Final Assembly Catalogue
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Transcript of Final Assembly Catalogue
IntroductionProgram Director, Malte Wagenfeld
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Welcome to ‘Final Assembly’, the 2010 RMIT Industrial Design graduate exhibition.
The work seen here is the outcome of the graduating 4th year student’s 1 year long major project. Each year of graduating students has its own particular fl avour as individuals address and respond to ever-changing local and global challenges, shifts in society, culture and technology. Each year students are presented with new ideas, approaches and opportunities.
RMIT Industrial Design prides itself in having a strong learner focus, allowing students to develop their own path through their 4 years of study. At the beginning of 2010 the approximately 55 fi nal year students were presented with the choice of joining 1 of 5 diversely themed studios where they could carve and shape their own trajectory towards a unique career in industrial design. The
5 themes refl ected what we identifi ed as critical paths in contemporary industrial design and harnessed the expertise of the various lecturers.
It is important to note that each student project was set by the student in response to the theme of their chosen studio and that sometimes the most diffi cult task was identifying and clarifying this project before any design work happened. So perhaps not seen here are the many twists and turns, frustrations, sweat, hard work and long nights the students went through as they analysed, rethought and sometimes even restarted their project. This all worked towards the goal of students graduating as confi dent, informed and engaged professionals who have a strong ability for independent thought, analysis and decision making; and a lust for lifelong learning.
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Our graduating students step into a rapidly changing world and Industrial Design will play a crucial role in shaping his world. Within this context graduates need to not only be equipped to deal with this constant change, but more importantly to proactively respond and embrace it, and identify opportunities as they arise. With this in mind the learning in these fi nal 2 semesters was focused towards students developing an ever greater level of self directed learning and ability for independent analysis and decision making.
Many of the projects you see here will have a life beyond this exhibition and graduation. Some will be entered into design competitions, some will be further developed and commercialised and some will travel to Milan to be exhibited at the Salone Satellite at the International Furniture Fair as part of Professor Kjell Grant and Gyungju Chyon’s Melbourne Movement.
We congratulate all our graduates on their achievements and wish them the very best for a bright and exciting future, and look forward to seeing them develop as professional designers and the contributions they make to the local and global community.
Malte Wagenfeld,
Program Director, Industrial Design
RMIT School of Architecture and Design
IntroductionStudent, Christopher ‘Ruzkin’ Hayes-Kossmann
I’d always expected that, by the time I graduated with my Bachelor of Industrial Design, I’d be almost swollen with new skills and ideas. There’d be nothing I couldn’t build, no problem I couldn’t manufacture a solution for. I, along with my fellow students, would be the collective Alpha and Omega of modern design.
It was both right and wrong. While RMIT has given me a fantastic skillset, as well as the confi dence and know-how required to take my ideas to the world stage, it also taught me that this degree and this exhibition are only the beginning of something much larger and more complex than I anticipated.
This is already obvious to me just by looking around at the diversity of the pieces here at Final Assembly. There is so much talent and accumulated wisdom on display - from cutting-edge furniture design to hard-core electronic
wizardry, speculative methods of future transportation and revolutionary systems of prosthetics manufacture - that I can’t help but feel a little awed by how my fellow students had taken the same degree and stretched it in so many different directions with such wild results.
Even with ten extra years, I couldn’t learn all the things I want to learn, to experiment with all the different materials that have grabbed my attention, to meet all the designers I admire. I’m standing on the threshold of graduation and all I want to do is scream - let me come back! One more year, to take another studio and diversify my knowledge that little bit more. One more year, to pick the brains of the talented designers who are our lecturers. One more year, to play and make mistakes without fear of admonition.
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No time for that now. We may be students standing at the fi nishing line, but we’re also qualifi ed designers on the cusp of our careers.
We began our studies with only the simplest understanding of what we’d undertake in the coming years. To many of us, industrial design was a skill that followed a checklist. Sketch, sketch, sketch again, render, build in CAD, prototype, celebrate. It took four years for us to learn industrial design is not a single skill but an amalgamation of many skills, some of which could take a lifetime to master.
It took four years to fi nd a defi nition for what drives me.
Industrial design can be art, but it must be art of such clarity and precision that its intention is clear and without ambiguity, accessible to
engineers and laypersons alike. Industrial design can be sculpture, but it must be sculpture that communicates as much purpose as metaphor. It can cherry-pick inspiration from music and dreams, light and sound, the texture of an old oak table, the shiver of perspiration trailing down the side of a wine glass. It’s as complex as all the manufacturing industries, prototyping technologies, and consumer whims combined, and understanding that is possibly the most important part of our education.
Industrial design can’t be learned in four years, or ten, or fi fty. It may be a discipline but it’s also an ongoing process through which we can understand the world, and how we can make a little bit better, a little bit easier. It’s a daunting proposition, but I think we’re up to the task.
We are, after all, the future of design.
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Beyond Tomorrow was set to examine the changing and challenging role of designers today and in the future. Through developing innovative ideas into furniture, objects and lighting, students continuously considered mental and physical well-being, social and environmental ethics, and innovative ways of applying technology. The designs had to offer original and unique experiences to people. Students explored the process of production and commercialisation of their design proposals based on research, knowing that the outcomes were to serve them as a springboard for the start of working life outside of the school. Students were expected to fi nd and establish their own ways of working, and to integrate design into life, both locally and globally. They engaged with manufacturers for production of their projects and produced appropriate documentation for production.
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Ivan Adhiteja
SHIMA is a modular coffee table designed to fi t small living spaces. It functions as “emergency” seating equipment which can be used occasionally depending on its users’ needs.
It is constructed from layers of fl at pack stools; each layer can be easily disassembled and folded into a seat. The folding method is inspired by how juice boxes are manufactured.
The furniture piece is made using EchoPanel, as the texture of the material gives a warm feeling to its user, and it is strong enough to compose the stool structure. In addition, by the end of the product’s life, the whole furniture piece can be easily recycled as it is made out of PET plastic.
SHIMAPROJECT NAME :
CONTACT:[email protected]
0449 065 543
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Sharifah Suaad Shadzwa Alhadad
Sharifah’s Major Project investigated the existing public furniture at the university campus and identifi ed a problem; the current furniture is rectangular in shape and fi xed to the ground. A study of sitting positions shows that when a group of two or more people sit together, they would have to sit on an angle to face each other to interact; the current seating does not enable social interaction to happen comfortably.
The project addresses this problem. Thus, the proposal aimed to design furniture that has fl exible seating in terms of allowing users to set many different sitting confi gurations to suit the needs of space and position. The outcome is the Inchworm Bench; a fun, playful, modular seating piece which is constructed of units that are connected to each other using a pivot system. This mechanism allows the seating to expand and contract, and allows each unit to be rotated to form a vast variety of seating confi gurations desired by the user. The bench suits both indoor public spaces, such as shopping malls, convention centers, galleries or offi ce lounges, and outdoor contexts like parks, playgrounds or university campuses. Ideally the bench is to be fabricated from rotational-molded plastic; however the prototype is made out of PVC pressure pipes and fi ttings to represent the form of the concept.
INCHWORM BENCH
PROJECT NAME :
CONTACT:
+60378 474 008
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Tsz Man Chan
Sworm is a stool that forms volume through lines. The design process was developed under the inspiration of the behaviour laws of bird swarming. The contrast between a bird and a group of birds showed that ‘unity is strength’.
