Latest News | Swinburne https://www.swinburne.edu.au/news.rss.category.design.xml
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Swinburne and Scope design accessible USB hubs to improve lives
Swinburne and Scope design accessible USB hubs to improve lives
Swinburne’s Centre for Design Innovation has been researching and designing technology to improve the lives of those living with disability.
Disability service provider, Scope, asked design researchers from Swinburne’s Centre for Design Innovation (CDI) to develop technology to improve the lives of those living with disability Close collaboration with Scope’s clients was at the heart of the research process and informed the direction of the design After several rounds of ideation, the final prototype was an accessible USB hub to assist people with disabilities that affect grip and fine motor skills Technology is created to improve people’s lives, but its development often overlooks the needs and desires of those living with disability. Swinburne’s Centre for Design Innovation (CDI) has been working with disability support provider, Scope, to design meaningful assistive technology and bridge the gap between users and the prototyping process. The project was based on in-depth research, including rounds of workshopping, in-context observation and user testing. Centring human needs The original prompt for the project centred on emerging technologies, such as augmented reality or artificial intelligence. However, as the team consulted with clients from Scope, they found that this type of solution wasn’t aligned with what people with disabilities needed or wanted most. Senior Industrial Designer at the Centre for Design Innovation, Mat Lewis, led the project. “It was important that we understood what the end users of these potential designs actually wanted,” Mat said. “Talking to the end users, we realised we didn’t need some futuristic tech solution. That's not what they were asking for.” Instead, people wanted designs that met practical, everyday needs that current products neglected. In Australia, it’s estimated that 1 in 3 people with disability have avoided a situation because of their disability, 34,000 are living with cerebral palsy and over 400,000 have an acquired brain injury which can impact fine motor skills. “It’s easy for organisations to get carried away with all the buzzwords and emerging tech and forget the actual goal is to make people's lives easier,” Mat said. The team wanted to ensure it was achievable for Scope to bring the product to market, so cost and commercial reality were also key to refining the project direction. The plethora of initial ideas, including everything from high-tech to no-tech solutions, were narrowed down to products that could improve user daily life in the home and workplace. Some of these included an accessible clothes drying rack, a modular meal prep station and a smart garden. The USB conversion hub has a clean, contemporary style to ensure it fits well amongst other technology in the home or workplace. Designing a better everyday The idea for the final prototype was born from a comment made by a Scope employee who is also a person with a disability. Zane McKenzie, Customer Partnership Lead at Scope, shared their experience of how inaccessible and frustrating USB ports can be for people with certain disabilities. “Generally, products are designed for use by able-bodied people. If, like me, you're not an able-bodied person, you will experience barriers to using common products independently. "Whether you're at home, in an office or in a community environment, what we all want, and need, are products that are easy to use, that help us to perform tasks, and actively participate equally in everyday life," said McKenzie. The CDI team used this insight as a starting point to develop an accessible USB conversion hub. The design is a simple tech solution that opens the possibilities of using existing and emerging USB-connected tech devices. Its magnetic attachments and easy grip handles help those with varying levels of fine motor control and grip strength to connect devices. Careful consideration was also given to the aesthetics of the hub, to ensure it had visual, as well as functional, appeal. “When we looked at current assistive technologies, we identified that aesthetics didn’t seem to be a high priority and that just adds to the harmful stigma around these vital products,” Mat said. The prototype went through further user testing and was presented to Scope as a practical and commercially viable product that could improve the everyday lives of those living with disability. Scope's Manager of Innovation and Competitive Practice, John Scahill, says this initiative has returned a positive response from stakeholders. "One of the most encouraging aspects of this project has been the positive response from people with and without disabilities," Scahill said. “This suggests that we’ve got close to universal design, reflecting the CDI team’s ability to listen, learn and design creatively. The concepts developed are great examples of more accessible, inclusive and just easier-to-use products."
02 January 2024 14:29
https://www.swinburne.edu.au/news/2024/01/swinburne-and-scope-design-accessible-usb-sticks-to-improve-lives/
https://www.swinburne.edu.au/news/2024/01/swinburne-and-scope-design-accessible-usb-sticks-to-improve-lives/
Design
Centre for Design Innovation (CDI)
false
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Historical armour inspires contemporary architecture
Historical armour inspires contemporary architecture
Swinburne PhD candidate Nabila Afif is using chainmail as inspiration to create flexible, reconfigurable and transportable architecture
PhD candidate Nabila Afif is researching how the structure of chainmail can be used to create adaptive, reconfigurable and transportable architecture She has built a range of physical prototypes, including a largescale model that was exhibited at the 2023 International Association for Shell and Spatial Structures symposium Nabila is exploring how to effectively upscale chainmail, envisioning future applications such as reconfigurable shelters and earthquake-resistant structures Chainmail was once prized for its protection and flexibility, but it fell out of popular use due to how laborious it was to produce. Now, contemporary technologies, such as 3D printing, have brought the accessibility of intricate manufacturing full circle. Nabila Afif, a PhD candidate and sessional tutor at Swinburne University of Technology and architecture lecturer at Universitas Gadjah Mada in Indonesia, is exploring the opportunity to take this historical material in a surprising and innovative direction. “3D printing technology has opened up huge possibilities for architects to think about things that we haven't even imagined before,” Nabila said. “The key features of chainmail are that it is flexible and protective. Those two key words keep popping up as architectural features that we need,” Nabila said. “We need buildings to be flexible, changing to accommodate peoples’ needs, and we also need them to be safe to inhabit.” Nabila tested the modular structure with a variety of different thicknesses to balance strength and flexibility. Mapping a new construction system Nabila prototyped a range of different geometric variations of chainmail using 3D printed facilities in the Swinburne ProtoLAB. “The ProtoLAB has been one of the strongest benefits from studying at Swinburne,” Nabila said. After testing a variety of geometries, Nabila settled on the cube because its symmetry gave the design the most structural control and allowed it to be self-supporting. From there, she built a large-scale prototype to test how the design functioned at an architectural construction scale. Nabila presented her project and the prototype at the International Association for Shell and Spatial Structures (IASS) 2023 symposium, organised by Swinburne and RMIT. “Making this large-scale prototype gained a lot of positive attention,” Nabila said. “People gave me feedback, and I generated a lot of ideas that I hadn’t ever thought of before. There are so many opportunities for collaboration.” Paving the way for future innovations Nabila’s ongoing research aims to harness the core nature of chainmail, with a specific focus on flexibility and self-supporting features. Through this process, she hopes to create a framework for future architects to develop this material for real-world applications. "One day, I would love to see my self-standing modular system being used to design things like reconfigurable temporary shelters and earthquake-resistant structures," Nabila said. Dr Charlie Ranscombe, one of Nabila’s PhD supervisors at Swinburne, has championed the originality and potential of Nabila’s research. “Although chainmail is an old idea, Nabila’s idea to use it in architecture is completely new,” Dr Ranscombe said. “That means there are no guidelines or instructions on how to do it. It is precisely that knowledge which Nabila is trying to generate, paving the way forward for others seeking to understand and embrace its use.”
31 October 2023 16:05
https://www.swinburne.edu.au/news/2023/10/historical-armour-inspires-contemporary-architecture/
https://www.swinburne.edu.au/news/2023/10/historical-armour-inspires-contemporary-architecture/
Design
Centre for Design Innovation (CDI)
false
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Young Swinburne designers help build luxury brand
Young Swinburne designers help build luxury brand
Young Swinburne designers are helping to build the range for a new Melbourne-based luxury product brand, Lood.
Swinburne students and alum are creating designs for the new luxury product brand Lood These young designers were all employed through Swinburne’s professional industry placement program They helped inspire the creation of the brand as a platform to showcase the creativity of emerging designers Swinburne students and alum are part of the design team for the new luxury product brand Lood. These designers are proving that the early years of a creative career don’t have to be boring, by contributing their own designs and taking them all the way from conception to market. Lood's founder, David Robinson, has been taking on Swinburne industry placement students since 2019 at his company Sakimoto. Many of these students have gone on to future employment with the business and have heloed inspire the creation of the Lood brand. "The challenge is retaining these talented students once they graduate and giving them the chance to build a career that is personally satisfying. Lood is our way of providing this opportunity for recent graduates while growing our business." David says. Luxury brand Lood is focused on designing desirable objects with a simple, artistic touch. Meet the designers Swinburne students Lucy Norbury, Lucy Callahan and Oscar Thomas are excited to be front and centre of the new Lood brand, designing their own product from pitch to production. Lucy N graduated from the Bachelor of Industrial Design (Honours) at Swinburne in 2022. She did her industry placement at Sakimoto in 2020 and worked her way up to a Design Supervisor role at the organisation by the time she graduated. “Lood is really special to all of us because it’s giving us a platform to have creative freedom and show our own ideas in an environment that encourages creativity and growth,” she says. Lucy C and Oscar did their industry placements at Sakimoto in 2020 and 2022 respectively and are due to graduate from Swinburne in 2023. “Doing placement and work here has been so important for my design career, everyone is so happy to share their knowledge,” Lucy C says. Luxury in the ordinary “David came to me and said he’d like to get me onto a design for Lood, and that I could work on an existing product or pitch one of my own. Later, as I was going to sleep, I looked down and saw a plant at the end of my bed and just had this idea,” Lucy N says. Lucy N’s pitch was to reimagine a simple garden stake as a desirable household object. Her elegant brass and wood design has been created to grow infinitely alongside a house plant. For her design, Lucy C has been refining the fluid form of a designer bottle opener. “We’re focused on high-end products, items where people get really excited about having something quite beautiful and something that shows off the materials we’re using,” she says. “I think one of the great things about working at Lood and working through our products is that we all get to collaborate as a team. I’m working with all different types of designers with different ages and backgrounds and it’s a really collaborative process,” Oscar says.
31 October 2023 10:42
https://www.swinburne.edu.au/news/2023/10/young-swinburne-designers-help-build-luxury-brand/
https://www.swinburne.edu.au/news/2023/10/young-swinburne-designers-help-build-luxury-brand/
Design
School of Design
Student News
false
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Overseas internships open new doors
Overseas internships open new doors
As part of his studies, Swinburne student James Pappalardo completed an overseas internship, which he says has helped broaden his horizons and encourages more students to do the same.
Swinburne student James Pappalardo is encouraging other students to seek work experience overseas following a six-week internship in South Korea. The internship provided James with valuable insights and experience in the workplace, and with a foreign culture. With financial assistance from the Swinburne Abroad program and the New Colombo Plan (NCP) James was able to smoothly transition into his internship. Bachelor of Design (Communication Design) (Honours) student James Pappalardo is encouraging Swinburne students to consider the opportunities offered through Swinburne Abroad to study in Asia. After completing a six-week internship in Seoul South Korea as part of his studies, James was able to develop new skills and expand his career goals while gaining credit towards his degree. Forging new pathways James completed a design internship at Sharemelon, a design and marketing agency in Korea from January to February 2023, where he also had the opportunity to expand his marketing and market research skills. James said that his time with Sharemelon had broadened his horizons and provided valuable experience. “Sharemelon base their design on market research, and this is now a skill that I can take into my future career. I'm also considering how I can apply those skills to my future employment. When I apply for jobs, I look forward to highlighting my internship experience,” he says. Swinburne’s International Internship (Design) elective allowed James to undertake a six-week internship in South Korea. First steps abroad James encourages other students to explore Asia as part of their studies through Swinburne’s Study Abroad program, describing the culture as a mix of familiarity and new experiences. "When I was in Seoul it reminded me so much of Melbourne. My advice to students considering a Study Abroad program is don’t be afraid that it will be too different because you can find a lot of things that are similar. But also, if you're looking to step out of your comfort zone, Asia is a great option. It was both familiar and challenging,” he says. As an added bonus, James said that he had made some lifelong friends from his time in Korea. "I'm still friends with all of the people I went away with, as well as other European student interns at my company. I’ve stayed in contact with my Korean friends because I want to meet up with them when I go back next year. I’m also continuing my language studies because I want to learn it as a second language.” he says. The experience of living and working in Korea saw James make new friends and ignited his appreciation of Korea’s language and culture. Financial support and programs available When completing an overseas program through Swinburne Abroad, eligible students can receive an OS-HELP Loan of up to $8,817 that can be added to student HECS-HELP debt. The New Colombo Plan (NCP) is an Australian Government grant that is also available to eligible students studying in the Indo-Pacific region (including Asia). James said he received NCP funding because he chose to undertake language training before his departure. “Receiving NCP funding improved my experience, it gave me the opportunity to take a language course and because it was all paid for, it gave me a lot of motivation to learn. As a first-time traveller it helped me pay for my passport, flights, the program cost and living expenses. I didn't have to rely solely on my savings, so I was thankful for that,” he says. Get in touch with the Swinburne Abroad team to find out how you can take your degree overseas.
26 October 2023 11:29
https://www.swinburne.edu.au/news/2023/10/overseas-internships-open-new-doors/
https://www.swinburne.edu.au/news/2023/10/overseas-internships-open-new-doors/
Design|Student News
School of Design,International
false
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Swinburne helps Pasifika youths develop life skills and thrive
Swinburne helps Pasifika youths develop life skills and thrive
Up to 100 Pasifika youths have graduated from Swinburne’s Discovery Sprint program, where young people can gain skills that could kickstart careers in in-demand industries.
Up to 100 youths have graduated from Swinburne’s Discovery Sprint program The program is an opportunity for Pasifika youth to gain skills that could kickstart careers in in-demand creative industries Participants created graphic designs, animations and creative works over three design sprints this year Up to 100 Pasifika students have graduated from Swinburne University of Technology’s Discovery Sprint program, where young people in Victoria have the opportunity to gain skills that could kickstart their careers in in-demand industries such as media, design, animation and film. This innovative, new program, named Sa'ili le ala (meaning ‘discovery path’) builds on ongoing Swinburne research to understand the cultural complexities driving Pasifika youth interactions with Australian educational processes, and to co-design sustainable and scalable practice. “This program has helped young people discover their passion, unearth new knowledge and develop new skills, including digital fluency. It will kick start an education journey that will lead them to be part of the workforce of the future. We believe it will help them achieve their dreams,” Professor Quester adds. Helping Pasifika youths thrive The participants created graphic designs, animations and creative works that connect culture and community across three design sprints this year. During each session, students learned fundamental design concepts and skills, including creative thinking and ideation, and techniques such as image making, sketching, and typography. These skills have been applied to generate designs for NRL jerseys and footballs, and Yarra trams. The graduation included a full exhibition of the students’ design processes and outcomes. The project is an educational response for Pasifika youth to develop life skills to remain engaged in education and have a growth mindset that builds both inclusion and community resilience. “We are proud to be a strong interdisciplinary team across education, creative arts, technology, and STEM, bringing this important project to life,” says project lead and Swinburne Chair of Education, Professor Sivanes Philipson. “Working together with our partners, the Le Mana team of Centre for Multicultural Youth and the NRL, we are helping to build capacity within Pasifika communities in Victoria to develop positive life trajectories that are sustainable and long term,” Professor Phillipson adds. Pasifika Community Elders joined the celebrations of the student’s graduate exhibition, in collaboration with the National Rugby League (NRL), NRL Victoria and the Centre for Multicultural Youth. Changing lives The Sa'ili le ala program is funded by the Federal Governmenmt’s Safer Communities Early Intervention Fund. “This funding allows us to bring innovative education opportunities to Pasifika young people. This program brings life-changing opportunities for these young people and their community,” says Swinburne Vice-Chancellor and President, Professor Pascale Quester
02 October 2023 09:06
https://www.swinburne.edu.au/news/2023/10/swinburne-helps-pasifika-youth-thrive/
https://www.swinburne.edu.au/news/2023/10/swinburne-helps-pasifika-youth-thrive/
Social Affairs|Design
School of Design
false
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Destination Korea: An industry-linked study tour
Destination Korea: An industry-linked study tour
Industrial Design and Product Design Engineering students spent three weeks in Seoul, Korea, as part of a new industry-linked, culturally immersive study tour.
Industrial Design and Product Design Engineering students have been on a three-week study tour in Seoul, that took industry integration to the next level This pilot program has received glowing feedback from students, industry contributors, and long-time partner, Hongik University Students were mentored by industry leaders from Hyundai Kia Motors, Genesis, LG, Naver and had the chance to visit cutting-edge design facilities 20 Industrial Design and Product Design Engineering students from Swinburne Univeristy of Technology recently spent three weeks in Seoul, Korea, on an industry-integrated study tour. The tour collaborated closely with Korean students at Hongik University and were guided by professional mentors from renowned organisations such as Hyundai Kia Motors, Genesis, LG, and Naver. The trip was led by Swinburne Industrial Design Course Director and Hongik University alum, Dr Jo Kuys, who leveraged her extensive industry network to give students first-hand experience with cutting-edge Korean design. Scholarship funding was secured by Discipline Coordinator of Product Design Engineering, Dr Charlie Ranscombe, to ensure the trip was accessible through New Colombo Plan funding. The trip would also not have been possible without the collaboration of Hongik University School of Art and Design Dean, Professor Lee, along with members of the Industrial Design Department Professor Hwang, Professor Eoh and Professor Juh who were instrumental in developing the program and mentoring students. Next-level industry connection In addition to mentoring from the experienced staff at Hongik, students were inspired by daily visits from Hongik alumni, who lead some of the most famous design and engineering brands in the world. Swinburne Industrial Design students, Joshua Mcshanag and Jonathon De Lacy, expressed their surprise and enthusiasm at the level of industry feedback and connection. “The feedback was never, ‘That's wrong do this’. It was ‘Imagine if the design could do this’. It was always them pushing you in the right direction,” Jonathon said. “Every day we'd have industry advisors come around—people from Hyundai, Genesis and other amazing companies. Getting the opportunity to bounce ideas off them was fantastic,” Joshua said. Students also had the opportunity to visit state-of-the-art facilities, many of which usually have very limited public access. “LG was my favourite. I was curious to see the way that the masters in the field are handling design. It was fascinating, for both my research and execution,” Joshua said. Product Design Engineering student, Catherine Walton, was particularly taken by the Luxury car company, Genesis. “It was inspiring, as a young designer, to see a young company come into the world of design with such a strong vision,” Catherine said. Ms Lee Jinyoung, from the Seoul Design Foundation, facilitated the students’ architectural tour of the renowned Dongdaemun Design Plaza. “Witnessing the passion and curiosity with which they explored our cutting-edge designs was a testament to the promising talent fostered by Swinburne,” Ms Jinyoung said. A once-in-a-lifetime experience Dr Kuys and the students were adamant about how profoundly Korea and Hongik had inspired and informed the student’s design journeys. “Hongik University is best known for design; it's a very trendy and fun place to be. Students got to immerse themselves in what it's like to be a young designer in Korea,” said Dr Kuys. “I'll never forget the feeling I had staying there. It was different from just travelling because we felt more of a part of it. We were making friends with locals, hanging out with people that live there,” Catherine said. “We made the most of every day, every second. We knew we represented our university and we’d been given this great opportunity, which no one wanted to waste,” Joshua said. Professor Junha Kang, Dean, Office of International Affairs, at Hongik University proactively supported future collaborative programs with Swinburne. “The positive outcomes of this year's program have left an indelible mark on both participating students and our esteemed institutions,” Professor Kang said. “We eagerly anticipate extending the invaluable program opportunity to an even larger cohort of students in the future.”
12 September 2023 16:38
https://www.swinburne.edu.au/news/2023/09/destination-korea-an-industry-linked-study-tour/
https://www.swinburne.edu.au/news/2023/09/destination-korea-an-industry-linked-study-tour/
Design
Centre for Design Innovation (CDI)
false
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Swinburne design alum changing the world one idea at a time
Swinburne design alum changing the world one idea at a time
Swinburne communication design alum Trinity Ross, at the helm of her own creative agency, believes that creativity and design can change the world.
Communication design alum Trinity Ross believes creativity and design change the world for the better Trinity is the founder of creative ideas agency, Superthink, that does purposeful design and marketing Trinity’s ideas have seen her recognised as one of Vogue Australia’s Top 5 Future Innovators and named in Fast Company’s World Changing Ideas Awards 2022 list Swinburne communication design alum Trinity Ross believes that creativity and design can change the world – but she didn’t always think that. “In high school, a lot of people discredited creativity, calling design an ‘easy subject’. Your subject scores are even scaled down by the grading system too, so it’s harder to get a high graduating score,” says Trinity. “I wanted to prove that people can do well in creative subjects, so I worked hard to get a good result.” Trinity’s results earned her a Vice-Chancellor’s scholarship for the Bachelor of Communication Design (Honours) – the same course both her parents had studied (and incidentally, where they met each other). Today, Trinity is a globally recognised innovator who is changing the world one idea at a time. Kick-starting a career in design Even before her first class at Swinburne, Trinity was given opportunities to kick-start her career in design. “As soon as we got our student email we were asked if anyone was interested in painting a Formula One race car for the Grand Prix in Melbourne…I jumped at it of course,” says Trinity. From there, Trinity dived into university life. At Open Day, she took part in a startup pitch competition, pitching an idea for ‘Nextpark’ which she describes as like Airbnb for your car space. Trinity was encouraged to enter the idea in Swinburne’s Venture Cup competition and had the opportunity to pitch her idea to 200 people. “That was the first big presentation I’d done in front of a crowd, it was a great experience,” she says. Despite not winning, a Swinburne connection introduced Trinity to the CEO of startup UbiPark who offered her a part-time design job while studying. Trinity’s ideas have seen her recognised as one of Vogue Australia’s Future Innovators and named in Fast Company’s World Changing Ideas Awards 2022 list. A light bulb moment While studying, Trinity also worked at independent advertising agency Big Red Communications Group within the Coles Supermarket team. There she saw Coles’ Little Shop campaign progress from idea to production and contribute to the supermarket recording its biggest quarterly profit of all time. “That was such a great insight into how an advertising campaign can make such a big difference in a company’s success” says Trinity. “That’s when I realised the power of creativity…when I started getting the confidence that design really can make a difference.” This light bulb moment sparked an idea for what would become her own business. “We will all spend about a third of our lives at work, and I don't want to look back when I'm at retirement and think I spent that time and creative energy convincing people to buy things that they don't need. That's not what I was put here on earth to do,” says Trinity. Ideas that can change the world Since 2021, Trinity has been at the helm of her own company Superthink – a creative ideas agency doing purposeful design and marketing. Everything Superthink does links to the United Nations’ 17 Global Sustainable Development Goals. “The global goals are really close to my heart. All the projects that come through Superthink have to align with them,” says Trinity. Superthink’s first concept project, which Trinity started developing during one of her classes at Swinburne, won an honourable mention in Fast Company’s World Changing Ideas Awards for 2022. ‘A Good Sign’ aims to bring sign language into Google Translate in the form of animated emojis to bring diversity and inclusion into the digital space. This project also saw Trinity recognised in the Vogue Australia Top 5 Future Innovators of 2022 list. Since then, Trinity has worked with many startups and organisations in the renewable energy sector like Wind Projects Australia. Superthink is also working with Swinburne’s Aerostructures Innovation Research Hub (AIR Hub) to craft its story of advanced manufacturing for aerospace by writing and designing a funding proposal to go to the Victorian Government. “I reached out to Swinburne because I saw AIR Hub had launched the first hydrogen powered drone in Australia, which I thought was an incredible story about Aussies leading the way for clean aerospace,” she says. Trinity credits Superthink’s growth to those who have believed in her along the way. “At the end of the day, it’s been people saying ‘yes’ to me…which is honestly one of the only ways I could have got to where I am today,” she says. Why not? Trinity is driven by a desire to make an impact with the time she has. “I want to look back and not regret not giving it all I have, because I know that everything is so finite,” she says. Trinity’s advice to other students is to never doubt the power of creativity and design. “Everything you interact with in this world has literally been designed by some other human…so why couldn’t that be you?” she says. She also shares the overall mantra she lives by which is simply, why not? “Why not see what type of person you can become? Why not see how many people you can help? Why not see how much you can do and how far you can go?”
01 September 2023 12:24
https://www.swinburne.edu.au/news/2023/09/swinburne-design-alum-changing-the-world-one-idea-at-a-time/
https://www.swinburne.edu.au/news/2023/09/swinburne-design-alum-changing-the-world-one-idea-at-a-time/
Design
Student News
false
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Best in Australia: Swinburne VET students win gold at WorldSkills
Best in Australia: Swinburne VET students win gold at WorldSkills
Three Swinburne VET students won first place in the 2023 WorldSkills Australia National Championships and will go on to compete at the International WorldSkills Games in Lyon, France next year.
Three Swinburne VET students won first place in the 2023 WorldSkills Australia National Championships and will go on to compete at the International WorldSkills Games in Lyon, France next year Nellie Holder won the Graphic Design competition, Thomas Balint won Landscape Construction, and Will Vestergaard won Mechatronics and received the Tjerk Dusseldorp Best in Nation medal Hamish Ridley and Michael Ritchie won silver in the Industry 4.0 competition Three Swinburne Vocational Education and Training (VET) students won first place in the 2023 WorldSkills Australia National Championships and Skills Show this weekend and will go on to compete at the International WorldSkills Games in Lyon, France next year. The excitement unfolded at the Melbourne Convention and Exhibition Centre over three days as selected regional contestants competed to showcase and benchmark their skills on the national stage, going head-to-head with their industry peers from around the country. The WorldSkills National Championships are Australia's largest skills excellence competition. They take place every two years and feature over 500 young tradespeople competing across 60 skills. A dozen Swinburne VET students represented the university in the 2023 competition across Landscape Construction, Visual Merchandising, Graphic Design, Additive Manufacturing, Industry 4.0, Mechatronics and Bricklaying. “I am so very proud of our VET students, teachers, mentors and all those who supported this magnificent result,” Madelyn Bolch, Pro Vice-Chancellor and Chief Executive Vocational Education shared. “Worldskills gives our young people a unique opportunity to demonstrate their skills and talent...skills that drive the future of Australia. Our Gold winners now have the chance to compete in the International WorldSkills Games in Lyon, France in 2024! The Swinburne community is celebrating today!” Ms Bolch said. Swinburne students showcase winning skills The Landscape Construction competition required a jack of all trades approach from talented Swinburne student, Thomas Balint. He competed to deliver a project meeting requirements of the broad aspects of landscaping. Mr Balint’s focus and preparation paid off as he took home first place! Thomas Balint is studying a Certificate III in Landscape Construction. Landscape Construction involves modifying or creating green spaces, like gardens and parks and has many unique elements. Projects include building concrete, brick, block and stone structures and features, installing drainage systems, implementing paving and retaining wall projects and knowledge of plant culture and soil profiles. Swinburne alum, Nellie Holder, had to apply her understanding of target audiences, markets and trends in the Graphic Design competition. She executed a challenging brief that covered all aspects of the technical, conceptual and production processes of graphic design. Ms Holder’s creativity and attention to detail impressed the judges, earning her first place! Ms Holder recently completed her Advanced Diploma of Graphic Design at Swinburne. Graphic Design is the visual communication of an idea or concept. Graphic Designers work with internal and external clients to develop the overall layout and production design for applications, such as advertisements, brochures, magazines, and reports. Blayde Djanko was the youngest competitor in the WorldSkills National Bricklaying contest Swinburne student, Will Vestergaard, demonstrated his skills in technology and PLC Programming in the Mechatronics competition as he built a project consisting of several operations and maintained a simulated plant during the competition time. Mr Vestergaard won first place in the Mechatronics competition and was awarded the Tjerk Dusseldorp Best in Nation medal, for receiving the highest individual score. Mechatronics involves working with constantly evolving technology in the Industrial Automation realm to solve technical problems and maintain automated mechanical equipment. They work alongside engineers and scientists, often assist in the research and development of production. Mr Vestergaard is studying an Advanced Diploma of Engineering Technology. Swinburne students, Michael Ritchie, Hamish Ridley, Coby Vowels, and Kunj Desai competed in teams of two in the Industry 4.0 competition, as they tackled a challenging brief to modernise systems and processes with digital technologies. After a competitive contest, Mr Ritchie and Mr Ridley were awarded second place. Industry 4.0 connects the digital and physical worlds using technologies like machine-to-machine communication, artificial intelligence, machine learning, and sensor technologies. More and more Australian manufacturers are using digital technologies to modernise their systems and processes. Mr Ritchie, Mr Ridley, Mr Vowels and Mr Desai are currently completing their Advanced Diploma of Engineering Technology. Valuable opportunities for emerging talent WorldSkills Australia fosters career pathways for young Australians and provides valuable experience to vocational education students starting out in their careers. Five additional students represented Swinburne in Additive Manufacturing, Bricklaying and Visual Merchandising. Swinburne Additive Manufacturing students, Malory Heliotis and Tyron Lockwood, were challenged to transform industrial production to create lighter, stronger parts and systems. Malory Heliotis is currently studying an Advanced Diploma of Engineering Technology (Mechatronics Engineering Design) and Tyron Lockwood is studying Advanced Diploma of Engineering (Mechanical Engineering Design) at Swinburne. Additive Manufacturing is the process of creating a physical object by building it one layer at a time, like 3D printing. It is one of the fastest developing branches of engineering, due to the increased production speed and ability to produce complex shapes using less material than traditional manufacturing methods. Blayde Djanko is currently completing his Certificate III in Bricklaying and Blocklaying at Swinburne and was the youngest competitor in the WorldSkills National Bricklaying contest. The Bricklaying competition required Mr Djanko to construct a project out of clay bricks and concrete masonry blocks, that met precise details and specifications. Bricklayers create brickwork and blockwork using clay and concrete masonry products. Their scope of work ranges from residential to commercial and includes constructing straight walls, ornamental walls, structural walls and non-load bearing walls. Kaitlyn Tullber competing in the Visual Merchandising competition Swinburne students, Kaitlyn Tullber and Olivia Lacey competed in the Visual Merchandising competition where they were tested on their ability to apply different display elements and principles, their knowledge of design language and techniques for product presentation. Ms Tullber and Ms Lacey are currently completing a Diploma of Visual Merchandising. Visual merchandising plays a critical role in the culture and perception of a brand. Visual Merchandisers plan and install internal, window and fixed displays and have skills in prop construction, styling and working to an industry brief. Mentoring the next generation Belinda Smith is a Trainer in Swinburne University’s Diploma of Visual Merchandising program, and judge in the WorldSkills 2023 National Championship. Ms Smith believes the WorldSkills National Championship is a great opportunity for her Visual Merchandising students to develop skills that will serve them well in their professional careers, such as “paying a high level of attention to detail, creative thinking outside the square, developing unique original ideas for concepts, using innovative techniques to build props, self-management and working autonomously.” “I believe World Skills Competition can really empower students with many skills to be the best of the best in their field,” said Ms Smith.
21 August 2023 16:06
https://www.swinburne.edu.au/news/2023/08/best-in-australia-three-swinburne-vet-students-win-gold-at-worldskills-national-championships/
https://www.swinburne.edu.au/news/2023/08/best-in-australia-three-swinburne-vet-students-win-gold-at-worldskills-national-championships/
Student News|Trades|Design
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Students skewer publishing world in new Truce Films web series
Students skewer publishing world in new Truce Films web series
Swinburne students have played a major role in producing Monologue, a satirical web miniseries by award-winning production company Truce Films.
Swinburne students have been a major supporter in producing Monologue, a satirical web miniseries by award-winning production company Truce Films Over twenty Swinburne students and graduates were involved in the production, both on and off set With diverse skills required, students studying film and television, media and communications, and design gained real-world work experience on the production Swinburne students have played a major role in producing Monologue, a satirical web series by award winning production company Truce Films skewering the world of pop-culture publications. Throughout the duration of the project, over twenty Swinburne students and graduates were involved in the production, both on and off set. With the project requiring diverse skills, students were able to gain real-world experience from their studies in film and television, media and communications, and design. Funded by Screen Australia and VicScreen, the comedy series is about a fictional outlet, described as ‘Australasia’s sixth most influential pop-culture publication’ and the people who run it. The publication is led by Monique Crawford (Emily Taheny), a socially minded but narcissistic editor, and her conservative, money-hungry business partner Max Jenke (Mike McLeish). There are six episodes in total, looking at everything from AI and TikTok trends, to mental health and social issues. A multi-media project Beyond the film production, students also worked on the Monologue digital project, to create a brand identity and website in conjunction with the series. Communication designer Lauren Gualano and junior UX designer Yi Yang from Swinburne’s Design Bureau worked closely with Truce Films to create the multimedia experience. “Joining this project was a great learning opportunity for me and I enjoyed the process of taking in feedback, revising my work and then seeing a finished product emerge in the end,” said Yi. The Design Bureau created the Monologue logo and website Upholding the façade of a pop culture publication, Swinburne student Eden Young created fake clickbait style content as a part of her major industry project in Literary Industry Practice (LIT30004) to include on the website, and even returned to work as an extra when production began. By publishing content across several media channels, Monologue could blur the lines between truth and fiction and enabled the audience to engage with the material at a much deeper level. Learning in real time Surrounded by experts in the industry, students quickly got feedback on their work and learnt live on set. Head of Film and TV at Truce Jim Wright said it was a fantastic experience to work with the students, especially seeing them build their confidence on-set. “One of the real treats of working with students is seeing them learn in real time – the change on a live set is so rapid,” he said. “It’s amazing to watch their confidence grow and see them start to become comfortable in their role in the crew, and hopefully start to form the relationships that will get them their next job.” Check out Monologue – all episodes are available now.
11 August 2023 10:32
https://www.swinburne.edu.au/news/2023/07/students-skewer-publishing-world-in-new-truce-films-web-series/
https://www.swinburne.edu.au/news/2023/07/students-skewer-publishing-world-in-new-truce-films-web-series/
Film and television|Design|Student News
false
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Adaptable creativity – alum success from furniture to food
Adaptable creativity – alum success from furniture to food
Industrial Design alum Sashia Rosari is the owner and creative mind behind both furniture design company SORS and HONU Poké & Matcha Bar in Jakarta, Indonesia.
Sashia Rosari is the owner and creative mind behind two successful Indonesian businesses: furniture design company SORS and HONU Poké & Matcha Bar After graduating from Swinburne with a Bachelor of Industrial Design (Hons), Sashia worked as a designer for the leading Australian furniture design firm, Jardan When Sashia decided to move back to Indonesia, she worked as a Design Executive for PTT Family, before using her diverse creative experiences to start her two businesses Swinburne alum Sashia Rosari has worked at leading design and industry companies in both Australia and Indonesia. She now owns two successful businesses and says her studies and industry experience have been a big part of her success. Sashia moved to Melbourne from Jakarta when she was in high school. She chose to study Industrial Design at Swinburne because the honours degree allowed her to work a year in industry as part of her studies. “I specifically wanted to enrol in Swinburne because of their industry placement program,” Sashia says. “I knew somebody else that had gone to Swinburne, and I thought ‘that's what I want to do, get actual experience while I’m studying’.” Sashia did her industry placement throughout her third year at the exhibition design company, Mothers Art. “The workplace experience was so valuable as it introduced me to a new network of specialised artisans and tradespeople, where I was able to absorb firsthand knowledge from them,” Sashia says. “Industry placement helped me mature my approach to design and tackle briefs in a much more professional manner.” Sashia designs the furniture and interiors of her HONU Poké & Matcha Bar and leads the creative vision for the business. Creative flexibility Sashia got her graduate job working in the design offices of the prestigious Australian company, Jardan Furniture, and remained there for five years. After that, Sashia returned to Indonesia and went to work as a design executive for the hospitality group that owns Potato Head Beach Club in Bali. She designed furniture for hospitality establishments, across Indonesia, Hong Kong and Singapore. “You'd be surprised at what type of company requires our help,” Sashia says. “It’s reassuring to know that so many different fields out there require designers.” After two years in Bali, Sashia moved back to her childhood home of Jakarta and used her recent experience in hospitality to start her first business, HONU Poké & Matcha Bar. “My experience with Potato Head showed me that creating an experience is also design.” “I enjoyed seeing how a concept was created for a restaurant and taking it from an idea to reality. It's like a bigger version of designing furniture.” Only a year later, Sashia also started her furniture design company SORS, returning to the expertise she built while working for Jardan. SORS offers ranges of both residential and commercial furniture as well as designing custom commissions for business throughout the year. International experience Sashia’s time studying and working in different cities around the world was a big part of her creative journey and she recommends the experience to young designers and entrepreneurs. “I'm an avid supporter of travelling as much as you can if you have the means and the opportunity,” Sashia says. “You gain perspective and absorb new culture that will enrich your encyclopaedia of skills, no matter what you ended up doing.” “I really appreciated my time in Melbourne. There are always so many things going on—the Australian Open, Formula One, Melbourne International Film Festival, Writers Festival, Design Week, there's just so much.” “I think for students from wherever thinking of trying out studying abroad, if you have the opportunity, just give it go.” “Particularly for Indonesian students, because Australia is so close, it's easy for your parents and to visit home. It's very safe but still exciting.”
01 August 2023 10:03
https://www.swinburne.edu.au/news/2023/08/adaptable-creativity-alum-success-from-furniture-to-food/
https://www.swinburne.edu.au/news/2023/08/adaptable-creativity-alum-success-from-furniture-to-food/
Design
false
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Design for Change winner: solar distillation solution
Design for Change winner: solar distillation solution
Bachelor of Engineering and Law student, Erfan Mangani was the winner of the Design for Change 2023 competition with his 3D printed solar distillation solution project that addresses issues of water equity in rural Australia.
Bachelor of Engineering and Law student Erfan Mangani was the winner of Design for Change 2023 with his 3D printed solar distillation project The competition challenges students to create innovative, sustainable, and feasible designs to solve real world issues Erfan’s project aims to tackle water equity issues experienced by some rural Australian communities like Aurukun in Northern Queensland Bachelor of Engineering and Law student Erfan Mangani has won the Design for Change 2023 competition with his 3D printed solar distillation project that addresses issues of water equity in rural Australia. Lead by Microbial Biotechnology and WIL lecturer, Dr Brita Zaferanloo, this annual competition develops students’ communication and technical skills as entrepreneurs. It focuses on supporting innovative, sustainable, and feasible designs that solve real-world challenges. Designing a solution Erfan’s innovative idea is creating 3D printed components that can be used as a solar distillation solution. The idea emerged from a project in Engineering unit, Technology in an Indigenous Context Project (COS10025), that challenged students to implement emerging technologies in innovative ways. The project aims to address ongoing water equity issues in rural Australian communities, like those faced by Indigenous communities located in Aurukun, a town located in Northern Queensland. Due to consistent warm and dry weather, their water supply has been identified as not being up to standard, and local council members have raised their concerns. Simple, flexible, and sustainable Erfan recognised that the emerging technology of 3D printing could be utilised to solve this problem, so he made a device that could distil contaminated water. The design is a 3D printed component that can be attached to bottles or jars and can provide clean water via solar distillation. The contaminated water in the bottom bottle is evaporated by sunlight, travelling through the nozzle, where it’s condensed to clean, drinkable water and captured in the top bottle. Erfan tested the design with a prototype of the component A key aspect of the project was ensuring its potential for future improvements and integration, so simplicity and flexibility was at the forefront of the design. 3D printing is highly customizable which is suitable for creating a design that works best for the specific community. All the component materials are also recyclable to ensure sustainability. A close-up rendered image of the component Most of the device is hollow, with various gaps within its frame. The nozzle of the component is also a triangular prism, rather than a circular tube. This was done intentionally to reduce print time and material cost. A less complicated design also reduces the chance of costly failure prints. Erfan was happy to be selected by the judges and encourages anyone interested in design to get involved. “The Design for Change competition was a fantastic opportunity to test my innovation and design skills, and I will be looking to get more involved for future semesters,” Erfan said. Erfan's Design for Change video submission
13 July 2023 15:32
https://www.swinburne.edu.au/news/2023/07/design-for-change-winner-solar-distillation-solutions/
https://www.swinburne.edu.au/news/2023/07/design-for-change-winner-solar-distillation-solutions/
Student News|Design
false
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Sustainable design turns waste into wonder
Sustainable design turns waste into wonder
The new Albury Summer Place Pavilion ‘Re/Place’ is championing reused materials and helping educated the local and architectural communities on the importance of a circular economy.
Architect, Chris Fox, has partnered with Swinburne, the University of Sydney, and Bollinger+Grohmann engineers to create the new Albury Summer Place Pavilion: Re/Place Re/Place was driven by the desire to explore new ways to reuse waste created in the construction industry It gives the local community somewhere to gather and, with the help of an interactive virtual model, teaches them about reusing materials. The 2022 Summer Place Pavilion, Re/Place, proves that ‘one man’s trash is another’s treasure’ is more than an adage and is key to the future of sustainable design. Everything from the piles to the last bit of timber in the project has been reused. Only the steel parts above ground (bolts, screws and base plates) are new. The timber was sourced from local timber recycling companies; Among the Trees, in Sydney, and Timberzoo, in Melbourne. The design even made use of remnants of the pavilion from the previous year. The process of research, exploration, and experimentation for the project was equally important to the physical outcome and proved what can be achieved with reused materials. The density of the design and its over lapping pieces were a way of ensuring that the structure remained stable and safe despite the irregularities of reused materials. Photography by Jeremy Weihrauch What’s so important about reuse? Reused materials drove the decision-making for the project, leading the design instead of being a secondary consideration. Reuse is more sustainable than recycling, as it uses less water and energy and has fewer environmental impacts. This idea of giving materials a new life, rather than sending them to landfill, is central to the idea of the circular economy, and is vital to contemporary sustainability practises. The current systems in place neglect this thinking, so Re/Place had to develop methods of reusing construction materials. The project is a prototype for how construction materials can be reused and has already started conversations among local architects about how reuse can be employed more widely. Dr. Sascha Bohnenberger-Fehr, managing director Bollinger+Grohmann and lecturer at Swinburne, was a key collaborator on the project. “We wanted to challenge ourselves and see what could be done with a more sustainable approach,” Sascha said. Chris Fox (left) and Dr Sascha Bohnenberger-Fehr at the Re/Place opening. Photography by Jeremy Weihrauch Nation-wide collaboration When Chris Fox was first invited to design the pavilion, he reached out to Dr. Sascha Bohnenberger-Fehr to collaborate with. “We discovered very quickly that we had similar ideas about what we wanted to do with the project,” Sascha said. From there, they brought in their university partners who were pivotal to the construction process. The roof and roof-to-wall modules were fabricated by staff and students in Swinburne’s ProtoLAB, while the wall-to-ground elements were created in The University of Sydney’s Design Modelling & Fabrication Lab (DMaF). Everyone worked from a highly controlled digital model and knew which elements were to be fabricated by whom. The design was created so that the timber could be fitted together using only a spanner, so when modularized parts were sent to Albury they could be easily assembled by a local builder. Working with a living material has many challenges but also creates highly unique results. Photography by Jeremy Weihrauch Living building materials The cladding for the project was also created in the ProtoLAB and DMaF by using the cutting-edge practise of casting with Mycelium. Mycelium is the root structure of fungi, making it highly renewable and sustainable, and can be grown and set into shapes for construction. Architectural Design Lecturer, Canhui Chen, from Swinburne, and Philip Gough, Biodesign program director at the University of Sydney both specialise in the use of Mycelium and contributed their expertise to the project. Crafting a system for building was what underpinned the project and its exploration Research and education beneath the surface A live-updating digital 3D model was created by Imersian to show people how the pavilion was constructed and what materials were used. The model will map any changes that occur over time to help inform future projects created from reused materials. It is being expanded and will show the design’s carbon footprint and allow viewers to compare the impact that would have occurred if the structure had been made from different materials, such as new timber or steel. Augmented reality capabilities allow viewers to see the design in their own space and use the design as an educational example anywhere in the world. “The starting point is to introduce that concept of the circular economy to people and to educate them, to make people aware that you don't have to throw things away,” Sascha said.
27 June 2023 16:03
https://www.swinburne.edu.au/news/2023/06/sustainable-design-turns-waste-into-wonder/
https://www.swinburne.edu.au/news/2023/06/sustainable-design-turns-waste-into-wonder/
Design
false
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Appreciating aging in everyday products
Appreciating aging in everyday products
New design research is tackling how to reduce product waste by shifting user perceptions to help people value and enjoy products for longer.
Swinburne researcher, Dr Charlie Ranscombe, is investigating why the design and material of certain products mean they are appreciated, rather than discarded, as they age This research is inspired by items ranging from brass doorknobs to expensive blue jeans, the rare but diverse objects our society values as they change with wear The research focuses on making a business case for how design can harness this phenomenon to reduce waste by altering consumer behaviour and increasing the lifespan of products Why do some objects stay ‘timeless’ and others quickly become ‘old’ or ‘last season’? Swinburne researcher, Dr Charlie Ranscombe, is investigating how materials can help products be valued with age, rather than abandoned. His research contributes to a growing discussion around waste and how we can alter our perceptions about the ageing of products. A novel approach to tackling waste In a society where fast fashion, trends, and consumerism dominate our lives, products are often discarded the minute their novelty subsides. “As people, we have a desire for new things. If something looks a bit tired, we think it’s an excuse to buy something more,” Dr Ranscombe said. Despite this common mindset, there are certain things consumers value as they age, based on their material, design, and production. For example, a quality briefcase might be kept for years, the ageing appearance of its leather only adding to its appeal. Products like this one inspired Dr Ranscombe to study and recreate this phenomenon. “The question arises, what do we need to do, in terms of design, to get people to perceive ageing of more everyday products in the way they would denim or leather?” “We are looking at how the aesthetics and material of a product can change people’s behaviour.” Sustainability in design At the heart of this research is a desire to tackle the waste culture that permeates our society and contributes to the growing issues of landfill, resource shortage, emissions and more. “As you own a product, it becomes less novel, and that’s what drives people to buy more things,” Dr Ranscombe said. “If we can sustain novelty or slow down the decrease in novelty – that’s a huge win in terms of sustainability”. Creating novelty through unique ageing would be an innovative way to encourage people to hold onto products for longer and thus reduce waste. “We’re hoping to find evidence that shows people will enjoy this – that they can like ageing”. “Until there’s evidence, businesses won’t believe that something ageing can be a good thing. The default position is that it’s bad”. The road ahead Research conducted so far has shown that novel design, as well as material, is likely to be a key factor in having people recognise a product’s ageing as a unique and exciting process. “The design needs to be different. The owner needs to recognise, at the point of purchase, that this is a unique thing,” said Dr Ranscombe. “We need to walk a tightrope in terms of creating something which still has mass appeal but is different enough that people will perceive ageing in a positive, rather than negative way.” Research like this is a chance for each of us to consider what makes us throw things away and what we might be instead able to find a new appreciation for. “Sustainability is always more successful when it’s driven by society,” said Dr Ranscombe. “So, if we can get that change on a societal level, that would be really exciting”.
27 June 2023 15:34
https://www.swinburne.edu.au/news/2023/06/appreciating-aging-in-everyday-products/
https://www.swinburne.edu.au/news/2023/06/appreciating-aging-in-everyday-products/
Design
false
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Swinburne innovations are addressing the housing crisis by developing sustainable, affordable and energy efficient housing materials
Swinburne innovations are addressing the housing crisis by developing sustainable, affordable and energy efficient housing materials
A new research project from Swinburne University of Technology will make Australian homes more sustainable, address rising costs of living, and reduce construction waste.
A new research project from Swinburne University of Technology will make Australian homes more sustainable, address rising costs of living, and reduce construction waste Professor Blair Kuys, Swinburne School of Design and architecture Associate Dean Research is leading the project Swinburne is one of six research facilities to share in $6 million funding for 8 new projects to be conducted out of the National Institute for Forest Products Innovation (NIFPI) centre A new research project from Swinburne University of Technology will make Australian homes more sustainable, address rising costs of living, and reduce construction waste. The ‘Research, development and validation of 8-star rated architectural products maximising the use of out-of-grade timber’ project has been awarded $751,909 in total, including industry contributions. Professor Blair Kuys, Swinburne School of Design and architecture Associate Dean Research is leading the project and brings 20 years of experience in researching and designing architectural products. Joining him is Swinburne Alum, Dr Nathan Kotlarewski, now at the University of Tasmania, who has specialist expertise in timber engineering. “By combining an abundant resource with clever product design engineering, we believe we can create high-quality outputs that will be comparable in cost to less sustainable equivalents,” Professor Kuys said. Building energy-efficient homes As of August 2022, the Australian government requires all houses to be built with at least a 7-star energy rating. Energy-efficient homes are better for the planet and dramatically lower running costs over the life of a house, but the policy has also contributed to rising building costs and material shortages. This project is tackling those issues by using out-of-grade timber to design, develop and validate affordable and innovative timber products. ‘Out-of-grade’ timber is considered unsuitable for use in construction due to imperfections such as bows or knots. Australia produces an estimated million cubic metres per year, equal to approximately 200,000 30-year-old pine trees Most out-of-grade timber is currently being sent overseas and turned into wood chips, making its production either a cost-neutral exercise or even a profit loss. This project will take this widely available and affordable material and use it to design practical new products to help Australian homes achieve an 8-star energy-efficient rating. It is also minimising waste in construction by focusing on sub-assembled products that can be created off-site with advanced manufacturing processes. For example, this may include a modular insulated wall system that could then be brought onsite and easily assembled. AKD Softwoods, HVP Plantations, Engineered Wood Products Association of Australasia and iBuyNew are all industry partners in the project and will be directly involved in manufacturing the new designs as soon as they are complete. “This project is very practical. The money awarded will be used for research and development of tangible new products that have immediate avenues to market,” Professor Kuys said. Swinburne is one of six research facilities to share in $6 million funding for 8 new projects to be conducted out of the National Institute for Forest Products Innovation (NIFPI) centre in Mount Gambier. Federal Minister for Agriculture, Fisheries and Forestry, Murray Watt said the initiative will invest in our forest and wood products industries’ research and innovation capacity. “This will support ongoing research careers in the forest and wood products sectors,” Minister Watt said. The project will commence in 2024 and run for 2.5 years, with product innovations to be ready for use in Australian homes as early as the start of 2027.
20 June 2023 11:58
https://www.swinburne.edu.au/news/2023/06/swinburne-innovations-are-addressing-the-housing-crisis-by-developing-sustainable-affordable-and-energy-efficient-housing-materials/
https://www.swinburne.edu.au/news/2023/06/swinburne-innovations-are-addressing-the-housing-crisis-by-developing-sustainable-affordable-and-energy-efficient-housing-materials/
Sustainability|University|Design
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Transgress to impress: why do people tag buildings – and are there any solutions?
Transgress to impress: why do people tag buildings – and are there any solutions?
In 1985 photographer Rennie Ellis defined graffiti as “the result of someone’s urge to say something – to comment, inform, entertain, persuade, offend or simply to confirm his or her own existence here on earth”.
Analysis for The Conversation by Professor of Design History, Flavia Marcello In 1985 photographer Rennie Ellis defined graffiti as “the result of someone’s urge to say something – to comment, inform, entertain, persuade, offend or simply to confirm his or her own existence here on earth”. Since the mid-1980s, graffiti has crossed from vandalism to an accepted form of art practice through large murals or “pieces” and stencil art aimed at informing, entertaining and persuading us. But these are outnumbered by the tags you see everywhere. These stylised icon-type signatures define a hand style and confirm their author’s existence on Earth. These, for many of us, remain an eyesore. If you walk through an urban environment filled with tags, you may feel less safe. Heavily tagged areas can suggest the area is not cared for or surveilled. So why are Australian cities so full of tags? The problem is, the main solution proven to work is expensive. When tags go up, paint over them – and keep doing it. While anti-graffiti paint exists, it’s not widely used at present. Why do people tag? Graffiti in urban centres is often tied to the world-wide proliferation of hip-hop culture. Along with DJing, rapping and breakdancing, “Graf” or “writing” is considered one of its four pillars. Posturing (or showing off) is a big part of tagging. When you see a tag on a freeway overpass or seemingly inaccessible building parapet, it’s not only confirming the tagger’s existence, it’s bragging. See how high I climbed! See what crazy risks I took! As one tagger in Sydney’s outer south-western suburb of Campbelltown told researchers in the 1980s: If you get on a train and see your name and know you’ve been here before that’s real good. Like, I was here. Or you see your mate’s name and you can say, hey, I know him […] It’s really good if you can get your name up in a difficult place where nobody else has. Other kids look at that and think, great! Tagging is often a way to demonstrate bravado, as in this 2005 photo of taggers covering every window of an empty office building in Melbourne. Image: Scott Sandars/Flickr, CC BY So why do people tag? it boosts self-esteem and a sense of belonging to a social network, particularly for teens experiencing alienation at school it demonstrates bravado. Risky places have the added advantages of being both highly visible and harder to remove it gives graf artists practice for bigger pieces. You have to work quickly and accurately, especially in precarious positions where you could get caught at any moment. While cities like Melbourne have embraced larger murals and pieces as street art – even making them a tourist attraction – tagging isn’t regarded the same way. Street art has been embraced in inner-city Melbourne, with places like Hosier Lane becoming well known. But tagging doesn’t get the same acclaim. Image: Shutterstock So why do non-taggers hate it? On a broader level, tagging can signify a sense of social degradation which makes people feel less safe. There’s no clear link between more graffiti and more crime. Even so, the public perception is that tagging is a sign warning of the presence of disaffected and potentially violent people in gangs. Asked to picture a tagger and you will most likely come up with a stock photo stereotype: a male teenager in a hoodie from a seedy area. But you would not be completely right. It is true just under half (46%) of graffiti damage and related offences are committed by 14 to 16 year old males, but the largest percentage of offenders actually come from middle- to high-income families. So what tools do we have to manage it? Punishment It’s perfectly legal to commission a graf artist to paint a wall of a building you own. Many people do this to avoid a street-facing wall being tagged. For it to be illegal, tagging or graffiti has to be done without the owner’s permission. Since the majority of taggers are under 18, if they’re caught, punishment will usually include a caution, fines (presumably paid by bemused but cashed up parents) and cleaning off tags. But punitive measures only go so far because the appeal of graffiti is the transgression. Other measures include keeping spray paint locked away or not for sale to under 18s as well as zero-tolerance rapid removal. This can work for a while, but taggers know their tags are temporary. It’s a constant game of cat and mouse a committed tagger will eventually win. Technical solutions If you’ve walked past workers scrubbing or pressure washing tags off walls, you may have wondered why there are no coatings which don’t let paint stick. These actually do exist, and can work well. When in place, you can remove graffiti with a solvent rather than having to repaint. But they’re not widely used. Unless paints such as Deletum 3000 are used everywhere this approach is unlikely to be effective. Prevention The problem with punitive and technical measures is the limited reach. The vast majority of unwanted graffiti goes unreported. That’s why prevention is becoming more popular. How do you prevent tagging? By making it easier to report. By setting aside areas for taggers and graf artists. By commissioning pieces to deter graffers from illegal modes. And by talking directly to taggers about strategies. But these behaviour change efforts take time. People who hate tagging often believe taggers are motivated by negative emotions such as boredom and rebelliousness. For them it’s vandalism, a criminal act associated with gangs, petty crime, broken windows and a less attractive environment to live in. But the truth is, taggers are often motivated by positive emotions. Tagging, for them, brings pride, pleasure, enjoyment and community. That’s why behaviour change approaches can be hard. So what’s the best way forward? In the 1990s, many cities declared war on skateboarders, using punishment and installing metal stoppers on well-skated urban areas. But the real solution was simpler: create skate parks. For taggers, the answer may be similar. Give them spaces such as little-used alleyways to practise their art. And for the rest of us, the solution may be to look at tags with different eyes. Not as a sign of crime and the collapse of civilisation, but as a need for validation, for transgression, for community and all the other things you probably wanted when you were a teenager. This article was originally published on The Conversation.
12 June 2023 16:04
https://www.swinburne.edu.au/news/2023/06/transgress-to-impress-why-do-people-tag-buildings-and-are-there-any-solutions/
https://www.swinburne.edu.au/news/2023/06/transgress-to-impress-why-do-people-tag-buildings-and-are-there-any-solutions/
Design
false
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Students design food systems of the future
Students design food systems of the future
Master of Architecture and Urban Design students have joined arts practice, Futureology, to create a Melbourne Design Week exhibition about the food of 2049.
Swinburne students are exhibiting their work in Melbourne Design Week alongside the exhibition ‘Gloop: Exploring Urban Food Systems in 2049’ Art practice Futureology has curated the exhibition to imagine the world of 2049, where global food systems are under strain and ‘Augmented Taste’ is transforming the idea of food Swinburne Master of Architecture and Urban Design students have responded to this scenario with their own designs of urban food systems During Melbourne Design Week, futurist arts practice Futureology is taking Melburnians on an immersive tour of a ‘Gloop’ Factory from the future. Gloop: Exploring Urban Food Systems in 2049 was created in collaboration with Swinburne’s School of Design and Architecture and BETA By STH BNK. It is an exhibition set in a world has warmed 1.5 degrees above pre-Industrial levels, where global food systems are under strain, and the population is nearing 10 billion. Students were posed the question: how can architecture be part of the food crisis solution? They have been heavily involved in creating the exhibition, which has given them an invaluable opportunity to have their work showcased on a national level. Using future thinking Swinburne Master of Architecture and Urban Design students used ‘futureneering’ to explore future realities and design urban food systems and spaces for 2049. Anna Reeves, Futureology Director, ran a workshop to expand students’ future anticipatory skills. Aremel Tibayan and Alexander Favorito participated in the workshop and have gone on to be part of the exhibition alongside their Architecture and Urban Design studio peers “Futureology shared ideas and showed us how we could think more effectively about the future,” Alexander said. “How our architecture is going to affect the future, how it's going to live in the future, is always something we have to think about as architects.” “In simple terms, futureneering is thinking ahead—saying: ‘OK, how can we develop processes that are beneficial for the future population?” Aremel said. The 3021 project embraced the “definitely not sketchy” side of designing an underground food system. Imagining with future tech AI was central to driving the research and design process for the project. Students used generative AI tools, including MidJourney and ChatGPT, to envision the future of Melbourne, as well as explore and experiment with their own ideas. “I find that AI expands your imagination; it shows you things that you wouldn’t have thought of initially,” Alex said. “It takes a lot of imagination to visualize what is far beyond our reach, so we're trying to use AI to help us imagine more,” Aremel said. “In a society where everyone wants an output faster, you need tools that will keep up with that pace. “AI can reduce your creative load so you can move faster. It is essential to help us survive and keep up.” Swinburne lecturer, Linus Tan, introduced this technology as part of the Master of Architecture Design Research studio unit. “As a technology university, it is imperative that our students embrace and gain AI skills to enter the industry with a competitive advantage,” Linus said. Crafting future solutions Aremel, Alex, and their teammate Robin responded to the 2049 scenario with the design of an underground restaurant named 3021. The project was based on research about Vietnamese food and St Albans in Melbourne’s west. The team investigated the origins of local produce, studied the architecture, observed how people interacted with spaces, and spoke to the local community. “We realised in the ‘Gloop’ world, there would be a loss of the old way of sharing and making food—growing something on the farm, preparing it in the kitchen, and then sharing it together as a meal,” said Aremel. “In St Albans, there are lots of makeshift spaces; little squashed shops, gaps in the streets where people are selling things. We found inspiration in those makeshift spaces, spaces that are tucked away, hidden within things,” said Alex. These discoveries inspired the design of a restaurant that is both figuratively and literally underground. 3021, named after the St Albans postcode, embraces the entire journey of growing, harvesting, cooking, and sharing a meal, all hidden in a single location right under the nose of ‘Gloop Corp’. The team is excited to share the design with the public for Melbourne design week. “It’s exciting to be a part of, and the way that they're exhibiting everything as an immersive experience is very exciting as well,” said Alex. “It's an honour to be able to show your ideas in that space. For students to have the opportunity for the public to see their work is something to be thankful for,” said Aremel.
25 May 2023 15:59
https://www.swinburne.edu.au/news/2023/05/students-design-food-systems-of-the-future/
https://www.swinburne.edu.au/news/2023/05/students-design-food-systems-of-the-future/
Design
School of Design
false
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Students shaping industry development from across the globe
Students shaping industry development from across the globe
Students from Swinburne and Kyoto Institute of Technology have joined forces to solve a ‘wicked problem’ for industry leader Osaka Gas Chemicals.
Students from Swinburne and Kyoto Institute of Technology have joined forces to solve a ‘wicked problem’ as part of the SUGAR Network for Design Innovation The nine-month project put them on the front lines of design development as they worked for industry leader Osaka Gas Chemicals The outcome was a future-ready design for micro-mobility in Japan, as well as an extensive rationale to help inform the company’s future product development The ‘fuzzy front end’ of design is where some of the most challenging and impactful creative problem-solving occurs. SUGAR is a global network of academics, students, and corporate partners, dedicated to giving students experience working at this forward-edge of design. Students who undertake the nine-month SUGAR program are given experience, knowledge and resources that teach them a real-world, human-centred approach to tackling design challenges. The product design for Ark-e was only the tip of the iceberg, with extensive research and exploration supporting the final outcome A future-focused solution The Swinburne Design Factory Melbourne runs the SUGAR program as part of studies in Swinburne’s Master of Design and Design Honours degrees. Ben Wood and Orin Giesbers, Swinburne Industrial Design Honours students, and Ariella Vanya, Swinburne Master of Design student, joined the project to develop their skills on an international stage, collaborating with students Bisheng Wu, Kagari Miyamoto, Olivia Zhou and Tamaki Hamato from Kyoto Institute of Technology. “The SUGAR program is about pushing you beyond your comfort zone, to rapidly come to the best solution within a limited time,” Ben said. “You learn to be comfortable being uncomfortable and to trust your gut, and that's something that can only be done through this sort of trial by fire and having a great support network around you.” The ‘wicked problem’ During the program, the student team tackled a design problem with no clear or simple solution. These problems are challenging but have enormous opportunities for innovation and creative problem solving. For this project, Swinburne students and their counterparts at Kyoto Institute of Technology worked to discover the perfect product to introduce a brand-new sustainable, injection-mouldable material into the market. The industry client for the project was Japanese company Osaka Gas Chemicals (OGC), who are currently refining a lightweight, high-strength, biodegradable material called Fluorene Cellulose Fibre (FLCF). Professor at the Swinburne Design Factory Melbourne and SUGAR Network board member, Christine Thong, champions industry-connected projects like this one. “Industry clients often like to work with students because students can provide fresh perspectives and see new opportunities,” Christine said. “I saw SUGAR as an opportunity to test everything that I have learned in the past four or five years of my degree in one project with industry partners,” Ben said. “It’s a big test piece and a big challenge, and it's also very valuable for connections and international experience.” Students shot supporting promotional videos to showcase their designs at the SUGAR Expo A future-focused solution Students conducted numerous rounds of detailed research to establish which industry held the most promise for FLCF. During their months of research and conceptualisation, students uncovered the potential that lightweight, durable and recyclable materials can make micro-mobility more viable, practical and sustainable. Micro-mobility is still an emerging area in Japan, which makes it the perfect market to introduce a new material over the coming decade. The team created the design with a future-focus that considered stylistic, social and legal considerations likely to be relevant in the next ten years. The Swinburne team built a fully functioning prototype in Swinburne’s ProtoLAB, as well as creating a co-designed brand to effectively position the product in the Japanese market. At the end of the project, they had the chance to present their findings and design to their client and the rest of the SUGAR Network internationally at the SUGAR Expo. “It's almost unfathomable how much you change and learn from a project like this,” said Ben. “I grew to new levels of resilience and adaptability and worked on my communication skills.” “It was quite a responsibility and an amazing opportunity that we had and I'm so happy with how it turned out.”
19 May 2023 14:43
https://www.swinburne.edu.au/news/2023/05/students-shaping-industry-development-from-across-the-globe/
https://www.swinburne.edu.au/news/2023/05/students-shaping-industry-development-from-across-the-globe/
Design
School of Design
false
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Swinburne alum taking environmentalism to the streets
Swinburne alum taking environmentalism to the streets
Swinburne Industrial Design alum, Nate Orton, started the ethical, Melbourne-made streetwear brand ICHPIG® out of a garage with his brother over ten years ago.
Over a decade ago, Swinburne alum Nate Orton, along with his brother Alex Orton, started the Melbourne streetwear brand ICHPIG® ICHPIG® initiated as Nate’s honours project, with the question, ‘How does ICHPIG® create a cult-like following?’ ICHPIG® has a committed focus on creating quality garments that are ethically produced, long-lasting and unique Over a decade ago, two brothers with a single sewing machine started the streetwear brand ICHPIG® out of a Melbourne garage. Since then, ICHPIG® has grown into a brand known around the country for its quality, authenticity and ethical approach. Behind this success is critical problem-solving and a step-by-step approach to tackling the mammoth issue of effective environmentalism in the fashion industry. ICHPIG® garments are created for consumers to wear and enjoy for years. Solving problems Swinburne alum Nate Orton started ICHPIG® with his brother Alex while Nate was still studying for a Bachelor of Industrial Design. By his fourth year of study, Nate knew his ambitions didn’t lie down a traditional industrial design path and his burgeoning brand was taking centre stage. Nate’s Swinburne tutors recognised his passion and worked with him as he developed the ICHPIG® brand to be the focus of his honours project. “At its core, Industrial Design is problem-solving and there were plenty of problems in ICHPIG® to solve,” Nate said. The question at the centre of Nate’s project was ‘How does ICHPIG® create a cult-like following?’ Outcomes from that question fuelled the development of the brand and even resulted in the design of the Anorak Hoodie, which remains a cornerstone of the brand today. “Even now that process thinking I learnt—how to take a need or want and come up with a solution for it—I use every day here in the studio,” Nate said. ICHPIG® started with taking old garments and stock and re-creating them into innovative designs for consumers to wear. Progress over perfection ICHPIG®’s brand philosophy redefines the relationship consumers have with garments. Rather than only designing garments to be worn for a short time and then discarded to landfill, ICHPIG® focuses on making products that will last and remain appealing for years. “One thing I learned in my bachelor’s degree was that there is so much stuff in the world, that you need to make sure what you create is unique,” Nate said. “If you just keep designing stuff, then people just keep buying stuff, and if people keep buying stuff, they keep throwing stuff out.” This practical, ground-up approach to environmentalism is a stark contrast to the stylistic ‘greenwashing’ and often empty platitudes that accompany so-called ‘sustainable’ design. Similar thinking is displayed in the structure of the business that designs, produces, sells and, wherever possible, sources locally. This hugely reduces the brand’s carbon footprint. Nate freely admits to the challenges and imperfections that go along with trying to create a sustainable brand. “Our whole world is built on ‘new-new-new’ and ‘waste-waste-waste.’ The attitude is ‘don’t look back or you’ll see the mess you’ve made’.” “I’m not saying I don’t create mess, of course I do, but at least I’m aware of it and I am consciously putting my hand up as a business owner to try and come up with solutions.” “It’s progress over perfection. If you’re waiting for a perfect solution, then you do nothing and aren’t helping anything anyway.” If you ask Nate about any of the hundreds of pattern pieces lining the studio walls, he can tell you exactly which garment they were from. Coming full circle The first products ICHPIG® ever created were produced by taking deadstock and re-crafting them into something desirable and unique. Nate has plans to return to this legacy as part of the next step in the brand’s sustainability journey. The goal is to create a closed loop for ICHPIG® garments, where products can be returned to the factory to be transformed into unique, one-off pieces — a pair of old jeans transformed into a denim vest, or two damaged hoodies reconstructed into a new one. “The utopia would be a business that made money, supported people and never created waste again,” Nate said. “That might not be realistic, but you can still work towards 5%, 10%, 20% of that and keep creating more initiatives. It all comes back to problem-solving again.” “When we started out, upcycling dead stock was the part we were playing. Now that we’re established, we can afford to make all our mailers and care bags biodegradable.” “The next point is creating a closed loop for garments. Once we’ve got that sorted, it might be putting solar panels on the factory. It’s just about doing more and more as you can.”
19 May 2023 12:19
https://www.swinburne.edu.au/news/2023/05/swinburne-alum-taking-environmentalism-to-the-streets/
https://www.swinburne.edu.au/news/2023/05/swinburne-alum-taking-environmentalism-to-the-streets/
Design
false
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Swinburne graduate uses art to explore her cultural identity
Swinburne graduate uses art to explore her cultural identity
Swinburne graduate Ashley Chau’s latest photo series explores her cultural identity as a second-born Chinese Australian.
Swinburne design graduate Ashley Chau created The In Between, a photographic narrative as part of her capstone project This project was an opportunity for Ashley to explore her Chinese-Australian cultural identity and helped her find a sense of belonging Ashley says that her time at Swinburne has led to some amazing opportunities beyond the classroom Swinburne graduate Ashley Chau says that her time at Swinburne has provided her with avenues to explore her identity on a deeper level. This was especially evident through her capstone project, The In Between (2022) photo series. Ashley, who studied a Bachelor of Design majoring in Photo-media and minoring in Communication Design says that she has always been a creative person. “My dad – who funnily enough also graduated from Swinburne – is an illustrator and has been the biggest influence on my love for the arts and design since I was a kid,” Ashley says. As part of her capstone project, Ashley created the photo series The In Between, which not only pushed her creatively and conceptually, but also led to some amazing opportunities. “My capstone project was a really great way to end my degree. My tutor nominated myself and a fellow classmate to be part of the 2022 Antipodean Student Photobooks. “I was also linked to a photographer, Chloe Bartram, who I worked with in designing her photobook, Abandoning Light. All these opportunities from my capstone project and my amazing tutor have been the highlight of my time at Swinburne.” Ashley’s origin story Explaining the thought process behind her photographic narrative, Ashley says she was exploring her cultural identity as a second-generation Chinese born Australian. “In Melbourne, the population is made up of people from culturally diverse communities. Growing up in such a diverse environment can have varying impacts on your identity. For me, it was difficult to figure out how I fit into both cultures, feeling part of both but belonging to neither.” Working on this project allowed Ashley to explore both parts of her identity and helped her find a sense of belonging in the ‘in between’. “This project showed me that the ‘in between’ can be a positive space – it presented an opportunity for me to blend both cultures in a cohesive and harmonious way, thus creating a third culture.” Deep diving into two different cultures The photo series is a collection of portraits, still life and landscape photographs delicately crafted to represent the fusion of Ashley’s cultures. “The portrait photographs are of members of my family, who are second-generation Asian Australian citizens themselves. I printed two separate images of my subjects on transparent vellum paper, shredded them into rows and columns then carefully wove them back together to create a double exposure effect on paper,” Ashley says. “The result is two different portraits in one image – both different images that do not fit perfectly, but work together to create a cohesive visual outcome.” “The still life photographs are a blend of Chinese and Australian culture markers. Both these photographs were given the same treatment as the portraits, however, in this instance, the images illustrate the seamless blend of two cultural markers that are working together, despite them coming from two different backgrounds.” “Lastly, the landscape images are taken from polaroid film, which was then peeled apart then transferred onto a different piece of paper, creating a very fluid image. The subject matter I chose was the culturally diverse environment where I grew up, setting the scene throughout the photobook.” Looking ahead Ashley currently works as a Junior Graphic Designer at Nikki M Group, where she has been soaking up knowledge about illustrating, typesetting, photography and design. “I want to continue growing, learning and creating as a designer. My goal is to one day have the knowledge and skill set to set up my own design studio.”
18 May 2023 08:24
https://www.swinburne.edu.au/news/2023/05/swinburne-graduate-uses-art-to-explore-her-cultural-identity/
https://www.swinburne.edu.au/news/2023/05/swinburne-graduate-uses-art-to-explore-her-cultural-identity/
Design
School of Design
Student News
false
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Pasifika youth kick-off creative careers with NRL
Pasifika youth kick-off creative careers with NRL
Swinburne’s Sa’ili le ala program is empowering Pasifika youth with skills that could kickstart their creative journeys in media, design, animation and film.
