into mental functioning, absurdity and the uncanniness of the displaced object, functioning through a wide range of mediums and installations, using space, time, duration and humour.
Website:
karajbaldwin.wordpress.com
Comic Blog:
eggplantamongstotherthings.blogspot.com.au
The stimulus for this illustration was a famous quote by Albert Camus: ‘In the depth of winter I finally learned that there was in me an invincible summer.’
Newline is the name of a fictional energy company based in Australia. The theme of their annual report is sustainability in the energy sector, highlighting the company’s commitment to invest in renewable energy sources. Collages are used to reference important sustainable energy areas such as wind, solar and natural gas.
This Illustration is intended as the cover of a lifestyle magazine devoted to animals and pets, the drawing itself highlighting the many different breeds of dogs.
Andorra is a contemporary slab serif typeface intended for use in text as well as at larger sizes. At the end of this project a printed type specimen booklet was also produced in order to showcase the created typeface.
Addressing the graduation show theme of ‘Home’, this poster draws on my Austrian-Australian background and the traditional imagery of my two homes. The poster combines the old blackletter forms of the Germanic Fraktur with native Australian flora and fauna.
Mise en Place, a French term that means ‘Everything in Place’, is a monthly food and cooking magazine. This special issue focuses on the topic of sustainable fishery in Australia, highlighting issues concerning overfishing and the problem of bycatch.
giselabeerdesign@gmail.com
giselabeer.com
Gisela Beer has been awarded the "Deans Art Most Outstanding Illustration 2013" in Visual Communication at the 2013 MADA Now exhibition.
Monash University Museum of Art 2013 exhibition and education program semester one
A series of posters designed to discourage people from eating instant food. The type on the packaging has been changed to give a message to the viewer about what the food should really read. They are designed to be witty but with an underlying serious message about healthy eating.
A photographic based Zine about ‘stuff,’ and how it can express someone’s personality and lifestyle. Each image contains the individual and possessions from their bedroom. The photos were carefully arranged and shot from above using a ladder holding the camera over the bed. Pages contain a short description of the person photographed.
I love drawing, so using illustration to communicate who I am seems highly appropriate. This illustration aims to explain the ins and outs of my everyday existence without actually featuring an image of myself.
Throughout the year, I have conducted an exploration of the body as a form that can be easily manipulated. Through a unique set of works, I have strived to emphasize the concept that the body can be perceived as an uncanny object and as an entity that can be deceptive. I achieve this through manipulating and transforming ordinary objects to appear as bodily forms, thereby limiting the body’s involvement in my work. In addition, I use unorthodox camera techniques by taking soft and out of focus images of objects to create illusions and unusual organic forms.
My work is intended to initially be perceived as inviting and ambiguous, however on further engagement with the imagery, I aim to evoke a sense of discomfort in which the audience thinks twice about perceiving the subject matter. Although the work has been heavily transformed and manipulated, the subject matter still bears a recognisable form that could be identified by the audience. The viewer is therefore encouraged to engage with the subject matter in which they make use of potential visual cues in an attempt to deconstruct the imagery before them and separate the bodily appearance from the object.
Princes Commission
‘How can we give social housing sites an identity within a gentrifying inner-city context?’
The 1960’s commission housing superblocks sustain social and economic diversity within the inner-city. As areas become increasingly affluent, we must ensure that social housing sites maintain a strong sense of community presence.
The proposal will see a new social housing superblock in Prahran which connects the existing commission tower estates through a public corridor.
The design bridges through Princes Gardens, strengthening connections to local amenity and the nearby Chapel Street. The corridor provides a place for community activity and exchange, green space for recreation and relaxation, and a thoroughfare for the everyday pedestrian and cyclist. High density social housing units are built above the corridor, where housing diversity is expressed and personalisation encouraged.
mblewonski@gmail.com
melanieblewonski.com
Melanie Blewonski has been awarded the "Designwyse Most Outstanding Third Year Folio" in Visual Communication at the 2013 MADA Now exhibition.
The field of astronomy is one of mystery and intrigue, offering a look into the stars and beyond. The design of the Astronomy Association Annual report aimed to reflect the unknown nature of the galaxies and strove to instill a sense of awe and excitement for new discoveries.
Illustrations created during a four week residency in Prato Italy as part of the Monash University Culturescape program. Created around the idea that walls served as their own historical cultural museum. The illustrations were built from the forms of renaissance paintings of Venus and Adam and layered in photoshop from the textures collected from around Italy.
To celebrate the 150th year anniversary of the Zoo, the city of Melbourne partnered with 50 artists to create a herd of painted elephants. The concept behind the design was to bring public attention to the diminishing numbers of Orange Bellied Parrots by producing a vibrant pattern of them. Exhibited at the Queen Victoria Market and auctioned for $8000 in support of wildlife conservation.
Reading and writing is a fundamental skill which is extremely beneficial in society today. Learning to read in late adulthood can be an intimidating task. Starting Point aims to be a company which partners with participants to work together to achieve their literacy goals. The identity for this company appeals to the adventurer within and makes the idea of literacy assessable and most importantly, fun.
Painted works emphasising the beauty of fashion design. These works are a celebration and recognition of Australia’s designers, such as Dion Lee, Sass & Bide and Romance Was Born. Mixed media of inks, watercolour and graphite.
2013 — Exhibited at Monash Corridor Gallery space
Seen as some strange phenomenon; twins have fascinated and enthralled society for generations. Highlighting some truths and exposing some myths, this info-graphic is a mixture of strange and wonderful things. The information design was also applied to a “twin brand” of socks and t-shirts which offered guaranteed “instant twin-ship”.
Vanessa Bong is a designer and illustrator who works and lives to make beautiful things. Passionate about people, communication, and humour, she couples her passions with her love of design to create engaging and thoughtful work. Approaching every project with enthusiasm, Vanessa uses photography, illustration, typography and a dose of curiosity to communicate ideas and stories. She lists her accomplishments as; a participant the The Design Kid’s Threesome exhibition, being chosen as a Mali in the City artist and getting her picture taken with Jessica Hische and David Downton. In five years time, Vanessa sees herself continuing to produce vibrant and engaging work and working in a design studio, working as a full time illustrator, or marrying a rich plastic surgeon and living in Las Vegas.
vanessa.bong@gmail.com
www.vanessabong.com
www.bigpicturestuff.com
“…all the atoms are finite…. and the universe must repeat itself” - J.L Borges
Investigating patterns in the observable universe in an attempt to understand why things are the way they are.
Common Ground
Common Ground aims to create a new housing typology through the opportunistic development of median strips. Two different street types – one with carparking, and the other with a nature strip – have been used as case studies for the project. By activating the dormant and underutilized streetscapes within North Melbourne, this project capitalizes on the opportunity to increase density within the suburb without expanding or removing areas of the existing urban fabric.
The main objective of the Common Ground is to respond to the social isolation caused by the typical Melbourne superblock, through the integration of social and affordable housing at a scale more appropriate to the Australian context.
My work explores the relationship between female gender roles and the hand made.
With influences as diverse as Hannah Hoch and Pip and Pop, new synergies are generated from both orderly and random textures.
I have always been concerned with female roles in different cultural and domestic environments. I make works that endorses themes of femininity and celebrating strong and independent women.
With collage being an essential part of my art making, my work has slowly developed into taking sculptural forms.
I take quite a comedic and playful approach to art and art making. For me, art is about enjoying and exploring areas of interest.
Arthritis sufferers currently have access to a comprehensive array of products to aid them in their daily routine. The great majority of the market offer is understandably focused on guarantying the user an independent lifestyle and minimise the need for help when accomplishing basic routine activities.
When it comes to arts and crafts, however, there is little to nothing available.
Painting tools like easels, brushes and palettes have remained largely unchanged for centuries, and can present a big challenge for individuals suffering with a condition that limits hand, wrist and arm movements.
THEA aims to target the most commonly experienced issues amongst painters with arthritis and bring them back the enjoyment of painting; and to encourage more of arthritis sufferers, who think that painting is not longer accessible to them, to take up this activity.
Initially, my work started by seeking out the exquisite crochet doilies of my ancestors and creating pieces using these elaborate patterns. This successful searching soon turned into an examination of the intricate details created by the hours of work put into these doilies, by the women of my family. Forming the desire to explore patterns further, geometric forms were discovered in my work as a segue between the delicate crocheted doily and wanting to produce something much bolder through the infinite number of representations which could be made with pattern. This shift from the feminine doily to a bold geometric pattern formed, in a sense, a DNA type structure of my family’s history and fulfilled a personal need to turn everything into organized and controlled entities.
pot by master ceramicist Connie Lichti, pollia condensata seedling, nail polish on linen, acrylic wall drawing
Photo: Christian Capurro
The Bike Bank is a Retro-fit interior space for bikes on the Melbourne Metro Network.
It creates a space for a single bike to be mounted vertically. If there are no bikes banked, there are three seats available. This design helps to reduce existing congestion around the vestibule area and increase passenger flow through the carriage.
LOOMA is an outdoor lounge chair. Comprising of a polyester canvas shade, aluminium locking mechanisms, polyurethane covered cushioning and powdercoated steel framework, LOOMA is designed to endure the elements. The uniquely designed orange shade can be opened up for a sunny day's relaxing or closed over to create an intimate environment.
Improving the connections between two suburbs and the links between other public transport modes to the train-station
Pooling Transit Caulfield
What role can a public pool play in integrating diverse communities within transit oriented development?
A train-line is a backyard fence restricting each neighbouring suburb’s social interaction on their respective side. A train-station, with its interconnected public transport network, is the communal public footpath attracting both neighbours, yet is a transitional space providing minute time for a cuppa. Transit Oriented Development plans on either side of Caulfield Station highlight this backyard fence, creating public spaces for each neighbor, yet fails to create a communal public space that attracts both. This scheme maximizes the potential of a public pool within Caulfield Station with its integrated informal public spaces as the additional attractor for both neighbours to turn a cuppa into a lunch break.
Christine Caminiti is a double degree student with majors in psychology and sculpture. These areas are combined in her art practice where interests in people, observations and narratives form the bases of her artworks. She has solicited friends, family, acquaintances and strangers to take part in various conversations prompted by her request for them to describe a photograph or the story the photograph suggests. Through these interactions Christine observes the individuality of her participants, their personalities and behaviours. From this she learns about the nature of human beings. To be apart of Christine’s future projects email, chrisle13@hotmail.com.
Airstream
Retro-fit, Corporate Bus Concept
Airstream is an exciting and new interior fit-out that offers passengers an experience that derives from first class airline seating. The corporate interior study comprises a range of features ensuring that the user has all their needs and desires catered for, from personal workstations fitted with privacy screens, reading lights, luggage storage, fold-out work tables and flip down screens to a vending machine for those who may be hungry or thirsty whilst on route, even a meeting area for four located at the rear of the bus.
The interior space has been carefully planned out to allow the passenger the freedom to move, relax and work with no interruptions to either themselves or their co traveller and has been designed to achieve a high-end and pleasurable travel experience like no other.
Brickit
Brickit cleans the mortar off your used bricks, via an automated cleaning method, so they can easily be relayed in a new structure saving you time, the environment and money.
oil and acrylic paint on acetate, wood, copper, Perspex
Paints landing
My work investigates the formal concerns, problems, patterns and puzzles of painting on different surfaces. The work has focused on the surfaces that capture the transparency and fluidity of paint, exploring elements of colour and space. I investigated the influence of the background and foreground that surrounds the picture frame as an element that adds to the depth of a painting.
By positioning the painted surfaces in non-traditional ways, boundaries between 2D and 3D forms are blurred in a way that explores the space between the image, reality and abstraction. I have tried to work with ways in which my paintings capture light, suggest movement and harness the emotional qualities of colour.
Live, Play, Work:
Student Housing and the Australian Dream
This project proposes a student accommodation that reintroduces the gradually vanishing values of the Australian dream due to the development of contemporary housing. The project explores the idea of community and the integration of ‘work and home’ through a number of design elements taken from suburban life. Targeting design students, my design aims to provide residents with experiences of the suburban lifestyle through a variety of communal spaces designed for entertainment, socialising and working purposes. This proposal aims to encourage residents of different design disciplines to integrate and build an enclosed neighbourhood, as it is an integral component of every version of the Australian dream.
For decades, natural disaster strikes human being with no sign and prediction, causing a huge impact around the world. By taking inspiration from the major disasters happened in recent years, a multi-terrain crawler transport is designed to provide relief and ease the situation for the victims suffered and support the rescue team during the operation.
PAFORM, an autonomous transporter inspired by pangolin is designed to aid the rescue team like China International Search and Rescue (CISAR) to perform the rescue operation in any situation and environment. Providing the team a quick response and a multi-function robot to transport food, shelter, medical supplies or utility vehicles into the disaster areas.
With the aid of the robotic legs and magnetic claws featured on the body, PAFORM is capable to work on all-terrain in any circumstances.
Each year, an estimated 15,500 high-rise structure fires cause 60 civilian deaths, 930 injuries, and $252 million in property loss (NFINFIRS, 2002).
The reason why high rise fire become a big challenge to fire departments is high-rise buildings can hold thousands of people well above the reach of fire department aerial devices, once the fire is above the operational reach of aerial ladder or elevating platforms the chance of rescuing victims is near zero.
There are two main risks. First is the lead time. The level where the fire occurs has the greatest impact on lead time, especially when elevators are not available. On average, it took 28 minutes and 52 seconds to reach the top floor of a 48story building. This does not include time needed to connect to the standpipe, place SCBA in service and advance on the fire. Second is the safety of firefighters. The risk to firefighters increase in proportion to the height of the building and the height above grade level. Once the fighters are operating above the reach of aerial devices, the only viable means of egress is the interior stairs. Therefore, the heart attack from the stressful environment and heavy gear become the primary cause of death among firefighters. In addition, the mobility inside the building or stairways can be different too.
My research is looking at assistant equipment with new technology applying carrying capacity and personal mobility to achieve an effective fire fighting in the future 2030. The aim is to be a fusion of both aesthetics and engineering with the emphasis leading towards design. The result to this project will be a concept exoskeleton frame that may not go into mass production today, but it will be an innovation high-rise firefighting future perspective. This project
is aim to design an assistant firefighting equipment not a robot. The biomechanical exoskeleton is developing in today’s world. In the near future between now and 2030, the advance in the technologies will let the design represent another possibility for the high-rise firefighting.
The idea of this illustration is to create a new design for chess. The main concept for this design is “angel”. It is said that the more wings angels have the higher level they are so viewers could know the level of those chessman through the number of their wings.
This is a two minutes 2D animation. The main idea of this animation is to personify the sheep, which appear in human dream, and imagine what would happen. So the basic story is about a little girl who cannot fall asleep and some funny things happened when she started counting sheep.
"Eight generals" is a traditional and religious ceremonial performance, which has its roots in Taiwan's temple culture. The "eight generals" wear gaudy, embroidered clothing, fierce face-paint and straw sandals. Their performance traditionally represented them bringing criminals to justice and protecting the people in the other world.
The concept of this ident is “play” and it was presented as eye-candy style. There are a large number of illustrations in this animation. Illustrator and After Effects were the main software been used for this project.