As Jasmine would like to use the minimum amount of material possible, she found a new structure and a new form of construction, by making scale mock-ups. They both use primary geometryas a starting point; a literal transformation of a 2-dimension material into 3-dimensional form. Followed by some strength tests, Sworm was formed by a circular repetition of a single element to form an hourglass-like stool. There was no need to include materials like carbon fi bre to mix with the resin used, because it would result in the stool being over-engineered; Sworm’s structural form was enough. By exploring different ways of weaving and wrapping, Jasmine has created Sworm, the extremely light weight but strong stool.
SWORM STOOL
PROJECT NAME :
CONTACT:
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Wanyi Gong
From art-inspired Ming Dynasty chairs to an exclusive functional contemporary design piece, Wanyi incorporated a new platform of expressing ‘contemporary classic’ which included material replacement, modern ergonomic studies, stackable storage and shipping, redesign of non-nail joint and seat-back carving.
As a Chinese designer, Wanyi has a strong devotion and sense of belonging towards the Ming Chair. She aims to fi nd a modern way to convey Chinese virtues in her designs with important values such as family bonds, views on fortune, and appreciation of nature. The distinctive and unique shape of the Ming Chair allows her to bring creation into play without undermining the classic. The design blurs the line between classics and modern art, and at the same time, highlights the essence of both the antique Chinese and modern industrial cultures without confl ict.
Wanyi’s Ming chair has been given a modern makeover by replacing the structural material from expensive hard wood to metal tubes, transforming the traditional chair (reserved for people of power, strength and status in China) into a more functional and approachable piece of furniture.
THE CONTEMPORARY MIING
PROJECT NAME :
CONTACT:
0432 635 022
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The Contemporary Mingby Wanyi Gong
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Lee Kwok Wai
People spend a lot of time working at their desk. As a result. it is common to have health problems, such as a sore back, which may be caused by incorrect height of seat. Shoulder pain is another symptom of bad keyboard positioning. Vision problems are among the worst of these kinds of complaints, and are usually caused by bad lighting. This project focuses on preventing vision problems while working at a desk.
A high quality lamp is needed for people working for long hours at their desk.
ZAMP is a sustainable desk lamp. LED lighting is more energy effi cient, compared with traditional light sources. The body of the lamp is made of recyclable material.
The look of ZAMP is like the simple Z form. The Z shape is adjustable. It can easily be adjusted to different heights by the user, and it folds into a fl at form to reduce size. It is convenient to transport, store and pack . Also it is made from a minimal amount of materials to achieve high economic value.
ZAMP LED DESK LAMP
PROJECT NAME :
CONTACT:
eddykw.wordpress.com
0411 231 870
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Fraser Munro and Jordan Robertson
Fraser Munro and Jordan Robertson have transformed their long fascination with the rawness of concrete into a construction marvel!Their journey has seen them challenging the behaviour and performance of a wide variety of concrete mixes, to develop an understanding of their capabilities and performance. Once a sound understanding of these materials was obtained they moved on to creating a fl exible concrete composite, ‘Confl ex’.
Being lighter, having greater crack resistance, fl exing capabilities and far greater strength than common concrete, Confl ex is ideal for use in earthquake affected areas, marine applications, civil engineering, defence and small-scale construction.
Fraser and Jordan specifi cally designed a polyurethane reinforcing bar particularly suited for use in Confl ex. The reinforcing bar offers additional strength for larger jobs and is less susceptible to corrosion than common steel reinforcement. Upon graduation, Fraser and Jordan hope to have Confl ex accepted into the market and used diversely around the world by engineers, designers and builders.
CONFLEXPROJECT NAME :
CONTACT:[email protected]
baldhorse.com
0411 165 983
180415 380 558
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Patrick O’Connell
What has resulted from Patrick’s exploration is a hybrid form, a merging of three ideas, in a way that each seprate entity is still identifi able, but now as a part of something much bigger.
Living as one of fi ve in surburban sharehouse accommodation, Patrick conducted initial primary research on the way the household interacted with an archetypal stool. He observed that the stools pop up in the most bizarre of places and circumstances. He was taken aback by the raw creativity applied at times (by himself, and the housemates) towards the furniture object to cater for their individual living needs.
Using these observations, Patrick aimed his project at designing a stool in a way that caters not only for the very identifi able function of sitting, but also the additional functions that occur to the user unconsciously (using the stool as a step ladder to gain a higher reach, and hanging clothes on it to dry). He combined these ideas to create a form that gives the common object a higher understood value to the observer.
HI-STOOLPROJECT NAME :
CONTACT:
0438 259 316
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Elsa Poon
O’My Spice is a piece of kitchenware. It is a container designed specifi cally for dried spices and herbs. It is designed for hobby chefs and all domestic kitchen users. In a domestic kitchen, people usually store many different kinds of spices and herbs. They usually store them inside the cupboard or using a spices and herbs rack. The common problem of traditional spices and herbs storage is, people do not have quick access to their collection. If they want to fi nd one specifi c herb out of their collection, it takes time, and they have to take out everything inside the cupboard to fi nd the specifi c one. This process is time consuming and is not convenient for users.
O’My Spice aims to resolve this problem. An interlocking system has been developed. The user can interlock as many O’My Spice units as needed.
O’MY SPICEPROJECT NAME :
CONTACT:[email protected]
0412 563 989
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Ngo Yik Poon
This project searches for beauty within a cheap unwanted material – plastic shopping bags. Plastic bags are thrown away without thought. This project looks for better options for this cheap plastic material. Plastic bags, often made of polyethylene, are not environmentally friendly because this material is derived from natural gas. They often end up in landfi lls or in the oceans and this creates a signifi cant environmental issue, as polyethylene is not biodegradable. It takes several centuries until plastic bags are effi ciently degraded.
This project aims to take the plastic bag material from consumerism to the design world. The material is borrowed from one typical purpose and applied to another, unusual purpose. This is an attempt to create an unexpected material and to search for a new solution, to transform a source of waste into an innovative design material. This project believes that the plastic bag as a thin, soft, fl exible, translucent, and more importantly, long-lasting material has its value; it only needs undiscovered technology and craftsmanship to unfold its potential.
Plastic bags do not need to be eliminated from society completely, but we need to make sure that their place in this world conforms to ecological principles and matches the purpose for which we make them. We can use this material, which has variety in aesthetics and innovation, to make good, if we use it wisely.
ONE MINUTEPROJECT NAME :
CONTACT:[email protected]
0423 221 489
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Mitchell Rose
Birichino, Italian for mischievous. Mischievous: mis-chie-vous. Adjective.1.Showing a fondness for causing trouble in a playful way.
Much like the designer’s personality.
The Birichino Chair was designed from serendipitous inspiration, a pleated curtain detail Mitchell spotted while walking home. Mitchell imagined this curtain folding and becoming a cone in three dimensional space. The size of the folded cone provoked the thought that one could sit inside of it. The curtain pleating also instantaneously reminding Mitchell of Il Carnevale, an Italian festival learnt during Italian classes in secondary school. During these classes Mitchell was dubbed the nickname “Birichino” by the class teacher.