Swinburne is leading a program to inspire Pasifika youth to consider careers in creative industries The program is held over three discovery sprints where young people create graphic designs, animations and creative works that connect personal identity, culture and community Designs that the youth in the program work on will be produced on NRL jerseys and footballs and exhibited later this year Swinburne’s Sa’ili le ala program is empowering Pasifika youth with skills that could kickstart their creative journeys in media, design, animation and film. Meaning ‘discovery path’, the Sa’ili le ala program is a first-of-its-kind educational opportunity for marginalised youth across Australia to develop life skills, promote inclusion and build community resilience. The program was launched by Attorney-General The Hon Mark Dreyfus KC MP at Swinburne’s Hawthorn campus on Friday 14 April, and is in partnership with the National Rugby League (NRL), NRL Victoria and the Centre for Multicultural Youth. The program is funded by the Safer Communities Early Intervention Fund and builds on ongoing Swinburne research to understand the cultural complexities driving Pasifika youth interactions with Australian educational processes, and co-design sustainable and scalable practice. Attorney-General The Hon Mark Dreyfus KC MP officially launched the program in partnership with the National Rugby League (NRL), NRL Victoria and the Centre for Multicultural Youth. Swinburne Vice-Chancellor and President, Professor Pascale Quester says, “this program is all about helping young people discover their passion, unearth new knowledge and develop new skills, including digital fluency. It will kick start an education journey that will lead them to be part of the workforce of the future. We believe it will help them achieve their dreams. “This funding from the Federal Government allows us to bring innovative education opportunities to Pasifika young people. This program brings life-changing opportunities for these young people and their community.” The program is held over three discovery sprints where participants get the chance to create graphic designs, animations and creative works that connect personal identity, culture and community. At the first discovery sprints in April 2023, young participants learnt fundamental design concepts and skills, including image making, sketching and typography, to generate designs for NRL jerseys and footballs. The designs will be adopted by the NRL for their diverse community games. Project lead and Swinburne Chair of Education, Professor Sivanes Phillipson says “we are proud to be a strong interdisciplinary team across education, creative arts, technology, and STEM, bringing this important project to life. “Working together with our partners, the Le Mana team of the Centre for Multicultural Youth and the NRL, we are helping to build capacity within Australian Pasifika communities to develop positive life trajectories that are sustainable and long term.” The program was launched by Attorney-General The Hon Mark Dreyfus KC MP at Swinburne’s Hawthorn campus on Friday 14 April, and is in partnership with the National Rugby League (NRL), NRL Victoria and the Centre for Multicultural Youth. The program is funded by the Safer Communities Early Intervention Fund and builds on ongoing Swinburne research to understand the cultural complexities driving Pasifika youth interactions with Australian educational processes, and co-design sustainable and scalable practice.
21 April 2023 16:04
https://www.swinburne.edu.au/news/2023/04/pasifika-youth-kick-off-creative-careers-with-nrl/
https://www.swinburne.edu.au/news/2023/04/pasifika-youth-kick-off-creative-careers-with-nrl/
Design|Student News|Education
School of Design
false
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Australia’s first Adobe Creative Campus goes Pro
Australia’s first Adobe Creative Campus goes Pro
Swinburne and Adobe have signed another three-year partnership from 2023 – 2025 which has elevated student and staff Adobe access to Creative Cloud Enterprise Pro Edition.
Swinburne became Australia’s first Adobe Creative Campus in 2019, with all students and staff having free access to the full Adobe Creative Cloud suite. Swinburne and Adobe have signed another three-year partnership from 2023 – 2025 which has elevated student and staff Adobe access to Creative Cloud Pro Edition. The partnership continues to focus on embracing innovation, boosting digital literacy and employability skills for students, while embedding and uplifting tech across all study areas. Swinburne’s Adobe Creative Campus has just received an upgrade following a successful three years as Australia’s first Adobe Creative Campus. Swinburne and Adobe have renewed their partnership agreement for 2023-2025 that will continue to build on the benefits that have been embraced by students and staff, focusing on improving digital literacy and innovation across all areas of learning and teaching at Swinburne. This new phase of the Adobe Creative Campus partnership means Swinburne students and staff have been upgraded to the Adobe Creative Cloud Pro Edition, which comes with unlimited access to over 270 million photos, illustrations, vectors and templates with an education license. Embedding digital literacies into all teaching and learning Since the partnership began in 2019, Swinburne’s Adobe Creative Campus program has supported our educators with the continuous development of their digital skills through regular workshops and coaching sessions. The Adobe Innovation Grant Program has awarded 65 grants to educators to support them to embed digital literacies into their curriculum using the Adobe Creative Cloud suite. Initiatives that have received these grants in the past include the use of volumetric capture technology for virtual performances by the National Institute of Circus Arts (NICA), creating accessible robotics through digital and physical prototyping, as well as decolonising and Indigenising the curriculum through Swinburne’s Moondani Toombadool Centre and National Centre for Reconciliation Practice. The Curriculum Innovator Program, launched in 2023, takes the Adobe Innovation Grants to the next level. Professor Sarah Maddison, Deputy Vice-Chancellor (Education, Experience & Employability) says, “The Curriculum Innovator Program is helping us level up from the amazing work our educators have done with the Adobe Innovation Grants over the past few years. The program aims to embed digital literacies at the course level, which will ensure that our students build their digital skills throughout their studies. We’re supporting collaborative teaching teams to transform curriculum to ensure our students are digitally fluent upon graduation.” Supporting students for a tech-rich future Students across all study areas can upskill in the Adobe Creative Cloud suite through our Adobe Labs, regular workshops, drop-in sessions and through the extensive resources available to all on our Digital Literacies Hub. These initiatives are led by our Adobe Digital Coaches, who are current students and recent graduates employed and supported by Swinburne. The Adobe Digital Coaches are also available to work with teachers using Adobe applications within the curriculum. Staff are able to book the Adobe Digital Coaches to work as mentors in class, to run a workshop or to answer questions during a drop-in session. Adobe Creative Coach Rohan on the program’s success Rohan completed a Bachelor of Design, majoring in Communication Design and User Experience & Interaction Design at Swinburne in 2018, and has a successful freelance design business alongside his role as an Adobe Digital Coach. Starting from the conception of the Adobe Hub, Rohan has seen how the program has evolved and students’ digital fluency along with it. “It’s been amazing to see the transformation of the digital skill level across the university, which is really visible in types of questions being asked in our workshops drop-in sessions,” he said. “In the first year that I was an Adobe Digital Coach, at least half of the questions we were getting was how to sign into an app or tool and how to get a general sense of what the Adobe tools can do and why students should use them. “Now, we’re getting questions from students with a particular project in mind and wanting to bring it to life with Adobe apps and helping them innovate through use of the software. Seeing this change has been the best part of being a coach.” Learn more about Swinburne’s Adobe Creative Campus and how you can get involved.
20 April 2023 11:25
https://www.swinburne.edu.au/news/2023/04/australias-first-adobe-creative-campus-goes-pro/
https://www.swinburne.edu.au/news/2023/04/australias-first-adobe-creative-campus-goes-pro/
University|Design|Student News
false
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Design alum turns side hustle into high-end architectural products business
Design alum turns side hustle into high-end architectural products business
Swinburne alum John Terziovski has turned his lifelong interest in building and construction into a thriving business designing bespoke high-end architectural items.
Design alum John Terziovski is the founder of Zen, which creates bespoke statement architectural products and decor His business journey started as a passion project sourcing and designing products for his own property development projects For budding entrepreneurs, John advises working in a smaller company to gain critical small business skills What started as a passion project sourcing and designing products for his own property development projects has turned into a successful business venture for Swinburne design alum John Terziovski. “It began with just me, sitting on my own at the dining room table, up late every night. Now I’ve hired three people in the past year,” says John. Design foundations John says he has always been a creative person, so choosing to study a Bachelor of Design at Swinburne was an easy decision. “The Swinburne School of Design had a prestige about it, I enjoyed the range of design disciplines that I was exposed to in the degree. Lots of the industrial, interior and product design classes I took relate heavily to what I do now,” he says. A highlight of his Swinburne experience was learning from his lecturers who had industry experiences. “I got a lot of value out of what they taught me and got some really helpful ‘nuggets’ that I’ve grown from.” After graduating in 2006 and taking a year off to travel (a “must” for design students, according to John), he started applying for jobs in design studios and eventually landed one – which he credits to his Swinburne experience. “I stood out to the business owner amongst other applications because of the final folio I’d created for my subjects at Swinburne,” says John. A business idea sparked While working in the design industry, John kept his foot in property development – something he had been interested in since his early years. “Even in high school art class, I was always drawing houses,” he says. As he searched for unique household products for the properties he was developing, a business idea was sparked. “I thought, ‘with my creative background, if I can’t find what I want locally, I can always design something and send it overseas to get it manufactured.’” That kicked off two years of late nights researching the market and setting up his business. “I realised there was a big gap in the market for the type of products I wanted to create by seeing what else was on the market, scanning the competition and seeing what sort of traffic was around for certain key words on Google.” Passion into profit Today, John is the founder and director of Zen, which creates bespoke statement architectural products and decor including steel doors, fireplaces and baths. Zen is also expanding into high-end furniture such as natural stone dining and coffee tables and custom designed rugs. John says the process of going completely out on his own was purposefully slow. “I didn’t make any sudden jumps with a mortgage, family and other commitments. It’s very difficult to do that unless you’ve already got something going and it looks promising.” Starting a business also involves a lot of hard work and sacrifice, says John, which is why his biggest piece of advice for budding entrepreneurs is to be passionate about your business. “Anyone I’ve spoken to about it was like ‘how did you do this?’ The reality is it was a lot of 2am evenings. “I was doing all this while building two properties and working at the time. I have a family too, so it was a real juggling act…there’s definitely no bingeing Netflix! “If you’re just in it for the money and then things go wrong, you’re likely to give up on it. “I’ve always been passionate about the products and I have a lot invested in the products because I design them. You really want them to succeed after everything you’ve put into them.” John's company Zen creates bespoke statement architectural products and decor including steel doors, fireplaces and baths. John draws a lot of inspiration for Zen’s products from the automotive industry – particularly the Lamborghini brand. “I’ve always just loved the shape of them. They emit a certain emotion and they’ve always been super radical. “Some of my stuff is like that, like if you were to have one of our doors on your house, you’re making a real statement.” Advice for up-and-coming designers One of John’s biggest learnings from his time at Swinburne, was not to get hung up on marks or people’s opinions. “Design is subjective so one person might hate it, another person might love it. Don’t be disheartened by people’s negativity or opinion. “During uni, if I got feedback I wasn’t happy with, I’d take it to heart. As you get older you realise everyone has an opinion…but it doesn’t necessarily mean that a buyer or person won’t like what you’ve done.” If your goal is to start a business, John advises starting out in a smaller company. “Working in a big organisation won’t give you the small business tools down the track. Working in a small studio helped me realise you’ve got customers, and the realities of things like invoicing,” he says. John also says taking time to travel is a rite of passage, especially for design students. “Take the time to see some of the world and other cultures, architecture and museums. I think it’s really valuable to open your mind to what’s out there and you might pick up new ideas and bring them back.”
04 April 2023 12:39
https://www.swinburne.edu.au/news/2023/03/design-alum-turns-side-hustle-into-high-end-architectural-products-business/
https://www.swinburne.edu.au/news/2023/03/design-alum-turns-side-hustle-into-high-end-architectural-products-business/
Design
false
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Internationally recognised excellence in typographic design
Internationally recognised excellence in typographic design
Swinburne communication design students have achieved an outstanding outcome in the International Society of Typographic Designers student assessment scheme
Swinburne students have had incredible success in the most recent round of the International Society of Typographic Designers (ISTD) student assessment scheme. While working on their chosen assessment projects, students have developed essential skills valued in industry. The students who have passed the assessment are also granted full membership to the prestigious society and given international recognition for their work. Typography is the craft of using letters and words to design creative, clear, impactful, and sensitive communication. It is a skill required by all communication designers and is used to create everything from accessible information design to experimental artistic work. In industry, refinement in this area is considered a mark of high-level design training and creativity. Swinburne communication design students have proven their typographic excellence in the most recent assessment scheme run by global experts on typographic design. The International Society of Typographic Designers The International Society of Typographic Designers (ISTD) is a globally respected body of designers, educators, and typographers committed to developing the design practice of typography. Established in 1975, their Student Assessment Scheme is one of the oldest and most reputable assessments of student work. It runs in the UK, Ireland, North America, South Africa, the Middle East, and Australasia. Associate Dean of Education Nicole Wragg has worked closely with students on the ISTD student assessment scheme for over 10 years. “The ISTD project is a holistic assessment, not a competition only focused on the end goal,” Professor Wragg said. “This makes students think critically about every step they take during their process and each component and detail of their design.” This assessment approach offers students a valuable opportunity to research a topic in depth, develop a communication strategy, and design a creative response to challenging briefs. “The ISTD assessment is a vehicle to introduce our honours students to meaningful research practises,” Professor Wragg said. “It isn’t research for the sake of it. It’s about developing practical skills that will be valuable to students as they move into industry.” Adorel’s design explored the duality that can come from the pursuit of unrealistic beauty. Resounding student success In the most recent assessment, Swinburne Communication Design students received an 82 per cent pass rate, making them the most successful in global terms, with an average pass rate of approximately 40 per cent. Adorel Ng and Claudia Crowe both received commendations and Clarissa Seow received a merit. Lulu Nicholls, Katerina Hionis, Gabrielle Versace, Charlotte Tiong, Kaylee Leonard, and Matilda Lourey all passed the assessment scheme. “I found the experience extremely rewarding, not just in terms of improving my typography and publication skills, but also in achieving an outcome that I'm really proud of,” Clarissa said. “ISTD was an amazing opportunity for me to learn about typography and apply it in a meaningful way,” Adorel said. “I was encouraged to question every single detail of my publication, making sure it had a purpose and intention for being on the page.” The student assessments are just as rigorous as the applications professional designers must undertake to become a part of the ISTD. Students who pass are granted full membership to the ISTD. This gives them access to an international network and honours them with a globally recognised attestation of their skills.
22 March 2023 08:55
https://www.swinburne.edu.au/news/2023/03/internationally-recognised-excellence-in-typographic-design/
https://www.swinburne.edu.au/news/2023/03/internationally-recognised-excellence-in-typographic-design/
Design
false
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Swinburne students craft garden of the future
Swinburne students craft garden of the future
Students have developed valuable skills while working on a unique installation that used interactive bionic plants to imagine gardens from the future
Swinburne students have designed and built a collection of weird and wonderful bionic plants as part of an interactive installation called Future Gardens. The installation was facilitated by a partnership between Swinburne and multi-disciplinary design studio UnitedMake, who provided students with industry insights and the opportunity to publicly exhibit their work. Students developed technical skills, creative thinking, and design experience while creating their unique specimens. Science fiction, interactive structures, and biomimicry inspired students crafting the Future Garden exhibition. Their final creation was an installation for the East Wing Lobby of 530 Collins Street and featured an array of unique hybrid bionic plants that responded to human interaction. Students shot and edited their own craft video with help from the professionals from UnitedMake. Nature as inspiration The project focused on biomimicry, which is the idea of using nature to inspire and inform design. Students engineered bionic components that were inspired by natural forms, and then integrated these into natural plant life. They used programming to connect the bionic elements to ultrasonic sensors that measured distance and movement, making the plants react when someone approached. Architecture student, Nader Burjawi, and his team focused specifically on the movements of flowers. They researched how irises and chrysanthemums bloom and experimented with how to translate their findings into mechanical movement. “This project was different from traditional architecture—we got to have a bit of fun,” Nader said. “We played around with how to create emotions through mechanical movements.” Their outcome focused on creating a day flower and a night flower. “The day flower uses wires and mechanical key that would twist give that illusion of blooming and closing,” Nader said. “The night flower uses a rack and pinion that create different leaves, like a skeleton of the flower, that would open and close.” Architectural engineering lecturer, Daniel Prohasky, assisted students with mechatronics for the project. "It was awesome to see the students engage with and understand natural systems,” Daniel said. “This novel applied method of designing kinetic, artificial systems that mimic nature gave the students confidence in developing complex systems for architecture, towards sustainable solutions for our future buildings." ’Vita Et Mors,’ or the ‘After Life Flower’ is designed to respond to movement and scare potential “predators” . Unique industry learning Industry integration was a key part of the project. Swinburne and Melbourne design studio, UnitedMake, collaborated on crafting a challenging but rewarding design brief for students to fulfil. Mond Qu, UnitedMake Director, worked directly with students to share the studio’s philosophy. "At UnitedMake, we firmly believe in the principle of designing by making,” Mond said. “We hold the belief that the iterative process of creating an object, service, or product leads to a better outcome. “The students' adopted this philosophy, and we hope that they carry it forward in their future careers." “Mond guided us and made us rethink how to tell stories with our work,” Nader said. “Even though working on something like a flower is different from our usual architecture work, it shows you that if you have a strong story, it doesn't matter what the project is.” “I became more focused on storytelling in my other work after that.” A creative approach to skill development The Future Garden brief was an exciting and unique challenge for students. “In the unit, we look at how we communicate with objects and buildings as architects,” Dr Rusenova said. “The good thing about the project was that students did a lot of hands-on work producing these beautiful objects and at the same time thinking about how these objects talk to us.” The crafting process taught students technical skills, like programming and how to use sensors, and helped build their creative sensibility. “We learnt digital software skills and coding, even technical things like efficient ways to laser cut,” Nader said. "It was encouraging to witness the students' enthusiasm for putting into practice the knowledge they gained in the classroom,” Mond said. “The exhibition provided a platform for them to showcase their hard work and talents to their families, friends, and the wider community, bringing their learning to life."
22 March 2023 08:23
https://www.swinburne.edu.au/news/2023/03/swinburne-students-craft-garden-of-the-future/
https://www.swinburne.edu.au/news/2023/03/swinburne-students-craft-garden-of-the-future/
Design
School of Design
false
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Architectural history inspires contemporary solutions
Architectural history inspires contemporary solutions
Swinburne Masters of Architecture student Sam Millar’s design proposal is part of a shortlist exhibition for ‘The Walls Around Us’ competition.
Swinburne Master student Sam Millar’s work is being displayed as part of a shortlist exhibition for ‘The Walls Around Us’ competition. The competition was presented by the Robin Boyd foundation to show how the work and philosophies of one of Australia’s most famous modernist architects can help address contemporary issues. Sam’s proposal uses a plinth and platform structure to leave a minimal impact on the environment and harness the site’s microclimate to regulate temperate sustainably. Swinburne Master of Architecture student, Sam Millar’s work is part of a shortlist exhibition for the ‘The Walls Around Us’ student competition, presented by the Robin Boyd Foundation. Sam and the other eight shortlisted students drew inspiration from Boyd’s work and revolutionary philosophies to explore contemporary issues. Sam’s ‘Hammock House’ design tackles the challenges of housing affordability, sustainability, and connection to country. The narrow proportions and incline of the site required careful design consideration. The legacy of a revolutionary mind Robin Boyd remains one of Australia’s most renowned architects and arguably our greatest modernist. His work and philosophies are still compelling and relevant over fifty years after his death. He crafted ‘Walsh Street’, one of his most beautiful and experimental designs, for his own family home in South Yarra. The ‘The Walls Around Us’ competition asked students to reimagine this iconic location, using ideas from Boyd’s work to address our immediate concerns as a society. “It was a profound process to have been able to study Boyd’s work in so much depth, visiting the site itself and learning directly from his work and home,” Sam said. The competition brief was introduced as part of a design studio called "Hybrid Living" for the Master of Architecture and Master of Architecture and Urban Design programs, led by Ravi Bessabava and Dr Mehrnoush Latifi. “The studio encouraged students to explore creative hybrid living typologies that could address the complex challenges of climate change and sustainability through a holistic multiscalar design approach,” the studio leaders said. A novel and thoughtful solution Sam’s proposal is named ‘Hammock House,’ after the central inspiration for his design. “Studying the way Boyd approached his sites, it became evident to me that there were similar design principles to what we see in a hammock,” Sam said. “A hammock is highly integrated into your site and it’s incredibly lightweight and affordable.” “It’s integrated with the microclimate of the site; on a cold day you position it in a sunny spot and if it's a warm day you'd position it in the shade or close to a body of water.” “It has very minimal, if any, footprint on the land, so it also cares for country.” Hammock House inverts the tensile structure of a hammock, instead using a single plinth to suspend a small, affordable dwelling on a platform over a swimming pond. The natural pond helps regulate the microclimate, providing evaporative cooling on hot days and acting as a thermal mass in winter to keep the dwelling warm once the sun goes down. Swinburne Design Technical Officer, Ravi Bessabava, helped guide and challenge Sam through the design and prototyping of the project. “Sam was a pleasure to work with and watch develop over the studio,” Ravi said. “He was always happy to take on feedback and work hard to execute bold moves in response.” “This effort and enthusiasm saw him continually developing and improving his work.” “Sam developed a cohesive and well considered project that is not only site specific, but thought-out as a systematic approach to housing - aligned to Boyd's Small Homes Service.”
21 March 2023 15:56
https://www.swinburne.edu.au/news/2023/03/architectural-history-inspires-contemporary-solutions/
https://www.swinburne.edu.au/news/2023/03/architectural-history-inspires-contemporary-solutions/
Design
School of Design
false
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Motion art captures city life and multiple design awards
Motion art captures city life and multiple design awards
A Swinburne motion design team has taken data from the lives of everyday Melburnians and transformed it into award-winning living artwork.
Three Corners of the City is a motion art piece commissioned by the City of Casey to promote the creative use of data from smart city sensors The motion art piece pioneers the use of real-time data to create mesmerising live visualisations It has earned a DNA Paris award, Australian Good Design Award and, more recently, a Victorian Premier’s Design Award A Swinburne motion design team is taking data from the lives of everyday Melburnians and transforming it into a living artwork. Lead designer James Berrett, project manager Sonja Pedell and communication designer Simone Taffe have used smart city data to create a captivating set of real-time data visualisations that respond to human movements around the City of Casey. The motion artwork called Three Corners of the City featured at Bunjil Place community hub and has been awarded the Victorian Premier’s Design Award Best in Category Digital Design, an Australian Good Design Award and a DNA Paris Design Award. What is smart city data? Smart city data is information collected from Internet of Things (IoT) sensors placed around a city. The sensors can track a variety of information, such as when a button is pressed, a bin is emptied or a person walks past. The City of Casey has developed an open data platform to make all that information accessible to the public. "The driver for the project was to showcase movement across the City of Casey 24/7 and demonstrate how smart city data can be used in creative ways,” Berrett says. "The council commissioned this piece to engage community members in what is happening around the City of Casey." The project uses real-time data sets from Narre Warren, Berwick and Cranbourne that measure the amount of pedestrian traffic in busy areas. “It was about taking the everyday life of people, the movements of people, and turning this information into something visually engaging,” Berrett says. The unique colour sets for the suburbs helped to give each data set its own personality. Transforming numbers into living art The challenge was to take raw data, something that would usually not interest the public, and transform it into a creation that was visually captivating and could be understood intuitively. Berrett used his diverse background in visual effects, graphic design, motion graphics and media art to curate meaningful data sets and transformed them into intriguing motion graphics visualisations. One of the most unique aspects of the project is that it allows viewers to see what is happening across their city in real time. Motion graphics are usually created in timeline-based applications, making this impossible, but Three Corners of the City uses a game engine instead. The team designed the standalone real-time application from scratch. It uses the foot traffic in each suburb to determine the density, colour intensity, speed, and direction of the particles that make up the visualisations. These multifaceted visuals make it intuitive to relate peaks and troughs in the data to a suburb’s respective movement and ‘busy-ness’. This was particularly important to ensure the visualisation was accessible across language barriers for the City of Casey’s multicultural community. The project encouraged people to consider the visualisations through their own lens. Recognition on a local, national and international level The project has won three prestigious awards: a Victoria Premier’s Design Award, an Australian Good Design Award, and a DNA Paris Design Award. The awards have recognised the unique use of motion graphics to communicate real-time data to a diverse audience in a digestible and engaging manner. The Good Design Awards jury compared the work to that of critically acclaimed artist, Refik Anadol. Subtle date and time indicators on each side of the motion artwork serve as contextualising clues for the viewer as they compare the movements of the three suburbs.
17 March 2023 15:32
https://www.swinburne.edu.au/news/2023/03/motion-art-captures-city-life-and-multiple-design-awards/
https://www.swinburne.edu.au/news/2023/03/motion-art-captures-city-life-and-multiple-design-awards/
Design
School of Design,Award Winners
false
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Swinburne alum pioneering human-centred design
Swinburne alum pioneering human-centred design
Swinburne alum Melis Senova is a neuroscientist, published author, designer, entrepreneur and leadership coach with a passion for using design to positively affect humanity.
Swinburne alum Melis Senova has dedicated her life to using design to positively affect humanity Melis is a neuroscientist, published author, designer, entrepreneur, and leadership coach She is the author of two books that equip designers to be the person who is designing for others Anyone growing up in the eighties will remember when Top Gun was released. For Swinburne alum Melis Senova, who was 10 years old at the time, Top Gun was more than just an iconic movie – it was the catalyst for her path in life. The scene that particularly struck Melis was watching Top Gun instructor Charlotte (call sign Charlie) Blackwood being introduced to Maverick and the other naval aviators as a world-leading expert in enemy aircraft, with a PhD in astrophysics and trusted by the likes of the Pentagon. “I remember looking at that woman standing in front of the world’s best fighter pilots teaching them how to be better and thought, ‘I want to be her,’” says Melis. “I wanted to be someone who was qualified to stand in front of the world’s best and have something to offer and teach them.” Today, Melis is a published neuroscientist, author, designer, entrepreneur and leadership coach. Melis started a strategic design consulting firm with her partner, to help organisations understand why considering humans as part of their design is fundamental. Becoming Charlie After finishing high school, Melis chose to study a Bachelor of Applied Sciences (Biomedical Engineering) at Swinburne, majoring in neuroscience, to combine her interests in aerospace and medicine. She jumped at the opportunity to study abroad for her Industry-Based Learning year, working in a research hospital in Japan that specialised in brain imaging. “That really launched the research part of my career, as I was able to publish papers about the work I did there,” says Melis. When she returned, one of Melis’ professors approached her about undertaking a PhD. Responding to her initial scepticism, he asked Melis, ‘If you could be anyone in the world, who would you be?’ ‘Charlie from Top Gun,’ Melis replied. With a Swinburne Postgraduate Scholarship to support her, she and her professor approached the (now) Australian Defence Science Technology Group. The following year, Melis started her graduate job and PhD there, working with FA18 and F1-11 pilots to inform the redesign of cockpit environments to improve situational awareness in pilots flying twice the speed of sound. “It was like a dream come true,” says Melis. Design and humanity That sparked a career trajectory for Melis centred around using design to positively affect humanity. After her PhD, Melis worked as a design engineer at Ford where she successfully advocated for and designed the first Australian-manufactured rear camera for the Ford Territory. “It was a real design challenge because you had to do it at no added cost, using current parts and without any changes to the sheet metal.” From there, Melis went on to lead a team of psychologists, designers and developers in Telstra’s Chief Technology Office, creating prototypes to demonstrate user experiences enabled by emerging technologies. In 2009, Melis took a leap, and started a strategic design consulting firm, Huddle, with her partner, Cam Incoll. “The intention of Huddle was to help organisations understand why considering humans as a part of the systems they’re designing is fundamental, good for business, and good for caring about customers.” For 12 years, Huddle worked with all kinds of organisations, including helping social enterprise Streat go from their first coffee cart to their café. Melis' second book will be released this year and is all about equipping designers to design better for others. Equipping people to design with others As Melis progressed in her career, it became apparent to her that there were no resources for designers to help them improve themselves, so they could design with others better. In 2016, while living in Amsterdam, she published this human – a book about what it takes to be the person who is doing the designing in human-centred design. “I had learnt…that the best designers were the ones who had the most developed understanding of themselves, their biases and how their personalities and world views affected how and what they designed.” In April, Melis will launch her second book – this human - design character – which follows on from her first book to help designers develop the attributes and inner scaffolding to be potent, confident and influential designers. Design on a global scale Today, Melis is focused on building the this human community, which includes projects, coaching and mentoring. “At this point of my life, my work is about supporting the world builders and creators.” Her work has taken her to the furthest corners of the world, from New York to Chennai, and from Amsterdam to Aruba. After publishing her first book, Melis received an email from the Chief Innovation Officer in the Aruban government asking about the possibility of collaboration. “It came out of the blue and difficult to believe at first…and I’ve been working with them ever since,” says Melis. She has worked with the government to guide human-centred design-led economic diversification for their nation, supporting the transition from being reliant on tourism and hospitality to one of entrepreneurship and innovation. That has led to opportunities for mentoring and coaching of a diverse group of people, from up-and-coming independent female entrepreneurs to senior officials within industry and government. Her work in Aruba continues as they look at the intersection of social housing, renewable energy and systemic design. Creating for the future Melis is now back home in Melbourne, where she lectures in Swinburne’s Master of Design program. She says it is an exciting time to be stepping into the design industry. “People opting into creative careers – or anyone thinking about how to create for the future – they are really important people right now.” “It is a very important responsibility because we can’t continue to design things unconsciously and replicate the systems we already have because they’re not working. They all require resources to be dug out of the ground and don’t head down a path that is regenerative. “This is the time when we have the opportunity to be the most creative as a human species.” Find out more about Melis on her website. You can also buy both of her books online.
23 February 2023 12:13
https://www.swinburne.edu.au/news/2023/02/swinburne-alum-pioneering-human-centred-design/
https://www.swinburne.edu.au/news/2023/02/swinburne-alum-pioneering-human-centred-design/
Design
false
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Swinburne alum’s Hollywood screen success
Swinburne alum’s Hollywood screen success
Producer, screenwriter and Swinburne alum, Monica Foley, has received Hollywood acclaim for a script she started writing during one of her Master of Creative Writing classes at Swinburne.
Monica Foley studied communication design, followed by a Master of Arts (Writing) at Swinburne and is now a screenwriter and producer living in Los Angeles Monica won Best Television Script in the 2022 LA Film Awards for a script she started writing during one of her classes at Swinburne Monica and her writer and producer husband recently had one of their films bought by Disney Swinburne alum, Monica Foley, has received Hollywood acclaim for a script she started writing during one of her Master of Arts (Writing) classes at Swinburne University of Technology. Monica, a screenwriter and producer living in Los Angeles, won Best Television Script in the 2022 LA Film Awards for her TV pilot ‘Bearcats’, a prohibition-era drama set in New York City. “The assignment during that class was to research any period in history that appeals to you and submit a piece of writing in any form.” After discovering her penchant for screenwriting during her Masters, she submitted the first act of a screenplay for the class – which later became Bearcats. “I got out of university, and just kept writing,” she says. More recently, she also took home the Best First Time Screenplay award at Digital Griffix 2023 in Canada. Discovering a passion Monica says she has always been a ‘right brain, creative type’, but didn’t know where that would take her. After school, she enrolled in a Bachelor of Design (Communication Design) at Swinburne and enjoyed the exposure to a broad range of disciplines. “But while all my peers were getting graphic design jobs…I just felt like there was something else I was missing,” says Monica. She came across the Master of Arts (Writing) course at Swinburne and was keen for the challenge to pursue writing after focusing on art and design for so long. Monica had already been reading Oscar-winning screenplays as a hobby at the advice of an aspiring actress friend, so when she noticed that the course included a screenwriting class, she knew she would enjoy it. “It was only one class, but honestly, had I not taken it, I would never have figured out what I really wanted to do. It exposed me to screenwriting and gave me that foundation to build upon.” Big screen success Monica has lived in LA with her husband, and fellow writer and producer, Mark, for six years. “We’re a producing and writing team,” says Monica. “Primarily we’re producers, but we want to get back more to what we love, which is writing.” Perhaps their biggest break has come in the last year, with one of their films being bought by Disney. “My husband found a story in the newspaper about a gentleman’s life story which is incredibly remarkable. We reached out to him, formed a friendship, and he agreed to make his story a film. “I’m not at liberty to say much more yet,” says Monica. Monica and Mark were also recently named as finalists in the Storyline Screenwriting Competition for a thriller film inspired by the COVID-19 pandemic, named ‘Affliction’. “We’re now trying to get a director to take it to a studio. It’s a film that has what I call a ‘sixth sense ending’ – a big twist.” Monica on the set of Reading Rainbow Live, a reboot of the American Children's TV program from the 80s, with her husband and fellow producer Mark [on the right]. Rebooting Reading Rainbow During the pandemic, the pair were also the producing team behind a reboot of the American children’s TV program from the 80s, Reading Rainbow, which attracted widespread media attention including from the New York Times. Monica says they were inspired by the pandemic to create an accessible, interactive show for children based on the premise of the classic show, which was about going on an adventure inspired by a book. “During the pandemic there was this crisis where kids were at home, parents are tearing their hair out. And there was a real dearth of stuff online that was educational.” They approached the network where the show originally lived and created the first episode which children could watch live. After the show, kids could chat with the cast members online. “I always wished as a kid that I could talk to the people on Play School, and this was the real-life version of that.” Advice for budding screenwriters One tip Monica swears by in her writing and producing is to take inspiration from real life and focus on your characters. “It sounds obvious, but you need to have unique, dynamic characters. My advice would be to steal from the real world and people you’ve met…then they’ll jump off the page.” She is inspired by writers who understand human behaviour and human connection, referencing popular TV show, The White Lotus. “It’s actually disturbing how well the writer, Michael White, understands people and how they interact with each other…how flawed people are and how sick and twisted people can be.” For budding screenwriters, she says it is invaluable to spend time reading award winning screenplays. “The more you read, the more it will help you centre your brain and become second nature. “It sounds obvious but practice, practice. Whatever you write, the first thing might be a great concept, but it’s unlikely to be executed well. It’s just like playing sport, you need to practice.” She also encourages anyone wanting to break into the industry to submit to writers’ festivals. “The minute you have some sort of credit or acclaim, you’re one step ahead of the thousands of others who don’t have that. There’s nothing stopping you from doing that wherever you are – you don’t have to be in LA.”
21 February 2023 12:24
https://www.swinburne.edu.au/news/2023/02/swinburne-alums-hollywood-screen-success/
https://www.swinburne.edu.au/news/2023/02/swinburne-alums-hollywood-screen-success/
Design|Film and television
false
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Swinburne Alum designs playgrounds for a living
Swinburne Alum designs playgrounds for a living
Swinburne Alum Steve Forrest is inspiring communities around Australia with beskope playgrounds and community areas
Swinburne Alum Steve Forrest designs unique and engaging bespoke playgrounds for property and infrastructure consultants Spiire During his time at Swinburne, Steve studied Bachelor of Product Design Engineering (Honours) and completed a work integrated learning placement at Ford Australia Steve encourages any aspiring designers to consider what subject matter would make an engaging career For kids, they’re a place to play, grow and push boundaries. For adults, they’re an outdoor escape and space to connect with friends. For Swinburne alum Steve Forrest, playgrounds are a unique and engaging passion, and designing them is his Job. In his role at Spiire as Design and Construction Lead, Landscape Architecture, Steve translates his passion for elegant, sculptural solutions into mesmerising bespoke elements such as play equipment, shelters, furniture sculptures and bridges. “I like to see myself as like a 3D artist that works on practical, usable elements. The combination of sculpture and manufacturability is a really exciting space to work in,” Steve says. A 3D design of a suspended play structure that incorporates a climbing rope tunnel. Designing... playgrounds? Steve studied a Bachelor of Product Design Engineering (Honours), his time at Swinburne spanning from 2002 to 2007 in classes across Hawthorn and Prahran. During his studies, Steve took the opportunity to enhance his employability through a year-long work integrated learning placement at Ford Australia. In his role as a studio engineer, he developed key industry skills while working on the Ford Ranger and Mazda BT-50. “I worked between the design team and the engineering team to ensure all stakeholders were happy with the end results and there was no disconnect between the two,” he said. Steve first encountered playground design as a Design Innovator at a_space, working on playground and fitness equipment design. Later at Peco Construction and eventually with Spiire, he pursued his passion of being involved in the design process from the initial concept stage. Trusting the process Although his subject matter has dramatically changed over time, Steve maintains a passion for implementing consistent, well thought out designs. “My focus is thinking of and designing a concept that can be delivered,” he said. “You can draw or 3D model anything you want, but if you're not taking into account the physics, manufacturing costs, user experience, playground standards, stakeholders and requirements, then it's nothing more than a nice image. “I take a lot of satisfaction from delivering something that is, almost exactly, what I had drawn at the concept stage.” More than a playground Designing unique-looking items for stakeholders and creating spaces that families will love is a balancing act that Steve keeps front of mind. “I love that each of my designs are one-off concepts that integrate and work with the topography, theme and story of each project.” “Twenty years ago, most people lived in a house that had a backyard, now the reliance on public spaces is certainly increasing,” he said. Steve likes to think these spaces can inspire the next generation of kids to see what’s possible and to push boundaries. “We want to build visually engaging playgrounds that our clients are proud to see in their communities. But what I love about my work is knowing the end customer is the general public, and these products are for everyone to enjoy. “I think there's something really special about working on such unique and exciting designs that are open for use by everyone. It’s an honour to be involved in shaping the environment to engage the community and bring people together.” Steve’s most recent installation for Spiire, ‘The Grove’ incorporates gumnut inspired structures and equipment fully integrated into a playground and community area. Never work a day A guest at Swinburne’s 2022 open day in July, Steve shared his portfolio and experience with prospective students, urging them to consider what they view as an engaging career. “I definitely enjoy talking to the next generations of designers and trying to help them find what they're passionate about,” he said. “There’s that old saying, ‘If you do what you love, you never work a day in your life’, and that's certainly what I've found in my career. To work on such unique and exciting projects, is such a joy, to open up the computer every day and shape dynamic spaces the community can use for many years to come. “Your career is quite long after uni, so if you start off with that passion, then, in my experience, your career’s a lot more fulfilling and enjoyable.” Steve recently celebrated becoming a registered Landscape Architect with the Australian Institute of Landscape Architects.
01 February 2023 09:22
https://www.swinburne.edu.au/news/2023/01/swinburne-alum-designs-playgrounds-for-a-living/
https://www.swinburne.edu.au/news/2023/01/swinburne-alum-designs-playgrounds-for-a-living/
Design|Engineering
false
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Student videos guide cancer patients through treatment
Student videos guide cancer patients through treatment
Swinburne students have created motion design videos with Peter MacCallum Cancer Centre to improve the patient experience by helping them prepare for their treatment.
Swinburne design students worked with Peter MacCallum Cancer Centre to create industry-standard motion design videos These videos give staff the tools to confidently provide patients with the information they need to prepare for their treatment, helping to improve the patient experience. The industry work experience has given students invaluable professional skills, as well as a rewarding experience For many, visiting a hospital brings feelings of uncertainty and stress. With the help of Swinburne students’ motion graphic videos, patients at Peter MacCallum Cancer Centre (Peter Mac) can receive treatment with less worry. In 2021, Peter Mac established an ongoing partnership with Swinburne’s design department to create a series of motion graphic videos as part of their new education program for staff who need to confidently relay information to patients. Bachelor of Design (Motion Design) Discipline Coordinator James Berrett says the partnership provides an opportunity for our students to gain invaluable hands-on industry experience. “It exposes them to working with a real client on a real-world design problem by applying their skills, managing feedback and deadlines, and working together as a team. We are very proud of what our final year students have achieved and look forward to seeing where their future careers take them.” As part of the Motion Design Capstone Project unit, 2022 students created videos for world leading cancer centre Peter Mac on the topics of day therapy, advance care planning, wayfinding and life as an inpatient Final year Bachelor of Design/Bachelor of Media and Communication students Linda Montealegre and Olivia Groves worked in a group to create videos for the inpatient program. Both Linda and Olivia say they developed their teamwork throughout the project, among other professional skills. “Deadlines and changes were the most challenging but probably also the highlight too,” says Olivia. “It was a big project, especially when you consider tackling changes late in the game, while juggling other units and work. Getting to do all that alongside your teammates, all stressed together, and still pulling off a great project for a great client is so much more rewarding than being allowed an easier route.” Olivia Groves (left) and Linda Montealegre (right) worked in a group to produce a series of motion design videos for Peter Mac’s Inpatient program. Rewarding outcomes Peter Mac Office of Cancer Education Director and Swinburne Alumnus Associate Professor Caroline Owen says that the students’ videos make an important contribution to their program and significantly improves the patient experience. “It has been a very rewarding collaboration between our clinical teams, consumer representatives and the students who have been working together to develop content that is relevant to the patient needs,” Associate Professor Owen says. “The students have all been very engaged with this program and have shown that they are talented and creative in their work. This collaboration has provided new meaning to their work, knowing it will help patients during their cancer journey.” Olivia says working with Peter Mac was incredibly rewarding, plus an industry experience that has boosted her confidence as she graduates from university. “The biggest thing I can take away from the whole experience was the opportunity to work in a motion design or creative team before leaving uni. Everyone has different approaches to design and ways of solving problems, and getting to experience that opens you up to a tonne of skills and ways of working.” Linda says working on the project has also helped her personally. “My dad passed away from cancer when I was in high school and was an inpatient at a different hospital for a while himself. To be given the opportunity to bring any sort of comfort to those going through a similar situation is the most rewarding experience I could have asked for.”
03 January 2023 10:51
https://www.swinburne.edu.au/news/2023/01/Student-videos-guide-cancer-patients-through-treatment/
https://www.swinburne.edu.au/news/2023/01/Student-videos-guide-cancer-patients-through-treatment/
Design|Technology|Health
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Swinburne Master students’ success at the Idea Gala
Swinburne Master students’ success at the Idea Gala
Master of Architecture students, Salam Sakbani and Risham Waqar, have been awarded a commendation in the Australian Institute of Architects’ Student Ideas Prize
Salam Sakbani and Risham Waqar have been awarded a commendation in the Australian Institute of Architects Student Ideas Prize at the 2022 Victorian Chapter Idea Gala The Architects Student Ideas Prize is a significant acknowledgement of skill and dedication The brief for the prize was to redesign a residential site for a disability support service using universal design principals to create accessibility and inclusivity Swinburne Master of Architecture students Salam Sakbani and Risham Waqar have had their work recognised at the Victorian Idea Gala, where they awarded a commendation for Student Ideas Prize from the Australian Institute of Architects (AIA). The prize was an exciting achievement for both students and a meaningful acknowledgment of their dedicated work. “When I received the email from the AIA, I was like, ‘Wow!’,” Salam said. “It was exciting, I was speechless. ”I didn’t believe it at first, but now I’m going around telling everyone!” Risham said. Recipe for an architect “Engineering and creativity together – that's how you get an architect,” Risham said. Risham studied a five-year Bachelor of Architecture in Pakistan but always wanted to continue her studies. She saw moving to Melbourne as the perfect opportunity. Salam had a similar sense after moving to Australia from Syria. “When I got a job at an architecture firm in Australia, I thought, ‘This is what I want to do, this is the career I want to pursue’,” Salam said. “But I felt like there was something I needed to add to my experience as an architect.” Both described being drawn to study at Swinburne because of its welcoming and inclusive culture. “The teachers and the staff were very friendly, and I felt like I could get practical experience during my study,” Salam said. Salam, left, is looking forward to further exploring the principles human-centered design during her studies, while Risham has recently developed an interest in designing for the architecture of digital places Design that works for everyone The challenge of the AIA project was to design a fully accessible residence for disability support service Araluen on an existing site in Eltham, using the principals of universal design. The location is a residential space for adults with autism, but the brief required thinking beyond current usage to create a design that would be universally suitable for all potential residents and visitors. The project was run through a Master of Architecture studio, and this was the first year the AIA has invited Swinburne to participate. “Risham and Salam’s journey was not smooth during the tough Covid time, but they were stubborn about their goals and flexible about their design,” Swinburne architecture lecturer Pantea Alambeigi said. “There were moments that they had substantial challenges in this design studio, but their success is the result of their perseverance, learning and sacrificing.” Inspiring confidence Salam and Risham received support and encouragement throughout the project, which helped motivate their creative work. “Pantea really believed in us, and she raised my confidence when we were designing,” Salam said. “At the end of the studio when I looked at the work that I had created, I was surprised at myself, because I wasn't able to do that at the start of the studio,” Risham said. Both students are excited to continue their creative journey through the rest of their time at Swinburne and beyond.
03 January 2023 09:09
https://www.swinburne.edu.au/news/2023/01/swinburne-master-students-success-at-the-idea-gala/
https://www.swinburne.edu.au/news/2023/01/swinburne-master-students-success-at-the-idea-gala/
Design
School of Design
false
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Students show how sustainability is more than recycling
Students show how sustainability is more than recycling
Leaf blowers designed by students for a ‘right to repair’ showcase demonstrate the importance of repairability in sustainable design practises.
Product design engineering and industrial design students have embraced a right to repair approach to design and engineer sustainable leaf blowers as part of an industry linked project. The ‘right to repair’ is the latest sustainability movement sweeping the globe, which advocates for the design of products that can be repaired Students presented their designs in a showcase that they hope will influence government and industry decision makers Swinburne students are delivering the next generation of sustainability now through the design of repairable leaf blowers as part of an industry linked project. A growing sustainability movement that is sweeping the globe, the ‘right to repair’ advocates for the design of easily repairable products, providing a longer lifespan. It’s also a more effective approach to reducing waste and emissions as these materials stay in use for longer. Repairing the environment Swinburne design lecturer, Kate Bissett-Johnson, has been teaching and researching sustainability for over 20 years and is passionate about passing her knowledge on to her students. “Right to repair is one of the key movements in sustainability,” Kate said. “This is the cutting edge. We can't just do what everyone else is doing — design from recycled materials — and that's it. “When you look at the concept of circular economy, recycling is only a small part of the move towards sustainable product design. “Repairability requires a whole new way of thinking about how you design your product from the ground up.” In only 12 weeks, Declan and Thomas created a fully functioning prototype and supporting material, including this kickstarter style video Training proactive designers and engineers of the future Students began the project with a tour of a local product recycling company to see the shortcomings and opportunities in the current Australian system. Declan Scott and Thomas Fisher were awarded Best Product Design Engineering Project. “Visiting an actual recycling facility made the issue of sustainable design a reality and pushed me to learn how we can improve practices as product design engineers,” Declan said. Each team also had to go and interview potential users to find out if and how they would repair a product and identify any barriers. “I think the greatest thing I have learned is how important it is to bring the everyday consumer on board and how intuitive things must be for them,” Joshua McShanag said. Working prototypes and form studies were made in the Swinburne Protolab, bringing student designs to life Celebrating achievement At the end of the project, students presented their designs to a leading industry alum from the Netherlands as part of a showcase. The industry expert gave students encouragement and feedback and picked the top designs from each of the cohorts. Each member of the winning project team was gifted a keep cup and a book "Design for Sustainability Survival Guide” to help them continue their journeys as sustainable designers and engineers. “I now have a strong understanding of my obligations to socially responsible design, and how much impact I’ll be able to have as a future Product Design Engineer,” Thomas Fisher said.
21 December 2022 15:15
https://www.swinburne.edu.au/news/2022/12/students-show-how-sustainability-is-more-than-recycling/
https://www.swinburne.edu.au/news/2022/12/students-show-how-sustainability-is-more-than-recycling/
Design
School of Design
false
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Alum success in communication design
Alum success in communication design
Swinburne Communication Design alum, Michael Smith, has won Graduate of the Year Awards at the state and national level, as well as receiving international recognition.
Swinburne alum Michael Smith has received the Design Institute of Australia VIC/TAS and Australian Visual Communication Design Graduate of the Year awards Michael’s work was also featured in Arts Thread's 2022 Global Design Graduate Show and was shortlisted for the related award Michael attributes his success to industry experience and a diverse creative approach Less than a year after graduating from a Bachelor of Communication Design, Swinburne alum Michael Smith has received recognition for his work on a local, national, and international level. Award success Michael graduated in 2021 and has hit the ground running. Michael received the Design Institute of Australia (DIA) VIC/TAS and Australian Visual Communication Design Graduate of the Year awards. A representative from Art’s Thread in London reached out to Michael and encouraged him to enter their 2022 Global Design Graduate Show after seeing his winning GOTYA submission. Michael’s entry was shortlisted for the Visual Communication category. You can watch his submission below. The Invisible Cities exhibition combines print, film, and space design in an immersive, experimental experience Working with industry One of the things that attracted Michael to the Swinburne Communication Design course was the industry placement component, and he made the most of the experience when his time came. Michael worked at Swinburne’s internal design consultancy, the Design Bureau, for 12 months. During that time, he worked on a project for the World Health Organisation (WHO), which led to an additional year-long contract working directly with WHO. “It’s great having those opportunities to gain as much experience as possible,” Michael said. “Having those hands-on industry-based projects is really important.” Michael’s design for an Eco-Cinema focuses on how sensory elements of nature can elicit positive thoughts and emotions, creating a more content state of mind. Diversity of skills Michael’s creative development flourished with the opportunity to experiment with a variety of creative practises both in and out of university. “Studying communication design at Swinburne, you get to dabble in lots of different areas and develop different skills,” Michael said. “All those experiences that I had at Swinburne paired well with taking time to do design work outside of uni and pursuing other creative hobbies.” Alongside his design work, Michael practices painting and photography, and enjoys expanding his horizons. His recent pursuits include creating a typeface, designing a photobook, and learning more about 3D modelling and environmental graphics. Michael’s advice for current students is to take every opportunity they can. “Every experience that you have in life helps fuel your creativity in the future and the way you think,” he said. Studying oil painting as a separate philosophy and skill set to design has allowed Michael to approach briefs from different perspectives.
05 December 2022 16:04
https://www.swinburne.edu.au/news/2022/12/alum-success-in-communication-design/
https://www.swinburne.edu.au/news/2022/12/alum-success-in-communication-design/
Design
School of Design
false
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2022 GradX Evolve showcases design and architecture talent
2022 GradX Evolve showcases design and architecture talent
The Swinburne School of Design and Architecture’s annual graduate exhibition has showcased innovative and industry-relevant design solutions across disciplines
2022 GradX Evolve is celebrating School of Design and Architecture students’ adaptability over challenging years, and their journey into industry 65 awards have been given out at the opening night of the annual graduate exhibition, including close to $9,000 in cash prizes Over 250 students have showcased their work, and a total of 2,000 visitors are expected over the course of the three-week event Innovation and creativity are on display at Swinburne University of Technology’s 2022 GradX Evolve exhibition. The annual showcase presented by Swinburne’s School of Design and Architecture (SoDA) was officially opened last night, 24 November 2022. Over 250 of Swinburne’s graduating design and architecture students are displaying their work. The opening night welcomed more than 600 guests from the student and alumni community, industry, and the wider community, and the full two-week event is expected to attract over 2,000 visitors. More than 2000 people are expected to attend 2022 GradX Evolve across two weeks Evolving into the future of design and architecture SODA Dean, Professor Jane Burry, said the 2022 graduation cohort’s work reflects and extraordinary evolution. “This year’s theme ‘Evolve’ was chosen to acknowledge that students have had to evolve and adapt to overcome unprecedented circumstances during their studies,” Professor Burry said. “It also symbolises the journey of graduating students as they complete their studies and enter industry. “These graduates are future creative leaders and innovators, and this is our chance to celebrate them and their time at Swinburne.” Graduating architecture student and multiple GradX award winner, Nader Burjawi, has enjoyed the struggle. “It's been an amazing – I wouldn't say easy – but it's been an amazing journey, learning new things getting to know new people,” Nader said. The work of more than 250 of Swinburne's graduating design and architecture students is on display at 2022 GradX Evolve Creating opportunities Design Institute of Australia chief executive Jo-Ann Kellock helped open the exhibition, and said GradX is all about making sure graduates with personal investment and the right attitude have access to the opportunities they need to succeed. “In addition to your qualification, three things provide you with an advantage in effectively managing your transition from education to a design job: attitude, opportunity and personal investment,” Kellock said. The GradX awards are more than a gesture, they are designed to provide direct benefits to students. SoDA’s wide community of friends and supporters partnered with the university to sponsor 65 student awards, inducing almost $9,000 in cash prizes, along with priceless professional development opportunities such as folio consultations and chances to meet with industry leaders. “The awards are so important; the idea of being appreciated as a student,” Nader said. “It’s about teachers and how they support you until the end, and that's very comforting for a student who's just about to graduate.” 2022 GradX Evolve gives students the chance to showcase their work to industry leaders and potential employers Industry connections Associate Dean Education Nicole Wragg said GradX is an opportunity for students to get their work in front of leading professionals in their areas, and industry partners attend the event with recruitment front of mind. “Swinburne design graduates are sought after by industry for their strategic thinking, creativity and passion,” Associate Professor Wragg said. “These traits are fostered by our forward-thinking teaching and industry-integrated learning.” GradX Evolve runs until 9 December in the Advanced Manufacturing and Design Centre (AMDC) on Swinburne’s Hawthorn campus.
25 November 2022 09:44
https://www.swinburne.edu.au/news/2022/11/2022-gradx-evolve-showcases-design-and-architecture-talent/
https://www.swinburne.edu.au/news/2022/11/2022-gradx-evolve-showcases-design-and-architecture-talent/
Design
School of Design
false
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Award winning interior design tackles social issues
Award winning interior design tackles social issues
Inesse Soussi has won a Kitchen and Bathroom Designers Institute of Australia award and a Design Matters award for her work at Swinburne and beyond.
Swinburne design and architecture student Inesse Soussi’s kitchen design has won a Kitchen and Bathroom Designers Institute of Australia (KBDi) Student Design Award Inesse’s thoughtful design of a refuge for women and children who have experienced domestic violence has won the 2022 Student Design Matters Award Inesse has completed a Diploma and Advanced Diploma of Interior Design at Swinburne and is currently studying a Bachelor of Interior Architecture Inesse Soussi’s deep-seated passion for beautiful spaces is yielding success in her studies and beyond. After completing an Advanced Diploma of Interior Design at Swinburne University of Technology, and while completing a Bachelor of Interior Architecture, Inesse has been recognised with awards from the Kitchen and Bathroom Designers Institute of Australia (KBDi) and Design Matters. “I've liked interior design and architecture since I was a child,” Inesse said. “My parents always used to go to display homes and I just really liked them every single time we went. Sometimes I used to see a house in a magazine, or outside, and then I would try drawing it at home. I like beautiful spaces – it's just been something since my childhood.” Inspiring interiors Inesse began her Swinburne journey studying a Diploma of Interior Design. She learnt about colour, lighting, creating functional spaces, and how to use professional modelling software. “I liked how the course was taught,” Inesse said. “I felt supported by the teachers, they were very encouraging, and it was really fun.” Inesse used the skills she developed during her studies to tackle a real-life kitchen design project. She worked with a locally sourced residential client through the entire design process and emerged with a stunning professional outcome. Inesse’s mentor encouraged her to enter her final design in the first KBDi Student Design Awards, and Inesse won the Student Kitchen Design Award. “It was my very first time entering a competition,” said Inesse. “I was really happy that I got the chance to showcase my design and have professional people acknowledge the work that I did.” Design that matters Once she had completed her diploma, Inesse decided to continue her studies with the Advanced Diploma and was excited to tackle its new challenges. “The teachers were telling us that the project for the Advanced Diploma dealt with a social problem, and I was intrigued by that. I like designing and creating homes, but I wanted to try something new.” The ‘A Second Chance Project’ brief was to turn an existing neo-gothic building into a refuge for women and children who have escaped an environment of domestic abuse. Inesse conducted extensive research covering both design and social aspects. She took particular care in finding design choices that would help women who have escaped domestic violence feel safe and relaxed. Some of these choices included using curves and circular forms, incorporating nature, and crafting spaces with a balance of privacy and community. Inesse’s hard work paid off when she entered and won the 2022 Design Matters Student award. “I was really happy when I heard that I won,” said Inesse. “People know that it's a Swinburne project and it says a lot about Swinburne. I wanted to really make my teachers happy as well because they put a lot of hard work into teaching us and guiding us during that project.” Inesse is now studying Swinburne’s Bachelor of Interior Architecture and looking forward to polishing her skills as she continues to create beautiful spaces for people to live and interact in.
23 November 2022 09:15
https://www.swinburne.edu.au/news/2022/11/award-winning-interior-design-tackles-social-issues/
https://www.swinburne.edu.au/news/2022/11/award-winning-interior-design-tackles-social-issues/
Design
School of Design
Student News
false
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History and heritage inspire creativity
History and heritage inspire creativity
A group of Australian artists with Italian heritage have proven how design history can inspire creativity through the Parallel Visions exhibition
Australian artists of Italian descent drew on 20th century design as they created the experimental exhibition Parallel Visions Swinburne tutor Anna Caione pulled apart Gaetano Pesce’s famous La Mamma Chair design as she created her artwork La Mamma Dispersa Parallel Visions looked at intersections between past and present, the patriarchal and matriarchal, and showed how connection to history can enrich creative practise. Can a chair designed over 50 years ago inspire creative work today? Australian artist Anna Caione answers, ‘yes!’ with her artwork La Mamma Dispersa. Along with five other contemporary creatives of Italian descent, Anna created the Parallel Visions exhibition as an exploration into how design history can enrich contemporary artmaking. Their inspiration came from the work and creative practises of 20th century Italian designers. Gaetano Pesce’s original ‘La Mamma’ chair design was inspired by experimenting with materials and Anna followed suit with her explorations in foam. A desire to connect past to present Anna and three fellow artists each selected a 20th century Italian designer and crafted creative responses to their work. Associate Professor of Architectural History at Swinburne, Flavia Marcello, worked alongside them to create a virtual reality experience inspired by the 1930s Milan Triennale. Even the exhibition’s display system was influenced by 20th century Italian design, resulting in a playful cross-pollination of design, art and history. “It is about transforming design forms into non-functional artworks,” Anna said. “It is that idea of twisting meaning and interpretation – disassembling a design object while exploring and manipulating its materials and forms.” Cabinet of Curiosities – Artist, Sarina Lirosi, was inspired by Alessandro Mendin’s ’Quali Cose Siamo’ to explore forty objects that were intriguing, playful or which held an emotional connection Drawing inspiration Anna’s work responded to multidisciplinary superstar Gaetano Pesce. She focused on his famous piece, the La Mamma chair, in her creative exploration La Mamma Dispersa. Material and playfulness inspired Pesce’s design. His work helped pioneer the use of polyurethane, with his original vacuum-packed design growing from a small disk to a full-size chair. Anna took this idea and teased it apart. “The concept was to create the idea that the chair had been sliced, dispersed, reconfigured, and reinterpreted into an artwork,” said Anna. “It has different meaning for different people. But I like the notion from the 1954 Triennial, abandoned playfulness.” However, the exhibition stretches beyond simply recreating the past and focuses on recontextualising it. Notably, Parallel Visions draws on the interplay between the patriarchal and matriarchal, as contemporary creative women respond to the work of historical male designers and deconstruct it through their own lens. “In 20th century design, there weren't many female designers, particularly in Italian design. It was a very patriarchal world,” Anna explained. “We want to show how times have now changed and that model is breaking down – hasn't broken down – but is breaking down. The exhibition is about that as well.” Gold Mine (for Giò Pomodoro) - Wilma Tabacco was drawn to learn more about Italian abstract artist Gio Pomadoro, because of similarities she found to her own work, especially with gold metallics Why is design history so important? While creative inspiration is an extremely individual process, Parallel Visions demonstrates the vital part history can play, especially when it has a personal connection to an artist. “You need to understand the past – how it connects to us. It creates and informs the lives we live today,” Anna said. “History opens up your world of inquiry and creativity. It makes you a curious person. Without curiosity, you're not creating.” At this Point – From the first time Liliana Barbieri encountered Bruno Munari’s ‘Libri Illeggibili’ and ‘Sculture Pieghevoli’ she felt an immediate connection and has drawn on this to create her lastest series of works
10 November 2022 09:19
https://www.swinburne.edu.au/news/2022/11/history-and-heritage-inspire-creativity/
https://www.swinburne.edu.au/news/2022/11/history-and-heritage-inspire-creativity/
Design
School of Design
false
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Swinburne alum reshaping furniture design in steel
Swinburne alum reshaping furniture design in steel
Swinburne alum Remy Cerritelli is reshaping the Australian furniture design industry with bold and quirky design through Steelotto, the brand she co-founded
Swinburne alum Remy Cerritelli and her partner are reshaping Australian furniture with their bold brand Steelotto. Steelotto centres on a passion for locally manufactured steel and rejects the uniformity of Australian furniture design. The ethos-led brand is capturing a new generation of local design appreciation with its unique outlook and style. Remy Cerritelli is the new kid on the block of Australian furniture design. With her partner Alex Cummins, the Swinburne alum is breaking the mainstream furniture mould with bold, honest style through their brand Steeloto. Their steel designs are the antithesis of modern mass production furniture and appeal to an audience seeking unique design pieces. A passionate student makes a dedicated designer Unlike most of her cohort when she studied a Bachelor of Industrial Design, Remy knew she was destined for furniture design. Her degree equipped her with the technical skills needed for her career, but her honours year deepened her creative exploration. “My honours tutors made me feel like I could just go for it, do whatever I wanted to do without worrying if it fitted into traditional industrial design,” she said. Steelotto was born out of Remy Cerritelli and Alex Cummins’ shared love of quirky and radical design Rebellious inspirations The spark for Steelotto ignited in conversations between Remy and Alex when they discovered a mutual love of radical, quirky design. They share a passion for styles perceived as ‘undesirable’ in mainstream furniture. As they developed their own style and ethos, they drew inspiration from 80s Italian design, the Bauhaus, the Memphis Group, and many others also driven by a desire to stand out and reinvent the design landscape. “These designers were radical, breaking rules and creating stuff which people didn’t get straight away,” Remy said. “I like to think that's us too. A lot of people don’t get it: most of our designs are very linear in form, featuring harsh lines & what is broadly considered as an ‘ugly’ colour palette. But that's the thing, people get it, or they don't.” Steelotto designs champion locally-manufactured steel and showcase the material’s beauty and versatility Appealing to likeminded Australians Steelotto’s products and brand resonate with people hunting for the unique. It has designed furniture for cafes in inner city suburbs like Fitzroy, South Melbourne and Carlton. Locals have noticed the unique design pieces and sought out the brand. Remy said interactions with this customer base are far more personal than typical retail. “They don't necessarily have heaps of money,” she said. “But before they purchase things, they think about it, they obsess over it. When they do buy, it's a meaningful purchase.” The Steelotto furniture used for the new Hector's Deli in South Melbourne includes the Chubby Stool and Chubby Bench Steelotto is now expanding its audience through a partnership with James Richardson Furniture. This will bring the brand to showrooms across Australia, where people can view and engage with the products. “Straight off the bat, James Richardson showed how keen they were,” Remy said. “They were passionate about taking on the brand.” While Steelotto is excited to connect with new customers across the country, its goal remains the same. “We try and stay true to what we set out to do,” Remy said. “The biggest success for us is having created a brand with products that people actually want to buy and engage with.”
08 November 2022 09:48
https://www.swinburne.edu.au/news/2022/11/swinburne-alum-reshaping-furniture-design-in-steel/
https://www.swinburne.edu.au/news/2022/11/swinburne-alum-reshaping-furniture-design-in-steel/
Design
School of Design
false
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Sustainable shopping: students develop products with fungi
Sustainable shopping: students develop products with fungi
A group of budding engineers and designers have created sustainable shop fittings and displays for leading eco brand Seed & Sprout, as part of a Swinburne internship.
Design, architecture and engineering students have taken part in a professional internship to design and grow products for leading eco brand Seed & Sprout Mycelium was used to create the products, ranging from product packaging to furniture The project won a prestigious Good Design Award Best in Class accolade A group of budding engineers and designers have created sustainable shop fittings and displays for leading eco brand Seed & Sprout, as part of a Swinburne internship. Using mycelium, the root structure of fungi, the twelve students designed and grew the objects for the brand’s Byron Bay pop up shop, ‘Made+Mycelium’. The project has already launched the students into the spotlight, winning a prestigious Good Design Award Best in Class accolade. Participating in the project were students Adele Easton, Bailey Harper, Dilan Yariz, Fifi Prayogo, Harry Tweedale, Hayley Boicovitis, Jack Arceri, Louis Ryan, Luka Markulin, Marianne Coetzee, Megan Lambert and Tyson Morgan. They were supervised by Swinburne Architectural Design Lecturer Canhui Chen and Associate Professor John Sadar. Adapting to change The project began in mid-2021 as a professional internship offered to architecture, design and engineering students. The challenge of mastering a curious, dynamic material was compounded by successive COVID-19 lockdowns, which forced students to work remotely and use found objects such as hard rubbish in their own neighbourhoods. Chen delivered bags of hard product to the students, which they had to break down into a soil-like consistency and compact against frames or guides to train the growth in the shape of their designs. The structures were then wrapped in plastic for several weeks to grow, before being dehydrated (often in ovens or microwaves) to stop the growth process when the mycelium reached its target size and shape. “Mycelium is unprecise and has a mind of its own,” Bachelor of Engineering student Adele Easton said. “To then try and tame it and make it into a more precise object is very difficult. Cleanliness is a key factor too; before the mycelium objects are fully dehydrated, it can grow mould if placed in the wrong environment.” Easton produced a light installation, combining her engineering skills to embed LED light strips to disk-shaped mycelium features. Other students grew lampshades, stools, bowls, planters, and even product packaging. “It’s definitely a sustainable material, and a renewable one,” Easton said. “But maintaining precise control over the growing conditions, including a sterile environment, would make it challenging to grow on a production level.” Career-ready experience The research into designing with mycelium composite at Swinburne started in 2018, led by staff in architecture. In 2019, students collaborated with a Spanish architectural institute to investigate implementing the material in sustainable building practices. In 2021, researchers developed floating mycelium pods to promote biodiversity at Melbourne’s Royal Botanic Gardens, and won a Good Design Award for their work. Chen, who led the 2019 and 2021 projects, says Seed & Sprout approached Swinburne’s School of Design with the Made+Mycelium opportunity after the 2021 research. “We were able to run it as a professional internship program, where students from various backgrounds can collaborate and work together as a team and work on real-world projects,” he said. “It was a real project with a real client, deadline and budget. You can think of it as we were running a design firm and were commissioned by the client to deliver the pop-up store, and we hired a few students via the professional internship program. In this case, the students involved in the project were not considered 'students' but professionals working in a real project environment. It’s fantastic experience for the team to learn how concepts are turned into reality.”
18 October 2022 09:35
https://www.swinburne.edu.au/news/2022/10/sustainable-shopping-students-develop-products-with-fungi/
https://www.swinburne.edu.au/news/2022/10/sustainable-shopping-students-develop-products-with-fungi/
Design
School of Design
false
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Solving cyber fraud in four days – an innovation masterclass
Solving cyber fraud in four days – an innovation masterclass
Swinburne students came together from across disciplines for a four-day design sprint to tackle the growing issue of cyber fraud in Australia.
This year, the ‘Make it, Break it’ four day design sprint innovation challenge addressed the widespread threat of cyber fraud Swinburne students from various disciplines came together for this masterclass to learn from industry experts Students began the sprint knowing little about the impact of cyber fraud, and left with their own innovative solution The four-day ‘Make it, Break it’ design sprint brought together Swinburne University of Technology students from various disciplines to help Australians understand they are at risk from cyber fraud. ‘Make it, Break it’ is a collaboration between Swinburne, leading financial experts Netwealth, and specialist design agency Studio MASS. The opportunity is offered to any Swinburne students who wish to participate, and is a core industry experience for students enrolled in Swinburne’s new Bachelor of Applied Innovation. It trains the next generation of innovative thinkers using hands-on learning that dives into real-world challenges. As well as gaining a deep understanding of the important issue of cyber fraud, Netwealth Joint Managing Director, Matt Heine said students left the sprint with new industry knowledge and skills to equip them in their future careers. The challenge “With Australians connecting to the internet at work, school and home, the opportunities for greater collaboration, improved learning, new services and more frictionless transactions are endless,” Heine said. “However, with the proliferation of the internet into all aspects of our lives there are a multitude of bad actors and threats continuing to emerge with hacking, cyber fraud and other villainous influences constantly on the rise. “A focus on Cybersecurity helps keep these risks at bay, and solutions in this area must keep innovating to stay ahead of the negative social and personal impacts and the disruption and hardship it can cause to our daily lives and business.” A panel of experts from Netwealth donated their time to help students understand the depths of cyber fraud and its impact. From these insights, each student team developed a targeted direction that they pursued for the next three days. The process Swinburne Alumn Tim Kotsiakos and his team from Studio MASS use Google Venture’s Design Sprint Methodology to immerse students in the creative problem-solving process, with help from innovation and design experts from Swinburne’s School of Design and Architecture, and Design Factory Melbourne. “Students, mostly unknown to each other, unite around a problem or issue to solve,” Swinburne Associate Dean Education Nicki Wragg said. “Together, they construct meaning and language, to resolve the challenge in a way where every team member is heard and actively involved.” Students from media, engineering, science, design, business, criminology, and more, worked in multidisciplinary teams. Their solutions included an education website for children, a software proposal to make it easier to identify scam sites, an educational but entertaining Facebook account for those over fifty, and a guerrilla print campaign. One solution gamifies learning for a Gen Z audience in a competitive app called ‘Scammit’. The app would allow players to make ‘scams’ to appear in fellow players’ social media feeds. The goal would be to avoid the scams sent from others while creating successful ones yourself. The app would make users vigilant and teach them first-hand about the tactics scammers employ. The ‘Scammit’ game concept was created by Genie Boonpienpol, Ryan Mugnier, Samuel Nania, Sharon Hsu, Poojaben Dalwadi and Jun Yang Mah The impact Students left the masterclass with a three-fold benefit. Firstly, they gained new understanding of cyber fraud, straight from those with industry knowledge. Secondly, they had intensive hands-on learning on creation and innovation, which they are now able to apply to future challenges. Lastly, everyone left with new connections, both with industry and across disciplines within their university. “The experience gives students a mixture of practical techniques and industry experience that they can apply to their studies and future careers,” Kotsiakos said. “But most importantly, we hope that the program gets them to think differently about design and how design thinking can be used by multi-disciplinary teams."
14 October 2022 09:56
https://www.swinburne.edu.au/news/2022/10/solving-cyber-fraud-in-four-days-an-innovation-masterclass/
https://www.swinburne.edu.au/news/2022/10/solving-cyber-fraud-in-four-days-an-innovation-masterclass/
Design
School of Design
false
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Student designers gamify neuroscience to grow young minds
Student designers gamify neuroscience to grow young minds
Swinburne students have designed a colourful game that can teach primary school children how to recognise their feelings and explain them to others.
A team from Swinburne’s student-led design studio Bureau Accelerator developed a game called ‘Find Your Feelings’ for industry client ThinkPlus The card game uses a new theory of constructed emotions to help primary school children develop their emotional granularity literacy The final product is now for sale on the Think Plus website and is designed for both home and classroom use Pandemic restrictions didn’t stop Swinburne University of Technology students Caitlin Wagg, Charlotte Tiong, and Yeuk Nim Lo from creative innovation, producing a new game for children called ‘Find Your Feelings’. The student team collaborated online, across continents, to develop, test and deliver a research-grounded, educational card game. Find Your Feelings takes decades of educational research and wraps it in a highly engaging form to capture the interest of primary school learners. Bureau Accelerator industry client ThinkPlus provided expert knowledge of educational theory, as the student team applied psychology, education and communication design knowledge to develop a game with real educational impact. What is emotional granularity literacy? Emotional granularity literacy is the ability to recognise and name emotions at a detailed level. It includes emotional vocabulary skills, understanding feelings, and explaining them to others. ThinkPlus wanted to create a game that educated children in this vital area, as part of its mission to equip young people to face contemporary challenges. The organisation brought 25 years of educational research and development to the table but ThinkPlus educator and researcher Celia Franzè said they needed a design team to bring it into a tangible and engaging form. “The team of young professional designers applied knowledge across domains of psychology, education and communication design,” Celia said. “The Bureau was very professional and working with the team was honestly one the highlights in my working week.” ThinkPlus is an initiative of the Elevo Institute, which publishes educational research internationally. In 2019, it commissioned Swinburne academic, Dr James Marshall to conduct new research into gamifying the ThinkPlus metacurriculum through the development of pedagogical agents. This research applied Marshall’s unique Emotion Design method to construct emotional goals in game design. Marshall’s research forms a major part of ThinkPlus’ ongoing product development strategy which includes character design, games, animations, software and print applications. The ThinkPlus team have nicknamed the game’s Rainbow Chameleon “Jack.” How does Find Your Feelings work? Find Your Feelings uses captivating illustrations and a central character, the Rainbow Chameleon, to engage young learners. It encourages children to develop their emotional vocabulary skills by helping them connect feelings to prior experiences and situations. ‘Find Your Feelings’ works like a unique version of charades. The game consists of colour coded cards, each using the Rainbow Chameleon to demonstrate a granular emotion. The reversible box package forms a dice. Children have to guess the emotion being acted or described by their team members. Additional posters and charts track each team’s progress and support further discussion of the emotions being ‘found’. “I love that the game is the perfect size and beautifully houses the designed cards, packaging and instructions. The design accounts for developmental haptics and spatial transformation of objects attainable by children. It is truly remarkable,” Celia said. The game is now for sale via Think Plus website and is helping children in schools and at home to understand and explain their emotions to better navigate their world.