This is a public awareness campaign. The aim is to raise awareness against global warming caused by air pollution, deforestation, lack of knowledge to recycling and green electricity. The main imagery expresses the idea that we are the representative of our planet earth but our actions are the main cause of the destruction of the planet.
This is a series of experimental photography based on a technique called forced perspective. The images are not digitally manipulated in any way; they are simply taken in a way that force the viewer to see it from a certain point of view or orientation.
This is a photography project that I did based on my own identity. I have taken a series of photographs that reflect my past, childhood, career, future, culture and confrontation of reality. Each photo has multiples of myself that are doing the same thing except for that unique one that stands out to be different. I see myself today as the one that chose to be different; not for the sake of being different, but to be able to find my real self.
This is an Identity project for a Museum of Light. The pattern and use of heavy black is to simulate the light properties and qualities. The business card is designed so that the user can interact with it and look through the inner side of the card to reveal the information inside; it can also be used for gift cards and promotions. The envelope is designed similarly to the business card, where a letter or invitations can be placed inside.
I am Terry C. I often don’t see myself as a designer or photographer, because I see my sources of inspiration and my method of production to be design and photography, and that they are the tools to make my creativity become reality. What I love about design is how I can study people and research for something I have no idea about at the start, but at the end of the design solution, I will have all the knowledge of that area of expertise. It is exciting to receive a new brief knowing that I will receive just as much reward and outcome as the client whose receiving my design solution. Photography is my all time love and passion, I have chosen to do design as my career because I love photography too much to be told what to do with my camera; but I love to use my photography skills to enhance the look of my design and to tell a story through my design. My creativity side could not exist without either photography or design; they are both equally important as my sources of inspiration.
Drawn from a study of the low-rise suburban condition that dominates Melbourne’s urban fabric, the proposal consists of a series of spatial interventions that attempts to establish a human scale to the towers by permeating the uniform facade to insert suitable spaces for social interaction as well as the expression of personal identity. The proposal aims to improve livability for occupants without decreasing density or scale.
High-brid Neighbourhood
Alienated from their physical context, the Superblocks in North Melbourne stand as vast and impenetrable objects within the landscape, isolating their occupants both visually and physically. While these towers offer opportunities for higher levels of interaction due to proximity between residents, they lack the appropriate spaces for social interchange.
High-brid Neighbourhood demonstrates how a hybridised superblock that incorporates positive spatial qualities of suburban neighbourhoods can provide opportunities for social engagement between the residents of the towers and the local community while providing a new direction for vertical high density development.
Alexandra Chew is a Monash University 3rd year student currently studying a double degree in a Bachelor of Business and Visual Arts, majoring in Marketing and Photomedia respectively.
Alexandra has a background as a dancer and vastly enjoys the theatre and performance. This influences her photographs because she has a sharp eye for light, whether it is cast on the natural environment or on people. It is the dramatic scene that is often conveyed through the lighting of the scene and the atmosphere that comes to existence through the manipulation of light that interests her.
Her series of work Out of the Darkness (2013), reflects this interest in the way Alexandra focuses on the way the light falls, both on the natural environment and the human body. There is a fascination with how the atmosphere transforms when captured at the perfect moment. Through her ominous blacks contrasted with bursts of colour and life Alexandra stretches the infinite boundaries of imagination and undeniably the likelihood that depicting what-we-cannot-see induces various imaginative states or reveries. Juxtaposing these natural scenes with young children also conveys their sense of innocence and raw emotion, suggesting something that lies beyond the surface.
Culture Reminiscence
Culture Reminiscence aims to incorporate Korean traditions into contemporary living environments. The basis for a spatial analysis of the Korean living culture is provided through Han-Ok, the traditional Korean interiors of a home. Through reinterpreting Korean traditions into our living environment, the repurpose of an existing structure into a multi-apartment complex, raises awareness of the traditional values and identity of the Korean culture that have been disregarded and forgotten. I propose a hybridization of Melbourne’s Korean culture with Australia’s backyard culture, to create spatial experiences for Korean immigrant families to appreciate the balance between Korean cultural practices and living in the Australian environment.
Critical Mass
Megan Doody & Fleur Christian
Traditional high density housing typologies, i.e. the multistorey apartment tower, do not provide the opportunity for spontaneous interaction between residents or a sense of community. Interaction is impeded by a lack of quality circulation space and flexible shared spaces for residents. This project explodes the monolithic superblock and reconfigures it into a porous form where circulation is externalised. Open walkways expand into larger spaces with the potential for exchange between residents. The site for our investigation is the inner city suburb of Footscray, which has been earmarked as one of the central activity zones around Melbourne to be densified.
information design
A poster introduce about different types of coffee, coffee machines, and coffee in the country ranking...etc.
Growing Melbourne’s Food Culture
The growing and selling of native Australian produce is a fledgling industry, but has a national and increasingly international market that values sustainability and nutrition as well as the new aesthetics and tastes that the produce presents. Retail opportunities exist in green markets, small wholesalers as well as branded food outlets, and yet the widespread take up of a new national palate remains slow.
This project showcases the delights of native Australian produce and aims to expand Melbourne’s native food culture through the appropriation of a Yarra River boathouse into a native produce providore, a waterside festival pavilion and bar, and a headquarters for ANFIL, the national advocating body for native produce growers and sellers.
millyhclarke@gmail.com
emilyclarkedesign.com
Emily Clarke has been awarded the "mag nation Folio Production Award" in Visual Communication at the 2013 MADA Now exhibition.
Communication is significant for deployed soldiers. Receiving and reading letters gives a moment of delight. "A letter can be read and re-read anywhere, anytime".
Drawing upon a common form of military transport, that of the Hercules Plane, which represents a point of transition- into, out of and between war zones.
The sequence supports entry/exit moments during deployment such as ritual, order, precision and strength. Form and materials reflect these aspects.
The ritual of the removal of boots and the cleaning of dust from the boots marks the end of duties. Seating + Storage supports this ritual.
Community has a strong presence in military life. Defence personnel eat, sleep, shower and work together during deployment.
A series of dining elements is designed to place emphasis on this routine, for the returned soldier to continue to experience a sense of community and camaraderie.
A Temporary Halt
An Architectural 'Kit of Parts' for Australian Defence Housing
Defence force personnel experience mental, physical and spatial changes from enlistment, in the course of deployment, and during reintegration into domestic life. The design addresses these transitions, and intervenes in the experience of known domestic thresholds of Military owned housing – the letterbox, the front door, the bedroom window and the dining table. The intention of this project is to embody the temporal through the consideration of small commonalities, such as the placing of boots at the front door and listening to the rain whilst in bed. The provision of a shared architectural ‘kit’ enables soldiers to retain a semblance of comradeship and to draw a new domesticity around them.
Sheena Colquhoun's practise is centred around the various manifestations of popular culture minutiae. Through an enquiry into her own subjective relationship with pop culture she attempts to articulate the complexity of being in the grey area between earnest and sincere love of most aspects of pop, and the distance and cynicism that grows out of criticality. Sheena is an interdisciplinary artist working mostly with video and object based art. More information can be found at: sheenacolquhoun.com
Fitzroy Wellness Precinct
Atherton Gardens, Fitzroy
Through the investigation of the swimming pool typology, this scheme investigates how health and wellbeing can be made more accessible to a diverse community, whilst also using it as a means to reconnect an increasingly separated society.
The scheme consists of a swimming pool, gynmasium, outdoor plaza / community marketplace, cafe, multipurpose community spaces, as well as a new system of paths to improve accessibility and use of the site. It seeks to activate existing elements of the site such as the soccer field and the community garden through programmatic adjacencies, thereby fostering an open dialogue between inside and outside. Through the new system of paths, the project seeks to improve the north-south and east-west access routes through the site, making the site more engaging and appealing for users and allowing them to immerse themselves in the new health and wellbeing focus of the site.
Transparency and visibility are key drivers of the architectural expression of the scheme, as it strives towards an openness and lightness, making health and wellbeing a more active and immersive aspect of the public and social realm.
My practice involves painting, drawing and sculpture. Through my work I hope to remind the viewer of imperfect beauties and the small, forgotten details of everyday life.
typographic poster
This is a large format poster to promote a live stage performance of Tribes by Nina Raine. It has strong visual impact through playful typography, and draws on a contemporary aesthetic relevant to the performance genre.
publication design
Edge is a newspaper consisting of five different essays regarding risk taking. It highlights my abilities in typesetting and the use of grid structures through a combination of type and my own images.
identity
Little Beare is a brand identity created for a mother of three boys, located in Daylesford. She loves to bake, make and give treats to her family and friends. The identity includes her logo, stationery and extra applications.
annual report
This is a printed and bound annual report for the construction company, Vander Builders. The design includes all the editorial content with particular attention paid to clear financial data and creative informational graphics.
A5 Brochure documenting the history of brewing within Melbourne.
Prefab the Fablab
Prefab the Fablab explores the potential of 3D printing, laser cutting technology and its implication towards the future of interior architecture. The proposal is a speculation for a future prototype of fabrication lab, an open plan interior space that is reconfigurable, dynamic and participatory. The project develops a narrative where people would have the freedom to design their own spatial experiences based on their needs at the time. In addition, this project responds to the development of technology, materiality and construction technique which allows opportunities to change overtime in the longer term. This project shifted an understanding of interior architecture which embodies static and autonomous to dynamic and flexibility.
Akaysha Davey has been awarded the "Wacom Image, Sound and Motion Award" in Visual Communication at the 2013 MADA Now exhibition.
NORMFORM is literally a scaffold of formwork distributed over the site with the aim to highlight different experiments with perspectival projection. In these experiments I have been influenced by Gordon Matta‐Clark and Rachel Whiteread in a way, I hope, that emphasizes the shifting nature of marginality in our society.
NORMFORM
Marginal Art Practice, exhibition and archive at the former Kew Lunatic Asylum
NORMFORM examines historical frames of mental illness and uses the intersection between art and architecture to reveal imbedded social and spatial structures. Institutional definitions of what is normal and what is abnormal human behavior continue to change and evolve. This is in no greater evidence than at the former Kew Lunatic Asylum, which was designed with 19th and early 20th century ideas of mental illness in mind. It has now been decommissioned and re‐adapted into upmarket apartments.
Instead of apartments, I propose a program more strongly foregrounded in traditional, sustained and potential conditions of marginality – a condition that is typically experienced by artists and those deemed insane. Something that speaks about the present as well as the past is communal and private, industrial and recreational, global and local, nurturing and haunting. A multifunctional gallery, social space, an archive and museum provides the visitor and community with a greater knowledge of the history of Kew Asylum and its expressive potential.
The first condition explores the 'decked‐over' typology over the underground train station.
The second condition explores a 'bridging' typology as the railway line's topography begins to level out.
The third condition explores the connection across the railway at grade level.
The main horizontal band mediates the three conditions and re‐connects the civic zone of Box Hill as public domain.
Urban Connector - Box Hill
With current pressures of increased densification and transportation demand, the loss of vital public domain demands new typologies. The project explores the use of mobility infrastructure as activated public domain. Located within the established suburb of Box Hill, the design of an urban connector acts in re‐establishing links to the civic zone of Box Hill and re‐connects north/south links across the railway tracks. The sites changing topography suggests an exploration of three conditions along the length of the urban connector.
photographic paper, 150cm x 154cm
Communication becomes a process of coding and decoding.
Privately, instantly and silently…
light panel, 51cm x 50cm x 10 cm
The work illustrates the abstraction of digital depiction. This light panel is a lighting copy of a photographic copy of the reality. After repeatedly copying the copy, it loses its relevance to reality. No matter what media you use to record this work, it moves a step further away from reality. Does the digital record truth?
cross stitch fabric, 25cm X 50cm
People are more aware of their own existence than before, with the invention of high technology, we can see ourselves in so many different ways even through digitally constructed image. It loses its relevance to reality as we can only see tones of white, grey and black.
Communication becomes a process of coding and decoding.
Privately, instantly and silently…
This constructed maze is influenced by my experience in my hometown, Shanghai, China where the majority of people live in apartments do not know neighbours, not even care to know, because people rely on technology provided by the apartment developer. Technology improves our life efficiency, however the traditional face-to-face communication is largely reduced even between people who live so close to each other.
By using digital language - pixel, this series of work questions the impact of the fast growing digital language on human beings. Inspired by Thomas Ruff’s jpegs series that requires distance to make sense of the motifs, the image forms a busy, or even a bit noisy impression when spectators look at individual figures/pixel as opposed to the silence when looking at the whole image from a distance. I print these photographs in large size to enable viewers to physically move back and forth observing the images.
My focus shifts from the shape of the digital language to the colour of it. Inspired by the Glitch art and digital errors on television, the work illustrates the abstraction of digital depiction. The light panel is painted to mimic a photograph of what’s shown on LED light screen at the Federation Square. Therefore this light panel is a lighting copy of a photographic copy of the reality. By repeatedly copying the copy, it loses its relevance to reality. This work intends to question the truth created by the digital.
Critical Mass
Megan Doody & Fleur Christian
Traditional high density housing typologies, i.e. the multistorey apartment tower, do not provide the opportunity for spontaneous interaction between residents or a sense of community. Interaction is impeded by a lack of quality circulation space and flexible shared spaces for residents. This project explodes the monolithic superblock and reconfigures it into a porous form where circulation is externalised. Open walkways expand into larger spaces with the potential for exchange between residents. The site for our investigation is the inner city suburb of Footscray, which has been earmarked as one of the central activity zones around Melbourne to be densified.
Rochelle, along with Emily Gallagher and Tace Kelly are members of Packaged Goods.
My projects and research have focused on histories of architecture and construction that propose free and inclusive conceptions of space, identity and materiality. Utopian inflatables, modular living structures, spaces of occupation and protest, temporary buildings and spaces, scaffolds, self organized urban spaces and experimental theatre. These forms all have in common an attitude towards space and materiality that is open, provisional and engaged with concepts of success and failure in equal measure. I am particularly interested in the idea of giving meaning or value to that which is considered without, or of changing conceptions of materiality.
Part One of Nineteen Eighty-Four, typeset to mimic a newspaper tabloid.
An exhibition programme for MUMA, designed to open and fold easily like a fan.
A typographic exploration of Jack Kerouac’s classically wild novel, ‘On the Road’.
hannah.dunlop1@gmail.com
www.hannahdunlop.com
I am inspired by ideas, and people who are courageous enough to entertain them.
In my work paint is the tool I use to speak out about the problems of power and balance in society. Recent paintings are attempting to create a conversation about current issues that are filtered and by-passed throughout the media. Imagery that depicts these issues is altered through painting and addition of text. This involves using minimal colours and leaving the painting at an almost unfinished stage. The story becomes concealed but the universal gestures are made more apparent. This gives a new light to the subject, which allows the viewer find a closer relation to the image, and fill the gaps with their own ideas and beliefs.
‘Pear’ is an experimental showcase of fashion trends during the year 2013. Compositional elements such as balance, scale and hierarchy have been investigated to practice art direction. The pear fruit has been used as a symbol of the female form, to ‘wear’ these iconic trends.
The 2013 annual report for Leightman Constructions was inspired by the colors of the work site—vibrant safety yellow and concrete greys. Complete with a custom concrete slip, last year’s annual report can be kept with the current publication for comparison.
cocktails on swan and the public
Democracy needs public spaces, not architecturally constructed illusions.