These two thought strands collided in the Designer’s imagination. The Birichino chair presenting itself with a strong yet playful aesthetic.
THE BIRICHINO CHAIR
PROJECT NAME :
CONTACT:[email protected]
0422 573 862
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Ellen Tanoemarga
Ellen used an unusual approach in creating her fi nal project piece of furniture. She started by creating numerous mock ups, all of which originated from full, circular paper disks, thus skipping the need for initial sketches. She poured out her ideas through paper models as it is her preferred method of developing a design. The circle is her starting point, and she intended to retain its values of simplicity, continuity and perfection; which later became her main criteria in assessing the form ideas.
Her fi nal design was derived from model #53, a simple form with only a single cut and a single fold within the disk. It still holds the integrity of a circle as well as being aesthetic and functional. Model #53, or better known as the Hod chair, is constructed from sewn pieces of saddle leather, reinforced with hidden structure. The confi guration allows the leather disk to be folded in a certain way, in order to transform it into a functioning chair. The fl at-pack ability makes transportation and delivery more effi cient. Intriguing and classy, the Hod chair adds a touch of the contemporary in modern housing and public lounges.
THE HOD CHAIR
PROJECT NAME :
CONTACT:[email protected]
0410 869 053
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Roger Wettenhall
Through keen observation of people playing the sport of golf experiencing diffi culty in storing and transporting their golf bag carts (golf buggies) to and from golf courses, and believing that golfers could benefi t from a fresh buggy design, Roger has developed an idea that essentially aims to produce an innovative golf buggy that incorporates the advantages, and improv es upon the disadvantages of existing golf buggies. Roger’s design offers the user a new experience relative to existing solutions, both in its passive and active states. This is achieved by providing a buggy that is distinctly different in terms of form and functional elements, through introducing an original storage concept that is married to a simple yet refi ned design.
Focusing on true space-saving ability when not in use and by introducing features yet to be seen on existing buggies, Roger’s resultant design improves the user’s experience of the buggy in its passive state by providing a product that is user friendly in terms of transporting and storing the buggy when not in use.
STO PROPROJECT NAME :
CONTACT:[email protected]
0408 241 459
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Mayuko Yoshida
Mayuko’s major project started with a question ‘how could she blend essences of nature into everyday life in order to remind people about the importance of nature?’ She focused on provoking feeling through physical movement. Natural phenomena, which are usually dominated by movement, was picked up as inspiration. Of the myriad natural phenomena clouds are close to our everyday life, so the idea of clouds was chosen to be explored.
This could tend to become simple such as just representing the form; however, Mayuko found the essence of cloud through experiments such as intuitive visualisations, conceptual understanding and testing with different elements. She assessed her experiments and extracted the essences of her fi ndings; elements such as semi-transparency, vulnerability, fl exibility, freedom, subtle gradation of shadow and random confi guration.
In order to represent these elements, she picked up a combination of bellows and helixes to create continuous layers and to change density with smooth movement applied to lighting design. The outcome brings people to a moment of thinking about their own creation. The form of shade can be changed freely to give a variety of patterns of illumination in everyday life.
CLOUD LIGHTING
PROJECT NAME :
CONTACT:
0430 270 480
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The focus of the ‘Experimentation’ Major Project studio was on developing an experimental design practice as a method of discovery which empowers the student to develop highly original and innovative design; the fi nal outcome need not be experimental – but it will always be innovative.
Experimenting is a verb, a doing word, and this studio is all about doing and discovery by doing. Students were actively, and in most cases physically, engaged in this process of exploration. Each student began with a proposition; a focus and an idea; however, they did not begin with a fi xed outcome in mind. This is not a re-design process where one takes an existing idea or design and improves on it, this studio focuses on discovery and breaking new ground. Through this process students develop their own design methodology and ‘philosophy’ based on a practice of asking and setting design questions and then exploring and developing them.
As a consequence, this process can invariably lead to many failures, frustrations, refl ections and realignments. These misadventures are an important part of the process; they shed light on the project topic and propel students in new directions.
The predominant theme this year in the student’s work looked at the relationship we have with objects; the role objects play in our lives and / or how such objects become intricately linked to our lived experiences and how we live our lives; not only with, but sometimes through, our objects. Students investigated themes relating to time, anxiety, spatial perception, our emotional connection with objects and object user/s interactions. The work seen here is the result of this year-long investigation and should be viewed as an exploration of a design question and not necessarily as a set of singular objects: as such, the role of the physical object/s is to serve as a manifestation of this investigation.
Joelle Boelen
Joelle seeks to oppose the established sexual taboos.
Let us glorify feminine ideology in a world where varied female form and perspectives are worshipped; a female perspective that is different to the air-brushed porno chic, the future of the feminist identity.
Joelle has materialised her vision into crafted tangible forms of high aesthetic design, and meticulous material fabrication; a form that becomes an extension of the body transcending into an erotic tool for intimate exploration and pleasure.
EROTIC DESIGN
PROJECT NAME :
CONTACT:
0400 563 553
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Sadira Campbell
For every object we interact with, we form an opinion of the experience. Even when an object performs its function, thoughtless design can leave a person feeling uneasy or unsatisfi ed. Something well-designed, on the other hand, is also successful functionally but can leave a person feeling positive about their interaction with that design and keener to use it again. Using this hypothesis as the starting point, Sadira has researched and redesigned an object that encompasses the overall positive user experience. For classical musicians, the foldable music stand is a necessary but scarcely liked accessory. There is currently little variation or innovation in the design of music stands, and this redesign aims to offer an alternative design with a focus on the tactile pleasure of unfolding and using the stand. By focussing on the user interaction, Sadira hopes that this offering will be a foldable music stand that can be treasured rather than endured.
As well as her interest in user experience and interaction, Sadira spent a semester studying at Zurich University of the Arts, Switzerland and is interested in cultural differences in design. She hopes to spend some time working overseas in the near future so that she can develop this further.
GRIP PORTABLE MUSIC STAND
PROJECT NAME :
CONTACT:
sadiracampbell.com
0418 419 542
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Georgie Cummings
Limited Life is a focus on fi lling voids that have been created through a high-tech throw-away culture of mass consumption and waste production. What has been lost or replaced by the creation of virtual existences? Are we craving the basics of human need; contact, connections and empathy, to experience with anyone, anything? Perhaps it is this culture that has led to how we see objects in our lives, as quick fi xes, fl eeting romances and emotionally inert. It is hoped that through this investigation objects subjected to these limited lives can be elevated in value as a method of reducing waste, sustaining narrative and ultimately extending an object’s life and worth.
LIMITED LIFEPROJECT NAME :
CONTACT:[email protected]
0414 564 768
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Ghill de Rozario
Ghill de Rozario’s major project Living Small aims to promote small space living as a way of reducing our carbon emissions and environmental impact on the planet.The project questions the choices we make, in Australia, regarding the ever growing size of our homes and argues that there are many benefi ts to small space living, not just environmentally but also economically and socially.The project outcome is a furniture design solution, which serves as an example of the type of furniture and products which can be bought at the concept store, Living Small.This store works as a system which aims to promote small-space living by making these environments easier and more comfortable to live in, through utilising space, increasing functionality and ease of use. All the products must be easy to carry and should fi t into a car for easy and affordable transportation, allowing the users to have a more nomadic lifestyle. They are mostly modular and can be customised to suit various living situations.