12 October 2022 09:18
https://www.swinburne.edu.au/news/2022/10/student-designers-gamify-neuroscience-to-grow-young-minds/
https://www.swinburne.edu.au/news/2022/10/student-designers-gamify-neuroscience-to-grow-young-minds/
Design
School of Design
Student News
false
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Week-long staff, student and alumni exhibit takes over ACMI
Week-long staff, student and alumni exhibit takes over ACMI
At ACMI on 3 September 2022, Swinburne: next gen_now is a program of thought-provoking digital media experiences from Swinburne students, alumni and staff.
Swinburne’s annual public program, Swinburne: next gen_now, is coming to ACMI from Saturday 3 September to Wednesday 7 September 2022 It is a week-long program of interactive, thought-provoking digital media experiences from Swinburne students, alumni, lecturers and researchers Swinburne: next gen_now shows off our capabilities in screen, media, film, television and design Swinburne is coming to ACMI with a week-long program of interactive, thought-provoking digital media experiences from Swinburne students, alumni, lecturers and researchers. Titled Swinburne: next gen_now, the non-ticketed program will run from Saturday 3 September to Wednesday 7 September 2022 in the Swinburne Studio and Gandel Digital Future Lab. As ACMI’s Major Academic Partner, Swinburne is recognised as a leader in the creation of next generation digital experiences that allow students to produce, create and engage using advanced technology. Swinburne: next gen_now showcases the university’s capabilities in screen, media, film, television and design. Visitors to ACMI will don the VR headsets, gloves and superpowers to create their own superhero. The experience is a collaboration between Swinburne, ACMI, celebrated technology artist Stuart Campbell aka SUTU and award-winning VR studio VISITOR. A week to look forward to Liam Burke, Associate Professor at Swinburne University of Technology, said they are excited to reaffirm the university at the cutting-edge of digital media. “After a false start last year due to a snap lockdown, to say we are excited to launch next gen_now is an understatement. Our partnership with ACMI enables us to further our goal of bringing people and technology together to provide transformative research to the industry and advance screen culture,” says Professor Burke. The program is packed full of interesting talks, VR experiences and showcased films and games. Highlights include: Next gen_filmmaking: Join Max Schleser to zoom in on the growing community of smartphone filmmaking Games Arcade: Walking through the Swinburne Games Arcade you’ll see a collection of work produced by several student teams from the past five years Superheroes: Realities Collide: Answer our call, don the VR headsets, gloves and superpowers to destroy an alternative Melbourne before it swallows our own city in a cloud of anti-matter! Aurora Australis Ultimo Choro: An immersive visual and sonic feast of three-dimensional environments and spatial sound visualising and sonifying the last grand Antarctic dance of the Aurora Australis, its crew and expeditioners. Swinburne student project Level Squared (LVL²) started from a seed of an idea, a mechanic of being able to take a block and project it across rooms and through walls to solve puzzles. It looks simple, but it has heart and a sense of humour that really brings it to life. Partners in digital technology and art Stephen Scoglio graduated from Swinburne University of Technology with a Bachelor of Games and Interactivity in 2017. His game Level Squared (also known as LVL²) won Student Game of the Year at The Game Awards that year. It will be one of many student and alumni creations exhibited at ACMI. “This was the first major game project I had worked on, as a mature-aged student returning to university in a completely new field, the process was daunting but also exciting. Being able to design a concept and watch it come to life and to play it and watch others play it was the greatest joy,” he says. Stephen flew to Los Angeles for the Game Awards, making his acceptance speech to around 13 million viewers – including much of the games industry. He then got a job in a local studio and became a games designer, and eventually returned to Swinburne to teach the next generation of game designers. Today he is a sessional lecturer at Swinburne and the Lead Designer at Wicked Witch Software, and still loving working in games. “Swinburne: next gen_now is one of the few exhibitions I know of that gives an opportunity to showcase the games made by students – those starting out, plying their newfound trade, exploring their ideas and not constrained by budgets and release dates,” Stephen says. “Universities and institutions will often show off their games at the end of the year and that's often the last you'll see of them. This exhibition keeps those games alive and will hopefully inspire those who haven't started on that journey to take the leap. I'm looking forward to going back to where it started for me and playing Level Squared with fresh eyes and years of design learnings under my belt and spotting all the things we could have done better!”
31 August 2022 16:16
https://www.swinburne.edu.au/news/2022/08/week-long-staff-student-and-alumni-exhibit-takes-over-acmi/
https://www.swinburne.edu.au/news/2022/08/week-long-staff-student-and-alumni-exhibit-takes-over-acmi/
Design|Film and television|Technology
false
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New centre to drive next-gen architecture
New centre to drive next-gen architecture
The new $9 million ARC Centre for Next-Gen Architectural Manufacturing will help address the massive amounts of waste and carbon emissions created by the construction industry.
The new ARC Centre for Next-Gen Architectural Manufacturing has received $9million in government and industry funding. Swinburne is co-leading the centre, administered by the University of New South Wales (UNSW). The centre will help the building and construction sector be more sustainable and productive by training the next-gen of architects in advanced manufacturing techniques and technology. Leading Swinburne researchers will work with colleagues around the world to help transform the architectural profession and deliver architectural manufacturing that can address Australia’s increasingly ambitious climate targets, through the new ARC Centre for Next-Gen Architectural Manufacturing. Swinburne is co-leading the centre, administered by the University of New South Wales (UNSW), which has received $9 million in funding through the ARC Industry Transformation Training Centre scheme, including over $4 million in matched funding from industry. The centre will bring together world-leading researchers, visionary partners and talented graduates, including 21 PhD scholarships and three postdoctoral fellowships, to help the sector deliver complex, high value-add and carbon positive architectural manufacturing. Swinburne Professor of Urban Futures, Mark Burry AO, and Dean of the School of Design and Architecture, Professor Jane Burry, are two of the Key Chief Investigators for the centre. “While advanced manufacturing has made huge strides in the past three decades, the construction industry has struggled to fully leverage these gains for sustainability, quality and productivity,” they said. “To access the environmental and productivity benefits of these advances, architects need the complex skills to help steer their projects towards advanced manufacturing. “The centre draws on both Swinburne and UNSW’s world class expertise in the digitalisation of professional practice to accelerate this necessary transition and continue Australia’s international reputation for innovation in this field.” In addition to the Swinburne leads, Professor Mark Burry and Professor Jane Burry, a number of researchers from Swinburne’s Smart Cities Research Institute and School of Design and Architecture are part of the research consortium, including Professor Mark Taylor, Professor Marcus White, Dr Pantea Alambeigi, Dr Mehrnoush Latifi Khorasgan, Daniel Prohasky, Dr Sascha Bohnenberger and Professor Blair Kuys. Creating a more sustainable future Through digitisation and skills development, the centre will help address the massive amounts of waste and carbon emissions created by the construction industry, and support Australia’s immediate productivity needs and climate goals. The centre’s program of industry-embedded PhDs, national and international placements, short courses, and post-doctoral projects will help develop the human capital needed to transform the architectural profession in Australia and around the world. The centre will integrate research into practice through digital business strategies, augmented intelligence, and computing domains of expertise, working closely with industry and university partners around the world. Swinburne’s Deputy Vice-Chancellor (Research), Professor Karen Hapgood, said the new centre was a perfect example of how leading experts from industry and universities can work together to leverage advanced technology and create sustainable solutions for architecture and the built environment. “The ARC Centre for Next-Gen Architectural Manufacturing will help drive digital transformation in this critically important industry and develop the next-gen workforce required to power it,” said Professor Hapgood. “We are delighted to have the support of the ARC and our university and industry partners as we work to create a more sustainable and innovative planet.”
10 August 2022 11:03
https://www.swinburne.edu.au/news/2022/08/new-centre-to-drive-next-gen-architecture/
https://www.swinburne.edu.au/news/2022/08/new-centre-to-drive-next-gen-architecture/
University|Sustainability|Design
Architecture,School of Design
false
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Indigenous student art calls for us to stand up
Indigenous student art calls for us to stand up
Indigenous students Jack Dorgan, Bridget Mason, Shelley Hollingsworth and Grace Auld saw their art make the finals of the 2022 NAIDOC Design Competition.
Jack Dorgan has won the 2022 NAIDOC Design Competition for Indigenous students Four finalists went to popular vote this year The competition is run by the Moondani Toombadool Centre’s Indigenous Student Services team and supported by Swinburne Student Life Swinburne student Jack Dorgan has taken out the prize in the 2022 NAIDOC Design Competition. Run by the Moondani Toombadool Centre’s Indigenous Student Services team and supported by Student Life, the competition saw four Indigenous finalists go to a popular vote. After hundreds of votes, the Swinburne community chose Jack as this year’s winner. Catch up on the 2022 winner and finalists below. Winner – Jack Dorgan Jack Dorgan is a part of Wemba-Wemba on his father’s side, born and raised in Echuca on the banks of the Murray River. He started creating artwork during 2020 to relieve the stress of Year 12 and the pandemic. He continues to enjoy art while he studies. "My artwork was inspired by the Indigenous flag and is meant to represent my Indigenous identity. It allows for me to 'Get up! Stand up! Show up!' for this part of my identity," he says. Jack was also a finalist in the 2021 NAIDOC Week Design Competition. Finalist – Bridget Mason Bridget Mason is a self-taught artist from Renmark, South Australia. She is new to drawing and oil painting, having started in 2021 while travelling around Australia. Recently, she has moved to Melbourne and set up a small painting studio in her home. “My late father was an Aboriginal painter and I take great inspiration from his work,” she says. “I am still finding my own style as a painter, but I greatly enjoy painting portraits and creating surrealist and abstract paintings.” Her painting, 'My Father's Necklace,' displays the power and pain of Aboriginal people working together through injustice. It embraces the 2022 NAIDOC Week theme to ‘Get Up! Stand Up! Show Up!’ together as community to improve the rights of Indigenous people. Finalist – Shelley Hollingsworth Proud Worimi woman, student of the Diploma of Community Services and 33-year-old mother of three, Shelley Hollingsworth, has lived on Bunnerong Country her whole life. Her piece, ‘Dingo Spirit,’ was actually created as a gift to her colleagues when she left for a new opportunity. It thanks them for friendship and mentorship working with targeted care packages for children at high risk of entering residential care. “The work we do is about teaching, healing, empowering, advocating and really everything that this year’s NAIDOC theme is about. Get our kids to ‘Get up! Stand up! Show up!’ to make their lives their own and set the path to being a young adult," she says. Like the other finalists, Shelley is new to painting. “I have never ever submitted my art in a competition and only been painting for self-care, cultural connection and metal health for 12 months. It’s become my passion and a piece of me. These are an extension of my own self-determination and my strength as a new mum and a Proud Worimi woman.” Finalist – Grace Auld Grace Auld is a Kanolu person living on unceded Boon Wurrung Land. She is studying Media and Communications and Indigenous Studies, and hopes to use her media production skills to assist Indigenous & LGBTQI+ organisations. They are an autistic lesbian and use any pronouns – she/they/he. “Though I can appreciate the aim to highlight our long history of resistance and activism, I think the theme itself, 'Get Up, Stand Up, Show Up' is problematic as it acts as a call to action, to allies, Blackfullas or both. If it is addressed to Blackfullas, it seems ignorant as we have indeed been getting up, standing up, showing up ever since colonisation began. “If it is addressed to allies, it seems a little misguided. Of course, encouraging people to be allies is a good thing, but NAIDOC has historically been for mob and by mob, whereas Reconciliation Week involves 'everyone' and insinuates that ’both sides’ have done something wrong and just need to get along. “Reconciliation Week also tends to place the burden of education and emotional labour onto mob. I don't want NAIDOC to become this. I want mob to be centred and celebrated."
29 July 2022 16:34
https://www.swinburne.edu.au/news/2022/07/indigenous-student-art-calls-for-us-to-stand-up/
https://www.swinburne.edu.au/news/2022/07/indigenous-student-art-calls-for-us-to-stand-up/
Design|Student News
false
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Shaping sound in architectural spaces
Shaping sound in architectural spaces
Swinburne researcher Pantea Alambeigi’s discoveries in the perception of human sound at work will influence the way meeting spaces are designed and constructed.
Swinburne researcher Pantea Alambeigi has revealed new knowledge about the design of semi-enclosed meeting rooms and pods in open plan office spaces Her discoveries will influence the way meeting spaces are designed and constructed Alambeigi’s research reveals that the key to better speech privacy lies in geometry and provides a set of geometric rules for architects to follow in the initial stages of designing a sound-performative space Swinburne researcher Pantea Alambeigi has revealed new knowledge about the design of semi-enclosed meeting rooms and pods in open plan office spaces. Her discoveries in the perception of human sound at work will influence the way meeting spaces are designed and constructed. Shaping sound in novel office spaces “My PhD research ‘Shape the Sound in Space: Design to Refine Speech Privacy Perception’ provides new knowledge for the design of semi-enclosed meeting rooms and pods in open plan offices, and discovery in the area of human sound perception, privacy, and the unconscious influences of the surrounding built environment on how we speak,” says Alambeigi. In general, semi-enclosed spaces are not advised by sound specialists as acoustically there is no way to block the sound from propagating into open plan offices through the open ceiling. The key is in geometry Alambeigi’s research has revealed how geometry can successfully delay sound propagation in meeting room pod design. She has revealed that semi-enclosed meeting pods are capable of creating a micro-auditory environment within a larger space to accommodate the conflicting needs of speech privacy and speech intelligibility in a macro scale. Recording sound propagation inside semi-enclosed FabPod, image by Pantea Alambeigi. Recording sound propagation in sound booth, image by Pantea Alambeigi. “My research demonstrates that there are geometrical solutions to achieving better speech privacy. These are available to architects and designers to apply in early design development stages. The key crucial factor in improving speech privacy in an open plan office, is the ability of specific geometry to hold sound inside a pod, before releasing it into the open plan environment,” says Alambeigi. Preliminary (left) versus final design (right) iterations for FabPod ll by Canhui Chen. Alambeigi’s research provides a set of geometric rules for architects with limited acoustic knowledge, to follow in the initial stages of designing a sound-performative space. Commonly-used cubic pods or cocooning furniture constructions designed to be fully enclosed or widely open with acoustic materials to absorb the sound, fall short of taking this approach into account. Making office acoustics easier on the ears? Sounds incredible Alambeigi’s experimental research also uncovered the relationship between our vocal intensity and our experience of privacy within a space. “Human perceptual interaction with the environment seems to play a major role in adapting vocal effort. The greater the sense of privacy, the less vocal effort and sound pressure level. This suggests a person’s perception of privacy and spatial impression are parameters that can unconsciously influence people’s speech pressure levels,” she says. “This goes against the common assumption that workers in open plan offices speak with a lower voice level to ensure more privacy. Instead it indicates a lower perception of privacy is possibly conducive to higher speech level production. One potential underlying reason for this is the intuitive perception of sound propagation losses in open plan offices and semi-enclosed spaces, which exerts a force on the speaker to compensate by increasing the speech level without even being aware of it,” she explains.
18 May 2022 12:35
https://www.swinburne.edu.au/news/2022/05/shaping-sound-in-architectural-spaces/
https://www.swinburne.edu.au/news/2022/05/shaping-sound-in-architectural-spaces/
Design
School of Design
false
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Swinburne finalists shine at Premier’s Design Awards
Swinburne finalists shine at Premier’s Design Awards
Swinburne’s achievements in design excellence feature in the Victorian Premier’s Design Awards. Six projects were awarded finalist status.
Swinburne’s design excellence features at Premier’s Design Awards Six Swinburne design projects achieve finalist status Swinburne joins Victorian-led design showcase Swinburne’s achievements in design excellence featured in the Victorian Premier’s Design Awards. Six projects were awarded finalist status. Joining the celebration of Victorian-led design, Swinburne’s academic, graduate and student projects form an impressive line-up. Tread Lightly Tread Lightly modular boardwalk, by Anthony Jongen By Anthony Jongen, Swinburne Industrial Design graduate, Swinburne School of Design and Architecture, Colac Otway Shire and Surf Coast Shire. The Tread Lightly project aims to future-proof and protect the natural beauty of the Great Ocean Road in coastal Western Victoria from excessive tourist foot traffic, through the creation of immersive and meandering pathways that minimise impact on natural surroundings. The modular boardwalk system avoids vegetation damage in delicate ecologies. Vegetation growth is supported underneath the boardwalk with open grating and an overall reduced footprint. Tread Lightly’s non-permanent anchoring system encourages pathways to be re-routed to allow for habitat regeneration while encouraging and sustaining tourism. Deeper than thirst Deeper than thirst installation by Alysha Magro By Alysha Magro, Swinburne Photomedia student and Swinburne School of Design and Architecture. Deeper than thirst is an immersive and interactive multi-sensory installation that explores the human connection to water. It encourages and stimulates self-reflection and mindfulness, guiding participants to explore their relationship with water, striving to push audience members to become more accountable, conscious and responsible and take action towards conservation. Deeper than thirst shows the immense power and value water has in the existence and function of all life. Nardoo: The Gallery of Aboriginal Art & Landscape Nardoo Gallery of Aboriginal Art and Landscape, rendered image by Parisa Bazargani By Parisa Bazargani, Swinburne School of Design and Architecture. Nardoo celebrates Indigenous culture and a collective sense of place. The overall form is inspired by the native fern 'Nardoo' and is symbolic to the wetlands of its prior landscape. The gallery narrates the memory of place through Aboriginal art. Its passage curates a journey as a space to be experienced. The design brief for Nardoo challenges the role of architecture through purposefully engaging in the history and marginalisation of Indigenous Australians in Melbourne's CBD and inner suburbs. The main objective is to propose architectural solutions that 're-frame' the existing margins of Melbourne's CBD through memory architecture, that will impact the local and visiting communities and enhance Indigenous representation through architecture. Waterfront Mushi Mushi wetland from mushroom-based biomaterials, photography by Lachlan Outhred. By Canhui Chen, Daniel Prohasky and Joshua Salisbury-Carter from Swinburne School of Design and Architecture, with Alex Reilly and Alessandro Liuti from Arup, and Nancy Beka and Ben Edwards from Studio Edwards. Mushi is the first wetland made completely from mushroom-based biomaterials. The structure is biocompatible, taking the form of three floating, interlocking triangular-shaped mycelium structures. Artificial wetlands are typically made from plastics that degrade and contaminate bio-ecologies. Above the water, Mushi is planted with Australian native species, creating a habitat for birds and insects. Under the water, plant roots absorb excess nitrogen and phosphorous. The Mushi wetland prototype is based on ongoing research in mycelium design at Swinburne in collaboration with Arup and Studio Edwards. ACMI Lens ACMI Lens, image supplied by ACMI By Swinburne Centre for Design Innovation (CDI), Publicis Sapient Australia and the Australian Centre for the Moving Image (ACMI). The ACMI Lens is a handheld, take-home recyclable device that lets ACMI visitors collect the artworks and objects they discover during their visit. Visitors build their own ACMI collection to take home and watch later to explore the stories and ideas behind their favourite exhibits at the museum, discover new films, TV shows, video games and art. The Lens is helping ACMI to change how visitors think about film, TV and video games. ACMI's original concept was developed into a prototype by ACMI's experience designer consultants Publicis Sapient. CDI evolved the Lens into a manufacturable and more ecologically sustainable product. Milkdrop silicone breast pump shield Milkdrop cushion for breast pumps, image supplied by Milkdrop By Milkdrop and Swinburne academic researchers, Ravi Bessabava and Daniel Prohasky. Milkdrop is a soft silicone cushion designed to support the physiology of a baby suckling. It stretches over existing breast pump heads making them softer and more comfortable for women using pumps to express breast milk. The design of Milkdrop responds to a challenge to change how women feel about breast pumps, by improving both the physical and emotional experience of their use. Milkdrop’s research reveals that over eighty-five per cent of babies have mothers who pump, with potentially millions of women globally experiencing pain and discomfort overlooked by poor design. Established by the Victorian Government in 1996, the Victorian Premier’s Design Awards program delivers an opportunity to highlight and celebrate local design capability. Entries that demonstrate design excellence are considered for the Victorian Premier’s Design Award finalist accolade. The awards elevate the value of design and the role of professional designers, celebrate Victorian-led design and strive to position Victoria as a design capital.
29 April 2022 13:58
https://www.swinburne.edu.au/news/2022/04/swinburne-finalists-shine-at-premiers-design-awards/
https://www.swinburne.edu.au/news/2022/04/swinburne-finalists-shine-at-premiers-design-awards/
Design
false
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Visnja Brdar: From Swinburne to New York
Visnja Brdar: From Swinburne to New York
From Swinburne student to global entrepreneur, Australian New York-based Creative Director, Visnja Brdar, shares her journey with us.
Swinburne design alum and New York-based Creative Director of BRDAR, Visnja Brdar, launched her own creative studio almost 20 years ago and shares her journey from student to entrepreneur From award-winning Swinburne student to globally renowned designer and entrepreneur, Australian New York-based Creative Director, Visnja Brdar, has returned home to Melbourne for an exclusive public design lecture at ACMI’s Swinburne Studio. “It is very exciting to be back visiting this special city and is a welcome change from the pace of New York. I am really looking forward to presenting my work over the span of three decades and sharing my story as an entrepreneur running two businesses [BRDAR and VISNJA JEWELS] in New York for many top global brands,” Brdar says. Since establishing her design practice nearly 20 years ago, Brdar has delivered work for several impressive clients, including Estée Lauder, Issey Miyake, Armani, Marc Newson, and the Sydney Opera House. “At BRDAR, we are driven by doing work of uncompromising quality for clients in the fields of fashion, beauty, real estate and the arts. We are happy to work in any field as long as we feel the synergy with the client. We work across multiple platforms, from brand work and strategy to creative direction, digital and product design. I believe I have an eye that was acquired and developed in Australia. My work has a strength, purity and clarity to it,” Brdar says. Visnja Brdar working on the Penthouse Book Construction in New York The journey to entrepreneur As a Bachelor of Arts (Graphic Design) (Honours) student, Brdar completed several design projects and an industry placement at a graphic design studio. “The industry placement I completed gave me great insight into the workings of a graphic design studio. During my Honours year, I designed a chaise longue, which was an expression of my interest in architecture and sculpture. I was passionate about breaking the boundaries of graphic design and going beyond the two dimensional. The work I do now is completely aligned with the same quest for excellence that I had as a student, and my pursuit of the new, and of course – the beautiful,” Brdar says. It was that quest for excellence that Brdar believes has been key to her success. “At Swinburne, I recall always pushing myself to do better and excel. I had no idea where the road would take me. The art history that was taught at Swinburne was invaluable. Awareness of history is critical. Knowledge is power. Design is first and foremost about ideas and I recall how we were constantly stretched and pushed. That spirit was in the air and was all consuming.” Brdar’s industry placement and the experience at Swinburne further cemented her desire to be an entrepreneur. “I was always very clear about not wanting to work for anyone and I wanted to see what I was capable of creating on my own. It took determination and grit. Intuitively, I knew that while it was definitely the more difficult pathway, it would be the most character building and I would create much more personal work,“ she says. International influence Soon after graduating, Brdar moved overseas to launch her creative studio, BRDAR. Brdar says it was her determination and drive that set herself up to meet with some of the best in the design world. “Designer and architect Chris Connell was my first client, and it was a great meeting of minds. I was proactive and reached out to Chris and I remember him loving what I created. Other people then saw the work and reacted positively, and the projects kept coming. A year later, I went to work in Paris and worked on multiple projects for Marc Newson. That work is very meaningful to me now, as it is currently exhibited in the Victorian Design Awards Exhibition at RMIT university.” Visnja Brdar’s watch promotion project in Paris for Marc Newson “There were so many projects in the first years of my career and I look back at these projects and they are still very meaningful to me in their ability to swim against the tide in pursuit of the new – the relevant new, not new for newness' sake.” “My desire to work with global luxury brands led me to New York and a position with Fabien Baron as art director for Michael Kors, Jil Sander and Nars Cosmetics, among others. Working with Fabien Baron was an incredible and exhilarating experience. I sent him my portfolio of work from Melbourne to New York and he was extremely positive about the work he saw,” she says. “New York is the most exciting place to work. It is this intense bubble that synthesizes the entire world with people from everywhere. You have the feeling that anything is possible.” Design lecture for designers and students After nearly 20 years working overseas, Brdar returns to Melbourne for a short visit to host several student workshops, as well as a public lecture at ACMI’s Swinburne Studio. Brdar will showcase her work and share her journey as an entrepreneur and will also explore with students and designers how to give vision to creations. “My advice for all designers is to work hard, think hard – think harder and deeper than you design. Ask ‘why’ a lot. Design after you have an idea, not before. Use a pencil. Spend less time on the computer and more time in the real world and with nature. Do work that is the best work you are capable of. Be aware of what is happening around you. Be sensitive to everything, the animate and inanimate. Be sensitive to the wisdom in old people and the innocence in the young. Travel far and wide to follow your dreams. Do things that are difficult. Listen deeply and listen hard to what moves you in life and follow that. “Don’t be a sheep. Try to make this world a better place, a more beautiful place with your work and with yourself. Have the courage to be a free thinker.” Visnja Brdar’s public lecture Geelong to NYC. An entrepreneurial journey was held on Thursday 24 March 2022 at ACMI’s Swinburne Studio in Melbourne.
18 March 2022 14:24
https://www.swinburne.edu.au/news/2022/03/swinburne-design-alum-visnja-brdar-swinburne-to-new-york/
https://www.swinburne.edu.au/news/2022/03/swinburne-design-alum-visnja-brdar-swinburne-to-new-york/
Design
School of Design
false
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Swinburne introduces ‘ungrading’ for greater creative risks
Swinburne introduces ‘ungrading’ for greater creative risks
Swinburne’s Bachelor of Design is piloting a revolutionary assessment program. It all started with an idea of ‘ungrading’.
Swinburne’s Bachelor of Design is piloting a revolutionary assessment program It started with an idea of ‘ungrading’ which is exactly what it sounds like – stripping grades from the degree The program has been designed to encourage creative risk taking and maintain Swinburne’s reputation as a leader in art and design Swinburne’s Bachelor of Design is piloting a revolutionary assessment program. It started with an idea of ‘ungrading’ which is exactly what it sounds like – stripping grades from the degree. Reduced fear of failure. Increased creative confidence. World-class design. Academics from the highly regarded design degree noticed students had become increasingly fixated on their grades. Teaching staff were concerned about how this could impact students’ creative processes and their creative confidence. With a reputation as one of the world’s top 50 art and design universities, as judged by QS World University Rankings by subject, Associate Dean Education at Swinburne’s School of Design and Architecture, Associate Professor Nicki Wragg and the team had a standard to exceed. Creating the conditions of industry Discussions with Swinburne’s Bachelor of Design advisory board echoed those same sentiments. So, Associate Professor Wragg engaged renowned ‘ungrading’ advocate Dr Jesse Stommel, Executive Director of Hybrid Pedagogy and co-founder of Digital Pedagogy Lab. Dr Stommel delivered a series of workshops with Swinburne design academics to talk through the culture change required to reimagine assessment in a design context. Then, through discussions with staff, students and the design industry, a revolutionary new assessment program – Assessment for Learning – was conceptualised. The Assessment for Learning brand identity was also created in line with Swinburne’s ethos of work integrated learning. It was created by Swinburne’s student-led design studio, The Bureau. Learning to embrace the uncomfortable There’s no shortcut to world-class design. Nor are there definitive answers. Pro-Vice -Chancellor (Education and Quality), Professor Tara Magdalinski says that design is a discipline where students need to imagine and create, which takes both risk and reflection. “Students are naturally worried about risking their grades if they go out on a limb, so the Assessment for Learning approach supports students to explore novel ideas, evaluate their own and each other’s creative work, reflect on their process and improve upon their designs,” says Professor Magdalinksi. “These are the skills industry has told us they need in new graduates entering the field and we are delighted that industry will work closely with students to provide feedback and insight on their portfolios.” Swinburne design alum and founder of design studio, MASS, Tim Kotsiakos, is part of the advisory board on Swinburne’s Bachelor of Design. He says the best design work uses empathy, and that empathy is created via research, collaboration and process. Swinburne design alum and founder of design studio, MASS, Tim Kotsiakos, agrees. “Placing too much emphasis on the final outcome, too early on, can distract designers from discovering the best possible solution." Swinburne Bachelor of Design/Bachelor of Business student Nasya Wu is already enjoying the benefits of the program. Swinburne Bachelor of Design/Bachelor of Business student Nasya Wu, who is a student in the pilot program, has grown as a result of the new approach. “Having the ability to apply feedback and critiques from others is a vital skill. The safe and supportive environment Swinburne has created stresses the importance of taking creative risks for the growth of new skills and higher standard designs. “Assessment for Learning makes me feel more comfortable experimenting with new skills, even when I might be uncertain of the final outcome,” says Ms Wu. Launched to Swinburne’s Bachelor of Design students in Semester 1 2022, Assessment for Learning encourages students to spend more time experimenting and engaging in the deeply iterative design process. Students will receive tailored advice from a network of successful Swinburne design alum, like Tim Kotsiakos of design studio, MASS and Rachel Miles of Milo and Co, and gain one-on-one feedback sessions with industry mentors.
09 March 2022 14:36
https://www.swinburne.edu.au/news/2022/03/swinburne-introduces-ungrading-for-greater-creative-risks/
https://www.swinburne.edu.au/news/2022/03/swinburne-introduces-ungrading-for-greater-creative-risks/
Design
false
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Students help design futuristic outdoor play in Melbourne CBD
Students help design futuristic outdoor play in Melbourne CBD
An outdoor virtual arcade brings fun, inclusive games to the Melbourne CBD as part of a Swinburne, City of Melbourne and SAGE Automation collaboration.
Open Arcade is a fun and inclusive outdoor gaming experience piloted in the Melbourne CBD The initiative allowed user experience and interaction design students to work with industry partners, City of Melbourne and SAGE Automation Students were asked to consider issues like social distancing, inclusivity, accessibility and fun After long lockdowns in Melbourne, Swinburne University of Technology students have used their UX design skills to help create the future of outdoor play. The Open Arcade transforms Southbank’s Queensbridge Square, injecting a fun and inclusive outdoor gaming experience to the Melbourne CBD. The pilot program is a collaboration between City of Melbourne, Swinburne and technology solutions company, SAGE Automation. Concept art from collaborations between Swinburne University of Technology, SAGE Automation and the City of Melbourne. Image supplied by The City of Melbourne. How it works The Open Arcade uses digital sensing technology. A camera tracks players’ movements so they can use their bodies to control the game in real time on the large LED screen. A processor and supercomputer, wifi, Bluetooth and custom software keep it running. Four digital games can be enjoyed by up to 12 players at a time. Players of any age, ability, language or prior knowledge can participate. The games also allow for social distancing and are played in an open space. Designing the future of outdoor games Program director of Swinburne’s Smart City Research Institute and Director of Swinburne’s Centre for Design Innovation, Professor Jeni Paay, led the collaboration between City of Melbourne, engineers and tech specialists at SAGE Automation and Swinburne’s user experience and interaction design students. “Our final year Bachelor of Design students were given the opportunity to work with the developers of the Open Arcade pilot to explore design alternatives and aspects of open-air gaming to inspire and inform the development of the final game,” she says. “This gave the students industry experience, on a real-world project, where they get to see the results in the city.” Students were asked to consider issues like safety, sharing, user types, behaviour types and how to make the games a fun, inclusive and accessible experience for all. They presented their findings to an industry panel and the best ideas were incorporated into the final design. Student presented their findings and ideas after conducting user and field research during lockdown. Minh Ton-Nu and Laura Ferris were two of the design students who helped to make the games inclusive and accessible. Minh says, “The chance to work on Open Arcade challenged my skills for designing a holistic gaming user experience for a wide audience, balancing between the games’ excitement and accessibility. “Every day I take the tram from the city to my office in South Melbourne and I get excited seeing Open Arcade at Southbank.” Swinburne staff and students, SAGE Automation staff and Lord Mayor Sally Capp celebrated the Open Arcade returning to Queensbridge Square in February. The project is part of the work integrated learning Swinburne students experience, providing experience with real-world problems, industry networks and an exciting, tangible outcome. Laura says, “It was sincerely rewarding working to a real-world brief that had genuine limitations, meaning we had to consider any potential issue to ensure we were creating a game that was appropriate for the context. “It’s been an invaluable experience; I’ve learnt how to work with real clients, how to best communicate my ideas, and what a difference it makes to have a strong, creative and diverse team working on a problem together.” Try it for yourself Open Arcade is part of the Reimagining the City Challenge. It can be played seven days a week from 7am to 8pm, until 3 March.
04 February 2022 15:37
https://www.swinburne.edu.au/news/2022/02/Students-help-design-futuristic-outdoor-play-in-melbourne-cbd/
https://www.swinburne.edu.au/news/2022/02/Students-help-design-futuristic-outdoor-play-in-melbourne-cbd/
Design
false
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Have you fallen for the myth of ‘I can’t draw’? Do it anyway – and reap the rewards
Have you fallen for the myth of ‘I can’t draw’? Do it anyway – and reap the rewards
Can't draw? Think again - and you'll be better off for it. Analysis for The Conversation by Dr Darren C Fisher, Swinburne University of Technology.
Can't draw? Think again - and you'll be better off for it. Analysis for The Conversation by Dr Darren C Fisher, Swinburne University of Technology. Drawing is a powerful tool of communication. It helps build self-understanding and can boost mental health. But our current focus on productivity, outcomes and “talent” has us thinking about it the wrong way. Too many believe the myth of “I can’t draw”, when in fact it’s a skill built through practice. Dedicated practice is hard, however, if you’re constantly asking yourself: “What’s the point of drawing?” As I argue in a new paper in Closure E-Journal for Comic Studies, we need to reframe our concept of what it means to draw, and why we should do it – especially if you think you can’t. Devoting a little time to drawing each day may make you happier, more employable and sustainably productive. Automatic drawing – where one doodles without a specific aim – is a way to tap into flow states and become mindfully absorbed. Darren C. Fisher, Author provided The many benefits of drawing I’m a keen doodler who turned a hobby into a PhD and then a career. I’ve taught all ages at universities, in library workshops and online. In that time, I’ve noticed many people do not recognise their own potential as a visual artist; self-imposed limitations are common. That’s partly because, over time, drawing as a skill set has been devalued. A 2020 poll ranked artist as the top non-essential job. But new jobs are emerging all the time for visual thinkers who can translate complex information into easily understood visuals. Big companies hire comic creators to document corporate meetings visually, so participants can track the flow of ideas in real time. Cartoonists are paid to draft innovative, visual contracts for law firms. Drawing without an intended outcome often ends with surprising results. Darren C. Fisher Perhaps you were told as a child to stop doodling and get back to work. While drawing is often quiet and introspective, it’s certainly not a “waste of time”. On the contrary, it has significant mental health benefits and should be cultivated in children and adults alike. How we feel influences how we draw. Likewise, engaging with drawing affects how we feel; it can help us understand and process our inner world. Art-making can reduce anxiety, elevate mood, improve quality of life and promote general creativity. Art therapy has even been linked to reduced symptoms of distress and higher quality of life for cancer patients. And it can help you enter a “flow state”, where self-consciousness disappears, focus sharpens, work comes easily to you and mental blockages seem to evaporate. Making simple repetitive marks is a great way to develop your drawing skills. Darren C. Fisher Cultivating a drawing habit Cultivating a drawing habit means letting go of biases against drawing and against copying others to learn technique. Resisting the urge to critically compare your work to others’ is also important. Most children don’t care about what’s considered “essential” to a functioning society. They draw instinctively and freely. Part of the reason drawing rates are thought to be higher in Japan is their immersion in Manga (Japanese comics), a broadly popular and culturally important medium. Another is an emphasis on diligent practice. Children copy and practise the Manga style, providing a critical stepping stone from free scribbling to controlled representation. Copying is not seen as a no-no; it’s integral to building skill. As researcher and artist Neil Cohn argues, learning to draw is similar to (and as crucial as) learning language, a skill built through exposure and practice: Yet, unlike language, we consider it normal for people not to learn to draw, and consider those who do to be exceptional […] Without sufficient practice and exposure to an external system, a basic system persists despite arguably impoverished developmental conditions. Copying art styles adds to your ‘visual library’. From top left: Herge, Tezuka, Brunetti, Miller, Kirby, Woodring. Darren C. Fisher So choose an art style you love and copy it. Encourage children to while away hours drawing. Don’t worry about how it turns out. Prioritise the conscious experience of drawing over the result. With regular practice, you may find yourself occasionally melting into states of “flow”, becoming wholly absorbed. A small, regular pocket of time to temporarily escape the busy world and enter a flow state via drawing may help you in other parts of your life. Drawing doesn’t need to look a certain way. Here, I try different ways of holding the pen, and using my non-dominant hand to draw. Darren C. Fisher How to get started Use simple tools that you’re comfortable with, whether it’s a ballpoint pen on post-it notes, pencil on paper, a dirty window, or a foggy mirror. Times you’d typically be aimlessly scrolling on your phone are prime candidates for a quick sketch. Doodle when you’re on the phone, watching a movie, bored in a waiting room. Follow along in this ten-minute video as I show you how to begin an automatic drawing. Together with mindful doodling, drawing from observation and memory form a holy trinity of sustainable proficiency. Drawing from life strengthens your understanding of space and form. Copying other styles gives you a shortcut to new “visual libraries”. Drawing from memory merges the free play of doodling with the mental libraries developed through observation, bringing imagined worlds to life. With time and persistence, you may find yourself producing drawings you’re proud of. At that point, you can ask yourself: what other self-limiting beliefs are holding me back? Your drawing style is like a thermometer of how you’re feeling. Darren C. Fisher This article is republished from The Conversation under a Creative Commons license. Read the original article.
04 January 2022 09:46
https://www.swinburne.edu.au/news/2022/01/have-you-fallen-for-the-myth-of-I-cant-draw-do-it-anyway-and-reap-the-rewards/
https://www.swinburne.edu.au/news/2022/01/have-you-fallen-for-the-myth-of-I-cant-draw-do-it-anyway-and-reap-the-rewards/
Design
false
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Swinburne alum wins two prestigious awards at 2021 VIVID Design Competition
Swinburne alum wins two prestigious awards at 2021 VIVID Design Competition
Swinburne alum, Isaac Pelchen, has won two awards at the 2021 Vibrant Visions in Design (VIVID) Awards for his design object, the Optic Candelabra.
Swinburne alum, Isaac Pelchen, has won two awards at the Vibrant Visions in Design (VIVID) Awards Mr Pelchen was awarded the 2021 Colour Design Award and 2021 Object Design Award with his design object, the Optic Candelabra The awards ceremony is Australia’s longest running competition for emerging designers Swinburne Bachelor of Design (Industrial Design) alum, Isaac Pelchen, has won two prestigious design awards at the 2021 Vibrant Visions in Design (VIVID) Awards in Melbourne for his object design, the Optic Candelabra. The awards ceremony is Australia’s longest running competition for emerging designers. Mr Pelchen won both the 2021 Object Design Award and 2021 Colour Design Award for his Optic Candelabra and says he is very proud of the achievement. ‘I feel honoured and privileged. Winning the first award was a thrill and winning a second came as a complete shock. A lot of effort went into the conceptualisation and development of the Optic so it was enormously gratifying to know that the judges understood and appreciated the design as it was intended,’ Mr Pelchen says. Isaac Pelchen at the 2021 VIVID Design Competition in Melbourne, Australia. Made from high quality epoxy resin, Mr Pelchen explains how the Optic Candelabra plays with light to create motion. ‘The Optic Candelabra was conceived from an exercise in the exploration of refracted light. As light passes through the convex and concave layers it’s diverted, refracting the light and creating an optic like effect. The vibrant pigments were chosen to represent the spectrum of colours that are revealed during refraction. As the candle burns the candelabra’s form harnesses the phenomena of refraction and puts it into motion. ‘I like to work with materials and processes that I have control over and can produce in-house. I selected epoxy resin because it has a refraction index similar to glass, making it perfect for casting optics,’ he says. The Optic Candelabra on display at the 2021 VIVID Design Competition. Mr Pelchen says asking questions is crucial for developing more innovative designs. ‘I’ve learnt a lot of important skills through my industrial design degree that have given me the ability to create and produce my designs. But I find when I sit down to design something the most important thing I’ve learnt is to ask why? Why should this exist? Why is it unique? How does it challenge our thinking or spark intrigue? After all what’s the point in repeating what others have already done? ‘I’m currently working on a series of hardware made from reclaimed epoxy waste. The design allows users to create furniture from bought, found or reconstituted materials. The intent is to decentralise manufacturing and reduce carbon emissions from production and transport,’ Mr Pelchen says. To find out more about the award-winning Optic Candelabra and Mr Pelchen’s other designs, visit his website here.
15 December 2021 15:28
https://www.swinburne.edu.au/news/2021/11/Swinburne-alum-wins-VIVID-design-awards/
https://www.swinburne.edu.au/news/2021/11/Swinburne-alum-wins-VIVID-design-awards/
Design
false
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Swinburne students use zombies in road safety campaign
Swinburne students use zombies in road safety campaign
A zombie-inspired campaign created by Swinburne students has been selected by the road safety program Re:act 2021 to be displayed around Victoria from 6 December to 19 December 2021.
A group of Swinburne students have seen their 'Don't Drive Dead' road safety messaging selected as the Victorian campaign for Re:act 2021 and will be displayed from 6 December to 19 December 2021 Eve Uittenbosch, Lulu Nicholls, Charlotte Tiong and Gabrielle Versace created the zombie-inspired campaign to bring awareness to the dangers of driver fatigue Re:act is a program that challenges university students to raise awareness of road safety issues among 16-25-year-olds, change driving behaviour and make all road users safe A striking campaign created by Swinburne students has been selected as the Victorian campaign for the road safety program Re:act 2021, and will educate young drivers about the risk of driving fatigue. Eve Uittenbosch, Lulu Nicholls, Charlotte Tiong and Gabrielle Versace are the third year Communication Design honours students behind the selected campaign which will launch from 6 December to 19 December 2021. They used zombies and the ‘Don’t Drive Dead’ tagline to bring awareness to the risks of driving fatigued. Re:act is a program that challenges university and college students to raise awareness of road safety issues among 16-25-year-olds, change driving behaviour and make all road users safer. Selected campaigns, including ‘Don’t Drive Dead’, will be developed with advertising agency Hard Edge . They will be displayed on billboards, bus stops and other public media assets managed by oOh!media. Re:act was created by Hard Edge in 2016 in collaboration with Swinburne University of Technology. Since launching, it has rapidly expanded internationally, as well as to the TAFE sector within Australia. The ‘Don’t Drive Dead’ campaign was inspired by pop culture’s frequent use of zombies Apocalypse of awareness Swinburne student Gabrielle Versace says the group wanted to create a relatable campaign and that, since participating, they’ve found the message affecting their own lives. ‘Something we saw in popular culture was the zombie genre. We liked the idea of a character that represented the state of being fatigued. “You look dead” is something our age group will often say to each other when we recognise someone is looking tired, so we liked that connection with being fatigued and how the zombie character could represent that.’ ‘After doing Re:act we realised, especially driving to university and then to work, that people in our age group are frequently on the road fatigued, without even realising. We found we kept using our campaign tagline in our own lives – “guys, don’t drive dead if you’re feeling tired” – so we started holding each other accountable, which is great because that’s what we wanted our campaign to do with the audience.' Swinburne students demonstrate how augmented reality could be incorporated into the campaign at Federation Square, Melbourne Saving lives Re:act founder, Andrew Hardwick, acknowledges the ‘inspired use of zombies’ that are popular in various media forms right now and commends the students’ efforts despite the challenges brought by COVID-19. Stephen Hehir from Re:act program partner Australia Post says that the company takes the importance of driver fatigue seriously with many of its employees on the road every day. ‘The Swinburne Media and Communications students this year all demonstrated a “felt” understanding of the driver fatigue issue and all delivered adept campaigns, evidenced by the challenge the adjudicators had in determining the selected campaign. Congratulations to the team with the cut through message, ‘Don’t Drive Dead’,’ Mr Hehir says.
06 December 2021 16:47
https://www.swinburne.edu.au/news/2021/12/swinburne-students-use-zombies-in-road-safety-campaign/
https://www.swinburne.edu.au/news/2021/12/swinburne-students-use-zombies-in-road-safety-campaign/
Design|Student News
false
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Swinburne holiday gift guide
Swinburne holiday gift guide
This holiday season give your loved ones a gift while supporting Swinburne affiliated small businesses.
Support small businesses this holiday season with Swinburne affiliated gifts From sustainable products to fashion and art, our gift guide features something for everyone on your list There’s a lot going on this time of year, with work drawing to a close and the holiday season upon us! To save you time and stress, we’ve rounded up the best gifts for every person and every budget from Swinburne affiliated small businesses. Cardigang Cardigang founder is Bachelor of Business alum Cat Bloxsom. The luxury knit kits give you the tools you need, including 100% Australian Chunk Merino wools to produce a knitted sweater you can be proud of. From Christmas sweaters to stylish beanies, there’s something that even beginner knitters can create in just a few days. Little Green Panda If you’re looking for something small with a big impact, look no further than Little Green Panda. Swinburne business management and communications design gradate Manon Beauchamp-Tardieu leads the startup that took part in Swinburne Innovation Precinct’s 2020 Accelerator Program. The sustainable straws are made from the waste products of agricultural processes, such as sugarcane and bamboo, and are 100 per cent plant-based. Little Green Panda sells affordable sustainable straws that help the planet memobottle Product design engineering graduate turned sessional lecturer Jesse Leeworthy is one of the minds behind iconic flat re-usable water bottle memobottle. Their environmentally conscious bottles and accessories help provide clean water and end throwaway culture while providing customers with sleek and modern designs that even the most stylish would be happy to tote around. And for the person who is impossible to buy for, there are a range of gift packs and gift cards available. memobottle’s stylish designs help reduce plastic waste and provide clean water with every purchase Indigenous artwork Bachelor of Education (Secondary) student Katie Bugden is selling her beautiful prints in the lead up to Christmas. As a Wiradjuri/ Kamilaroi artist who grew up on Bundjalung land in Northern NSW, her art tells the stories of her ancestors and draws inspiration from the colours of the land, soil, rivers and wildlife. You can find vibrant canvas bags, stickers, bookmarks and premade or custom canvases available on her website. Katie Bugden's personal artwork includes prints, all of which are for sale on her website currently DG Designs Communications and graphic design graduate Dominique Gauci’s business DG Designs produce irresistible prints, cards and wrapping. From athletic champions to Hollywood stars and iconic ice creams, the geometric art prints are perfect for the pop culture obsessed – no matter their niche. Better yet, personalise your portrait with whatever or whoever deserves a spot on the wall! Miniscape Projects Interest in gardening has boomed since the pandemic. Give your green-thumbed loved ones expert knowledge on how to create their own terrarium garden with simple instructions, plants, propagations and inspiration. Miniscapes by Clea Cregan, a Swinburne multimedia and design graduate, is the ideal book to take your summer gardening to the next level. Eloments tea Business and administration graduate and 2021 Alumni Impact Award winner Nicole Lamond is the co-founder of tea company Eloments. With a range of flavours from Summer Orange to Bourbon Vanilla, the organic vitamin teas create an enjoyable way to boost nutrient intake. Can’t decide which one? Gift packs are available to help the pickiest of loved ones find their perfect fit!
01 December 2021 11:53
https://www.swinburne.edu.au/news/2021/12/Swinburne-holiday-gift-guide/
https://www.swinburne.edu.au/news/2021/12/Swinburne-holiday-gift-guide/
Design|University|Sustainability
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2021 GradX highlights graduates to watch
2021 GradX highlights graduates to watch
Celebrating resilience and the power of creativity, GradX | Re.Silience profiles the work of 2021 design and architecture graduates across all disciplines.
• Celebrating resilience and the power of creativity, GradX | Re.Silience profiles the work of 2021 design and architecture graduates across all disciplines. • Grad X 2021 officially opened on 25 November. Swinburne Deputy Vice-Chancellor, Professor Sarah Maddison, gave the opening address while Dean of Design, Professor Jane Burry, hosted the online event. • A range of other events included the awards night, information evening and a panel discussion, creating a festival feel for graduates and industry, alike. Celebrating resilience and the power of creativity, GradX | Re.Silience profiles the work of 2021 design and architecture graduates across all disciplines. The 2021 Swinburne School of Design and Architecture graduate exhibition officially opened on 25 November, with Deputy Vice-Chancellor, Professor Sarah Maddison, giving the opening address while Dean of Design, Professor Jane Burry, hosted the online event. Additional panel discussions included ‘UX careers marketplace’, ‘looking back, looking forward: ten years of resilience’ and ‘design industry in the new COVID norm’ in addition to the design-led innovation online exhibition. Our talented 2021 graduates invite you to view their outstanding portfolios. Grad X award winners Course Director of Swinburne’s Master of Design, Dr Jane Connory, says what makes Swinburne’s Design and Architecture graduates stand out is their opportunity to engage in Work Integrated Learning as part of their degree. ‘They all have experienced working on live briefs, collaborating with industry professionals, and implementing the latest technologies by the time they leave us. Our student base is also diverse in many ways. Their lived experiences combine in collaborative ways to create innovative design solutions.’ Among the winners were Laura Ferris and Rohan Gerrard, awarded ‘Excellence in Design’ for their group Capstone Project on UX Interaction Design. Ryan Mueller also won an ‘Excellence in Design’ award for his Capstone Project on Branded Environments. Naomi Tran was given the ‘Best Portfolio Award’ for her Interior Architecture work, on top of receiving the highest GPA. Lastly, Isabella Green, Caitlin Grimmett and Fraser Hood all received multiple awards. ‘We are proud of them all, especially having had to navigate the challenges of COVID-19 during their degrees. We believe their resilience will make them better designers as they head out into their careers,’ says Dr Connory. The full list of award recipients is available now.
22 November 2021 17:20
https://www.swinburne.edu.au/news/2021/11/2021-gradx-re-silience/
https://www.swinburne.edu.au/news/2021/11/2021-gradx-re-silience/
Design|Student News
School of Design
false
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Curvecrete awarded Accelerating Commercialisation Grant
Curvecrete awarded Accelerating Commercialisation Grant
Swinburne lecturer in architectural engineering, Daniel Prohasky awarded Accelerating Commercialisation Grant for Curvecrete venture.
Swinburne lecturer in architectural engineering, Daniel Prohasky has received funding for robotic curved concrete moulding Curvecrete helps to embrace zero waste via advanced manufacturing and fit-for-purpose robotic technologies Swinburne lecturer in architectural engineering and co-founder of Curvecrete, Daniel Prohasky with co-founder Warren Rudd have won an Accelerating Commercialisation Grant from the Australian government. Simpler, faster and zero-waste production Swinburne awarded Prohasky was a Swinburne Innovation Fellow in 2019, for his work in establishing and developing Curvecrete. With Swinburne’s support, Curvecrete has created a robotic concrete moulding technique to produce bespoke curved concrete panels – making production simpler and faster with zero waste. The $325,158 grant will assist Curvecrete to develop a pilot manufacturing facility in Melbourne. Video by Swinburne Curvecrete intern Daniel Shawyer, Travis Gemmill, Marcus Cher, Paul Meeuwsen and Daniel Prohasky. Multiple and flexible applications Curvecrete panels can be used in non-structural cladding applications like facades, rain screens and non-combustible cladding replacement; in structural applications – modular curved homes, urban art work, seating and balustrading; and in infrastructure – curved pedestrian bridges, highway sound barriers and pylons. The Swinburne Innovation Precinct supports Curvecrete’s focus on accelerating Australia’s construction industry to embrace zero-waste, with low or zero embodied carbon emissions, via advanced manufacturing and fit-for-purpose robotic technologies. Prohasky also works with the Precinct and School of Design and Architecture to encourage students to participate in Swinburne’s Venture Cup and Accelerator Program. Prohasky (right) testing concrete in the lab at Swinburne. Low-carbon cement alternatives His role as Robotics in Construction theme leader at Swinburne’s Smart Cities Research Institute has led to collaboration with Swinburne’s Digital Construction Laboratory – supporting Curvecrete’s mission to use low-carbon cement alternatives. Curvecrete has subsequently developed expertise in creating commercially viable low-carbon, light-weight fibre-reinforced geopolymer concrete. It is building on research in geopolymer materials development at DCL, for real-world scenarios as non-combustible cladding with official AS1530.1 compliance. Algorithmically CNC milled geopolymer, image supplied by Daniel Prohasky Students helping to solve the construction waste crisis Swinburne students have assisted Curvecrete through internships and industry projects. Design students have developed media and branding content to promote Curvecrete’s mission to help solve the construction waste crisis in a beautiful way. ‘Getting the word out is important to Curvecrete. We want to engage with property developers and private clients looking to build something innovative using sustainable modes of construction can be beautiful!’ says Prohasky. Advanced manufacturing and fit-for-purpose robotic systems ‘Curvecrete’s new factory will be an advanced manufacturing facility,’ he adds. ‘We’re expanding our manufacturing capabilities to deliver on multiple commercial and infrastructure projects.’ The facility is a huge step in the right direction for scaled manufacture of low carbon construction, enabled through fit-for-purpose robotic systems. ‘Curved architecture has been imagined by architects for centuries. It’s always been complex to build. Curved forms like the Sydney Opera House inspire us,’ says Prohasky. Traditionally, manual formwork needs to be constructed to create a form to cast concrete. The material and labour required to create formwork is generally discarded after one use. ‘Adaptive mould technology or robotic formwork that’s completely reusable eliminates this waste and effort, making the process simpler and more cost effective,’ explains Prohasky. He envisions a more sustainable future enabled by making curvature in a totally reusable way. ‘Traditionally manufactured curvature for architecture is like manually building a boat then discarding it when you get to your destination!’ In the not-too-distant future, he hopes to make curved architecture at cost parity with flat panels, and continue to develop manufacturing techniques that minimise waste. ‘Reducing Australia’s construction waste stream is a huge shared goal to avoid and help reverse environmental contamination,’ says Prohasky. Want to discover more about what the future holds for Curvecrete? What Is The Future For Cities is a podcast created by architect and Swinburne PhD candidate Fanni Melles. In this episode, she interviews Prohasky about what lies ahead for Curvecrete.
28 October 2021 13:09
https://www.swinburne.edu.au/news/2021/10/Curvecrete-awarded-Accelerating-Commercialisation-Grant/
https://www.swinburne.edu.au/news/2021/10/Curvecrete-awarded-Accelerating-Commercialisation-Grant/
Design|Sustainability|Engineering
Research,School of Design,Innovation Precinct
false
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Swinburne students win 2021 Advertising Capstone Challenge
Swinburne students win 2021 Advertising Capstone Challenge
A team of Swinburne students have pipped 200 other entrants to win the 2021 Advertising Capstone Challenge.
A team of Swinburne students have won the Advertising Capstone Challenge from a pool of 200 students This year’s brief was from Tourism Australia and aimed to encourage people to holiday in major cities The winning team will have the opportunity to participate in internships and mentorships with M&C Saatchi Australia Swinburne students thrived during their Advertising Capstone Challenge finals pitch to Tourism Australia and agency M&C Saatchi on Thursday 21 October. After making it through to the finals, which featured six teams from three universities, team Nexus from Swinburne took out the top gong. Despite never having met each other in person, the judges commended the team for their chemistry. A challenging brief The students were tasked with encouraging families and empty nesters to desire a holiday in a major city – when everyone felt cities were a high-risk holiday choice. ‘The brief was so hard. So hard!’ says Bachelor of Design/Bachelor of Media and Communications student Tom Ayton. Adding to the challenge of the brief was the fact that there was already a successful campaign from Tourism Australia, Holiday Here This Year, in market. ‘We were told there was no limit to our budget,’ adds Tom. It was enough to put a well-seasoned creative into a spin. Yet, the students felt supported, saying their teacher Tejhaswinee Pochun was a constant source of encouragement and guidance. Conducted in every way as though it were an agency to client pitch, students had the opportunity to take on real-life agency roles, from account planner to copywriter, as well as a chance to pitch to a global advertising agency and a well-known Australian client. A winning idea The winning idea that team Nexus presented was brilliantly simple and sparked by the insight that peer influence builds trust. Students made the most of their free access to Adobe Creative Cloud and gained insights by analysing a range of data from Roy Morgan Asteroid and Nielsen. ‘Our teammate Charlie just said: let’s do something like ‘my mate’. Like, my mate told me about this place,’ says Bachelor of Media and Communications student Naomi Janmaat. ‘When you come back from a trip, you tell your friends “you have to go here”. That’s how we learn about these things,’ says Tom. Team Nexus’s campaign explored mateship, what it meant, and how mates could be made along the journey by supporting business owners who’d been impacted by lockdowns. The team swapped clichéd destinations like Eureka Tower for the Cat Café and focused on the inner-city experiences people don’t know about. The campaign featured a strong social strategy and a streaming component: a Netflix documentary about little-known city gems. Their presentation impressed. ‘The thinking was excellent and the presentations were polished. We really are looking at the next generation of digital natives,’ says Executive Creative Director of M&C Saatchi Sydney, Mandie van der Merwe. Creativity and practice in action Swinburne’s involvement with the Advertising Capstone Project illustrates how symbiotic the relationship between students, Swinburne mentors and industry partners can be. ‘It’s an advertising practice degree, so it’s critical that students understand the industry they’re about to go into,’ says advertising lecturer David Reid. ‘The program gives students a sneak peek of what they can expect in the real world. This equips them with tools to be job-ready,’ says Tejhaswinee. ‘Programs like this remind us of the value of creativity and give us all the opportunity to feed off it. Hats off to the organisers for getting this right,’ says Mandie. For the students, the experience has been priceless. ‘It was amazing for every one of our résumés, not just the people who won, but for everyone who presented,’ says Tom. Next steps The winning team will have the opportunity to participate in internships at M&C Saatchi Australia, and receive one-to-one mentoring with executives there, too. ‘It will be exciting to see what comes from the mentorship,’ says Tom. ‘This could be life-changing. This could help us in the long run,’ says Naomi.
25 October 2021 22:06
https://www.swinburne.edu.au/news/2021/10/Swinburne-students-win-2021-advertising-capstone-challenge/
https://www.swinburne.edu.au/news/2021/10/Swinburne-students-win-2021-advertising-capstone-challenge/
Design|Student News|Business
false
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Swinburne researchers clean up at 2021 Good Design Awards
Swinburne researchers clean up at 2021 Good Design Awards
Swinburne designers and engineers have won six Good Design awards. The Good Design Awards recognise design that creates a better and more sustainable world.
Swinburne researchers, designers and engineers have taken home six Good Design awards The award-winning submissions include a plastic-free floating wetland, an exhibition designed to stop period shame, an interactive STEM classroom in a box, a revolutionary soft silicone cushion for breast pumps, and a smart device that supports the management of Autism Spectrum Disorder The Good Design Awards are one of the country’s highest design honours and recognise design that improves wellbeing and creates a better and more sustainable world Design can be transformative. It has the power to improve our quality of life and to create a better and more sustainable world. Leading Swinburne design researchers and engineers have proven their ability to achieve all of those things, by being recognised at the 2021 Good Design Awards for their outstanding contributions to design. From a record 930 submissions to this year’s awards, Swinburne entrants took home six Good Design awards. Three of those were highly-coveted golds. Their recognition is proof that the design-led solutions and entrepreneurial and technology-infused thinking proffered by Swinburne researchers, designers and engineers is creating a better tomorrow – right this very second. Mushi: a plastic-free solution to floating wetlands A collaboration between Swinburne, Arup and Studio Edwards has won gold in the Design Research category for their project, Mushi (pronounced Moo-shi). Swinburne’s Architectural design lecturer Canhui Chen, architectural engineering lecturer Daniel Prohasky and research assistant Joshua Salisbury-Carter were part of the award-winning team. Floating wetlands are designed to create healthy waterways and environments. The problem is, they’re normally made out of plastic. That plastic degrades, contaminates bioecology and eventually ends up as waste. Mushi aims to change that. It’s the first wetland made completely out of biomaterials, meaning it’s one hundred per cent biocompatible. Prototyped and manufactured in Swinburne’s ProtoLAB, Mushi takes the form of three floating, interlocking triangular-shaped mycelium (the roots of funghi) modules. Read more about Waterfront: Mushi on Good Design Australia. Sanitary Secrets Exhibition aims to stop shame – period Lecturer in communication design and course director for Swinburne’s Master of Design, Dr Jane Connory won gold for Design Excellence in the Communication Design category for her ‘Sanitary Secrets’ exhibition. The Sanitary Secrets exhibition and catalogue showcased 100 period product ads that were printed in Australian women’s magazines from 1920 to 2020. It was curated to question how communication design can perpetuate or diminish period stigma and to question a designer’s ethical obligation to challenge harmful norms. The Good Design Awards Jury praised Dr Connory’s exhibition for being important and timely. ‘The design team has used clever design codes - directly targeting visual communicators that will help drive change. The Jury believes this project has the potential to make a significant positive impact on society. Well done.’ Discover more about the Sanitary Secrets Exhibition on Good Design Australia. Best in classroom in a box Swinburne researcher Fabian Schneider and Dr Gregory Quinn (formerly Swinburne) took out gold in the Product (Medical and Scientific) category for Grasp IT and also won an award in the Engineering category. Grasp IT is a STEM classroom in a box. Grasp IT is a concept that embodies Swinburne’s own ethos of learning by doing. By combining touch, active play and digital augmentation into one handy device, it’s a STEM learning game-changer. Digital augmentation makes the invisible visible. Force and electric current are projected in real-time response to how the user is manipulating the structure. The result is a revolutionary learning tool that makes learning in science and engineering more effective, accessible and fun. Learn more about Grasp IT on Good Design Australia. Milkdrop engineers comfy breasts for women the world over Can an engineer engineer comfier breasts? When it comes to expressing milk, the answer is: yes. Swinburne 2019 Venture Cup winner and 2020 Accelerator Program participant Milkdrop has taken out a Good Design award under the Product (Medical and Scientific) category. Founder Alexandra Sinickas came up with the idea for Milkdrop after her own uncomfortable experience expressing milk for her daughter. As an engineer, she knew there had to be a better solution. Working with Swinburne Design Technical Officer Ravi Bessabava and Architecture’s ProtoLAB and Lecturer in Architectural Engineering, Daniel Prohasky, the team (which included Alexandra’s medical doctor husband) created a prototype of the breast pump cushion, designed on the physiology of a baby suckling. The outcome was the Milkdrop Breast Pump Cushion – a soft silicone cushion that can be attached to existing breast pump heads. Find out more about Milkdrop Breast Pump Cushion on Good Design Australia. Next gen products to empower people with Autism Spectrum Disorder Globally, one in every 59 people is diagnosed with Autism Spectrum Disorder (ASD). People with ASD may experience a limited capacity for self-regulation and this can restrict their participation in important parts of life, such as employment, education and recreation. E.Cue, which aims to change that, has recently won a Good Design Award in the Next Gen Product category. The product has many sensory features, like a tactile surface for sensory soothing, all designed to reflect the needs of the user. Designed by Swinburne product design engineering graduate Chloe Leigh-Smith, E.Cue is a smart device that provides continuous monitoring and detects and alerts users to changes in their emotional state. Changes are detected through embedded biofeedback sensors. After it detects a change, an interfacing app supports the individual to manage these changes through the technique of self-regulation. Discover more about E.Cue on Good Design Awards.
21 October 2021 11:05
https://www.swinburne.edu.au/news/2021/10/Swinburne-researchers-clean-up-at-2021-good-design-awards/
https://www.swinburne.edu.au/news/2021/10/Swinburne-researchers-clean-up-at-2021-good-design-awards/
Design|Technology|Engineering
Research,School of Design
false
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Frances Burke: Designer of Modern Textiles released
Frances Burke: Designer of Modern Textiles released
Swinburne adjunct scholar Nanette Carter co-authors monograph about leading Australian postwar textile designer Frances Burke.
• Frances Burke: Designer of Modern Textiles book has been released • Textile designer Frances Burke was a visionary who understood the power of personal branding as early as 1948 • She is the focus of a monograph co-authored by adjunct scholar and researcher at Swinburne’s School of Design and Architecture, Nanette Carter Frances Burke: Designer of Modern Textiles, a monograph presenting the life and work of Australia’s leading textile designer and promoter of modern design in the postwar era, Frances Burke, has been released. Adjunct scholar and researcher at Swinburne’s School of Design and Architecture, Nanette Carter and independent scholar and founder of the Frances Burke Textile Resource Centre at RMIT, Robyn Oswald-Jacobs, collaborated to bring the book to life. Their research was a shared journey. Robyn Oswald-Jacobs (left) and Nanette Carter’s research was a shared journey. Frances was a forerunner By all accounts, Frances was a dynamic and innovative character. She possessed bright blue eyes, a commanding voice and an entrepreneurial streak. ’Burke was the first Australian designer to receive an MBE in recognition of her contribution and influence,’ explains Carter. ‘She was the sole woman foundation member of the Society of Designers for Industry in 1948, the forerunner of today’s Design Institute of Australia, and a board member of the pioneering Museum of Modern Art and Design in Melbourne.’ The front cover of the monograph presenting the life and work of Australia’s leading textile designer. Motifs and motivations The book focuses on why and how Burke established her career as a designer; how she built a national market for her production; the creation of her personalised brand; her collaboration with leading Melbourne architects including Robin Boyd, Roy Grounds and Guilford Bell; her success in supplying clients during the postwar housing boom and a chapter on her final years when she moved from design practice and writing about design, to advocacy for design, art and craft. Bird and Tree (1940) by Burke, Courtesy Ararat Gallery TAMA, Ararat Rural City Council and MDP Photography & Video, ©RMIT University. Six sections of the book discuss the motifs Burke explored in her work, including abstract designs, marine themes and Indigenous-influenced designs. Surf (1950), screenprint, 87 x 91cm, NGA, Canberra, Gift of Frances Burke, 1984, ©RMIT University. An advocate for Australian design Carter and Oswald-Jacobs conducted archival research at the State Library, National Library in Canberra, Mitchell Library in Sydney, University of Melbourne Archives and investigated various hospital and other institutional archives. They interviewed senior architects who recommended clients to Frances Burke in the 50s and 60s and spoke to clients who had purchased Burke’s fabrics or had grown up in homes where they were surrounded by them. Caption - Angel Fish (1949) commissioned by architect Guilford Bell for the Hayman Island Resort. Courtesy Ararat Gallery TAMA, Ararat Rural City Council and MDP Photography & Video, ©RMIT University. ‘We discovered Burke’s career was more varied than we thought. As a result, we’ve built a complex, detailed picture of her role as an advocate for Australian design and her collaborations with leading architects of the period,’ says Carter. Frances Burke: Designer of Modern Textiles is published by Melbourne University Publishing.
14 October 2021 15:52
https://www.swinburne.edu.au/news/2021/10/frances-burke-designer-of-modern-textiles-released/
https://www.swinburne.edu.au/news/2021/10/frances-burke-designer-of-modern-textiles-released/
Design
Research,School of Design
false
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Swinburne design students collaborate with London College of Communication
Swinburne design students collaborate with London College of Communication
Swinburne design students and the London College of Communication have brought the Stanley Kubrick Archive from University of Arts London to audiences worldwide.
Swinburne and London College of Communication have collaborated on the first inaugural joint design project Branded environment students in Australia and UK learned together using online platforms One winning student team have designed an online interactive spacial experience so audiences around the world can enjoy the Stanley Kubrick Archive Design students at the Swinburne School of Design and the London College of Communication have collaborated to bring the Stanley Kubrick Archive from the University of Arts London to audiences around the world. From March through to the end of June, students from Swinburne’s Branded Environments Major collaborated with students in the London College of Communication’s Design for Branded Spaces program to create interactive spatial experiences for Stanley Kubrick Archive. With grant funding secured, one student team would see their design realised. Students competed in teams to design their tech solution. Image from the Branded Environment Design Studio, taken by Renee Chung and Ellen Wadley. Collaborating across international borders The cross-institution student teams worked to a brief to design an interactive spatial experience to help bring the Stanley Kubrick Archive to audiences who are unable visit the space in person. The interactive experience needed to include augmented reality, with prototypes developed using Unity. The students worked across time zones in Melbourne and London, with academic support across online platforms including Collaborate Ultra and Miro. At the same time, they participated in virtual guest presentations and workshops with Swinburne School of Design academics, futurist Bridgette Engeler from the Swinburne School of Business. They also heard from the Stanley Kubrick Archive staff and London College of Communication Creative Lab. At the end of the project, industry guests – including Bonita Moulton-Smith, Design Director, Downstream, Melbourne and Nicole Cusack Exhibition Designer, Art Gallery of NSW, Sydney – were invited to the final presentations in Melbourne. Students designed a digital ticket to provide access to view the exhibition. The winning concept A selection panel chose one student design as the winner: ‘Stanley Kubrick: A Symmetrical Experience’. The winning team is a group of three London College of Communication students – Jacob Harris, Rosie Mitchell and Tomoyasu Ishizuka – and Swinburne student Taylor Prokopiou. The winning team was selected based on their chosen archive material and focus on the notion of symmetry and single point perspective explored in Kubrick’s films, which they translated into an engaging augmented reality experience. The students have developed their augmented reality prototypes to present the final design to the Stanley Kubrick Archive. ‘Stanley Kubrick: A Symmetrical Experience’ will be launched for testing in the Stanley Kubrick Archive in September 2021. The 'Stanley Kubrick: A Symmetrical Experience' concept designed by Swinburne and London College of Communication features three rooms based on three Kubric films: 2001: A Space Odyssey, A Clockwork Orange and The Shining. The project was initiated by communication design lecturers Karen Fermo at Swinburne’s School of Design, Lucy Thornett from the London College of Communication, Swinburne Branded Environments tutor Bryce Calleia and London College of Communication tutors Irene Martin and Emilie Loiseleur. With the success of the first collaborative design, they have set the scene for a continuing collaboration.
27 September 2021 14:48
https://www.swinburne.edu.au/news/2021/09/swinburne-design-students-collaborate-with-london-college-of-communication/
https://www.swinburne.edu.au/news/2021/09/swinburne-design-students-collaborate-with-london-college-of-communication/
Design
false
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The 7 Swinburne exhibits at ACMI in August
The 7 Swinburne exhibits at ACMI in August
ACMI and Swinburne present thought-provoking digital experiences as part of the next gen_now program from 7–13 August in the Swinburne Studio and Gandel Digital Future Lab.
02 August 2021 11:35
https://www.swinburne.edu.au/news/2021/08/the-seven-swinburne-exhibits-at-acmi-in-august/
https://www.swinburne.edu.au/news/2021/08/the-seven-swinburne-exhibits-at-acmi-in-august/
Design|Student News|Film and television|Technology|University
false
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Students use technology to make banking more inclusive
Students use technology to make banking more inclusive
Four Swinburne students have designed an inclusive financial literacy and banking app to address the challenges faced by neurodiverse people.