How democratic are the City of Melbourne’s public spaces? The Melbourne Town Hall, our most public democratic building, has become a function center. The City Square, through significant change, has become a garden to the adjacent hotel and Federation Square Pty Ltd is not a publicly owned democratic site.
In the City of Melbourne today, the role of public expression through the use of democratic space has been compromised. This project aims to reinstate City Square as a public site by creating an exchange of strata between the existing Westin Hotel and the proposed Melbourne Metro. It aims to reinstate City Square as a public building through the proposal of a new public hall, public forecourt and adjacent public program.
oil and enamel on canvas with artist frames, 1020 x 1535 ea.
www.sophieereglidis.com
info@sophieereglidis.com
Sophie Ereglidis has been awarded the "AGDA Most Consistent Performance Over 3 Years" in Visual Communication at the 2013 MADA Now exhibition.
My work is constructed and deconstructed animated moving life. I am exploring the modes of writing and drawing because it’s fun and I don’t mind undermining the investigative quality of what I’m doing. Eventually, I’m reasonably certain, I will do enough drawings and writings to strike creative gold and rest happily assured that I have created something worthwhile for the world that created me.
The Final Act, House of Passing
The Final Act, House of Passing explores a centre for euthanasia located in an abandoned control tower at the end of the North Wharf in Docklands. The site is treated as being exempt from the contemporary crisis of dying, by way of its location perched high above the water, in its precarious position at the centre of a reimagined Docklands, and in its eying up of the Bolte Bridge.
This new building typology addresses a profound spatial narrative that is realised in small rituals that span the intimacy of dressing to the bureaucracy of death. Individuals are reminded of these thresholds through an architecture of empathy, that ministers to the passage of time and the contraction of space. The individual commences the causal sequence of their final act within the gathering of performances played out over the city skyline.
Cinematic Encounters with Light
I have been investigating cinematic references and still images taken from various movies such as Wake in Fright, The Last Wave and Blade Runner for example. I am interested in the scenes in between scenes if you like, the flashes of light, cinematic light, like a flickering strobe, car headlights, camera flash or blinding light. I have endeavoured to evoke a dreamlike state, a moment or feeling of uneasiness where there is a slippage between what is recoverable and understood but at the same time maintaining a feeling of familiarity, of an image seen before but where or how remains uncertain and out of reach.
Shapeshifting Automotive Interior (SAI)
The shapeshifting automotive interior, or SAI was designed to take advantage of programmable and reconfigurable polymers called smart materials. The objective was to design an automotive interior that could change its shape and configuration in a organic way to better meet the needs of the driver and passengers. The concept interior could in theory be programmed to take on any configuration to match any situation. This includes shifting the interior from a single seat-layout to 4 seat layout or a configuration that would allow space for a wheelchair.
merric.f@gmail.com
0431858708
Merric French has been awarded "Best Automotive Transportation" in Industrial Design at the 2013 MADA Now exhibition.
ARMA is a fully incorporated firefighting helmet with a detachable breathing apparatus that attaches internally. It includes a heads up display linked to the air tank that informs the user of workable duration time, dangerous ambient gas levels and pin points flame temperature. It includes GPS and Teammate Identification Systems that helps track fallen or injured comrades.
I work mainly within the parameters of installation, video and performance, combining seemingly disparate or contradictory objects, processes and aesthetics. Devices and materials associated with aspects of popular culture and different histories are potentially used to challenge perceptions as well as allowing space for pathos to be exchanged.
performance with Madeleine Thornton-Smith and Tim Buckovic, digital video still 3:43
Colour Band instruments at the Percy Grainger Museum, the University of Melbourne, including the colour chord 21 stringed flat sound box, c. 1950 and pedal operating conducting device which dictated chords by colour (bottom)
installation camping chair frames at Sills Bend, Heidelberg, Victoria
This project imagines and examines personal, community and art historical forms and how they intersect with geographic borders, global migration and trade to create hybrid Modernities. The legacy and invention of modernist artist Ludwig Hirschfeld-Mack, a Bauhaus trained artist interned in London during World War II and brought to Australia in 1940 is central to this project.
His archive opens out like a prism of his world and post-war Australian social and art history. The resonance of this material in a post-colonial Australian context has lead to these experiments and installation.
E Minor E Major
Commonly the 'public' in 'public housing' refers only to the fact that it is provided by the state, and not other meanings like “of or involved with the affairs of the community”.
E Minor E Major aims to address the visual, physical and social implications of the iconic Park Towers in South Melbourne, through a new public realm integrating small, medium and large scale interventions. The new realm – a ramp - cuts underneath the tower, melding geometries between the existing site, a new light rail stop and surrounding context.
Lets put the public, back into public housing.
Exploring the human condition has inspired these translations of physical and psychological states of existence into materiality. In Altered State of Being there is a focus on the oscillation of emotions and bodily movement.
The depicted material is representative of the body, although seems to be endlessly floating in a display of hypnotic weightless contortion. It is held in an extended moment of time and position in space. Through the dialogue created around notions of anti-gravity, Altered State of Being explores how the body and the mind are in constant states of fluctuation.
Through a repetitious, meditative and mesmerizing video and sound environment, Altered State of Being creates an ethereal experience, thus allowing the audience to let go of their own physical matter.
digital prints, series of six
The series Body Sculptures, depicting a piece of white material captured amidst flight, comments on the medium of photography. The material that has been propelled into the air has been frozen at a point in time, which illustrates a beautiful stillness. The series of photographs acts as a container of time and space putting on a display of contours and contortions of the suspended material.
The material that has been arrested at the apex of its airlift takes on a sculptural quality. It is recognised that the material was thrown into the air although the precise moment captured and shown in Body Sculptures is imperceptible to the eye. Through this, the force of gravity is absent and the physical features of the sculptural forms of the material become observable and can be examined as if it where a still object.
In Body Sculptures there is an element of performance and reference to the body. The movements of the body to create the series are not shown but rather the photographs become a product of the vigorous action. Not only is the body referenced through the creation of the image, the throwing of the material, but also how the body is positioned amid the action is symbolic of the contours presented in the photographs.
laurengiusti@live.com
www.laurengiusti.com
During my Bachelor of Fine Art degree at Monash University, I have developed a deep interest in and connection to the physicality of the body and psychology of the mind. Studying Photomedia as my major has inspired the urge to materialise the mind into tangible entity: the body, the thing we commonly recognise as physical existence and containing consciousness. My research has developed curiosity in areas such as the human condition, ontology, existentialism and phenomenology.
I have developed a love for the movement and manipulation of the body and how on its own, it can be displayed as a sculptural form. Arresting the body in usually imperceptible moments of its fluctuation and portraying anti-gravity has become one of the ultimate aims of my artistic practice. It gives me a heightened sense of exhilaration to capture a perfect contortion and expression that the body, or even an object standing in for the body, has created for a moment in time. I have used the medium of video to explore these concepts, as I wanted my audience to feel that same sense of immersive beauty and illusion unfolding before their eyes in a conceived space and time.
These ideas and interests have also flowed into sculptural forms, performance art and installations that I have created throughout my degree, and I hope to continue on this journey of exploring the meaning of existence.
MARS has been designed to help mitigate the growing effects that modern human activity is having on our marine environments. Unprecedented population growth is putting increased pressure on our oceans, not only because of climate change and pollution, but also because of destructive fishing practices, increased water runoff and dredging. Our irreplaceable coral reefs are some of the most bio-diverse and uniquely fragile eco-systems on the planet, and consequently suffer the quickest and most drastically from this human expansion.
MARS is a modular artificial reef structure that can be implemented by divers and tailored to suite the geographical layout of the ocean floor. The MARS units have been designed specifically for coral transplanting, which can quickly help re-grow coral reef areas that have been damaged. The structure can also help to increase the biomass of on area with or without existing reef features.
Based on over three years of independent research into suitable materials, MARS is designed to maximise the potential for sustaining ocean environments.
Alex Goad has been awarded "Best Product Design" in Industrial Design at the 2013 MADA Now exhibition.
Kamodo
Modular Lightweight Fishing Kayak
Kamodo is performance product for the avid kayak fisherman. Through prototyping and ergonomic development this kayak has been designed from the ground up with fishing in mind. Kamodo utilizes modern materials, technology and innovative features to deliver a new experience to the sport of kayak fishing. A key feature of Kamodo is it's modular equipment customisation which utilizes lightweight accessories that attach to the 'Octagon' fastener; a flush and universal fixing point for all equipment on-board. The kayak is constructed from a Carbon/Fibreglass lay-up which is almost half the weight of existing plastic rotomolded alternatives. Combined with lightweight 3D printed nylon accessories and modular disassembly, Kamodo gets you on the water faster, with less effort and with a lot more fun.
Andrew Godin has been awarded "Best in Show" and "Peoples Choice" in Industrial Design at the 2013 MADA Now exhibition.
I have to print a campaign poster for this assignment using screen-printing. I decided to advertise my animation that I made for major project. This horror and cute animation is suitable for kids. Main character, David and the dark shadow that always appear in the animation are included in this poster.
This oil painting artwork was done in painting class. First, I have to create an interesting collage and from the collage I have draw a painting from the collage I had made.
This portrait drawing was done in my drawing class. Nine different mediums are used, such as charcoal, paper collage, water colour, ink, oil paint, pencils and others. There are combined together to become my own portrait. Only 3 colors are used which are black, grey and white.
This artwork was done by screen-printing. The theme of this artwork is revolution in the middle of 19th century. I used the character of M&M to present and spread the aspiration of the revolution. Red and black colors are used which represent revolution, also create strong contrast.
Jacqui's work deals with the constructed character of our local landscapes to explore the production of these environments in relation to identity. This focus concerns both community and individual identity as they are expressed in the social structures of 'Australian Culture'.
Keep Off The Grass abstracts visual and spatial languages used in domestic environments and landscape architecture. It employs building and construction process in the production and re-production of a theatrical space of materiality. It looks at the use of space in everyday and how we understand space through framing and the territories produced. The project questions the relationships of ‘mother nature’/’manmade’ and reality/façade to highlight the impossibility of these binary categorizations. Jacqui is concerned with the power embedded within the built environment and how this influences the way we understand space and what that means to us.
The Good Thief
With a growing number of abandoned regional towns across greater Victoria, The Good Thief explores the inherent nature of bank buildings as an architecture that represents conceptual frameworks in its form.
The banks role in these areas (often said to be the life and death of the town) has been interpreted as being vital to the sustainability of regional Australia. This project looks to the viability of social banking as a new way of maintaining financial services and allowing for increased funding of community projects.
My videos are paintings. I use the sea, the sky and other masses of water as the subject matter. Nature is the place of the sublime in which I hope to immerse the viewer.
A sailor is lost in a stormy sea in a battered boat, and must take a chance to get out of danger.
The culmination of months of creative production: this computer animation has been brought into existence as the major project for my university final year. Maxon Cinema 4D and Adobe After Effects were heavily used throughout production: alongside RealFlow, ZBrush and many plugins.
Through exploration of line, my artwork communicates a translation of movement and internal energy, which is then transformed into external space. Nature and the human body inspire me into investigating the transformation and flow of line from paper into space using my body. All my work begins with drawings and from that point the line and I take the step into open space to create large-scale three-dimensional works.
The physicality is portrayed through drawing, sculpture and photography. Wire, tape, fine liner, paint and light are used to create these drawings in space.
The lines have their own physical presence within the installation, Line and Space, 2013, reflecting the invested movement and energy. The viewer is invited to enter the space to experience the drawing from within, and will be able to participate in the physicality of the work.
photographic print, 1m x 2m
from Series Dash
photographic print, 1.2m x 4.5m
from Series Dash
photographic print, 59x42cm
from Series “00 : 00 : 00”
photographic print, 59x42cm
from Series “00 : 00 : 00”
single channel HD video, duration 6:18 (loop)
from Series “00 : 00 : 00”
Much of my current practice revolves around photographic and film based processes, extensively exploring the ephemeral nature of time and light and our reactions to it. By clawing deeper into what “time” itself means to me, I hope to expose similar curiosities in my audience.
Previous works have explored the depth of human psyche, the power of language, as well as the phenomenology of light through photography, film and installation based works.
My most current work is “Dash”, a series exploring the phenomenology of time and plays on the interdependence and significance of time and human memory.
The elapsing of time is often represented by a single short line, the dash. The passing of years of war, a person’s lifetime, or the length of time something existed and then didn’t; it’s easy to forget that little line represents so much.
“At the deepest level, in physical reality, time is reversible. It is only the introduction of individual, subjective measurement that induces the "illusion" of time's arrow. Physical time is best viewed as helical, as something that constantly wavers backwards and forwards, proceeding onward toward the future only in an uncertain, vacillating and oscillating manner.” (Goertzel, Ben, On the Physics and Phenomenology of Time)
“Dash” takes the concept of ‘now’ and by extension ‘time’ and asks the viewer to question their definitions of both. Where do they fit in their own stream of consciousness and how does their individual experience of past, present and future define them?
The theme for the Australian Poster Biennale was 'A mother’s life is precious.' The poster aimed to communicate this message by its visuals alone. This was achieved by depicting the sacred bond between a mother and child. The poster was awarded the Stepping Stone Student Award for 2013.
Designed to increase awareness of support, resources and services available to effectively address the issue of youth suicide. The aim was to visualise depression with the abstract concept of the hermit crab and illustrate how depression can be overcome with the help and partnership of a counsellor.
A typographic exploration to demonstrate how a poster can communicate with the audience on a number of different levels. This was achieved by using the moiré effect, to create the words ‘the medium is the message’. The moiré effect is built from an entire chapter found within Marshall McLuhen’s book.
A publication which aims to provide a personal, real world account of what living with a mental illness involves. This is explored through the interviews of four people, each detailing the triumphs and hurdles they have overcome to become who they are.
Created in honour of the iconic Melbourne landmark whose historical value is more than just its façade. The typeface involved digitising the hand-painted letters of the station, which were displayed during the golden age of travel.
paulhanslow@gmail.com
paulhanslow.com
Paul Hanslow has been awarded the "Deans Art Most Outstanding Narrative Project" in Visual Communication at the 2013 MADA Now exhibition.
My work stems from the desire to create a structure of perfection within the frames of a canvas. I am a systematic artist employing basic formal elements such as line, shape space and texture. While at the same time allowing ad hoc spontaneously occurring variables to create a painting. My work originates from the complexities found in folding paper. This has expanded to other materials and the different outcomes they produce. There is a format to my artwork. I set up a system in which I must follow and allow the material to decide where the variations occur. This is a process in which I work and that is reflected in the finality of the pieces.
With copy taken from the title of John Heartfieldís 1936 collage Donít Worry... Heís A Vegetarian, I created a typographic interpretation of the anti-fascist Germanís work.
Mos Def is an American hip-hop artist. I created this teaser poster to promote his hypothetical new album, using a mishearing of his name: Moss Death.
Inspired by John Wawricker and Karl Hydeís experimental book Mmm... Skyscraper I Love You, I created a series of images using the photocopier aesthetic, but through purely digital means.