The fi nal design outcome is a modular, nomadic, coffee table which is customisable to integrate a workstation/desk and laptop storage.
LIVING SMALLPROJECT NAME :
CONTACT:
0413 539 783
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Sha Haker
Sha’s project looks into the use of a space and how a person experiences it. Each person experiences their world in their own unique way, and will have a different perception of the spaces they inhabit and/or interact with. Of course, the experience of the inhabitants is usually intended by the creation of a space (e.g. comfort, productivity, aesthetic); however the individual experience is always subjective.
Through explorations into the phenomenon of space as a system, Sha has designed a way for a user to create his/her own boundaries and the use of the space. The project outcome is a ‘divider’ that gives the user a way of defi ning the way that they want to use the space, to write its own boundaries. Each part has its own function and can be modifi ed. It can be used indoors as well as outdoors.
Space is not fi xed or linear, but a constant rearrangement of relative relationships between objects, people and ultimately, the observer.
BETWEENPROJECT NAME :
CONTACT:
0416 813 560
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Yuna Hong
The outcome plays a role as a medium, letting users create their own atmospheric experience. During daytime, it becomes an eye-catching decoration for the space.
The blown glass balls absorb natural light to cast patterns on a fl oor. During the night it transforms the light source into aesthetically pleasing visuals (the entire surface becomes a huge canvas) and completely different atmosphere compared to the daytime. Unlike the other existing form-driven lighting designs, ‘luminarie’ does not urge users to be informed what the shapes and form of the entire product is supposed to represent. By letting users physically interact with the given material (glass) and the quality of light, it allows users to change it to meet their daily needs.
‘LUMINARIE’, THE LUMINOUS SENSIBILITY
PROJECT NAME :
CONTACT:
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Ben Hurt
The discipline of design is very well versed in our connection and interpretation of things in the three dimensions of space. The fourth dimension of time is as valuable and necessary to the quality of our lives as the environment we are in, yet we rarely focus on it or experience it with the same awareness and connection. The human quality of time experience is a highly subjective, fl uid and personal phenomenon, but the dominant paradigm of ‘clock-time’, mechanical and unwavering, is where we most consciously reside. This often oppressive experience of a quantitative metering of activities increasingly drives our agendas, interactions, and lives and is at odds with the qualitative nature of time to which our life experience is most aligned.
The traditional tools of time organisation, such as diaries, calendars and clocks fail to refl ect the multi-faceted nature of time, and as a result our humanistic experiences of time are constantly clashing against them. This project suggests a different set of tools. Through their use, a different way to relate to time emerges: one that recognises the individual, and above all, respect to the self. It allows for the opportunity to claim a sense of control over time and navigate the boundary between our time, that of others, and that of the clock.
TAKE YOUR TIME
PROJECT NAME :
CONTACT:[email protected]
0423 908 994
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Thomas Llewellyn
‘The argument about imagination begins by exploring language that attempts to direct and guide bodily skill.’— Richard Sennett
Thomas’ major project is the design of the drawing board.
The object as tool.The word ‘tool’ connotes an object imbued with action and intention: the object facilitates a function. The object, the user and their relationship determine the function. This relationship involves not only how we guide the tool but also how it guides us. The drawing board is a tool, which privileges the role of the hand. The concept of a two-person drawing board is explored. This design looks at the tool’s role in guiding, not only our relationship with it but also our interpersonal relationships.A space for drawing.‘Ambiguity in visual design ultimately leads to a greater variety of functions than designs that are functionally fi xed.’ — Andrea ZittelTo infl uence our use of objects, and strengthen our relationship with objects, design must be open and inviting to us and our hands.Simple, ambiguous design allows for adaptability and encourages resourcefulness.
An instantly recognisable composition enables interactivity and potential.
DRAWING TABLE
PROJECT NAME :
CONTACT:[email protected]
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Kenji Nagai
The project ’fusion cutlery’ is about creating cutlery for fusion cuisine which is a mix of two or more culinary cultures. The ideas, function and design will contribute to the new dining experience for the users as well as inspire chefs for new dining methods instead of focusing just on presentation and fl avour of the dish.
Through this project, my aim is to create a set of cutlery which substitutes the functions of fork, spoon and knife which will also be designed for a pre-structured fusion menu. The menu will be based on the fusion of Japanese and western cuisine. Although the whole fusion culture has settled into the culinary practices around the world, which now have a wider range of variety as well as depth in terms of history, the modern culinary culture still has unlimited potential to evolve.
Kenji’s project focuses on developing new ideas and breaking the tradition of the current dining through the genre of fusion cuisine. As much as chefs develop new menus through fl avour and presentation, he has challenged himself by expanding the horizons of dining through design.
FUSION CUTLERY
PROJECT NAME :
CONTACT:[email protected]
0430 015 451
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Ky Snyder
Things we do and experience have resonance. It can die away quickly or last a long time; it can have a clear centre frequency or a wide bandwidth; be loud, soft or ambiguous. The present is fi lled with past experience ringing in various ways and now is coloured by this symphony of resonance.
As a way of illuminating design one can draw upon analogies with music. ‘Resonance: design as a translation of music’ is about exploring analogies of these two disciplines, giving insight into aspects of human process and perception. As a point of focus the project investigates the tangible, physical existence of sound, drawing parallels of musical components such as rhythm, harmonics and timbre.
The outcome of the project to date, is a piece which attempts to provoke thought on the parallels of music and design; executed by adopting qualities which are distinctly musical to defi ne physical form of the design.
RESONANCE: DESIGN AS A TRANSLATION OF MUSIC
PROJECT NAME :
CONTACT:
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Simone Steel
Simone is fascinated by the sense of touch. She believes that sensory perception is what defi nes the nature of experiences with objects and spaces and she uses this knowledge to enhance their inherent value. Simone sees honesty in objects that are crafted by hand and in the traditions of material appreciation.
Simone’s Honours Project culminated in an outcome that was both process and object based. She designed and hand crafted a series of Bespoke Sensory Objects for and with three women with Asperger Syndrome, developing and documenting a ‘co-creative design’ process.
Simone formed and tested a number of hypotheses about the relationship between sensory experiences, perception, memory, emotion and anxiety. She orchestrated three phases of experimentation, beginning with communication and interpretation of emotion. The second phase explored material-tactile associations, and the fi nal phase investigated physical expressions of emotional nurture.
Through this research she was introduced to the conditions of hypersensitivity and acute anxiety, often suffered by people with Autism Spectrum Disorders (ASD), including Asperger Syndrome. As such, Simone proposed to design personal sensory craft-objects that would reduce anxiety in individuals with ASD.
TACTILITYPROJECT NAME :
CONTACT:[email protected]
0422 487 131
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Matthew Sutianto
Matt’s project is based on the history of the Japanese bento box and trying to relate this within today’s society through experimentation and design. He believes that the Japanese Bento Box is vastly becoming one of the most chosen set meals off the menu today. Matt realised that whether people are eating in or taking away, the readily made ‘lunch box’ offers a collective group of small portions and food options to cater to a variety of tastes. To most people the bento box is viewed as just being a container with dividing sections to separate the food, but to the Japanese it has much more signifi cance and meaning which most of us don’t even begin to realise.