Swinburne’s Design Factory Melbourne partnered with social enterprise Untapped as part of the 2020 TOM@University program TOM@University program is dedicated to creating design solutions for people living with disabilities to make future work and study more inclusive and accessible Four Swinburne students have designed an inclusive financial literacy and banking app called Money&Me through collaboration with Untapped and ANZ As we speed along in a tech-rich world, we can’t leave anyone behind. Four Swinburne students turned to online banking with this driving belief in mind, combining forces with social enterprise Untapped to create an inclusive financial literacy and banking app. Prototyping tech solutions for neurodiverse people In its third year at Swinburne, Design Factory Melbourne’s 2020 TOM@University – in partnership with TOM: Melbourne – program involved students from occupational therapy and design. The program is dedicated to creating design solutions for people living with disabilities to make future work and study more inclusive and accessible – and for students wanting to take part, it will run again in Semester 2, 2021. Last year students worked with Untapped, which finds opportunities for neurodiverse individuals to thrive in the workplace. The challenge was to build a prototype of a solution for neurodiverse adults. Swinburne students Courtney Forbes, Claire Ioannidis, Celestine Le Blanc and Jaiden Gusti worked with Untapped at Design Factory Melbourne over twelve weeks to improve the accessibility of financial services and products. The collaboration shared knowledge between Untapped staff, researchers, digital banking and diversity teams at ANZ, and trainees in the ANZ Spectrum Program, which supports people with autism to settle into the workplace and develop their careers. “We live in a world of convenience that’s becoming increasingly more digital. It is only right that we continue to design the world we live in to be one for everyone, especially those who have been disenfranchised so frequently before. Having the chance to not only interview, but also collaborate with neurodiverse people to develop an experience that would be relevant for everyone, was an opportunity our team could not pass up,” says design student, Jaiden Gusti. Students attend a TOM@University workshop at Design Factory Melbourne as part of the program designed to bring tech solutions to challenges faced by people with disabilities. Image by TOM: Melbourne. Money&Me is created The co-design resulted in Money&Me, an inclusive financial literacy and banking app that takes fundamental financial literacy learning modules and incorporates them into personal banking. It provides accessibility to banking services, packaged in a universal design solution that can be optimised for individual preferences. The Money&Me app design was presented to stakeholders including ANZ’s Head of Accessibility, Meg Dalling. ‘We were delighted to welcome the students to ANZ to present the innovative banking app prototype, designed to tackle the barriers that can present for the neurodiverse community. Their approach represents the best of inclusive design, underpinned by insights from those whose needs are often not met by mainstream services. We know that accessible banking is fundamental to financial inclusion, which in turn supports confidence, dignity, independence and financial wellbeing,’ says Dalling. The Money&Me app allows for individual preferences around how users would like to be presented with financial literacy information. More about the program Design Factory Melbourne coach and program advisor Pauliina Mattila coordinated the TOM@University program during the online-only semester in 2020 when Money&Me was created. ‘During the 2020 program, the student teams went above and beyond in their efforts and created some very interesting concepts ranging from this one on inclusive banking, to improving access to study – an inherent part of the pathway of pursuing a career and independent life,’ says Mattila. The program leveraged partnerships with TOM:Melbourne, Solve, Scope, Swinburne’s AccessAbility Careers Hub and Untapped to provide real-world challenges for students to work on. The TOM@University program will run in Semester 2, 2021.
20 July 2021 11:36
https://www.swinburne.edu.au/news/2021/07/students-use-technology-to-make-banking-more-inclusive/
https://www.swinburne.edu.au/news/2021/07/students-use-technology-to-make-banking-more-inclusive/
Design
false
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Online art show shines spotlight on Swinburne students
Online art show shines spotlight on Swinburne students
Swinburne students are featured in a new free online art exhibition called Manifest, celebrating work completed in the 2020 lockdowns.
Swinburne students from across visual arts, photography and graphic design have been selected for a new online art show The show, called Manifest, is being put on by the MAD (mad!) Network of 11 TAFEs across Victoria who teach in media, arts and design fields The exhibition is free and available to view until September 2021 Creative works by more than 20 Swinburne students have been selected for an online art exhibition celebrating work completed across Victoria in the 2020 lockdowns. The exhibition, entitled Manifest, has been brought to life virtually utilising the Adobe Creative Suite and incorporates works across visual arts, photography, illustration and graphic design. Works were selected from students at 11 TAFEs across Victoria who teach in the media, arts and design fields and make up the MAD (mad!) network. Larry Parkinson, coordinator of the Diploma of Visual Art at Swinburne and member of the mad! Executive Committee, says the event speaks to the creative resilience of his students. ‘This exhibition is really about celebrating the achievements of our students during a challenging time for the arts industry, and for many of our students and staff,’ he says. ‘The name “manifest” is all about that idea of making something great happen. It’s about imagining something, striving for it and bringing it into reality.’ Shouldered, Bundle and Boy - Ellen Giannikos, 2020 Making art in lockdown Ellen Giannikos is one of the Swinburne students whose work was selected for Manifest. She says her exhibited works represent many of the creative approaches, techniques and inspirations she explored while studying the Diploma of Visual Arts. Her three works span a variety of styles, including one that made use of Swinburne’s printmaking facilities and another showcasing a newfound love of acrylics. They are united by an exploration of humans’ relationship with nature. “The works were inspired by traditional folklore and fairy tales, where animals often act as representatives to teach a moral lesson,” she says. “I was also really focused on natural textures and colours, which was something different for me.” Courtney Koop, Real Meal Brand Identity and Happy Sprout Packaging, 2020 Courtney Koop, who studied an Advanced Diploma of Graphic Design, is exhibiting a design mark she created for a sustainability-focused meal kit company that embodies the natural and accessible nature of the product. Also on display is packaging she designed for a healthy lunchbox snack that can turn into a toy once kids have finished eating it. Koop, who hopes to have her own design studio in the future, says the pandemic was a challenge but offered some useful lessons. ‘It taught me how to manage my time and work from home, which will be a valuable skill for me in this line of work,’ she said. Giannikos says studying at Swinburne helped her get through 2020. ‘I was very lucky to have my studies. It gave me something to do every day and kept me focused on something I love.’ Creative careers Both students are continuing creative careers and education. Koop is advancing her studies at Swinburne, undertaking a Bachelor of Design, majoring in Communication Design. Giannikos operates a studio with her partner, teaching art to adults and children with disabilities, as well as producing her own work. Parkinson says that the artworks are a testament to the hard work and creativity of his students in a challenging year. “It was great to see the response from our students. The works really demonstrate the consistent effort, maturity and deep interest that they have in their chosen fields.” Manifest can be viewed online until the end of September 2021.
06 July 2021 12:12
https://www.swinburne.edu.au/news/2021/07/online-art-show-shines-spotlight-on-swinburne-students/
https://www.swinburne.edu.au/news/2021/07/online-art-show-shines-spotlight-on-swinburne-students/
Design|Student News
Current Students (PAVE),School of Design
Student News
false
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Students put talent to the test at WorldSkills
Students put talent to the test at WorldSkills
Four Swinburne students and alumni in landscaping and visual merchandising will attend the 2021 WorldSkills National Championships in August.
Four Swinburne students will represent Victoria at the WorldSkills National Championships in 2021 The landscaping and visual merchandising students will compete in pairs across three days in Perth in August Hundreds of students across more than 50 different skills will compete at the championships this year Four Swinburne students and alumni in landscaping and visual merchandising will head to Perth this year to battle it out in Australia’s largest skills excellence competition, the WorldSkills National Championships. The students qualified for the prestigious event in 2019 through strong performances in the Victorian regional competitions. They will finally get their chance to show off their skills on a national stage in August after the postponement of the competition last year due to COVID-19. Diploma of Visual Merchandising graduates Natalie Korovalis and Jessie Thompson will join landscaping students Lachlan Schack and Riley Tubbs representing Victoria and Swinburne. Swinburne Visual Merchandising trainer Belinda Smith has been mentoring both Korovalis and Thompson since they completed their diplomas in 2019, creating an ongoing training plan, working through key areas and meeting regularly with the students online to keep them engaged and motivated. ‘With the competition being postponed during the height of lockdown in Melbourne last year, both students showed great determination and initiative to keep building their skills and knowledge to be ready for the competition,’ she says. ‘We are now focused on being competition-ready, settling those nerves to perform at our best and ensuring we have a great time while doing so.’ Taking the next step Since completing their diplomas, the students are now working in the industry for major brands Country Road and The Cotton On Group. Korovalis is undertaking further studies with a Bachelor of Design, specialising in branded environments. In addition to this industry experience and further study, both students can take confidence in previous strong results, including second place at the National Championships in 2018. “It was attending and judging the visual merchandising competition [in 2018] that ignited my passion for WorldSkills. The excitement and level of skill shown by the competitors across all industries was an amazing experience to be a part of,” says Smith. “For the students and I, this is all additional, but we love what we do, and we are very excited to be able to represent the visual merchandising industry and compete in this great event.” Diploma of Visual Merchandising graduates Natalie Korovalis and Jessie Thompson competing at the regional Victorian WorldSkills Championship Taking on the best in Australia The WorldSkills National Championships in Perth will bring together hundreds of students from around the country to compete across more than 50 different skills, showcasing what they’ve learned across training, apprenticeships and industry experience. More than 100,000 people have competed at WorldSkills events since 1981, with an Australian representative team known as the Skillaroos selected every second year to compete at the international competition. Swinburne students will compete over three days in Perth. Working in pairs, Schack and Tubbs will use skills in paving, water features, planting and turf installation to create an outdoor landscape, while Korovalis and Thompson will create a visual display that is creative, eye catching and responds to a client brief. Landscape Construction coordinator Rob Cannon said both Schack and Tubbs have demonstrated passion, commitment and enthusiasm that will not only serve them well in the competition, but in their careers. “Both students have displayed excellent leadership qualities and have received strong feedback from their employers, teachers and peers. I have no doubt that the maturity and motivation they have both shown will ensure they have bright futures in their chosen trade,” says Cannon.
30 June 2021 16:43
https://www.swinburne.edu.au/news/2021/06/students-put-talent-to-the-test-at-worldskills/
https://www.swinburne.edu.au/news/2021/06/students-put-talent-to-the-test-at-worldskills/
Design|Trades
Current Students (PAVE)
Student News
false
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Startup revolutionises the breast milk expressing experience
Startup revolutionises the breast milk expressing experience
Milkdrop is working with Swinburne to change how women feel about pumping breast milk with their unique, super soft breast pumping cushions.
Startup Milkdrop is improving the experience of expressing breast milk with their ultra-soft breast pump cushion Milkdrop won Swinburne’s Venture Cup in 2019 and has secured government funding for a pilot, which led them to launch in Australia last month Founder, Alexandra Sinickas worked with a Swinburne team to design, test and develop the successful prototype Swinburne 2019 Venture Cup winner and 2020 Accelerator Program participant, Milkdrop has launched its first product in Australia: a super soft breast pump cushion that stretches onto the heads of existing pumps, reducing pain and discomfort for women expressing breast milk. Milkdrop, led by Alexandra Sinickas, brought their product to market in Australia with the help of the government’s Boosting Female Founders Initiative grant. Ms Sinickas came up with the product as a result of her own experience using breast pumps to express milk. ‘I had all kinds of trouble – pain, damage, frustration – when I was expressing milk for my daughter. Having seen soft materials used in other products and in research projects I worked on in the past, I thought we might be able to make a pump that was extremely comfortable and better mimicked a baby suckling,’ Ms Snickas explains. An engineer herself, Ms Sinickas worked with Design Technical Officer, Ravi Bessabava, from the Swinburne School of Design and Architecture’s ProtoLAB and Lecturer in Architectural Engineering, Daniel Prohasky, to create a prototype of the breast pump cushion. The design process In designing the prototype, Mr Bessabava and Mr Prohasky spent time trying to understand the body’s physiological system and how it might react to the breast pump cushion. ‘The design parameters are not as clear cut when you’re working with the human body as in architectural engineering. For example, in architectural engineering we know we must resist gravity, wind and earthquake loads using suitable materials to stabilise the building. In this case, all we knew from Alex’s early user research was that 70 per cent of women experience pain or discomfort when pumping,’ Mr Prohasky explains. ‘We needed to understand the physics behind how the soft tissue of the breast might move relative to our cushion, but there were limited standard methods of measurement or datasets we could refer to,’ he adds. ‘We needed to develop a soft skin interface that was as safe as possible, so we settled on silicone as the most suitable material. Using biopolymer 3D-printed moulds and skin-safe silicone, we developed over 20 iterations using a design, prototype, test and analyse method,’ says Mr Bessabava. Mr Bessabava and Mr Prohasky worked with Ms Sinickas and her husband, who is a medical doctor, to understand their experiences and the feedback they had collected from other women using pumps. ‘We settled on the key drivers for design being soft materials, the shape of the cushion and its motion to match how a baby suckles,’ Mr Prohasky adds. Ms Sinickas tested each of the team’s prototypes herself to further refine each iteration towards a product that could be brought to market. Supply chain disruptions brought about by COVID-19 also presented challenges for the team. ‘There probably hasn’t been a single business unaffected by COVID-19 and we were no different. Supply chains around ultra-soft high grade medical silicone were tightened and it was difficult to secure supply. Although it extended our lead time to market, it gave us the opportunity to refine our packaging and branding experience, which we did with Christina Galanakis, an amazing branded environment student intern’ Mr Bessabava recalls. What’s next for Milkdrop? ‘From our research, we found that for every ten women using a pump, seven have nipple discomfort or pain and eight feel like a cow. Given that in the English-speaking world, around 85 per cent of babies will have a mother that pumps, that’s millions upon millions of women having their frustration and discomfort overlooked,’ says Ms Sinickas. Milkdrop’s mission is to change how women feel about pumping by redesigning the pump from the nipple up. The pump is currently in the prototype stage and the team plans to progress it to manufacture over the next year. ‘These cushions have already changed the way many women feel about pumping. We’ve met women who say they would have otherwise given up breastfeeding and others who wish they’d had the product earlier. We’re so happy to have been able to help, and to start to launch our cushion and pump outside Australia too.’ Ms Sinickas concludes. Visit Milkdrop's website to browse their products.
10 June 2021 10:10
https://www.swinburne.edu.au/news/2021/06/startup-revolutionises-breast-milk-expressing-experience/
https://www.swinburne.edu.au/news/2021/06/startup-revolutionises-breast-milk-expressing-experience/
Design|Business
Innovation Precinct,School of Design
Engineering
false
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New digital tool to improve visitors’ museum experience
New digital tool to improve visitors’ museum experience
An international team of researchers has developed a new digital tool, muse, to improve the way museums gather visitor experience feedback using drawings, recordings, photos and more.
Digital tool ‘muse’ allows for the individualised collection of data around museum visitor experiences The platform was co-founded by the Director of Swinburne’s Design Factory Melbourne, Professor Anita Kocsis, and designed by an international research team Eight museums in Switzerland are providing industry feedback on the design Museums come alive through the eyes of visitors. That makes a digital tool like muse invaluable in gathering feedback on visitor experiences. The creative, forward-thinking design was co-founded by Director of Swinburne’s Design Factory Melbourne, Professor Anita Kocsis, and Professor Sarah Kenderine, who is an expert in digital museology and the director and lead curator the Swiss Federal Institute of Technology Lausanne’s (EPFL) Artlab, and Laboratory for Experimental Museology in Switzerland. With funding and support from the Migros Pioneer Fund and the Laboratory for Experimental Museology, the international research team launched ‘muse’ in Switzerland in September 2020. Credit: Mary Yacob. What is muse? Far from a boring survey, muse features an engaging, interactive design that allows museums to gather feedback on exhibits and other attractions. It allows users to communicate through drawings, voice recordings, interaction with animated graphics or photos they’ve taken. It gathers diverse data on how visitors feel and think. The platform also aggregates quantitative data, including age, gender, geographic origin and the number of repeat visits, and it is supported in many languages. But it’s the focus on the individual and data analytics of creative expression that makes the platform truly innovative. Visitors are invited to take a photo of their favourite part of the exhibit or experience in muse – a feature tested at EPFL’s Artlab. Credit: Sarah Kenderdine. “Through muse, audiences become an active part of the exhibition and assist curators and exhibition designers to explore the value of content presented by cultural organisations,” says Professor Kocsis. Muse provides real-time feedback on exhibitions and programs, so the experience is more relevant and engaging to visitors. Information collected is based on direct insights through real-time dashboards and data analytics. A visitor to the Hong Kong Maritime Museum draws her favourite artwork on muse. Credit: Volker Schubert. The first phase of development was conducted in 2020 in collaboration with eight partner museums in Switzerland: Museum of Design Zurich, the Rietberg Museum in Zurich, House of Electronic Arts Basel (HeK), Geneva Museum of Ethnography (MEG), International Red Cross and Red Crescent Museum in Geneva, the Château de Morges and its museums, the Olympic Museum in Lausanne and EPFL Pavilions. Live public data from muse was displayed at the World Economic Forum in Tianijin, China. Credit: Allan Jones. Design innovation at Swinburne Swinburne’s Professor Kocsis is a pioneer in early-stage design innovation and applied experience research with over fifteen years’ experience in commercial and corporate sectors. She is a leader in design-led innovation, research translation and commercialisation. Professor Kocsis embraces a co-creative and experimental approach to improving the agency of the human experience in complex, cross-sectoral and interdisciplinary projects. Her work spans science and technology, astrophysics, semi-immersive environments and the ‘co-experience’ of places. “Experience research through design is an iterative transdisciplinary framework that explores the diffusion of subjective and complex science and technology experiences relevant to broad fields, such as challenges in science communication, health-patient experiences and end use case scenarios,” says Kocsis.
09 June 2021 16:40
https://www.swinburne.edu.au/news/2021/06/new-digital-tool-to-improve-visitors-museum-experience/
https://www.swinburne.edu.au/news/2021/06/new-digital-tool-to-improve-visitors-museum-experience/
Design|Technology
Research
false
-
Photomedia graduates capture their lockdown experiences
Photomedia graduates capture their lockdown experiences
Bachelor of Design graduates who majored in photomedia captured their lived experiences of COVID-19 lockdown in a rich collection of images, film, sound, projection and installation art.
Bachelor of Design graduates who majored in photomedia captured their lived experiences of COVID-19 lockdown Archipelago is a rich collection of images, film, sound, projection and installation art The collection was exhibited as part of Melbourne Design Week Swinburne graduates have produced a collection of creative works inspired by their experience of, and reflections on, the 2020 COVID-19 lockdown in Melbourne. The exhibition, Archipelago, featured work by Bachelor of Design graduates who majored in photomedia and was curated by senior lecturer in communication design and photomedia, Dr Samantha Edwards-Vandenhoek, and lecturer in communication design Joanna Gardener. Part of Melbourne Design Week, which was held from 26 March – 5 April, Archipelago showcased the new media works by Swinburne’s emerging photographers, designers and visual artists. Footage of ‘Deeper than thirst’ by Swinburne graduate Alysha Magro, which was a highlight of the Archipelago exhibition. Archipelago was formed from a rich collection of images, film, sound, projection and installation art. The works can still be seen on the website, designed to appear like floating islands to represent the suburbs the artists were living in at the time of lockdown. Visual storytelling became a mechanism for knowledge production and sharing. It was a therapeutic and communicative practice for graduates who were able to capture and convey their lived experiences of lockdown to a wider audience. ‘Solace’ by Gertie Hall featured in Archipelago. Gertie has a passion for multimedia imagery, digital projection and branding for self-directed exhibitions. She was art director of the exhibition. “Despite being in forced isolation, the School of Design graduates demonstrated how malleable a community can be through their personal reflections and visual storytelling as narrative intervention,” says curator Dr Edwards-Vandenhoek. “In a world where human connection and wellness is impacted by an increasing reliance on digital technologies, artificial connectivity and separation from the natural realm, Archipelago serves as a reminder of what separated and distant individuals can achieve together for the long-term benefit of community and environment.” ‘Wax’ by Charles Woolley was part of the Archipelago exhibition. Charles is an experimental photographer, image maker and designer. “The lockdown provided students with the opportunity to reimagine their relationship to their physical and natural environment. As a consequence, some of the projects focused on the beauty in the everyday encounter, environmental sustainability, caring for the land, local parks, neighbours, and mental health,” Dr Edwards-Vandenhoek explains. Archipelago encouraged visitors to reimagine the concept of human community and land stewardship through deepening understandings of the relationships people have with themselves within the natural realm. The exhibition was proudly supported by Melbourne Design Week, Swinburne’s School of Design, Adobe, Momento Pro and The Australian Institute of Professional Photography.
14 May 2021 13:43
https://www.swinburne.edu.au/news/2021/05/photomedia-graduates-capture-their-lockdown-experiences/
https://www.swinburne.edu.au/news/2021/05/photomedia-graduates-capture-their-lockdown-experiences/
Design
false
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Swinburne researchers contribute to world-first approach to cleaning waterways
Swinburne researchers contribute to world-first approach to cleaning waterways
Swinburne researchers have contributed to a world-first organic solution to creating clean and healthy waterways.
The solution involves three floating wetlands known as ‘mushi’ The interlocking modules are created using mycelium and organic matter, which becomes a habitat for wildlife and allows plants to absorb pollutants in the water Mushi will be on display at the Royal Botanic Gardens in Melbourne until June 2021 Swinburne University of Technology researchers have contributed to a world-first organic solution to creating clean and healthy waterways. The solution is being trialled at the Royal Botanic Gardens in Melbourne and is the result of a research and design collaboration by Swinburne, studio edwards and Arup. Cleaning our waterways: a living solution The team’s solution involves three floating wetlands, known as ‘mushi’, which are a series of interlocking triangular-shaped modules about 80 centimetres in diameter. Three mushi modules ready to be floated in a waterway at Melbourne’s Royal Botanic Gardens. Source: Arup Rather than following the traditional approach using plastic, mushi wetlands use mycelium, the fast-growing feeding body of fungi, combined with other organic matter. The mycelium, from reishi or lingshi fungi, provides a robust, versatile and sustainable material that is set within specially designed moulds and expands as it dries to form the structure of the floating wetlands. The Swinburne researchers – architectural design lecturer Canhui Chen and architectural engineering lecturer Daniel Prohasky – along with research assistant Joshua Salisbury-Carter contributed to the artificial wetland's structural design and fabrication. They investigated the relationship between the geometric design and the buoyancy of the wetland, as well as the material durability of the mycelium composite for outdoor use. "The final product was prototyped and manufactured at Swinburne’s ProtoLAB, with the support of Swinburne architecture graduates," says Canhui Chen. From concept to reality Swinburne researchers, Daniel Prohasky (left) and Joshua Salisbury-Carter (middle) floating mushi modules. Source: Arup The team has taken the mycelium wetlands from a theoretical concept that was shortlisted at the Victorian Design Waste Challenge 2019 to a living prototype, testing structural options and plant types. They will be monitoring and assessing it over the next three months. “We were looking for ways to replace plastic in waterways: floating wetlands are a proven technology to help clean water but the traditional way of producing them, using plastic, creates other contamination issues when it inevitably degrades,” says Alex Reilly, Environmental Engineer at Arup Melbourne. “The objective was to find an alternative to plastics using organic matter and waste to produce a product that would become a habitat for wildlife and allow the plants to absorb pollutants in the water. Mycelium can be strong, light, resilient, non-toxic and moulded into different shapes.” Architectural design lecturer Canhui Chen (middle) creating a mushi module. Source: Arup See for yourself Mushi will be on display at the Royal Botanic Gardens in Melbourne, between Picnic Point and Long Island, until June 2021. An online presentation of the mushi project is also available through Open House Melbourne. Three mushi modules floating at the Melbourne’s Royal Botanic Gardens. Source: Arup
16 April 2021 15:52
https://www.swinburne.edu.au/news/2021/04/swinburne-researchers-contribute-to-world-first-approach-to-cleaning-waterways/
https://www.swinburne.edu.au/news/2021/04/swinburne-researchers-contribute-to-world-first-approach-to-cleaning-waterways/
Design|Science|Sustainability|Engineering
false
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New research into soil used for building
New research into soil used for building
Dr Gergana Rusenova commences an Australia-Germany research project into textile-reinforced granular materials that are more sustainable and efficient.
Swinburne lecturer Dr Gergana Rusenova commences an exciting joint research project into sustainable and efficient granular materials. The project is funded by the Australia-Germany Joint Research Cooperation Scheme. Dr Rusenova will use the robotic arms at Swinburne’s ProtoLAB to build a prototype in Melbourne. Using robotic arms to build a prototype, Dr Gergana Rusenova will be breaking new ground on the use of soil in building. She has commenced an exciting joint research project with Professor Dr Karola Dierichs at Weissensee School of Art and Design, Berlin, funded by the Australia-Germany Joint Research Cooperation Scheme. Dr Rusenova is a lecturer in architecture in the School of Design. For this project on textile-reinforced granular materials, she’ll be drawing on her expertise in how granular materials are used in architectural structures. “With the support of the Australia-Germany Joint Research Cooperation Scheme this year, Professor Dr Dierichs and I will be looking at soil as a granular material. Existing techniques such as rammed earth require cement to be added to the soil mix. This building technique is labour-intensive, time-consuming and expensive. “Our collaboration with Weissensee School of Art and Design involves using the robotic arms at Swinburne’s ProtoLAB to build a prototype in Melbourne. We’ll investigate alternative computational design techniques and how to automate the production by using advanced manufacturing methods,” Dr Rusenova says. Dr Rusenova worked on her Masters thesis at the University of Stuttgart where she delved into the physical versus virtual behaviour of granular matter. Images by Gergana Rusenova. “I have worked on simulations of this non-standard building material and constructed a mechanical device to connect digitally simulated behaviours with the structural performance of physical prototypes. The device facilitates this connection in real time,” explains Dr Rusenova. Building with sustainable materials For Dr Rusenova, the beauty of granular materials is the reversible logic behind them. They represent a different branch of building materials that solidify based only on the interaction between the individual particles. “There is no need for permanent bonding, and structures built with them can be fully recycled. For example, grains of sand are not bonded to each other but still manage to form a pile. In the context of the built environment, the challenge is to move away from the pile and build functional and simultaneously, reversible architectural elements,” she explains. She is interested in finding ways to use materials that already exist, rather than using lots of energy, time and resources to manufacture new materials that cannot be easily recycled. Dr Rusenova stands in front of the Rock Print Pavilion at Kirchplatz, Switzerland which formed part of her PhD project with Gramazio Kohler Research, ETH Zurich. Image by Martin Rusenov. Creating architectural structures In 2016, Dr Rusenova joined the group of Gramazio Kohler Research at ETH Zurich to further investigate recyclable materials as part of an ongoing research project called ‘Jammed Architectural Structures’. “We stacked alternating layers of loose stones and textile string, arranged in loops, to create three-metre-tall structures. In 2018, we built a large-scale loadbearing structure as part of a public outdoor exhibition called ‘Hello, Robot!’ at the Gewerbemuseum Winterthur. The structure was assembled with a mobile robotic arm programmed in collaboration with researchers at ETH Zurich,” she says. Dr Rusenova worked with architecture students in Swinburne’s ProtoLAB. Image by Bailey Wentworth, Swinburne Design Bureau. “Simulations and the use of robotics underpin how we will build and dismantle our structures, but the greater focus is about how we can create something new, and how we can create something that is better for the universe, for the environment,” says Dr Rusenova.
30 March 2021 15:20
https://www.swinburne.edu.au/news/2021/03/new-research-into-soil-used-for-building/
https://www.swinburne.edu.au/news/2021/03/new-research-into-soil-used-for-building/
Design|Sustainability
false
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Swinburne joins new sustainability and waste consortium
Swinburne joins new sustainability and waste consortium
Swinburne joins a new Sustainable Communities and Waste Hub consortium spearheading research into sustainable communities and waste.
Swinburne joins a new Sustainable Communities and Waste Hub consortium. Swinburne’s contributions will be led by Professor Marcus White. The consortium is supported by the federal government’s $149 million second phase of the National Environmental Science Program. Swinburne has joined a new Sustainable Communities and Waste Hub that is spearheading sustainability research, supported by a successful $17 million submission to the federal government’s National Environmental Science Program. The hub is led by UNSW Sydney and composed of six world-class research institutions, also including the Commonwealth Scientific and Industrial Research Organisation (CSIRO), Monash University, Curtin University and the University of Tasmania. The Sustainable Communities and Waste Hub is led by Australian Research Council Laureate Scientia Professor Veena Sahajwalla, a materials scientist, engineer, inventor and a founder and director of UNSW’s Centre for Sustainable Materials Research and Technology. Swinburne School of Design’s Professor Marcus White is leading the Swinburne team with researchers across the university taking part. Together, they will be demonstrating the power of multidisciplinary design thinking to resolve complex problems. Architectural design rapid prototypes printed from waste plastics, ready to be recycled again. Image supplied by Daniel Prohasky. The Sustainable Communities and Waste Hub will deliver: targeted information and management tools to reduce the impact of plastic and other material on the environment applied scenario-modelling to support sustainable people-environment interactions in communities including urban heat island impacts and liveability analysis effective and efficient management options for hazardous waste, substances, and pollutants throughout their lifecycle to minimise environmental and human-health impacts research that supports maintained and improved air quality. Swinburne is looking forward to contributing game-changing research that improves the future of our world.
18 March 2021 13:14
https://www.swinburne.edu.au/news/2021/03/swinburne-joins-new-sustainability-and-waste-consortium/
https://www.swinburne.edu.au/news/2021/03/swinburne-joins-new-sustainability-and-waste-consortium/
Design|University|Sustainability
false
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This is how we create the age-friendly smart city
This is how we create the age-friendly smart city
Director of Swinburne’s Future Self and Design Living Lab, Associate Professor Sonja Pedell discusses how city environments can be designed to meet the needs and personal goals of older Australians
Analysis for The Conversation by Associate Professor Sonja Pedell, Swinburne University of Technology and Ann Borda, University of Melbourne Senior citizens need help and encouragement to remain active as they age in their own communities. Given the choice, that’s what most would prefer. The smart city can provide the digital infrastructure for them to find and tailor the local neighbourhood information they need to achieve this. Australia has a growing population of older adults, the majority living in cities. The challenge, then, is to ensure city environments meet their needs and personal goals. Our research shows senior citizens want to pursue active ageing as a positive experience. This depends on them being able to stay healthy, participate in their community and feel secure. Most city planning efforts to encourage active ageing are siloed and fragmented. Older people are too often shut away in retirement villages or nursing homes rather than living in the community. Current approaches are often based on traditional deficit models of focusing on older people’s declining health. Another issue is that senior citizens are treated as receivers of solutions instead of creators. To achieve real benefits, it’s essential to involve them in developing the solutions. Working towards age-friendly cities To counter a rise in urban ageism, the World Health Organisation (WHO) has been promoting age-friendly cities for nearly 15 years. Its age-friendly framework includes these goals: equity an accessible physical environment an inclusive social environment Cities and towns around the world, including local councils in Australia, have begun working towards this. We need to recognise the diverse demands of living in cities, where most seniors live, particularly as we age. Smart city approaches can make urban neighbourhoods more age-friendly. One way technology and better design do this is to improve access to the sort of information older Australians need – on the walkability of neighbourhoods, for example. It’s useful for older people to be able to find out which walking routes have shade and places to stop and rest. Shutterstock Our research has considered three factors in ensuring smart city solutions involve older Australians and work for them. Replace ageism with agency Government efforts have focused on increasing life expectancy rather than improving quality of life and independence. Ignoring quality of life leads to the perception of an ageing population as a burden to be looked after. It would be better to bring about changes that improve older people’s health so they can participate in neighbourhood activities. Social interaction is a source of meaning and identity. Active participation by older adults using digital devices can give them agency in their lives and reduce the risk of isolation. Bloomberg reports older adults have become empowered using technology to overcome social isolation during the COVID-19 pandemic. Connect to smart city data Cities are about infrastructure. Senior citizens need to have access to information about this infrastructure to be motivated to spend time in their neighbourhood and reduce their risk of isolation. Growing numbers of active ageing seniors are “connected” every day using mobile phones to interact with smart city services. Many have wearable devices like smart watches that help monitor and manage their health and physical activity. These personal devices can also be used to better connect older adults to public data about urban environments. For example, imagine an age-friendly smart city “layer” linked to a smart watch, to highlight facilities such as public toilets, water fountains and shaded rest stops along exercise routes. Access Map Seattle is an example of an age-friendly, interactive, smart city map that shows the steepness of pedestrian footpaths and raised kerbs. The National Public Toilet Map, created by the Australian Department of Health and Ageing, and Barcelona’s smartappcity are among other mobile apps integrating city services and urban plans. The rise of “urban observatories” has increased the gathering and analysing of complex city-related data. These data make it possible to build a digital city layer. PedCatch is an app that combines animated pedestrian accessibility modelling, topographical mapping and crowd-sourced geospatial data. Marcus White, Swinburne University, Author provided Include co-design in planning Co-design processes that involve older adults, giving them agency in smart city planning, lead to greater participation and inclusion. We need to start asking senior citizens questions like “How would you like to access this data?” and “What would you like the digital layer to tell you?” Their goals and needs must drive the information provided. It’s not just a matter of deciding what specific data older adults want to get via their devices. They should also be able to contribute directly to the data. For example, using a mobile app they could audit their neighbourhood to identify features that help or hinder walkability. To create truly age-friendly smart cities, it is important for older people to be co-designers of the digital layer. The co-design includes deciding both the types of data available and how the data can be usefully presented. We also need to understand what mobile apps could use the data. If we know what information within the digital city layer motivates older adults to participate more actively in their neighbourhoods, we can plan more age-friendly cities. Through connecting infrastructures and citizen-led approaches, we can achieve social participation and inclusion of citizens regardless of their age and recognising diversity and equity. We will create places where they feel capable and safe across a range of activities. Redesigning age-friendly and smart communities directly and collaboratively with those affected can enable them to achieve the quality of life they desire. This article is republished from The Conversation under a Creative Commons license. Read the original article.
05 March 2021 09:56
https://www.swinburne.edu.au/news/2021/03/this-is-how-we-create-the-age-friendly-smart-city/
https://www.swinburne.edu.au/news/2021/03/this-is-how-we-create-the-age-friendly-smart-city/
Social Affairs|Design
Centre for Design Innovation (CDI)
Sustainability
false
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Engineering student races into motorsport career
Engineering student races into motorsport career
Engineering student Tom McCausland is one of four Swinburne interns at motorsport team, Walkinshaw Andretti United. Discover what he's doing in pitstop design and analysis.
Swinburne student Tom McCausland is an intern at elite motorsport team, Walkinshaw Andretti United. Tom is studying a Bachelor of Engineering (Honours) with a major in Product Design. He is improving pitstop design and analysis. For engineering student Tom McCausland, his internship is a pitstop in a race to work in motorsports. Tom is one of four Swinburne interns at elite motorsport team, Walkinshaw Andretti United. He is working on pitstop design and analysis, optimising the wheel gun design, the pit boom and how much data they can get from the car. When the car comes in for more fuel, a tire change or a driver switch, the aim is to find more speed, control and data. The work that has him collaborating with engineers, mechanics and even staff on the commercial side of the business. For example, if the pit stop equipment is going to be displayed on television, it’s not just the function, but also the graphics and design that matter. The internship taps into Tom’s passion and what he’s learned in his degree. Tom is studying a Bachelor of Engineering (Honours) with a major in Product Design, which teaches students the full cycle of product design – from a sketch on a piece of paper, to 3D modelling on a computer, to getting something machined at the Swinburne Protolab, to presenting it to the business, to practical and theoretical testing and beyond. Not just fetching coffee or dry cleaning Tom’s ideas and prototypes are helping to improve the team’s speed on the track. Walkinshaw Andretti United staff don’t have time to explore all their ideas, so that’s where Tom comes in. Team manager Anthony McDonald emphasises the value of having interns. “New eyes bring a new approach to things, which is always a good thing. We can definitely learn through the process as well.” “Motorsport is a unique industry. It’s nice to see some young, up-and-coming engineers keen to learn about it,” he says. Left: Swinburne student Tom McCausland in front of one of Walkinshaw Andretti United's new supercars. Right: All four Swinburne students undertaking work integrated learning at Walkinshaw Andretti United. How to make an impression Anthony describes Tom as keen, enthusiastic and unafraid to get involved. Before scoring the Walkinshaw Andretti United internship, Tom was part of the Swinburne Engineering Student’s Society and Team Swinburne Formula SAE, which is a worldwide competition where university students build a combustion or electric open-wheel race car. They also present their designs to real-world engineers and put together a business case that could attract sponsors, including a marketing plan, graphics and uniforms. Like the real-world of motorsports, students work in multidisciplinary teams, they come from engineering, technology, business, marketing and design degrees. Over the years Tom has been team leader, aerodynamics leader and worked in manufacturing in the Formula SAE Team. He also volunteered at the Swinburne Protolab, offering time after class to help the technicians and, in exchange, learning how to operate the computer numerical control (CNC) machines and 3D printers. He was able to machine parts for the car, controlling robot arms and equipment in the process. “It was really good fun after class,” he remembers. “I could take our 3D model off our computer and program essentially what is a big robot to make the parts.” A supportive, learning environment The people at Walkinshaw Andretti United always make time to answer Tom’s questions, read his reports and offer their experience and input. “Motorsport is competitive, but people here look out for one another and put their hand up when they make mistakes, because they know we’re all driving for improvement,” Tom says. The internship has further fuelled his ambitions to build a career in motorsport management and engineering. “This internship has exceeded my expectations. As we get closer to the start of the season, it keeps getting better because everyone is rewarded for all the hard work. When the car hits the track, and everyone is in their uniform working together, it’s a buzz.” Find out more about Work Integrated Learning opportunities at Swinburne
17 February 2021 15:49
https://www.swinburne.edu.au/news/2021/02/engineering-student-races-into-motorsport-career/
https://www.swinburne.edu.au/news/2021/02/engineering-student-races-into-motorsport-career/
Design|Technology|Engineering
false
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Swinburne Design Alumnus wins prestigious Good Design Gold Award
Swinburne Design Alumnus wins prestigious Good Design Gold Award
Swinburne Design Alumnus James Chapman has been recognised by the 2020 Good Design Awards for the design of his ‘Kami’ chair.
James Chapman Bachelor of Design (Industrial Design) has received the 2020 Good Design Gold Award for his honours project The Good Design Awards is a prestigious internationally recognised program held in Australia every year celebrating exceptional design Industrial Design Alumnus James Chapman has been recognised in Australia’s 2020 Good Design Awards program for his Honours project, the ‘Kami’ chair. Reframing a model for sustainable versatility, James’ ‘No-Profile Furniture’ design was selected as a Gold Award Winner from the Next Gen Product category. Throughout his time at Swinburne, James has focused on a hands-on approach to his studies including working with a range of clients including a six-month placement in Lighting Design. Industry accolades The Good Design Awards is an annual Australian program that is globally recognised as one of the most prestigious design awards. The program represents a diverse spectrum of design with 10 specific disciplines across 28 categories, showcasing superior standards of design to a national and international audience. Having prior knowledge of the awards, James was encouraged by his industry advisor and friend Dale Hardiman to apply. As a founder of the furniture design brand, Dowel Jones, Dale provided expert guidance and feedback on Kami’s design, and the final nudge James needed to submit his work. James worked on the four-legged stool known as ‘Kami’ as part of his Honours project. “While it’s great to receive praise from friends and family, having such a prestigious organisation recognise my work means so much for my self-confidence as a designer. It is absolutely my highlight of 2020 and probably my career so far.” In addition to receiving the Gold Award, James was also the recipient of the Best Overall Honours Project presented at the Graduate Exhibition in 2019. “Without the support, feedback and motivation awarded from both Mark Strachan and Denis Smitka, I don’t think I could have achieved the outcome that I did.” “James demonstrated enormous commitment in perfecting the design of ‘Kami’. It all required extensive prototyping and countless refinements, but his persistence and diligence have paid-off handsomely,” says Lecturer in Industrial Design and Product Design Engineering, Mark Strachan. “James is a tenacious student who knows what he wants. He has always worked meticulously to achieve his goals and I have no doubt that he will excel in the design industry,” shares Course Director and Lecturer in Bachelor of Design (Industrial Design) Denis Smitka. Creating Kami Inspired by a single piece of paper, ‘Kami’ aims to meet compact living needs. Beginning as a concept for his Capstone project, James dedicated a full academic year to identifying and creating a solution to meet the need for versatile furniture in compact living environments. Inspired by a single folded piece of paper and living in tightly packed apartments for his first three years in Melbourne, James delved into six months of further research into the strains of communities in similar environments. “This problem became the basis for the project, ultimately leading to Kami’s main value proposition: a furniture piece that occupies zero space when not in use. “ Easily stored and created to work with small environments, Kami can be easily packed away when not in use. “The design process of Kami was full of its ups and downs but the most notable point was by running the last stitch down the side of the final full-scale prototype and having it fold up exactly how it had in the mock-ups.” “The School of Design is so excited to congratulate our recent Alumnus James Chapman on his Good Design Gold Award received for his final Swinburne capstone project: the origami four legged stool ‘Kami’. This is a beautiful product proposal, combining tactility, elegance, flatpack and full material recyclability. It speaks of youth, versatility and small space transitory living in such an eloquent way – James, you are an accomplished designer,” shares Dean of Swinburne School of Design, Professor Jane Burry. Upcoming work James graduated with a Bachelor of Design (Industrial Design) with first class honours in 2019, and has since pursued his passion for product development. Throughout 2020, James has built a website to share his portfolio, collaborated on new projects with freelance clients and has undertaken an intern role with the team at Memobottle. During lockdown James has viewed the extra time as an opportunity to broaden his design skillset in the field of soft goods products and build his industry knowledge without the typical distractions of day-to-day life. “My new goal over the next few months is to try to reach out to companies like Bellroy and Crumpler. I’m looking for a chance to learn more and apply my soft goods knowledge in a professional environment.” To keep up to date with James and read more about his future work, visit his website MoreThanBoxes.
18 December 2020 12:08
https://www.swinburne.edu.au/news/2020/11/swinburne-design-alumnus-wins-prestigious-good-design-gold-award/
https://www.swinburne.edu.au/news/2020/11/swinburne-design-alumnus-wins-prestigious-good-design-gold-award/
Design
Centre for Design Innovation (CDI)
Design
false
-
Swinburne 2020 Design Graduate folios online
Swinburne 2020 Design Graduate folios online
Swinburne’s 2020 Design Graduate showcase is now available online.
Design GradX celebration for Swinburne’s design graduates 2020 Swinburne GradX website launches for the School of Design graduation show Design Graduate folios online The GradX 2020 1.5 Degrees website launched online for the 2020 Swinburne School of Design graduation show. GradX 2020 1.5 Degrees celebrates the achievements of Swinburne’s 2020 design graduates and showcases outstanding work from all design disciplines. View 2020 Swinburne design graduate works from Communication Design, Photomedia, UX Interaction Design, Motion Design, Branded Environments, Architecture, Interior Architecture, Industrial Design, Product Design Engineering, Architectural Engineering, Design Strategy and Innovation, Master of Design, Master of Architecture and Urban Design and Design Factory Melbourne. Our talented 2020 graduates invite you to view their outstanding projects and folios of work.
15 December 2020 10:51
https://www.swinburne.edu.au/news/2020/12/swinburne-2020-design-graduate-folios-online/
https://www.swinburne.edu.au/news/2020/12/swinburne-2020-design-graduate-folios-online/
Design
Centre for Design Innovation (CDI),School of Design,Faculty of Health, Arts and Design (FHAD)
false
-
Swinburne’s Daniel Huppatz on Design: The Key Concepts
Swinburne’s Daniel Huppatz on Design: The Key Concepts
Associate Professor Daniel Huppatz discusses the fundamental issues that challenge and inform the work of designers today in his book Design: The Key Concepts.
Associate Professor Daniel Huppatz's book provides framework for understanding design Huppatz focuses on design concepts and practices The book provides a framework to bridging evolving design disciplines Swinburne Associate Professor Daniel Huppatz’s book, Design: The Key Concepts is a definitive design text for students. Published by Bloomsbury Visual Arts earlier this year, the book is an introduction to contemporary design. The book provides a framework for understanding the fundamental issues that challenge and inform the work of designers today, including interaction, emotion, sustainability, accessibility and participation. With a focus on the design concepts and design practices that have evolved over the last twenty years, Professor Huppatz includes case studies to show how design has influenced our everyday lives. Bridging evolving design disciplines in one publication, he references across graphic, industrial, interactive, interior, service and systems design. Apple Store on Nanjing Rd, Shanghai, September 2018, image by Daniel Huppatz. “Although design is everywhere, it’s often taken for granted. We might notice its final products, when, for example, we come across a website featuring the latest app or an innovative new desk lamp. We also notice design when an app glitches, when we cannot assemble our lamp or we miss the freeway exit ramp because the sign was unreadable. As typographer John D. Berry succinctly put it, ‘Only when the design fails does it draw attention to itself; when it succeeds, it’s invisible.’ My aim in this book is to make design visible by mapping its many activities and dimensions in a concise and accessible way,” says Professor Huppatz. Amazon Go store in Chicago, February 2020, image by Daniel Huppatz. “Future designers and critics must engage with design’s ethical, cultural, economic, and political dimensions if they are to make a genuinely sustainable contribution. Design: The Key Concepts focuses not only on the outcomes of design and the skills or processes that produced them, but also on the planning, reflection and thinking that precedes that action. That is, design is understood as the imagination to envisage something better as well as the skills to implement it. This will require future designers to develop not only research skills alongside visualisation skills, but also skills in dialogue, negotiation, and collaboration to truly improve the state of our complex world,” he explains. In his book Professor Huppatz notes that design is a fundamentally future-oriented discipline, and part of its role is projecting possibilities for action. He says changing the accelerating modernisation of the twentieth century requires an alternative narrative or vision, perhaps an entirely new way of conceiving design. “The rise of higher research degrees in design, while relatively new, suggests that the next generation of designers may be highly educated professionals with expertise across various fields. This may signal a shift from Silicon Valley’s ‘move fast and break things’ mantra to a more considered ‘move slow and fix things’ approach,” Professor Huppatz says.
27 November 2020 11:34
https://www.swinburne.edu.au/news/2020/11/swinburnes-daniel-huppatz-on-design-the-key-concepts/
https://www.swinburne.edu.au/news/2020/11/swinburnes-daniel-huppatz-on-design-the-key-concepts/
Design
Centre for Design Innovation (CDI)
false
-
Giuseppe Pagano and Design for Social Change in Fascist Italy
Giuseppe Pagano and Design for Social Change in Fascist Italy
Associate Professor Flavia Marcello’s book about the life of Italian architect Giuseppe Pagano released
Flavia Marcello documents life of architect, Giuseppe Pagano Pagano was a polymath and a twentieth century renaissance man Marcello paints a personal and professional portrait of Pagano Associate Professor Flavia Marcello’s book about the life of Italian architect Giuseppe Pagano was released in mid-January this year. Marcello is a researcher at Swinburne’s Centre for Transformative Media Technologies. She is an expert on the architecture and cultural production of the Italian fascist period. “The story of Pagano’s life is also the story of Italy. In less than fifty years, it went through two world wars, three wars of colonisation and a civil war of resistance. It is the story of Italian fascism, that went from a revolutionary movement grounded in socialist ideals that [Pagano] firmly believed in, to a repressive, imperialist and anti-Semitic regime allied with Nazi Germany that he could not bring himself to support. It reflects the experience of many Italians born at the turn of the twentieth century” explains Professor Marcello. Because Giuseppe Pagano-Pogatschnig (1896 -1945) was a polymath and a ‘Renaissance’ man of the twentieth century, Professor Marcello has structured her book thematically and enriched it with critical essays, in-depth information about Pagano’s major buildings and projects and an anthology of his writings. Bocconi University, Milan, Giuseppe Pagano and Giacomo Predaval, 1941, with bas relief by Leone Lodi, photography by Flavia Marcello. “In the spirit of ‘Pagano the collaborator’, five fellow ‘Paganisti’ joined me in writing the book. Italy’s foremost Pagano scholar, Professor Cesare De Seta, wrote the foreword, Professor Tim Benton, from the Open University, contributed a chapter on Pagano’s photography and film scholar Noa Steimatsky reflected on Pagano’s links to the Italian neorealist movement. Claudia Cagneschi and Caterina Franchini are two up and coming scholars who composed the Building Information Sheets,” Marcello says. In Giuseppe Pagano – Design for Social Change in Fascist Italy, Marcello paints a personal and professional portrait of Pagano without the help of his original archives, now in private hands. She researched documents, unpublished projects and letters in books, architectural journals and monographs by Italian scholars. Marcello searching for documents about Pagano in the National Library in Rome, image by Flavia Marcello. She visited Pagano’s buildings and the places where he lived and died (Croatia, Italy, Austria) to give an auto-ethnographic dimension to the book and to “sew together the tapestry of his life”. Poreč, Croatia - Pagano’s birthplace, image by Flavia Marcello. Mathausen camp in Austria where Pagano died, image by Flavia Marcello The chapter “Pagano the architect” traces the story behind the buildings he designed in his thirteen-year career. Another on “Pagano the writer”, is the story of the journal Casabella and the important role it played in promoting the cause of modern architecture in a turbulent political climate. “Pagano the exhibition designer” traces his evolution into spatial design where he presented an image of a ‘modern and harmonious, Fascist nation’ to local and overseas audiences. “Pagano the photographer” traces the evolution of his style and analyses his photographs with fresh eyes. Professor Marcello covers Pagano’s adventures, and how he never let go of his ideals. Her book tells the story of a volunteer in two world wars, who resigned from the Fascist Party to become a partisan and member of the Resistance and his final months as a political prisoner; his capture by Fascists; and his death in a Nazi concentration camp. This book is an acknowledgement of his life and work.
18 November 2020 11:05
https://www.swinburne.edu.au/news/2020/11/giuseppe-pagano-and-design-for-social-change-in-fascist-italy/
https://www.swinburne.edu.au/news/2020/11/giuseppe-pagano-and-design-for-social-change-in-fascist-italy/
Design
School of Design,Faculty of Health, Arts and Design (FHAD)
false
-
Marcus White on The Death of Urbanism – Transitions through 5 stages of grief
Marcus White on The Death of Urbanism – Transitions through 5 stages of grief
Marcus White, Professor of Urban Design at Swinburne, co-authors The Death of Urbanism.
Professor Marcus White co-authors book about death of urbanism The Death of Urbanism – Transitions through 5 stages of grief Urban design paradigms transition through Kübler-Ross’ 5 stages of grief Swinburne University of Technology Professor or Urban Design, Marcus White, an award-winning architect and urban designer, has co-authored The Death of Urbanism – Transitions through 5 stages of grief with Dr Nano Langenheim, lecturer in landscape architecture and urban design at the University of Melbourne. The book was commissioned by Art Architecture Design Research (AADR) and published by Spurbuchverlag in Germany. The book begins by referring to the death of urbanism as pronounced by Dutch architect and theorist Rem Koolhaas in 1995. “Since then, urban design has struggled to come to terms with this and other losses including environmental stability, affordable housing, design control, and urban amenity,” say Professor White and Dr Langenheim. The Death of Urbanism – Transitions through 5 Stages of grief, explores urban design paradigms transitioning through a misappropriation of Kübler-Ross’ five stages of grief, from pro-sprawl denial, NIMBY anger, revisionist new urbanist bargaining, depressed starchitects, through to an optimistic manifesto of acceptance. “‘Denial’, or business‑as‑usual urban ‘sprawl’ development, is no longer an option, nor is anti-development group anger at the difficulties of urban transition. Gone is the ‘bargaining’ phase, yearning for the past, with attempts at good urban design behaviour through nostalgia and promises of order. Urban design has passed through the ‘depression’ stage, with the work of ‘starchitects’, digital-procedural fetishism, and privileged white community co-design. In this final stage, we ‘accept’ the fate of urban design and make the most of the time left. In ‘acceptance’ we present an optimistic manifesto that includes strategic densification, making speculative plans, proposing smarter community participation, and putting forward an integrated performance-based approach to urbanism,” say the authors. Photogrammetry point-cloud aerial view of the Michelangelo plan for the Capitoline Hill (Piazza del Campidoglio) Model by Yang, T & White, M (2019) using Google Landsat/Copernicus map data. In the Death of Urbanism, Professor White and Dr Langenheim examine key historical city design approaches and ‘procedures’, along with recent urban design paradigms and some of their pitfalls. “The visionary example of Haussmann’s Paris, and the holistic approach of Ildefons Cerdà in Barcelona demonstrate urbanism coming of age. These urban designers were simultaneously grappling with issues of transportation and network connectivity, improving public health by increasing access to daylight, airflow, and sanitation, alongside the concept of aesthetic visual unity through design for the human experience and composition from the human perspective,” they explain. Professor White and Dr Langenheim’s research explores the integration of data, emerging technology and cultural specificity to support design decision making for cities in transition. ‘Great Guitar Street in 3D! – perspective view’, detailed 3D streetscape point-cloud of Nguyễn Thiện Thuật, Phường 2, Quận 3, Hồ Chí Minh, Vietnam, 2019. Model by White, M (2019). “Inclusion of new subjective, but quantifiable measures are of particular interest when we think about urbanism in the ‘acceptance’ stage. Consideration is needed for individual cultural aspects such as a sense of place, urban composition and beauty, contextual responsiveness or appropriateness. With the ‘palliative care’ approach to urbanism, we can draw from ‘data evidence’ as well as emerging technology procedures in urban visualisation, such as parametric and dynamic modelling, virtual reality and augmented reality modelling with gamified e-participation to help visual performance for truly integrated visual-cultural assessment,” say Professor White and Dr Langenheim. Despite the declining quality of the built environment; the fears associated with bringing children up in a “pretty scary world” where politicians march towards the far right after decades of corruption and greed; and the complacent inaction on climate change now threatening our future, Professor White and Dr Langenheim have identified the importance of maintaining hope and humour through complex and difficult times. They conclude with more optimistic suggestions for advancing design responses for more equitable, healthy, sustainable and beautiful future cities. They balance serious urban research with dry and slightly black humour to help light the way through some dark and challenging but critical urban issues. “In a time when we are under serious threat from catastrophic climate change and need rapid and radical urban transformation, vague motherhood statements of intended ‘urban niceness’ are no longer enough. Clearly defined and tested propositions for the future are needed, and they should range from conservative ‘baby steps’ speculations through to ‘uber-grim’ dystopias or radical and optimistic utopias,” explain the authors. Professor White and Dr Langenheim recently experienced the death of close family members and the stages of grief. Together, they found researching and writing the book therapeutic. They suggest that as we respond to the dramatic impact of COVID-19 and the growing challenges of climate change, it’s a good time to take stock, feel our feelings and understand them, and adopt a therapeutic lens to think about the kinds of future we want for our cities, and the people who live in them. Click here for a link to The Death of Urbanism.
13 November 2020 11:27
https://www.swinburne.edu.au/news/2020/11/marcus-white-on-the-death-of-urbanism-transitions-through-5-stages-of-grief/
https://www.swinburne.edu.au/news/2020/11/marcus-white-on-the-death-of-urbanism-transitions-through-5-stages-of-grief/
Design
Centre for Design Innovation (CDI)
false
-
Design Thinking in Higher Education
Design Thinking in Higher Education
Associate Professor of Sustainability and Social Innovation at the Swinburne School of Design, Dr Gavin Melles, addresses developments and concerns about design thinking in higher education.
Associate Professor of Sustainability and Social Innovation at the Swinburne School of Design, Dr Gavin Melles, addresses developments and concerns about design thinking in higher education The text addresses concerns about design thinking integration in the disciplines and the role of higher education Design Thinking in Higher Education was released in 2020 and author-edited by Gavin Melles, Associate Professor of Sustainability and Social Innovation at the Swinburne School of Design. The book reviews and reflects on design thinking integration in the disciplines and the role higher education plays in its overall development. “I have been teaching design thinking for over ten years in Australia, India, Germany and elsewhere. Over the last twenty years since its emergence, much has changed, and critique of the approach as a panacea for all kinds of problems has developed. I have over that time learned from and connected with many colleagues, who I invited to write this book with me - Lucy Kimbell from the University of the Arts (London), Sara Beckman from UC Berkeley, Sara Drummond from University of Glasgow and other colleagues in Canada, USA, Germany, Australia, and the UK. This was an opportunity to critically review trends and developments in design thinking and ask what we had learned over the last two decades or so in higher education,” explains Associate Professor Melles. He says that much has been written about design thinking recommending its uniqueness, potential and effects. While enthusiasm remains, public and academic debate about the present and future of design thinking has emerged. His book tries to position that debate relative to the disciplinary encounters that design thinking has engaged with. In setting the scene for the book, Associate Professor Melles addresses concerns about its future and addresses practitioners and scholars engaging in various ways with design thinking and asking questions about the complementarity, uniqueness or limitations of different disciplinary approaches to it. In the introduction to the book, he suggests how discourse analysis may help explain the various stories told about the design thinking movement. The underlying central argument of Design Thinking in Higher Education is about how and whether design thinking might create innovation in higher education. “Since its popularisation by Stanford D. School and IDEO design agency, design thinking has until recently enjoyed almost unremitting enthusiasm across the globe. Like other terms in public circulation such as sustainability, design thinking is a ‘construct’ with different histories and motivations,” says Associate Professor Melles. “The term design thinking emerged in a range of discourses about the nature of design - design narrowly and broadly understood. The extent to which the origins and characteristics of these different narratives are adopted by higher education initiatives varies—as specific chapters in my book show,” he says. “Whether the different narratives coalesce into a coherent debate or conversation about design is unclear. What is clear is that in higher education different forms of the argument have been introduced as a way of transforming and challenging existing pedagogy and practices. In these cases, there are several questions, including what challenges this represents, how successful has it been in scope and scale, and are accounts of its demise accurate?”, Dr Melles asks. The book, Design Thinking in Higher Education, can be viewed online.
11 November 2020 12:31
https://www.swinburne.edu.au/news/2020/11/swinburne-design-alumnus-wins-prestigious-good-design-gold-award/gavin-melles-and-design-thinking-in-higher-education/
https://www.swinburne.edu.au/news/2020/11/swinburne-design-alumnus-wins-prestigious-good-design-gold-award/gavin-melles-and-design-thinking-in-higher-education/
Design
Centre for Design Innovation (CDI)
University
false
-
Centre for Design Innovation continues partnership with Scope
Centre for Design Innovation continues partnership with Scope
Swinburne’s Centre for Design Innovation and Scope Australia have commenced a three-year product design program.
The three-year program will include design and manufacturing ideas for Scope projects A focus will be on improving lives of people with disabilities The collaboration will explore emerging tech and user-centred design Swinburne University of Technology’s Centre for Design Innovation (CDI) and Scope Australia have commenced a three-year product design program. Working with Scope’s Innovation and Service Delivery teams, CDI researchers and experts in design and manufacturing technology, are using new and emerging technologies to identify opportunities to improve the lives of people with disability. The aim of the program is to develop viable solutions that take advantage of the opportunities design and technology provides to large numbers of Scope’s customers and disability support workforce. The initial discovery phase commences in late 2020. The Swinburne Scope partnership, Collaborative Research Agreement and Memorandum of Understanding was established in 2018. The product design program builds on two joint projects underway within the Faculty of Health, Arts and Design and the Swinburne School of Design - Safety@Work and the Wheelchair of the Future. Swinburne’s Centre for Transformative Media Technologies, with Director Professor Kim Vincs and her team, has been collaborating with Scope on the Safety@Work project using virtual reality (VR) technology to improve staff training in the provision of Positive Behaviour Support (PBS). Trialling the Saftey@Work prototype at Swinburne CTMT | CTMT The project launched in September 2019 with Victorian Government funding, following development and testing of a VR prototype. Deputy Director of CDI, Professor Jeni Paay, is a lead researcher on the project. Scope’s lead expert is Mark Di Marco, Senior Practitioner, Positive Behaviour Support Services. A fully integrated PBS and VR learning program for disability support workers is due for completion in late 2020, with a comprehensive evaluation planned in 2021. The Wheelchair of the Future project aims at improving prescription, manufacture, comfort and affordability of wheelchairs. Director of CDI’s core program, Smart Products Engineering, Professor Franz Konstantin Fuss leads the project, and with CDI members Dr Udi Weizman, Dr Adin Tan and Professor Rachael McDonald from Swinburne’s Iverson Health Research Institute, the team has developed a world-first high-accuracy sensor platform for wheelchairs. The complex needs of individual wheelchair users can be customised | Scope The sensor platform monitors wheelchair travel variables such as speed, location, surface incline and a user’s body position. The data collected enables a more personalised prescription and adjustment for an individual’s wheelchair and responds to real-world usage over time. Future research effort is focusing on innovative construction methods for wheelchairs, customisation and the development of a prescription process that has a user-centred approach. The Wheelchair of the Future project aims at improving prescription, manufacture, comfort and affordability of wheelchairs | Scope In the new CDI product design program, Director of CDI, Professor Blair Kuys and Director of CDI’s core program Future Self Living Lab, Associate Professor Sonja Pedell, will be driving research and concept development that focuses on exploration of emerging technologies that can potentially be implemented into the lives of Scope’s customers and workforce to further improve their lives. The collaboration effort from Scope is led by John Scahill, Manager Innovation & Competitive Practice, and draws on a range of disability experts. “The program will result in a range of new ideas for Scope developed using a structured user-centred design approach, with the aim of having some of the new product ideas developed further through to manufacturing and commercialisation,” says Professor Kuys.
30 October 2020 14:38
https://www.swinburne.edu.au/news/2020/10/centre-for-design-innovation-continues-partnership-with-scope/
https://www.swinburne.edu.au/news/2020/10/centre-for-design-innovation-continues-partnership-with-scope/
Design
Centre for Design Innovation (CDI)
Design
false
-
Design sprint 2020 wraps up with two innovative solutions to help small business transform in the year of COVID-19
Design sprint 2020 wraps up with two innovative solutions to help small business transform in the year of COVID-19
Swinburne has collaborated with Netwealth and MASS design studio in a three-year partnership on the 'Make It. Break It.' design sprint that will aim to solve real-life business problems using design.
The Make it. Break it. design sprint is a collaboration between Swinburne, Netwealth and MASS design studio Over 30 students participated in a four-week online design sprint to develop an innovative tool for small businesses Netwealth will now work with the winning teams of the sprint to make their design solution a reality by taking the solutions to market The Make it. Break it. design sprint is a collaboration between Swinburne, Netwealth and MASS design studio. Part of a three-year partnership between the trio that looks to solve real-life business problems using design. For 2020, the sprint went virtual over four weeks. Fittingly, the goal for this year’s sprint was for teams to develop a tool that will help small Australian businesses innovate in challenging times. Over 30 students participated in the event, where they researched, ideated, prototyped and tested a concept in teams. Netwealth Joint Managing Director, Matt Heine, was impressed with the outcomes. “It was incredible to see what each team was able to develop in such a short space of time, and each of their ideas were extremely relevant for today’s challenges. Netwealth will now work with a couple of the teams to make their design solution a reality by taking the solution to market as part of their Innovation Toolkit. “Given the quality of the solutions it was really difficult to pick one idea we’d like to commit to, so difficult in fact that we’re now pleased to be working with two teams to turn their concept into reality.” “We’re excited to continue working with these students to provide them with real-life experience and produce a tool that can make a meaningful difference for people looking to enhance and evolve their business.” A podcast with leading changemakers The first winning team produced a podcast concept – The Designtful Podcast - about corporate design innovation and entrepreneurship from leaders in the design space. Listeners would be introduced to world-class thought leaders sharing insights into how they approach innovation, case studies of what has and hasn’t worked for them as well as a focus on the latest trends, and news. Swinburne student and coproducer, Cynthia Stan, says, “Each episode aims to give new and valuable insights through interviews with a variety of experienced professionals.” Created by the winning team of Swinburne students, the podcast provides a greater platform to discuss design innovation and fresh insights. The surprising innovation of a sticky note A successful way to get businesses to act during this difficult time could be through a tiny nuance that adds a motivational touch—by attaching a sticky note. Seemingly simple, yet exceptionally effective. The second winning concept is a sticky note that prompt creativity and refection. Each note has an inspiring message or provides a call to action, helping to motivate and inspire individuals in small business. “We created stick to it to help business owners empower themselves to innovate and to be proud of themselves,” says Felix Mcphie, Bachelor of Design (Communication Design) student and cocreator of stick to it. “This idea meant a lot to me because my team and I worked together effectively, and it allowed me to incorporate my passion for mental health awareness into a solution for others”. Swinburne continues to look for ways to engage students remotely, particularly in design, and Chair of Communication Design, Associate Professor Nicki Wragg, was excited by all the entrants and the winning results of 2020. “I am incredibly proud of the outcome of Make it. Break it—this year. There were many more participants from a far broader range of disciplines within the university. From non-design students, it introduced them to working in interdisciplinary teams as well as familiarising them with a design way of working and design literacy”, says Professor Wragg. “The main important thing is that it is a terrific way for students from different disciplines to come together and collaborate.” “Once again, all the students have demonstrated all the key attributes we encourage in the design sprint process – agility, innovation, creativity, ability to pivot and adapt to current contexts and extenuating circumstances,” added Professor Wragg. “Make it. Break it. introduces Swinburne design students to a method of thinking testing and evaluating concepts and prototype systematically and efficiently without getting too far down the track and realising the concept is not working.” The goal for this year’s sprint was for teams to develop a tool that will help small Australian businesses innovate in challenging times.
29 October 2020 09:57
https://www.swinburne.edu.au/news/2020/10/design-sprint-2020-wraps-up-with-two-innovative-solutions-to-help-small-business-transform-in-the-year-of-covid-19/
https://www.swinburne.edu.au/news/2020/10/design-sprint-2020-wraps-up-with-two-innovative-solutions-to-help-small-business-transform-in-the-year-of-covid-19/
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Wild animal inspired road safety campaign launches in Melbourne
Wild animal inspired road safety campaign launches in Melbourne
Live outdoor ad campaign created by Communication Design Honours students features wild animals.
Wild animal campaign launches on billboards around Melbourne Colours and distinctive animal features highlight dangers of distraction Designs develop greater awareness of road safety issues A live outdoor ad campaign in Melbourne’s CBD featuring wild animals has been created by Bachelor of Communication Design (Honours) students. The designs promote road safety and highlight the dangers of distraction. Launched in partnership with oOh!media the ads are located at major road intersections and popular meeting places on digital billboards and screens across the city. oOh!media billboard featuring a cassowary, designed by honours students. The “You miss a lot when you are distracted” campaign, developed as part of the Re:act behaviour change program is eye-catching and visually powerful. Images of wild animals on street signs, poles, roads, crossings and alleyways are on 162 digital assets across Melbourne. Locations include sites on Punt Road, St Kilda and the Princes Highway in Geelong. Billboard at major Melbourne intersection, designed by honours students Designed and developed earlier this year, the wild animal campaign was created by Swinburne Communications Design (Honours) students, Laura Hughes, Caitlin Xavier, Stephanie Powell and Thomas Pritchard. In partnership with Re:act, the road safety initiative of creative behaviour change agency, Hard Edge and out-of-home advertising company oOh!media. The design students worked collaboratively with Hard Edge and oOh!media to refine the campaign. Illuminated billboard featuring wild snake and colours, designed by honours students. “The campaign featured inspired use of colour on wild animals and a correlating road safety danger, such as a car,” Hard Edge Managing Director Andrew Hardwick says. “It displays incredible and insightful thinking to shift the audience’s focus to something that’s out of place and at the same time relate it to something that is present and should be the centre of attention,” he says. Campaign signage in CBD café, designed by Swinburne honours students. “Re:act’s vision is to give young road users, who are over-represented in trauma statistics, a voice in road safety so they can influence their own age group. It’s so inspiring to see the amazing creativity this young group came up with. oOh!media have been a wonderful contributor to the program and continue to enthusiastically support its objective of making our roads safer for all users,” explains Hardwick Signage in CBD eatery, designed by Swinburne honours students. Noel Cook, oOh!media’s Chief Commercial and Operations Officer, says the company was proud to be supporting such an important campaign, and the students. “Road safety initiatives like these save lives, and we are utilising a wide range of valuable assets to take these messages to the public and spread the word to young drivers,” he says. “The students have displayed outstanding creativity in coming up with their campaigns, and our team has enjoyed working with them to develop their ideas and see them realised across prominent digital billboards and screens,” adds Cook. Signage featuring a cheetah near Melbourne Town Hall, designed by honours students. Hardwick says the vision for Re:act is to bring young people together with government and industry to give them a real-world experience but also activate their road safety campaigns in public to change the behaviour of road users. Crocodile and colours feature in the CBD, by design honours students. “A critical by-product from Re:act is that all participating students, members of the target demographic, develop greater awareness of road safety issues through the process of conceptualising and designing the behaviour change campaigns,” says Nicki Wragg, Chair of Communication Design at Swinburne. The oOh!media partnership is enabling this vision to become a reality. Hard Edge continues to grow the Re:act program and this is another step towards the national model of Re:act, where a chosen student campaign will run nationally across Australia.
20 October 2020 12:34
https://www.swinburne.edu.au/news/2020/10/wild-animal-inspired-road-safety-campaign-launches-in-Melbourne/
https://www.swinburne.edu.au/news/2020/10/wild-animal-inspired-road-safety-campaign-launches-in-Melbourne/
Design
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Swinburne Design wins at 2020 Australian Graduate of the Year Awards
Swinburne Design wins at 2020 Australian Graduate of the Year Awards
The Graduate of the Year Awards (GOYTA) is the Design Institute of Australia’s flagship program for emerging designers, which celebrate the work of outstanding designers from tertiary institutions across Australia.
Jessica Love, Bachelor of Design (Interior Architecture) (Honours), is Interior Design Graduate of the Year for Victoria and Tasmania for her Honours project The Graduate of the Year Awards (GOYTA) is the Design Institute of Australia’s flagship program for emerging designers Swinburne Design student, Jessica Love has taken out a top prize and two honourable mentions in the Design Institute of Australia’s Graduate of the Year Awards (GOTYA) for 2020. This awards ceremony is the Design Institute of Australia’s flagship program for emerging designers from tertiary institutions across Australia. Created to support and commend exceptional early-career designers from around Australia, this year’s GOYTA recipients were announced via YouTube in early October. Interior Graduate of the Year Jessica Love, Bachelor of Design (Interior Architecture), was named Interior Design Graduate of the Year for Victoria and Tasmania for her captivating two-part, year-long Honours project. Jessica was also recognised with two honourable mentions from the Design Institute of Australia – Australian Graduate of the Year and Design Graduate of the Year for Victoria and Tasmania. Jessica’s Honours project was first showcased at the Swinburne Design Graduate Exhibition in 2019. “That evening, I was awarded the ‘Best Capstone Project’, the ‘Interior Architecture Adobe Award’ and ‘First Class Honours’”, says Jessica. “My lecturer, Dr Phuong Quoc Dinh, then nominated my Honours project for the 2020 Graduate of the Year Award.” The first part of Jessica’s project was the design of a euthanasia retreat, the ELYSIUM Villa. Jessica explained that ELYSIUM is understood to be the ‘state of perfect happiness’, and an acronym for, Eternal Life Yielding Solace into Unified Mindfulness. “My project encapsulated speculative, futuristic and citizen spaces, acknowledging the importance of end-of-life consideration,” says Jessica. “ELYSIUM provides a preferred end-of-life space for euthanasia participants that pays homage to the circle of life, creating a gentle, simple parting image to usher grief with warmth and allowing patients to die a dignified death.” A captivating video highlighting the eloquently tranquil design of ELYSIUM exemplifies Jessica’s well-deserved GOYTA achievements. “I am so grateful for all my lecturers, in particular, Dr Phuong Quoc Dinh. I could never have imagined being in this position at the beginning of my course”, says Jessica. “I still can’t believe that I have managed to achieve such an acknowledgement. But I could not have done it without the assistance and guidance of my dedicated Swinburne teachers. I am incredibly thankful for Swinburne’s facilities and the heroic team in the workshop for going above and beyond”. Lauren Dienhoff, Bachelor of Design (Brand Environments), was also recognised with an honourable mention for Interior Design for Victoria and Tasmania. Dean of the School of Design, Professor Jane Burry says Swinburne’s School of Design has a distinguished history and reputation for excellence in design education. “I could not be more delighted that our recent Interior Architecture graduate Jessica Love has won the 2020 Interior Design Graduate of Year award for Victoria and Tasmania,” says Professor Burry. “What an outstanding achievement and springboard for her future career. Warmest congratulations to Jessica and her lecturer Phuong Quoc Dinh”.
09 October 2020 12:09
https://www.swinburne.edu.au/news/2020/10/2020-australian-graduate-of-the-year-awards/
https://www.swinburne.edu.au/news/2020/10/2020-australian-graduate-of-the-year-awards/
Design
School of Design
Student News
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Swinburne — Learning and adapting in a changing world
Swinburne — Learning and adapting in a changing world
In an increasingly digital world, Swinburne knows graduates need new skills to succeed, and it’s working hard to prepare them for a digital future.