With all original photography, I produced this A4 magazine which documents the happenings of the Melbourne underground punk scene.
A booklet containing interviews with jazz musicians to be distributed along with a vinyl record. The illustrations and varied layouts reflect the wide range and freedom of jazz.
Hamer Hall is a reaction to the architectural form of Hamer Hall meeting music, in an exploration of rhythm and movement.
An intimate story in installments, each creating an interactive experience for the reader, as the book is destroyed
as it is read and cannot be passed on.
The fascinating life stories of five different composers, each interpreted with a mind to their musical expression.
A Didone revival, Arlandes features strong stroke contrast; a completely vertical stress and thin, hairline serifs.
An interpretation of something that is usually invisible, and often overlooked; the vibrations that make up sound, allowing us to hear.
I see all of my creations as a way to express the beliefs I feel I need to share with the world; which mainly boil down to the idea of stepping away from the digital realm and taking time to appreciate all that surrounds us. My work often contains a political statement, or a focus on production and the enjoyment that can be found through creating. I always desire my work to say something, be conceptual and have meaning, much more than I desire it to be trendy.
hi@simonehill.net
www.simonehill.net
Simone Hill has been awarded the "AGDA Most Outstanding Typography 2013" in Visual Communication at the 2013 MADA Now exhibition.
Within Indian slums there is a severe lack of toilets and infrastructure. Therefore a toilet that does not rely on this needed to be designed.
The final design is a semi-public, colourful, textured and unique looking squat toilet cubicle that utilises wheeled containers for waste and water management so that it does not rely on the unavailable infrastructure within Indian slums. It is constructed from mainly recycled polyethylene and aluminium collected at nearby rubbish tips.
I problem solve. Based somewhere between Christchurch / Melbourne / Seoul.
Jessica Hoskin has been awarded the "Deans Art Experimental Production Award" in Visual Communication at the 2013 MADA Now exhibition.
[FREE]Style
Public outdoor pools consistently have disconnecting boundaries around their perimeters, creating a sense of isolation and detatchment. The project [FREE]Style is a way of breaking down this isolating barrier, and start to create a new relationship, a new type of edge between a public building and its surrounding context. And how we can extend the usage of the pool and create a constant visual connection and allow multiple levels of engagement with it. Interaction occurs within the pool, building, boardwalk, facade and the edge conditions. The public has the freedom to engage with the design however they wish; sit, climb, view, park, it’s up to the individual, up to the public.
Upon entering, users are immersed in a transformative environment, taking place above and beneath the preserved existing shed.
Consumed by fog and immersed beneath the Yarra River, the Sanitation Chamber presents users with a space to ‘cleanse the mind.’
Laboratories designed to protect and contain but also intended to present users with an uncertainty as to what’s on the other side through the notion of transparency.
Whilst moving around the laboratories, the visitor becomes almost quarantined from the artist, however are still able to see them through the transparent walls, ultimately becoming an artwork within themselves.
This semi- exposed performance area protrudes out onto the existing site revealing the sheds decayed and fragile nature.
A Blurred Transaction
How can we seek to understand what we can’t see? ‘A Blurred Transaction’ proposes an Exhibition Space, Artist Residency & Experimental Laboratory within the context of an abandoned shed structure adjacent to the Yarra River in Port Melbourne. This project reveals the spatial possibilities of infectious disease across a multitude of transmutable scales from the microscopic to the global.
Contrasting against the traditional idea of a museum being a place to ‘preserve,’ this proposal offers the opportunity for space and audience to participate actively in a transformative environment through the hybridisation of spaces, people, knowledge, art and context. As a result, not only does it infect the design intent but it places an emphasis on both the audience and artists physical presence within the space. Spatial qualities manifest ideas of transparency, quarantine, sanitation and transformation - with the ultimate goal of involving and demonstrating to the public the transmissive and experimental nature of infection as a design agency.
Natalie Iannello has been awarded the "Studio Batch Prize for Outstanding Final Project" in Interior Architecture at the 2013 MADA Now exhibition.
installation view
dual channel digital video
6:49 duration
installation view
dual channel digital video
6:49 duration
Rosie Isaac is engaged with particular moments of clarity and disjuncture created by combining language and image. By deploying the low-fi tropes of science fiction, and an ‘amateur’ understanding of Photoshop and 3D modelling, the work attempts to complicate our understanding of the flat image, and examine the gap between image and object. Her videos, scripts and sculptures exploit this gap, and the disparity it creates, to examine systems of representation in the context of a constructed ideology and the possibilities of radical imagination.
Paraiso Ngayon explores the poetic potential of semantics and visual signifiers to evoke, and attempt to understand, a proverbial paradise. I am interested in the intrinsic shifts activated by action and repetition, between the idealised and the banal; foreign and local landscapes; personal and collective identity; conceit and truth.
Three phrases - dried palm, mood beige, and silver lining, collectively inform this project. Each of these being the name of a colour used to paint the exterior facades of a luxury high-rise estate in Melbourne. I am interested in the idea that these words can operate as discursive and evocative phrases; that the simple gesture of naming irrevocably adheres meaning. Each phrase carrying the weight of other associations, layered within the materials of object, video, and gesture.
acrylic wool
An exploration of space focussing on angles and features of a gallery space.
My work concerns the use of space involving architecture, light, shadow and negative space. The work aims to bring to attention unused and unnoticed areas within the artist’s workplace. Using fine cotton thread the works affect subtle interventions into a given space integrating new special geometric forms which interact with the existing architecture.
My practice questions space and what use we make of it; creating work that is hard to read spatially confronts the viewer with questionable placement and use of unusual positioning. The combination of delicate thread in open space creates an optical illusion of sort, creating pattern where there was none before.
There forms a relationship between the work and its platform for viewing, the gallery’s architecture; or a type of intervention, an urge to change the normative function of the space.
Performative Field of Language
The Chinese community living in Australia has lost their deep and diverse culture, this is especially common for the second generation who are born and raised in Australia.
The goal of the project- the Performative Field of Language is to create spatial experiences that raises curiosity about one’s own cultural heritage and tradition by learning the Chinese language and calligraphy.
The Box Hill Shopping Centre is the site for a language school that is cross-programmed with a Tea House and an environment for a highly performative Chinese calligraphy practice environment called Dishu.
The world has widely known rattan for its usage in furniture. Rattan furniture has been popular in the western world since the early of the 19th century. The Indonesian government implemented policies to barricade the export of natural rattan raw material to buyers as an effort to encourage the growth of domestic rattan industry. Given this opportunity, comes the challenge of what to do next with rattan other than the well known usage for furniture?
In the big city, the notion of living a healthy lifestyle is indicated by the staggering uprising bicycle sales in the past few years. Although according to the data, Indonesia is third country in the world with the most rapid growth in bike sales. This of course proof that people are still going to buy bicycle in Indonesia for a couple years ahead.
UBR stands for urban bicycle rattan is answering to what extend rattan can be used for while filling the demand for true urban nature made bicycle either for everyday commuter or lifestyle.
One of the first words that comes to mind when viewing my work is ‘variety’. A word that is both at the core of my art, and the core of my personality.
Unable to limit myself to one or two mediums, I wanted to create a mash-up of various images, typography and styles that would come together as one large artwork.
With a strong focus on the surf and skate culture, I sought to create individual works that would intrigue and evoke feelings of youth and vitality, and which would sit in juxtaposition when combined.
Throughout this year my thinking has grown and developed through exploring different artistic concepts. This has included exploring collaborative processes with other artists.
In addition to my Fine Arts degree I am also currently undertaking a Business Degree majoring in Marketing and see my work as a reflection of the direction I would like my career to take. Design is my passion and I am looking to work in a creative or marketing role within the design industry.
My work aims to explore a collection of contemporary literary interpretations of the religious belief in afterlife, specifically the concepts of ‘Heaven’ and ‘Hell.’ This is visually represented within the context of an interactive container and questions the idea of choice. Are all those in ‘hell’ there by choice? Without that self-choice could there be no ‘hell’? Is heaven then a space devoid of self-choice and free thought?
Solitude is a locally distributed newspaper presenting the theme of loneliness and solitude of one of Melbourne’s busiest laneways.
A biannual exhibition program for the Monash Museum of Art. The graphic elements represent the architectural feature on the exterior of the building.
Recently completed a Bachelor of Communication Design at Monash University, Melbourne.
My passions include typography and publication design.
I'm sausage dog mad, love to travel and currently saving up to replace my 1992 Volvo 940.
0401 799 407
agatha.kalinowski@gmail.com
agathakalinowski.com
Relocating The Koori Heritage Trust
The recent growth in restructuring Indigenous tourist experience in Melbourne has led to improvements in promoting the culture of original inhabitants of the land, which has been overlooked and marginalized to date. For that same reason, the Koori Heritage Trust is looking for new premises that will rebrand the organization whilst protecting, promoting and preserving the Koori culture. My proposal is to relocate the K.H.T. to Melbourne University Boat Club in which the visitors will become embodied within a space informed by land, a connection that is critical to the Indigenous community and is missing from the tourist scene.
The title of the Interior Architecture Studio 8 project – ‘Terra Marvellous’ – reflects the beauty of Aboriginal Art.
The Studio 8 project highlights ethnographic principles through celebrating the way hearths are used by Aboriginal Artists.
The project’s program for Studio 8 aims to educate school students about the Dreamtime through dialogue and art involvement.
Many aspects with regards to the Studio 8 project’s design references ‘country’ – or, Australia’s natural landscape and everything that exist within.
The importance of the hearth is presented through dancing and ceremonial purposes as well as for Aboriginal Art.
The activation of smoke through the chimneys serves as an indication of exciting activity in the proposed site.
Terra Marvellous – A Cultural Centre on Aboriginal Art Creation
The creation of Aboriginal Art is a self-defining expression of the culture and history of Australia’s Indigenous people. Terra Marvellous is a cultural centre on Aboriginal Art creation located at Billilla, a colonial mansion located in Brighton on the traditional land of the Boonwurrung. The proposed program invites Aboriginal Artists to demonstrate the distinctive processes in the creation of Aboriginal Art and aims to educate school students from the Brighton locale about the identity of the Boonwurrung and ‘country’ – inland Australia. The emphasis on the beauty of Art creation through the spatial control of Aborigines potentially makes the project post-colonial.
2025 Socialized Car Interior
This project explores the possibilities of bringing back the emotional connection between users and their vehicles through a non-physical ownership system that integrates into the world and youth of 2025. This interior aims to create a flexile and customizable space for generation Z youth whilst working in a car sharing system for students in Melbourne 2025.
Registered users of this socialized car-sharing system Log in and book a vehicle when needed. The flexible interior can be personalised to suit each user’s needs and desires online much like a social networking page, and will upload when they log on to a vehicle. Users are encouraged to share a ride with peers, as the ride fair is split and the vehicle can remember and identify the user’s ‘friends’ and common destinations based on usage patterns.
Tace, along with Emily Gallagher and Rochelle Duke are members of Packaged Goods.
Tace Kelly uses photography, performance, video and installation to respond to the language and representation of events in Australian history and politics.
Terra Infirma is a video installation that deals with the struggle between a site of contention; the sea, and a site of familiarity; the home, both weighted with histories, imaginings and fictions.
“Welcome” documents and represents a larger performance project. The banner images subvert the representation of females in mainstream and political campaign advertising to highlight the inequitable balance of female representation in Australian politics.
"Nobody's listening.
Everyone's waiting for their turn to speak."
Prospecting
Lured by the promise of a richer community life, many people are abandoning inner-city living in favour of regional towns. Transformed by increased infrastructural connectivity to metropolitan centres, the identity of these country towns is threatened.
Prospecting searches within the community to find places of social significance. How can valued public program be connected to preserve the traditional values of the country town?
An avid student of Japanese, Saxophone and Gameboy from an early age; my work explores international cultural exchange, visual music, mass-produced trash and the question of "Where is Home?", using any mediums necessary.
Like Monet, But Different.
Currently I am exploring tension between colours and finding naturally occurring, good colour schemes.
I like associating colour schemes with different senses, like how it should taste and smell, or even person or character that epitomizes that colour and vice versa.
I paint in a ‘colouring in’ manner, which alludes to the use of texta. My reason for this is because it acts as an extension to the line and these simple gestures can be really expressive and even appear to move when repeated so.
This view illustrates a shared garden on the west side of the site, which is overlooked by the private gardens owned by the larger rooftop townhouses. The shared external corridors of the apartments are seen in the background, enclosed by a playful facade of vertical bamboo screens.
The perspective illustrates a widened area of the shared corridor. The walkway is lined with vertical bamboo screens which can be moved across and overlayed creating a variety of different patterns and playful shadows.
The perspective illustrates a view into the carved volume. The playful landscape is contoured into the site creating a variety of green spaces for pedestrians to inhabit. An upper level garden is seen in the background with a delicate bamboo facade as a backdrop.
The perspective demonstrates one of the three vertical public spaces, located at the main entry points, which are enclosed in a delicate net structure.
Where do The Children Play?
Exploring a High Density Suburban Dream
In the past few decades there has been a startling decline in the health and wellbeing of children in Australia. Is the suburban dream, we have been chasing for so long, causing harm to our children?
This project explores the possibilities of the new sites, currently being cleared for high density redevelopment, within suburban Activity Centres. The chosen site, located in Dandenong, was carved from the inside forming a series of interlinked public and private gardens. The built fabric becomes a protective barrier, creating safe green spaces that connect residents with the community and provide a rich and interweaved fabric for families with children.
In this series of landscape photographs, I use a base archive to create “new landscapes” I want to take something that already exists and recreate it into something layered and complex and combine two landscape images by weaving them to arrive at a new image.
I am trying to step away from the clichéd ‘pretty’ landscape images we see in calendars and coffee table books. The process of creating a new landscape by weaving two images together, transforms the landscape into something new, more modern and dynamic.
By taking the ‘old’ processes of film, I am also transforming them to comply with the current digital era. By scanning the negatives in and printing digitally, this hybrid; when produced into a weaved image, comments on this shift in technology as the squares replicate pixels but not the grainy facade of a standard film print.
Please feel free to contact Rebecca at larosar@hotmail.com or on 0403 576 821
The typical superblock's relationship with its surrounding site presents a physical distance and lack of direct engagement.
The density of the superblock can be displaced horizontally and configured to the specific site. Doing so creates a larger built footprint however with community engagement strategies and program the unbuilt part of the site becomes much more vibrant and inclusive vs. the smaller built footprint and largely disused example of the superblock.
Apartments are arranged in a split duplex interlocking system which allow for extra access to sunlight and ventilation, multiple orientations of windows and also a heightened sense of experiencing the designed landscape.
The building volume is split, maximising acces to sunlight in all rooms of each apartment. The central garden becomes a private backyard, an ideal retained form the detached model.
The plan includes a mix of 1-3BR apartments, and a mix of community related program.
Gardens & Community
Densified Living on the Peninsula
When considering the need to densify parts of Greater Melbourne, particularly within Principle Activity Centres, how can we integrate denser development into a low density city? Frankston is one such Principle Activity Centre requiring housing developments that consider its natural assets and complements this rather than introducing maximum density apartment blocks which visually impose on their surrounds.