Matt’s aim is to incorporate the underlying meaning and ritual behind the bento box, into the daily routines and eating habits of our modern day lifestyle. Thus, his outcome provides and creates a greater appreciation of the food we eat and its preparation. Ultimately the nature of his project is to relate an old tradition to modern design and living.
MODERN BENTO
PROJECT NAME :
CONTACT:
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Kelly Tinker
Is it possible to deliver engaging experiences through systems with simple functionality?
Through her major project, Interface, Kelly aims to highlight the link between technology and the physical environment. Social changes in the last few years are forcing redefi nition of approaches to social intervention, focusing on highly individualised solutions. This change has manifest in a new design approach undertaken in this project. The objective of the outcome was to explore the design potential of new situations that are occurring, as the result of information and communication technologies being woven ever more intricately into our day-to-day lives. She surmises that when a collection of seemingly mundane items are brought together an intriguing narrative emerges.
For a space to interact, it must be capable of participation.
The key concept was to create an interactive design that constantly changes, evolves and adapts to the users’ interaction input. The audience is invited to dictate to the environment, through the device, the emotions and story they feel and wish to convey through manipulation of the surface, transforming mundane surfaces into an arresting communication tool. The interactive experiences created are situated between art, design and entertainment.
INTERFACEPROJECT NAME :
CONTACT:
0423 871 032
60
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Peter Wong
Food for others. From resource to product to resource again. Closed loop cycle
Project Sustainable Furniture by Peter Wong has come a long way since its inception at the beginning of 2010 as a Pre-major Project. The theme of the project is sustainable seating with the concept of the project being food for others, meaning the resources retrieved from the ground are able to decompose back into the earth and fuel growth for other resources.
The product’s function is to create sustainably resourced seating for the mainstream community. The product must know its place (its function), fulfi l its human needs, purpose, and ergonomics and not clamour for attention. Unlike an exhibition piece, it must not be the dominant piece within a room. It must be able to fi t into all households with varied facades. It must be clean, minimal and simple in design and function.
A deeply sustainable process was used within the project development. The design, materials and processes were all scrutinised to develop a more eco-friendly seating that encapsulates the main concept.
SUSTAINABLE FURNITURE
PROJECT NAME :
CONTACT:
theloop.com.au/pswong
0433 398 071
62
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63
The Global Warming Studio has engaged transportation design as a sustainability agenda item in response to the global fi nancial crisis. Combined with the problems of peak oil production and climate change, the crisis created an economically catalytic event which has refocused automotive psyche towards community needs and sustainable mobility. The designers have actively challenged notions of car ownership as a goal. They privilege utilitarian mobility and the experience of urban transport over the acquisition of Object as a means of gaining status and its associated wealth, performance and grandeur.
This has led to challenges to the designers’ self-perception and identity through their own vehicles and mobility choices. We have witnessed that when the agency provided by ones acquired vehicle is removed, the experience and activity of transit create opportunities to radically re-vision the vehicle and systemic transport structures, and provide opportunities for driver and passenger experience beyond the contemporary ‘car’.
Christian Beaumont
With a current population of over 4 million, Melbourne is growing at a very rapid rate. This is putting a strain on our train network, with 213.9 million passengers travelling on it between 2008 and 2009. The commuter rail model that the train network now represents is its downfall. The lack of links between train lines causes an unnecessary large amount of traffi c in the CBD stations. Existing links between train lines are mainly done by buses and a few links are available with trams. These are not enough. Increasing the links between train lines across Melbourne could reduce passengers’ trips to inner city stations to interchange.
Creating links between train lines with buses or light rail is an option, but bus reliability being low and light rail costs being too high, there are new and better ways to transport passengers between lines. Creating smaller modes of transportation that can carry two, four or six passengers between train lines at times of need is a new way of dealing with the problem. Using a more personal system where the passenger can control when they leave and whom they travel with will evolve the way public transport can be used. The vehicle will be easy to use, clean and will incorporate current and future technologies. The new system will blend in and work in sync with current Melbourne Public Transport to reduce congestion on the train network.
LINELINKPROJECT NAME :
CONTACT:[email protected]
theloop.com.au/cstb_87
0438081187
66
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67
Jessica Bird
Jessica has spent her fi nal year of study exploring sustainable alternatives for mobility in the future. Stepping out of her comfort zone, she took on the challenge of designing for a world with no private car ownership. Creating a vision for Melbourne living in forty years’ time, she used the opportunity to design a vehicle that exists a long way from today’s automotive conventions. The Dr. Who is a slow-moving, low-range vehicle, in which people stand, as a statement against passive travel. Inspired by the grace of a dancer, elegant lines of a lily blossom, and the gentle beauty in disrupted forms, Jessica has striven to provide a visual nod to the performative aspects of her envisaged future. Closing the gap between private and public transport, these vehicles glide about the city as self-sustaining, living elements, endearing themselves to the community.
Jessica’s design passions revolve around people and sustainability. She works best in a collaborative environment and is interested in service design, sustainability, social motivated design and community projects.
DR. WHOPROJECT NAME :
CONTACT:[email protected]
issuu.com/jessicabird.design
0414 305 055
68
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69
John Bof
With the concept of ‘no private ownership of cars’ being the fundamental aspect of the Major Project, John was able to bring to life the reality of such an extreme measure by constructing a future scenario.
Set in the year 2038, the city of Melbourne is now six years into the ‘no private ownership’ scheme, though many problems have started to appear. With a gross over-population problem, Melbourne commuters are forced to put up with an overcrowded, uncomfortable and unsafe public transport system which cannot cope with the population. It is decided a share car system will be implemented and thus the design of a vehicle has been commissioned.
The vehicle designed is intended to serve as a tool in getting commuters from one place to another in an effi cient, comfortable, and safe manner. It was important to John that the vehicle did not resemble the design and function of the automobiles of Melbourne’s past, hence the unusual driver position and general ‘irregularity’ of the design.
TRINITYPROJECT NAME :
CONTACT:
0421 223 008
70
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Brady Haseler
A share car you can call your own
Imagine a world where private car ownership is no longer. Share cars are the way of the future. Beyond tomorrow we can expect radical concepts encompassed in vehicles that are shared among a community of people. This is not a new idea; however, it is how people will interact with these vehicles that will change the way we look at transport forever.
In 2008 a bold vision was created for the city of Melbourne 2020, including plans for Central Activity Districts, low energy emissions and a decent chunk of affordable housing along with public transport running twenty-four hours a day. Ideas to reduce the amount of vehicles travelling to the CBD are also high on the list of priorities in order for there to be a more sustainable Melbourne. However, with a city built around the automobile, asking car owners to give up their vehicles will not be an easy task.
This is the share car that will bring the best out of Melbourne and still be a car that you can call your own.
A SHARE CAR TO CALL YOUR OWN
PROJECT NAME :
CONTACT:[email protected]
0439 397 389
72
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Robert McInnes
Currently rural India has one of the highest maternal mortality rates in the world. Robert’s project seeks to address this issue through the creation of a Mobile Health Pod.