Article for blog.adobe.com by Karen McCavitt Senior Group Manager, Worldwide Marketing – Education Enterprise, Adobe Systems. For more than 100 years, Swinburne has been on a mission to provide higher education to students who wouldn’t otherwise have access to it. That mission helps thousands of students every year pursue successful careers and make an impact, socially and economically. In an increasingly digital world, Swinburne knows graduates need new skills to succeed, and it’s working hard to prepare them for a digital future. “Our job is to inspire future-ready learners – graduates with a sense of purpose and the ability to adapt as they work to make a difference,” says Pro Vice-Chancellor, Academic Innovation and Change at Swinburne, Sarah Maddison. “Digital literacy is critical to achieving that goal, not only for students but also for our faculty and staff.” Maddison led the initiative at Swinburne to become an Adobe Creative Campus – the first university in Australia to do so. “Becoming an Adobe Creative Campus was a way to make sure our graduates can walk into the workforce primed for creativity and collaboration, with experience using industry-standard tools.” But providing access to Adobe Creative Cloud tools was just one piece of a larger digital literacy program. The university needed to be strategic about the rollout, making sure to meet its overarching digital literacy objectives. One of the first actions Maddison took was to assemble a team of Adobe Digital Coaches, staffed by Swinburne students, to guide and support fellow students, faculty, and staff. One of those coaches is Julia Stella, a student in Animation and Game Design. “When I was starting to learn Adobe Creative Cloud tools, I was fortunate to have amazing teachers and peers who supported me,” says Stella. “Formal coursework teaching was great, but I found that learning from my peers by working through assignments together and sharing knowledge was just as valuable. I wanted to share that experience, and becoming an Adobe Digital Coach was a great opportunity to do so.” Swinburne moves to remote learning Like many other universities, Swinburne made a quick transition to remote learning during the COVID-19 pandemic, and the effects will be long-lasting. “We needed to accelerate our digital literacy initiatives and embed them in everything we do,” Maddison says. “It was important to take the right approach – we did not want digital literacy to be yet another task for our academics to take on.” The university set up a Digital Literacies Hub with resources, links, tutorials, and the ability to schedule online sessions for one-on-one help with Adobe Creative Cloud tools. The hub is home to The New Normal project – Swinburne’s way of promoting student work while acknowledging the challenges of learning remotely and keeping people engaged and connected. The Hub is key in promoting all areas of digital literacy; strengthening students’ information literacy to find and analyze information in a digital world; building their confidence and aptitude to keep learning new tools and broaden their technological literacy; and supporting them to constantly reflect on the use of digital artifacts and deepen their critical literacies. Meanwhile, faculty members have had to adjust to the new realities of remote teaching – learning how to support classroom collaboration in an asynchronous online model. That has been quite challenging for faculty accustomed to standing at the front of a lecture hall – or for professors teaching hands-on subjects. For Clare Dyson, Associate Professor of Digital Literacies, the shift to remote learning is an opportunity to drive innovation – and do much more than simply post materials online. “My work has always been about finding the right tools to tell the story,” she says. “As an Adobe Creative Campus, we help people think more creatively across all disciplines, not only designers and architects but computer scientists, physicists, and philosophers.” Max Schleser is one faculty member leading the charge to tell stories in new ways exploring smartphone filmmaking, transmedia storytelling, and cinematic VR. As a senior lecturer in film and animation and an Adobe Education Leader, Schleser has fully integrated Adobe Creative Cloud tools into his Digital Narratives and Experimental Screen Production courses, as well as his work with PhD candidates. “Students are producing some really exciting work in real-world contexts — and they’re getting professional feedback from the corporate environment,” Schleser says. “That kind of exposure outside the classroom gives them a lot of self-confidence, and students are exploring the tools they have available through Adobe Creative Cloud to create innovative, industry-ready projects.” Making science accessible starts with the scientist The use of Adobe Creative Cloud has spread to the School of Science. Bita Zaferanloo is a microbial biotechnologist in the Department of Chemistry and Biotechnology, and she runs the Communication for Scientists unit – a core class for science students. “Science students tend to have a particular mindset about problem-solving,” says Zaferanloo. “They need help translating their science for a broader audience.” With Adobe Creative Cloud apps available as the university moved to remote learning, Zaferanloo was able to adapt in her Communication for Scientists and Grand Challenges in Science courses. Working in partnership with Clare Dyson, she started to incorporate Adobe Portfolio, Adobe Spark Page, Adobe Premiere Rush, and Adobe Animate into her virtual classrooms, assessments, and workshops in the Digital Literacy Department and Learning Transformations Unit. While students were learning from home, Zaferanloo had to think differently. She knew students had varying access to the internet, which made it impossible to schedule synchronous oral presentations. As an equitable alternative, she asked students to layer their presentations digitally using text, images, and a scrolling interface – with a video of their oral presentation. “Students used Adobe Spark to post a video recording of their talk and create a rich, multimedia experience surrounding it,” says Zaferanloo. Adobe Spark gives students the space to use text and graphics to explain which materials they used, their methods, their findings, and more. Rubrics were modified to reflect the fact that students were focusing less on live presentation skills and more on digital communication. Zaferanloo also introduced Adobe Portfolio to students who need to pitch an inspiring scientific idea to investors. Using Adobe Portfolio, they can spin up a website that explains their STEM idea and its social impact, making it easy to share with members of the community. Students can get creative using Adobe Animate to produce animations and Adobe Premiere Rush for videos. It’s an opportunity for them to reflect critically on communication in scientific fields. The move to multimodal interactive learning experiences and content Anatomy students in the School of Health Sciences also benefit from a more modern, student-centered learning experience, thanks to Dr. Nicolene Lottering, senior lecturer in Digital Anatomy and discipline lead for Biomedical Sciences in the Faculty of Health, Arts, and Design. “Anatomy has traditionally focused on rote learning, but most people aren’t good at that and suffer cognitive overload,” Lottering says. “Our students have multimodal learning styles and embrace active-learning methods – they need a combination of visual, audio, and kinesthetic experiences.” Lottering pioneered the use of the lightboard (or learning glass) to create applied anatomy videos, which involve drawing on a glass board, to improve engagement. The need to edit those videos was what introduced her to Adobe Premiere Pro, Adobe After Effects, Adobe Audition, and Adobe Photoshop. Now, with those tools readily available to her students, she sees a lot of potential for anatomy to become much more engaging. “Across Adobe Creative Cloud, there are so many tools that speak to the way our students learn,” she says. “Adobe Spark and Adobe Premiere Rush are particularly valuable in helping students create engaging content through post-class activities and produce high-quality, visually aesthetic videos to make learning dense content matter enjoyable and fun, especially as they’re learning remotely.” Indeed, the tools have been a big help as the classes moved online. Third-year students in Lottering’s Peer Leadership program are using Adobe Spark to co-create content for first-year students in gamification apps or using Adobe Animate for short revision videos using social constructivist theory and storytelling through animation. Specifically, Spark provides ready-to-use templates that make it easy to create graphics for weekly multiple-choice quizzes. Those visual elements are key to keeping students engaged. Students are also using Spark to create educational channels on Instagram. Within the classroom, her current students are tasked with the ‘Neuroscience of Netflix’ assignment in which they select a medical condition or injury from a movie or TV show and create an educational resource to explain the anatomy and functional consequences to a high school student. Many students used Adobe Premiere Rush. “For my STEM students, the majority from health and medical sciences, video production and digital creation comprise a completely new skillset,” says Lottering. “Adobe Premiere Rush makes video production and audio editing seamless for first-time users.” Students and faculty learn how to adapt and grow As Swinburne heads into the next semester and welcomes a new class of students, it has a big challenge ahead. Keeping those students engaged as they adjust to learning from home is uncharted territory, but the university now has a collection of tools and a growing digital skillset to make it happen. “We’re looking to Adobe for support on what comes next, now that we’ve activated remote learning,” says Maddison. “That includes Adobe grants to drive innovative teaching practices to enable our academic staff to integrate digital literacy into everything they do.” At Swinburne, it’s all about giving students the 21st century skills and confidence to adapt to a changing world, turning them into future-ready learners destined to make an impact. This article was republished from the Adobe Blog. Read the original article.
29 September 2020 09:02
https://www.swinburne.edu.au/news/2020/09/swinburne-learning-and-adapting-in-a-changing-world/
https://www.swinburne.edu.au/news/2020/09/swinburne-learning-and-adapting-in-a-changing-world/
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Prototyping from home: Design Factory Melbourne supports students to create remotely
Prototyping from home: Design Factory Melbourne supports students to create remotely
Based at Swinburne, Design Factory Melbourne (DFM) has created 'ProtoKIT' to help students build and make prototypes while they study remotely.
Design Factory Melbourne (DFM) has created 'ProtoKIT' to help students build and make prototypes while studying remotely. Kits provide students with the materials and tools they need to help them in their prototyping efforts Kits represent an avenue to bridge the gap COVID-19 has cut through established learning environments Based at Swinburne, Design Factory Melbourne (DFM) has created 'ProtoKIT' to help students build and make prototypes while they study remotely. The kits provide students with the materials and tools they need to help them in their prototyping efforts, a core DFM process that is integrated into interdisciplinary units. Prototyping helps students understand why prototyping is so important in helping them to communicate, empathise and bring ideas to life. Initiated by DFM Academic Director, Dr Christine Thong, she says the kits are an inclusive way to give students from across diverse disciplines such as design, health and business, fundamental resources. “We decided to walk the talk and find innovative ways to support physical prototyping when students can’t come to campus. These kits are an inclusive way to give everyone some fundamental resources and tools to explore and develop ideas through making. It’s a new way of supporting the home classroom,” says Dr Thong. The kits are an inclusive way to give students from across diverse disciplines fundamental resources to create. During a regular semester, students from DFM would have access to soft-prototyping facilities and on-hand prototyping support, but COVID-19 restrictions have limited students being able to access to these facilities. “The prototyping kits provides materials that help students to explore, develop and communicate ideas from their home. Teaching creative problem solving with creative problem solving. We conceived the take-home prototyping kit to keep our students engaged and continue high quality learning and student experience.” The kits were conceived to keep students engaged and to continue a high quality learning and student experience. Developing the kits The kits have been developed and produced by DFM’s prototypes coaches Thom Luke and Elliot Henkel – with support from DFM Director Anita Kocsis and the DFM team. “As designers, having the necessary tools and materials at hand to help facilitate the making process is vital. In a turbulent environment, where access to resources is at times very limited, self-sufficiency is often the key to continued development and ultimately, success with an idea,” says Mr Luke. “These kits represent an avenue to bridge the gap COVID-19 has cut through our established learning environments. By facilitating the recipients with a range of materials and tools, we allow them to continue to innovate, whilst echoing the environment and ideals we foster in the DFM Firestation.” Made in Swinburne’s ProtoLAB, the kits will be mailed to students as Stage 4 restrictions continue in Melbourne. The kits provide students with the materials and tools they need to help them in their prototyping efforts. “Our students are a community of people who by experiencing the now - university as we know it - bringing their challenges, insights and creativity from multiple perspectives to work together,” says Dr Kocsis. “They are empowered to work together across multiple and diverse teams and in practice gain valuable skills through the language of prototyping. We prototype to “build to think”; to communicate, to empathise and bring an idea into the world. Our Design Factory students bring their experience and talent to their working teams and leverage the skills of prototyping to translate, facilitate and transform ideas. To conceive something is only half the challenge; to demonstrate it no matter how rough or formative is a powerful skill as it offers multiple forms of communication.” Learn more about Design Factory Melbourne
14 September 2020 13:33
https://www.swinburne.edu.au/news/2020/09/dfm-prototyping-kits-for-learning-at-home/
https://www.swinburne.edu.au/news/2020/09/dfm-prototyping-kits-for-learning-at-home/
Design
Faculty of Health, Arts and Design (FHAD)
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Swinburne researchers shine in 2020 Good Design Awards
Swinburne researchers shine in 2020 Good Design Awards
Leading Swinburne design researchers have been recognised by the 2020 Good Design Awards.
Marngo Design Futures, led by Dr Samantha Edwards Vandenhoek, wins award in Social Impact category Suspended Remnants, featuring Canui Chen and Professor Jane Burry, wins award in Design Engineering category Atlite Skydoor, involding Swinburne’s Centre for Design Innovation, wins award in he Hardware and Building category Leading Swinburne design researchers have been recognised by the 2020 Good Design Awards for their outstanding contributions to design in Australia and internationally. Marngo Design Futures, led by Swinburne senior lecturer Dr Samantha Edwards Vandenhoek, and Suspended Remnants, featuring Swinburne Lecturer in Architectural Design Canui Chen and Dean of Design Professor Jane Burry, both won awards in the Social Impact and Design Engineering categories respectively. Swinburne's Centre for Design Innovation was recognised in the Hardware and Building category for their work on the Atlite Skydoor. Indigenous design and storytelling Marngo Designing Futures is a national place-based and culture-centred digital storytelling program for Aboriginal and Torres Strait Islander secondary students that seeks to build confidence and resilience, youth entrepreneurship and leadership capacity while raising awareness of career pathways in design and media. “Marngo Designing Futures has been a profoundly life changing experience for all involved. By returning Indigenous design knowledge, perspectives and narratives to the classroom, it is hoped that the programme’s focus on self-actualisation will mark the beginning of a transformational learning journey for the students, whatever path/s they choose to take.”, says Dr Edwards-Vandenhoek. Marngo Designing Futures is a national place-based and culture-centred digital storytelling program for Aboriginal and Torres Strait Islander secondary students. The Good Design Awards Jury praised Marngo Designing Futures, commenting: “Any well-designed program that helps elevate the contribution of our First Nation's peoples in our society is worthy of recognition. This is a fantastic approach to decolonising design education, with the potential for significant positive impact for those studying in or working with this program.” The program was designed by Dr Edwards Vandenhoek, Wadi Wadi Walbanga filmmaker Alison Page, Karajarri designer Marcus Lee (Marcus Lee Design), Gunnai, Wiradjuri, Gunditjmara and Yorta Yorta fashion designer Lyn-Al Young and Joanna Gardener. It was commissioned by the Australian Government. Making architecture efficient The Suspended Remnants Pavilion was designed and fabricated using a bespoke computational tool that combines the generation of structurally efficient geometry with a material inventory constraint. Through automation, an inventory of timber members of short unique lengths, typically deemed unusable in the industry, are repurposed into high value architectural components. “With the advancement of digital fabrication tools, architects and engineers can realise virtually any ambitious and sophisticated structure. However, although we can build almost any structure, complex structures can, at times, be realised at the expense of using an excessive amount of energy and material resource, rendering some design solutions economically unviable and unsustainable,” says Canui Chen. “Our research project seeks to explore an alternative to this paradigm. What if we are subjected to specific material constraints from the project outset? With advanced computational tools available to us, we can design high-value, sophisticated structures using waste material and low-value by-products.” The Suspended Remnants Pavilion was designed and fabricated using a bespoke computational tool that combines the generation of structurally efficient geometry with a material inventory constraint. The Good Design Awards Jury also praised Suspended Remnants, commenting: “The innovation applied in material optimisation and form finding optimisation using computational tools is highly commended, as is the creativity in optimising material management from source timber. The engineered connections is unique, and have applications which are both scalable, and suited to 3D printing.” The project was designed by Kim Baber, Professor Burry, Canhui Chen, Joe Gattas and Aurimas Bukauskas. It was commissioned by the International association for shell and spatial structures. Superior hardware Swinburne’s Centre for Design Innovation was also recognised by the Good Design Awards in the Hardware and Building category for their involvement with the Atlite Skydoor. Providing both roof access and natural lighting to a home or workplace, it can enable easy access onto a roof garden without limiting roof space. Doubling as an access hatch, this fully functional ATLITE Skydoor appeals to homeowners, architects and designers alike. The Good Design Awards Good Design Australia is an international design promotion organisation responsible for managing Australia’s annual Good Design Awards and other signature design events. With a proud history that dates back to 1958. Dr Brandon Gien, CEO of Good Design Australia says: “Receiving a Good Design Award is a significant achievement given the very high calibre and record number of entries received in 2020.” “There’s no doubt it has been a really tough year for everyone so it’s nice to be able to share some good news for a change. The projects represented in this year’s Good Design Awards shine a positive light on our creative and innovative capacity as human beings. These inspirational winning projects give me hope and optimism that our design community will continue to innovate, no matter how challenging the world around us is,” says Dr Gien. “Australia’s Good Design Award is more than a symbol of design excellence - it represents the hard work and dedication towards an innovative outcome that will ultimately make our lives better. These projects showcase the shear brilliance of design and the potential it has to improve our world.”
09 September 2020 14:02
https://www.swinburne.edu.au/news/2020/09/swinburne-good-design-awards-2020/
https://www.swinburne.edu.au/news/2020/09/swinburne-good-design-awards-2020/
Design
Faculty of Health, Arts and Design (FHAD)
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Fabricate 2020 - Making resilient architecture
Fabricate 2020 - Making resilient architecture
Fabricate 2020 is sharing research and innovation in architectural design and fabrication.
Fabricate explores advances in architectural design and fabrication as a forum to share emerging issues and ideas relating to technology and making Swinburne Dean of Design, Professor Jane Burry is conference co-chair A Fabricate book is available for download and registration for a livestream of the event is open now Swinburne’s Dean of Design, Professor Jane Burry is a co-chair of this year’s international Fabricate conference. Fabricate 2020 is the fourth in the series of triennial international peer reviewed conferences established by renowned academic experts in research and innovation in advances in architectural design and fabrication as a forum to share emerging issues and ideas relating to technology and making. The theme this year is “Making Resilient Architecture”, a significant focus that aligns with academic research and practice in response to accelerating climate change and the need for climate action. Resilient architecture can mean many things, including the use of less material, reuse of materials, growing biological materials, using technology to streamline design and construction to reduce waste and wasted energy, building lighter and smarter, drawing on lessons from nature and integrating electronics to enhance building performance. Fabricate 2020 was to be held at The Bartlett School of Architecture, University College London (UCL)’s new Here East campus, but due to COVID-19 the event will now be held virtually. Swinburne’s Professor Burry is the conference co-chair with Jenny Sabin (College of Architecture, Art and Planning at Cornell University) and Bob Sheil Fabricate co-founder (UCL). Burry, Sabin and Sheil with Marilena Skavara, co-edited Fabricate: Making Resilient Architecture as a book to accompany the 2020 conference and enduring record. Over 250 submissions from 45 countries were presented for review and inclusion in the publication which can be downloaded from UCL Press along with the previous three Fabricate editions. There have been over 130,000 downloads of the four Fabricate books to date. Fabricate: Making Resilient Architecture is available for download free of charge. “The COVID-19 crisis precipitated the postponement of the FABRICATE 2020 event scheduled for the beginning of April. It will now be held from in a highly novel online format, across 4 consecutive (part-time) days, following the sun around the world with an east and west session on each day as a combination of pre-recorded Webinars and live Q&A from 9-12 September,” says Professor Burry, Dean of Design at Swinburne. “While it’s disappointing not to be able to bring this adventurous community of architectural makers together in physical space, the virtual format offers the opportunity to expand participation beyond the spatial limits of the conference venue. Just as in academic teaching learning and research, we are seeing extraordinary hands-on participation in global workshops, conferences and events this year. FABRICATE 2020 will be a highlight,” she says. The four sessions on each of the four days explore the themes of: BIO MATERIALITY (keynote: Julia Barfield, Marks Barfield Architects with Kai Strehlke, Blumer Lehmann - UK/Germany) SYNTHESISING DESIGN AND PRODUCTION (keynote: Cristiano Ceccato, Zaha Hadid Architects) OPTIMISATION FOR A CHANGING WORLD (keynote: Philippe Block - ETH, Switzerland) POLEMICAL PERFORMATIVE PRACTICE (keynote: Meejin Yoon - Cornell University, USA). Each session is chaired by a global expert in the domain, includes five short fabrication presentations by selected paper authors, and live Q&A. For more information, visit the Fabricate website.
28 August 2020 15:01
https://www.swinburne.edu.au/news/2020/08/fabricate-2020-making-resilient-architecture/
https://www.swinburne.edu.au/news/2020/08/fabricate-2020-making-resilient-architecture/
Design
Centre for Design Innovation (CDI)
false
-
Student-designed tiny homes win big
Student-designed tiny homes win big
Swinburne building design students have won big in the recent tiny home design competition, Small Home Big Life.
Advanced Diploma of Building Design (Architectural) student Steve Pettitt won first prize in the Small Family Home category at this year’s Small Home Big Life design competition, while classmate Corey Black came runner up Small Home Big Life is a competition for architecture and building design students, and celebrates the tiny home design movement The competition gives students the opportunity to work to a real brief, to create innovative, functional, energy-efficient and buildable housing solutions. Steve Pettitt, an Advanced Diploma of Building Design (Architectural) student, came first for his design in the Small Family Home category, while classmate Corey Black placed runner up in the same category. Small Home Big Life is an annual competition for Victorian architecture and building design students, which celebrates and promotes the many positive aspects of the tiny home design movement The competition aims to promote the idea that a big life is possible in a small home, and is also about incorporating affordability and sustainability into housing design. The competition is industry-led and sponsored by Industry Association ‘Design Matters’ magazine. Barry Du Bois, co-host of Network 10's lifestyle program ‘The Living Room’ was a judge this year, alongside respected designers, architects, manufacturers. Swinburne Pathway and Vocational Education (PAVE) building and construction teacher, Jane Clancy has had students take part in the competition for the last six years and says it’s a fantastic challenge for students to tackle. “It’s a great way for students to showcase their design skills and 3D drawings, as well as getting the chance to work with new construction materials and meeting all the building codes and regulations” say Ms Clancy. The competition gives budding designers the chance to showcase their best work, with the winning submissions displayed at the annual HIA Home Show in Melbourne. This year, due to the COVID-19 situation, the showcase has been postponed. Winning student, Steve Pettitt says his passion for sustainability inspired him to enter the contest, and that he enjoyed the challenge of designing small-scale for the competition. ”Designing my entry for the competition was really fun. I found it really refreshing to have to think about scaling down designs, rather than being asked to scale up! I’m really proud to have this design in my portfolio, I think it really showcases my sustainable design skills and ability to create livable homes within limited space” says Steve.
24 August 2020 12:11
https://www.swinburne.edu.au/news/2020/08/student-designed-tiny-homes-win-big/
https://www.swinburne.edu.au/news/2020/08/student-designed-tiny-homes-win-big/
Design
School of Design,Faculty of Health, Arts and Design (FHAD)
false
-
Interactive motion design improving the health of Melbourne’s water
Interactive motion design improving the health of Melbourne’s water
Design students have created interactive media prototypes to support Melbourne’s Healthy Water Strategy.
Swinburne design students create interactive media prototypes to support Melbourne Water’s Healthy Water Strategy Designs engage people in strategies to improve water quality, water harvesting and catchment in and around Melbourne Motion design capstone students at Swinburne have created interactive media prototypes to support Melbourne Water’s Healthy Water Strategy 2018-2028. The prototypes are designed to increase industry and community awareness of the importance healthy waterways. The designs engage people in strategies to improve water quality, water harvesting and catchment in and around Melbourne. Featured in a digital showcase, the prototypes are designed as tools for developers, councils, and the community. The prototypes highlight the future of waterway management in Melbourne and drive learning, engagement and behaviour change to improve understanding of water management and the impact of healthy water on everyday life. Designed by four teams of five final year design students, the interactive media designs are in response to briefs in topic areas covering - water cycle, storm water impacts, storm water management and water catchment education for Melbourne. StormSmart highlights important aspects of water harvesting and water infiltration methods to make the most of storm water. It addresses the appropriate management of storm water especially during and after major storm events. StormSmart by Amy Smith, Katelyn Anderson, Tim Knowles, Jane Novella and Lukas Elberts. HydroCity has a build-your-own water cycle feature and explains where Melbourne’s water comes from and where it goes once it disappears down drains. It shows how to supply the city with clean drinking water and recycled industrial water. HydroCity by Aidan Krott, Aaron Agustin, Mark Newnham, Grace Recla and Lara Tsekouras. Aquaform is an educational app that teaches people about water cycle systems and how to observe natural, urban and rural water systems in various weather conditions - showing the effects on the environment. Aquaform by Kelsey Wilson, Wards Amin, Nicole Brimblecombe, Dianxu Li and Sapneel Prakash. WaterWorks immerses people in the water catchment areas around Melbourne to discover where Melbourne’s water comes from and where it goes. Waterworks by Mat Soeleiman, Harry Gravell, Talei Mitchell, Jason Ryan Arfandy and Mai Linh Thinh. “This Motion Design Capstone work is of an outstanding level. The most impressive part is that students have been working on this from home due to the COVID-19 lockdown. It’s a great example of what our students are capable of and how they can readily adapt to changing and challenging environments,” says James Berrett, Discipline Coordinator of Motion Design at Swinburne University of Technology. Melbourne Water has partnered with Swinburne for over ten years. This is the third year they have supported industry-relevant digital projects with Swinburne Motion Design students.
18 August 2020 11:34
https://www.swinburne.edu.au/news/2020/08/motion-design-melbourne-water/
https://www.swinburne.edu.au/news/2020/08/motion-design-melbourne-water/
Design
false
-
Timber pavilion design made with low-value timber
Timber pavilion design made with low-value timber
Pavilion structure utilising inventory of low-value, short length timber members presented in Barcelona
Computational tool creates funicular geometry with material inventory constraint Swinburne collaborates with UniQ, ARC Future Timber Hub and Hyne Timber Winning entry in International Association for Shell and Spatial Structures exhibition Swinburne Lecturer in Architecture, Canhui Chen, and Dean of Design, Professor Jane Burry, have collaborated with the University of Queensland, ARC Future Timber Hub and Hyne Timber to research, design, fabricate and build a funicular timber pavilion structure. The structure utilises an inventory of low-value, short length timber members and was first presented at the International Association for Shell and Spatial Structures Symposium and an associated competition in Barcelona late last year. Short unique lengths of timber are assembled to create the structure, image by Canhui Chen The collaborative research project investigates the development of a bespoke computational tool that combines the generation of funicular geometry with a material inventory constraint. The digital fabrication system is used as a flexible design tool to facilitate exploration of structural form while simultaneously satisfying two rationalising criteria. The tool maintains a balanced structure derived from funicular geometry; and optimises the use of an inventory of timber members of short unique lengths, typically deemed unusable in the industry, to this geometry. The goal of the design is to achieve material efficiency by creating a structurally rational form with minimal material waste. Assembling the pavilion, image by Canhui Chen The modelling process begins with the digital generation of a funicular ‘base geometry’ of interconnected arches through a “virtual hanging chain simulation” using a particle spring system. The arches generated within this model are then assessed against the data of an inventory of short length timber via a part assignment heuristic. Based on a minimum curvature tangent differential, and a ‘best fit’ permutation of inventory parts is mapped to the geometry. The resultant aggregate lengths of the mapped inventory parts are then used to establish precise target length criteria, which are enforced in a second iteration of the dynamic relaxation, where the ‘base geometry’ is automatically adjusted to meet the target lengths, while maintaining its structural equilibrium. It is proposed that this design and technical workflow could extend beyond the timber industry, to other manufacturing industries that generate offcuts that can be re-purposed, by using this design approach. “The pavilion structure is constructed using utility-grade sawn timber that is lightweight and has naturally occurring defects. These timber offcuts are typically not certifiable for structural use. When the defects in the timber are removed, they form a unique set of random short structural members. For most commercial framing applications, this variability produces unpredictability and a random inventory of elements which is deemed inconvenient and time-consuming for designers and contractors to work with. However, these short length timbers are well suited to articulated structures seen in inverted funicular geometry,” Canhui Chen explains. “We developed a computational tool to overcome inconveniences and time inefficiencies of working with random short length timbers by combining a structural form-finding process with an automated part assignment algorithm. This achieves material efficiency through a structurally rational form, while minimising material waste,” says Chen. “The project was a winning entry in the international competition and exhibition organised by the International Association for Shell and Spatial Structures (IASS) in Barcelona in late 2019,” he says. “We manufactured the pavilion in Australia using the low-value timber material, transported the pieces to Barcelona in our luggage and built and exhibited it there in October. The pavilion is well travelled. We used only two suitcases and one box to transport it to Barcelona, where it only took just half of a day for four of us to build it. We disassembled and brought the pavilion home to Australia and built it once again for the Future of Prototyping Exhibition in Melbourne,” says Chen. The Suspended Remnants Pavilion is included in the Future of Prototyping publication. Swinburne design academics Dr Gregory Quinn and Canhui Chen exhibited their work and research projects at the Future Prototyping Symposium in March.
06 August 2020 16:20
https://www.swinburne.edu.au/news/2020/08/researchers-design-and-fabricate-timber-funicular-pavilion-structure/
https://www.swinburne.edu.au/news/2020/08/researchers-design-and-fabricate-timber-funicular-pavilion-structure/
Design
Centre for Design Innovation (CDI)
false
-
Unused buildings will make good housing in the world of COVID-19
Unused buildings will make good housing in the world of COVID-19
Renovating unused office builings is a sustainable way to transform our cities. says architect Dr Norman Day.
30 July 2020 14:36
https://www.swinburne.edu.au/news/2020/07/unused-buildings-will-make-good-housing-in-the-world-of-covid-19/
https://www.swinburne.edu.au/news/2020/07/unused-buildings-will-make-good-housing-in-the-world-of-covid-19/
Design
Social Affairs
false
-
Ceramic skins insulate and protect city buildings and inhabitants
Ceramic skins insulate and protect city buildings and inhabitants
Mehrnoush Latifi develops ceramic skin systems as insulative and thermodynamic shells for buildings.
28 July 2020 13:26
https://www.swinburne.edu.au/news/2020/07/ceramic-skins-insulate-buildings/
https://www.swinburne.edu.au/news/2020/07/ceramic-skins-insulate-buildings/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
Swinburne celebrates Indigenous representation during NAIDOC Week
Swinburne celebrates Indigenous representation during NAIDOC Week
Swinburne student, Katie Bugden, is the winner of our NAIDOC Week design competition, which celebrates Indigenous culture.
24 July 2020 14:55
https://www.swinburne.edu.au/news/2020/07/swinburne-celebrates-indigenous-representation-during-naidoc-week/
https://www.swinburne.edu.au/news/2020/07/swinburne-celebrates-indigenous-representation-during-naidoc-week/
Design
Indigenous,Award Winners
Student News
false
-
Students release wild animals in Melbourne to teach us a lesson
Students release wild animals in Melbourne to teach us a lesson
Campaign shows how road users can be so distracted they can miss wild animals roaming the streets in the city
20 July 2020 12:01
https://www.swinburne.edu.au/news/2020/07/students-release-wild-animals-in-melbourne-to-teach-us-a-lesson/
https://www.swinburne.edu.au/news/2020/07/students-release-wild-animals-in-melbourne-to-teach-us-a-lesson/
Design
School of Design
University
false
-
HALO concept detects for drugs at airport checkpoints
HALO concept detects for drugs at airport checkpoints
HALO is a conceptual design for Australian Border Security checkpoints at Melbourne Airport in 2030.
19 July 2020 15:15
https://www.swinburne.edu.au/news/2020/07/halo-concept-airport-checkpoint/
https://www.swinburne.edu.au/news/2020/07/halo-concept-airport-checkpoint/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
Swinburne design academics feature at the Future Prototyping Symposium and exhibition
Swinburne design academics feature at the Future Prototyping Symposium and exhibition
Swinburne design academics, Dr Gregory Quinn and Canhui Chen featured at the Future of Prototyping Symposium and exhibition in March.
13 July 2020 13:46
https://www.swinburne.edu.au/news/2020/07/swinburne-future-prototyping-symposium-exhibition/
https://www.swinburne.edu.au/news/2020/07/swinburne-future-prototyping-symposium-exhibition/
Design
School of Design,Faculty of Health, Arts and Design (FHAD)
false
-
Swinburne Dean of Design wins prestigious architecture teaching award
Swinburne Dean of Design wins prestigious architecture teaching award
Professor Jane Burry has been awarded the 2020 Association for Computer Aided Design in Architecture Teaching Award of Excellence.
Dean of Swinburne’s School of Design, Professor Jane Burry, has been awarded the 2020 Association for Computer Aided Design in Architecture (ACADIA) Teaching Award of Excellence. The ACADIA awards are internationally recognised and this particular award recognises innovative teaching in the field of digital design in architecture, particularly teaching approaches that can be adopted by other educators. “This award recognises Jane Burry’s impact as an educator and author. Her body of published work serves as a touchstone for students and teachers alike to advance and disseminate the education of the architect through the lens of mathematics in contemporary design,” says the jury’s citation. Professor Burry says the recognition is a wonderful surprise and that she feels humbled to be recognised. “It is a wonderful surprise and a very deep honour to receive the prestigious ACADIA Teaching Award of Excellence. This award recognizes innovative teaching in the field of digital design in architecture, particularly teaching approaches that can be adopted by other educators. I feel quite humbled to be recognised in this way,” she says. She goes on to say that it is incredibly fitting she receive this citation while a part of the Swinburne community. “I think that this award citation is incredibly apt for Swinburne as a ‘university of technology’ with such an established School of Design so closely aligned with science, technology and innovation.” Since joining Swinburne in 2017, Professor Burry has overseen the introduction of an architecture program that embraces digital technology, including digital fabrication and advanced construction, designing with microclimate to benefit human wellbeing, reducing the carbon footprint of architecture, and integrating urban informatics to the design of better cities. “Already the program is recognised globally for its quality and leadership in the field,” she says. “Design at Swinburne provides the platforms to both explore future technology and innovation, and to advance and disseminate science, technology and innovation through our communication design strengths in information, data, print and digital media design. “Our teaching and research is highly integrated, socially motivated and impactful. The recognition we are receiving through this and other recent awards highlights the outstanding quality of the work across the school.” Read more news on design at Swinburne
29 June 2020 13:07
https://www.swinburne.edu.au/news/2020/06/swinburne-dean-of-design-wins-prestigious-architecture-teaching-award/
https://www.swinburne.edu.au/news/2020/06/swinburne-dean-of-design-wins-prestigious-architecture-teaching-award/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
International scientists collaborate for online STEM educational game
International scientists collaborate for online STEM educational game
Scientists across the globe have contributed to a unique educational game developed by Swinburne researchers and students.
Scientists across the globe have contributed to a unique educational game developed by Swinburne researchers and students. Hosted by Amazon Web Services (AWS) and currently available in beta, Science Island, is the multi-year project of Swinburne Senior Lecturer, James Marshall. Mr Marshall had been working on the game for close to eight years when suddenly the coronavirus (COVID-19) hit and the world entered lockdown. He knew that he wanted to make Science Island available for families as soon as possible to help educate children during lockdown. “We had planned to launch Science Island at the end of 2020, but given the COVID-19 outbreak and the number of children in social isolation, we have partnered with Amazon to launch a beta version immediately,” says Mr Marshall. “I’m hoping that giving kids access to this now will encourage them to play the game and develop a passion for science, technology, engineering and maths (STEM).” “STEM is crucial to addressing the challenges the world is facing at the moment. Things such as climate change, population growth, health care and sustainable energy production. But STEM is also about creating new opportunities in areas like ubiquitous computing, the internet of things, genetics, nanotechnology, artificial intelligence and driverless cars, to mention just a few.” Leading a global project The concept of Science Island came to Mr Marshall in 2012 after he formed a partnership to help build the Kasese Humanist Primary School, a science-based school in Uganda. Through his ongoing work with the school, the idea came to him. “I had this idea that Swinburne students could take a design-led approach to teaching STEM, creating cool content and fun activities to inspire children all over the world.” “We asked sixth-grade Kasese students to come up with over 100 STEM-based questions. Students from our Digital Media Design program developed interactive quizzes, animations, videos, experiments, games and catchy songs to address these curly science questions.” Some of these were relatively straight forward such as “how does an aeroplane fly?”, where others were more challenging such as “is it true that the whites have a cure for AIDS?” or “which planet is heaven on?”. International support To answer these tricky questions, Mr Marshall enlisted the help of world-leading scientists from institutions including NASA, MIT, University of Cambridge and Swinburne. “We’ve even managed to get leading astrophysicist Pamela Gay to provide voice acting for the character of ‘Jean Pool’,” says Mr Marshall. The answers to the questions became interactive components of Science Island. 650 final-year design students at Swinburne worked in collaboration with these international scientists to create the content. The project represents more than 100,000 hours of research and development and it contains more than 20 hours of animated video, games, books, quizzes, songs and fun experiments that kids can do at home. An entire section of the game is dedicated to medicine, including stories and games about bacteria and viruses and how to prevent them spreading. A beta version of Science Island is currently available to play online at no charge.
03 June 2020 14:35
https://www.swinburne.edu.au/news/2020/06/international-scientists-collaborate-for-online-stem-educational-game/
https://www.swinburne.edu.au/news/2020/06/international-scientists-collaborate-for-online-stem-educational-game/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
Reconceptualising hands-on design
Reconceptualising hands-on design
Associate Professor Niki Wragg shares some of the innovative ways that Swinburne University is keeping design students engaged
As schools and universities embraced online learning in the face of COVID-19, design educators were asked to reconceptualise hands-on, studio-based learning in the virtual sphere. Seven years ago at Swinburne, we collaborated with Swinburne Online to reimagine the studio for a remote cohort participating in a fully online Communication Design program. As with all change, robust discussion around the viability and equivalence of an online design program was everpresent with multiple opinions. Traditionally, the on-campus design studio has been viewed romantically: design educators are nostalgic about their own experience of the serendipity of the studio. So, while online and on-campus university structures and student cohorts have changed, studio practice has altered little. That is, until COVID-19 arrived, compelling Swinburne’s Communication Design staff to reimagine their studios to optimise online curriculum delivery and provide continuity for students. With a week to reimagine the studios and social context of the studio, me and my colleagues explored synchronous and asynchronous delivery. We considered methods to best critique work; how to enable students to access highly specialized software online; how to ensure high attendance and most importantly how best to develop a community of practice. Translating the Communication Design program while working with Swinburne Online, I reflected deeply on the on-campus studio to understand the constituent parts of experiential learning. Determined to make an online studio a social environment, we worked to build rapport amongst the students and a create trusting environment, all of which was conducive to experiential learning and iterative development. This knowledge alongside what the Covid-19 transition has taught us, is that students are very comfortable behind a screen. While they enrolled on-campus for a face-to-face experience, attendance, since the transfer to online studios, has been exceedingly high at 85 per cent and over. This has astonished staff along with submission rates of over 90 per cent and a new willingness of students to participate actively in theirs and other group discussions. Similarly, practices of one-to-one consultation in the studio have shifted to group consultation. Students receiving iterative feedback do so within a group context. Any ambivalence from students to feedback sessions has been replaced with conversations where the students are making connections between theirs and their peers work, weaving together collective feedback relevant to them. In this way students are enhancing their design literacy through well-articulated video presentations, exercising agency by assisting other students and are developing a shared understanding of learning materials and technology requirements. Collaboration in the studio can be dynamic and exciting, however true collaboration only occurs if all participants (staff and students) are prepared to listen, that is listen without ego, bias, or pre-determined ideas of design or the tasks at hand. Having to transfer to an online learning space so rapidly has been a great leveler where students and staff, together, are working through new challenges. There is a freshness, and a sense of discovery as we work towards the same learning goals with students responding in a proactive way, seeking out feedback, posting iterative development on Instagram, and being engaged in the wider world. Lessons from the earlier translation of Communication Design with Swinburne Online prepared on-campus staff for the work that has been required in the current pandemic. Knowledge of asynchronous and synchronous modes of teaching unique to design has enabled them to transition fast and, together with students, adopt new practices that invigorate the online design studio. When the time passes and we move back to an on-campus mode, will we look back at COVID-19 as the catalyst for lasting change to studio practice at design school? This article is republished from The Educator. Read the original article.
29 April 2020 14:20
https://www.swinburne.edu.au/news/2020/04/reconceptualising-hands-on-design/
https://www.swinburne.edu.au/news/2020/04/reconceptualising-hands-on-design/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
Swinburne graduate’s bag for sustainable living wins at Alessi Awards
Swinburne graduate’s bag for sustainable living wins at Alessi Awards
Swinburne graduate, Kennyjie Marcellino, wins Emerging Designer category at Alessi Awards
Swinburne industrial design graduate, Kennyjie Marcellino, recently won the Emerging Designer category at the Alessi Design Awards, judged by the renowned Philippe Starck. His Rotolo shopping bag design was a perfect fit for this year’s brief to design ‘objects on the go’. Kennyjie was inspired to enter the competition when he met Rebecca Caratti, editor of Vogue Living (a part of the awards) and Anne Sullivan, CEO of Alessi, during their visit to Swinburne to promote the competition in his final semester of study. “Caratti and Sullivan are two incredible women. I remember sitting at Swinburne that day thinking ‘wow, this is real’. Knowing that they cared really helped ground the competition for me and inspired me to put my mind and heart into it,” says Kennyjie. Kennyjie with design sketches of his Rotolo Bag, photography by Eleisha Kubale “Designing, like any creative task, is really an act of being aware. When I deconstructed the brief to design for ‘on the go’, it was obvious that sustainability is very relevant and urgent at the moment. Today people are now willing to make sacrifices just to be more sustainable. It’s going to get even more important going forward with our increasingly mobile and disposable culture,” he says. Kennyjie said in his entry, “I think there is an urgency for an elegant solution for sustainability, one that replaces sacrifice with joy, delight and beauty”. The rolled up Rotolo looks like a small ‘tablet’ and easily rolls out to become a bag, images by Kennyjie “The Alessi brand has always been associated with elegance. I believe this comes from extremely well-executed simplicity. Their products provide childlike clarity and sophisticated solutions to complex problems and that’s what I worked to achieve with Rotolo,” Kennyjie explains. His first idea didn’t look that different in form to Rotolo but it was more complicated, with a spring mechanism and lots of tiny plastic parts. It was too far away from Alessi’s sophisticated simplicity. He found folding ideas frustrating, then settled on a roll-up idea. “Maybe I’m just not the smartest human being because I just couldn’t figure out, or find the patience to figure out, how to fold a shopping bag. Most of the solutions for reusable shopping bags on the market involve folding. I thought if the core goal is to create a bag that’s compact for portability, then rolling is a more intuitive gesture to achieve this. We roll our chargers or earphones all the time. This action is just more practical and relatable. This made the design stronger,” he says. Kennyjie in the studio, photography by Eleisha Kubale Kennyje worked for months to develop Rotolo, sketching on paper and modelling in the Swinburne workshop. “The staff at Swinburne were so supportive and accommodating. They gave me enough time and resources to solve a lot of technical manufacturing challenges over the Christmas and New Year period,” says Marcellino. Kennyjie hopes to eventually travel to Milan to meet Alberto Alessi and discuss how Rotolo might be produced. His plan is to keep creating and bringing to market solutions that solve problems, and tell narratives that inspire. He is now working at Orbitkey, which he says is a first step in the right direction and he’s excited about the future. Kennyjie feels it’s important to understand the factors surrounding design, that bring good design to life like sustainability, engineering, sales, marketing, and supply chains. “I’m passionate and curious about materials, technology, sustainability and human psychology. I love exploring new ways to combine those aspects together. My final year project, Quito, is a high-tech mosquito trap that uses natural material like rattan and ceramic, very different to Rotolo,” he explains. Read more about Quito Read more news on design at Swinburne
16 April 2020 13:31
https://www.swinburne.edu.au/news/2020/04/swinburne-graduates-bag-for-sustainable-living-wins-at-alessi-awards/
https://www.swinburne.edu.au/news/2020/04/swinburne-graduates-bag-for-sustainable-living-wins-at-alessi-awards/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
‘Walk-quality’ improvement project gets ARC Linkage Grant
‘Walk-quality’ improvement project gets ARC Linkage Grant
A Swinburne-led project to improve the ‘walk-quality’ of urban areas has been awarded $394,077 in funding from the Australian Research Council.
A Swinburne-led project to improve the ‘walk-quality’ of urban areas has been awarded a $394,077 Australian Research Council (ARC) Linkage Grant. The cross-disciplinary study, led by Swinburne Professor of Urban Design Marcus White, will involve designing a platform that can evaluate urban areas using sophisticated data analysis to improve them for pedestrians now and into the future. The platform will consider key ‘walk-quality’ urban design factors, including pedestrian accessibility, slope, thermal comfort, pedestrian risk and pollution. “With 60 per cent of Australians not meeting recommended physical activity targets and costing taxpayers billions of dollars annually, this project will develop design tools to help prioritise urgently needed active transport infrastructure investment,” says Professor White. “Walking should be something that is safe, convenient, comfortable and inclusive for everyone.” Designing for pedestrians The project builds on Professor White’s previous research into urban design for walking, extending the use of his PedestrianCatch.com tool - a free pedestrian accessibility modelling tool that calculates walkable catchments. “Our anticipated walk-quality improvements to the built environment have the potential to significantly benefit communities.” PedestrianCatch.com is a free pedestrian accessibility modelling tool that calculates walkable catchments. Collaborating for good The Swinburne team also includes Director of the Centre for Urban Transitions, Professor Niki Frantzeskaki, along with partners from University of Melbourne, TAC, Glen Eira Council, movendo engineering consultancy, Maribyrnong Council and VicRoads. “This project brings my design, technology and professional practice experience as an architect and urban designer research together with a host of cross-disciplinary experts,” says Professor White. Research will be conducted at Swinburne’s iHUB facility, which is finded by ARC Linkage Infrastructure, Equipment and Facilities (LIEF) scheme . The iHUB is a scalable, state-of-the-art, multi-layered networked facility for cross-disciplinary research-practice collaboration where urban-development experts share knowledge on how to create better cities.
26 March 2020 12:01
https://www.swinburne.edu.au/news/2020/03/walk-quality-improvement-project-gets-arc-linkage-grant/
https://www.swinburne.edu.au/news/2020/03/walk-quality-improvement-project-gets-arc-linkage-grant/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Encouraging conversations about climate change
Encouraging conversations about climate change
Drawings and installations send message about climate change
Freelance illustrator Pailin Tarnwornwijit (Tarn) and the Swinburne School of Design have a unique bond. At a Swinburne Faculty of Health, Arts and Design PhD conference in Melbourne, she met Swinburne’s Chair of Communication Design, Associate Professor Nicole Wragg. Shortly after the conference, she became a visiting scholar at the School of Design. Tarn was a PhD student at Silpakorn Arts University in Thailand and the recipient of the prestigious The Royal Golden Jubilee PhD Program Scholarship. She became a visiting scholar at the Swinburne School of Design in 2019 and completed some of her studies at Swinburne’s Melbourne campus. Her work incorporates large hand drawn illustrations supported by augmented reality. Her drawings and installations encourage conversations about the impact of climate change on native forests and forest ecologies. During the process of making her work at Swinburne, visitors engaged and talked to her about deforestation. Tarnwornwijit with Leaf installation, image supplied by Pailin Tarnwornwijit Leaf installation, images supplied by Pailin Tarnwornwijit As a young girl growing up in rural Thailand, surrounded by trees, fields and waterways, Tarn developed a love of nature. She often visited the Khao Nam Khang National Park near her home. “When I started my PhD research I returned to the park to study the natural elements. Leaves were the first thing that interested me, because I could collect them and analyse their visual elements and structure. I had a hypothesis that leaf veins connect with the landscape and could provide a mapping system. That was the starting point of my PhD research,” explains Tarn. Leaf collection by Pailin Tarnwornwijit “I researched Fibonacci sequence theories to understand patterns in nature - in sunflowers, shells, trees, flower petals and leaves. I also researched the L-system or Lindenmayer system, that is used to simulate biological forms and fractal patterns seen in tree growth and tree branch development. I experimented with both theories to design my artwork to convey messages from nature,” she says. Leaf installation at Swinburne, image supplied by Pailin Tarnwornwijit Tarn has a deep interest in climate science. She practises her art and design while researching natural science to improve and integrate her knowledge. Leaf exploration by Tarn&Mc from Tarn Pailin on Vimeo. “Art and design is not just about a creative outcome. It’s about helping the world we live in. I now combine augmented reality with traditional hand drawing to help convey messages from my work about forests, deforestation and climate change,” says Tarn. Leaf installation - augmented reality detail, image supplied by Pailin Tarnwornwijit Tarn’s research-based work, titled Leaf, was exhibited in Melbourne and Bangkok last year. She plans to exhibit Leaf at other sites in Thailand and internationally. She is a lecturer in art and design at the Prince of Songla University and maintains a strong connection with the Swinburne School of Design. Read more news about design at Swinburne
11 March 2020 14:20
https://www.swinburne.edu.au/news/2020/03/encouraging-conversations-about-climate-change/
https://www.swinburne.edu.au/news/2020/03/encouraging-conversations-about-climate-change/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
Swinburne and Aalto University Joint PhD
Swinburne and Aalto University Joint PhD
Joint PhD embraces different disciplines in design innovation space
Established by Design Factory Melbourne (DFM) Director Prof Anita Kocsis at Swinburne, with Prof Tua Björklund from Aalto University, the Design Factory joint PhD program started last year. The focus of the joint PhD in the Design Factory Global Network is to bring together students from different disciplines to research together in the design innovation space. Designer, Floris Van der Marel is the first joint PhD student and he’s paving the way for students entering the program. Van der Marel started his first year at Swinburne in June 2019. He was admitted to the PhD Program at both Aalto and Swinburne, giving him access to the resources of both universities and the freedom to research in both locations. “The joint PhD is different to regular PhD programs. Traditionally you spend the first year of a PhD doing courses and a literature review, then you start field work in your second year. I’m doing my first-year case study at Swinburne in Melbourne, my second-year case study in New York, and my third in Helsinki and presenting my findings in Helsinki,” says Van der Marel. “This is the Design Factory way of research and study, where it’s better to fail fast, fail forward, keep iterating and keep learning rather than know what you want to do and stick only to that. I did a very quick literature review, some coursework and my first case study - immediately. After Swinburne, I do the same thing in the New York and Helsinki. It’s a very iterative approach, as opposed to the linear approach of PhD programs,” Van der Marel explains. Van der Marel is researching Participatory Design Practice where different people come together to contribute to solve problems. “I studied Industrial Design Engineering at Delft University of Technology and studied Design Interaction for my Masters Degree, looking at the experiences people have and how we can improve those experiences. After I graduated I worked in different countries and contexts with non-designers, to see how we can include everybody’s experience as part of the design process,” he says. “This comes from understanding that to change things for the better, we need to have everybody represented in change initiatives. As designers we can’t do that for others. As much as designers like to think they can empathise, I don’t think that’s realistic. Designers don’t know everything!” he qualifies. Based at Swinburne, Van der Marel is now collaborating with Wimmera Health Care Group, helping them manage an increase in patient-to-staff violence. Bringing together hospital staff, he’s unpacking what is causing the violence and how to respond to it. By creating an environment that is more friendly and open to expressing thoughts and ideas, he hopes unheard voices can be amplified. Participatory design workshop with Wimmera Health Care participants, image by Peter Miller, Wimmera Health Care Group “Hospital staffing structures are traditionally hierarchical and this works in emergency situations. Wimmera Health Care Group understands this, but they are also working to find ways of managing situations that allow everyone to contribute and listen to each other equally,” says Van der Marel. Van der Marel leaves Swinburne and travels to New York later this year to continue his PhD. He has contributed to a book on Participatory Design Practice published by Aalto University, which talks about the role of design in large organisations.
11 March 2020 13:17
https://www.swinburne.edu.au/news/2020/03/swinburne-and-aalto-university-joint-phd/
https://www.swinburne.edu.au/news/2020/03/swinburne-and-aalto-university-joint-phd/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
Human-centred design for future mobility
Human-centred design for future mobility
Dr Jo Kuys says human behaviours need to be considered throughout the entire design process of a sustainable public transport system
Evolution of the way we move rapidly increased during the industrial revolution when the automobile replaced horse-drawn carriages. In the early 1900s, linear production lines — largely attributed to the Ford Motor Company — made personal transportation more affordable. With this came many challenges, some of which are still being resolved today, such as safety, speed, efficiency and power. The emergence of personal transportation reshaped our cities. Our roads were designed around the automobile rather than horses. With this came an imbalance between the human and its interaction with a city and a machine (the car) and its interaction with a city. Today we see cities mainly prioritise cars over people. The evolution of transportation This provides a strong platform to address human needs through research in human-centred design focused purely on how transportation plays a role within modern cities. It also addresses future transportation and the next evolution of personal transportation. Electric vehicles are starting to dominate the future landscape which brings issues around a lack of noise and the impact that may have on pedestrians. The next evolution to this is autonomous vehicles and the role they will play in reshaping our urban vernacular. Will a city’s urban sprawl expand if people didn’t have to worry about physically driving to work? Could the interior of an autonomous vehicle be designed around user needs such as a ‘travelling office’ or a ‘travelling relaxation pod’? With this will come issues around motion sickness and ownership. Will there be a modal shift for private car ownership to a system that is shared? As a transportation researcher with a PhD in transit-oriented design, I focus on future possibilities and how design is used to better inform these scenarios. We have witnessed this with mobile telecommunication but have not seen significant research done in future transportation and how that continues to evolve past the combustion engine. Human-centred design in public transport Human (user) and behavioural factors are critical to achieving the successful implementation of sustainable public transport systems (Shiftan, Kaplan and Hakkert, 2003). A human-centred design approach is critical to understanding all levels of transport design, from the setting of transport policy, to its implementation, through to infrastructure, vehicle and interface design (Woodcock, 2012). To improve urban transport, there should be an emphasis on the end-to-end journey experience on public transport from the moment commuters step out of their homes to the moment they arrive at their destination (Stradling et al., 2007). When considering end-to-end journey experience, human-centred design must be integrated at the very beginning to generate viable outcomes for the public. By doing this, an innovative outcome can be achieved if done correctly, while acknowledging all factors that need to be understood along the journey, says Woodcock. It’s not just about the physical manifestation of a particular outcome, as the surrounding context and human behaviours need to be considered throughout the entire design process. It is important as a future transportation researcher to create possible future scenarios in response to projecting ideal mobility solutions. Creating future scenarios helps to identify missing key elements within the projected future to accommodate user needs that may be overlooked. We can develop a new aspect of future mobility through identifying these missing elements to help direct mobility that can promote a healthier lifestyle, as well as help create usable urban structure. This is not a technology push development; it is a human-centred design driven development. Technology needs to be developed to satisfy the users’ needs not the other way around. Projecting appropriate future mobility solutions will require a deeper understanding of what makes an ideal compromise between humans and machines. No matter what the social status of a particular individual is, everyone should have access to an efficient mode of transport that does not discriminate. A connected city is the underlying core of the urban vernacular keeping economic growth strong and continually improving the lives of people who live there.
13 February 2020 12:47
https://www.swinburne.edu.au/news/2020/02/human-centred-design-for-future-mobility/
https://www.swinburne.edu.au/news/2020/02/human-centred-design-for-future-mobility/
Design
Smart Cities Insights and Analysis
false
-
Design Factory Melbourne aligns design, science and tech in Philadelphia
Design Factory Melbourne aligns design, science and tech in Philadelphia
Design Factories share best practice and future collaborations in design, science and technology.
Design Factory Melbourne (DFM) joined Design Factories in the Global Network in November for the annual International Design Factory Week (IDFW) to share best practice and plan future international design collaborations. DFM promoted opportunities to participate in their CBI A3 Program and the new joint PhD program, a collaboration between Swinburne and Aalto University in Finland. From left, DFM’s Ravi Bessabava and Professor Anita Kocsis with joint PhD candidate Floris van der Marel at IDFW. “The CBI A3 program showcases the work we do in design for the science and technology space. At IDFW we shared the learnings from the program to encourage other Design Factories to participate,” explains Tiina Tuulos, Innovation Coach at DFM. DFM’s CBI A3 Program uses design inspired innovation to maximise the impact science has on society through new product and service applications. DFM collaborate with large scientific research organisations - CERN, CSIRO, ANSTO and Swinburne’s Centre for Translational Atomaterials. The United Nations Sustainable Development Goals (SDGs) provide the framework for the CBI A3 Program and guide user-centred research and design to focus on areas of high sustainable impact. In 2019, CBI A3 and global Design Factories explored how SDG 6 and 14 - Clean Water and Sanitation and Life Below Water - can be addressed using CERN technologies. By collaborating with scientists at CERN and the Design Factory platform, IdeaSquare, they hope to prevent one of the largest sources of micro-plastics, tyre-dust, from entering our water ways. Proposed solutions increase awareness, promote intervention and include next generation street sweeping and electrostatic collection devices. In 2019-2020 the CBI A3 topic is focusing on SDG 3: Good Health and Wellbeing. Each university in the network is exploring and interpreting this SDG in a regional context. Swinburne and Aalto University Joint PhD candidate Floris Van Der Marel sharing insights at IDFW, image Tiina Tuulos The first candidate in the Swinburne and Aalto University joint PhD program, Floris van der Marel, presented during IDFW. She shared information about the joint PhD program to encourage other Design Factories to join. “The power of IDFW is in building trust and connections. It boosts global collaboration and accelerates experimentation,” says Ms Tuulos. IDFW live daily recap and report session relayed back to DFM. IDFW took place during Design Philadelphia and the Design Factory Global Network shared their projects with the public during a Design Seminar. Organised by Thomas Jefferson University in Philadelphia, home of the Nexus Design Factory, it was the eighth annual International Design Factory Week, with 48 participants from 22 Design Factories. Design Factory Global Network attendees at IDFW, Thomas Jefferson University, Philadelphia. Six best practice pitches and 18 project initiatives of collaboration for the network were announced. Projects range from shared research and international study offerings to harnessing the impact of the network through a global Design Factory Day. DFM is leading a CBI A3 project and a PhD joint program. Read more news on design at Swinburne
24 January 2020 12:25
https://www.swinburne.edu.au/news/2020/01/design-factory-melbourne-aligns-design-science-and-tech-in-philadelphia/
https://www.swinburne.edu.au/news/2020/01/design-factory-melbourne-aligns-design-science-and-tech-in-philadelphia/
Design
School of Design
false
-
Unbuilding cities as high-rises reach their use-by date
Unbuilding cities as high-rises reach their use-by date
The problems of demolishing high-rise buildings in busy cities point to the need to prepare for unbuilding at the time of building.
We are entering a new world where skyscrapers and other huge buildings are becoming redundant and need significant overhaul or replacement. The process is called unbuilding or, if you’re a bit highfalutin, deconstruction. These so-called spreadsheet towers populate every major city. They signalled modernity and provided huge profits for those who built them. But these buildings are profligate users of fuels for light, power and services. Most developed world cities started building skyscrapers after the second world war. These buildings were International Style architecture, unrecognisable is terms of a particular locale, universal in terms of their ubiquitous metal, concrete, glass – and fully air-conditioned. Now they are ageing, their use-by date is up and their balance sheet profitability no longer attracts. The challenges of demolition and reuse The question is: how do we safely dismantle these high-rise structures, which are generally located in busy cities? Reminders of the dangers of explosive demolition are tragedies such as the death of 12-year-old Katie Bender. She was struck by flying debris when the Royal Canberra Hospital was razed in 1997 to make way for the new National Museum of Australia. A news report of the 1997 Royal Canberra Hospital demolition that resulted in the death of 12-year-old Katie Bender. A recent demolition, and the tallest ever to be unbuilt, is 270 Park Avenue, New York City. Its 52 floors were built in 1960 for the Union Carbide chemical company. The building was for 50 years the tallest ever designed by a female architect (Natalie de Bios of Skidmore, Owings and Merrill. Is that another low hit for gender equality?) Its replacement by architects Norman Foster will be twice as high. The business of disassembling these skyscrapers is just now developing, but it will gain pace as more become obsolete. Some still get imploded, but usually, in a busy city, demolition techniques must be unobtrusive, as quiet and clean as possible. The techniques used for cleaning up the World Trade Centre testify to the wastefulness of a more destructive approach. Unbuilding the World Trade Centre: an account by William Langewiesche who reported exhaustively on the work. So how best to demolish a high-rise building? Plenty of clever techniques to demolish exist. Some start at the base and work up, others in reverse. The 40-storey Akasaka Prince Hotel in Tokyo was slowly demolished in 2012-13 using a technique where a cap was built on top of the building. It was stripped floor by floor as the cap was lowered, so all the dust, mess and debris was contained and removed with no effect on the environment. The Akasaka Prince Hotel shrank floor by floor as it was demolished. Buildings are wrapped in scaffold and protective fabric then literally dismantled in the reverse order to which they were built. In the process building waste can be recycled and reused rather than dumped. Reverse building involves removing the glass, then the frames, taking off the wall cladding, then scraping away at the concrete and steel frames bit by bit. Concrete is removed to expose the steel reinforcing bars, which are then separately removed and recycled. In the process unwanted material can be uncovered, like asbestos, which needs particular care in handling. Interiors are unbuilt the same way – remove floor coverings, cupboards, doors and lightweight walls, strip the electrical wiring and pipes, take out air conditioning and lifts, remove stairs and escalators. These removalists act smartly, as materials and fabric are recycled and often reused for another building. It is a sustainable way of dealing with the issue. Things that might normally have been reduced to dust and mud by destruction are instead usefully salvaged and recovered for an extended life cycle. As part of the benefits of this procedure, unbuilding provides large numbers of construction jobs and associated employment in transportation, waste management and recycling. It also provides new construction sites. This means cities need not expand beyond existing boundaries and the infrastructure of services, roads and public transport need not be extended. Building with an eye to unbuilding What has interested those involved with this work is the capacity of building designers (let’s call them architects) to creatively improve their buildings in terms of life after use-by date. Techniques are being developed that assist in unbuilding and salvaging materials, even down to basic principles such as ease of access to pipes and wires, modular components and simplified connection practices. The logic is that clarity of building structure and services makes retrieval simpler. Less complexity of materials and components means a building can be untangled more efficiently. Fastening devices can be simplified and mechanical (rather than using glues and sealants), toxic materials avoided, materials selected with an afterlife in mind and structures designed for simplicity and accessibility. Also important is a clear set of as-built documents that map the original building so it can be disassembled. Clear design thinking will have value for unbuilding and recycling in the future. Making construction more sustainable The construction industry is a main consumer of fuels, timber, steel and other metals, concrete and plastics. That demand drives the logging of forests, mining and extraction, leading to material production and transport that contributes to emissions and pollution. The UK Green Building Council estimates the construction industry generates about 22% of UK carbon emissions, uses 40% of drinking water, contributes 50% to climate change and over half our landfill waste, and accounts for 39% of global energy use. The US Environmental Protection Agency (EPA) also reports that the industry contributes to asthma and lung cancer by producing radon via contaminated applied finishes (paint). Driving the need for much greater reuse of old building materials is an awareness of the fragility of our resources and the energy we use to consume them. By Dr Norman Day, Lecturer in Architecture, Practice and Design, Swinburne University of Technology. This article is republished from The Conversation under a Creative Commons license. Read the original article.
21 January 2020 08:54
https://www.swinburne.edu.au/news/2020/01/unbuilding-cities-as-high-rises-reach-their-use-by-date/
https://www.swinburne.edu.au/news/2020/01/unbuilding-cities-as-high-rises-reach-their-use-by-date/
Design
Faculty of Health, Arts and Design (FHAD),Architecture
Sustainability
false
-
Swinburne digital artist documenting Antarctic research vessel’s last voyage
Swinburne digital artist documenting Antarctic research vessel’s last voyage
Dr John McCormick is setting off for Antarctica this week as part of the 2019/20 Australian Antarctic Arts Fellowship.
Swinburne’s Dr John McCormick is setting off for Antarctica this week as part of the 2019/20 Australian Antarctic Arts Fellowship. Dr McCormick, a lecturer in digital media at Swinburne, is travelling to Antarctica with fellow digital artist, Dr Adam Nash of RMIT, on the research and supply vessel (RSV) Aurora Australis. As the ship undertakes its last voyage to Antarctica, the duo will create a virtual representation of the ship and those who sail on it. “We’re trying to document that last voyage, put it into a larger historical context, and share that history with the general public,” says Dr McCormick. Dr McCormick and Dr Nash will use cutting-edge technologies to document the voyage. These include drones, a portable motion capture system, a three dimensional sound recording technique known as ambisonic recording and still and 360 degree video cameras. They will also use LiDAR scanning, which uses a laser to make a three dimensional representation of an area, to create models of the Aurora Australis and some stations. These recordings will be joined together into playable artworks for immersive experiences at galleries and festivals, and via mobile, gaming and virtual reality technology. “We’re really excited to go along with what happens, and try and capture as much as we can to try and give people a sense of the majesty of Antarctica,” says Dr McCormick. He credits the support of the community for his ability to undertake the voyage. “We knew we would be lucky to receive the fellowship and the support from Swinburne and the community has been fantastic. Everyone is very excited for us and this amazing opportunity.” Dr McCormick says he has been thinking about travelling to Antarctica for several decades and knew this would be his opportunity to do so, even though he acknowledges it will be a challenge. “It’s one of the last frontiers, in a way, and the least spoiled continent on the planet. I’m keen to see it in its pristine state as we don’t know what will happen in the future in regards to climate change,” he says. “Even though we’re quite protected compared to early explorers, I still see it as a commitment and personal challenge going to an environment like that. To see something on that scale, it’s going to be pretty remarkable.” The two-month voyage will begin on 21 January depending on weather, and the digital work will be on public display later in 2020. The project is supported by Swinburne’s Centre for Transformative Media Technologies and RMIT’s School of Architecture. The Australian Antarctic Arts Fellowship has been running since 1984 and is supported by the Australian Antarctic Division in association with the Australian Network for Art & Technology.
20 January 2020 12:41
https://www.swinburne.edu.au/news/2020/01/swinburne-digital-artist-documenting-antarctic-research-vessels-last-voyage/
https://www.swinburne.edu.au/news/2020/01/swinburne-digital-artist-documenting-antarctic-research-vessels-last-voyage/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Sustainable student pavilion design shortlisted in Wonderfruit competition
Sustainable student pavilion design shortlisted in Wonderfruit competition
A team of Swinburne students was among seven finalists in a sustainable design competition held as part of the 2019 Wonderfruit Festival in Thailand.
A team of Swinburne students was one of seven finalists in a competition to design a sustainable pavilion, held as part of the Wonderfruit Festival in Thailand. Wonderfruit is a pioneering art, music, food and ideas festival that aims to stimulate creativity and make a meaningful, positive impact. It runs off-grid for several days, like a pop-up sustainable city. The festival issues an open call to organisers, designers and architects around the world, inviting creative teams to design a structure to showcase the Wonderfruit vision. The Swinburne team included Bachelor of Design (Architecture) students Alexander Favorito and Nicole Farnell, as well as Stella Yang from RMIT. They created a pavilion made from mycelium - a mushroom root system - formed into strong, branched structures. The students designed an early version of their mycelium pavilion, called Mycamode, at an Institute for Advanced Architecture of Catalonia (IAAC) Global Summer School hosted at Swinburne. They met and learnt about mycelium's properties and the use of Bi-directional Evolutionary Structural Optimisation (BESO) forms at the summer school, under the guidance of Swinburne Lecturer in Architectural Design, Canhui Chen. Mycamode’s tree-like mycelium structures and canopies by Alexander Favorito, Nicole Farnell and Stella Yang. The Mycamode design for Wonderfruit details the use of reishi mushroom spawn from southern Thailand, combined with locally sourced organic waste (sawdust, corn, bamboo and straw). The mycelium mix grows, incubates and dries over four weeks in moulds that create branch-like mycelium components, joined together with bamboo to become tree-like forms. Mycamode is then returned to the earth once it is no longer in use. “The competition was split into three submission phases and each one involved intensive, two-week long submission periods. The first deliverable was an animated postcard. We showed how BESO optimisation forms the Mycamode structure. The second was a booklet that explained how our structure was possible and how it could be built. Our final submission went into the smaller details of these aspects and how it would be incorporated into the WonderFruit Festival,” says Favorito. “Mycelium forms a waterproof outer layer and when the material is dried out, it is very light and quite strong. Its thread-like 'branches' can withstand both compression and tension, and all of the material is organic and compostable. The use of BESO forms to produce this aspect of the structure reduces the amount of material required while maintaining strength,” Favorito explains. Rendering showing Mycamode’s tree-like structures and bamboo canopy, by Favorito, Farnell and Yang. “The use of a mushroom root system seems to be a unique material concept. The idea of forming large tree-like structures, which festival-goers would be able to interact with, was something we were enthusiastic about,” he says. An international jury of design experts chaired by Ab Rogers Design chose Mycamode as one of seven finalists from a shortlist of 23 entries. There were more than 100 submissions from around the world. Mycamode canopy detail, by Favorito, Farnell and Yang. Mycamode was chosen because it embodied the ethos and ethical values of the Wonderfruit Festival. It could last for at least five years with no environmental impact and is designed to evolve and adapt to changing tropical conditions, with a sustainable after-life.
20 December 2019 10:34
https://www.swinburne.edu.au/news/2019/12/sustainable-student-pavilion-design-shortlisted-in-wonderfruit-competition/
https://www.swinburne.edu.au/news/2019/12/sustainable-student-pavilion-design-shortlisted-in-wonderfruit-competition/
Design
Faculty of Health, Arts and Design (FHAD)
Design,Student News,Sustainability
false
-
Melbourne CBD abandoned spaces redesigned for those experiencing homelessness
Melbourne CBD abandoned spaces redesigned for those experiencing homelessness
A Swinburne project supported by the City of Melbourne has reconceptualised Melbourne spaces to support those experiencing homelessness.
A Swinburne project supported by the City of Melbourne has reconceptualised four abandoned locations in Melbourne’s CBD as spaces to support those experiencing homelessness. The project aims to inspire the City of Melbourne to consider advocating for private owners to revamp unused spaces in the city and adapt them to accommodate rough sleepers. The Melbourne locations chosen for the project include: Former Cancer Council Building, Rathdowne St Former Duke of Kent Hotel, La Trobe St Sir Charles Hotel, Spencer St Job Warehouse, Bourke St Former Cancer Council building redesign by Elise Ceccato. Over one semester in 2019, Advanced Diploma of Interior Design students have worked to redesign the spaces, creating concepts that suit the needs of those experiencing homelessness whether they be men, women, families or young people. Social justice and interior design Project leader and Swinburne interior design teacher, Kathleen Estoesta, says that everyone is entitled good design and it is “more than what people see on The Block”. “We want others understand that interior design can have a social conscience and have an impact on people’s lives. The most visible part of interior design may be pretty spaces, but it is also the most minute part,” says Ms Estoesta. Duke of Kent Hotel redesign by Sarah Lai. Ms Estoesta knew she wanted to pursue a project that would address the homelessness crisis, but before finding the spaces for the project she didn’t know where to start. “I wanted to understand homelessness holistically, but I was struggling to make a connection between homelessness and design. Once I read about these abandoned sties sometimes known as Melbourne ‘eyesores’, I knew this was a project that would work. “It is an opportunity for us to give these buildings and the people most vulnerable in our communities a second chance.” Ms Estoesta hopes the success of the project will inspire the City of Melbourne to look towards implementing their ideas in the physical spaces. Sir Charles Hotel redesign Kelvin La. Launching the concepts Speaking at a showcase of the final designs, City of Melbourne Deputy Lord Mayor, Arron Wood, said the project was something he is very pleased to be involved with. “It’s a great opportunity for me to learn more about the role of design in responding to important social issues such as homelessness” he said. “Good design matters in a city and what you [the Swinburne students] explore in this exhibition is fascinating and practical. Most importantly, you approached this project with creative thinking and respect and you produced something that maintains the dignity of an individual,” he said. Job Warehouse redesign by My Tian Pham. “While the responsibility to clean up visually unattractive buildings ultimately lies with the private property owner, it’s amazing to see you reimagining buildings that I have labelled as eyesores within the City Of Melbourne,” he said in an address at Swinburne’s Hawthorn campus. Cr Wood said that while Council was working hard with multiple agencies and not-for-profits such as Salvos to address homelessness, he stressed that Council can’t do it alone and that all tiers of government need to do better in housing all Australians.
19 December 2019 08:22
https://www.swinburne.edu.au/news/2019/12/melbourne-cbd-abandoned-spaces-redesigned-for-those-experiencing-homelessness/
https://www.swinburne.edu.au/news/2019/12/melbourne-cbd-abandoned-spaces-redesigned-for-those-experiencing-homelessness/
Design
Current Students (PAVE)
false
-
Men craft too - but do they need support to raise their artistic profile?
Men craft too - but do they need support to raise their artistic profile?