This proposal reconciles the existing trends within the area and integrates a medium density housing scheme into its site, enhancing community links. The apartments themselves are experienced with an interplay between the built and the natural.
Panimo is a series of different planter boxes designed for young children. It encourages children to eat healthier by growing their own food in a most environmental friendly way. Panimo is made of organic materials from earth and after it completes its product lifespan, it biodegrades itself and goes back to the earth. The user can choose from any of the three designs by the shape, colour or the size depending on certain type of plants.
For fun and more practical planting and growing experience for children, the design has included shapes of herbivore animals. Panimo has diverse choices for children, with three different animal designs to appeal to both genders - girls and boys.
All materials are from the earth. Once it completes product lifespan, it biodegrades and go back to the earth. Materials for coloured parts are finely ground bamboo mixed with vegetable oil based resin. For planter box, soil, manure, pea straws mixed with diluted earth clay water.
The Panimo has provided a new method for young children to eat healthier whilst providing a fun and educational experience. Also it provides a positive effect for children’s development in this overly industrialized environment. Panimo is also environmentally friendly and healthy for children by being both upcycled and biodegradable.
Jessie Lee has been awarded "Best Critical Justification" in Industrial Design at the 2013 MADA Now exhibition.
The Scent Dispensary
The Scent Dispensary is a new entry for the Queen Victoria Market that addresses the need for a curated experience into the market. The project repurposes an existing auxiliary service lane for a spice market and mezzanine public space. Surfaces are conditioned through colour and texture, along with an ephemeral smoke intervention, with the intention of providing a different market experience than is presently onsite and realising an atmospheric threshold between the city and the market. The ambition of this project is further realised in tall chimneys that distribute the scent of roasted coffee and spices over Melbourne.
Papetier, a domestic paper maker encourages recycling behaviour through the use of a device that turns paper waste into unique objects with emotional value. Not only does the Papetier allow users to make paper in their own home with ease as a fun activity, but also creates a self-involved recycling process, as it takes objects that would otherwise be discarded as rubbish and makes them into useable paper based products. Papetier presents the user with an alternative that is stylish yet practical, technical yet celebrating traditional methods of paper making, and above all, embraces and acts in harmony with the needs of modern consumers.
A book design using the life story of my Nana, Mary Livesey. The design maintains traditional elements of typesetting with a contemporary touch to imagery and its layout. The book is section sewn with small insert pages added throughout.
A newsprint publication designed in response to The Australian Women’s Weekly magazines of the 1960s. Imagery and text were extracted from the original magazines and arranged to paint a picture of the role of women in the 1960s.
j.liveseydesign@gmail.com
www.jessicalivesey.com
Jessica Livesey has been awarded the "mag nation Folio Production Award" in Visual Communication at the 2013 MADA Now exhibition.
This annual report includes reports, financials and information for a non-for-profit and sustainable contemporary craft company, Melbourne Workroom. Keeping in mind of the company’s environmental awareness and sustainable practices, I have created my report using only recycled stock and materials.
During the construction of my annual report, I employed a number of techniques to reflect the company’s focus on handmade craft and design. I used a lazer cutter to add depth and detail in some of my pages as well as applying a traditional Japanese bookbinding method to bind my final product.
This brief required me to design an identity for a product, company or business of my choice, comprising of a stationary set and additional components that reflect the brand/product. I decided to focus on a skincare range, tailored towards both men and women that design an array of skin, hair and body care. Through my design, I aim to reflect the brands commitment to using natural, plant based ingredients. The final product consists of business cards, letterhead, with compliments card, envelope and labels for the bottles. The stock used is 100% recycled.
The invisible communication, space and energy between you and an environment.
Often, these messages tell you something you may have forgotten, in many ways reminding you of your intrinsic self. Often, on a vast scale, they remind you of how big the universe is, and how small you are. Often these images help to put things into perspective, or simply keep you wondering.
It’s often easy to lose sight of what matters. Not meaning to speak for all, we often get so caught up in our lives, our jobs our anxieties, our expectations, that we are at a loss for meaning. The metaphysical ambiguity, you could say, in the universe, in space, in objects, in nature and in people can be overwhelming. When you let go and immerse yourself in the present you feel that as incomprehensible and vast as it all seems, you’re content with not knowing all the answers.
There is an importance in the imagination and the dialogue of story telling worth nourishing. The imagination of illustrators, children’s book authors… Specifically the works of Shaun Tan and Dr Seuss. Where the mysterious world unknown is almost as important as our reality. I once saw Shaun Tan speak. He spoke about the reason people use animals a lot in children’s books. They’re humble, honest, naïve, communicate instinctively… he said. Non- burdened by the ambiguity of human thought.
My work is nostalgic, and metaphoric. It is a physical representation of the inner consciousness, and memories past. The concept of memory, how it can change, and evolve almost with a life of it's own, turning wild, unkept and hiding the clarity that the original held once before was my starting point. Images reflecting a sense of nostalgia, memory, youth and loss were of great interest to me, I find them emotionally loaded, and evocative. My work is a film, of moving pictures, telling a story, but not completely spelling it out. I would love these images to ask the viewer to piece them together, to make the connections, and recognise the similarities. They depict the inner-self, and the contrast. The contrast between subtle and harsh, good and evil, natural and unnatural. There is a strong focus on the face, and hands, as I find them the most evocative and compelling elements of the human form to work with, as well as a taste of mythic metaphor. My installation, combining film, and draped sheets to create a cinematic experience which moves with a breeze, as memories are ever moving and changing. I love the idea of this movement, and I find it really beautiful. I feel it is pensive, and accentuates this idea of the inner thought.
A communication between the mind and body, pain can be a fast reminder of the present moment we are in, plus the power and responsibility we have over our present state of being.
These works are an exploration into bodily awareness through the experience of pain. The pursuit of visualising and understanding our body, Discomfort’s Reminder and Embodied Sensation communicate the occurrence of pain and our ability to endure the sensation whether it’s in the forefront of our awareness or not.
Special thanks to Dennis Lucardi, (www.dennislucardi.com), for the sound to Embodied Sensation.
www.cassandralucas.com
cass@cassandralucas.com
+61 408 450 637
Who am I? My East and West Identity
My art work is based on my identity as a member of a Western society. I have created works, comparing my life in Australia with my holidays in China. Ah Xian has been my companion helping me create a relationship between my life experiences of two cultures.
touch me [DO NOT]
Human touch is a fundamental element of human communication, so why has “touch” now become a problem? My work explores a child’s need for human touch within an era that is obsessively paranoid about paedophilia. What does the future hold? If children are not touched, will they be able to touch anyone at all? Should we fear the damage done by hands or the damage done by the absence of hands?
graphic design, print design, typography
Our second Electronic Design assignment is to create an 8-page booklet with a limited edition feel. It follows on from our previous assignment of print magazine design so I continued with the theme of Japan.
The 2011 Tōhoku earthquake and tsunami was one of the most devastating natural disasters to occur in history. Japan's geographic location made it a hotspot for earthquakes, so the exploration of earthquakes, its measurements and its impacts became the subject of this booklet.
I made custom illustrations and infographics using a layered approach to evoke a sense of seismic activity. Earthly paper stocks along with a rubber band (which can be used to simulate shaking) was chosen to further reinforce the theme.
Paper Stock: Oatmeal Speckletone, Antique Gold from The Paper Mill.
digital art, editorial design, print design
Our first Electronic Design assignment is print magazine design. Drawing upon my love of Japanese animation and culture, I decided to make a niche subculture magazine about everything Japanese, for the English design-minded community.
Each bilingual issue is typeset in both English and Japanese, and is packed with essays about Japan, anything Japanese in the entertainment industry and a dedicated section on learning Japanese.
animation, branding, motion graphics
Set in an abstract world based on nature and inspired by digital elements such as lights and optic fibers, this short animated film is my interpretation of the journeys that we took with the support of our teachers and peers. There were times of success, and there were times when things didn't go as planned but with determination we try again. We're almost at the end of our journey, yet this is only a prelude to what the future holds, be it starting a career or pursuing further education.
animation, motion graphics
A tribute to my favourite movie of all time. Artwork painted in Adobe Photoshop, animation done in Adobe After Effects. Additional visual effects done with Red Giant Magic Bullet and Trapcode suites.
art direction, branding, UI/UX
This group assignment was an educational interactive exploring the constellations and their mythologies. I was responsible for project planning, branding, copywriting, art direction, GUI design and programming. I also designed the puzzles at the end of the educational interactive.
I'm a third year Multimedia & Digital Arts student at Monash University, looking to start a career in motion graphics or communication design. I'm excited by advances in technology and the opportunities that new media offer. I constantly challenge myself to experiment with new ways of creative expression and as a result my portfolio of work is eclectic and diverse.
A building at the site begins life as the office for an archaeological excavation, and post excavation is transformed into the new cemetery’s chapel.
Almost one hundred years ago, The Old Melbourne Cemetery was itself entombed under the asphalt of an expanding Queen Victoria Market.
By reflecting upon - and then expanding on – the recurring act of digging and excavation that has permeated the site’s history, this project examines the role of cemeteries as vital cultural, historical and spiritual public spaces.
Throughout the history of the site, remains of those interred at the cemetery have been disturbed by infrastructural and building additions. An excavated incision becomes a new memorial to those people. Through this incision, historical layers of the site and the city can be experienced.
Typecasting
This Project addresses the way in which Interior Architecture can inform and heighten urban space and in doing so engage and connect users in a shared cultural or spiritual experience. Historically, religion has been a place for people to gather, worship and come together as a community to share beliefs and rituals.
This project aims to provide an experience evocative of past religious practices, exploring rituals of water as a consistent metaphor for religious customs and celebrations in the creation of an environment to restore this sense of community. This site, on extension of the Victoria Dock pier in the heart of Docklands, provides context for this architectural ribbon- a continuous form wrapping and leading visitors through this contemporary public space devoid of any specific religious symbolism but evocative in memory and detail. Through the journey of this space a person can experience the translation of civic buildings into an inclusive urban public space.
Under the fulcrum of entropy the yellow boxes create a tiered landscape of seating and raised garden beds.
The public baths proposition act as a social catalyst for the general population as well as offering hygiene facilities for the homeless.
The Stoop Zone
As said by Mike Davis “In a world of functioning capitalism, the homeless and vagabonds are a redundant population” emphasizing the inequality both monetarily and socially. The Stoop Zone studies the need to restore a social equilibrium within society by providing a public space for the homeless community and removing social stigmatisms. Located at the Queen Victoria Market the site is comprised of a series of programs including: sleeping units, public bath house, laundromat and community gardens. The Stoop Zone aims to dignify as opposed to alleviate homelessness while proposing a new way for interior architecture to interpret social equality within society.
April Matera’s work evokes the playfulness of a child. During her studies at Monash she has explored numerous media; from conventional forms like photography and film, to unconventional forms like dolls, grass, play dough and papier mâché. In each case April’s work aims to suggest the dreams and imagination we all once had. She reminds us that it is okay to hold onto some aspects of our childhood. And invites others to step back for a moment and reminisce about those days, to rediscover the colourful world around us and appreciate the simple things in life.
The Hack Workshop provided an array of various pieces from car fuses and wooden dowels to pen and paper with the aim for participants to create and put on display whatever they pleased during 2013 MADA Now. Contributions varied across literal and abstract sculptural pieces, to personal and amusing notes. Documentation of the pieces can be found at do.meni.co/hack-workshop/
A website created to solve the problem of finding a printer. Printer Linker which can be found at printer.lc allows you to track down printers and other service providers useful to the communication design student such as binders, laser cutters and material suppliers.
A two dimensional representation of the Wedge Street Bridge in Werribee, Victoria, Australia. The design seeks to engage with the prominent colour and patterns found on the bridge as well as its form and function in relation to the landscape.
An identity design created as part of the Murrumbeena Exchange, a faculty wide project in conjunction with the local community to bring creativity back into the centre of Murrumbeena life.
A collection of neglected typography. The Neglected specimen book brings to light the possibility of lost revenue by opting for neglect instead of even a cheap quick fix, and also looks at the deliberately neglected, as well as amusing ironies.
A typeface created as part of the identity design for Mathematical Rhymes, an exhibition exploring generative art and delving into the aestethics of code and the visual and aural effects of computer data.
I'm a multi-disciplinarian graphic designer with no fear of the third dimension or the digitised second dimension. Any excuse to get my hands dirty, to learn something new or to share gives me great joy.
Domenico Mazza has been awarded the "Perimeter Books Social Engagement Award" in Visual Communication at the 2013 MADA Now exhibition.
Floating Pods
A combination of Ecoline inks, Gold leaf, Gum Arabic and paper have been employed to create this installation piece. Taking place is a school of floating pods, moving through the air, and being controlled by the character, Frederique’s mind.
Interested in story telling, Rose has moved away from mediums she has previously used such as Copic markers, and heavily focused on the combination of ink and Gold leaf. In addition, she has experimented with the relationship between the artwork and the space, which has created this installation piece where the paintings are dependent on their surroundings.
Francis is a slab serifed font designed especially for small sized text. It has an athletic feel that has been transformed into something more suited to reading.
This poster was based on the idea that once someone says, “don’t fuck this up!” or “no pressure”, the amount of pressure you then feel is heightened immensely.
The maze only has one correct path, so it’s important not to fuck it up!
The identity design for the Museum of Recycled Objects required a number of pieces that all had as little environmental impact as possible.
As a response I used riso printing for all paper work, as it uses less ink, on recycled stock. And also incorporated the letterhead and envelope as one. I created a stamp for the business card so that you can recycle whatever piece of waste there is around the user. Lastly, for the brochure, I decided to create an app, so they could minimise on extra printing wastage, and so the visitors could get a more in-depth experience without the need for a tour guide.
This poster was made to give a new form to Ludwig Wittgenstein’s famous philosophical piece that attempts to identify the relationship between language and reality and to define the limits of science. His writing holds a very structured form so I wanted to create something that complemented his attention to detail and thought process. The Poster contains over 20,000 words.
joshmc-design.com
joshmc.design@gmail.com
0433328763
Joshua McCormack has been awarded the "mag nation Folio Production Award" in Visual Communication at the 2013 MADA Now exhibition.
www.dylanmcdonough.com.au
hello@dylanmcdonough.com.au
Dylan McDonough has been awarded the "Designwyse Most Outstanding Third Year Folio" in Visual Communication at the 2013 MADA Now exhibition.
Intersection Housing
This project addresses the social isolation that can result from the lack of communal space and homogeneity in the superblock typology. Adopting prefabricated construction techniques common to the superblock typology, the project demonstrates new possibilities for modular housing that maximises spatial variation and facilitates neighbourly engagement. Eight different modules are pushed, pulled and interlocked to explore spatial diversity and opportunities for shared space. The idea of privacy is challenged, exploring a scale from the most secluded human activities, to most public. This is a contemporary model of communal housing, shifting value to the shared, and exploring relationships between old and new.