The pod’s focus is to save lives and to do this it will have four major streams of action. As a clinic it is a means of direct intervention by enabling health care professionals to visit the rural communities that otherwise have sparse local health services. As a research device it gathers information on maternal health to better understand the issue. This will then help to develop the intervention enacted through the critical analysis of this information. A birthing space is one of the many uses for the pod’s versatile interior. In an emergency situation where an established medical facility is not available the pod will be able to promptly transform into a space appropriate for a birthing situation. The campaign on maternal mortality encompasses actions by many organisations that can be conducted via the pod . The pod system will act as a point of contact for the people affected and also as reference for global recognition of the maternal health issue.
Though these actions and more the pod will invoke change on the issue of maternal health and benefi t the lives of those in rural Indian communities.
MATERNAL HEALTH POD
PROJECT NAME :
CONTACT:
0422 962 328
74
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75
Aaron MuldowneyThe Lexus IS3000 is a vehicle unlike anything that has ever been proposed as a replacement of privately owned motor vehicles. Thisvehicle is a part of a fl eet of eight vehicles on offer; this being the sedan, for people to use in Melbourne and metropolitan areas surrounding the city. Whilst being an integral part of transport that the people of Melbourne have become used to, the vehicle also provides the city with an icon that is reminiscent of the London Cab or Trams in Melbourne. The vehicle is to subtly become a part of the city, as a moving sculpture that will not only be enticing and functional for locals but attract outsiders to the town to attract tourism to the area. The drive train is a minimum impact electric hub motor on each of the rear wheels producing 100kw each. The vehicle needed a brand that represents Melbourne as the classy, refi ned and innovative city that it is. This is where Lexus comes in. Lexus is a brand synonymous with class, innovation and taking an active stand in conservation for the environment. And being a subsidiary of Toyota, a brand although Japanese owned, is synonymous with Australian culture, the choice seemed fi tting. The vehicle is to be produced and maintained at its Altona plant, just 20 minutes from the CBD; keeping Toyotas jobs safe when private car production ceases. Inspiration for the form comes from Melbourne’s visual landscape, in particular its architecture. The vehicle is too provide the people of the city of Melbourne, and those visiting, a mode of transport that not only enables them to do all the things that they have become used too with modern privately owned vehicles, but also a chance to become part of the city’s visual landscape.
Lexus IS3000PROJECT NAME :
CONTACT:[email protected]
0413 798 659
76
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77
Patrick Ryan
With a prediction of mass growth within Melbourne up to 5 Million by 2032, the current transport system is fl awed in catering for and maintaining sustainable growth. Currently there is not a well functioning link between major train lines, with buses sticking to fi xed routes and not providing the necessary connections between rail and tram networks. Patrick’s proposal aims to incorporate a new share car system that provides the missing link between suburban train networks that also offers the fl exibility of a privately owned car. Patrick has endeavoured to create a concept that utilises road networks for short station-to-station transit while offering the fl exibility to move between smaller ports situated within access of residential areas.
Patrick’s project entails a vehicle design and system that provides a suitable public transport solution for a maximum of two passenger intake. Its purpose is to minimise private ownership of vehicles on the road while utilising electric drive-by-wire technology to reduce carbon emissions. The vehicles are located conveniently within access of current Melbourne infrastructure, bridging the gaps between existing rail networks to maximise the effi ciency of movement in the outer city. Its purpose is not to replace current systems but to aid them in providing an alternative link over short distances for the public, working harmoniously to create a fl uid movement for all.
UCABPROJECT NAME :
CONTACT:
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79
Inclusive design concerns the fabrication of artifacts that humans can use intuitively in their everyday lives. This focuses on the way objects are designed, and their inherent affects on our ability to feel, see, hear, move and communicate effectively. The inclusive design studio aims to encourage students to create user-friendly, barrier-free solutions to design; to create designs that embrace the ‘human condition’ allowing for a varying cross-section of the community to participate equally, confi dently and autonomously in their day-to-day activities.
An appreciation of inclusive approaches to industrial design offers new insights into the way that people interact with the artifacts and conditions that surround them within the fabricated environment.
This studio has been taught in a style that encourages peer collaboration ‘round table style’ where each student has a part responsibility for informing their peers’ learning. This forms a dynamic, collaborative and formative feedback model driving the direction of each student’s work through a design studio practice model.
Pip Grinter
Pip’s major project is an investigation into the lives of those living with a wheelchair bound disability. His aim in this venture is to move away from a designer-centric methodology in order to gain an understanding of the infl uence that products and systems have on the people that are using them. Pip’s approach to researching the project has been a hands-on exploration – cutting down the books, and getting out from behind the desk to make his own discoveries.During the course of his fi nal year Pip spent some time living in a wheelchair and has sought the constant involvement of wheelchair users. The inclusive nature of the project seeks to move away from the traditional medical engineering model of wheelchair design and add a fresh perspective.
The design process of Pip’s project has been very practical. Pip has constantly tested ideas through a series of prototype iterations to continually validate and refi ne his ideas.
The culmination of Pip’s research and design development is a prototype of a wheelchair that aims to simply address some of the day-to-day complexities that a wheelchair user may experience. The wheelchair features an intuitive method of folding that locks and unlocks with the removal of the wheels. Specifi cally designed storage spaces allow easy access to day-to-day items and the careful use of materials maximises versatility and effi ciency.
WHEELCHAIRPROJECT NAME :
CONTACT:
82
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Chris Hayes-Kossmann
Chris’s honours project is aimed at a very speci c target audience – below-the-elbow amputees who enjoy competition swimming, or participate in the triathlon. As part of the Inclusive Design studio, Chris was tasked with creating a product for amputees to aid in dif cult or overly elaborate daily tasks. After deciding to focus on amputees in sports, he set about reimagining the prosthetic limb as a high-performance sporting tool instead of a medical product. Based on interviews with medical professionals and amputees, Chris’s swimming limb combines modern, aggressive design with aerodynamics and uid engineering to create a product that democratizes competition swimming. Manufactured using standard moulding techniques, Chris’s major project is designed to be affordable, adaptable and easy to use – three of the hallmarks of inclusive design.
PROJECTNAME
PROJECT NAME :
CONTACT:[email protected]
christopher-ruz.com
84
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PEIX
85
Tom Hartnett
Tom Hartnett’s fi nal year project attempts to reassess the ‘cash and carry’ supermarket system that has operated in Australia for over half a century from the perspective of Inclusive Design. This involved an analysis of the elements of cognition, dexterity, mobility and culture involved in the supermarket system along with historical and theoretical research to establish gaps for innovation and the application of Inclusive Design principles.
Through this research Tom has identifi ed that a more inclusive supermarket system could be created by reducing the multiple handling of groceries throughout a typical shopping trip, reducing the physical effort of negotiating a shopping trolley and providing an effective method of organising shopping relevant to home storage at the point of sale. During the processes of market and participatory research Tom also identifi ed a necessity to include eco-bags into his design as a solution to the ineffective environmental impact of the plastic bag and profi teering by Australia’s supermarket duopoly.Tom’s supermarket trolley design proposes a more user friendly, inclusive alternative to the ubiquitous supermarket trolley whilst encouraging the use of eco-bags by giving them a functional advantage.
ECO BAG TROLLEY
PROJECT NAME :
CONTACT:[email protected]
0432 453 987
86
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87
Daniel Hood
The urban landscape is continuously being developed and society’s focus on sustainability is increasing through the inclusion of natural elements and sustainable materials which are used to construct these areas.