Dr Sue Green reviews a summer exhibition of man-made craft and questions if men need support to raise their artistic profile.
Review: A Boy’s Own Story at the Johnston Collection, East Melbourne Johnston Collection director and curator Louis Le Vaillant was weary of hearing that men could not knit or sew. After all, he can and so could antiques and decorative arts dealer William Johnston, whose estate comprises the East Melbourne house museum. So Le Vaillant planned a summer exhibition to challenge audiences used to seeing the work of skilled craftswomen. A Boy’s Own Story features the work of 17 male artists, asked by Le Vaillant to respond to items in the collection with new works. When Le Vaillant put the men only idea to the collection trustees they responded positively: They said, bring it on. They were open to challenging the boundaries of art and craft in an exhibition house. We thought we would see what would happen. I thought, ‘the challenge is out there’. The statistics do suggest an imbalance. Since the collection began its “inspired by” shows in the early 2000s there have been 3754 women participants and three men. Nonetheless, it is questionable whether, in a #metoo climate pushing for women’s voices to be heard, an all-male exhibition is appropriate. Three generations of the Collyer family contributed to the. exhibition. Photo: Adam Luttick. Helping men? Artist Kate Just, head of graduate coursework at the Victorian College of the Arts, has created art with knitting for almost 20 years. Her new work is a year of knitting Anonymous Was a woman. She’d reached 41 panels from 730,825 stitches by early December. Key to the project is Just’s exploration of reports on the under-representation of women in art. She cites global figures showing there are no women in the top 0.03% of the Western art auction market, where 41% of the profit is concentrated. Anonymous Was a Woman by Kate Just. Photo: Simon Strong. The income gap between men and women is wider in the arts than the average gap across all industries in Australia. Research shows that artists earn a little more than a third of their income from their creative efforts, with women making an average of $15,400 from their art while men earn $22,100 from theirs. Australian gender representation in the contemporary arts is monitored by the Countess Report, which most recently analysed the work of 13,000 exhibiting artists, outcomes of Australia Council grants, and staff and board members of arts organisations. It found signs of a turnaround in 2018 compared with 2016, with women equally represented in art prizes, fairs, commercial galleries (52% up from 30%) and organisations. However there was still an imbalance in taxpayer-funded state galleries, with the representation of women falling (37 to 34%) since 2016. Le Vaillant had prepared himself for criticism and trolling in response to the men-only exhibition, having received outraged emails and social media criticism in the past (that time over yarn bombing and some decorative street art with cake icing). “It is not happening,” he says. “It is an extraordinary irony of contemporary life that it is not happening. It’s an extremely benign exhibition.” Is there a gender-based double standard at play? Le Vaillant concedes this: “Maybe it’s because men have done these works in the show.” Are men allowed to push the boundaries, while women are pigeonholed? Lace and statements Some of the work in the exhibition is traditional – the superb handmade lace and embroideries by three generations of Collyer men, the basic knitting by Tristan Brumby Rendell and Luke Hockley’s handmade shirts. Other pieces are more pointed in their intent. Audiences are warned of the confronting nature of textile artist Douglas McManus’s sculptural gallows chandelier. Inspired by a Green Room chandelier in the Johnston house and a portrait of Edward Lord Montagu, a founder of the Guy Fawkes night observance, it includes bleeding limbs and a hanging man – a commentary on the damage to men’s souls from society’s expectations. Lucas Grogan makes quilts that comment on issues that face men. Young quilter Lucas Grogan also creates work on such themes. A Dawn Quilt, with printed pillowcases reading “FIGHT” and “FLIGHT”, is elaborate and skilled, showcasing quilting, smocking and embroidery skills. It’s important to note the quality of this and most – but not all – the work, displayed with collection items. The five women in my tour group (visits are by booking) agreed that most works warranted exhibiting but some did not. Le Vaillant accepts this assessment. “I thought it would be a very simple exhibition to do but … it took a lot of encouragement in terms of some of them putting their work in a public space,” he says. Noel Button’s award-winning entries from the Royal Melbourne Show are included in the exhibition. Photo: Adam Luttick. While this appears to contradict his assertion that numerous men undertake these traditionally gendered crafts, it tallies with my own research in which I found male knitters who would not knit in public because they feared homophobic attacks. They also experienced “overpraising”, particularly from women knitters, attracting unsought attention. Artist Jude Skeers told me in an interview for my research that the novelty of being a male knitter helped publicise his art knitting, especially given the devaluing of knitting as women’s work. The craft that men do is more highly prized than the craft dominated by women – working with glass, ceramics and in particular wood. It’s seen as a higher craft than any textiles. This is not just true of textiles. A Boy’s Own Story, although challenging and with significant creative merit, feeds into this long-standing gender inequity. In seeking to rebalance the scales it leans too far in the other direction, excluding women completely. A Boy’s Own Story is on at The Johnston Collection until 4 February 2020. By Dr Sue Green, Deputy Co-ordinator, Journalism Program, Swinburne University of Technology. This article is republished from The Conversation under a Creative Commons license. Read the original article.
18 December 2019 15:10
https://www.swinburne.edu.au/news/2019/12/men-craft-too---but-do-they-need-support-to-raise-their-artistic-profile/
https://www.swinburne.edu.au/news/2019/12/men-craft-too---but-do-they-need-support-to-raise-their-artistic-profile/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
Could Congestion Pricing Provide a Panacea for Melbourne’s Gridlock?
Could Congestion Pricing Provide a Panacea for Melbourne’s Gridlock?
Hussein Dia argues that the time has come to start removing the roadblocks to the idea of charging drivers to use our roads.
Anyone who has tried to drive across Melbourne during the morning or afternoon peak hours will know that the world’s second-most liveable city has a major traffic problem. According to a 2018 study by the Australian Automobile Association, Melbourne’s commuters have seen their speeds drop more than any other Australian city over the past five years. Commuting trips in Melbourne were 2.7 per cent slower in 2018 than in 2013 – compared to a 1.4 per cent decrease in Sydney and Brisbane. The current construction blitz isn’t expected to provide much relief either. The latest Infrastructure Australia Audit 2019 found the huge pipeline of road and rail projects, both underway and planned, will not prevent Melbourne or Sydney becoming paralysed with congestion by 2031. The cost of congestion in the two cities is expected to double – even when taking into account the expected benefits to flow from $200 billion in road, rail and public transport projects. Solutions and opportunities These challenges are not unique to Australian cities. Despite decades of investment in transport infrastructure, many cities around the world face similar challenges. Decision-makers in these cities all agree there is a problem, and have tried a myriad of congestion-busting solutions and policies, with little success. But our knowledge – and the policy landscape – is finally shifting. There is more recognition today that building additional infrastructure provides little relief from congestion. The benefits from increased network capacity tend to occur only in the short-term and over time are offset by the growth in traffic from induced demand. Gridlocked roads not only impede cars, they also slow down the bus and tram services many cities are pushing hard to promote. Increasingly, the focus on tackling congestion is shifting to managing demands for travel and determining how best to address them through pricing instruments and signals. In many jurisdictions, congestion charging and road pricing reforms are increasingly seen as an enabler for better management of demand and more efficient use of the road network. Deeply-rooted conceptions The idea of charging road users is not new. It has long been argued that roads are valuable assets and scarce resources that should be valued by imposing costs on users. Proponents argue that when governments give away something valuable for free, they create limitless demand for its use. But the concept of ‘putting a price on driving’ has often clashed with our car-loving culture, where people consider driving the ultimate freedom – and roads the ultimate free resource. Today, because most commuters rarely pay directly for roads, or because the true cost of using them is less visible to drivers, it can seem that they are free for everyone to use. But drivers are already paying for every trip they take — the immediate costs beyond petrol and parking (e.g. insurance, registration and maintenance) are just not as transparent as they are for public transport users. The result is a misconception that driving is cheap – which further encourages people to drive. The key challenge for policymakers is to counteract the deeply-rooted idea that roads and streets are free. Congestion pricing remains a tough sell for political dealmakers, particularly as it advocates that drivers should pay for something they have long demanded and largely believe they’ve been receiving for free. But if the momentum for a congestion pricing policy spreads, it will achieve a paradigm shift and a radical change in managing how commuters get around, and even how ridesharing companies like Uber, Ola and Didi operate in our cities. A movement for change The idea behind congestion pricing is that when people see that driving costs more, they drive less. This is the most direct policy lever for tackling congestion and the reason why the movement is gaining traction as one of the most effective measures for addressing inner-city congestion. Singapore, London, Stockholm and Milan all have congestion charging schemes. The benefits reported by these cities are compelling, including substantial reductions in traffic congestion, fewer private vehicles entering restricted zones, increased public transport use, reduced emissions and greater road safety. In addition to saving money and lives, congestion pricing in these cities also raises millions of dollars each year, which are reportedly used for improving public transport, cycling and other active transport amenities. And the movement is spreading. Earlier this year, New York City approved plans to adopt congestion pricing in Manhattan – paving the way for the rest of the country to seriously consider a policy once thought to be politically toxic. Portland, Philadelphia, Los Angeles and San Francisco are all now considering various forms of pricing. In Australia, pricing instruments have been paraded for some time as a key approach to fix our transport problems. The Henry Tax Review in 2009, the Productivity Commission review of public infrastructure in 2014 and the Harper Review in 2014 all urged governments to consider road pricing as a matter of priority. These studies also recommended that governments conduct pilot studies to demonstrate the benefits of pricing to road users. In more recent times, Infrastructure Australia, the RACV, Infrastructure Victoria, the Grattan Institute and other peak bodies have also called for its introduction in major cities. Better than building roads Throwing money at huge infrastructure projects will eventually meet with limited success. This approach continues today however, and is very popular with governments and political leaders who target the benefits to key voters, while distributing the costs among all taxpayers. According to the latest Grattan Institute report, sensible and fair congestion pricing could be introduced that targets only busy roads and areas like central business districts during periods of high demand, and avoids burdening the financially disadvantaged who don’t have other options. The Grattan report estimates that in Melbourne a cordon-based congesting pricing schemecould see drivers pay $10 a day to travel into and out of Melbourne’s CBD ($5 in the morning peak and $5 in the afternoon) – resulting in the removal of 5,000 cars from roads each day. A $3 charge would apply in the half-hour either side of the morning peak, and in the hour before and the half-hour after the afternoon peak. Driving to and from the CBD would remain free at all other times, and on weekends and public holidays. An independent economic regulation body such as the Essential Services Commission would ultimately recommend the price of these cordon charges, with revenue (estimated at $124 million per year) collected by the state government. The revenue could be spent on upgrades for pedestrians, improvements to bus routes, and giving buses and trams traffic signal priority. Example of a cordon-based charging area in Melbourne’s CBD. Source: The Age A congestion-free future? Although the Victorian Government has rejected the Grattan proposal, this unpopular idea is not likely to go away. It will keep resurfacing until cities finally buy into it. This is a powerful policy whose time has come. If it is not adopted as an effective instrument for relieving congestion, the move could eventually come as a response to declining revenues from the federal fuel excise or as an alternative to existing transport taxes. Future options could also include road pricing on a per-kilometre basis during busy periods, or as part of a holistic package of measures to abolish transport taxes while creating a safety net for people on low incomes. While such reforms remain challenging territory for our policymakers, the climate for change in Australia is likely to become easier as more cities around the world prove that congestion pricing can work fairly and gain public acceptance. This will then give cities like Melbourne and Sydney the impetus they need to start pushing in earnest for a congestion charge. Hussein Dia is Professor of Future Urban Mobility at Swinburne University of Technology. He currently serves as Chair of the Department of Civil and Construction Engineering, and Deputy Director of the Smart Cities Research Institute.
16 December 2019 09:15
https://www.swinburne.edu.au/news/2019/12/could-congestion-pricing-provide-a-panacea-for-melbournes-gridlock/
https://www.swinburne.edu.au/news/2019/12/could-congestion-pricing-provide-a-panacea-for-melbournes-gridlock/
Design
Smart Cities Insights and Analysis
false
-
We're still fighting city freeways after half a century
We're still fighting city freeways after half a century
Researchers from Swinburne and RMIT University discuss the protests of freeways and why the government should listen.
Like the modernist plans of its time, the 1969 Melbourne Metropolitan Transportation Plan was bold in ambition. Major motorways have been built across the city as a result of the plan. For Melbourne, the aspiration of the 1969 plan lives on in our relentless pursuit of new mega-road projects. From the start, these projects met with community resistance. And, like the roads of the 1960s and ’70s, the roads proposed in recent times for Melbourne, Perth and Sydney can still mobilise communities. As Australian cities continue to build massive urban freeways and toll roads half a century after the heyday of modernist planning, it is time to pause and reflect. Still building urban mega-roads The building of freeways in the 1960s and ’70s triggered major protests by urban residents. These citizens were concerned about the loss of public land, established housing and the spatial divisions big roads create. Today residents of our cities still have these concerns, to which we can add climate change. The transport sector is the fastest-growing source of emissions that are driving climate change. There is now substantial international evidence building more freeways does not solve congestion, a principle evident since the 1960s. Instead, it induces more traffic, entrenching reliance on cars. Melbourne’s 1969 plan proposed over 1,000 kilometres of freeways and arterial roads in a grid-like network covering the entire metropolitan area. Despite many parts of this network having been completed, the controversies continue. Projects such as the East West Link, the West Gate Tunnel, the North East Link and the Mordialloc Freeway have all to varying degrees shown how these projects can mobilise significant community opposition. Author Andrew Butt discusses the 1969 Melbourne Transportation Plan and its impacts. In Victoria, the state government has had a resurgence of road-building frenzy. Melbourne will see the construction of the West Gate Tunnel, North East Link and Mordialloc Freeway projects, despite significant reservations expressed by transport academics. History repeats? In 1973, the Hamer government heard the community outcry and cancelled many of the inner-city freeways proposed for Melbourne. This was not so for the F19 extension of the Eastern Freeway. It became the site of sustained fierce protest by the community and local government representatives. Taking heart from successful environmental protests in the late 1960s, such as saving the Little Desert, residents were not going to take the F19 freeway’s threat to their neighbourhood lying down. They went to the barricades (quite literally) to stop the bulldozers and the destruction of the Alexander Parade trees. In 2013, Melbournians were ready again when this project controversially re-emerged (this time as the East West Link tunnel). Sustained community protest was supported by three local governments (Yarra, Moreland and latterly Moonee Valley) that funded legal challenges to stop the project. With eventual support from the Labor Party, then vying for political office in the 2014 state election, the project was cancelled. The ALP’s support for the citizen protest movement was arguably a significant factor in winning government. Similarly, the proposed Perth Freight Route (Roe 8), stopped in 2017, provides an extraordinary example of what a community can achieve when united in a single purpose. Again, it took a change of government. Are governments listening today? The link between public (and increasingly private) investment in mega-road projects and growing emissions appears to have escaped the attention of the processes that oversee public project decisions – panel hearings, ministerial processes and environmental impact assessments. The costs of these transport projects, driven by past decisions and plans, as well as the costs of not pursuing the alternatives, will affect budgets and our environment over decades. Though the formal planning processes have largely avoided the connection of road projects to increased emissions, many concerned urban citizens recognise the link. Groups and individuals are making these connections in their submissions to government planning panels, through social media and on the streets in traditional demonstrations. We see a growing number of protest actions, including WestConnex, the West Gate Tunnel Project, Western Highway widening project, the Mordialloc Freeway project and the North East Link. These citizens are alarmed by decisions being made in their name. It would appear citizen action has had success in the past. Electoral risk is a powerful motivator for governments. Emissions demand a change of direction Taking a leaf out of the backlash against the modernist project vision of the 1969 “free”-way plan for transport based on fossil fuel use, we need to shape a new vision of sustainable, healthy, fair forms of mobility. We can learn from the experience of the 1970s communities that exercised their rights as citizens to participate in civic discussions on a new shared future. Unless we can stem escalating carbon emissions, catastrophic warming of the planet will be inevitable. The impacts are becoming ever clearer, with extreme weather events already apparent. We are warned. A public event to mark the 50th anniversary of the Melbourne Transportation Plan will be held on December 12 2019, hosted by RMIT University and supported by Swinburne University, Monash University and the University of Melbourne – details here. By Andrew Butt, Associate Professor in Sustainability and Urban Planning, RMIT University; Dr Crystal Legacy, Senior Lecturer in Urban Planning, University of Melbourne; Gerry McLoughlin, PhD Candidate, Centre for Urban Transitions, Swinburne University of Technology, and Dr Ian Woodcock, Senior Lecturer, Director of Urban Design, Swinburne University of Technology. This article is republished from The Conversation under a Creative Commons license. Read the original article.
12 December 2019 15:15
https://www.swinburne.edu.au/news/2019/12/were-still-fighting-city-freeways-after-half-a-century/
https://www.swinburne.edu.au/news/2019/12/were-still-fighting-city-freeways-after-half-a-century/
Design
Faculty of Health, Arts and Design (FHAD),Centre for Sustainable Infrastructure (CSI)
Social Affairs
false
-
Forging unique paths in design - a tale of two graduates
Forging unique paths in design - a tale of two graduates
Swinburne design graduates Laura Tune and Nicole Giannenas success after university proves that a future in design looks different for everybody.
Both recognised by the Graduate of the Year Awards, Swinburne design graduates Laura Tune and Nicole Giannenas’ success after university proves that a future in design looks different for everybody. Laura’s experience Bachelor of Design (Industrial Design) (Honours) graduate Laura initially wasn’t sure about a future in design, but a brief work experience stint put her on a path that would see her end up working at digital cinema hardware manufacturer, Blackmagic Design. “Looking back, I actually knew very little about what industrial design was and I was very lucky that I ended up loving it,” she says. A highlight of Laura’s time at Swinburne was an industry placement with Outerspace Design Group during her third year of university. “I worked on some amazing projects, and one of my designs - a phone case - was selected by a client in the US and is currently on the market,” she says. “I went from having no real skills in design to discovering that I had a talent for it,” says Laura of her time at studying at Swinburne. “Working at Outerspace made me really consider my skill set and what kind of work I wanted to be doing - creative front-end work, or work more on the engineering end of the spectrum.” Nicole’s journey Nicole knew during high school that she had a passion for design, devoting all her time to her Visual Communication unit during Year 12. “I loved working on the projects and found myself staying back through lunch and after school, purely out of passion,” she says. “It just made sense to continue pursuing my ever growing desire into university, and I’m glad that I trusted my instinct and found something I loved right off the bat,” she says. At Swinburne and studying a Bachelor of Design (Communication Design ) (Honours), Nicole made the most of opportunities presented to her, even managing to score an internship with Museums Victoria. It was the first time the organisation accepted an intern in about a decade. “Thinking back, it was the moment when reality really sunk in and where egos and self-esteem dropped. Suddenly, the experience was no longer in a school-based environment where we only thought about getting a decent grade and grabbing a beer afterwards. Instead our work, time and choice of a career was being critiqued by people we respected in the real world that could set up our futures,” says Nicole. Since graduating, Nicole has secured herself a role as a designer at Studio Payne, a brand agency based in Melbourne. Hawthorn to Hong Kong Nicole and Laura’s paths crossed during Business of Design Week 2018 in Hong Kong, where both were funded to attend the prestigious week. One of Laura’s industrial design projects - a modular furniture concept for Hong Kong nano-apartments - was selected to be exhibited by a Chinese manufacturer. Nicole was invited to the week to participate in networking and design opportunities. The Graduate of the Year Awards Laura and Nicole were both recognised at the 2019 Design Institute of Australia’s Graduate of the Year Awards (GOTYA) in August. GOTYA supports and celebrates emerging designers across Australia. This year’s awards were the biggest yet, with the Design Institute of Australia receiving more than 200 nominations from 24 Australian tertiary institutions. Laura received the Graduate of the Year Award for Victoria and for Industrial/ Product Design. Nicole was recognised in the Victorian Visual Communication Design category. This article was written in collaboration with Sarah Drummond, Bachelor of Design.
12 December 2019 14:53
https://www.swinburne.edu.au/news/2019/12/forging-unique-paths-in-design---a-tale-of-two-graduates/
https://www.swinburne.edu.au/news/2019/12/forging-unique-paths-in-design---a-tale-of-two-graduates/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Reflections on a 2019 ABC Top 5 Media Residency
Reflections on a 2019 ABC Top 5 Media Residency
Swinburne comic artist Dr Darren C Fisher reflects on his experience as part of the Top 5 Media Residency with the ABC.
Being chosen as one of five successful participants from more than 150 candidates speaks to not only my own work and presentation but also the courage of the ABC to take a chance on a relatively niche field of study and practice like autobiographical comics research and practice. The two weeks spent with RN at ABC’s Ultimo building in central Sydney was packed with information sessions and practical training across a diverse spread of topics, including vocal techniques, audio recording, interview methods and writing for online. The activities were designed to give us an introduction to the systems of the ABC, and to demystify the practices of media production. Being a residency, there was an expectation of outputs consisting of a radio package, a short social media video, an article for ABC Online and a radio interview with ABC presenter Cassie McCullagh. There were also presentations to staff to clarify exactly who the new people hanging around were, and various iterations of ‘who are you and what do you do’ that you’d expect across the two weeks. Dr Fisher worked with other Top Five participants who were experts in fields such as Islamic studies and loneliness amongst the elderly. | Image credit: Dr Darren C Fisher The highlight of the residency was working with my fellow Top Five participants. All were seemingly socially engineered to get along, with a broad spread of aptitudes and areas of study from biblical studies and the Dead Sea Scrolls, to Arabic and Islamic studies, the elderly and loneliness, climate science and water management, to comics about identity and understanding ourselves. We somehow fit together cohesively despite the spaces between our research fields. Just being in the space was a thrill. RN is piped throughout the workspaces, and knowing it was being recorded within the same building, live, was an experience in and of itself. Sitting in on the recording of RN Breakfast from the producer’s booth while news of Trump’s impeachment broke is something I’ll never forget. Interviewing Australian comics legends Pat Grant and Rachel Ang for a radio package was an honour and a joy. Walking around the building with microphone, headphones and the line ‘I’m with the ABC and can I have a minute of your time’ gave me insight into on-the-ground journalism. There are a host of specific events, and even more experiential micro-moments too numerous to describe here, that helped me to elucidate my research and practice, and made me a better communicator. One of the most important things I learned from this residency is what I refer to as “the importance of being annoying”. This can be broken down into asking more questions and being comfortable with taking up busy people’s time. This can be more difficult than it seems, particularly in a situation where everybody is referring to you as an expert and a ‘very special person’. Asking for help from experts was something Dr Fisher learned was important during his residency. Unfortunately, due to the intensive obligations of my mentors and their conflicting schedules I felt a lack of guidance on how to put together the various packages. This resulted in a lack of structure to what I was doing, which ultimately required specific proficiencies outside my experience. Of course, if you don’t ask, you don’t get, and identifying areas that I am struggling with, formulating the right questions for expert input, are things I need to improve on which the residency brought into sharp relief. Not only in the moment but also ahead of time, pre-checking plans rigorously with mentors and trusted colleagues to define the necessary steps for successful completion will be an asset going forward. Image credit: Dr Darren C Fisher The difficult thing about this is that everyone these days is busy, and it can feel like an imposition to ask for someone’s time. There’s a pressure to be seen as completely in control, positive and excellent at all costs, not only in academia but more broadly, that conflicts with my tendency towards modesty and self-critical understatement. I hope over time to reconcile that mindset from opposition to cohesiveness, where honesty about my limitations can be perceived as an asset, and the strength of my knowledge is derived from familiarity with its boundaries. The Top 5 Media Residency with the ABC, in partnership with UNSW and the University of Sydney, assists upcoming academics in communicating their research through public media, including radio and online.
11 December 2019 14:10
https://www.swinburne.edu.au/news/2019/12/reflections-on-a-2019-abc-top-5-media-residency/
https://www.swinburne.edu.au/news/2019/12/reflections-on-a-2019-abc-top-5-media-residency/
Design
Faculty of Health, Arts and Design (FHAD)
Film and television
false
-
50 years on from the Melbourne Transportation Plan, what can we learn from its legacy?
50 years on from the Melbourne Transportation Plan, what can we learn from its legacy?
Course Director for Urban Design, Dr Ian Woodcock, reflects on the landmark Melbourne Transportation Plan, to mark its 50th anniversary.
The 1969 Melbourne Transportation Plan was perhaps the most influential planning policy in the city’s history. Every freeway and major arterial road built since then, as well as many current freeway and tollway projects and proposals, stem from this plan. Given current debates about freeway construction (East West Link, West Gate Tunnel, North East Link, Roe 8 and WestConnex) and increasing commute times across Australia, it is timely to reflect on the 1969 plan and lessons to be drawn from this experience. The post-war boom and the car Melbourne boomed after the second world war. The population grew from 1.2 million in 1947 to 2.1 million in 1966. At the same time, technological changes transformed our way of life. New manufacturing opportunities provided jobs to support families and consumer goods to fill their lives with. The Australian dream of a family home on a quarter-acre block was reinforced in this era. Cars shaped the post-war suburbs. Estates typified by free-standing dwellings with garages had become the norm by the 1960s. The opening in 1960 of Chadstone, Melbourne’s first modern shopping mall based on the US model, set the pattern for car-based planning. The 1954 Metropolitan Planning Scheme embraced these trends. It proposed low-density car-based suburban development and a freeway system to serve it. These policies were adopted across the English-speaking world, with the United States its primary advocate. Notoriously, from the 1920s to the 1950s motor car interests had bought up tramway systems that had shaped many US cities, replacing them with buses that were far less popular. The culture of the car was created; it wasn’t inevitable. This pattern was followed in the United Kingdom, New Zealand and Australia, where trams were ripped out of every capital city except Melbourne. The 1969 plan This environment was the context for the 1969 plan, which US consultants supervised. Faith in the desirability of a car-based future obscured the flaws in the transport modelling assumptions. The plan forecast a rise in car usage and laid out an extensive road network to support this. It did not discuss effects on urban form, merely characterising itself as supporting the 1954 Metropolitan Planning Scheme and existing development trends. The plan proposed 307 miles (494 kilometres) of freeways. This accounted for 64% of the proposed spending. The network was to provide for the predicted 6 million daily car trips by the plan’s scheduled completion in 1985. The recommended freeway system. 1969 Melbourne Transportation Plan A 323-mile (520km) highway and arterial road network – both new and widened roads – was to support the freeway network. Some 80 level-crossing removals would promote free-flowing traffic. Combined, these road proposals were costed at A$2.2 billion (in 1969 dollars) – 85% of the proposed budget. In contrast to the rest of Australia, the plan proposed retaining and modernising Melbourne’s tram system. There were to be 910 new trams (the system today has about 475). The plan also included rail improvements, notably the City Loop, electrification to outer areas, rail duplications or triplications, new radial lines to Doncaster and Monash, and suburban loop lines between Huntingdale and Ferntree Gully and between Dandenong and Frankston. Only 13.5% of the plan’s spending was to be on rail. Proposed general railway development to 1985. 1969 Melbourne Transportation Plan The community responds The plan triggered a backlash against freeways being built through urban neighbourhoods. Residents mobilised against demolitions and what they saw as the destruction of their neighbourhoods. Communities were already opposing the Victorian Housing Commission’s campaign of “slum reclamation” and high-rise tower construction. The Eastern Freeway (F19) construction, begun in 1970, was fiercely opposed. Protests increased through the 1970s. Alexandra Parade was barricaded in protest against the F19. Barricade! – the resident fight against the F19 Public opposition was partly responsible for the plan’s scope being reduced in 1973. The changed social context of the 1970s demanded a more responsive government. As attitudes and expectations change, so too must the plans for cities. How might things have been different? The 1969 plan laid out a freeway network as a blueprint for subsequent governments to follow. Much of this network has been built, but very few of the public transport projects were implemented. The City Loop rail tunnels opened in stages from 1981 to 1985, but only the smallest of the rail extensions has been built. Some lines have closed since 1969. This has marginalised the rail system’s usefulness to most people except those travelling to and from the central city. The effects on Melbourne have been profound and far more biased towards cars than even the plan intended, yet things could have been otherwise. Washington DC and Vancouver both proposed extensive freeway networks in the 1960s. In these cities, governments responded to community opposition by shifting the focus towards public transport, cycling and walking. Rising transport emissions are the largest single contributor to global heating. Melbourne is at a tipping point, needing to embrace transport options that lower emissions and support sustainable urban development. Victoria’s 2010 Transport Integration Act has a progressive vision that includes minimising long commutes and reducing reliance on cars. Arguably, a continued emphasis on road development will frustrate these objectives. Current rail projects are largely playing catch up. If all of the lines proposed in the 1969 plan, along with its level-crossing removals, had been completed as planned by 1985, Melbourne would be quite different today, and for much less than the cost of all of the roads built or planned in the foreseeable future. We should plan now for the future city we want to live in. Melbourne doesn’t need to tear down its suburbs and rebuild them at high densities before better public transport can be justified. The city needs to focus on better alternatives to cars to give its citizens choices as many other cities have done. This is an immense challenge, but we should look back on 1969 to see the long-term impacts such a plan can have. Despite its name and breadth of content, it was a road plan rather than a comprehensive transport plan. Yet we need the type of long-term city-shaping thinking that underpinned that plan, but directed in ways that fit a genuinely sustainable, smart and fair 2019 vision for 2069 that we can all support. A public event to mark the 50th anniversary of the Melbourne Transportation Plan will be held on December 12 2019, hosted by RMIT University, supported by Swinburne University, Monash University and the University of Melbourne – details here. By Liam Davies, PhD Candidate, Centre for Urban Research, RMIT University and Dr Ian Woodcock, Course Director of Urban Design, Swinburne University of Technology. This article is republished from The Conversation under a Creative Commons license. Read the original article.
09 December 2019 11:53
https://www.swinburne.edu.au/news/2019/12/50-years-on-from-the-melbourne-transportation-plan-what-can-we-learn-from-its-legacy/
https://www.swinburne.edu.au/news/2019/12/50-years-on-from-the-melbourne-transportation-plan-what-can-we-learn-from-its-legacy/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
Aquariums, meerkats and gaming screens: how hospital design supports children, young people and their families
Aquariums, meerkats and gaming screens: how hospital design supports children, young people and their families
Lecturer in Architectural Design, Dr Stephanie Liddicoat, explores how hospital design affects mental health and wellbeing, particularly in young people.
Every time you take your child to the emergency department or a loved one to a mental health outpatient appointment, the very building and spaces you encounter will have been designed, for a number of reasons. Not only will these spaces be functional, their designs encourage patients to seek help or act to relieve stress. This type of design looks at how buildings and landscapes improve mental health. Just as evidence-based medicine uses evidence to inform clinical practice, evidence-based design informs architects and other designers how to design our hospitals, surgeries and clinics to improve patient care. So, how does this type of design influence how we plan and build spaces with mental health and well-being in mind? Show me the evidence Evidence-based design, which has become more popular in the past three decades, assumes an intimate connection between health-care facilities and patient well-being. It uses a wide range of measures to assess how someone’s psychological response to a built environment influences physiological, cognitive and functional outcomes. The aim is to provide evidence for what works and what doesn’t to improve recovery from mental ill-health, by reducing hospital stays, distress, anxiety and aggression, while promoting staff performance and retention. This interactive gaming screen at Monash Children’s Hospital reduces the anxiety of waiting for an appointment, while encouraging socialisation. Ouva For instance, one key piece of research found people recovered faster after surgery, and used fewer painkillers, if their hospital bed overlooked a natural scene (like a garden) rather than a brick wall. Over the same time as evidence-based design has grown in popularity, there has been a growing emphasis in mental health on providing user-friendly services and improving user and carer experiences. In Australia, this has become particularly apparent in youth mental health. According to the World Health Organisation’s guidelines, quality, youth-friendly health services need to be “accessible, acceptable and appropriate”, and offered in the right place, at the right time and price. They must also be in the “right style” for young people, their supporters and the broader community. Here are two principles of how this works when designing for mental health and well-being. 1. Involve young people and their carers early in the design process If you include young people’s needs and perspectives when designing a mental health service, this improves their engagement in that service, the quality of care and their health. For most young people, their relationships with family members and other primary carers also play a key role in their mental health and recovery. So, providing appropriately designed spaces for both young people and their carers is critical. The Royal Children’s Hospital, Melbourne: hospital or art gallery? Bates Smart On a practical level, this might mean providing comfortable spaces for young people, their supporters and clinicians to meet; providing privacy so they can’t be overheard or seen; or designing waiting areas for small groups. For instance, Melbourne’s Orygen youth mental health facility, which opened in 2018, consulted extensively with young people, family and carers throughout the design process. When young people enter the facility, they are greeted by a trained concierge rather than a formal reception area, and provided with a range of seating options, both inside and out. Meanwhile, family members can take a leisurely stroll along several landscaped walking tracks while their loved one has their appointment. These principles have also been applied to other health facilities for children, not just those specialising in mental health. For instance, Monash Children’s Hospital has a large interactive gaming screen, where children and parents can pass the time waiting for their appointment. This reduces the anxiety of waiting for an appointment, while encouraging the positive effects of socialisation within and between families. 2. Change people’s expectations of care Some people find it stigmatising to access mental health care. But the physical setting can help people reframe their expectations about what their care might entail. So, we move away from expectations of “control” or “incarceration” to expectations of comfort, well-being and care. This shift helps people better engage with health-care professionals, improving their experiences of care and their well-being. Look, meerkats! Melbourne’s Royal Children’s Hospital has a permanent meerkat enclosure, much to the delight of children and their carers. Green and Dale Associates So, the environment must be comfortable, familiar and de-institutional. It must reduce the visibility of security and safety features, while providing activities that support well-being and mindfulness, such as courtyards, communal gardens, natural environments, art-based activities and social opportunities. These huge musical instruments are part of London’s Great Ormond Street Hospital’s ‘lullaby factory’. Studio Weave Reframing expectations is also critical when designing more general children’s facilities. For instance, Melbourne’s Royal Children’s Hospital has a meerkat enclosure, interactive gaming screen, sculptures, an aquarium, and a children-only activity room. These types of features give the impression of the hospital, not as a frightening or intimidating place, but of an exciting hub of activity with things to do and friends to meet. Likewise, London’s Great Ormond Street Hospital for Children has been transformed into a “lullaby factory”. Here, giant musical phones and instruments weave their way between hospital buildings, playing music to captivated children and families. What can we expect in the future? Despite these encouraging efforts, there is still a long way to go before the influence of evidence-based design on mental health care is truly felt. Despite its broad adoption, it is critiqued for being too rigid, using broad or ill-defined research terms, or for claiming connections between an isolated variable in the environment and a behaviour, when such straight-forward connections are not guaranteed. So we need to commit more time, energy, resources, and transdisciplinary collaborations in this crucial area of mental health service delivery to address these concerns. In positive news, the recent interim report from Victoria’s mental health royal commission recognises the importance of appropriately designed mental health-care facilities. It recommends new acute mental health beds that are “contemporary, co-designed with people with lived experience”. It’s important these new facilities and services thoughtfully respond to the mental health needs of children and young people, to ensure accessible and appropriate support when they need it most. By Dr Stephanie Liddicoat, Lecturer in Architectural Design, Swinburne University of Technology; Eóin Killackey, Professor of Functional Recovery in Youth Mental Health, Centre for Youth Mental Health, University of Melbourne, and Dr Paul Badcock, Senior Lecturer, University of Melbourne. This article is republished from The Conversation under a Creative Commons license. Read the original article.
05 December 2019 10:45
https://www.swinburne.edu.au/news/2019/12/aquariums-meerkats-and-gaming-screens-how-hospital-design-supports-children-young-people-and-their-families/
https://www.swinburne.edu.au/news/2019/12/aquariums-meerkats-and-gaming-screens-how-hospital-design-supports-children-young-people-and-their-families/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
Health
false
-
Swinburne experts share smart cities insights with delegation from Vietnam
Swinburne experts share smart cities insights with delegation from Vietnam
Swinburne experts met with delegates from Ho Chi Minh City’s municipal government to discuss the future of smart technology and innovative design.
Distinguished delegates from the Ho Chi Minh City People’s Committee were welcomed by Swinburne for an exchange of knowledge on the future of smart cities. The delegation from the municipal government in Vietnam, led by Vice-Chairman Tran Vinh Tuyen, joined Victorian government officials and Swinburne experts, to discuss the social, economic and technological aspects of smart infrastructure and innovative design. Swinburne Lecturer in Interior Architecture, Dr Quoc Phuong Dinh, coordinated the visit with the help of a grant from the Department of Foreign Affairs and Trade’s Australia-ASEAN Council. It is part of the Knowledge Exchange for a Smart City: Australia and Vietnam series, which kicked off with a workshop held in Ho Chi Minh City in September. International Collaboration In partnership with the Ho Chi Minh City Department of Planning and Architecture, the Swinburne-led workshop promoted research consultation with a cross-cultural exchange of experience and knowledge. There were expert presentations on data design, planning and sustainability in future smart cities, followed by a panel chaired by Swinburne’s Dean (Research and Development) in the Faculty of Health, Arts and Design, Professor Lisa Given. From left: Mr Vu Chi Kien, Professor Niki Frantzeskaki, Ms Vo Thi Trung Trinh, Ms Suzanne Knight and Professor Jeni Paay. The discussion focused on urban challenges, smart infrastructure and public influence on data collection, as well as collaboration between Ho Chi Minh City People’s Committee and Swinburne researchers in the future. Dean (International) in the Faculty of Health, Arts and Design, Professor Sivanes Phillipson, says the panellists explored the diverse layers of urbanisation – from considering non-human entities such as animals and natural environments, to the effects of centralising technology on regional populations. “The development of smart cities must not completely abandon the old, cultural character of present architecture. We need to consider the foundations we have now and integrate them with advancing designs and technology. It is important to include the elements of the local culture and natural environment with existing fauna and flora.” Attendees were also treated to a showcase of Swinburne’s state-of-the-art facilities, including the Factory of the Future, Smart Structures Lab and the GradX Design Futures Exhibition featuring the work of Swinburne design graduates. Then were then shown examples of innovation around the city of Melbourne. The Vietnamese delegates take a tour of Swinburne's facilities, such as the innovative Factory of the Future. Future partnerships The influence of technology on urbanisation is a key research area at Swinburne and continues to promote international relations through the Smart Cities Research Institute. Dr Phuong Dinh says the workshop was praised highly by the international delegates. “Experiences and questions raised in the workshop, including better strategies to engage citizens in urban development, bring a mutual understanding of smart city projects currently undertaken in both cities,” he says. “The day was an opportunity to connect again and reaffirm our partnership, which we hope will continue and extend to other government departments under Ho Chi Minh City’s People Committee.” The collaboration between Ho Chi Minh City and Melbourne will continue to discuss the future of smart cities. Swinburne’s Deputy Vice-Chancellor (Academic), Professor Duncan Bentley, says the workshops strengthen engagement between the two countries. “Ho Chi Minh City and Melbourne are collaborating to create innovative smart cities for rapid population growth and long-term sustainability,” he says. “With 13 million people and 27 per cent of Vietnam’s gross domestic product (GDP), Ho Chi Minh City is looking to Swinburne’s smart city expertise and Melbourne’s smart city innovation for ideas as it prepares its long-term city plans.” About the Smart Cities Research Institute The Smart Cities Research Institute seeks innovative approaches to address the challenges facing the world’s fast-growing cities, and exemplifies Swinburne’s mission to create social and economic impact through science, technology and innovation.
03 December 2019 10:43
https://www.swinburne.edu.au/news/2019/12/swinburne-experts-share-smart-cities-insights-with-delegation-from-vietnam/
https://www.swinburne.edu.au/news/2019/12/swinburne-experts-share-smart-cities-insights-with-delegation-from-vietnam/
Design
Social Affairs
false
Yes
-
The impact of landmark images in mobile mapping apps
The impact of landmark images in mobile mapping apps
Images of landmarks in mobile map applications could make finding your way to and from destinations much easier.
The use of images of landmarks in mobile map applications could make finding your way to and from destinations easier. Andrew Haig, Lecturer in Communication Design at Swinburne, is investigating the impact of landmark images in mobile mapping apps. His research shows how photographs of landmarks create ‘building blocks’ of spatial information. Seeing landmarks on a map can guide and assist people travelling to and from unknown destinations. “My research investigated how mobile maps can be improved by including photographs of landmarks in the map interface. Research shows that users of mobile maps, compared to users of paper maps, develop less spatial knowledge of an area for two main reasons,” says Mr Haig. “Firstly, mobile map route instructions are automated, so a user doesn’t have to plan their route and perform map-related tasks, such as rotating the map to match the environment, or locate themselves on the map. These cognitive tasks help people to understand the environment around them. Secondly, only a small part of a large map is visible on-screen, so a user doesn’t fully understand the context of what they are seeing. This is known as the ‘keyhole problem’,” he says. Images and map data, copyright OpenStreetMap contributors “Theoretical frameworks of spatial knowledge acquisition reveal that landmarks can teach us about spaces. As we travel we look for noticeable, conspicuous things in the environment to guide us and aid our memory of a region. After repeat journeys in a region, we develop survey knowledge - having learnt about landmarks, the routes and paths around them to gain more knowledge of a region. Although some can learn this knowledge much faster than others,” Mr Haig explains. “I added landmarks to the interface of a mobile maps system, to test if they aided the acquisition of survey knowledge in users. My research revealed that acquired knowledge of an area could be of great assistance – if a mobile device battery or data connection fails on a return visit, or if the GPS signal in an area is weak,” he adds. A depiction of the concept: how landmarks found along a route can be used on-screen within mobile maps Mr Haig devised studies to compare wayfinding with conventional mobile maps using landmarks in various ways. The studies show landmarks are used for following a route and remembering surroundings, so much so that some users are able to take shortcuts back to parts of the route, by remembering the landmarks along it. “Shortcuts demonstrate that some survey knowledge has been acquired. Users of landmarks in the studies acquired more survey knowledge due to their learning of them,” says Mr Haig. He plans to expand his research at Swinburne to investigate how landmarks in a mobile map interface can guide non-native speakers and people with learning or language comprehension difficulties. Read more news on design at Swinburne
12 November 2019 12:09
https://www.swinburne.edu.au/news/2019/11/the-impact-of-landmark-images-in-mobile-mapping-apps/
https://www.swinburne.edu.au/news/2019/11/the-impact-of-landmark-images-in-mobile-mapping-apps/
Design
Faculty of Health, Arts and Design (FHAD)
Design
false
-
From fold-up furniture to homes for bees, industrial design on show
From fold-up furniture to homes for bees, industrial design on show
Industrial Design Honours students design products for urban living for humans and insects.
A group of Swinburne Industrial Design Honours students are working on capstone projects for urban indoor and outdoor living. Sustainability and connection to natural spaces and materials, for humans and the insect population, are a common thread. Amelia Henderson Pitman is focused on saving native bees. Her research found more than 1700 species of native bee in Australia, with only 11 species living in hives and producing honey. Seventy per cent live in the ground. Others make nests in sticks and holes in wood. Native bees come in a range of shapes, colours and sizes (2mm to 25mm from antennae tip to tail). Introduced species, disease, agriculture, climate change, decline in available food, habitat loss and the use of pesticides have contributed to the decline of native bees. To support and grow populations in urban areas, bee habitats can be integrated into inner city gardens and exterior building structures. Native bee habitat modules by industrial design student Amelia Henderson Pitman Kennyjie Marcellino wants to prevent mosquito borne diseases such as malaria and dengue fever. On the island of Bali alone, fumigation, DEET repellents, mosquito coils and traps are used to control mosquito populations. Some of these are dangerous to humans, the environment and other insect populations. Marcellino has designed a plug-in carbon dioxide-based mosquito trap that lures and extracts mosquitoes nearby into a central chamber. Carbon dioxide and artificial human odour are emitted from the trap to target mosquitoes. A fan in the trap draws the mosquitoes into the chamber where they dehydrate and die. The trap is made from sustainable, natural, and local materials. The body is handcrafted from rattan and ceramic. The carbon dioxide and artificial odour are produced through fermentation of natural ingredients and naturally occurring chemicals. Carbon dioxide-emitting mosquito trap by industrial design student, Kennyjie Marcellino Georgia Wilson’s urban balcony furniture is made from recycled compression moulded plastic and tubular steel. The multipurpose design provides storage, space to grow a plant, a place to sit or a surface to put things on a small balcony. Urban balcony furniture by industrial design student, Georgia Wilson Andrew Clarke is creating hydroponic farms for urban cafes and small restaurants, providing an alternative to traditional fresh food supply sources, and to raise awareness of the benefits of fresh greens and hydroponic farming. His microgreens planter with integrated LED for plant growth, modular reservoirs and seed trays is easily moved from front-of-house walls into the kitchen for harvesting and cleaning. Hydroponic microgreens planter for cafes by industrial design student Andrew Clarke James Chapman’s spatially-sensitive furniture, designed for compact living, references the folding techniques of traditional Japanese origami. Kami can be hung on a wall, placed on the floor or folded into a stool or table. Made from recycled polyester and variants of PET (polyethylene terephthalate). Kami is recyclable. Origami-inspired, spatially sensitive furniture by industrial design student James Chapman Read more news on design at Swinburne
11 November 2019 15:28
https://www.swinburne.edu.au/news/2019/11/from-fold-up-furniture-to-homes-for-bees-industrial-design-on-show/
https://www.swinburne.edu.au/news/2019/11/from-fold-up-furniture-to-homes-for-bees-industrial-design-on-show/
Design
Faculty of Health, Arts and Design (FHAD)
Design
false
-
Photomedia student’s experimental image wins Adobe Top Talent Award
Photomedia student’s experimental image wins Adobe Top Talent Award
Swinburne Communication Design student, Caitlin Gmehling, has received an Adobe Top Talent Award in the Photography category at the 2019 Adobe Awards.
Swinburne Photomedia student, Caitlin Gmehling, has received an Adobe Top Talent Award in the Photography category at the 2019 Adobe Awards. Her work is an interpretation of the Indietronica music genre and reflects the sounds, feelings and emotions experienced from the music. Now in the third year of her degree, Caitlin created her work in an Experimental Image-Making Processes design elective subject in the second year of her Communication Design degree at the Swinburne School of Design, under the guidance of lecturer and graphic designer, Denise Lane, partner at creative agency, Sardine. “My image is of coloured slinky toys photographed on paper. I worked with the image in Adobe Photoshop and manipulated it with the wave filter. The use of a slinky toy represents the fun of the music. Artificial sound and the bright toy colours portray its vibrancy. The wave effect embodies the electronic, synth and pop sounds of Indietronica,” explains Caitlin. Original image of expanded slinkies by Caitlyn Gmehling In the Experimental Image-Making Processes subject, the first project requires students to choose a genre of music and within that, find four sub-genres. Caitlin chose ‘Alternative’ as her genre, with Indietronica being one of her four sub-genres. Through visual experimentation with different methods and mediums, Caitlin and her fellow design students came up with a visual solution to the interpretation of a genre. “I began by researching the genre; listening to the music; then created visual brainstorms where I identified the sounds, feelings and associations made with the music,” Gmehling says. Visual experiment with coloured slinky image by Caitlyn Gmehling “My aim was to capture the sounds of the genre. Indietronica is quite artificial, bold, vibrant, electronic and digitally made without acoustic instruments. With a focus on artificiality, the visual outcome utilises toy slinkies photographed on coloured paper, which I manipulated in Adobe Photoshop,” says Caitlin. Plan view experiment with coloured slinkies by Caitlyn Gmehling “The assignment brief for the subject was to design an album cover, however in my own time I made a moving version of the artwork that represents the motion of the music,” Caitlin adds. Indietronica Music Interpretation from Caitlin Gmehling on Vimeo. Read more news on design at Swinburne
25 October 2019 15:53
https://www.swinburne.edu.au/news/2019/10/photomedia-students-experimental-image-wins-adobe-top-talent-award/
https://www.swinburne.edu.au/news/2019/10/photomedia-students-experimental-image-wins-adobe-top-talent-award/
Design
Faculty of Health, Arts and Design (FHAD),School of Design,Centre for Design Innovation (CDI)
false
-
Lean and sustainable lighting by Swinburne industrial design graduate
Lean and sustainable lighting by Swinburne industrial design graduate
Created by industrial designer and Swinburne PhD candidate, Christoph Koch, Mudō is a flexible, modular high-end lighting system.
Created by industrial designer and Swinburne PhD candidate, Christoph Koch, Mudō is a flexible, modular high-end lighting system. The minimalist floor lights are designed to be extended and customised in multiple formats and can be combined with a small side table and bookshelf. The idea behind the Mudō lighting system came from a modular joinery system Christoph (Chris) developed in his Industrial Design honours year in 2017. He exhibited a fully functioning, ‘ready to sell’, prototype of Mudō at the Fringe Festival in Melbourne this year. Chris decided to develop Mudō, as a side-interest while he studies for his PhD. He is researching how industrial design fits into the future manufacturing environment and Industry 4.0. “I have tried to implement as many of the progressive ideas and methods I am researching as possible into the design. This includes lean manufacturing techniques and sustainable practices,” says Chris. Mudō integrates with living room furniture, image by Christoph Koch “I'm halfway through my PhD program. Developing Mudō while I study, gives me the opportunity to work hands on and to apply theory to a real-world situation and working environment,” explains Chris. The original idea planned for the 2019 Fringe Furniture exhibition was to create a modular shelving and lighting system. Due to funding and time restrictions Chris changed the project to a lighting system. The inspiration behind Mudō came from a frustration with how lights are still designed with outdated features like lampshades. “I incorporated a shade for Mudō in the form of a ring which touches on the traditional side of lighting design but gives a contemporary twist,” he explains. Mudō’s circular ring touches lightly on tradition, image by Christoph Koch “The entire light is made from lightweight sandblasted aluminium to create a smooth finish and is then anodised in a dark grey. The grey colouring of the floor lamp makes illumination the defining feature at night - hiding the lamp’s support structure,” says Chris. Mudō’s oblong version, image by Christoph Koch The light Mudō creates is a warm white (3000K), projected downwards for reading and upwards for indirect mood lighting. Illumination is created using a strip LED that runs along a groove in the top ring and is then diffused with an opaque white acrylic panel. Mudō integrated bedside lighting, image by Christoph Koch Mudō comes in three shapes and sizes, with two options for the foot design, providing for customisation. The biggest lamp is integrated with a small table that doubles as a bookshelf. The design uses recyclable materials that are long lasting and stable. Mudō can be disassembled and is easy to transport and ship. Read more news on design at Swinburne
25 October 2019 08:24
https://www.swinburne.edu.au/news/2019/10/lean-and-sustainable-lighting-by-swinburne-industrial-design-graduate/
https://www.swinburne.edu.au/news/2019/10/lean-and-sustainable-lighting-by-swinburne-industrial-design-graduate/
Design
Faculty of Health, Arts and Design (FHAD),School of Design,Centre for Design Innovation (CDI)
false
-
Communicating key health messages to support culturally diverse women
Communicating key health messages to support culturally diverse women
Master of Design student creates illustrations for Jean Hailes for Women’s Health toolkit.
Master of Design student Alexandra Gomez is creating a series of educational illustrations for the Jean Hailes for Women’s Health My Body. My Health toolkit. Jean Hailes for Women’s Health is an Australian not-for-profit organisation committed to improving knowledge and understanding of complex women’s health issues. My Body. My Health is a health education toolkit developed to address an identified need for nationally-available, high-quality, user-friendly educational health resources for women from culturally and linguistically diverse backgrounds. It has been designed to support community workers and health professionals in delivering health education to migrant women with low levels of English and health literacy. “After joining industry partnered co-design workshops at the Swinburne School of Design, Jean Hailes for Women’s Health identified Alexandra’s illustrations as an ideal fit for the My Body. My Health toolkit. It’s a great outcome for everyone involved,” explains Professor Simone Taffe, Research Director - Communication Design. My Body. My Health toolkit illustration promotes a healthy diet for women, by Alexandra Gomez Alexandra’s easy to understand illustrations help to communicate key health messages across cultural and language barriers with the aim of supporting women to make informed, evidence-based decisions about their health and health management. Used in individual, group or community settings, the toolkit provides presentations on topics including health checks, healthy eating, physical activity, emotional health and vitamin D. Each illustrated presentation delivers key health messages, facilitates discussion, and supports action and behaviour change. My Body. My Health toolkit illustration promotes gardening activity, by Alexandra Gomez The toolkit was developed in partnership with the Centre for Culture, Ethnicity and Health and Ballarat Community Health. It is a multidisciplinary collaboration involving service providers, multicultural health organisations, clinicians, educators and consumers with expertise and experience in addressing the health needs of culturally and linguistically diverse communities. It embraces plain language, health literacy and adult-learning principles. Alexandra is producing up to sixty illustrations for a range of toolkit modules in print and digital formats. “My illustrations aim to empower women from migrant and refugee backgrounds by providing knowledge on a wide variety of health and wellbeing topics,” says Alexandra. “My work aims to give life to the toolkit, providing the end user with a clear, concise understanding of key health messages developed by the team at Jean Hailes. I’m working through a range of modules - mental health, physical activity, healthy eating and health checks. Illustration for Jean Hailes for Women’s Health promotes physical activity by Alexandra Gomez “The toolkit is aimed at a specific demographic, so we must consider how the drawings will be interpreted by women from various cultural backgrounds. My team and I have attended presentations where the toolkits will be shown. We’ve engaged with educators and received feedback on how our target audience relates to the messages and illustrations. “As the toolkit is aimed at women from migrant and refugee backgrounds, the final illustrations depict women from all over the world with their friends and family. The images support the health messages through positive, bright and inclusive representation,” she says. Illustration for Jean Hailes for Women’s Health of healthy lunch for children by Alexandra Gomez “The toolkit will be presented as a projection or a printed flip book, so the line work is bold and easy to see with a clear focal point and minimal background detail. When creating the illustrations, I’m conscious to include a range of ages, cultures, abilities and social demographics to ensure the work appeals to a broad audience.” Read more news on design at Swinburne
24 October 2019 15:11
https://www.swinburne.edu.au/news/2019/10/communicating-key-health-messages-to-support-culturally-diverse-women/
https://www.swinburne.edu.au/news/2019/10/communicating-key-health-messages-to-support-culturally-diverse-women/
Design
Faculty of Health, Arts and Design (FHAD),School of Design,Centre for Design Innovation (CDI)
Health
false
-
Place Makers review: tapestries interweave traditions with a new sense of place
Place Makers review: tapestries interweave traditions with a new sense of place
Deputy Co-ordinator in Journalism, Dr Sue Green, discusses the use of textiles to investigate history, self and place in a new exhibition.
The spare, white-walled Australian Tapestry Workshop gallery is very much of its place, a wall of windows fronting the South Melbourne street. Cars, trams and shoppers are just metres away, the occasional pedestrian observing the observer. It’s a stark space ill-suited to introspection, but perhaps apposite given that the eight artists showing here are examining their own place and the intersection of their heritage with life in present-day Australia. Five are migrant women drawing on textile traditions in exploration of their identity in a contemporary Australian context, although little information is provided to illuminate those traditions. Two or three paragraphs in the free program’s four pages of notes are devoted to each artist and, for all except two, this information is duplicated on a wall plaque. More about the artists, their works and the techniques used might have enabled a more nuanced appreciation. Paula do Prado, El Grito, 2018, cotton, wool, hemp, linen, raffia, Bobbiny cotton rope, twine, paper covered wire, wire, glass seed beads, wooden beads, açai seed beads. 110 x 60 x 5cm. Photo: Document Photography. The woven tapestry style associated with the Australian Tapestry Workshop features in some work. Karen migrant Mu Naw Poe learned weaving from her mother and continued it in a refugee camp for 20 years. Once in Australia she undertook an Australian Tapestry Workshop program. Her Night Sky 2018 and Global Warming 2014 are bold, multicoloured geometrics; Faces 2016 is more abstract. The three woven strips of Here We Are Sisters 2018 by noted textile artist Kay Lawrence record the names of participants in a Women’s Wealth Project in traditional European storytelling style. For Ema Shin, of Japanese and Korean descent, such techniques are the starting point for two densely woven, three-dimensional works, Soft Alchemy (My Pelvic Bone) 2018 and Soft Alchemy (Fertile Heart) 2019. Referencing her pregnancy and including tufted Korean floral symbols of fertility, she adds padding and wrapped wire to produce an alarming profusion of veins. Ema Shin’s Soft Alchemy (My Pelvic Bone), 2018, cotton, wool, wire woven tapestry. Photo: Oleksandr Pogorilyi. Lisa Waup’s works also have a 3D quality. A Gunditjmara and Torres Strait woman, her small, woven vessels combine thread, feathers, found objects, even false hair. Her three-part 2019 series It’s in my DNA symbolises passing her DNA to her children, while the other, Past, Present, Future 2019 references living family and ancestors. Indigenous Australian Bronwyn Razem (Gunditjmara/Kirrae Whurrong), a Master Weaver, is keeping alive weaving skills used to create a traditional eel trap and the weaving’s cultural importance. Eel Trap 2018, is precisely that – a metre-long raffia trap, as used by her people in Victoria’s Western District. The program notes she has played a vital role in this trap’s revival but this information is tantalisingly brief. Somali weaver Muhubo Suleiman’s Raar 2018 hangs in the window with no identifier, the program revealing who made it and her use of traditional Somalian finger weaving, once essential in nomadic communities, now evoking home in her new country. Muhubo Suleiman with Raar (2018) Photo: Marie-Luise Skibbe. Three striking beaded works by Uruguayan migrant Paula Do Prado, one of which, El Grito 2018, is on the program cover, are described as using traditional and non-traditional craft techniques and materials. Open shapes are made from beaded wire and blanket-stitched rope. The work is described as “highly personal and autobiographical”, but just how so remains elusive. So, too, Yunuen Perez’s weaving, which draws on Mexican Indigenous stories and traditional textile techniques. Artist Yunuen Pérez with Ketzal (2016) and Colibries (Hummingbirds) (2019). Photo: Marie-Luise Skibbe. Photo: Marie-Luise Skibbe. This is a small but important exhibition, showcasing textile work by women of extraordinary patience, dexterity and expertise. Traditional techniques are given new life, record reflections, keep history alive and salve divided loyalties by weaving links between home and home. Rich histories, personal and cultural, are embedded in these works but the audience is denied access to these histories given the paucity of information available about them. Place Makers can be viewed at the Australian Tapestry Workshop until December 6. A community workshop will be held on Saturday 16 November. By Sue Green, Deputy Co-ordinator, Journalism Program, Swinburne University of Technology. This article is republished from The Conversation under a Creative Commons license. Read the original article.
26 September 2019 13:05
https://www.swinburne.edu.au/news/2019/09/place-makers-review-tapestries-interweave-traditions-with-a-new-sense-of-place/
https://www.swinburne.edu.au/news/2019/09/place-makers-review-tapestries-interweave-traditions-with-a-new-sense-of-place/
Design
false
-
Swinburne students at IAAC Global Summer School progress work with mycelium
Swinburne students at IAAC Global Summer School progress work with mycelium
Swinburne School of Design and IAAC share a passion for experimentation in architecture
The Institute for Advanced Architecture of Catalonia (IAAC) and Swinburne School of Design continue to share their passion for architectural experimentation and sharing of ideas in the second IAAC Global Summer School workshop at Swinburne. In 2018 students created mycelium forms by incubating and growing the vegetative part of fungus in moulds in Swinburne’s biology labs. Coordinators Senior Lecturer in Architectural Design, Canhui Chen, and Course Director of Architecture, Associate Professor John Sadar, progressed these investigations for the 2019 workshop to look at more sustainable ways of creating mycelium structures. The 2019 IAAC Global Summer School at Swinburne focused on aspects of sustainability and the structural advantages of topologically optimised architectural structures. Architecture students were introduced to new digital structural optimisation workflow tools using proprietary apps and software programs such as Ameba, to visualise and test the performance of structural forms in 3D. Small scale 3D printed nylon form studies were created so the students could learn about the new workflow. 3D digital visualisation of architectural structure, video by Canhui Chen “Students created computer-generated tree-branch-like node structures using Bidirectional Evolutionary Structural Optimisation. By providing a set of load conditions, material parameters and a set of boundary conditions and support locations, an algorithm analysed input geometry, load conditions and structural performance - removing excess material not required and making the structures lightweight and more efficient for load bearing,” explains Mr Chen. Ameba Tower 3D printed form series, image by Canhui Chen. Digital analysis of Ameba Tower. The form generated by the topological optimisation process was then discretised into manufacturable pieces, allowing the workshop participants to fabricate it at a large scale. The large laser-cut form was used as the scaffold for mycelium cultivation. The substrate, mixed with mycelium culture, was placed inside the mould and transferred into an incubator in the biology lab over the two-week workshop period. Small scale nylon form (left) and mycelium form (centre), image by Canhui Chen. Large branch-like mycelium form, image by Canhui Chen. Looking for more sustainable production methods, students investigated CNC machining of mycelium and the possibility of cutting a form from a preformed block of mycelium grown in a standard reusable incubating bag. Machining the mycelium into a form reduces the need for multiple moulds and reduces the amount of material required to create a mycelium structure. The mycelium offcuts and machining waste are easily reused. Machining mycelium in the workshop, video by Canhui Chen The machining experiments were more successful than anticipated and have opened up new opportunities for the production of articulated architectural mycelium surfaces. As a living material, the machined mycelium surface continues to regenerate and change over time. The machined mycelium surface regenerates and reforms after machining, images by Canhui Chen. Collection of mycelium surface designs, image by Canhui Chen. Load testing mycelium in the Swinburne engineering lab, video by Canhui Chen “This opens up exciting opportunities to create possible living architectural applications,” says Mr Chen. Concepts for living architecture - mycelium meeting pods, images by Canhui Chen. Mycelium is now being tested for its structural and acoustic properties in the Swinburne engineering lab. Read more news on design at Swinburne
18 September 2019 11:20
https://www.swinburne.edu.au/news/2019/09/swinburne-students-at-iaac-global-summer-school-progress-work-with-mycelium/
https://www.swinburne.edu.au/news/2019/09/swinburne-students-at-iaac-global-summer-school-progress-work-with-mycelium/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Redesigning scientific research spaces at the Australian Synchrotron
Redesigning scientific research spaces at the Australian Synchrotron
Design Factory Melbourne students redesign spaces for scientists at the Australian Synchrotron
In the first collaborative project following the signing of an MOU between Design Factory Melbourne (DFM) and Australian Nuclear Science and Technology Organisation (ANSTO), two honours students in the DFM global program have redesigned beamline user cabin spaces, used by scientists at the Australian Synchrotron. The Australian Synchrotron produces powerful beams of light used at individual experimental facilities to examine the molecular and atomic details of materials. More than 5000 researchers a year use Synchrotron instruments. Each beamline requires a cabin space for scientists to operate the beamline, run their experiments, analyse data and prepare experimental samples. ANSTO plans to increase this capacity over the next eight years. The DFM students were challenged to consider this expansion, and to design a new beamline user cabin. The new cabin designs will provide safety, comfort, interaction, reduce clutter and increase productivity for scientists. Students worked with Synchrotron scientists and engineers to understand the problems with existing cabins. “The key challenge was to propose design solutions that were user-centric, fit for purpose and would accommodate different functions and stakeholder needs,” says Tiina Tuulos, Innovation Coach, Design Factory Melbourne. CODED beamline user cabin design concept illustrations showing interior layout with colour coding, by Jing Tan DFM students, Melanie Phillips and Jing Tan, created proof-of-concept solutions and design demonstrator prototypes. CODED, by Tan, is a concept for improving workflow in a cabin. The design separates working spaces into colour coded areas; with sample, science and user areas in salmon, blue, and yellow respectively. Dedicated areas for belongings reduce clutter and improve access inside the cabin. Curved structural glazing creates a feeling of spaciousness and gives scientists and engineers a sense of connection with the external world. Observers can see into the cabin without entering. Ambient lighting throughout, including the floor, reduces tripping hazards. Improved storage and writing surfaces have been created. Height adjustable furniture improves ergonomics and reduces fatigue. An embedded monitor is easily cleaned. Axon by Phillips is a modular bench seat and central hub designed to positively influence the way people behave and interact in the cabins, creating an inviting communal seating area. It creates opportunities for interaction between researchers and supervisors while providing comfort, security and storage for belongings and reducing clutter. AXON modular bench seat design with desk, demonstrator prototype, by Melanie Phillips “Synchrotron scientists and engineers were engaged in the design process through user interviews, observation and prototype testing. It’s an exciting first project in our partnership. We are planning our next collaboration with ANSTO Synchrotron,” explains Ms Tuulos. The DFM ANSTO partnership draws inspiration from IdeaSquare, a Design Factory platform at CERN, that accelerates ideas through collaboration and experimental innovation. The intersection of design and science is one of DFM’s key strategic areas. DFM leads the global Challenge-Based Innovation (CBI) A3 program, that uses design innovation approaches to translate CERN science into products, services and systems that have impact on society beyond discoveries in particle physics. DFM continues to collaborate with ANSTO in establishing a Design Factory node within nandin, part of ANSTO’s Innovation Centre in Lucas Heights, NSW. Read more news on design at Swinburne
13 September 2019 12:27
https://www.swinburne.edu.au/news/2019/09/redesigning-scientific-research-spaces-at-the-australian-synchrotron/
https://www.swinburne.edu.au/news/2019/09/redesigning-scientific-research-spaces-at-the-australian-synchrotron/
Design
Faculty of Health, Arts and Design (FHAD)
Design
false
-
Centre for National Unification design selected for Global Grad Show
Centre for National Unification design selected for Global Grad Show
Graduate’s capstone design project selected for high profile Global Grad Show in Dubai
Bachelor of Design - Interior Architecture graduate Georgina Spooner’s capstone design project has been selected for the high profile Global Grad Show in Dubai. The Global Grad Show is an exhibition of works from leading international design and technology schools. Over 150 graduate projects are selected for the prestigious showcase each year and graduates attend the event in Dubai in November. Ms Spooner, now working for architecture, planning and interior design firm, Hames Sharley in Western Australia, graduated with first class honours in 2018. Her Centre for National Unification design project aims to bring the importance of social cohesion and collective humanity to the public stage. The Centre is designed to boost resilience in Australian – and specifically Melbourne – communities to cope with future migration. It sets a new benchmark for educational and community spaces globally. Intercultural education spaces, Centre for National Unification, images by Georgina Spooner. Located in the Melbourne CBD, MsSpooner’s Centre for National Unification references philosophical concepts and approaches to enhance the perception and experience of the space. “When considering the form of the building, I wanted to ensure it had a sense of place – a threshold between interior and exterior. Through the inclusion of lower level reflection spaces and walkways with imperceptible end points, the design lets visitors explore, stop, reflect, connect and trust the journey of the Centre,” says Ms Spooner. Reflection and connection space, Centre for National Unification, image by Georgina Spooner. Her minimalist design focuses visitors’ attention on our existence and humanity, with reflection and connection spaces, intercultural education areas, a cultural cinema and support and information level. “We are currently witnessing the highest levels of displacement, on record, since World War Two. Globally, over the last decade, we have seen the number of displaced people more than double to 71 million. Forced migration will be a defining issue of the 21st century,” explains Ms Spooner. “This project looks at current global social issues of migration and the issues faced by refugees. It highlights the significant role that designed spaces play in defining and perpetuating individual identity, and providing a sense of belonging. It illustrates the importance of the built environment in constructing an individual’s understanding of who they are and where they belong,” says Dr Quoc Phuong Dinh, lecturer Swinburne Bachelor of Design, Interior Architecture. The week long Global Grad Show showcases design solutions to the world’s most pressing challenges to the public, press and industry. The show is a not-for-profit initiative that explores ideas from social to environmental, technological and economic. The Centre for National Unification design project will be exhibited in architectural poster and banner formats and a 1:100 scale sectional model. Read more news on design at Swinburne
13 September 2019 10:20
https://www.swinburne.edu.au/news/2019/09/centre-for-national-unification-design-selected-for-global-grad-show/
https://www.swinburne.edu.au/news/2019/09/centre-for-national-unification-design-selected-for-global-grad-show/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Swinburne School of Design academics share expertise in Vietnam
Swinburne School of Design academics share expertise in Vietnam
Swinburne leads first workshop in Knowledge Exchange for Smart City: Australia and Vietnam series
Swinburne School of Design academics, Professor of Urban Design Marcus White, Associate Professor in Interaction Design Jeni Paay and lecturer in Interior Architecture Dr Quoc Phuong Dinh, participated in the recent Smart City Development: Experiences from Vietnam and Australia workshop. Hosted by the Department of Planning and Architecture, Ho Chi Minh City in Vietnam, the workshop was opened by Ms Julianne Cowley, Australian Consul-General in Ho Chi Minh City. Mr Hoang Tung, Vice-Director of the Ho Chi Minh City Department of Planning and Architecture made an opening speech. The workshop was the first in a Knowledge Exchange for Smart City: Australia and Vietnam series supported by an Australia-ASEAN Council grant from the Australian Department of Foreign Affairs and Trade. Swinburne, represented by Dr Quoc Phuong Dinh, leads the grant. The University of Melbourne, represented by Dr Hyungmin Kim, is an Australian partner institution. The project is supported by the Swinburne Smart Cities Institute and Centre for Design Innovation. Major high-rise buildings, Ho Chi Minh City CBD, image by Quoc Phuong Dinh. “The workshop attracted participants from government departments, urban planning and design industries, universities and research institutions for smart cities in Vietnam. Expert presentations and group workshops encouraged sharing of knowledge about the roles of local infrastructure, technology and community engagement and understanding about smart cities,” says Smart City workshop project coordinator, Dr Quoc Phuong Dinh, lecturer in Interior Architecture at the Swinburne School of Design. Professor White and Associate Professor Paay shared their first-hand experiences in Designing with Temporal-Spatial Data for Smarter Cities and Experiences from Smart City Projects at Swinburne, and chaired group discussions about smart city development. They visited smart city sites in Ho Chi Minh City, including the new Centre for Management of Traffic Systems, the Saigon River Tunnel Network, FPT Software headquarters and the Landmark 81 building designed by British architectural firm, Atkins - the tallest building in Vietnam, recently completed with smart building facilities and services. Visiting the Centre for Management of Traffic System and Tunnel Network, Ho Chi Minh City, image by Quoc Phuong Dinh. “The Ho Chi Minh City workshop, and the Melbourne workshop planned for November at Swinburne, are supporting bilateral understanding of smart city approaches in Australia and Vietnam. The workshops and site visits encourage experts from Vietnam and Australia to share and exchange experiences and lessons learnt from current planning and policy approaches to smart cities in both countries,” says Dr Quoc Phuong Dinh. At the Central for Management of Traffic System and Tunnel Network, Ho Chi Minh City, image by Quoc Phuong Dinh. “The workshop was the first formal and professional activity highlighting ongoing collaboration between Swinburne and the Ho Chi Minh City Department of Planning and Architecture. Experiences and questions on smart city development presented in the workshop bring a mutual understanding of smart city projects currently undertaken at both institutions. This understanding will be furthered in the up-coming Melbourne workshop with potential collaborative projects in the near future,” says Dr Nguyen Thanh Nha, Director General, Ho Chi Minh City Department of Planning and Architecture. Read more news on design at Swinburne
12 September 2019 14:12
https://www.swinburne.edu.au/news/2019/09/swinburne-school-of-design-academics-share-expertise-in-vietnam/
https://www.swinburne.edu.au/news/2019/09/swinburne-school-of-design-academics-share-expertise-in-vietnam/
Design
Faculty of Health, Arts and Design (FHAD),School of Design,Centre for Design Innovation (CDI)
false
-
Communication Design students take road safety campaign to Transurban
Communication Design students take road safety campaign to Transurban
Communication Design students presented their road safety campaign to a leading toll-road operator, as part of behavioural change program Re:act.