The television screen is a device I use that deploys a wide range of images and information. The information relayed by a television is ephemeral and always in a state of flux as it is pure visual information that is continuously being redacted and replaced - this information is never transparent nor is it permanent. The source material for my paintings are harvested from analogue televisions displaying images which are degraded by static or low-resolution; the low-resolution quality that is a key result of the analogue TV image disrupts vision and destroys clarity. Drained colour resolutions, shifting light intensity and various contrasts and reflections can result in a vast array of on-screen abstractions, which often go against their original behavioural purposes. By choosing to transform these scenes into paintings I attempt to grant the images a form of clarity and illumination by using painting as the mediator to breach the quagmire between the confusion of static and the clarity of the painted image.
Many things in life are ephemeral, experiences only last for a moment but they can linger in our thoughts. The work which I have endeavoured to create is fleeting in nature but will hopefully remain in your memory.
This work is an exploration into the materiality of clay. Analysing the way in which clay constantly shifts in form as it moves from a dense malleable state into something light and delicate.
As the seasons and nature are in constant flux so is the state of this installation. Whenever a new person ventures through the space their mark is made and the space changes for the next viewer who enters.
Sound Visualisation developed in Processing using particles to map onto patterns. Base particle system adapted from “Sparticle_0_3_5” ( www.openprocessing.org/sketch/4867 ). The song: Stand Your Ground; This Is Ancient Land by Enter Shikari.
Digital Portrait using Processing, VVVV and Microsoft Kinect were the user is tracked and a skeleton is shown instead of the users body. When the user walks closer to the Kinect Sensor, it begins to show inner organs.
Illustration drawn in Photoshop. This was an exploration of typography as an illustration. I chose to use the word “EARTH” and build up the text through the environment. The style of the image was to replicate fantasy maps used in video games and fantasy novels.
Data Visualisation developed in VVVV about the impact of Video Game Violence.
Educational App developed in Adobe Flash CS5. This particular app focused on Japanese History and Culture for the content.
Experimental animation developed in VVVV. Focused on cultures through architectural elements. Animation repeats and breaks down images into fragments.
I enjoy being able to develop artwork through both code and design. I studied Bachelor of Multimedia and Digital Arts majoring in Multimedia. Throughout final year at university we have been focused on designing using VVVV and Processing. Folio available to look at here: www.myfolio.com/PaganMetcalf
The Showcase
The Showcase offers an alternative to the trouble and expense of designing new shop fittings and purchasing second hand fittings around Melbourne. It is an economical, efficient and eco-friendly solution to meet all basic requirements for setting up a fashion store.
The Showcase is compact, portable and can be easily moved and set up by two adults. The design offers a fitting system that includes a table, bench and three clothes racks to allow the display of a large range of clothes. The main frame of the showcase converts into a fitting room to provide customers privacy wherever the location may be.
The unit itself is plain to allow users to apply posters, decorations and other advertising that they see fit to promote their products and brands. The diversity of the Showcase allows it to be customized to suit and promote any brand. Since the materials chosen are durable, the contents can be used as part of a permanent set up such as a boutique store.
The final product delivers an effective, mobile solution for retailers or any starting businesses to set up in a location of their choice at a relatively low cost. The interest associated with pop up shops will allow business owners an opportunity to capitalize on sales, promotion of their brand, products and the collection of valuable customer information.
Casey’s work is focused around issues of identity, specifically the psychological effect of the reflected image in the formation of identity and the role of mirroring in this effect. Her work explores the varying ways individuals interact with self-reflections and the mirror as an object. The work seeks to produce a space between a person and the mirror as a mediated space; one that is influenced by our self-image or psychological condition and reflected in the way we interact physically with mirrored surfaces and objects. The mediation of psychological and physical space, activated by mirrored or reflective surfaces, is linked to understandings of identity formation. If we are able to ask ourselves what is influencing how we mediate that space and identify the factors which impact on the understanding of our own image, we may come to better understand ourselves.
The dance studio cantilevering above the space below can be used for dance practice of be part of a performance.
The theatre as seen from the mezzanine level which also provides access to the administration office and dance studio.
The third level viewing platform provides a different vantage point to the rest of the activity space.
Reception and coffee kiosk on the foyer of the theatre which is also links the street outside and the theatre.
Section through the space showing the adaptive insertion juxtaposed against the old building fabric.
Populace
Populace explores how interior architecture can be used to create a community environment that offers integration opportunities for different ethnic groups. It achieves this by creating a hybrid activity space that affords different ethnicities a chance to celebrate their culture, while simultaneously learning and engaging other cultures. The site is The Old Grand Theatre on Paisley Street in Footscray in Melbourne’s West, and the focus is on the community of Footscray. It achieves this aim by integrating various performative programs as well as folding the street into the interior of the former theatre.
Edward.hipolyte@gmail.com
www.linkedin.com/pub/edward-l-mushi/4a/b75/aa3
A little book of original children’s tales for both adults and children to enjoy. This book has been designed in 16 page segments, with text size and paper colour alternating, alluding to colourful and fantastical children’s books.
Identity and stationery for a cocktail bar. The identity is focused around the shape of a black onyx stone. Included in the set are basic stationery designs — including letterhead, business card and envelope — as well as coasters and male and female bathroom signs.
“The Ghetto was like a city... you could not go out or in. You could not hide.”
This project is about my grandfather’s sister, Hanna, who lived in Poland during WWII. I wrote up an interview in which she spoke about her experiences, and then created typographic posters out of the quotes I found most powerful. The barbed wire references the fences which entrapped them.
“We came to California and I stayed with my brother for two or three weeks...We built a family, and thanks God. I have a home. We have business.”
This project is about my grandfather’s sister, Hanna, who lived in Poland during WWII. I wrote up an interview in which she spoke about her experiences, and then created typographic posters out of the quotes I found most powerful. I wanted to show the simple and raw beauty of this statement through my letterforms.
I have chosen to reinterpret the connotations associated with a hammer, recreating it as a feminine object, covered in lace and gold.
I have used images from old fashion magazines, such as Vogue, and collaged them to create unique artworks.
The journey begins with series of habitable steps, which house commemorative pocketed space and cleansing golden taps.
One leads to the necropolis and one leads to the next part of Orpheus’ journey. A wall of light illuminates to breathe life to both sides of the passageway during night time.
Moveable stools and raised platforms reform the boundary of the cemetery, creating a new journey that is indifferent, yet bearing a semblance to Orpheus’.
Orpheus’ Odyssey: Inhabiting the Threshold between the City and the Cemetery
The death of Eurydice brought Orpheus to descend into the underworld in the hope of her return. This project, Orpheus’ Odyssey: Inhabiting the Threshold between the City and the Cemetery, investigates the potential of a third space that lies between the two conditions of the Melbourne General Cemetery, and the immediate inner urban context that surrounds it. This project inhabits an edge that is thickened and then populated by a series of scenarios that augment the existing urban condition, and bear witness to the shared formalities of the cemetery. One foot either side, this project realises Orpheus’s first step, straddling the city of the living and Melbourne’s necropolis.
Dendy Ng has been awarded the "Artichoke Prize for Excellence in Design Communication" in Interior Architecture at the 2013 MADA Now exhibition.
From a walking distance, a clear casted resin structure reminds of the historical kiosk pavilion that was once destroyed, celebrating the Victorian architecture.
Little penguins are gracefully swimming above visitors showing off their capacity to fly in water. When looking up, swimming predators cannot see their white belly against the light.
The sunrise view from observatory rooftop embraces the wide expanse of the ocean whilst below, the little penguin’s dark blue back blends into the sea camouflaging from flying predators.
Rise and shine! It’s time to see little penguins leaving their nest swimming out to the sea. Behind there are hungry chicks waiting for their parents to return.
An immersive habitat where it gives penguin the choice to swimming under the void to be with humans Perfect for our favourite mascot penguin who loves to show off his pose!
Research volunteers saved these poor little penguins got caught in oil spill caused by increase of shipping. They need to be scrubbed nice and clean to prevent from toxic chemicals. You can also help us make knitted sweaters to protect these cute penguins!
The New Lubetkin
The New Lubetkin explores the coexistence between humans and penguins focused on contributing to a new vision of the ‘Unzoo Model’. The Penguin Discovery Centre introduces a unique experience that brings together educational and research programs adjacent to the little penguins’ natural habitat at St Kilda Pier. Miyazaki’s Ponyo influenced the project vision in a fantasy-learning environment where it curates visitors experience into the penguin’s ‘hunting routine’ primarily targeting young children. My design proposal explores a Rachael Whiteread inspired view of the interior where the habitat experiences of humans and penguins are exchanged.
Please visit online portfolio:
www.inveesible.com
inveesible.tumblr.com
Vi Thi Hong Nguyen has been awarded the "Corporate Culture Prize for Outstanding Final Project" in Interior Architecture at the 2013 MADA Now exhibition.
Mixed media installation comprising of select works Mirror, Seats, DickTree (c. 2001), Untitled (Qantas table), and COUNTRY STRUM
Dimensions variable
Mixed media installation comprising of select works Mirror, Seats, DickTree (c. 2001), Untitled (Qantas table), and COUNTRY STRUM
Dimensions variable
I am a 23 year old painting and secondary education student from Melbourne. Interested in all things playful and childish, I am to create easy and fun works that anyone can enjoy and experience happiness from. I am forever searching for beautiful, bright new materials to paint with. My hope is to continue this practise throughout the following year of my education course and beyond.
Acrow props, PVC, rope, leather
HD video, 2min 5sec
The Weight of Nobody is a performative work which seeks to draw upon the body in conjunction with architecture of the gallery to question dominant power systems. Using suspension and the weight of the body as means of resistance, and testing – both metaphorically and physically - I seek to engage in a dialog surrounding subjugation power structures.
The material residue of the performance, a sculptural apparatus, hangs sinisterly a trace of potential use; a bag sized to fit a human body, it is unclear how and why the apparatus has being used. A small screen duct-taped to the wall in the corner reveals moments of tension within the performance.
Art expresses Vivian’s memories, dream and political view about her hometown.
Memories of witnessing her hometown Hong Kong was handed back to her ancestor China from the British’s hand with hope and anxiety. Reality of seeing how political change evokes tension and restless emotions and experience damaging effect of the decline in democracy. Dreaming about the moment when a city with sorrow back to square one. Red is the core element of her works, it intended to trigger the emotion of sadness, anger and frustration and representation of relationship, which referenced from the Asian myth ‘’Red string of fate’’.
I have chosen to set “Plant Pattern” as my ‘museum of…’ project.
The project required me to create an envelope, a letterhead, a business card, as well as an additional item, which I have chosen to do a poster on.
The logo on the business card is designed to dye-cut, in order to show the flower pattern that is inside the business card. The envelope was made out of transparent paper with a way of folding so it seals itself without glue or sticker.
I am a recent graduate of Monash University with a bachelor degree on visual communication. My ethnicity is half Japanese half Chinese. I use the influence I have received from those two cultures into my designs, using the international way of communicating.
Display of 8 men's and women's screenprinted t-shirts on metal clothes hangers, dimensions variable.
Looking at the idea of the collector, I have used the subject matter of the tiger (something I have a personal collection of) to investigate the numerous representations of the tiger both historically and in contemporary and pop culture. From this investigation I have produced multiple series of works that have become collections of their own. These series focus on various images of tigers but not necessarily all taken from my personal collection, so as to hopefully reveal the obsessiveness of the collector without direct reference to an entire specific collection. Wildness, the essence of what the tiger stands for, has been my main focus when editing and selecting images to use for these series.
A musical motion graphics sequence based on the song Zydrate Anatomy from the film Repo! The Genetic Opera. Inspiration was taken from the film's use of propaganda posters, and technical diagrams and illustrations in old popular mechanics magazines.
This ident shows the diverse range of works produced by our class throughout our course. Everything is interconnected, conveying the collaborative potential of multimedia and digital art. The paper fortune teller pulling the viewer into a world of paper cutouts shows our futures and the many paths we may take.
An illustration of the phrase "skeletons in the closet". The custom typography conveys the literal phrase, while the character's expression shows the anxiety caused by hiding past secrets, the meaning of the phrase.
A storybook style illustration based on the quote by Isaac Newton "If I have seen a little further, it is by standing on the shoulders of giants." relating to scientific inquiry and building on what has come before to achieve new innovations and discoveries.
Corsets are portrayed in media as excessively restrictive, but when properly fitted they can be quite comfortable. Unfortunately this character hasn't had a proper fitting.
While I specialise in illustration I also have a huge interest in comics and animation. I'm passionate about cartoons, especially those aimed at young audiences, and am inspired by the work of Rebecca Sugar, Lauren Faust, Genndy Tartakovsky and many others. I aspire work in the animation industry, be it in concept art, storyboarding or animation.
My work can be found here:
vimeo.com/bparow
bethparow.tumblr.com
www.behance.net/bparow
Ground level of the silos, serves as an education of the site and its heritage through its existing conditions and plaster cast information desk.
The Archive of Place, circulating up a spiral ramp, framed views of the landscape are exhibited at varying scales.
The Archive of Object, displays curated items relating to the industrial history of Moreland in niches cast from rolls of textile material.
The Archive of Sound, users are invited to record their own personal recollections of the area in the “huts”. The huts are formed on housing typologies from the adjacent streets.
The Archive of Image, based on the floor plan of a model home from 1950s, Images, both donated and curated images will be displayed on the exposed lath and plaster.
The lookout, being final and the highest point in the silos, aims to instil a sense of ownership and awareness in the users.
Sub- Zoned, The Archive
Sub- Zoned investigates the relationship between a changing urban fabric and the way it is perceived. Sub- Zoned looks at how a particular “Suburbia” is formed, sustained and populated in an urban context. The City of Moreland is comprised of suburbs mixed with pockets of industrial zones, creating a dynamic landscape of blurred boundaries between these areas. The now redundant industrial zones serve as prime real estate for residential development, posing as a threat to Moreland’s industrial heritage. Sited in unused plaster silos, Sub- Zoned, The Archive aims to instil a sense of ownership and awareness in the user of this changing landscape. The communal act of archiving industrial history and the sites high vantage points aim to turn the locals into custodians of this shifting urban land.
Sequestered Journey
Bodily functions of the internal carry a residue of history and memory: A recent investigation into the microscopic has led to a path to discover a subtle range of possibilities within this aspect of the human form. The journeys that occur within each of us seem hidden under the surface. Through form, structure and fluidity I attempt to evoke the paths of the internal. Progression into the cropping and magnifying of images, has led into a kind of abstraction. Oil-based paints in relation to subjectivity induces a feeling rather than simply illustrating actual anatomy.
My paintings raise questions and thought process in regards to the viewer’s own body.
Born and raised in the UK; I am a multidisciplinary designer and developer based in Melbourne, Australia. My passion is creating thought provoking, beautiful work and communicating through typography. I strive to push myself and my design practice; to continue growing, learning and contributing to the community.
By exploring our cultural heritage we were asked to recreate a looping animation that was inspired from this subject and related to our personal nationality. As I am of Chinese background, I chose to explore the five elements that hold dear to my culture and my personal up bringing.
This project looks at ways of incorporating information and design together to create an interactive info graphic of our choice. I chose to do the ‘Mini’ and explored the differences between the old and the new by researching their history and technicality.
For this project we explored ways of interacting with the beat and the volume of music. We were asked to create a looping animation that related to the theme of our chosen song. I chose ‘Radioactive’ by Imagine Dragons because I wanted something with a strong beat.