This project researches in detail the realm of public space, focusing on the areas of ‘Inclusive Design’, sustainability and society’s interaction with public space, choosing the Melbourne Docklands Development as a case study and site for the end product.
The resolved design uses a combination of sustainable and reclaimed materials along with simplistic replicable manufacturing processes to produce a public seating concept which creates minimal waste and dramatically reduces its carbon footprint in comparison to today’s public seating designs.
The timber, which is Australian red gum, has been reclaimed from one of the many stock piles of unused railway sleepers around Australia. The concrete sections were formed using moulds made from ‘Formply’ off cuts, which were then fi lled with ‘E-Crete’. A sustainable substitute for traditional concrete; it is produced locally in Victoria and generates 90% less greenhouse gas emissions than common concrete. Galvanized steel sections are used as the supporting framework which were also off cuts sourced from local Melbourne fabricators. These parts can be fl at packed and easily installed in the commissioned location.
MERGING GREEN AND GREY
PROJECT NAME :
CONTACT:[email protected]
0407 135 732
88
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89
Elliott Hughes
Bicycle usage in Australia, and around the world, is on the rise but along with that goes bicycle theft. The advantages and benefi ts of riding a bike are well known, from being a sustainable and cheap mode of transport to the many health benefi ts cycling brings. Whether you’re commuting to work or just popping out to the shops, the feeling of freedom acquired is tremendous. When your bike is stolen, so too is your freedom.
PAUS is an innovative, integrated, immobilisation system that anyone can easily use to help prevent their bicycle from being stolen. The system employs coded wireless technology hidden within the bike’s head stem, that locks the bicycle’s own immobilisation system – the brakes. Coupled with that is a motion sensitive alarm that sounds should the thief then decide to try to pick up the bike and run away.
PAUS affords the user the freedom to park on the fl y without the hassle of carrying cumbersome, heavy locks and having to look for somewhere suitably strong to lock the bike to. Alternatively, it can be used in conjunction with a lock as a second line of defence.
PAUSPROJECT NAME :
CONTACT:[email protected]
elliotthughes.com
0405 306 534
90
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91
Lara Mikocki
Lara has recently discovered she will be considered an Industrial Designer following the description of her project in this very booklet. Everyone told her this was common knowledge after completing a degree of this nature, but she maintains she wasn’t aware. Upon realisation of this fact, she would consider her fi nal project: The Bike Barnacle, to luckily fall within the realm of her course outline.
The Bike Barnacle is a simple response to the inconspicuous night bike rider, where the bike light is revisited to provide a more effective visibility aid. The project was driven by facilitating visibility effectively and easily for many different users. The result is a fl exible light in an ‘x’ orientation for maximum illumination in using the surface area available, complemented with a basic fastening. The user is encouraged to be as resourceful as possible with the Bike Barnacle, to use it on their person, basket, bag and of course anywhere on their bicycle, as such resourcefulness and creativity of the bicycle rider was a key infl uence for the project.
THE BIKE BARNACLE
PROJECT NAME :
CONTACT:
0400 33 9141
92
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93
Youssef Tayeb
Youssef’s fi nal year project considers a mobile method of fabricating economical prosthetic devices for developing countries. His journey began with a trip to Sri Lanka where he was introduced to the current labour and material intensive methods of producing prosthetics in the fi eld.The project was approached with the intent of utilising emerging technologies to reduce set-up/production costs in the fabrication of trans-tibial prosthetics, in direct response to the ‘ground’ research he conducted. Furthermore, the project sought to facilitate the mobility of a prosthetic lab to increase its responsive ability to remote regions. Adopting a low-cost, open-source ethos, he was able to tap in to the technical expertise and collective knowledge of online communities dedicated to these technologies. The information he drew from these sources informed the design of a 3D scanning system which translated an amputee’s residual limb into malleable digital data. This topographical information was then processed to customise the interface between an individual and a prosthetic device for fabrication on a 3D printer. The marriage of these technologies produced a viable process for fabricating prosthetics in developing nations.Maintaining a high degree of transparency in his research and design, Youssef has openly shared his work with the online communities he drew knowledge from, in the hope of a collective advancement of his ground work.
LOW COSTPROSTHETICS
PROJECT NAME :
CONTACT:[email protected]@wordpress.com
0420 632 712
94
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95
Ngo Bun Wong
Ngo Bun Wong’s major project addresses the solution for carrying and lifting luggage in an accessible way. He observed that many travelers have problems with grabbing and carrying their luggage en route. He explained that there is a typical problem: when the travelers grab their luggage in the baggage reclaim, they need to stoop and twist their trunk to lift it from the moving conveyor belt in a second. In his project, he designed the shoulder distance handle to assist the travellers to grab their luggage more accessibly.
Also, he found that conventional luggage is bulky. It occupies much space for storage in the house. He designed luggage to be reduced in width through its adjusting device.
HANDS LUGGAGE
PROJECT NAME :
CONTACT:[email protected]
0431 070 383
96
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:
Give hands to older people to lift & drag a luggage
‘ Hands ’
Ngo Bun, Wong - email: [email protected] 97
Information and communications technologies can be can be convergent or divergent. Convergent devices, such as the personal computer, play many roles with a single interface, whereas divergent devices are part of a networked interactive ecology each with its specifi c role, form and interface. These are also known as ‘Information Appliances’. If we are to consider the home as an ecology of Information Appliances, how do we access and engage with this information on a meaningful level, considering that the home is a place for play, relaxation and a deeper sense of being?
Each student in the Interactive Ecologies studio explored the user interface possibilities of the Information Appliance in the home through developing their own design responses to the above question. The results show a range of unique contextual ideas that deal with problems of social cohesion, play, learning, meaningful media access and representations of information fl ow. These conceptual positions have been attained through individual research programs that included iterative cycles of textual review, empirical user studies and design prototyping.
This studio has been supported by Maurice McKinley, Senior Interaction Designer at Philips Design Hong Kong. Maurice has provided feedback on the projects at key stages throughout the year adding a unique professional texture to the design conversation and an opportunity for the students to test their ideas in the marketplace. The work has also been supported by Dr Andy Song and his students from Computer Science and Information Technologies at RMIT University.
Please enjoy this work as much as I have enjoyed watching it evolve and mature.
Wil Campbell
‘Through aeons of human evolution, we have developed sophisticated skills for sensing and manipulating our physical environment. However, most of them are not used when interacting with the digital world...’Hiroshi Ishii, Professor of Media Arts and Sciences at the MIT Media Lab, 2008
As Prof. Ishii so eloquently points out, despite being beautifully built to interact with and manipulate the world around us, we humans have created interface technologies that do not refl ect the innate richness of interaction we are capable of. Nowhere is this more true than when trying to communicate and manipulate three dimensional forms in the virtual realm.
Wil’s Major Project, A Priori, is a proposed scheme of human computer interaction. As you construct, create, manipulate and modify your creations in the real world, virtual models are created at the same time. Kids make a skeleton of an animal, fl esh it out on the computer, animate it and then make a movie with friends who have done the same on the other side of the world. At the same time Mum and Dad are planning out their new back garden on the kitchen table. When they’re done, the fi le will be emailed out to a few landscapers so they can compare quotes.