A team of Swinburne Communication Design (Honours) students presented their road safety campaign to world-leading toll-road operator, Transurban, as part of the Re:act 2019 road safety awareness program. Caitlin Gmehling, Felicity Lemke, Max Bufardeci and Riley van Ingen were invited by Transurban’s Road Safety Manager, Liz Waller, to the company’s Melbourne headquarters to share their campaign, ‘100% Human’, with its staff. Each year the Re:act program enables university Communication Design students to engage with industry to create a campaign that raises awareness of road safety issues among 18 – 25 year olds and changes their behaviour. The 2019 brief focused on encouraging safe interaction between drivers and vulnerable road users such as pedestrians, cyclists and motorcyclists. The students' campaign, '100% Human', highlighted how all road users play in role in ensuring one another get to their destination safely. Caitlin, Felicity, Max and Riley were among 43 students from Swinburne and University of Technology Sydney (UTS) who participated this year, with guidance from their respective teachers, Swinburne’s Communication Design Program Coordinator, Anthony Elliot, and UTS Visual Communication Design Lecturer, Nicola Hardcastle. Their ‘100% Human’ campaign highlighted how all road users play a role in keeping each other safe and was selected by the judging panel as the best campaign created by Swinburne students. “The main things we focused on were vulnerability and shared responsibility, and how we could communicate those to people our age in a way that was engaging,” says ‘100% Human’ campaign co-creator, Caitlin Gmehling. “We wanted to communicate how each individual plays a role in the bigger picture but we wanted to communicate that through unifying everyone, showing that we’re all the same and we all need to be working together for the same end goal, which is to get to our destination safely.”
12 September 2019 10:29
https://www.swinburne.edu.au/news/2019/09/communication-design-students-take-road-safety-campaign-to-transurban/
https://www.swinburne.edu.au/news/2019/09/communication-design-students-take-road-safety-campaign-to-transurban/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Brutalism: how to love a concrete beast
Brutalism: how to love a concrete beast
Often described by critics as dehumanising, depressing and oppressive, Brutalism is having a moment – especially on social media.
No other architectural style elicits emotional reactions like Brutalism. Think monolithic concrete buildings composed of blunt rectangular forms, devoid of colour, decoration or symbolism, with cavernous interiors that complement the exterior’s hulking, inhuman scale. Frequently described as dehumanising, depressing and oppressive, Brutalist buildings feature prominently in “world’s ugliest buildings lists”. Despite this unpopularity, architects, preservationists and historians in Britain, the United States and Australia have embarked on numerous campaigns over the past decade to save Brutalist buildings from demolition. How could anyone love such concrete beasts? Australia’s High Court: a brutalist classic. Mick Tsikas An honest material Brutalism sounds intimidating (as in brutal), but its origins lie in a modernist penchant for béton brut (raw concrete). In the 1920s, famed French architect Le Corbusier popularised an architecture comprising simple cubic forms of raw concrete as the epitome of modernism. Read more: The problem with reinforced concrete For modernists, concrete was a futuristic material that could fulfil their utopian dreams of mass housing and urban renewal. It was flexible yet solid, malleable yet permanent. Unrefined concrete was an honest expression of their intentions, while plain forms and exposed structures were similarly sincere. The Palace of Justice, Corbu Chandigarh, India, designed by Le Corbusier. Wikimedia Commons And concrete has its own qualities. No two concrete surfaces look or feel the same. Textured with impressions of the wooden form-work or sandblasted to expose its gravel aggregate, concrete walls have a subtle beauty. But Brutalist buildings (like all buildings) require regular maintenance, and concrete deteriorates. Brown stains leak from joints due to metal reinforcements rusting from within. Public buildings particularly suffer from neglect. Callam Offices, Woden, ACT. Wikimedia Commons After the second world war, with the advent of metal reinforcing, concrete came into its own with greater expanses and stronger structures and Brutalism become a global phenomenon. From Soviet Bloc housing complexes to Western European welfare state projects, Brutalism became a modern, efficient and cheap solution for mass public housing. It also became a favoured style for public institutions, particularly government buildings, cultural complexes, schools, universities and hospitals. An ethical approach In a 1957 edition of Architectural Design, architects Alison and Peter Smithson argued that it was more than just a style: Brutalism tries to face up to a mass-production society, and drag a rough poetry out of the confused and powerful forces which are at work. Up to now Brutalism has been discussed stylistically, whereas its essence is ethical. The Smithsons’ best-known project and exemplar of British Brutalism was the Robin Hood Gardens, a high-rise public housing scheme in London completed in 1972. Its ethical dimension was a new approach to mass housing with generously-sized flats and two-metre-wide “streets in the air” running the length of the blocks every third floor. (But the flats were neglected for years and demolition of them began in 2017.) Robin Hood Gardens photographed in 2017 before demolition. Wikimedia Commons In the 1960s and 1970s, Brutalism became a global style, with few concessions to local climate or conditions and concrete monoliths were built in as diverse places as Singapore and Sao Paolo. Brutalism in the postcolonial world was functional, economical, and it made new nations appear progressive. In Australia, prominent architect and critic Robin Boyd wrote sympathetically about Brutalism in The Australian Ugliness as it spread here in the 1960s. Canberra’s High Court Building and National Gallery of Australia, public service buildings such as the Cameron Offices, Sydney’s UTS Tower and Brisbane’s Cultural Precinct are prominent local examples. Perth’s Art Gallery of WA is celebrating its 40th anniversary with the exhibition Perth Brutal: Dreaming in Concrete. Fritz Kos Art Gallery of Western Australia 1979. Sourced from the collections of the State Library of Western Australia and reproduced with the permission of the Library Board of Western Australia (224276PD) Controversy over the fate of Sydney’s Sirius building in the Rocks raised the issue of Brutalist conservation in Australia. Read more: In praise of the Sirius building, a ruined remnant of idealistic times Meanwhile, in Victoria, the intimidating Footscray Psychiatric Centre, was quietly recommended for Heritage listing recently by Heritage Victoria. Completed in 1976, this four-storey, windowless concrete block seems an unlikely Heritage contender, but it is certainly an exemplary Brutalist building. Stuck with beasts Beyond their architectural function, Brutalist buildings serve other uses. Skateboarders, graffiti artists and parkour practitioners, for example, have all used Brutalism’s concrete surfaces in innovative ways. Brutalist architecture has also featured regularly in dystopian sci-fi films – from A Clockwork Orange to Blade Runner 2049 – and enthusiasts share moody, black and white photographs on Instagram’s Brut Group and the global activist database SOS Brutalism. Whether we see Brutalist buildings as concrete monstrosities blighting our cities or heroic, modern sculptures from a pre-digital age is really a question of taste. But it is worth considering Brutalism’s ethics and politics further. Firstly, Brutalism evokes an era of optimism and belief in the permanence of public institutions – government as well as public housing, educational and health facilities. Secondly, while demolishing Brutalist buildings often proves politically popular, they are typically replaced by private development. Aesthetics provides a cover for this move, especially in inner cities where Brutalist institutions sit on valuable land. But restoration and renovation, rather than demolition and rebuilding, are often more sustainable solutions. So before we call for the wrecking ball, we could look again at our concrete beasts. Below that rough skin, we might see a little brutish charm. Perth Brutal: Dreaming in Concrete will be at the Art Gallery of Western Australia from 21 September 2019 – 3 February 2020. By DJ Huppatz, Associate Professor of Architecture and Design, Swinburne University of Technology. This article is republished from The Conversation under a Creative Commons license. Read the original article.
03 September 2019 14:50
https://www.swinburne.edu.au/news/2019/09/brutalism-how-to-love-a-concrete-beast/
https://www.swinburne.edu.au/news/2019/09/brutalism-how-to-love-a-concrete-beast/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
Delivering new concepts for urban citizens
Delivering new concepts for urban citizens
Why engineers, data scientists and architects will have to work more closely together in the cities of the future.
The city could be thought of as a living organism that requires inputs of energy, nutrients, and water and exudes wastes. Traditionally, engineers designed and managed the systems that bought energy and water into the city and removed solid and liquid waste. Food is distributed in a less centralised fashion, but still organised by large corporations. This model is now being subverted. The subversion is most notable with the trend to ad-hoc generation of power by individual households, which is already causing headaches for the engineers responsible for stabilising the power grid. In the future, however, the organic and dynamic evolution of urban infrastructure, enabled by new technologies, will need to be anticipated and planned for, with the human at the centre. Engineers will need to work more closely than ever with architects and urban planners. One profession will not always be in charge, leaving the other professions to fill in the blanks. The close and rigorous integration of engineering, data science and architecture will become mandatory. The Smart Cities Research Institute’s (SCRI’s) Future Urban Infrastructure program is organised around the following three intersecting streams: Integrated Infrastructure Systems (IIS), Urban Information Modelling (UIM) and Digital Fabrication and Procurement (DFP). Each draws from the knowledge and insights of the other two streams, and inherently cuts across disciplines. 1. Integrated Infrastructure Systems The IIS stream represents the flows of energy and materials to cities and urban precincts – and also the flows within them. Cities, their precincts and extra-urban communities traditionally drew in electricity, water and food from beyond their boundaries, and expelled waste heat, water and solids. Now, power is generated and stored in buildings, water is collected and re-used, and food is grown locally. How do we encourage this anarchic and organic process while regulating to preclude disasters in health, safety and energy? If people are convinced to install battery storage, why are they not convinced to drink recycled water? How can we use the big data of the UIM stream to co-ordinate a myriad of individual producers and consumers? How can we use the novel construction techniques of the DFP stream to respond flexibly to citizens’ needs? 2. Urban Information Modelling UIM embraces the world of big data with the application of new algorithms and artificial intelligence to vast data sets. Whether at the scale of individual buildings, urban precincts, or the whole city, real-time information modelling and diverse scenario-testing can lead to rapid decision-making and highly-informed planning. Data on the flows of power, food, water and materials of the IIS stream - as well as on mobility - must be tapped. Then, it must be distilled to yield unexpected relationships and implications. This empowers stakeholders and end-users alike to take courses of action that might not have otherwise occurred to them until it was too late. How can we put big data into citizens’ hands so that they can be active yet responsible designers of their own cities? Through information modelling and management, all the aspects of designing, building, managing and demolishing the built environment in the DFP stream can be linked. This can radically increase efficiency and reduce waste of time, effort, and resources across the construction sector. 3. Digital Fabrication and Procurement The DFP stream actively engages with the rapidly changing processes behind the procurement and making of cities, precincts and buildings. Automation is changing the way we are thinking about building, requiring completely new and innovative procurement strategies and building processes. How can we utilise robotic and adaptive technologies, long established on the factory floor, to both fabricate and disassemble urban environments to suit changing needs? There are significant crossovers between each of the streams as pairs. Together, the IIS and UIM research communities can engage in the quest for novel environmental systems modelling. UIM and DFP can come together over building systems integration. The alliance between DFP and IIS researchers offers new technologies for building systems integration. Serving the needs of urban citizens Trans-disciplinary research always was and always will be a challenge. That is why, at Swinburne, we choose areas where we have published, internationally-recognised expertise, and we match researchers who can work together to deliver on projects where only the combination of disciplines will succeed. I am happy to confess I am a complete newbie in the urban design world. My own area of research is fluid dynamics – the study of fluid flows. It is a branch of mathematical physics studied by engineers and scientists. So, when it comes to architecture I am definitely a fish out of water. However, I have had some experience in bringing teams of researchers from entirely different disciplines together, and my SCRI colleagues who are architecture and design experts have been wonderful at educating me. I am tasked with bridging the culture gap between my world of engineers – the designers of technology - and the world of human-centred design. Together, we can come up with new ideas for future infrastructure. Our concepts will have novel yet rigorous, research-based footings and will serve the human needs of the urban citizen.
28 August 2019 14:39
https://www.swinburne.edu.au/news/2019/08/delivering-new-concepts-for-urban-citizens/
https://www.swinburne.edu.au/news/2019/08/delivering-new-concepts-for-urban-citizens/
Design
Smart Cities Insights and Analysis
Technology,Engineering
false
-
Swinburne’s Factory of the Future installs first-of-its-kind 3D metal parts printer
Swinburne’s Factory of the Future installs first-of-its-kind 3D metal parts printer
The LightSPEE3D 3D metal parts printer at Swinburne’s Factory of the Future creates industrial quality metal parts in just minutes.
LightSPEE3D, a first-of-its-kind 3D metal parts printer, has been installed at Swinburne’s state-of-the-art Factory of the Future. The Factory of the Future houses a suite of advanced visualisation and design tools that allow researchers, students and organisations to explore conceptual ideas for manufacturing next generation products. This latest installation, developed by Australian 3D metal-printing company SPEE3D, is the first 3D metal parts printer to apply supersonic deposition, where metal particles are fired faster than the speed of sound, creating industrial quality metal parts in just minutes. “Unlike traditional 3D printing technologies, supersonic deposition does not use heat to melt the metal particles,” explains Swinburne advanced manufacturing researcher, Associate Professor Suresh Palanisamy. “Instead, the metal particles are sprayed at a support plate, layer by layer, through a rocket nozzle using high velocity air, allowing for a much faster build.” Supersonic deposition is cheaper than other 3D metal manufacturing methods. “This technology can print complex geometric parts without the need for specialised tools such as fixtures, jigs, gauges, moulds, dies and patterns“, says Associate Professor Palanisamy. “The only inputs required are computer-aided design (CAD), compressed air and metal powder. “This not only reduces the time needed to manufacture a part, but also the cost.” The collaboration between the Factory of the Future and SPEE3D, will help local manufacturers create new products and become more globally competitive. It is supported by the Victorian state government and its Future Industries Sector Growth Funding Program. Swinburne students will also have the opportunity to intern at SPEE3D to further develop their manufacturing abilities.
28 August 2019 10:53
https://www.swinburne.edu.au/news/2019/08/swinburnes-factory-of-the-future-installs-first-of-its-kind-3d-metal-parts-printer/
https://www.swinburne.edu.au/news/2019/08/swinburnes-factory-of-the-future-installs-first-of-its-kind-3d-metal-parts-printer/
Design
Industry 4.0
Technology,Engineering
false
-
Reimagining our urban futures: making experimental transformations and innovations for livability possible
Reimagining our urban futures: making experimental transformations and innovations for livability possible
Professor Niki Frantzeskaki from Swinburne's Smart Cities Institute discusses making experimental transformations and innovations for livability possible.
Cities are the fertile grounds where challenges, solutions and agents of change meet and co-produce innovations to progress urban transitions to liveable, just, sustainable and resilient futures. We are observing three related drivers for urban cities futures. Firstly, pressing urban challenges like climate change, social injustice and sustainability have motivated a plethora of urban actors, activating bottom-up action and the rethinking of current practices and routines. Actors like city governments are broadening their roles from regulatory and planning and becoming knowledge actors. The third sector, civil society at large, has illustrated the ability to be a co-producer of systemic solutions and urban innovation in the face of a retreating (welfare) state. Knowledge actors like universities have also reshaped their role in being co-producers of knowledge with business, policy and society while also posing as an intermediary in policy-science interfaces. The changing roles of urban actors brings new opportunities in the ways urban futures and solution pathways are shaped and contested. Such drivers are broadly considered by the new forms of innovation movements and networks that are institutionalising across the globe. Secondly, information technology and globalisation have made knowledge about emerging innovations, and solution concepts to respond to these challenges and renew urban infrastructures, more accessible. Information technology and digitalisation of governance allows for solutions to travel that can accelerate scaling while at the same time bringing the risk of approaches that are apolitical and/or culturally naive. With cities being the places for debate and political mobilisation for pressing urban challenges, the fast-paced diffusion of innovation requires new approaches to seize its potential without dismissing socio-political drivers. Such drivers are broadly considered in the solution-driven agendas of networks of cities that are proliferating across the globe. This includes the C40 network of 94 global cities committed to addressing climate change and the 100 Resilient Cities that provided policy and strategy learning tools for cities to become more physically, socially and economically resilient. Thirdly, the institutional strength of cities has proven catalytic in leapfrogging institutional barriers at state level and progressing agendas for climate change and urban resilience over the past decade. It is not the political will of exemplar mayors and their iconic projects that attracts attention, but rather the way they positioned cities as new agents of change in reshaping global agendas. This gave rise to a new narrative on the science of cities as a new science paradigm that requires research to be co-produced and to have impact, both socially and on policy. In this landscape, understanding how to bridge challenges to solutions and opportunities for scaling innovations is paramount. The catalyst to these bridging processes is the way urban actors are connected, interact and organised in mediating and accelerating these processes. Moving ahead from historical explanations of entrenched routines and practices, reinforced by path-dependent rule systems, the science of cities requires a forward-looking agenda for addressing these issues and for progressing solutions-oriented knowledge for cities. Research Focus Stemming from this debate on the science of cities, the Future Cities Governance program at Swinburne’s Smart Cities Research Institute aims to co-produce new knowledge about the ways to achieve sustainable, livable, just, resilient and thriving cities in the future that balance people, planet, economy and technology. There are three defining characteristics of future cities’ governance: Governance of future cities is multi-actor, meaning that activation, participation and engagement of actors from civil society (including communities, individuals and third sector), market/business, government (including but not limited to politicians, policy-makers and planners) and the knowledge sector (including universities, knowledge institutes and centres) is central to the governance processes of future cities. Governance of future cities is solutions-oriented, meaning that we focus our research on understanding and support with scientific evidence ways of searching, adapting, co-designing and co-managing systemic urban solutions that address urban challenges or urban opportunities. Governance of future cities is future-oriented and knowledge-based, meaning that solutions and processes need to address future needs, targets and visions while establishing a knowledge and scientific-evidence base for systemic urban solutions. Pathways of Urban Governance Governance of future cities is realized through experimentation, innovation and scaling of systemic urban solutions. We posit that it is through these interrelated processes that governance of future cities is delivered and mediated. Firstly, experimentation is a process of collaborative sense-making, solution-searching and co-designing, trialing and adopting to place, space and time of systemic urban solutions to achieve a desirable urban future. Innovation and systemic solutions can be co-produced, trialed, stimulated and contextualized through experimentation. Experimentation as a governance process can mediate and connect different urban agents of change and allow for openness and democratization of the innovation journeys of cities. Secondly, innovation is a process of bringing novel solutions to evidence and to replace existing ones while adapting, transforming and/or dismantling planning and policy processes. Innovation can be mediated and accelerated through experimentation. Scaling can also create salience to innovation through connecting it across places (geography), across themes or agendas (institutions) and across markets (economy). Thirdly, scaling is a confluent process of transferring, upscaling, embedding and/or contextualizing systemic urban solutions to contribute to commonly recognizable urban challenges for achieving desirable urban future outcomes. Scaling can be mediated through experimentation and/or change the pace of urban transitions in cities. At Swinburne, our Future Cities Governance program is about bridging different expertise and science disciplines into examining, discovering and designing urban experimentation, transformative urban innovation and scaling of systemic solutions to address the challenges cities face as well as prepare the cities to seize opportunities in progressing urban agendas. The Future Cities Governance program is at Swinburne’s Smart Cities Research Institute.
27 August 2019 13:50
https://www.swinburne.edu.au/news/2019/08/reimagining-our-urban-futures-making-experimental-transformations-and-innovations-for-livability-possible/
https://www.swinburne.edu.au/news/2019/08/reimagining-our-urban-futures-making-experimental-transformations-and-innovations-for-livability-possible/
Design
Smart Cities Insights and Analysis
Technology,Sustainability
false
-
Swinburne design student Holly Barbour on using her creative skills to help others
Swinburne design student Holly Barbour on using her creative skills to help others
Design student Holly Barbour juggles two jobs, a four-hour commute to lectures and hanging out with friends, but says the secret to balance is volunteering.
Swinburne Bachelor of Design student Holly Barbour’s volunteering efforts spread across Victoria and span the Tasman. Holly has raised much-needed funds for farmers struggling as a result of the drought; helped restore and maintain the iconic, heritage-style Glenmaggie Mechanics Institute Hall in Gippsland, Victoria; and built a solid brand identity for the student-led University of Tasmania’s Fishing and Camping Club - all while working, studying and having a social life. "Creating a balance of work, study and social life has been a challenge for me. I live in Gippsland and have to travel four hours to and from Melbourne each week for university. While studying, I also work two jobs over the weekends and run my own freelance design business." "Volunteering is a really important part of my purpose. So, regardless of my busy schedule, I always make sure that I have time to help others, help better my community and hopefully make a positive difference to people’s lives." Now in her final year at Swinburne, Holly says her commitment to volunteering is best summed up by the Mahatma Gandhi quote: ‘The best way to find yourself is to lose yourself in the service of others’. "This is my mantra - it really rings true for me and inspires me always to help out where I can," Holly says. Holly is most grateful for the opportunity to give back to her local community in Gippsland. "There was plenty of publicity about the drought across Australia in 2018, but none of the funds raised had been distributed in Gippsland," Holly explains. "I joined the committee of local volunteers in support of the Gippsland Need for Feed initiative. We planned, organised and pulled together the Boisdale Drought-Breaker Gala/Auction Night, and sourced donations of products and services to auction on the night." "We raised over $41,000 and all that money was directly passed on to local Gippsland farmers." Volunteering in her home town Holly has also been fundraising to preserve a piece of history close to home and heart. "It’s important for me to give back to my home town of Glenmaggie. I’m on the Glenmaggie Hall committee, and we raise funds to restore and maintain the Glenmaggie Mechanics’ Institute - a 128-year-old public hall that is the jewel of our community." As well as these fundraising initiatives, Holly has donated her professional skills in design to help her hometown. "In 2016 and 2017, I designed all the social media and print imagery for the Glenmaggie Blues and Roots Festival, including magnets, stubby holders, t-shirts, tickets and posters, and the social media posting schedules." Holly also volunteers behind the scenes at the festival, including by driving the courtesy bus, selling tickets and merchandise, and packing up. "In 2018, I volunteered my design skills to build a solid brand identity for the University of Tasmania Fishing and Camping Club. My design was further developed into stationery, membership cards, merchandise and social media imagery to help promote the organisation." 2019 recipient of the Sir Edward 'Weary' Dunlop Scholarship Holly Barbour, pictured with Senior Naval Officer for Victoria, Commodore Greg York, was awarded the 2019 Sir Edward ‘Weary’ Dunlop Scholarship at his memorial statue in Kings Domain, Melbourne. Holly’s volunteering efforts have not gone unnoticed. She was awarded the 2019 Sir Edward ‘Weary’ Dunlop Scholarship by Swinburne for her contribution to her local communities and dedication to her studies. Pro Vice-Chancellor (Academic Innovation and Change), Professor Sarah Maddison, presented Holly with the scholarship and praised her for enthusiastically contributing her skills, time and knowledge with design work, operations of fundraising initiatives, catering, administration and marketing. "Holly has been a bold contributor to her community and is a stand-out from Swinburne and a very worthy recipient," Professor Maddison said.
27 August 2019 10:27
https://www.swinburne.edu.au/news/2019/08/swinburne-design-student-holly-barbour-on-using-her-creative-skills-to-help-others/
https://www.swinburne.edu.au/news/2019/08/swinburne-design-student-holly-barbour-on-using-her-creative-skills-to-help-others/
Design
Current Students (OUA),School of Design
Student News
false
-
Clever ideas to reduce tyre dust in our waterways
Clever ideas to reduce tyre dust in our waterways
Swinburne design students have created concepts to reduce tyre dust levels and micro-plastics in our waterways.
Swinburne design students have created concepts to reduce tyre dust levels and micro-plastics found in our waterways. Master of Design student Kanika Shah, Master of Design Strategy and Innovation student Jeannie Foo and Bachelor of Design (Interior Architecture) (Honours) student Jing Tan in the CBI A3 Program at Design Factory Melbourne (DFM), developed the concepts in a bid to improve the quality of Australian water ways. The CBI A3 program connects CERN Technology and the United Nations Sustainable Development Goals (SDGs). A³ is a DFM initiative, building on earlier Challenge Based Innovation (CBI) pilots at Design Factory node IdeaSquare CERN, focused on applying design innovation to develop outcomes that connect technology with societal needs in a tangible way. Over six months, international student teams explored design applications for future scenarios that unite CERN Tech and SDGs. For the 2018-2019 CBI A3 program, Design Factory, they focused on SDG 6: Clean Water and Sanitation and SDG 14: Life below Water. The CBI A3 program is offered to partner universities in the Design Factory Global Network (DFGN). Teams from Melbourne, Porto (Portugal), New York (USA) and Mannheim (Germany) proposed ideas for their local regions in the years 2020, 2025 and 2030. Students met at IdeaSquare at CERN in Geneva for a two-week intensive program where they connected with experts. Four global student teams and supporting academics at CERN, Geneva, image supplied by DFM Design Factory students at IdeaSquare CERN, image supplied by DFM DFM students chose to focus on the second largest global source of microplastic, tyre dust, which contains over 140 chemicals and can be toxic when ingested. To combat tyre dust pollution for the year 2020, students Shah and Foo propose a way to collect data, raise awareness, build support and put pressure on tyre manufacturers to find environmentally friendly solutions to the problem. Scanley, a scanner and imaging machine shows microplastics hidden in water. Using CERN’s Medipix technology it detects the chemical composition of materials in water samples. Installed in Melbourne, along the Yarra River, Scanley educates the public, providing information about microplastic contamination. For 2025, the second design concept attracts and collects airborne tyre dust, facilitated by an electrostatic plate installed behind the wheels of electric vehicles, with a vacuum suction device and collection chamber under a vehicle. Diagram demonstrating electrostatic charge attracting tyre dust, image supplied by DFM For the year 2030 the team propose an automated curbside cleaning robot. The smart robot vacuum cleaner collects, sorts and disposes of tyre dust, small particles and debris before they reach waterways. Curbside cleaning robot collecting dust and debris, image supplied by DFM The robot converts waste to power and generates carbon black. Utilising data sources, it targets areas where rainfall is predicted and shares weather information with passers-by. Tan, an interior design honours student, explored other ways to combat and increase awareness of tyre dust on urban environments. Her concept attracts tyre dust by using an electrostatic ring retrofitted to the undercarriage of Melbourne’s E-class trams. Window in tram floor shows vacuum process of collecting tyre dust, image supplied by DFM Utilising power emitted by a tram, the ring activates as the tram moves, and attracts the dust. When the tram stops, CERN vacuum systems pull contents into a central storage tank. Passengers can watch this process through a window in the tram floor, raising awareness about micro-plastics and tyre dust. Read more news on design at Swinburne
25 July 2019 13:22
https://www.swinburne.edu.au/news/2019/07/clever-ideas-to-reduce-tyre-dust-in-our-waterways/
https://www.swinburne.edu.au/news/2019/07/clever-ideas-to-reduce-tyre-dust-in-our-waterways/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Farming tool reduces time and labour for organic farmers
Farming tool reduces time and labour for organic farmers
Nu-tan reduces time and physical labour required for soil bed preparation on organic farms.
A collaboration with Japanese manufacturer Yanmar, the Kyoto Institute of Technology, the SUGAR Network, and Design Factory Melbourne (DFM) has created a time-saving product for organic farmers. Students Melanie Calleja, Melanie Phillips and Ethan Lankshear, with colleagues from New Zealand and Japan, designed a product for organic farmers to transport, spread and dispense compost in a single action. A soil supplement spreader, Nu-tan reduces the time and physical labour required for soil bed preparation on organic farms. “The organic farming industry faces many challenges in upscaling production, including access to land, soil quality, infrastructure and labour. This creates enormous opportunity for new products and services in the organic sector,” says Ms Calleja. For the 2018-19 academic year, Yanmar proposed a design focus on supporting organic farming for fruit and vegetables. The challenge to students was to research user needs and desires, to develop a new product that provides quality and a holistic user experience for organic fruit and vegetable farmers. This approach aligns with the SUGAR Network’s focus on human-centred design. Students visited local organic farms and researched organic farming experiences and processes to identify opportunities that improve the daily lives of farmers, workers and farm productivity. “The challenge was to create a solution for small scale organic farmers of ground grown product that keeps them connected to their crops. We wanted to reduce physical labour and maximise output for organic farmers by making soil preparation efficient and enjoyable,” explains Ms Phillips. Exploded view drawing of Nu-tan, image supplied by Design Factory Melbourne Final Nu-tan working prototype, image supplied by Design Factory Melbourne Nu-tan is designed to evenly distribute and spread a variety of soil supplements during bed preparation, combining dispensing and spreading of supplements which saves farmers time and physical effort. “It gives organic farmers time to do the crop handling activities they enjoy,” Ms Phillips says. “There is a lack of agricultural machinery suited to small scale organic farming. It’s very labour intensive and time consuming. Nu-tan addresses this gap in the market. No two organic farms are the same. Nu-tan adjusts to farmers’ needs and specific farm configurations, so farmers don’t have to change their farm to suit the tool. It also allows farmers to move and spread heavy loads easily,” Ms Calleja says. Nu-tan being filled with organic supplement, image supplied by Design Factory Melbourne The Nu-Tan team tested and validated their ideas at organic farms. They found organic farm bed preparation is labour intensive, and time consuming; and achieving and maintaining soil quality free of pesticides and composting is very important. Composting and bed preparation is often outsourced due to time and labour considerations and farms are unlikely to use heavy machinery due to the impact on the land and increased carbon emissions. The team travelled to China to launch the project and travelled to Japan to work together. The final proof of concept prototype was presented at a SUGAR Network EXPO in San Francisco. The team at Yanmar in Japan, image supplied by Design Factory Melbourne Yanmar selected Nu-Tan as its favoured product idea and DFM is confident that Nu-Tan will be developed by Yanmar in support of the organic farming industry. In 2016-17 DFM students collaborated on a product idea called, Wheebo, developed in collaboration with Yanmar and Kyoto Institute of Technology. Recently launched as a Yanmar start-up, Wheebo is a jet-powered watercraft that allows users to move on the water with agility allowing 360 degrees of movement. Read more news on design at Swinburne
23 July 2019 13:41
https://www.swinburne.edu.au/news/2019/07/farming-tool-reduces-time-and-labour-for-organic-farmers/
https://www.swinburne.edu.au/news/2019/07/farming-tool-reduces-time-and-labour-for-organic-farmers/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
ProtoLAB opens to provide large scale digital fabrication capability
ProtoLAB opens to provide large scale digital fabrication capability
Swinburne’s new and expanded digital fabrication facility opens.
Swinburne’s new digital fabrication facility, ProtoLAB, formally opened this week. The expanded state-of-the-art workshop space designed by H2O Architects is home to industrial robots for large scale architectural design prototyping. The ProtoLAB design features a glass façade, allowing natural light into all corners of the workspace. Prototyping, digital fabrication, design and making in progress can easily be observed as the façade generates interest and creates a spectacle at the northern end of Swinburne’s Hawthorn campus. ProtoLAB’s light filled workspaces, images by Steven Vidovic “Often people will be staring in, checking out what our fantastic students are creating. Children press their faces against the glass, mesmerised, watching something being machined out of a block of foam - as if to appear by magic,” says Manager of Technical Services, Architecture and Design, Andrew Tarlinton. The lab has a new high-speed HP Jet Fusion 3D Printer that allows students to print complex geometry without needing to remove support material. A new Okuma CNC turn mill; seven laser cutters; a Biesse CNC router; a Multicam router; two KUKA collaborative robots designed to work with humans and a new larger KUKA KR120 robot are in constant use. Small KUKA robot in the ProtoLAB, image by Tom Gilfillan large KUKA robot in action “The KUKA KR120 runs on a 7.9 metre linear track, and reaches out to 3 metres. It has a sync table at one end and a horizontal positioner along one side for multi-axis machining,” he says. “Computer programs, and the students tethered to them are getting smarter, utilising parametric software to control not only a model’s shape but also the robot or machine attached. “By using data and analytics they work out what’s required, reducing waste material and improving user experience. Generative design and parametric design are not new ways of working, but we are progressively finding easier ways of producing designs, and communicating to the machines. Student drawing on workshop board, image by Jono Lucas “By teaching the full potential of Industry 4.0 machines, we enable students to translate these capabilities back into their designs with a deeper technical knowledge and understanding," he says. The ProtoLAB supports students in design, engineering and architecture and meets the needs of academic research, testing and industry partnered work. Academic technicians at work, image by Steven Vidovic “In research, it supports conversations with research partners. We also now have the space and large-scale robotics to undertake prototyping, fabrication and assembly at architectural scale,” says Dean of Design, Professor Jane Burry. A ‘soft prototyping lab’ integrates with design studios. As ideas developed in the studios mature and upscale, they are translated to the main workshop space to use the large-scale robot to fabricate at full scale, embracing the added risks and complexities that entails. ProtoLAB provides varied workspaces, images by Gertie Hall and Mary Pangalidis “The ProtoLAB provides the luxury of space. Multiple classes and research activities occur simultaneously. Time consuming fabrication activities continue alongside student teaching,” says Professor Burry. “In design, access to a top-quality workshop is a major attractor for both students and researchers for testing and developing ideas. The quality of the workshop and expertise of staff is critical, and regular access invaluable.” Read more news on design at Swinburne
19 July 2019 10:48
https://www.swinburne.edu.au/news/2019/07/protolab-opens-to-provide-large-scale-digital-fabrication-capability/
https://www.swinburne.edu.au/news/2019/07/protolab-opens-to-provide-large-scale-digital-fabrication-capability/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Swinburne win top honours at national design awards
Swinburne win top honours at national design awards
Four members of the Swinburne community have been recognised for outstanding design, innovation and social impact at the 2019 Good Design Awards.
Two staff members, a student and an alumna from Swinburne’s School of Design have been recognised at the 2019 Good Design Awards. The Social Impact and Next Gen prizes both went to Swinburne-led projects championing engagement and reinforcing the cultural values, voices and narratives of young Aboriginal and Torres Strait Islander peoples through design. Social Impact was awarded to Swinburne’s Deputy Chair of the Department of Communication Design and Digital Media Design and researcher with the Centre for Transformative Media Technologies, Dr Samantha Edwards-Vandenhoek, and Coordinator of Photomedia and lecturer in Communication Design, Ms Joanna Gardener for their short animated film, Our Journey. The film was created with students from the Melbourne Indigenous Transition School, and shares some of the challenges of living away from remote communities. Our Journey by Melbourne Indigenous Transition School students School of Design PhD student, Nicola St John, won the Next Gen category for Ntaria Design - a program run with senior students of Ntaria School in the Northern Territory. Ntaria Design introduces young people to digital drawing, and aims to further understanding of Indigenous design and its benefits to local communities. The executive director of industrial design for General Motors, Sharon Gauci, was awarded the inaugural Women in Design Award. Ms Gauci completed a bachelor's degree in design at Swinburne, before embarking on a career that has included roles at Ford, BMW and Holden. She is now based in Detroit in the United States. The Good Design Awards are Australia’s peak industry design awards and were announced at The Star in Sydney on Thursday 11 July. CEO of Good Design Australia, Dr Brandon Gien, says the awards showcase the brilliance of design and the potential it has to improve our world. “Australia’s Good Design Award is more than a symbol of design excellence. It represents the hard work and dedication towards an innovative outcome that will ultimately improve our quality of life,” says Dr Gien. Our Journey wins the Social Impact award Our Journey was made in partnership with the Melbourne Indigenous Transition School and Australia Chamber Orchestra. The students created the storyline, and developed a soundscape and characters, which serve as metaphors for their experiences of living and studying in Melbourne. The film is narrated in four Indigenous languages. “We feel deeply honoured and humbled to be working on this project. It’s inspiring to watch young people transform their lives through design, in ways they never thought possible,” says Dr Edwards-Vandenhoek. Our Journey was supported by Swinburne’s Marngo Designing Futures program, led by Dr Edwards-Vandenhoek and funded by the Australian Government. The Good Design Awards jury praised Our Journey, commenting: “Our Journey is a great example of how design can inform the way in which young people learn, putting culture at the centre of the educational and creative experience. ” Dr Edwards-Vandenhoek and Ms Gardener were awarded the 2018 Swinburne Vice-Chancellor’s Award for Reconciliation for facilitating the design and production of this short film.
11 July 2019 14:43
https://www.swinburne.edu.au/news/2019/07/swinburne-win-top-honours-at-national-design-awards/
https://www.swinburne.edu.au/news/2019/07/swinburne-win-top-honours-at-national-design-awards/
Design
Faculty of Health, Arts and Design (FHAD),Indigenous
false
-
Designers at Swinburne look to the future at Melbourne Knowledge Week
Designers at Swinburne look to the future at Melbourne Knowledge Week
Dr Kirsten Day and Bridgette Engeler host multiple events at Melbourne Knowledge Week
Design academics at the Smart Cities Research Institute hosted multiple events and activations at Melbourne Knowledge Week (MKW) this year. Responding to the MKW brief asking “So what if…?”, one Swinburne response was to create a game scenario exploring the impact of our actions in regards to sustainability. Led by Course Director of Master of Design, Bridgette Engeler, and Course Director of Interior Architecture, Dr Kirsten Day in partnership with a team of designers and developers at Readify, a Telstra agency and the City of Melbourne - the team created ConseQuest. “Our first project for MKW was a ConseQuest game or ‘consequence generator’, that asks ‘So what if…?’ and links to the MKW theme. We looked at sustainability issues that are an important focus for the team at the Smart Cities Research Institute,” says Dr Day. “By looking at what happens when someone throws a cigarette butt onto the street and how it doesn’t biodegrade, we imagined a war games scenario where one action or decision triggers a series of consequences,” she says. “We considered network mapping and the places a cigarette butt ends up in the environment - in a bin, drain, or placed into a bottle or tin. We also looked at plastics, fast fashion and electronic devices and how they’re recycled and disposed of. We looked at how we design objects with this in mind,” she explains. Dr Day and Ms Engeler wrote the content and Readify created the animation. The project was commissioned by the City of Melbourne. “Readify were integral to the project and suggested we develop a game to engage people to make it fun,” says Dr Day. From a MKW podium people chose the game they wanted to play on a large screen. A ‘Ninja Chick’ game character took them on a cigarette butt, fast fashion, electronic device or plastic object journey in a 2-minute game sequence. Network mapping of game scenarios linked to QR codes gave access to scenario information. The Ninja Chick game character developed by Readify From digital games to the not-so-humble kitchen. Swinburne academics – Dr Day, Ms Engeler, Professor Mark Taylor, Chair of Architectural and Industrial Design and Jeni Paay, Associate Professor in Interaction Design – showed the kitchen as a cultural space in MKW Kitchen Narratives (Towards Melbourne 02050), an exhibition and panel discussion on society’s obsession with the kitchen and its representation in film, TV and advertising. Kitchen table detail from MKW Kitchen Narratives exhibition, photography by the Bureau MKW Kitchen Narratives panel discussion A panel discussion titled, Re-thinking high-density residential design: Home, work, wellness, led by Dr Day and architectural academic Dr Isun Kazerani shared perspectives on community planning, development and the wellness sector and discussed the dynamics of high-density residential development and community shared spaces. Panellists Dr Marjan Hajjari, Delivery Coordinator, Jobs, Precincts and Regions for the Victorian Government; Abbie Freestone, Head of Community at Assemble and Matt Strickland from Premium Fitness discussed high-density living demands, planning policies, design guidelines, community development and rethinking strategies in design, planning and development for wellbeing. Panellists discussing high density residential design The Melbourne 02050: Futures workshop asserted Melbourne as the 2050 world foodie capital where “robo-staff” wait on tables and footy games are won or lost in augmented reality. Participants questioned this as either a utopian urban dream or dystopian disaster. Read more news on design at Swinburne
28 June 2019 13:44
https://www.swinburne.edu.au/news/2019/06/designers-at-swinburne-look-to-the-future-at-melbourne-knowledge-week/
https://www.swinburne.edu.au/news/2019/06/designers-at-swinburne-look-to-the-future-at-melbourne-knowledge-week/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
Design
false
-
Architecture is too important to be left to architects
Architecture is too important to be left to architects
What if engineers designed our houses and cities?
The great 20th century architect Le Corbusier wrote: "a house is a machine for living in". He did not mean it literally. It was an exhortation for architects to design inspired by the machine age, in which form follows function. Machines are technologies that involve physical movement – ever-shifting in time - and they are designed by mechanical engineers. In the same way that a city is an assembly of houses, a factory is an assembly of machines. Thus, a city is a ‘factory for living in’. Factories are also designed by engineers. So, taking Le Corbusier literally, we could get rid of architects. Engineers can design houses and cities, right? Architects are masters of space. They understand how human beings perceive and respond to space. One of Le Corbusier's celebrated designs is a 1947 high-rise apartment building called Cité Radieuse in Marseilles, France. It was a city within the city, including not only homes for ordinary people, but shops – a street of butchers, bakers and grocers in the sky - plus a theatre, childcare centre, a rooftop children’s pool and picnic tables. All the needs of the urban citizen were integrated into one building. At its opening, it appeared to be an intricate, beautiful machine for living in. Many modern apartments have front doors opening onto an interior corridor, so the apartment-dweller lives in a tunnel lit at one end only. Le Corbusier solved this problem in Cité Radieuse. He put access corridors only on every second level. The apartments were two storeys so that each had views of both the mountains and the Mediterranean. This brilliant manipulation of space is characteristic of good architects. I am a mechanical engineer, and I would never have thought of that. Perhaps we should not sack the architects yet. But maybe we should start taking Le Corbusier literally. Applying dual-purpose thinking In the 21st century, architects’ creations of space, forever fixed in time, are not enough. Consider my own area, fluid dynamics, which is the study of fluid flows. Both air and water are fluids, and the understanding and control of their motion are vital to future cities. Because fluids move and their patterns of flow can change in time, their control demands calculations in time as well as space. Architects have designed skyscrapers with wind turbines elegantly integrated into their form. They are criticised as ‘eco-bling', and their turbines are often idle. They might make sense if the city never changed and no buildings were ever put in front of or behind them. Even then, compared to a simple power-purchase agreement with a wind farm, urban turbines may be permanently condemned to inefficiencies of siting, scale and operation. Could we go further, designing an entire street to funnel wind into a giant turbine? Not so fast. Engineers can calculate that doubling the speed with a ‘wind funnel’ street would quadruple the force slamming into doors, windows and people. Wind turbines are conventional concepts, suited to wide-open, unchanging fields, not the twists and turns between urban mountains ever evolving in time. The narrow ‘urban canyon’ is sensitive to changes in wind direction with time, and to changes as new buildings are built. However, people experience the wind on the ground and at windows and balconies, not floating in the space between buildings. What if engineers could design the walls of buildings for harvesting wind power? That would simultaneously reduce wind speeds on the boundaries people inhabit. There are concepts that can do this, notably less efficient than turbines - but also simpler, cheaper, and able to evolve in time. Apply such dual-purpose thinking to the air, water and energy flow inside the building, as well as outside. Then, our home really would be a machine for living in. But would we want to live in such a machine? The engineer’s time machine must also be the architect’s space ship, or it would be inhuman. Australian cities now have a large and easily-expanded stored-rainwater capacity. We do not think of it as a common resource - it is individually collected and owned. If we can sell our rooftop solar power to the electricity grid, can we not sell rainwater to our neighbours? At the right time, excess solar power could pump rainwater uphill. It could be sold to the local council to water street trees. Or to a local urban farm. Masterful timing of supply and demand is critical. Flows in droughts must be calculated and controlled differently to storm flows. Could rainwater collection be integrated into the architecture, rather than leaving it as an afterthought for builders? In parts of South-East Asia subject to torrential rain, buildings have no gutters: water cascades into moats around buildings, crossed by little bridges and festooned with pot plants. What if rainwater reticulation were integrated into urban design? Storm-water systems are designed by civil engineers, who calculate that drains choke at a critical ratio of flow rate to the square root of depth. Could architects work with them to give drains a second, time-dependent purpose? And work with electrical engineers to integrate the design of pumps with solar capacity? I have analysed the sound of moving water, but for heavy industries. Could we design spaces, so these sounds relax and enliven people? Then, our city really would be a factory for living in. Connecting human-centred and machine-centred design At Swinburne, we are working on these concepts, pairing architects and engineers. We have experience joining the human-centred and machine-centred design worlds. In one of the world's few Product Design Engineering courses, we hybridise the human-centred arts with mechanical engineering. And now, with architectural engineering, we are further training the masters of space to be masters of time too. For any of these concepts to be tested, we need urban data, so we have recruited big-data scientists. Street trees provide shade that reduces air-conditioning loads and transpires water, reducing stormwater loads - but they also reduce the solar power, wind and water we might harvest. Where will shadows fall? How will the wind patterns change? Who pays for what, and at what time? Masters of time would understand that the city is constantly shape-shifting and evolving. We need to be able to re-configure our cities and infrastructure systems as we grow. So at Swinburne, we are learning to 3D print - in concrete. I visited Le Corbusier's Cité Radieuse a few years ago. Light from the mountains and Mediterranean shone gloriously through the building, just as it always had. But the children’s pool was dry. A couple of architecture tourists, not residents, sat at the picnic tables. The butcher’s and baker’s shops were gone - replaced by architects' offices. Time had moved on, and Le Corbusier's “machine” was a sculpture, not a machine. By Professor Richard Manasseh, Program leader, Future Urban Infrastructure, Smart Cities Research Institute, Swinburne University of Technology *The phrase 'architecture is too important to be left to architects' appears to have been first used in a 1987 interview with Giancarlo De Carlo conducted by Ole Bouman and Roemer van Toorn at the Delft University of Technology in the Netherlands.
17 June 2019 15:12
https://www.swinburne.edu.au/news/2019/06/architecture-is-too-important-to-be-left-to-architects/
https://www.swinburne.edu.au/news/2019/06/architecture-is-too-important-to-be-left-to-architects/
Design
Smart Cities Insights and Analysis
Engineering,Technology
false
-
Swinburne alumni Sonny Tilders wins a Tony for King Kong
Swinburne alumni Sonny Tilders wins a Tony for King Kong
Sonny Tilders has been honoured with a Special Tony Award for his work on the King Kong Broadway show.
From walking with dinosaurs, to bringing King Kong to life on Broadway and winning a Tony award, Swinburne graphic design graduate Sonny Tilders has left a big footprint on the world of animatronics and theatre. Mr Tilders and his Creature Technology Company were this week honoured with a Special Tony Award for their work bringing the iconic ape to life in King Kong. The team were the only Australians to be crowned winners in 2019. The prestigious award marks another milestone in a long career that began at Swinburne. Putting in the hard yards at Swinburne In the 1980s, Mr Tilders studied graphic design at Swinburne’s Hawthorn campus. Although many of the old buildings are now long gone, Mr Tilders recalls the pleasure of studying at the John street campus in the inner Melbourne suburb. “It had a real personality to it, and that was a unique experience for me,” he says. Studying full-time, Mr Tilders and his classmates had to put in the hard yards, studying nine to five during the week and often working extra hours on weekends to complete their portfolios. “[Spending so much time on campus] gave us all a real connection to Swinburne,” he says, poking fun at other students who claimed to be ‘full-time’. It was through a teacher’s recommendation that he landed an interview and a job at fellow Swinburne alumni Shane Cargill’s design studio, Mothers Art Productions, putting him on a path towards a career in creature design and animatronics. “I visited their workshop in Spotswood and I was amazed by the place,” says Mr Tilders. The design studio worked on films and the workshop was packed with all kinds of models, film sets and even puppets. Something that would inspire Mr Tilders for decades to come. Creating creatures for the stage After years working in the industry in various roles, in 2006 Mr Tilders led the creature design and build team for Walking with Dinosaurs – The Arena Spectacular. Sixteen life-sized dinosaurs were created to a level of realism not seen before in theatre. It was through the success of this show that Creature Technology Company was formed. Sonny Tilders is the creative director and CEO of Creature Technology Company based in Melbourne. The now Tony Award-winning company is one of the few places in the world completing animatronics on such a large scale. Mr Tilders believes there’s something about the isolation of Australia that inspires new ways of thinking. “We kind of invented the way we do things. People tell me – and I’m not gloating – that there’s no-one else in the world doing what we do,” he says. Their own way of doing things, indeed, with the latest creation of Mr Tilders and his team currently tearing up Broadway. King Kong opened at the end of 2018 with a colossal version of Kong onstage weighing in at 1.1 tonnes and standing at 6 metres tall. Attending the Broadway premiere last year, he says the reactions from audiences were fantastic. “There were standing ovations every night I was there and the response, not just to the puppet, but to the whole show, has been wonderful. People’s jaws were dropping and they were buzzing.” It’s no wonder the Tony Awards gave a special award just to recognise this 6-metre marvel. Audiences gave standing ovations to the Kong puppet featured in the Broadway production. | Image credit: Joan Marcus Connecting with the community Although it has been several decades since Mr Tilders graduated, he continues to have a connection with Swinburne, setting up an award dedicated to his friend and co-worker, the late Peter Luscombe. Both attended Swinburne and worked together for many years before Peter passed away from melanoma in 2016. “When the opportunity for Walking with Dinosaurs came up, he was the first person I called,” says Mr Tilders. Mr Luscombe worked to bring the project to life and when the company grew, he became head of engineering fabrication at Creature Technology Company. “He was such an innovator and an amazing part of our company,” says Mr Tilders. To honour his memory and spread the word of his talent to a new audience, Mr Tilders decided to establish The Peter Luscombe Award. “When businesses are in a position to give back, I think there is a corporate duty to the community and to society.” The award supports creativity and risk-taking, and is open to Swinburne students who have a passion for engineering, mechatronics, puppetry or other creative pursuits in the entertainment industry. Recipients receive $5000 to support their creative visions.
14 June 2019 10:32
https://www.swinburne.edu.au/news/2019/06/swinburne-alumni-sonny-tilders-wins-a-tony-for-king-kong/
https://www.swinburne.edu.au/news/2019/06/swinburne-alumni-sonny-tilders-wins-a-tony-for-king-kong/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Swinburne student named among Adobe’s Top Talent
Swinburne student named among Adobe’s Top Talent
Adobe has named design student Alex Darbyshire in their Top Talent for 2019 class.
Adobe has named Swinburne student Alex Darbyshire in their first-ever global class of Top Talent for 2019. The Bachelor of Design (Communication Design) (Honours) student is among the first round of designers to be recognised in the Adobe Design Achievement Awards, giving him access to unique opportunities and perks. Mr Darbyshire entered the awards on a whim, and was drawn by the chance to have his work reviewed by some of the world’s top designers. “I figured ‘why not’! The Adobe Awards are free to enter, and you can submit work you’ve already completed for uni assignments or personal projects,” he says. “For me, the best part of the awards is that, regardless of whether you are selected for Top Talent or not, the judges give you personal feedback on your work. The judges are some of the world’s leading designers so it’s an amazing opportunity for that alone.” Alex Darbyshire was recognised for his Melbourne Queer Film Festival concept branding. Mr Darbyshire now receives a free one-year subscription to all Adobe Creative Cloud apps. He will also have his work featured on the Adobe website, networking opportunities, access to giveaways and an advantage when applying for Adobe’s coveted residency program. “I didn’t have any expectations going in, so I’m happy to take whatever comes my way,” says Mr Darbyshire. “One year of Creative Cloud free is hella nice and if it leads to the opportunity to network I’d love that, as I’m always excited to meet new designers working in the industry.” Swinburne Chair of Communication Design and Digital Media Design, Associate Professor Nicki Wragg, says: “It’s fantastic to see our students recognised as exemplary by global brands such as Adobe.” “This is a reflection of the hard work of not only our students, but also our teaching staff. Our industry-connected staff impart their knowledge and industry experience on a daily basis, helping Swinburne to produce future-ready learners who are ready to succeed in an ever-changing workforce.” Swinburne design students also recently dominated the Top Spin awards for 2019, taking home 80 per cent of the prizes.
06 June 2019 13:39
https://www.swinburne.edu.au/news/2019/06/swinburne-student-named-among-adobes-top-talent/
https://www.swinburne.edu.au/news/2019/06/swinburne-student-named-among-adobes-top-talent/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Team Swinburne takes on gendered marketing in Europe
Team Swinburne takes on gendered marketing in Europe
Student Renee Chung shares how she and Team Swinburne travelled to Paris to compete in the Ad Venture finals.
In October 2018, Swinburne Advertising lecturer David Reid presented an opportunity to be involved in an international advertising challenge known as Ad Venture, hosted by the European Association of Communication Agencies (EACA). Media and Communications students Stephanie Bobik, Daniel Vesel, Isabelle Oehler and I joined forces to create Team Swinburne. Together, we worked over the summer holidays on our entry, and while we didn’t receive credit towards our degrees, we more than made up for it in valuable experience and, eventually, a trip to Paris! Tackling gendered marketing The Ad Venture competition required us to respond to a brief by Let Toys Be Toys, an organisation that raises awareness of gendered marketing by calling out department stores, toy packaging and encouraging non-gendered play. The brief asked us to help spread the message beyond the UK to the rest of the Europe, while keeping in consideration budget, timeline and Let Toys Be Toys’ current campaign efforts. Our approach and campaign As part of our research, our academic mentor David introduced us to people in the industry who mentored us along the way. Our thanks therefore goes to Alex Wood from BWM Dentsu, Benjamin Mann and Nic Molyneux from whiteGREY, and Rachel Kertes from UM Media who helped us with strategy, creative and media respectively. What stuck with us was that parents don’t have a lot of time. Even their use of media was sometimes limited to children’s television and their mobile phones. When shopping, parents often buy whatever is easiest and fall victim to the ‘girl’s toys’ and ‘boys’ toys’ signage. We therefore decided to create a tool to educate parents about the benefits of toys, rather than how they are marketed. Introducing ‘Play and Grow - See Toys Differently’. Play and Grow is a concept for a free, educational online platform which draws on the eight fundamental skills toys develop in a child. Parents would be able to look up the skills certain toys develop in children, search toys by skill category, and see where they could buy the toys. Parents could also create a virtual toy box by making a profile to get a holistic view of the skills their child is developing in their play and which they could develop further. Parents could create a virtual toolbox with toys designed to suit their child's development. This would be carried over into point of sale (POS) advertising by putting rating tags for each toy in toy aisles, funded by partnering with department stores as a corporate social responsibility project. A Christmas publicity stunt was also suggested, which involved wrapping all the toys in the store and leaving only the Play and Grow rating tag as a means of differentiation. The aim being to get parents to stop and think. Shoppers’ reactions would be filmed and uploaded to social media and covered by news. Social media pledges to ‘See toys differently this Christmas’ would be shared by both parents and endorsed by social media influencers. Our answer to the brief was a scalable and versatile solution, more than just another tokenistic communications campaign. A chance to present in Paris In April 2019, we were ecstatic to find out that we had placed in the top 10 campaigns from around the world. Already, we were excited to be the only Australian team represented in the top ten, and only a couple of weeks later it was announced we were finalists, along with students from France and the UK. We were invited to Paris to pitch our idea and so, with two weeks’ notice and amazing support from Swinburne, off we went on an amazing adventure. We stayed in Paris for about a week, preparing, rehearsing and managing to get a little bit of sightseeing in. Team Swinburne placed in the top three of the Ad Venture competition. The presentation was held at Sup de Pub INSEEC School of Communication On the day, we all dressed up and confidently pitched our concept to the judges, which included EACA board members, art directors and copywriters from around Europe, Team Eden and Team VIS, and a representative from Let Toys Be Toys. Presenting in front of the top names in advertising was an amazing and beneficial experience that we hope other Swinburne students will get in the future. Our congratulations go to Team Eden from Sup de Pub for winning the pitch and to our fellow finalists Team VIS from the UK. It was an honour to be named in the top three of the competition. What we’ve learnt We strongly encourage all students, regardless of their discipline at Swinburne, to get involved where you can. You never know where it might take you. Enter awards, competitions, undertake volunteer projects, there’s no better way to get your work - and name - out into the industry! As a team we learnt strategic thinking, working creatively in a team, responding to feedback, perseverance and determination to work through barriers, presentation skills and networking. Paris was definitely a once-in-a-lifetime opportunity and we can’t thank EACA, Swinburne, and particularly our academic mentor David Reid, enough for the opportunity to compete in the Ad Venture competition.
03 June 2019 11:14
https://www.swinburne.edu.au/news/2019/06/team-swinburne-takes-on-gendered-marketing-in-europe/
https://www.swinburne.edu.au/news/2019/06/team-swinburne-takes-on-gendered-marketing-in-europe/
Design
Faculty of Health, Arts and Design (FHAD),Faculty of Business (FBE),School of Design
Business
false
-
Moondani Toombadool Centre works with students on new logo
Moondani Toombadool Centre works with students on new logo
Swinburne’s Moondani Toombadool Centre worked with students from the Advanced Diploma of Graphic Design to create its new logo.
Swinburne’s Moondani Toombadool Centre has unveiled its new logo, inspired by the design of student Rachel Lloyd-Owens. Last year, the Moondani Toombadool Centre, which is dedicated to all Indigenous matters at Swinburne, partnered with students from the Advanced Diploma of Graphic Design to create a logo that reflected the meaning of its name, ‘embracing teaching and learning’. Guided by the Moondani Toombadool Centre and teacher Hue Pham, the students explored Indigenous knowledges and design principles and considered how they could be incorporated into Swinburne’s brand. More than 30 students participated in the project, and Ms Lloyd-Owens was excited to have her design chosen as the winner. Through the use of Indigenous symbols, her design depicts a group of people gathered at a meeting place. “This is how I viewed the Moondani Toombadool Centre,” she says. “A place where people could come together.” Once chosen, Ms Lloyd-Owen’s design was further developed by Swinburne’s in-house design team to ensure it aligned with Swinburne’s brand guidelines and could be applied to all marketing materials for the centre. While some modifications were made during this process, the team was impressed with the work Ms Lloyd-Owens had provided them and ensured the final logo remained true to her design. “It was great to have Rachel work with us on this project,” says Swinburne brand designer, Elliot Walsh. “Giving students the opportunity to create real work and to then have that work become a part of the Swinburne brand, is a win for all.” The Moondani Toombadool Centre has also collaborated with students from the Diploma of Interior Design and Decoration to design the centre’s new location and refresh Swinburne’s existing Indigenous student space. “This project, as well as our work with the interior design students, shows how Indigenous knowledges can be authentically embedded into any course,” says Swinburne’s Manager of Indigenous Student Services, Vicky Peters. “We commend all the students and staff involved for their willingness to transform their learning and teaching so they could fully embrace Indigenous knowledges, and we look forward to facilitating more exciting collaborations like this in future.” To learn more about the Moondani Toombadool Centre, please visit Indigenous matters.
30 May 2019 14:28
https://www.swinburne.edu.au/news/2019/05/moondani-toombadool-centre-works-with-students-on-new-logo/
https://www.swinburne.edu.au/news/2019/05/moondani-toombadool-centre-works-with-students-on-new-logo/
Design
University
false
-
Swinburne students smash Top Spin design competition
Swinburne students smash Top Spin design competition
Swinburne students have dominated a design competition asking young Victorians to call out the sneaky tactics used by the alcohol industry.
Swinburne students have dominated a design competition asking young Victorians to call out the sneaky tactics used by the alcohol industry. Top Spin, a VicHealth initiative, asks those aged 18 to 29 to pick a tactic used by the alcohol industry and create a design exploring the theme. Every week over five weeks, a major prize of $1,000 (Judges Award) is awarded to the best design, with three prizes of $300 (Judges Shout Out Award) also to be allocated. Overall, eighty per cent of winners were Swinburne students, with Bachelor of Design (Communication Design) (Honours) students taking out three of the five major prizes available and 13 of the 15 minor prizes. Representing the best Felix Barnett, winner of a Judges Award says that Top Spin made him question the influence of the alcohol industry. “Top Spin has definitely made me think differently about the alcohol industry's influence on not only young adults, but everyone,” he says. “I was amazed to learn about the sheer number of alcohol ads in the AFL grand final last year, and it has made me realise just how much exposure alcohol advertising gets in our sports. I now understand just how thought out and targeted certain demographics are, and overall I think I am now more cynical of advertising in general.” Felix Barnett’s winning entry asks consumers to think about the alcohol industry’s push for alcohol advertising in televised sports. Riley van Ingen took out the Judges Award and Judges Shout Out Award. She says she hopes young people can recognise when advertising is working on them. “I hope that young people can recognise when they are being sucked in by the alcohol industry, it is quite easy to fall for the techniques that the alcohol industry use, I was quite naïve before entering Top Spin and know idea of the extent/tactics used by the industry,” she says. Riley van Ingen’s winning entry uses social media to make a point. All Swinburne design students recognised with awards include: Riley van Ingen (Judges Award and Judges Shout Out Award) Felix Barnett (Judges Award) Alex Darbyshire (Judges Award) Chloe Gmehling (Judges Shout Out Award) Emily Wookey (Judges Shout Out Award) Madeleine Merzvinskis (Judges Shout Out Award) Sabrina Wong (Judges Shout Out Award) Tiger Hongmung (Judges Shout Out Award) Tanya Loucas (Judges Shout Out Award) Jesse Bucher (Judges Shout Out Award) Erin McConnel (Judges Shout Out Award) Alcohol and advertising Top Spin launched in April 2019, coinciding with the release of research from VicHealth that revealed the murky nature of alcohol promotion on social media, with a lack of disclosed sponsorship common among Australia’s top ‘influencers’. VicHealth Acting CEO Dr Lyn Roberts said it was time to call “last drinks” on the industry’s underhanded use of social media. “Our research shows the alcohol industry is employing tactics straight out of the playbook of Big Tobacco, using high profile influencers to make their products appear glamorous and sophisticated to young people,” Dr Roberts said. She said while the alcohol industry wanted young people to think its products are glamourous and fun, it failed to take responsibility for the massive harm alcohol causes them. “We know that 40 per cent of Victorians aged 18-34 drink at risky levels at least monthly. That might boost alcohol industry profits, but its bad news for the rest of us. “Concerningly, the number of young Victorians who end up in hospital due to alcohol has increased by nearly a quarter (24 per cent) since 2009.” Top Spin will return in 2020.
30 May 2019 09:02
https://www.swinburne.edu.au/news/2019/05/swinburne-students-smash-top-spin-design-competition/
https://www.swinburne.edu.au/news/2019/05/swinburne-students-smash-top-spin-design-competition/
Design
Faculty of Health, Arts and Design (FHAD),School of Design,Award Winners
Student News
false
-
New academics support hybrid studies in built environment at Swinburne
New academics support hybrid studies in built environment at Swinburne
Architects and engineers accelerate research and teaching in hybrid built environment courses
The Department of Architecture and Industrial Design welcomes four new academics to their diverse interdisciplinary team. The architects and engineers will accelerate research and support teaching in hybrid built environment courses for architectural engineers, architects/urban designers and interior architects. “With many established courses of architecture and architectural design in our region, programs that are holistic in their preparation for practice are required,” says Professor Jane Burry, Dean of Design. “This isn’t just about design. It’s about the practice of practice, working closely with other disciplines, in different roles, to realise projects. This approach creates graduates who look to the future of practice and find better ways of doing things,” she adds. “The most critical questions facing the world in the next fifty years are strongly linked to the record growth in the built environment. The need for unprecedented construction targets for buildings and infrastructure comes at a time when climate change and loss of biodiversity presents an urgent need to radically change the way we do almost everything,” says Professor Burry. Dr Ian Woodcock, the new Director of Urban Design, is an architect with over thirty years of experience across teaching, research and practice. His studios in urban design and architecture engage students with industry, on topical design research, recognising the urgency of transitioning to low-carbon cities. Dr Ian Woodcock, Director of Urban Design at Swinburne. “Through the introduction of architectural engineering, we are looking to educate students who embody the conceptual approach and design sensibility of an architect and the technical rigour and theoretical can-do of a problem solving engineer. Architectural engineering is fundamental to the sustainability of the planet, by making buildings lighter. Work on new lightweight structures is a key component of the Swinburne Architectural Engineering course,” Burry says,”creative and sustainable management of air, daylight, temperature and sound is another”. Dr Gregory Quinn, Discipline Coordinator for Architectural Engineering is developing new computational techniques to create lightweight architectural structures. Dr Gregory Quinn, Discipline Coordinator for Architectural Engineering. “Considering new material systems to replace current paradigms that result in ever increasing carbon emissions is also an important part of this work,” explains Professor Burry. Dr Sascha Bohnenberger-Fehr teaches construction technology, future fabrication and creative design processes. He is Managing Director of Bollinger Grohmann Engineers in Melbourne, specialising in structural engineering, façade engineering and sustainable design. His research investigates complex geometries and material systems, and how to effectively communicate and collaborate with engineers and architects. Dr Sascha Bohnenberger-Fehr, Lecturer Architectural Design. “The School of Design sits in the Faculty of Health Arts and Design and the interdisciplinary connections across and outside the faculty are active and critical to who we are. The strong research axis in design for human health and wellbeing is an important education stream in the new architecture suite,” says Professor Burry. Dr Stephanie Liddicoat – Ocampo, Lecturer - Architectural Design. Dr Stephanie Liddicoat - Ocampo, Lecturer in Architectural Design runs her own design and research consultancy, LiddicoatDesign. Her research investigates how the built environment supports wellbeing in hospital settings and mental health service environments. Dr Stephanie Liddicoat- Ocampo, Dr Sascha Bohnenberger-Fehr , Dr Gregory Quinn and Dr Ian Woodcock. Read more news on design at Swinburne
28 May 2019 14:50
https://www.swinburne.edu.au/news/2019/05/new-academics-support-hybrid-studies-in-built-environment-at-swinburne/
https://www.swinburne.edu.au/news/2019/05/new-academics-support-hybrid-studies-in-built-environment-at-swinburne/
Design
Faculty of Health, Arts and Design (FHAD),Architecture,School of Design
false
-
Academics across institutions collaborate to create and commercialise Curvecrete
Academics across institutions collaborate to create and commercialise Curvecrete
Daniel Prohasky and his team are working on tandem innovations to produce zero waste sustainable concrete forms for construction.
Daniel Prohasky is an Innovation Fellow at Swinburne’s Faculty of Health, Arts and Design, an architectural engineer and roboticist. With entrepreneur Warren Rudd, Mr Prohasky is co-founder of Curvecrete, a spin-out on a mission to commercialise sustainable and waste free concrete production and complex concrete curve forming technologies. Curvecrete was conceived when Mr Prohasky, Mr Rudd and University of Melbourne researcher Paul Loh participated in the University of Melbourne’s Translating Research at Melbourne program. It was recently a finalist in the NGV Design Challenge during Melbourne Design Week. Daniel Prohasky presenting Curvecrete at the NGV Design Challenge. Mr Prohasky and his team are working on tandem innovations to produce zero waste sustainable concrete forms for construction. The first is the utilisation of sustainable no-waste concrete, a geopolymer cement made from fly-ash, produced by coal-fired power stations. “Australia currently wastes 6.8 million tonnes of fly ash each year, yet it’s a viable cement replacement. Curvecrete geopolymer cement produces eighty per cent less emissions than standard Portland cement, with no need to use calcine limestone, removing 55 per cent of emissions created in cement production,” explains Mr Prohasky. The second is to create sustainable curved concrete forms and constructions that reduce the need for wasteful formwork. Prohasky and his team are using a robotic mechanical mould technology to create curved concrete panels for construction in geopolymer cement. “Curved concrete can create incredibly efficient mass-reduced structures, and our reusable mechanical formwork eliminates all the formwork waste typically associated with traditional methods of casting concrete,” says Mr Prohasky. “Architects and master builders have aspired to create beautifully curved architectural forms for centuries. Gaudi’s work is of particular importance. He simplified curved forms into hyperbolic ruled surfaces to create logical junctions and coordinate building modules. The ruled surface geometries created by Curvecrete mimic that of Gaudi’s,” he says. Render of Curvecrete pavillion structure. Image supplied by Curvecrete. The patented Parametric Adjustable Mould (PAM) technology that Curvecrete uses was co-invented by researchers Paul Loh and David Leggett with Mr Prohasky at the Melbourne School of Design at the University of Melbourne. PAM is a reusable robotic deformable mould that creates doubly-curved concrete forms without creating any formwork waste. As an Innovation Fellow, Mr Prohasky is working in Swinburne’s Innovation Precinct with support from Swinburne’s Smart Cities Research Institute and the Digital Construction Laboratory team. He also lectures in Architectural Engineering. “Curvecrete technology is capable of creating beautifully formed architectural structures. However, it’s incredibly difficult to enter the building and construction commercial market, and investment can be difficult to come by in this environment if the technology is not acceptably de-risked,” Mr Prohasky explains. “We’ve developed a strategy to market that is focused on growth, and with the right investment team, Curvecrete sees the technology servicing the Australia-wide market within the next two to three years, with plans to execute globally within five to seven years. “We want designers to access the technology to test the application of the Curvecrete system on their designs internationally. Our focus is on making a difference and having a positive impact in the building and construction industry, and ultimately on the environment,” he says. Mr Rudd recently presented at Melbourne Knowledge Week to launch Curvecrete's successful entry into the Melbourne Accelerator Program and Mr Prohasky was awarded Veski's innovator of the year, 2019 after wowing the crowd at Federation Square. Read more news on design at Swinburne
28 May 2019 14:23
https://www.swinburne.edu.au/news/2019/05/academics-across-institutions-collaborate-to-create-and-commercialise-curvecrete/
https://www.swinburne.edu.au/news/2019/05/academics-across-institutions-collaborate-to-create-and-commercialise-curvecrete/
Design
Faculty of Health, Arts and Design (FHAD),Architecture,School of Design
false
-
Associate Professor Nicole Wragg is new Chair of Communication Design
Associate Professor Nicole Wragg is new Chair of Communication Design
Associate Professor Nicole Wragg is the new Chair of Communication Design and Digital Media Design at Swinburne.
Associate Professor Nicole Wragg is the new Chair of the Department of Communication Design and Digital Media Design at Swinburne. She is focusing on a consolidation of the Communication Design program at Swinburne to ensure the ‘scaffolds’ and student experience in the discipline majors is cohesive. “Sometimes, with multiple options and flexibility, students can get lost. I want our students to be able to make informed decisions based on knowledge of the whole program rather than approaching their studies module by module, without connecting the pieces between them,” says Associate Professor Wragg. “Communication underpins everything we do, including web, motion, UX and photo media. All core program units are foundation Communication Design units. We facilitate many co-design programs and projects that relate to industry, providing students with a variety of broad experiences,” she says. Associate Professor Wragg believes it’s important to celebrate the collaborations that are encouraged in Communication Design at Swinburne. “We have very strong industry links and students benefit from collaborations. This includes the work design students and staff do together; the projects and programs that bring industry and students together; and the relationships staff have with other universities,” she says. The Swinburne School of Design Bureau is an in-house design studio established by Associate Professor Wragg in 2017. It provides opportunities for Communication Design and Digital Media Design activities where students engage with industry and academic staff, across the school on external and internal communication design projects. Students working in the Bureau at the School of Design. This year Associate Professor Wragg and her team are working to expand the activities of the Bureau to include more research projects. They are forming an honours year program so students can enrol for a one year (in fourth year) experience working with clients in the Bureau. “The Bureau has the potential to manage and operate a lot of different activities. Students will study and work in alternating Research units and Bureau units. They will become part of a ‘Bureau Collective’ conducting research and consulting across industries,” Associate Professor Wragg explains. “The good thing about Swinburne is that people approach us because we have a reputation for working in Communication Design. We assist not-for-profits and organisations that can’t afford commercial design studio rates due to limited funds. We introduce them to a large-scale design process,” she says. App design for Parents, Tweens & Sex program designed by Communication Design students. “We work across a range of projects with social impact, especially in health. There are many intersections in the health and design space. This has become more so for us because we are in a Faculty of Health, Arts and Design, but we’ve always had good connections with not-for-profits and groups in the health space,” says Associate Professor Wragg. Design concept and capstone project for Jean Hailes Foundation. “This is good for the design industry, as it educates people about design and the design process, not just a finished product. It’s the outcome of this thing we call design. We focus on strengthening industry engagement in teaching units, and feed this through every level, not just the final year capstone stage,” she adds. Associate Professor Wragg and communications design academics are developing a Portfolio Group. They are surveying industry to find out what businesses want to see in graduate portfolios. This changes often, and they are looking into how Swinburne can better prepare students for the workplace. This helps students with employment and supports entrepreneurial design graduates wanting to start their own agencies. Read more news on design at Swinburne
22 May 2019 12:42
https://www.swinburne.edu.au/news/2019/05/associate-professor-nicole-wragg-is-new-chair-of-communication-design/
https://www.swinburne.edu.au/news/2019/05/associate-professor-nicole-wragg-is-new-chair-of-communication-design/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Melbourne Korean War Memorial opens in Maribyrnong
Melbourne Korean War Memorial opens in Maribyrnong
Melbourne’s Korean War Memorial formally unveiled last week.