My name is Sylvia Pho and I am about to graduate with a Diploma in Multimedia and Digital Arts. Other than design I also have an interest for learning the basics of code, which I have experienced in programs such as Processing and VVVV. When I am not doing work on the computer I like to free hand draw and sketch, which I have grown accustom to at a very young age.
If you’d like to know more about my work or would like to contact me then feel free to email me at Spho92@gmail.com
Spectrum Learning Centre
Fuelled by Rudolf Steiner’s study of liberation from traditional architecture and education, Spectrum Learning Centre is a project that explores the use of interior architecture as a healing medium for children with autism spectrum disorder. It transforms an existing office facility located in Carlton into a learning environment, taking these children through a series of therapeutic yet whimsical enterprises. This proposal embodies a gradient of spatial cues, combined with unusual material application that is tailored to produce sensorial stimulus, engaging the body in all five senses. With a strong emphasis on the freedom to explore and play, this project will see that amusement is a more effective cure to autism in children.
This is a book design, the content is a chapter of Stephen King’s horror novel Pet Sematary.
My practice is driven by an interest in the phenomena of light, shadow and reflection. The works are intended to create a discourse that challenges subjective understandings of light and surroundings. Using documentation as a tool to note the variations of light in space and how it intervenes with the objects inside it, I create a play between the real object and it’s reconstruction within an image. Blurring the line between the real and the manipulated, the images create an uncanny experience of space that encourages a double-take on the objects and spaces depicted.
Role Models is a video installation engaging with cosplayers and their practices, seeking to reflect on the power relations that unravel in their fanatic mimicry. Cosplay is a pop cultural activity that involves the performance of characters from media franchises including anime, videogames and comics. For Role Models, the artist interviewed two male cosplayers enacting personas that evoke hyperbolic gender stereotypes. This footage became the departure point for an animation and light boxes that delve into the complex dynamics of mirroring and projection that take place within cosplay.
Diego Ramirez (Mexico, 1989) is an artist working primarily with video, drawing and animation. His work is driven by an interest in identity and the body. In 2013 his work was exhibited in a solo show at Seventh Gallery (Aus) and featured at the Redlands Konica Minolta Art Prize (Aus), The Substation Art Prize (Aus), WRO 15th Media Art Biennale (Poland), Channels Video Art Festival (Aus) and Currents Santa Fe International New Media Festival (New Mx, USA).
The chronology of program delivery in the Docklands urban redevelopment scheme is questioned and a new method proposed for providing community facilities and infrastructures.
An existing warehouse and car park within the new Fishermans Bend precinct of Montague are identified as being ideal to adapt and reuse, with a view to providing vital community facilities to initial residents in the early stages of the urban renewal project.
The existing warehouse and car park are altered and edited to include a maternal and child health centre, childcare, a youth centre, indoor fitness spaces, learning facilities, community meeting spaces, a library, a health and medical clinic, a small public auditorium, spaces for creative industries, and a contemporary art gallery.
As the context develops and population grows over time, these short-term facilities are no longer adequate. After their incubation, they are extracted from the warehouse and relocated into larger, permanent structures in the immediate surrounds. The car park has been flexibly designed to hold program such as the new library.
The resultant empty warehouse is left to perform a role as an important public open space in a transformed urban environment. The remaining creative hub ensures existing creative industries of the area are protected and retained throughout the process. Public transport improvements see the car park assume a new role.
An immediate and standard palette of materials ensures the strategy is pragmatic; the eventual deterioration of these acts as a catalyst for the construction of more permanent structures when the population grows.
The courtyard space is established as circulation and forecourt, continuing to serve this role after major urban redevelopment.
Growing Pains
Growing Pains critiques the disconnect between rapid population growth and sluggish provision of community facilities in urban redevelopment schemes.
Taking lessons from the Docklands, a warehouse and car park in the new Fishermans Bend precinct are respectfully transformed into incubators for small community infrastructures using readily-available materials with limited lifespans.
As the context develops and population grows, these infrastructures shift and respond, eventually being entirely relocated into purpose-built structures in the immediate surrounds. The resultant empty warehouse is left to perform a vital role as an important public open space in a transformed urban environment.
The Suburban Field: An Integral Interface
Broadmeadows
This project seeks to address how public domain of the suburbs can engage the community at the threshold of the shopping centre while addressing sustainability and economic viability through a programmatic and administrative hybrid. It focuses on permaculture practices alongside retail and community program, encouraging the community to engage, providing members of the community with income and also greater skills. Contemporary Australian public domain should be integral and reflect the soul of people- welcoming, related to surrounding context and landscape, efficient and practical- as well as diverse. This new suburban field proposes a broadening of the dialogue between architecture and landscape, a blurring of thresholds, the culmination of people, ideas and skills.
Throughout the space there are crocheted tunnels which lead each visitor to a different area.
This is the central meeting point of the space for children and guardians to sit back, relax and enjoy.
A race track is incorporated for children to ride specifically designed bikes that are used for therapy.
Play + Grow
Play + Grow is a rehabilitation center for children with cerebral palsy and other neurological disabilities. The center explores ways in which the developmental stages and special needs of patients can be catered for as well as diagnosed prior to in-office specialist consultations. A giant playground was designed for the home-like architecture of the Stokehouse, St Kilda. The use of tunnels, learning through play areas, and other active environments combined with an interactive App, makes a visit to Play + Grow an engaging and fun experience for patients and carers, while simultaneously enabling specialists to witness and identify patient needs.
Transit
We are in transit.
Increasingly, life is spent between places.
Transitory infrastructures are emerging as the new activity centres of our communities, yet the fleeting experience of these spaces prevents organic social life.
How can these places of transience play a greater role in the public domain, beyond their purely utilitarian functions?
How can the ephemeral qualities of these spaces be embraced to harness the potential of these significant public spaces?
In an environment ruled by speed and efficiency that typically caters to the collective, how can a new public architecture embed itself in the individual lives and memory of its inhabitants as much as its physical context in order to create an integrated place of social significance?
'Destruction of Syntax, Imagination Without Strings, Words-In-Freedom' —F.T. Marinetti.
8 page A3 booklet / A0 poster.
An authentic bar & grill serving only the best cuts of beef and finest wines.
Branding and identity package. Letterhead, with compliments, business cards, menu and in house wine bottle.
The technology giant, Bitcom's 2013 Annual Report including financials, data, reports and infographics.
A4 saddle stitched booklet.
0423 340 335
iamandrew.com.au
andrew@iamandrew.com.au
Fountain Gate Civic Precinct
The fountain gate civic precinct is an extension of a super regional shopping centre in an area where the mall acts as the central hub. The new precinct capitalizes on the shopping centre’s existing pedestrian circulation to reactivate overlooked civic facilities in the region and provide the community with alternative forms of public space.
The site houses a new flexible learning centre, multipurpose halls, civic offices, meeting rooms, and a central gallery with adjoining studios. The precinct aims to provide the community with a platform for informal learning and recreation in order to promote education and professional development in the area.
I really like to illustrate. I usually don’t stick to one medium for so long, jumping from digital, pencils, paint and back to digital again. One thing I do know though is I always like to try adding a humorous approach to each piece. All in all I love image making of all sorts but still very much in an experimental stage.
The first floor acts as a terrain for body-space interaction to occur. The movement of bright tentacles upon interaction emphasises an understanding of cause and effect along with body-space relationships.
Defined recluse spaces. Hollow timber pods create vibration upon interaction; fine tuning the ability to feel reverberance.
sensing the unseen
Vision possesses 80% of ones ability to interact and understand the surrounding world. It can be understood that: when a child suffers form a disability such as a visual impairment, the manner in which they learn and develop is compromised and/or delayed. sensing the unseen explores body-space relationships in questioning how interior space may positively effect the development of visually impaired children. A highly sensory and interactive interior provides multiple opportunities for children to develop and acquire the skills for day to day living with a visual impairment.
Polly Schofield has been awarded the "Stylecraft Prize for Outstanding Final Project" in Interior Architecture at the 2013 MADA Now exhibition.
packaging design
Four simple self contained units incased by a larger sleeve to hold them together. This promotes proportioned eating as well as being easy to place into a lunch box without being broken.
digital design
A new customizable user interface designed to make your phone feel more you. With focus on keeping the desktop clean and clear so you can enjoy your background images the personal tiles* and quick tiles* located on the side make navigation and usability effortless.
publication design
The standard annual report is often a little boring and too serious. I wanted to create and design an annual report that doesn’t have a stale empty aura to it. I wanted to create something that was well designed, easy to read and memorable.
publication design
Extraordinary Adventures wants to show the younger generation the values of travel and how it is the greatest educational tool around. The sophisticated design and tactile feel of this publication although aimed at the younger generation, will also be loved by any demographic.
Dan Scully Jr is based in Melbourne and is in his final year at Monash studying a Bachelor of Communication Design. Dans most important things in life is his family and friends. Dan is an avid traveler and with over 30 countries and countless cities so far, he believe these experiences has given me a vast perspective in how he look and understand the world around him. This gives his ideas and work depth while his years as rower and rowing coach has given him discipline and maturity. Dan’s goal is to be working aboard within the next 5 years.
0419 138 068
danscullyjr@gmail.com
Fiffy is a Business & Visual Arts degree student majoring in Marketing & Photography. She has a passion for photographs that enable viewers to both understand and question their motives and underlying meanings. Her most successful work is captured through cropped visuals that allow her to highlight certain aspects to the audience.
Through her lens she has explored issues dealing with isolation within the urban environment through several avenues and mediums. There is a fascination with its vast architecture, dilapidated buildings, or simply the interaction between people; especially subjects that are close in physical proximity yet appear worlds apart. It was imperative that these works were a culmination of years of experimentation, trialing and the result of art that both inspire herself and her viewers.
The external south‐east perspective illustrates the polygonal structure which extends from the interior to exterior site of Furness Park.
Adapting the Fibonacci sequence as a means of partitioning allowed for the formation of various remedial support spaces; from smaller individual to open group areas.
The progressive spatial arrangement is defined by a living library partition, containing seeds, seedlings and plants, as well as the necessary tools for one of two community activities; the crafting of seed‐bombs.
Translucent film is applied to interior glazing, providing increased levels of privacy and diffused lighting qualities within the tessellated partition.
The pavilion provides moments for remedial sessions to occur. The centre point accommodates individual sessions, the subsequent for group, and the largest, for social gatherings.
The entire process of seed growth is able to be explored from interior to exterior, continually exposing root structures of each living organism.
Seedling
The Seedling examines the needs of domestic violence victims within the remedial system. It aims to redress social disconnection that occurs in the remedial process, due to isolating effects of victims’ and families’ relocation by support services.
Comprising of transitional and remedial qualities, a 1915 open‐air pavilion classroom is re‐ installed in the original public bushland setting of Furness Park, Blackburn.
The polygonal design models victims’ remedial process by drawing on concepts of ecopsychology, biophilia and feminism. Through programs and spatial gestures, the seedling provides individual, group and social spaces of support; integrating victims into their new community and facilitating new growth.
POSTA – Seat Transfer Assist
POSTA is a device that assists wheelchair users to board and disembark a commercial aircraft. Made from a gas-assist injection molded frame, it uses a guide rail system to transfer the passenger onto their seat. Once seated, the POSTA can be disassembled and stowed onboard.
Park Plaza
In pressures of increased density, how can current car parks be re-appropriated to coexist as vital public spaces? Acknowledging that the need for car parks isn’t going away in the near future,the project investigates a form of positive coexistence between people and cars in order to creating a new public space. To create this new hybrid, 5 key strategies have been explored:
- Improving site linkage
- Reclamation of on street car parking at key entrance points
- Expansion of edge activities and programs
- Insertion of pockets of new programs
- Improving the threshold to underground car park
Through smaller strategic movements rather than a complete renewal, the car park is permanently transformed into a new public space for the people.
(Seed) Library
The traditional functional role of the public library in contemporary Australian society is currently being challenged by the increasing digitisation of it's services and collections. This project investigates how the public library could reassert itself as a valuable and responsive, rather than reactive, public institution. It looks at how a library could adapt it's functions in proactive ways that encourage wider community engagement and strengthen ideas relating to place and local identity.
(Seed) Library aims to explore this notion on a strategic level as a replicable model over three sites across Melbourne’s suburbs. The (Seed) Library brings together the rethinking of the library as a proactive public facility, provides a reinterpretation of its catalogue and opens the conversation for its subsequent potential to address broader issues relating to providing further education and involvement in sustainable food production and land revegetation practices.
This is a title sequence animation aimed at exploring the illogical movement of the “ball”. I’ve also intended to explore is dynamic typography since it has become such an important part in the design of motion graphics.
Music: Moments by Giraffage.
Software: Illustrator CS6 and After Effects CS6.
The brief is to create a 45 to 60-second ident for my graduate exhibition, and the theme is "play". To explore this theme, I have my character as a dynamic diamond who plays in “his” very own space.
Music: Garden by Totally Enormous Extinct Dinosaurs.
Software: Cinema 4D and After Effects CS6.
This is a short video clip exploring anything that splits the frame during my trip in Italy back in June/July.
Music: Mylo Xyloto by Coldplay.
Software: Final Cut Pro 7 and After Effects CS6.
This is a promotional video of our faculty in Mandarin that I made in April. In the clip my classmate Anne talks about her life in MADA. This video has helped MADA to promote its fantastic course in China.
Music: Determination by Craig Hall.
Software: Final Cut Pro 7, Adobe Audition and After Effects CS6.
This is a documentary about Ben Keen, who is a Melbourne street artist. In this group assignment, we explored his interesting stories and thoughts about Melbourne’s street art. My roles were editor and camera operator.
Music: Soaring High.
Software: Final Cut Pro 7.
Multimedia and Digital Arts 2013 graduate.
Interested in graphic design, motion graphic and video production.
For more information please visit:
www.nic-song.com
International Society of Type Designers (ISTD) Student Awards submission.
A series of posters that celebrate the quirky uses people have discovered for everyday foods.
…I, um, so I went to the change room and I noticed that there was a pile of clothes and there was a jacket with his last name printed on the back so it must have been, like, from his football club. (gasp) There he is! (long pause) Um, what was I saying? So I made sure no one was around and I picked the jacket up. And I noticed that there was a hair that was hanging off it. Um, I don’t really remember all of the details but I do remember taking the hair and keeping it somewhere safe, maybe wrapped up in a piece of paper, and then I got home and ah, taped it to the inside of my diary. (laughs) That kangaroo…what was its name? Something stupid like “hoppy” or something. I can’t believe he still has it! I, ah, still have the diary with the hair taped inside. I keep it in my cupboard. (laughs)
Lucy Stirling works primarily in the photographic medium. When she got her first analogue camera at age 7, her love of photography was sparked. She experiments with a wide range of techniques but she’s currently interested in night photography and manipulating the natural world through the camera lens. You can find her work at: lucylocketart.wordpress.com
Inspired by the gamelan shadow puppets of Indonesia, this poster is designed to reflect the uncertain difference between the land of waking (light) and the land of magic and dreaming (dark) that Shakespeare’s characters are caught in.
To me, home cannot be defined as just one place – it is an ever-changing connection of people, settings, stories, and memories. This collection of letters encapsulates some of the many stories I call home.