A PRIORIPROJECT NAME :
CONTACT:[email protected]
leadscrew.wordpress.com
0400 125 163
100
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:
a priori
A proposed scheme of human computer interaction (HCI)
As you construct, create, manipulate and modify your creations in the real world, virtual models are created at the same time
Kids make a skeleton of an animal, flesh it out on the computer, animate it and then make a movie with friends who have done the same on the other side of the world.
At the same time Mum and Dad are planning out their new back garden on the kitchen table. When they’re done, the file will be emailed out to a few landscapers so they can compare quotes.
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Winaya Kamaputri
MemoRe:Play investigates tangible ludic interaction with the aim to increase family social cohesion at home through exploring, editing and sharing digital photographs as representatives of visual memory.
MemoRe:Play’s concept fi ts into a future home interactive scenario. Home in this context is not only an individual’s space, but also a place where family members another take care of each other through intimacy and communication. This project takes digital photographs as the primary resource to recall, and share, memory visually between family members. To achieve this end, MemoRe:Play employs affective computing through playful tangible interaction. Playful interaction allows family members to interact without ‘borders’. Moreover, the act of ludic interaction brings enjoyment through serendipity; which is similar to how human memory works.
MemoRe:Play is an interactive game concept that enables a family to explore digital photographs through related mementos (the tangible objects that ‘contain’ meaningful moments) and to accelerate photo viewing and sharing in a fun and creative way. By generating different basic human movements, such as scanning, squeezing and shaking in different directions, MemoRe:Play creates and enables a fun photo editing session with different graphical effects. In the end, the family plays together, aiming to be as creative as possible in recollecting those memories and enjoying the moment of sharing them.
MEMORE:PLAYPROJECT NAME :
CONTACT:
winayakamaputri.tk
0430 465 406
102
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Laura Lippold
Emi is a device for logging time, location, motion and action as a measure of anxiety, emotion and depression to aid Cognitive Behavioural Therapy. There are many different types of chronic illnesses, such as diabetes or high blood pressure, which have various tests and ways of recording test results that are portable and easy to use. Currently there is no such option available to people with mental illnesses. According to research done by the ‘Beyond Blue’Australian mental health organisation there is a staggering 1 in 5 Australians suffering depression and 1 in 4 Australians who suffer from anxiety at some stage in their lives. This is a large group of people in Australia who could use some help.
Laura’s project seeks to create a portable interactive device to assist those with mental illness to decipher, record and track their various states of emotion. It is to be use in conjunction with regular therapy.
EMI BRACELETPROJECT NAME :
CONTACT:[email protected]
lauralippold.vpweb.com.au
0418 864 135
104
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Xisca Mairata
Xisca is fascinated by the way people and computers work, or don’t work. She began her honours project by looking into the frustration people have with their everyday technological environment, and contrasting that with the pleasure people get from being in the natural environment. After extensive research through literature reviews, cultural probes and form studies, Xisca designed an interactive installation for the future home: the Ivie Installation.
Ivie stands for Internal Verifi cation of Information Ecology. The installation is an interactive wall sculpture for the home, composed of porcelain ivy leaves, embedded LEDs and Shape Memory Alloy wire that represents the fl ow of digital information in and out of a residential gateway, through movement, visual and auditory feedback. It serves two purposes: as a diagnostic tool giving the user an at-a-glance evaluation of the ‘health’ of their internet connection, and as a ‘kill switch’ that allows the user to physically sever the connection. Xisca used this installation to evaluate her hunch that the future of domestic technology will be ambient, intelligent and largely tangible. She anticipates that the current user-technology relationship, represented by the Graphical User Interface, will become redundant and that Tangible User Interfaces such as the Ivie Installation will take its place.
IVIE INSTALLATION
PROJECT NAME :
CONTACT:
0414 217 746
106
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107
Tristan Tait
A design exploration into the home ecology and personal music collections, Tristan’s project delivers an innovative and contemporary medium for musical expression. The device facilitates physical engagement and feedback in order to suggest a new user experience surrounding personal audio playback and the real time narrative of sound manipulation.
Based on selective user studies and interaction design research, this device is attentive to the changing nature of the home listening environment and the way in which tangible interaction can bring about a meaningful synergy between technology and the user.
SONANCY DUO
PROJECT NAME :
CONTACT:
www.tristantaitdesign.com
0421 776 584
108
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109
Di Tan
As an RMIT fi nal year Industrial Design student, Di Tan has challenged herself to study with Frank Feltham in the fi eld of Interaction Design. Her major project aims to explore how emotions can be visually expressed through kinetic behaviours. This visual email remainder pulls people away from the computer and lets them have fun when they are getting emails as well as using other parts of the brain to think.The concept has coloured dots behaving differently on the user’s wall to represent unread (new) emails that user’s are getting throughout the day. The user can interact with the coloured dots by getting closer to or further from the wall as well as moving left or right in the study room. The different behaviours are dictated by the content of the email. The emotion that each email contains depends on the sender. The sender can select which emotion that they think their email conveys (happy, urgent, passive, etc.); then when the email is sent, the colour dot will behave according to the emotion the sender chooses..
The project can be taken further by developing the fl oor tiles into a rug (soft material and portable) or having the projection image running in different locations throughout the home and deliver different messages to the users.
THE LIVING WALLPAPER
PROJECT NAME :
CONTACT:
0411 088 757
110
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111
Ryan Van Den Dolder
Ryan’s major project’s aim was to fi nd a better way for people to interact with digital media such as music and movies in the home, removing the reliance on graphical interfaces and overly complex remote controls, as well as drawing on the intuitiveness of physical media such as CDs and vinyl records.
The media surface allows users, through the gesture of choosing a token for the digital media and placing it on the surface, to play whatever media they want. There is no need to switch devices on or search through endless lists of fi les on a computer, all that is needed is done for the user. It combines the ease of physical tokens to search through and to hold as a connection to the media – like the enjoyment of having a CD case – with the access to all the media across a home network. The media space is also completely ubiquitous until it’s wanted, hidden away until it’s in use, through the use of hidden light feedback and touch sensors. It does not impose technology on the home environment.
The Aura Home Media Surface is a more physical and intuitive way to access digital media in the home.
AURA HOME MEDIA SURFACE
PROJECT NAME :
CONTACT:[email protected]
0439 014 240
112
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H O M E M E D I A S U R F A C E
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The Final Assembly Crew
Jess, Xis, SimCo-ordinators, Treasurers,Secretaries
Wil, Youssef, Lara, TristanFundraising, web, venue, graphics
MurraySponsorship
WinFundraising
ChrisWords
Thank You:- Lecturers, all of you, over the last 4 years; for your skills, support and patience.- Paul, Pete, Adam, Jamie, Pang, Beau, Alex; for the connection to the real world.- Friends and family; for the hugs.- The 2010 grads; for the feedback, and good work.- The FA Crew; for the time.
Special Thanks: Irena; for the pics
...but we all did a bit of everything.
115
Tom, ChristianSponsorship, planning
Ellen, YiFundraising
Di, Mayu, Ivan,Sharifah
Fundraising
RobbieFundraising,
plinths
Georgie, RyanFundraising
116
WE WOULD LIKE TO THANK OUR SPONSORS:
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4.