A dust jacket inspired by the Grimms’ Snow White, in which a woman longs for a child with hair black as ebony, skin white as snow, and lips red as the rose upon which she pricks her finger, causing three drops of blood to fall to the snow at her feet.
Writing is important to me as a hobby, a means of catharsis, and as a part of my English Literature major. To showcase the written component of my degree I created this self-illustrated anthology of short fiction and poetry.
Fairytales of today are sweet and innocent fables with happy endings; fairytales of yesteryear were dark, gruesome and often ended in death. These posters and their deliberately crude titles are designed to demonstrate how fairytales have been censored since their coarse beginnings hundreds of years ago.
nadinestory.net
nadinestory13@gmail.com
0420 407 784
My practice engages in the relationships and associations between non-objective painting and external forces. These external forces take the form of found objects and utilitarian tools, as well as actions applied to the paintings that force them into a material state of flux. Performative aspects of my practice focus on an analysis of the materiality of painting and an exploration into the ritualistic processes involved in making paintings. Altering the painting’s surface serves to situate my paintings as something in flux, shifting between material states.
illustration
A fresh, modern look at a classic monster that depicts a cyclops as a decadent party girl, done with the limitations of having only three colours - pink, white and orange.
illustration
After being given two random words the goofiest, wackiest giraffe was created. Bright and colourful this piece aims to put a smile on any viewers face.
illustration
This piece was created in order to provide a fashion illustration that was not just a pretty woman on a runway. In this case it is the tattoos that make the woman fashionable.
animation
After being given the theme "Play" a short 2D animation was created that shows a puppet play between an alien and astronaut. The dates given were purely speculative.
animation
A storybook style animation that tells the story of two young princesses and their efforts to fight off the invading barbarian horde in order to save their father.
Monica is a young artist from South Africa, currently living in Melbourne. Her art is often bright, colourful and most definitely quirky.
Enlighten Space
Enlighten Space is a hybrid mental healthcare facility that aims to improve an individual’s spirituality and well being. The project integrates within the future development of Docklands in Melbourne to create a community healthcare space and in addition providing facilities accessible to the public. The proposed interventions to the existing structure of Shed 4 performs a multi-functional role blurring the threshold between interior and exterior. It houses therapeutic spaces for individuals and groups dispersed throughout the space. A series of butterfly enclosures are proposed abstractly referencing ‘The Butterfly Effect'.
Enlighten Space aims to reflect a hopeful environment to support those in a difficult place.
Overview of space; illustrates the contrast between artificial and natural tissue storage, the private medicinal/research spaces, as well as key circulatory pathways.
Contrast between the artificial storage and the open research facilities.
Apprised and Reprised
Apprised and Reprised aims to demystify the taboos associated with human tissue transplantation and donation within Australia. Visitors explore the proposed Tissue Bank through the amplification of practices and processes, encouraging a new perception on this issue to be formed. Located on Albert Park Lake, due to its relationship with the upcoming 2014 Transplant Games, the bank forms connections between the natural and the artificial; life and death, as well as both civic and small scales. Tissue donation is currently overshadowed by that of solid organ donation within both Australia, and with the current supply not meeting the demand, this proposal is as much a necessity as it is a requirement for our future.
installation, transfer print and found material
flowers, watercolour and eucalyptus oil on wallpaper, cotton material, varying dimensions
My artistic practice denotes a preoccupation with space, colour, repetition and pattern. My process involves drying organic forms, and using painting and printing techniques to create intricate patterns. The process mirrors the unique quality of each print, and the wallpaper functions as documentation of my process.
I follow a curatorial approach in consideration of the format of my installations, my choice of materials, and creating a relationship between the handmade and the readymade. This format translates forms of the natural environment to the architectural specificity of a space, and contrasts the decorative and feminine qualities of interiors with masculine qualities of structure and architecture.
An identity design which includes information cards, letterhead, business card, an envelope made from sandwich bags, a custom designed stamp and a poster built from sesame and poppy seeds.
An image taken from my annual report design for the Dairy Industry 2011-12. Please check my website for more images.
Here is one card taken from a set of five gift cards. They include description cards, envelopes and stickers. They are inspired by Italian architecture after studying in Prato.
steel, clay, rocks, beeswax, vaseline, dimensions variable
Embedded consists of three fabricated versions of a workshop modelling stand, each supporting a clay bed encasing a rock collected from the Great Sandy Desert in Western Australia. The starting point for Embedded is the sculptural process of casting, as a means to understand the object and define the edge of its form. By exploring the boundaries of what the work is, the ‘subjectile’ (Derrida’s notion of the subject and object together) becomes the work itself. The stands support a process and are themselves a repetition of another form, one of function and sculptural process. Fresh wet clay cradles the inert mineral rocks, magnifying their fleshy materiality. The red pigments within the rock bleed onto the clay during a process of entropic decay, as the water is replenished and evaporates. What remains is a cracked memory of the transient moment.
Working primarily in sculpture, my practice also incorporates drawing, print and video. I am interested in scientific experimental methodology and material integrity. These approaches inform a continuing exploration of materials and processes that operate within a poststructuralist theoretical framework. Drawing upon Jacques Derrida, I examine the physical world through his notion of the frame, investigating the means by which we classify and differentiate the artwork from everything else. This is tied to the performative gesture in order to foreground the processes and materiality of making. I am also engaged with language and the way it also frames meaning; I begin with a word which I analyse in order to derive its deeper meaning. Through this process the work emerges, and a title is resolved. My work reflects my continuing concerns with the body, process, architectural and biological structures, emerging through the techniques of casting and construction.
found objects, concrete, metal, clay, dimensions variable
synthetic fur, wood, plastic, amber, glass, bones, thread, human hair, dimensions variable
It seems like in this universe there is a secret dialogue happening between the zoetic and the inanimate, a language of unconscious imitation, emulation, replication, repetition, interpretation, reinterpretation, integration.
Green platforms act as furniture for exterior space. They encourage occupants to interact with one another via spatial and social engagement.
Exterior space are treated as interior, creating an environment that encourage inhabitants to engage via shared spaces and direct viewing between apartment.
OPEN HOUSE is a student housing that uses standardize module. As a response toward mass-production, this project occupies the former building of Carlton Brewery, which is also the product of mass-production.
OPEN HOUSE :
Standardize module. Personalization. Diversity. Interaction.
While mass-produced housing offers efficiency, the downside is that it results in monotony and impersonality. Consequently, consumers are now shifting towards personalization, where diversity is embraced and consumer needs fulfilled. OPEN HOUSE is a student housing project that uses a standardized module that allows occupants to modify and personalize units to suit their needs. Using existing structure of former factory of Carlton Brewery, its location is suitable to accommodate surrounding University like Melbourne University and RMIT.
Recognizing that within mass standardized dwellings occupants can become isolated and do not interact socially with their neighbors, it prompted the creation of an environment that encourages occupants to engage with one another via shared spaces and direct viewing connections between apartments. Performative activity is thus encouraged via spatial and social engagement.
The studio is outlined as a space for creating work, to spend time and through this time possibilities for translation and creation. These installations attempt to investigate this formative process of artwork generation. To reveal a space usually hidden, the in-between, the unseen, a space you cannot fully understand. Utilising what is at hand, an accumulation of materials, scraps of code, corrupted information, time and experiences that are passed through the processes of the studio to create possibilities for artworks. These spaces attempt to highlight the transience of meaning and the limits of the explanation of the artwork. To enjoy not understanding, to let the translation, corrupted data and materials form new translations, new meaning, new associations.
felt-tip pen, acrylic, collage, polymer clay and coloured pencil on watercolour paper
fineliner, watercolour pencil, coloured pencil, felt-tip pen, watercolour, acrylic, gouache, collage, coloured pen on paper, February 2013
I am passionate about examining colour and pattern, and have done this through working with different materials such as felt-tip pen, acrylic paint, watercolour, gouache, collage and fineliner on paper, and more recently, working with found natural materials and thread, fabric and clay. I have become quite interested in appropriating and performing interventions on found natural materials such as rocks, branches and logs, attempting to “paint” on these natural sculptures with wool, thread and other man-made materials such as polymer clay and porcelain. I am currently trying to create new worlds through installation, tying in found and made sculptural elements and projecting my own images onto large scale drawings. I have developed a strong interest in introducing craft materials into to a fine-art context.
CONTROLLING YOUR ALLERGIES was inspired through presenting complex information in an accessible way. The aim was to take the currently dense nutritional information from McDonalds and design a set of communication pieces to help people control their allergies. A mobile app, in store poster and ad shell were created.
STAY FRESH was a promotional poster to turn a mundane, everyday object into something contemporary and exciting. By playing with words and applying some creative photography, STAY FRESH was born.
STARVING IN SILENCE was a campaign solely created to highlight and inform the public about a largely unknown problem in Australian society, hunger. Working with information and statistics through Food Bank Australia, I was able to convey these statistics and facts though a series of advertisement's created specifically for different environments.
Matthew’s direction in the creative industry is based largely on his passion for smart and clever communication. Matthew will be doing everything in his power to secure an Art Directing position post completion of his studies. During his final year, Matthew has been interning three days a week in an assistant Art Directing position whilst also undertaking the Ignition Program run by the Melbourne Advertising & Design Club.
Matthew Toebelmann has been awarded the "Monash Advertising Design Award" in Visual Communication at the 2013 MADA Now exhibition.
A typographic poster displaying different sporting rituals, and photographs displaying its use as wrapping paper.
The Great Divide
The Western division of nature and culture, in which humankind are privileged over and above the “natural” environment, is iterated across all cultural practices from colonial landscape painting to contemporary tourism. Steph Tout unsettles this foundational conception with a dual approach – through single-point perspective ‘scenic lookout’ photographs, shot through a warped lens, and by inviting viewers to stand within cylindrical 6-point pinhole montages, to experience Australian lands intimately, in detail and on a human scale. Together, these works propose a way of seeing and being in place that interrogates and challenges the cultural propensity toward passive viewers who remain separate from place, looking out at distant vistas from a fixed point.
Utilising the Between:
The Dispersed Library
Tarneit West
What is the (expanded) threshold in developing suburbs?
What engages (infiltrates) present and future development?
What is today’s public (dispersed) library?
No longer is the library solely a destination for information, but a place for exchange, creativity and innovation.
Utilising the between is a proposal to interact and engage with the development of a new suburb, Tarneit West, along Melbourne’s urban growth boundary. Through a series of interventions across the suburb, the public threshold is expanded by actively breaking into, infiltrating and parasitically attaching to the suburb’s proposed and existing “public” program. Re-defining the role and form of the contemporary public library.
What started off as creating illusions with hands has turned into a sexual expression with the use of colour. The paintings are a surreal sexual representation of the female body that integrate colour and show movement. The body is always growing and moving and the artworks celebrate the female body. I want to further amplify the suggestiveness of ever-growing movement, as like we grow, nature grows. The paintings too have no end as the symmetry and close-ended shapes appear to reflect an ongoing motion.
Shorai
3D Printed Generative Drums
Shorai 3d printed drums are a world’s first example of fully functional and playable 3D printed snare drums. Three different designs are presented showing off examples of conceptual generative modelling and mathematically derived features.
Each design affords its own unique sound, feel, texture and overall look, yet they share a similar underlying structure of specially designed acoustic chambers to increase sonic performance.
See them at the MADA Exhibition and go hands on, make music and experience the new and unique sounds in person.
Man’s presence in the environment is a key focus throughout my artwork. I am drawn to explore the world’s increasing globalization by observing and documenting a range of different landscapes such as industrial areas, suburban streets, farmlands and natural bushlands. I like to deconstruct these sites that often go unnoticed by many, discovering fascinating ranges of colours, overwhelming structures and even simplicity and stillness in both the man made structures and the natural environments.
One recently completed piece, titled (忘记 – Wangji) is suggestive in reminding viewers of the location of the majority of produced objects (China), in addition to provoking thought about the many forgotten items of the past, as Wangji means forget in Chinese. Underlying environmental concerns are also evident due to the nature of the subjects, as waste continues to increase on a daily basis.
In another video work, the Greek title Metanoia; meaning the journey of changing one’s mind, heart, self or way of life combine with the subject’s thoughts about others, I wish for viewers to realise their influences upon others and the environment.
‘it is not the eye which sees… but the body as a receptive totality’ Maurice Merleau-Ponty
Aural salvos remind us that ‘space is listened for, in fact, as much as seen’ Henri Lefebvre
Williamstown Beach: An Inclusive Experience
Open to all and free of charge, the beach could be seen as the epitome of public domain in Australian culture. However for the one in five Australians who have a disability, the beach holds many challenges.
In this project, Williamstown Beach has been chosen as a site to explore the relationship between the environment and bodies of all abilities. By celebrating the uniqueness and diversity of the human body, the project explores how the built environment might be designed to address and alleviate both physical and attitudinal barriers which lead to people with disabilities having sub-standard outcomes on most indicators of community participation and wellbeing.
The project questions how the consideration of disabilities can be used as a lens to generate multisensory environments which positively enhance the public realm for all, and in doing so create not only accessible spaces, but equalising places where identity is understood well beyond the superficial or prejudiced.
Common Ground
Common Ground aims to create a new housing typology through the opportunistic development of median strips. Two different street types – one with carparking, and the other with a nature strip – have been used as case studies for the project. By activating the dormant and underutilized streetscapes within North Melbourne, this project capitalizes on the opportunity to increase density within the suburb without expanding or removing areas of the existing urban fabric.
The main objective of the Common Ground is to respond to the social isolation caused by the typical Melbourne superblock, through the integration of social and affordable housing at a scale more appropriate to the Australian context.
New Skin
Melbourne’s 1960’s high-rise commission towers stand in the place of the Melbourne’s former slums. These monolithic buildings represent everything that the slum removal projects aimed to repress yet very little of what they aimed to create. Rather than starting from scratch at a master planning level, and repeating the same mistakes, this project interacts with these towers at a domestic scale. The proposal is a new inhabitable and adaptable facade which is designed to attach to existing conditions with little structural intervention. This New Skin reveals the diversity of the occupants and the richness of their domestic interiors which have remained hidden by the original impenetrable walls of the towers. The project brings the untold stories of the residents to the surface, supplanting the image of the totalising superblock with one of self expression of the individual.
In my work I explored the way I see my emotions and tried to paint how they would look if they were visual. Each painting is made with oils on 450 x 300 x 3 mm boards. I took varying approaches in translating the emotions into colours and shapes and brushstrokes, but what they all have in common is that they are subjective; they are my emotions. More of my artwork can be found at my blog: ruckle.tumblr.com
My work develops through a blurring of installation and painting practice, interested specifically in developing interiors, environments and intimate places. I aim to explore the varying facets of the psychology of interior spaces and how we engage with architecture and objects in day to day life. Concept is a fundamental element of my work, the minimalist aesthetic of my work provides a vessel for ideologies to be communicated and developed within the viewer’s engagement in these manufactured interior sets, the works are based on standardization, utopic simplicity, creating for everything, designed for no one. Crucially the notion of the overt artist’s signature has been muted in my recent installations, this allowing the potential for the works to become a blank canvas that allow viewers to project their own experiences on to the manufactured environments