Melbourne’s Korean War Memorial was formally unveiled last week. Korean and Australian war veterans attended. Consul-General of the Republic of Korea, Mr Sunghyo Kim, gave the welcoming address. Mr Jong-gon Choi from the Korean War Memorial Committee and Mr Tom Parkinson, President of the Korean War Veterans Association shared introductions and reflections. Dignitaries from Korea, Greece, the United States, France, local councils and the Victorian state government attended. Melbourne’s Korean War Memorial panels with images of Australian soldiers, text and floral emblems. Designed by the Centre for Design Innovation (CDI) and steered by the Melbourne Korean War Memorial Committee and City of Maribyrnong, the memorial is a place to remember the fallen in the Korean War. More than 17,000 Australians served in the Korean War from 1950 to 1953. More than 330 Australians lost their lives and 1200 were wounded. 987,000 South Korean soldiers served in the war. There were 804,700 South Korean civilian casualties. Located in Maribyrnong’s Quarry Park, the Korean War Memorial is the first significant public memorial in Victoria to specifically honour Australians who served in the Korean War, and the Koreans who fought alongside them. Maribyrnong City Council generously gave the site to the Melbourne Korean War Memorial Committee. The position of the memorial offers spectacular views of Melbourne. Image of Australian soldier and graphics on perforated memorial panels, and soldiers at the opening, photography by CDI. “Early concepts were designed to take full advantage of the site and were intended to symbolically link Australia with Korea. As a Korean-Australian working on this project, it gives me great pride in what the team were able to execute,” says Dr Jo Kuys, Lead Designer, CDI. The design of the memorial encourages bridging between Australia and Korea. The pillar-like panels arranged in staggered configurations represent Korea rising from the ashes after the war. The poignant images of soldiers on the panels are made up of tens of thousands of perforations, allowing visitors to place remembrance poppies within the memorial. “The exterior panel images of soldiers forever look over the memorial to the CBD, symbolising soldiers looking over the country they represented in conflict. It’s a powerful image with the instantly recognisable slouch hats associated with our armed forces,” says Mathieu Lewis, Project Manager. In plan view, the memorial represents the Taegeukgi in the South Korean flag. The central pathway of Korean Gapyeong stone pavers blends to meet Australian bluestone pavers in the centre. The large memorial stone, a gift from Korea’s Gapyeong City Council, forms a symbolic location for laying of ceremonial wreaths. Internal panels tell the story of the Korean War and Australia’s role, with quotes and subtle imagery. The stories, sobering statistics and explanatory graphics, inform visitors of key aspects of the war. Caption - guests and dignitaries at the memorial opening, photography by CDI. “It was extremely humbling to see the effect of the memorial on people at the opening. Visitors were extremely emotional as they walked through the memorial, pointing out names they recognised. It really hit home that this is clearly more than just metal, stone and concrete. This is a place of remembrance,” says Mr Lewis. Korean War Memorial panels with remembrance poppies, photography by the Bureau. Swinburne Centre for Design Innovation memorial design team includes - Professor Blair Kuys, Professor Scott Thompson-Whiteside, Dr Kirsten Day, Dr Jo Kuys, Dr Simon Jackson and Mathieu Lewis. Read more news on design at Swinburne
20 May 2019 12:28
https://www.swinburne.edu.au/news/2019/05/melbourne-korean-war-memorial-opens-in-maribyrnong/
https://www.swinburne.edu.au/news/2019/05/melbourne-korean-war-memorial-opens-in-maribyrnong/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Facilitating the 30-minute city
Facilitating the 30-minute city
The Smart Cities Research Institute’s (SCRI’s) Future Urban Mobility Program is looking at new ways to enhance the experience of travelling in cities.
Innovations and digital disruptions in the transport sector continue to introduce new opportunities to enhance the travel experience for millions of people in our cities. These opportunities have been made possible by business models that offer new mobility services (e.g. ride-hailing, car-sharing and bike-sharing) to provide flexible options to meet our travel needs. Looking forward, the 2020s are predicted to be a decade of transformation for urban mobility. There are at least six forces expected to further disrupt the urban mobility landscape: self-driving vehicles, the sharing economy, vehicle electrification, mobile computing, the Internet of Things (IoT) and blockchain technologies. Each of these trends is significant on its own, but the convergence of their disruptive forces is what will create real value and provide innovations, enhancing the travel experience for people and businesses every day. Challenges and opportunities Central to the success of emerging and new mobility solutions is rigorous research that addresses 21st century global transport challenges such as rapid urban population growth, congestion, energy provision, climate change and health. Major policy, behavioural and technological changes are required to deliver substantial improvements. As the list of ‘next big things’ grows longer, local and state governments will find it harder to identify technologies that could unleash disruptive changes and impact the growth and performance of our cities, suburbs and precincts. Many questions remain. How will the future of transport look with autonomous on-demand shared electric vehicles? Will personal ownership of cars decline, giving way to Uber-style fleet-operated shared vehicles? Will mobility be offered as a subscription service? Will we be allowed to drive in the future? And are we edging closer to a utopian vision of “zero accidents, zero emissions, and zero car ownership”? What kind of future do we want in a highly automated world? And how do we prepare for the transport transformation? At Swinburne, our Future Urban Mobility Program is guided by a vision to create safe and resilient mobility solutions that enhance access to services, places and economic opportunities, and improve the quality of life for citizens. Our teams of specialists undertake practical research that separates hype from reality and informs decision-making about the value of technology-led interventions. We achieve this through the development and evaluation of methodologies and solutions that provide practical policy pathways with the likelihood of greatest impact in achieving sustainable urban mobility. Research focus Our work is motivated by the important and urgent need to realise 30-minute cities. Research suggests that, on average, people around the world cannot afford to spend more than one hour travelling per day - 30 minutes in the morning and 30 minutes in the evening. This is becoming increasingly challenging for populations in cities affected by congestion and urban sprawl and may require new solutions that prioritise land use and transport integration, densification of cities, and promotion of more sustainable modes of transport. Our research addresses these challenges. It is focused on making cities accessible to their populations by connecting the social, physical, economic, and information infrastructures. Our research is primarily industry-focused and recognises the role of digital innovations and disruptive technologies in addressing the modern-day demands of urban living in the world’s large and fast-growing cities. Our team’s research pathways centre on integrated land-use and transport policies, investments in dense and human scale cities, transit-oriented and pedestrian-oriented developments, optimised road network use, pricing policy instruments, urban freight and supply chain logistics, public transport and active travel options. We also recognise the role of digital innovations and disruptive technologies in addressing the modern-day demands of urban living and travel in the world’s large and fast-growing cities. Key research areas Our Future Urban Mobility Program is staffed by a multi-disciplinary research team that specialises in intelligent transport systems, modelling and simulation, and disruptive mobility. It includes specialists from transport planning, transport engineering, computer science, information technology, data science, machine learning and artificial intelligence. The team also includes researchers with specialisation in logistics and urban freight, electric vehicles, software innovations, and active transport and health. It works on a range of topics related to major challenges facing urban transport in our cities. The program is divided into three streams, each with four themes and sub-components: Stream 1: Intelligent transport systems and infrastructure Research in this stream is focused on reducing the need for new transport infrastructure through better utilisation of existing assets and enhancing personal mobility. The capability in this area includes the development of algorithms for network operations, data-driven management and control of transport systems. It also includes researching new sensors and communication systems, smart infrastructure and asset management systems. The four themes in this stream are: Network management and control Smart infrastructure and asset management Technology, sensors, communications and control systems Enhanced personal mobility Stream 2: Transport modelling and traffic simulation In this stream, our research is focused on evaluating the impacts of mobility solutions using state of the art transport and traffic modelling methodologies. These include a hierarchy of modelling capabilities ranging from strategic through to operational mesoscopic and microscopic traffic simulation and agent-based modelling. Key facilities that support our research include Swinburne’s Virtual Smart Mobility Research Facility, which has sophisticated modelling platforms to assess the economic, social and environmental attractiveness of mobility solutions and land-use transport interactions. The four themes under this stream are: Large scale optimisation Gamification Predictive intelligence, traffic forecasting, AI and data analytics Agent-based traffic simulation and behavioural modelling Stream 3: Disruptive mobility Research in this stream is focused on shaping the future directions of urban mobility through rigorous research that evaluates emerging and new modes of transport and business models. This includes estimation of transport demands for new solutions and scenarios of potential shifts in supply and demand. Our research looks beyond the hype and pinpoints the long-term effects of new technologies. It also develops rigorous but flexible evaluation frameworks and governance systems for agile and outcome-focused regulations which facilitate and encourage transport innovations. The four themes under this stream are: Emerging modes of transport and autonomous shared mobility Urban air mobility Low and zero emissions urban transport solutions End-to-end freight solutions Research directions and routes to inform future urban mobility policies The transport sector is facing rapid changes in an unpredictable, fast-paced ecosystem. Outdated mobility solutions are being challenged by empowered citizens who expect more from our transport systems. This requires fresh thinking and new approaches to meet people’s demands for travel with ease and seamless integration. Many technologies on the horizon offer opportunities that could transform transport, and infrastructure investment and operation. There will be disruptions to established norms, and there will be broad societal challenges. Through rigorous research that determines when and how to take advantage of these technologies, stakeholders at all levels can benefit from swift improvements to urban mobility for future cities. By Professor Hussein Dia, FASCE FIEAust FITE, Deputy Director and Program Leader, Future Urban Mobility, Smart Cities Research Institute.
15 May 2019 11:39
https://www.swinburne.edu.au/news/2019/05/facilitating-the-30-minute-city/
https://www.swinburne.edu.au/news/2019/05/facilitating-the-30-minute-city/
Design
Smart Cities Insights and Analysis
Technology
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Swinburne launches Australia’s first joint Master of Architecture and Urban Design
Swinburne launches Australia’s first joint Master of Architecture and Urban Design
Swinburne will offer a joint Master of Architecture and Urban Design from August 2019.
As part of its newly-developed architecture program, Swinburne will offer a joint Master of Architecture and Urban Design from August 2019. The two-year course is responding to the emerging need for future-ready urbanists who are comfortable transcending the traditional boundaries of the two disciplines. Swinburne is celebrating its launch by offering scholarships providing up to 100 per cent fee reduction for exemplary students. The architecture and urban design courses complement the university’s strong standing and reputation in design, technology and industry engagement. The announcement follows Swinburne’s recent success in the 2019 Good Universities Guide where architecture at Swinburne was rated Victoria’s “best overall experience” by undergraduate students. Architecture at Swinburne is defined by smaller class sizes and the calibre of its teaching staff, who bring international practice experience and awards for both practice and teaching to the table. Innovation and excellence The new Master of Architecture and Urban Design takes a whole-of-practice approach and has an emphasis on preparing students for employment and business. The course has been developed in close partnership with a course advisory committee which is comprised of industry executives and experts from Grimshaw, Hayball, McBride Charles Ryan, MGS Architects, Arup, Aurecon, AECOM, City of Melbourne and others. Students will have the opportunity to work on live briefs from industry partners, enabling them to gain real-world experience and build their networks. “Cities are growing at unprecedented rates with over half the world’s population already living in urban areas. That is expected to rise to more than two-thirds by 2050. As Australia’s fastest growing city, Melbourne is no exception” says Professor Jane Burry, Dean of Swinburne’s School of Design. Professor Burry explains that as cities become larger, denser and more complex, traditional approaches to planning give way to more emergent and data-responsive evolutionary patterns of development. “This program has been designed in collaboration with industry and local government to meet the growing need for design professionals who are skilled in working at multiple scales and in many formats and media, ranging from the building scale to whole cities and regions,” says Professor Burry. In addition to developing design skills, the program focuses on emerging technologies and digital workflows, including geographic information system (GIS), building information modelling (BIM), virtual reality (VR) and augmented reality (AR), and procedural modelling, personal development and the art of negotiation. “We focus on developing designers who are self-aware, know who they are and the type of work and contribution they want to make. We are looking for those capable of thinking outside established paradigms, who will make an exceptional contribution in a challenging environment.” Architecture meets biology. A mycelium acoustic panel/wall created by designers, architects and biologists during a Swinburne hosted Global Summer Studio in collaboration with the Institute for Advanced Architecture of Catalonia (Iaac) Students will immerse themselves in a studio-centred curriculum and have opportunities to choose research topics that align with their interests. They are able to do this through a future-focused design research studio which runs the duration of the course and covers health, mobility, ecologies and fabrication. Space to create Students will create and collaborate in Swinburne’s multi-million dollar campus facilities, including the Factory of the Future, the Smart Structures Laboratory, Swinburne’s new Protolab, Energy Transformation Lab, and Design Factory Melbourne. They will also benefit from direct links to Swinburne’s research bodies: Smart Cities Research Institute, Centre for Design Innovation and Centre for Urban Transitions. “The design school sits within Swinburne’s Faculty of Health, Arts and Design and the synergy between the schools is manifest in research that crosses boundaries, such as design for health and human wellbeing, urban ecologies and the opportunity to work with the social sciences,” says Professor Burry. “Architecture students have found themselves working closely with biotechnologists in developing and exploring the application of high-performance natural growing building materials." Dean’s scholarship Swinburne is offering its Dean’s Inaugural Scholarship to exemplary students. The scholarship provides 100 per cent fee reduction for the Master of Architecture and Urban Design, Master of Architecture and Master of Urban Design. Scholarships, open to all applicants, are assessed at the time of application and close on 1 May. Find out how to apply. Find out more Swinburne is holding a Postgrad Information Evening on Wednesday June 5, 4pm to 6pm at its Hawthorn campus. It provides students the opportunity to speak with senior academics and course experts, and learn more about the best course for their desired career. Register for the event.
26 April 2019 07:15
https://www.swinburne.edu.au/news/2019/04/swinburne-launches-australias-first-joint-master-of-architecture-and-urban-design/
https://www.swinburne.edu.au/news/2019/04/swinburne-launches-australias-first-joint-master-of-architecture-and-urban-design/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
SEEK and Design Factory Melbourne partner in Innovation Challenge
SEEK and Design Factory Melbourne partner in Innovation Challenge
SEEK and Design Factory Melbourne support career journeys with Innovation Challenge Project
SEEK is partnering with Design Factory Melbourne in an Innovation Challenge Project. As a leading online job classifieds platform, SEEK is looking to expand from being a place where people look for a job, to being a provider of support for people over the course of their career journey. They are aiming to create a product or service that helps people to find their calling and take actionable steps to progress their career. SEEK has service products aimed at supporting job seekers over their career pathways such as online career advice content. They are looking to extend this to help people who are struggling to identify what pathways to take and where to start. The Innovation Challenge Project, is the final unit of the Innovation Minor, a course of study available to undergraduate students across Swinburne that are embedded within their core degree. During the Innovation Challenge Project, students are using design and innovation approaches to find solution concepts for SEEK. They are following a design thinking approach over the course of a twelve-week semester. “Students will engage in user and background research to understand SEEK’s prospective customers and their needs. They will explore and prototype solutions. They will test these with users to evaluate efficacy in addressing needs. Along with human desirability features, students also assess viability and feasibility to justify their final concept,” says Dr Clementine Thurgood, Coordinator Innovation Minor, Design Factory Melbourne. The Innovation Challenge Project phases are iterative. Students consider and test different ideas before arriving at a final concept. SEEK is constantly involved, providing feedback on the ideas. John Carroll, Product Manager, Career Guide at SEEK demonstrated the new Career Guide to kickstart the Innovation Challenge at Design Factory Melbourne. “We’re extremely excited to be working with Design Factory Melbourne students this semester. The problem we’ve set them is an issue that every person goes through a number of times in their lives. The opportunity to help these people to navigate the complex space of a career journey is huge,” says Mr Carroll. John Carroll from SEEK demonstrating the Career Guide The new Career Guide will be designed for ‘Young starters’ or 16-18 year olds; high school students and school leavers. And Fresh starters’, 18-24 year olds; young adults with some work experience. “Over the semester, each group will test out different possibilities and solution concepts. They will iterate their ideas, taking on feedback from end-users, until they find a concept that they believe will most address the problems,” explains Dr Thurgood. Four teams of business, engineering and design students are focusing user research on ‘Fresh starters’. Each team is presenting prototyped solution concepts – physical and/or digital that communicate what the solution hopes to achieve for SEEK. The outcomes of extensive background and user research, documentation of prototyping, and justification for the final concept are formalised in written reports, oral presentations and a short video. Read more news on design at Swinburne
25 April 2019 12:53
https://www.swinburne.edu.au/news/2019/04/seek-and-design-factory-melbourne-partner-in-innovation-challenge/
https://www.swinburne.edu.au/news/2019/04/seek-and-design-factory-melbourne-partner-in-innovation-challenge/
Design
Faculty of Health, Arts and Design (FHAD)
Design
false
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Designing for Change encourages strategic foresight through play
Designing for Change encourages strategic foresight through play
Designing for Change attendees play The Thing From The Future to design for alternative futures.
Hosted by Bridgette Engeler, Course Director - Master of Design, the Designing for Change workshop at Swinburne was part of the Melbourne Design Week program. Workshop participants played a game called, The Thing From The Future, created by Dr Stuart Candy and Jeff Watson of Situation Lab. Through play, they were introduced to the basic principles of strategic foresight and futures thinking. The Thing From The Future is an award-winning immersive game that challenges players to imagine and design objects from a range of alternative futures. “The workshop was a lot of fun. The Thing From The Future fosters creativity and imagination, but more importantly requires players to have a conversation about the kinds of futures and artefacts we want in those futures. Participants worked in groups of five to respond to the ‘design challenge’ in the cards that were dealt,” explains Ms Engeler. Responding to design challenges dealt by The Thing From The Future cards Ms Engeler says designers should be able to make sense of change and direct their skills and knowledge to creating multiple alternative futures. In order to design future-focused products and services in a continuously changing world, designers need to understand strategic foresight and to have capacity for futures thinking. Participants started by considering multiple possible futures. They outlined the kinds of futures that the thing-to-be-imagined might come from. They discussed the object they were designing and how it fitted into those futures and looked at the emotional reactions it might spark. “The game demonstrates the connection between design and futures, and how this shapes emotion, interaction and activity in our lives,” says Ms Engeler. Considering multiple futures at Designing for Change workshop “Designers are complicit in creating the condition of our world. The Thing From The Future helps people understand how everything is connected. Design has a key role to play in transitions to more sustainable futures. In the workshop, we used the Harman Fan method to make that connection clearer. This is not just through shifts in material culture but by understanding the interconnectedness of social, economic, political and natural systems when talking about ‘problem-solving’ with design,” she explains. “Futures thinking is a tangible and useful way to build this understanding or capacity in designers and design practice. Making futures thinking explicit in design aligns both the process and its outcomes with the values, needs and societal expectations, and its anticipated futures,” says Ms Engeler. “If we’re using the term strategic design, futures thinking should be informing the surrounding design and innovation processes. It increases designer agency, and supports goals such as sustainability and longevity. It enables the design of products and services in a system that deliver sustained value as the world changes.” Workshop participants created remarkable headlines from possible futures and quickly realised that excitement about new technologies must be tempered with healthy scepticism. They discussed the challenges of AI, transhumanism, immortality and fundamental issues of human security. “The workshop activities demonstrated how design gives structure and form to futures thinking and brings to life images of alternative futures,” says Ms Engeler. Read more news on design at Swinburne
20 April 2019 07:58
https://www.swinburne.edu.au/news/2019/04/designing-for-change-encourages-strategic-foresight-through-play/
https://www.swinburne.edu.au/news/2019/04/designing-for-change-encourages-strategic-foresight-through-play/
Design
Faculty of Health, Arts and Design (FHAD)
Design
false
-
Ab Rogers shares 25 projects at the School of Design
Ab Rogers shares 25 projects at the School of Design
London-based designer, Ab Rogers shared his motivations, manifestos and colour-rich designs.
London-based designer, Ab Rogers shared his motivations, manifestos and colour-rich designs at the School of Design in March. Mr Rogers spoke about his formidable portfolio of projects. His ‘25 Projects in 25 Years 1994-2019’ lecture shows how his unique imagination and creative energy has created enduring spaces and experiences, cherished by clients and the people who inhabit and use them. In 2004, Mr Rogers founded Ab Rogers Design, a studio renowned for projects that are rich with vibrant colour and energy. A former cabinet maker, Mr Rogers has a masters degree from the Royal College of Art (RCA) in London. He was Head of Interior Design at RCA from May 2012 to June 2014, where he established a new interior design course. Ab Rogers Design is a strategically small practice in London and Melbourne, both close-knit studios of multidisciplinary designers spanning graphic, industrial and interior design and architecture. Ab Rogers and his team favour a hands-on approach, working closely with artists, makers and curators. They use hand sketching and watercolours to illustrate ideas, with sketch models and clay modelling; favouring pencil, paint and paper over digital tools where appropriate. “We work with watercolours because they are a fast, instinctive and an easy way to visualise,” says Mr Rogers. “There is an immediacy and fluency to hand sketches that allows a design to evolve as you draw. You learn so much from sketching with a soft pencil and using materials like clay or card that give you the chance to study forms; to get a feel for certain shapes and play with ideas. While efficient, the computer can encourage you to over edit and get lost in details producing too many options,” he explains. Mr Rogers believes in a less material, more environmentally sustainable world, and the way to achieve this is by “designing more and making less.” He’s inspired by the vivid colours of natural things – from fruit and vegetables to underwater creatures. His portfolio includes kinetic interventions in exhibitions and retail spaces, immersive installations and responsive spaces. Mr Rogers loves the colour red. It features in much of his work. “Red is passionate and positive. The colour of vibrancy and enlightenment. Red is fire, it’s the sun – powerful, life giving and full of energy,” he says. ‘Alien wave’ interior space by Ab Rogers Design for Comme des Garcons, photography by Todd Eberle In 2001 he designed Comme des Garcon’s Flagship store in Paris with Shona Kitchen. The design approach was inspired by the notion that ‘an alien wave’ had swept into the interior. Ms Kitchen and Mr Rogers created a glossy red space covering the horizontal and vertical planes in the space. Ab Rogers Design recently completed a project for Pattaya’s Wonderfruit Festival in Thailand. A carbon-neutral celebration of the arts, it was the perfect place to experiment with sustainable structures and the qualities of bamboo, combined with water and the vibrant colours of nature. Aerial view of Wonderfruit Festival, sustainable structures and performance installation and design, images supplied by Ab Rogers Design and Wonderfruit “We had an amazing client for this project. Amazing clients produce amazing work,” Mr Rogers says. The brief was to master plan the festival and create a collection of super-sustainable, permanent structures made from impermanent materials. Read more news on design at Swinburne.
18 April 2019 13:41
https://www.swinburne.edu.au/news/2019/04/ab-rogers-shares-25-projects-at-the-school-of-design/
https://www.swinburne.edu.au/news/2019/04/ab-rogers-shares-25-projects-at-the-school-of-design/
Design
Faculty of Health, Arts and Design (FHAD)
Design
false
-
Radical disaster relief shelter design for Azraq and beyond
Radical disaster relief shelter design for Azraq and beyond
Dr Greg Quinn’s radical disaster relief shelter design maintains personal dignity
Dr Gregory Quinn is Discipline Coordinator for Architectural Engineering at the School of Design. For his doctoral thesis at Berlin University of the Arts, he developed a radical design for a disaster relief shelter. Dr Quinn is passionate about the needs of refugees when it comes to shelter and protection from the elements and maintaining personal dignity. He refers to the Azraq refugee camp in Jordan with its challenging location, fluctuations in climate and long-term overcrowding. Azraq is home to 40,615 Syrian refugees. His SheltAir design takes inspiration from traditional Bedouin tents, and makes use of advanced technology and pneumatic falsework (an inflatable cushion), for its erection. Erecting the SheltAir prototype. Credit Gregory Quinn. “SheltAir’s curved gridshell structure offers a softer architectural approach than box-like shelters. Shelters are emergency homes, but also places for emotional healing. The curved design of SheltAir has resonated well with Azraq camp residents,” explains Dr Quinn. He has built a series of prototypes over four years to test SheltAir’s unique erection method, including the inflation itself; scope of possible shapes; architectural and structural design; and thermal performance. His custom computational methods simulate the erection process using a projection-based dynamic relaxation solver. “The complex simulation involves large deformations, ‘collision’ between an inflating (initially deflated) bag and a compliant mechanism of rods with topological changes in the erection process,” he says. A new application of ‘Kangaroo’ dynamic relaxation solver facilitated the erection simulation. Custom visualisation of internal forces, reactions and displacements were achieved via Python and C# scripts. Computational methods developed by Dr Quinn are being implemented in other areas including StructAR (augmented reality structures) – a novel interactive tool for learning structural engineering principles. In 2017 Dr Quinn built a full-scale demonstrator of the SheltAir at ANCB Metropolitan Lab Berlin, as an exhibit and exhibition space. The construction took five days. In 2018 the build took three days and recently for an overhauled prototype built in collaboration with University of Bath, it took only eight hours to build the SheltAir. Dr Quinn is aiming for four hours with two people. Full-scale SheltAir demonstrator at ANCB Metropolitan Lab Berlin 2017. Credit Gregory Quinn and Fabian Schneider. The latest version has a cushion made from PVC coated polyester fabric, glass fibre reinforced plastic rods pre-assembled in six segments and a perimeter foundation plate of 10mm laser cut Corten steel. When flat-packed it fits into two crates with six bundles of rods weighing close to one tonne. Further refinements are planned. SheltAir with outer cover and gridshell. Credit Gregory Quinn. Dr Quinn has experimented with reusing the inner cushion to erect multiple shelters. Currently the cushion remains inside to form the architectural envelope. There are versions with an outer cover that is dragged over the erected gridshell and anchored to foundation plates. Credit Gregory Quinn. Recent designs provide ventilation portholes and a central overhead opening to exploit the benefits of natural ventilation. Recent designs feature ventilation portholes, overhead opening and curtain walls. Credit Gregory Quinn. “As the architectural skin is on the inside and the gridshell on the outside, the gridshell can be used as a sacrificial formwork for insulation materials and additional membranes,” says Dr Quinn. He says shelters aren’t always utilitarian and wider applications for SheltAir include a place for people to meet, pray, shelter and entertain. Read more news on design at Swinburne
18 April 2019 13:24
https://www.swinburne.edu.au/news/2019/04/radical-disaster-relief-shelter-design-for-azraq-and-beyond/
https://www.swinburne.edu.au/news/2019/04/radical-disaster-relief-shelter-design-for-azraq-and-beyond/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
From art director to gin distiller
From art director to gin distiller
After an international career, graphic design alumni Brad Wilson’s is living local, running a gin distillery in Melbourne.
Brad Wilson earned his start in the creative industry at a small printing shop in Richmond in the late 90s and went on to build a career as a creative director for agencies across the globe. Fast forward more than two decades and he’s come home to Melbourne where he now owns and runs a gin distillery steeped in the city’s unique history. With a passion for art and drawing, Mr Wilson chose to study a Bachelor of Design straight out of Year 12. “I chose Swinburne because it had the best reputation as a design school in Australia. Swinburne gave me exposure to experienced lecturers and a solid foundation for design,” he says. After graduating, Mr Wilson worked as a graphic designer in Melbourne before he was drawn to advertising. “Lured by the big billboard and the fame of advertising, I crossed over from graphic designer to art director.” “Shortly after that, I left Melbourne, deciding it’s a big world out there, and Singapore seemed to be doing the most exciting ads at that stage.” Working with global brands Singapore was just the beginning of Mr Wilson’s creative career, with highlights including shooting a brand ad for Martell Cordon Bleu, a premium cognac brand, with Italian fashion photographer Paolo Roversi in a Paris home designed by famous architect Le Corbusier. Another highlight was working and living in Amsterdam and being exposed to a myriad of Genever distilleries. His career in Singapore, China, Hong Kong and Amsterdam eventually led him back home to Melbourne where he founded Little Lon Distilling Co, a small gin distillery located in the heart of Melbourne. “My passion for branding, design and ‘making’ inspired me to develop Little Lon Distilling Co,” he says. “A lot of my advertising years as a creative director were spent working with a range of alcohol brands for giants Diageo and Pernod Ricard in Asia and Europe. I figured I’d like to put my efforts into developing and building my own spirit brand.” The wonderful world of gin Little Lon Distilling Co is one of the smallest distilleries around and in an un-orthodox building – an old heritage-listed red brick cottage built in 1877, says Mr Wilson. “It’s wonderfully unique, and the building and location plays beautifully into the history of Little Lon and the brand.” Mr Wilson opened a distillery that is located in a heritage listed building in Melbourne's CBD. All of Little Lon’s gin flavours are inspired by and developed around characters that used to live in the building during the late 1890s and early 1900s. Mr Wilson used Victoria Police records and the knowledge of Melbourne crime tour guide, Michael Shelford, to give the real characters a second life. “We also make our base spirit from scratch using a malt wine/whisky wash. A lot of gin distilleries will buy in ethanol or neutral spirit – so this gives us a unique point of difference and more control around the flavours of our characterful gins.” Mr Wilison also runs master classes for visitors wanting to learn about the distillation process and to get a rundown on the history of the building. He hopes to continue building a successful brand and perhaps even develop additional products and brands. He leaves with this small piece of advice: “Always be persistent. Make a plan. Have goals. Choose the right opportunity that helps you get to where you want to get to.”
11 April 2019 10:41
https://www.swinburne.edu.au/news/2019/04/from-art-director-to-gin-distiller/
https://www.swinburne.edu.au/news/2019/04/from-art-director-to-gin-distiller/
Design
Faculty of Health, Arts and Design (FHAD)
Business
false
-
Bushfire proof Swinburne designed skylight wins Good Design Award
Bushfire proof Swinburne designed skylight wins Good Design Award
An innovative bushfire proof skylight designed at Swinburne with Atlite Skylights has been awarded a Good Design Award.
An innovative bushfire proof skylight designed at Swinburne in collaboration with Atlite Skylights has been awarded a Good Design Award. The Atlite Skylights premium roof window was designed by the Atlite Skylights engineers in collaboration with Swinburne’s Centre for Design Innovation. The cutting-edge product is the only Australian-designed and made roof window that is bushfire, hail, cyclone and leak resistant. The skylight can be custom made to suit any space and specification. A Swinburne first The recognition represents the first time Swinburne has been awarded a Good Design Award, with the award presented to the Swinburne team this month. “This collaboration positions Swinburne as a leader in design, showing that working with industry is a key in Swinburne’s vision of making social and economic impact,” says Professor Blair Kuys, Director of Centre for Design Innovation. The team behind the design celebrated with an award presentation at Swinburne's Hawthorn campus. “To be recognised by the Good Design Awards is a fantastic achievement and the Swinburne team working on this project are extremely deserving. I hope this inspires us to continue working on designs that are not just making an impact in Australia, but on a global scale.” Strict fire testing was undertaken to ensure the skylight would meet safety standards. About the Good Design Awards The annual Good Design Awards is Australia’s most prestigious Awards for design and innovation with a proud history dating back to 1958. The skylight design is bushfire, hail, cyclone and leak resistant. The Awards celebrate the best new products and services on the market, excellence in architectural design, digital and communication design and reward emerging areas of design including business model innovation, social impact and design entrepreneurship. “The design team had a clear understanding of the design brief and the challenges facing the client,” said the Good Design Awards Jury of the skylight. “This was a difficult project that has been very well resolved and will enhance the creative palette for architectural designers for both residential and commercial projects. It’s sleek and super functional and it was clear the design process put the user at the centre of the outcome. Well done.” The 60th Anniversary Good Design Awards attracted a record number of entries. From the 536 innovative designs, only 260 projects were selected to receive the coveted Good Design Award.
12 March 2019 08:33
https://www.swinburne.edu.au/news/2019/03/bushfire-proof-swinburne-designed-skylight-wins-good-design-award/
https://www.swinburne.edu.au/news/2019/03/bushfire-proof-swinburne-designed-skylight-wins-good-design-award/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Design and the City: Urban Futures Lab at Business of Design Week
Design and the City: Urban Futures Lab at Business of Design Week
Swinburne’s Design and the City: Urban Futures Lab at BoDW deTour Creative Festival
Swinburne School of Design was an integral partner to Melbourne’s world-class design expertise on show at Hong Kong Business of Design Week (BoDW) late last year. Swinburne’s Design and the City: Urban Futures Lab exhibition and studio, at the BoDW deTour Creative Festival was a space where multiple activities came together. The lab was initiated by Dr Samantha Edwards-Vandenhoek, Deputy Chair of Communication Design and Digital Media Design with the support of government funding, and was coordinated by Bridgette Engeler, Course Director, Master of Design. It was conceived as a working studio space to host a Master of Design Study tour, a participatory design learning program, a public space where people could explore and contribute, and an exhibition space for Swinburne student work. Visitors in the Design and the City: Urban Futures Lab space. “The space gave us a way to show people design possibilities and how to embark on that journey. Experiential futures are an immersive way to enable people to share in a glimpse of the futures of cities and urban environments. We combined exhibition artefacts and design activities to stimulate conversation and the development of material outcomes related to urban futures in Hong Kong,” says Ms Engeler. Images on display stimulate conversation. The exhibition featured work by undergraduate students from Interior Architecture, Communication Design and Architectural Design at Swinburne. Exhibits explored materiality and form in architecture; and the notion of individual versus collective identity in a changing world challenged by digital technologies. Honours student projects predicted what living in Melbourne might be like, fifty years from now, and explored how to influence change using experience and desire as a basis for engagement. “deTour is an intrinsic part of BoDW. The theme for 2018 was Trial and Error. This has a significant connection to design practice, the iterative zine-making process, and the exploratory nature of the study tour and experiential design futures work. It was a reflection of participatory public design and being able to adapt to input as it happens,” says Ms Engeler. Dr Sam Edwards-Vandenhoek led Cut and Try, a public full day zine design workshop. Participants were taken through a series of rapid iterative process exercises and creative experiments to visualise their city (or future city) through eight senses of their choice (touch, taste, sound, smell, memory, dream or imagination). These experiments were used to create final imagery and narrative for a small collaborative magazine and digital Instagram zine. Dr Samantha Edwards-Vandenhoek leads the Cut and Try zine design workshop.
12 February 2019 10:47
https://www.swinburne.edu.au/news/2019/02/design-and-the-city-urban-futures-lab-at-business-of-design-week/
https://www.swinburne.edu.au/news/2019/02/design-and-the-city-urban-futures-lab-at-business-of-design-week/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
School of Design signs MoU with THEi at Business of Design Week
School of Design signs MoU with THEi at Business of Design Week
After a year of academic and industry collaboration, Swinburne and THEi sign MoU
The Swinburne School of Design and the Technological Higher Education Institute of Hong Kong (THEi) Product Design program under the leadership of Professor Blair Kuys, Director of the Swinburne Centre for Design Innovation and Associate Professor Tris Kee, Department of Design at THEi have completed a year-long International Institutional Industrial Collaboration (IIIC). Swinburne and THEi signed a Memorandum of Understanding (MoU) at Hong Kong Business of Design Week (BoDW) to formally recognise this collaborative relationship. Visitor at DesignInspire with scale models of chairs by CDI and THEi. The IIIC joint projects from Melbourne and Hong Kong featured over ten innovative product designs and partnered with five renowned industry leaders from Hong Kong and five industrial collaborators. The collaboration had a clear objective to nurture young product designers to innovate and work closely with industrial experts in manufacturing. The project work was exhibited at the DesignInspire exhibition at Hong Kong BoDW last year. Toy designed by Swinburne student Katey Tran at DesignInspire exhibition HKBoDW. IIIC co-designed industry projects were offered to final year Industrial Design and Product Design Engineering students from Hong Kong and Melbourne, within their final year capstone units. Academics from the Swinburne Centre for Design Innovation mentored students from both institutions. Students visited both universities and worked with industry partners in the Shenzhen manufacturing region of China. THEi students and academics at Swinburne School of Design. Swinburne students and academics at THEi. “The industrial collaborators were impressed by previous student work that showed ability beyond simply product aesthetics through to fully engineered products ready for mass-manufacturing. Associate Professor Tris Kee from THEi introduced Swinburne to the industrialists with the idea of educating the next generation of product designers on a global scale,” says Professor Kuys. “Students learnt how to manage industry partner expectations and how to work closely with another design school in Hong Kong. We anticipate running a similar collaboration in 2020."
12 February 2019 08:30
https://www.swinburne.edu.au/news/2019/02/school-of-design-signs-mou-with-thei-at-business-of-design-week/
https://www.swinburne.edu.au/news/2019/02/school-of-design-signs-mou-with-thei-at-business-of-design-week/
Design
Faculty of Health, Arts and Design (FHAD),Centre for Design Innovation (CDI),School of Design
false
-
Our Journey film tells stories of time away from remote communities
Our Journey film tells stories of time away from remote communities
Aboriginal and Torres Strait Islander students tell stories of life and study away from home
Aboriginal and Torres Strait Islander secondary school students from the Melbourne Indigenous Transition School (MITS) are telling the story of what it’s like to be living and studying in Melbourne, away from their remote communities. The students designed a short, animated film in collaboration with the Marngo Designing Futures Program and the Swinburne Centre for Design Innovation. Deputy Chair of the Department of Communication Design and Digital Media Design, Dr Samantha Edwards-Vandenhoek, and Coordinator of Photomedia and Lecturer in Communication Design, Ms Joanne Gardener, were awarded the 2018 Vice-Chancellor’s Reconciliation Team Award for facilitating the design and production of the short film. Our Journey from Dr Samantha Edwards-Vandenhoek on Vimeo. “The program puts Aboriginal and Torres Strait Islander culture at the centre of everything it does. Marngo Designing Futures has been working with MITS and collaborated to create the short, animated film with the Australian Chamber Orchestra. It is an amazing outcome and was an incredible experience for everyone involved,” says Dr Edwards-Vandenhoek. The Proud Dingo animation still from Our Journey by MITS students. The Excited Parrot animation still from Our Journey by MITS students. Marngo Designing Futures is a culturally-centred tertiary aspiration program for Aboriginal and Torres Strait Islander Secondary School students. It centralises and prioritises indigenous voices, narrative and perspectives, working with indigenous designers, artists and students in a variety of ways. Still from Our Journey introduction by MITS students. “We feel deeply honoured and humbled to be working on this program. It’s inspiring to watch kids transform their lives in ways they never thought possible through design,” says Dr Edwards-Vandenhoek. The Our Journey animation can be viewed on ABC iView until 9 February. Read more news on design at Swinburne
06 February 2019 15:53
https://www.swinburne.edu.au/news/2019/02/our-journey-film-tells-stories-of-time-away-from-remote-communities/
https://www.swinburne.edu.au/news/2019/02/our-journey-film-tells-stories-of-time-away-from-remote-communities/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Building communities at Festival of Transitional Architecture
Building communities at Festival of Transitional Architecture
Professor Mark Taylor and design students join forces at the Festival of Transitional Architecture in Christchurch
Professor of Architecture, Mark Taylor, and a group of Swinburne architecture and design students joined forces at October’s Festival of Transitional Architecture (FESTA), and created a thought-provoking sustainable installation made from simple re-useable low-cost components including coat hangers. FESTA was established after earthquakes in 2010 and 2011 devastated large parts of the New Zealand city of Christchurch and nearby communities. Over six years, festival organisers have developed a strategy of expanding the collective ability to talk about what our cities might be in the future. FESTA is one of several community-led events aimed at helping people to come together and seek out positive experience of a changing central city, despite the earthquakes and drawn out rebuild. The major theme for FESTA in 2018 was ‘a public feast of architecture, design and food in the city’. “The brief was complex and it evolved as the festival timeline neared. Students liaised with the festival organisers to ensure their design was approved by local engineers, the city council, and work health and safety. There was a two-day build period prior to the event and a one-day disassembly time afterwards. The brief required the project to be sustainable, and to ensure any materials used were either returned to their original sources, or recycled through the community,” explains Prof Taylor. All materials had to be sourced while the team was in Melbourne. This required liaising with suppliers in the Christchurch area to source materials for the installation and have them delivered to the FESTA site. “The students had a small budget for materials, which enabled the purchase of some items, and also brought in an economic aspect to the project and the necessity to work within a budget,” says Taylor. “The installation project for the stage area comprised a vertical and horizontal suspended permeable screen made from coat hangers. These were tied together into triangular pyramids. These components were formed into other geometrical shapes including, hexagons and pentagons, that were arranged into a non-regular fragmented geometry,” he says. Students installing the coat hanger array “The main picnic area included seating platforms and tables made from pallets and finished with carpet and fabric. Each table was finished with a coat hanger and LED table light. Entryway into the site included an aromatic passageway made from cardboard boxes, with six fragrant scents permeating into the space. Overhead was a suspended fabric mesh with LED lights,” explains Taylor. Seating platforms and tables made from pallets Aromatic passageway made from cardboard boxes For this authentic learning experience students worked as a group, connecting with the local community and negotiating with suppliers for materials and items. They had the opportunity to engage with post-earthquake Christchurch and to see how the city has responded to the devastation of 2010 and 2011. FESTA guests and performers in the installation space “Working onsite in close proximity to other project groups enabled friendships and opportunities to get to know other students, creating an ambience that was collegial, positive and helpful,” adds Taylor. Read more news on design at Swinburne.
16 January 2019 08:40
https://www.swinburne.edu.au/news/2019/01/building-communities-at-festival-of-transitional-architecture/
https://www.swinburne.edu.au/news/2019/01/building-communities-at-festival-of-transitional-architecture/
Design
School of Design
Design
false
-
Clement Meadmore exhibition a culmination of ten years of research
Clement Meadmore exhibition a culmination of ten years of research
First major exhibition looking back at Meadmore’s industrial design work
The lecturer in Digital Media and Course Director of Swinburne University of Technology’s Bachelor of Screen Production, Dean Keep, along with researcher and Australian mid-century design collector, Jeromie Maver, have curated the first major exhibition focussing on the industrial design work of Clement Meadmore. The exhibition will be held at the Ian Potter Museum of Art at the University of Melbourne. Clement Meadmore: The art of mid-century design is a culmination of over ten years of research by Keep and Maver, who were assisted by a State Library of Victoria Creative Fellowship. The exhibition focuses on the crossover of art and design in Meadmore’s work, and features over 100 objects, including rare archival documents and photographs. “Meadmore is considered one of the world’s most important modernist sculptors of the 20th Century, but very little is known about his industrial design practice in Australia,” says Keep. “We were fascinated by the corded furniture he manufactured in Melbourne during the early ‘50s and soon discovered that no comprehensive research had been conducted on his design practice.” Corded furniture, Clement Meadmore: The art of mid-century design, photography by Christian Capurro Keep and Maver felt a need to fill the knowledge gap and to tell the Meadmore story. This involved ten years of detailed research, including close to 100 interviews with Meadmore’s family, friends and contacts; and an exhaustive search of periodicals, newspapers and manuscripts in public collections. Meadmore’s furniture and lighting, Clement Meadmore: The art of mid-century design, photography by Christian Capurro Furniture and artworks, Clement Meadmore: The art of mid-century design, photography by Christian Capurro Interviews with Meadmore’s family and colleagues who shared a connection with the design, jazz and art scenes in Melbourne in the 1950s feature in the exhibition, as do many objects never seen by the public before. “Although much has been written about Meadmore’s sculptural practice, his design practice in post-war Australia had generally been overlooked by researchers. What we discovered was a multi-disciplinary design practice that stretched well beyond Meadmore’s range of corded chairs, including graphic and interior design, industrial design and sculpture,” explains Keep. Textile design by Meadmore and archival documents, Clement Meadmore: The art of mid-century design, photography by Christian Capurro Graphic design and jazz poster design by Meadmore, Clement Meadmore: The art of mid-century design, photography by Christian Capurro “Unlike his design contemporaries of the post-war period, Meadmore’s creative practice took its cues from Mondrian and European Modernism. Our research has uncovered many previously unattributed designs and sculptural works, that document Meadmore’s life in Australia between 1948 - 1963,” Keep explains. “The exhibition is an important retrospective showing a snapshot of time when mid-century tastemakers sought to turn Melbourne into a thriving and cosmopolitan city,” says Keep. Timeline of Meadmore’s work, Clement Meadmore: The art of mid-century design, photography by Christian Capurro Meadmore designed his first piece of furniture in 1951. It was a dining chair made from steel rod with corded seating and seatback, and formed part of an iconic thirteen-piece series known as Meadmore Originals. These and many other innovative chair designs, lamps and pendant lights were popular with Australian architects and interior designers in the 1950s to early 1960s. Meadmore was one of Australia’s most innovative, progressive industrial designers from the mid-century period. The large collection and exhibition offers a rare insight into Meadmore’s early design practice before he left Australia in 1963 to pursue his successful career as an artist and monumental sculptor. The exhibition at the Ian Potter Museum of Art at the University of Melbourne runs until March 3 2019. Read more news on design at Swinburne.
15 January 2019 14:55
https://www.swinburne.edu.au/news/2019/01/clement-meadmore-exhibition-a-culmination-of-ten-years-of-research/
https://www.swinburne.edu.au/news/2019/01/clement-meadmore-exhibition-a-culmination-of-ten-years-of-research/
Design
School of Design
Design
false
-
Swinburne alumna designs final Lunar New Year stamps
Swinburne alumna designs final Lunar New Year stamps
Australia Post has released two stamps designed by Swinburne alumna Dani Poon to celebrate the Year of the Pig.
Swinburne alumna Dani Poon has designed two stamps released by Australia Post to celebrate the Year of the Pig, the final set in the 12-design series celebrating the Lunar New Year. The $3 and $1 stamps featuring the Chinese calligraphic character for the Pig and its pictorial representation complete Australia Post’s current Lunar New Year 12-design series. Ms Poon has designed the stamps for each Lunar New Year for twelve years and says they give everyone the opportunity to send wishes of good fortune to family and friends, both in Australia and overseas. The stamp set is the final of a 12-design series celebrating the Lunar New Year. | Image: Australia Post “The Pig minisheet design shows that in ancient times a Chinese family home only seemed complete when it included a pig, because the pig’s plump appearance was seen as a symbol of happiness and plenty,” says Ms Poon. “We can see this in the fact that the Chinese calligraphic character for “family” incorporates characters for ‘roof’ and ‘pig’.” The Pig is the 12th sign in the Chinese Zodiac and those born during its year are said to be kind, patient and empathetic. Dani Poon designed the stamps to give everyone the opportunity to send wishes of good fortune to family and friends. Ms Poon has worked as a designer in Melbourne, Italy and Hong Kong, after graduating from Swinburne in 1998 with an Honours degree in graphic design (now communication design). Australia Post commissioned her in 2008 to design their Lunar New Year stamps for twelve years, the length of a Chinese Zodiac cycle. This year is her final year. In 2018, Ms Poon designed stamps to reflect the Year of the Dog.
11 January 2019 15:03
https://www.swinburne.edu.au/news/2019/01/swinburne-alumna-designs-final-lunar-new-year-stamps/
https://www.swinburne.edu.au/news/2019/01/swinburne-alumna-designs-final-lunar-new-year-stamps/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Leaving Traces 2 Symposium planned for Melbourne in 2019
Leaving Traces 2 Symposium planned for Melbourne in 2019
Symposium in Rennes examined how unofficial political voices are made manifest in the urban realm.
Associate Professor Flavia Marcello from Swinburne’s Centre for Design Innovation in collaboration with Carmen Popescu from the Laboratory of research GRIEF, at the Ecole Nationale Supérieure d’Architecture de Bretagne, Rennes in France, co-hosted Leaving Traces - Living Politics in the City, a symposium at Ecole Nationale Supérieure d’Architecture de Bretagne in November. Leaving Traces - Living Politics in the City was supported by Marion Hohlfedlt at the University of Rennes 2 and Ian Woodcock from RMIT’s Centre for Urban Research. The symposium in Rennes examined how unofficial political voices are made manifest in the urban realm. Marcello is an architectural historian and design teacher. She is a world expert on the architecture and urban planning of the Italian Fascist period and how we can still see its traces in the post-war period. As she wote in a Conversation article earlier this year, this led her to think more broadly about the material nature of political graffiti and what it means in today’s digital world. “From explicit forms of protest to furtive integration, attendees at the symposium were particularly interested in scenarios where distinctions between official and unofficial political discourses become blurred,” says Marcello. Vote for Berlusconi, stencil art in Trastevere, Rome, 2016 photography by Flavia Marcello. Marcello, Popescu and Woodcock will continue their collaboration next year when they host a Leaving Traces 2 symposium in Melbourne. They see public space and life in a city as being tightly connected, both in terms of governance and the actions of people. “Whether this is carefully designed or loosely articulated, public space shapes behaviour, providing a frame for the norms and rules of society,” explains Marcello. “At the same time, it implicitly invites transgression. From the agora of Athens to the central squares in the former Communist Bloc, from the streets of San Francisco to the paths in the favelas and other informal communities, public spaces are arenas of political expression, where official discourse and unofficial voices meet, overlap and come into conflict with each other,” she says. If official channels of political discourse are well-documented and built into the socio-political structures of modern society, Marcello and Popescu highlight that unofficial means of expression are less studied. Election posters in Shibuya, Japan 2017, photography by Flavia Marcello Leaving Traces - Living Politics in the City, discussed tactics used to make unofficial voices ‘audible’ and how political expression turns a city into a space of dynamic visuality. Leaving Traces 2 will continue the discussion in Melbourne where local scholars will have the opportunity to contribute and bring the discussion into an Australian context. By questioning a certain normality, Marcello and Popescu seek to stress the connections and tensions between officially shaped and designed public spaces and unofficially used, occupied or appropriated places. “By viewing political expressions, official or unofficial, in this way, we also want to question the very meaning of what is political,” says Marcello. Academics from architecture, urban studies, history, political, cultural or social studies and art were invited to engage with these broad concepts. “We called for papers focusing on the analysis of both historical and contemporary case studies exploring how the urban realm can shape, frame and even incite political discourse. Presentations can address a range of manifestations - posters, graffiti, art interventions to simple placement of objects, and immaterial practices - rallies, protests, soap boxes, public speeches and art-related events,” explains Marcello. “We had such an overwhelming response from scholars, artists and architects from around the world that not only did we have to extend the Rennes symposium over two days, we are preparing for Leaving Traces 2,” she explains. A call for papers for the Leaving Traces 2 Symposium 18-19 July 2019 in Melbourne will be posted on the Centre for Design Innovation website. Read more news on design at Swinburne
12 December 2018 16:25
https://www.swinburne.edu.au/news/2018/12/leaving-traces-2-symposium-planned-for-melbourne-in-2019/
https://www.swinburne.edu.au/news/2018/12/leaving-traces-2-symposium-planned-for-melbourne-in-2019/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Dynamics of Air - 10 Kinds of Fog, airflows and air awareness
Dynamics of Air - 10 Kinds of Fog, airflows and air awareness
Swinburne Dean of Design Professor Jane Burry and RMIT University Senior Lecturer in Industrial Design Dr Malte Wagenfeld have curated Dynamics of Air.
Swinburne’s Dean of Design, Professor Jane Burry and Dr Malte Wagenfeld, Senior Lecturer in Industrial Design, RMIT University have collaborated to curate Dynamics of Air with commissioned works by artists, designers, architects and engineers to capture the aesthetic, technical and phenomenal qualities of air in architecture, space and the environment. Professor Jane Burry, Dr Malte Wagenfeld, Dr Anna Prinz, German Ambassador to Australia, Sonja Griegoschewski, Goethe Institut Director, Gabriele Urban, Inflated Restraint by Phil Ayres in background. Photography by Mark Ashkanazy. The Dynamics of Air exhibition included works by Swinburne academics and researchers - Associate Professor of Architecture John Sadar and Gyungju Chyon; Swinburne PhD student and design engineer Daniel Prohasky and architect Mernoush Latifi. Guest artists and designers included Thomas Auer, Friedrich Von Borries, Edith Kollath, Breathe Earth Collective, Philippe Rahm, Enric Ruiz Geli, Cameron Robbins, Phred Petersen, Natasha Johns-Messenger, Chris Cotterell, Simon Watkins with works from Jane Burry and Malte Wagenfeld. Dynamics of Air exhibition with John Sadar and Gyungju Chyon’s, 10 Kinds of Fog on the right, photography by Mark Ashkanazy. “The main job of architecture is to modulate air. By encouraging an experiential approach to design and architecture that opens our minds to this idea, we can raise awareness of air without being preachy or threatening with issues of climate change and energy use,” says Professor Burry. John Sadar and Gyungju Chyon’s, 10 Kinds of Fog, explores how the depthless, formless phenomena of fog assumes different and distinct qualities. Through its form and inner structure, fog takes on different textures, weights, and movements: it can be wispy and buoyant, heavy and slithering; it can be bouncy, turbid, and tempestuous, or calm, eerie, contemplative, and still. Exhibition visitors with 10 Kinds of Fog by John Sadar and Gyungju Chyon, photography by Mark Ashkanazy. Mernoush Latifi’s, Make the Invisible Visible, displays techniques for real-time visualisation of microclimates and airflow around surfaces. The design of ceramic tiles with unique 3D shapes is based on airflow analysis. For real time visualisation of microclimates around the tiles, a mixed reality app was developed to visualise data sets from the embedded grid of sensors behind and in front of the tiles. 3D slipcast hollow ceramic wall tile system for passive cooling of buildings by Mehrnoush Latifi. Augmented reality reveals the thermal behaviour of the tiled wall by Mehrnoush Latifi. Schlieren Photography used to observe disturbances in air caused by textured surface by Mehrnoush Latifi with Phred Petersen. Daniel Prohasky’s Mini Interactive Wind Tunnel 2018 shows interactive computer simulations of wind and ways to incorporate wind data into design processes. Wind was visualised through animated colours and virtual smoke. (Technical collaborators Marcus Cher, Rafael Moya Castro and Akira Ode-Smith) Prohasky’s Pulsometer 2018 (pulsatile airflow generator) generates continuous (sinusoidal) pulses of airflow and the frequency of pulse is communicated through the equivalent colours of the visible light spectrum. (Technical collaborators – Professoe Jane Burry and Simon Watkins) Professor Burry’s, Air 2018 documents atmosphere in literature, philosophy and poetry in the early 19th Century. It includes statements from Wordsworth, the first poet to think and write about atmosphere and Mervyn Peake’s Gormeghast and The Great Smog of London published in the early 1950s. Literary atmospheres enter the conceptual and phenomenal lexicon in the late enlightenment with Luke Howard’s naming of clouds and the poetry of Wordsworth as “the pneumatic investigator who had gone furthest in his investigation of aerial poetics.” (Thomas H Ford, Wordsworth and the Poetics of Air) This series starts to dissolve the words into the variously charged atmospheres that the named authors have penned into existence and into readers’ sensory experience. Air 2018 by Jane Burry (with Swinburne Bureau). The Dynamics of Air exhibition was a major exhibition held at RMIT Gallery in partnership with the Goethe-Institut. Wind drawings by Cameron Robbins, drawn by a wind powered mechanical instrument, photography by Mark Ashkanazy. Climatic installation by Breathe Earth Collective investigates evaporation and conditioning of air with natural essences, photography by Mark Ashkanazy. Read more news on design at Swinburne
05 December 2018 10:26
https://www.swinburne.edu.au/news/2018/12/dynamics-of-air---10-kinds-of-fog-airflows-and-air-awareness/
https://www.swinburne.edu.au/news/2018/12/dynamics-of-air---10-kinds-of-fog-airflows-and-air-awareness/
Design
School of Design
false
-
Swinburne design takes centre stage in Hong Kong
Swinburne design takes centre stage in Hong Kong
Design at Swinburne is in Hong Kong for December’s Business of Design Week
Design at Swinburne University of Technology is in Hong Kong for December’s Business of Design Week (BoDW), hosting exhibitions, workshops and featuring speakers from the Swinburne community. Taking place 3-8 December, BoDW is Asia’s premier annual event covering design, innovation and brands since 2002. Melbourne is this year’s partner city to the event, providing an opportunity for Victoria’s design industry to showcase itself. “Business of Design Week is a fantastic opportunity for Swinburne to further build connections in Asia and for our staff and students to remain at the forefront of the design industry,” says Pro Vice-Chancellor, Faculty of Health, Arts and Design, Scott Thompson-Whiteside, also a member of the BoDW organising committee. “Swinburne continues to be a world leader in design, consistently ranked highly on the world stage by industry and educational institutions. This year the university ranked in the top 40 of the QS rankings world subject rankings for Art and Design. “We are able to achieve these results because of our innovative approach to design-learning, our strong industry engagement and the cutting edge research by our academic staff. Our staff are dedicated to producing future-ready graduates and future design leaders.” Swinburne events Throughout BoDW, Swinburne will be engaged in several activities in Hong Kong including: Design Inspire exhibition showcasing Swinburne Product Design Engineering and Industrial Design student outcomes in collaboration with the Technological and Higher Education Institute of Hong Kong; Swinburne School of Design exhibition in collaboration with Creative Victoria and National Gallery of Victoria, showcasing achievements in design at Swinburne from throughout 2018; DeTour Creative Festival workshops engaging students and industry with risk-taking and experimentation in design through zine making. Swinburne Master of Design students will also be undertaking a study tour to China coinciding with BoDW, participating in events around Hong Kong while strengthening their knowledge of design. Swinburne community The Swinburne community will also be represented during the week with several alumni and design leaders presenting at the BoDW conference, including: Dr Kenneth Cato AO, Chairman and Global Director at Cato Brand Partners Sonny Tilders, Creative Director at Creature Technology Company David Flack, Studio Manager at Flack Studios Business of Design Week takes place 3-8 December in Hong Kong. For more information see BoDW website.
27 November 2018 14:42
https://www.swinburne.edu.au/news/2018/11/swinburne-design-takes-centre-stage-in-hong-kong/
https://www.swinburne.edu.au/news/2018/11/swinburne-design-takes-centre-stage-in-hong-kong/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
School of Design invites industry and partners to Design Week
School of Design invites industry and partners to Design Week
Swinburne Design Week 2018 will showcase achievements across the School of Design.
Swinburne Design Week 2018 is an impressive showcase of graduate and postgraduate achievements across the School of Design. From 23-30 November the Swinburne School of Design opens its doors and invites industry, alumni, colleagues and future students to experience the best of design at Swinburne. Crowds mingle at last year’s School of Design exhibitions. Kicking off the week on Friday 23 November, the Design Factory Melbourne Gala and exhibition showcase celebrates outcomes co-created by diverse teams of students, researchers and industry partners, locally and globally. Design Factory Melbourne students Melika Kamali, Arusha Siddiqui, Michelle Rabino with proof of concept prototype for industry partner Access Health. For one week each level of Swinburne’s Advanced Manufacturing Design Centre (AMDC) in Hawthorn will feature exhibitions, showcases, presentations and launches across all design disciplines. Networking in the exhibition space at Swinburne’s AMDC. From Tuesday 27 November, the Bachelor of Design (Interior Architecture) (Honours) graduate exhibition will explore Future Habitats for Melbourne in 2068. Visitors can envisage what interior spaces will be fifty years from now. Works will consider people, population, community living and working, technology, transport, entertainment, health, hospitality, materials, mechanisms, communications, and learning, working roles and environments. The Bachelor of Design (Industrial Design) (Honours) and Bachelor of Engineering (Honours) with a major in Product Design exhibition will open on Wednesday 28 November. Thirty-five exhibits will showcase future products to capture the imagination across furniture, assistive products, safety equipment, automotive, outdoor equipment, toys, industrial equipment, construction systems and lighting. The exhibition will feature projects with major manufacturers from Hong Kong and China, illustrating Australia’s contribution to design at a global level. Joe LaDelfa, Ali Bahrman and Chia-Hung Lu, photography by Phoi San Ho, 2017 Industrial Design and Product Design Engineering exhibition. Wednesday 28 November is the invitation-only VIP Industry night and launch of architecture education and research at Swinburne. Vice Chancellor, Professor Linda Kristjanson AO, will open the event, followed by Dean of Design, Professor Jane Burry with a short presentation from the Architectural Design academic team and a panel discussion about the future of architectural and design education. Thursday 29 November is Bachelor of Design (Communication Design) (Honours) and Bachelor of Design with a major in Digital Media Design’s GradX show at Swinburne’s AMDC Sky Lounge. GradX celebrates what it means to be a Swinburne design graduate. It highlights diversity and individuality, transition to professional practice and industry readiness. Work developed for both industry and independent creative briefs across branded environments, communication design and photo media to digital media design and user experience design will be on show. Work on display at the 2017 Communication Design and Digital Media Design exhibition, photography by Jeanie Beh. Master of Design and Bachelor of Innovation and Design students will also be exhibiting over the week. The new Bachelor of Design (Architecture) will feature works by undergraduate students, postgraduate researchers and practitioners in a showcase event. To find out more, request a program or register for the VIP Industry night, keep an eye on the Swinburne Design Week website or contact the Dean of Design’s office at deanofdesign@swin.edu.au Read more news on design at Swinburne
26 November 2018 18:30
https://www.swinburne.edu.au/news/2018/10/school-of-design-invites-industry-and-partners-to-design-week/
https://www.swinburne.edu.au/news/2018/10/school-of-design-invites-industry-and-partners-to-design-week/
Design
Faculty of Health, Arts and Design (FHAD),School of Design,Current Students (Higher Education)
false
-
TOM @ University outcomes to be developed at Swinburne
TOM @ University outcomes to be developed at Swinburne
Idea outcomes from TOM @ University to be developed at Swinburne Engineering Practice Academy.
Teams of makers and people with disabilities from TOM @ University, an initiative of Tikkun Olam Makers, presented their final solutions last month at Swinburne. TOM Need Knowers (people with disabilities), Master of Occupational Therapy students and Design Honours and Master students at the Design Factory Melbourne joined forces over 12 weeks to create inspiring results. Three of the outcomes will be further developed by the Swinburne Engineering Practice Academy for undergraduate engineering students. “The TOM @ Uni program provided occupational therapy and design students the opportunity to work on a real problem alongside an individual, enabling them to gain inspiration and empathy, go through the ideation process and see the impact of their solutions first hand. For many students, what was believed to be impossible or unachievable has now become a reality. They are now equipped with the practical skills to create real impact with their clients, the community and within society,” says Ben Shemesh, Manager of Innovation and Development, Tikkun Olam Makers. “The student teams truly looked into the daily challenges Need Knowers were facing, gained valuable insights and produced great outcomes,” says Pauliina Mattila, Strategist, Design Factory Melbourne. Two teams working with Need Knower, wheelchair user Jules, to develop a better way for him to play bowls, and the wheelchair cleaning team with Need Knower, Mandy, have been selected to continue on with the Engineering Practice Academy. Jules uses his hands to operate a joystick to power his wheelchair. In order to play indoor bowls he needs a device clamped to his wheelchair with guidance and actuation to allow him to play and participate. “I enjoyed working with the students to find out what their ideas were to help me achieve my goals of playing ten-pin bowling. It may have been a good idea to meet up with the students while they were working on the prototypes so I could offer them more ideas during the process. I’m very excited with the prospect of production in the next steps. I’m sure the next group of students will do a great job with the prototypes the Swinburne students came up with,” says Jules. Two teams worked on creating new, enjoyable bowling experiences for Jules. They developed two ideas, a ‘bowling canon’ and a ‘bowling arm’ that will be scaled to help this happen. Model of the ‘bowling arm’ idea for Jules’ indoor bowling. Mandy is a quadruple amputee. Her challenge is to clean six wheels on her wheelchair. Students developed a wheelchair cleaning device idea that cleans her wheelchair independently using the power from her wheelchair to drive a cleaning mechanism. Students presenting the wheelchair wheel washing docking station for Mandy. Mandy and her husband Rod working on an idea to clean wheelchair wheels at Swinburne. The final ideas from the TOM @ University program are open source, documented and presented as working models, with a focus on the value they provide to the participating Need Knowers. For more information contact dfm@swin.edu.au +61 3 9214 6101 Read more news on design at Swinburne
26 November 2018 14:58
https://www.swinburne.edu.au/news/2018/11/tom--university-outcomes-to-be-developed-at-swinburne/
https://www.swinburne.edu.au/news/2018/11/tom--university-outcomes-to-be-developed-at-swinburne/
Design
Centre for Design Innovation (CDI),School of Design
false
-
Four ways our cities can cut transport emissions in a hurry
Four ways our cities can cut transport emissions in a hurry
Dr Hussein Dia says transport habits must change if we are going to cut emissions within the 12 years we have left to avoid disastrous global warming.
The UN Intergovernmental Panel on Climate Change recently warned that global warming could reach 1.5℃ as early as 2030. The landmark report by leading scientists urged nations to do more to avert an impending crisis. We have 12 years, the report said, to contain greenhouse gas emissions. This includes serious efforts to reduce transport emissions. In Australia, transport is the third-largest source of greenhouse gases, accounting for around 17% of emissions. Passenger cars account for around half of our transport emissions. The transport sector is also one of the strongest factors in emissions growth in Australia. Emissions from transport have increased nearly 60% since 1990 – more than any other sector. Australia is ranked 20th out of 25 of the largest energy-using countries for transport energy efficiency. Cities around the world have many opportunities to reduce emissions. But this requires renewed thinking and real commitment to change. Our planet can’t survive our old transport habits Past (and still current) practices in urban and transport planning are fundamental causes of the transport problems we face today. Over the past half-century, cities worldwide have grown rapidly, leading to urban sprawl. The result was high demand for motorised transport and, in turn, increased emissions. The traffic gridlock on roads and motorways was the catalyst for most transport policy responses during that period. The solution prescribed for most cities was to build out of congestion by providing more infrastructure for private vehicles. Limited attention was given to managing travel demand or improving other modes of transport. Equating mobility with building more roads nurtured a tendency towards increased motorisation, reinforcing an ever-increasing inclination to expand the road network. The result was a range of unintended adverse environmental, social and economic consequences. Most of these are rooted in the high priority given to private vehicles. What are the opportunities to change? The various strategies to move our cities in the right direction can be grouped into four broad categories: avoid, shift, share, and improve. Major policy, behaviour and technology changes are required to make these strategies work. Avoid strategies aim to slow the growth of travel. They include initiatives to reduce trip lengths, such as high-density and mixed land use developments. Other options decrease private vehicle travel – for example, through car/ride sharing and congestion pricing. And teleworking and e-commerce help people avoid private car trips altogether. Shanghai’s Hongqiao transport hub is a unique example of an integrated air, rail and mixed land use development. It combines Hongqiao’s airport, metro subway lines, and regional high-speed rail. A low-carbon residential and commercial precinct surrounds the hub. Layout of Shanghai Hongqiao integrated transport hub. | Peng & Shen (2016)/Researchgate, CC BY Shift strategies encourage travellers to switch from private vehicles to public transport, walking and cycling. This includes improving bus routes and service frequency. Pricing strategies that discourage private vehicles and encourage other modes of transport can also be effective. Policies that include incentives that make electric vehicles more affordable have been shown to encourage the shift. Norway is an undisputed world leader in electric vehicle uptake. Nearly a third of all new cars sold in 2017 were a plug-in model. The electric vehicle market share was expected to be as much as 40% within a year. An electric vehicle charging station in the Norwegian capital Oslo. | Softulka/Shutterstock Share strategies affect car ownership. New sharing economy businesses are already moving people, goods and services. Shared mobility, rather than car ownership, is providing city dwellers with a real alternative. This trend is likely to continue and will pose significant challenges to car ownership models. Uber claims that its carpooling service in Mumbai saved 936,000 litres of fuel and reduced greenhouse gas emissions by 2,662 metric tonnes within one year. It also reports that UberPool in London achieved a reduction of more than 1.1 million driving kilometres in just six months. UberPool is available in inner Melbourne suburbs. Trip must begin and end in this area. | Uber Improve strategies promote the use of technologies to optimise performance of transport modes and intelligent infrastructure. These include intelligent transport systems, urban information technologies and emerging solutions such as autonomous mobility. Our research shows that sharing 80% of autonomous vehicles will reduce net emissions by up to 20%. The benefits increase with wider adoption of autonomous shared electric vehicles. Autonomous vehicles can offer first- and last-kilometre solutions, especially in outer suburbs with limited public transport services. | Monopoly919/Shutterstock The urgency and benefits of steering our cities towards a path of low-carbon mobility are unmistakable. This was recognised in the past but progress has been slow. Today, the changing context for how we build future cities – smart, healthy and low-carbon – presents new opportunities. If well planned and implemented, these four interventions will collectively achieve transport emission reduction targets. They will also improve access to the jobs and opportunities that are preconditions for sound economic development in cities around the world. Written by Hussein Dia, Chair, Department of Civil and Construction Engineering, Swinburne University of Technology. This article is republished from The Conversation under a Creative Commons license. Read the original article.
26 November 2018 09:30
https://www.swinburne.edu.au/news/2018/11/four-ways-our-cities-can-cut-transport-emissions-in-a-hurry/
https://www.swinburne.edu.au/news/2018/11/four-ways-our-cities-can-cut-transport-emissions-in-a-hurry/
Design
Smart Cities Research Institute,Social Innovation Research Institute
Engineering,Sustainability
false
-
Kendo experience and smart technology create a winning combination
Kendo experience and smart technology create a winning combination
Specialised sensor systems embedded in kendo gear automates scoring systems and assists training and development
Kwangyul (Daniel) Jeong is a former professional kendoka in South Korea. He is researching how specialised sensor systems embedded in kendo gear can automate scoring systems and assist training and development for the sport. Kendo – a Japanese form of fencing with two-handed bamboo swords – was originally developed as a safe form of sword training for samurai. Mr Jeong’s research in smart equipment engineering and wearable technology design is supervised by Professor Franz Konstantin Fuss at Swinburne’s Centre for Design Innovation. Awarded a 6th dan kendoka this year and a four-time winner of the Victorian Kendo Championships, Mr Jeong is deputy head coach of the Australian National Kendo Team. The women's team came third at the recent 17thWorld Kendo Championships in South Korea. This is the first time an Australian team has placed since 1970. Kwangyul Jeong (centre) with the Australian National Women’s Kendo Team, at the World Kendo Championships. “I’m lucky I can apply my kendo experience into scientific practice,” Mr Jeong says. “My research involves the design of an automated scoring system for kendo. I believe that it can assist inexperienced kendo practitioners to judge if their attack is sufficient for scoring during their training. This scoring technology is for kendo practitioners with limited access to kendo instructors (or sensei, meaning teacher in Japanese) to be able to train in kendo correctly and effectively. “My aim is to incorporate smart technology to assist these kendo practitioners in their training. We have successfully developed a Smart Kendo Sword. This is a bamboo sword equipped with sensors to assess the grip pressure of kendoka in their neutral stance and attacking motions. The Smart Kendo Sword provides feedback to the practitioner about their movement,” explains Jeong. Jeong and his Smart Kendo Sword. “We have also developed the Smart Kote Glove. This is used to assess the scoring parameters of Dan (black belt) and Kyu (below black belt and ungraded) grade kendokas,” he says. Mr Jeong had access to many kendo resources when he started training in Korea. Learning correct movements as a beginner leads to faster kendo development and fewer injuries. “My goal is to utilise technology to assist people in their kendo journey,” says Mr Jeong. “In my most recent study, I developed the Kendo Men (head target) automatic scoring sensor by utilising pressure sensors,” he says. (Men is one of the five strikes in Kendoo – a long slashing stroke that falls on the centre-line of the head.) Mr Jeong with Smart Kendo Sword, gloves, headgear and kendo equipment. “The Men score is one of the most difficult to judge especially Men Aiuchi, when both players simultaneously hit,” he explains. “In a recent kendo match in Japan the time difference between player A and player B for this move was 0.009 seconds. This demonstrates how difficult it is for an umpire to judge who hitsthe target first. The Kendo Men automatic scoring sensor assists a judge in this kind of situation,” says Mr Jeong. Jeong’s kendo gear in the research lab at Swinburne. Mr Jeong has a busy schedule. He trains in the evening and has national squad training on weekends. “My research is aligned with my kendo training and I get new ideas during training and conduct experiments during the kendo practice,” he says. Read more news on design at Swinburne
26 November 2018 08:46
https://www.swinburne.edu.au/news/2018/11/kendo-experience-and-smart-technology-create-a-winning-combination/
https://www.swinburne.edu.au/news/2018/11/kendo-experience-and-smart-technology-create-a-winning-combination/
Design
School of Design,Centre for Design Innovation (CDI)
false
-
Swinburne recruits for women-only architecture role
Swinburne recruits for women-only architecture role
Swinburne has opened recruitment for a Professor/Associate Professor of Architecture role to female only applicants.
In a bid to increase the number of women in the science, technology, engineering, mathematics and medicine (STEMM) disciplines, Swinburne has opened recruitment for a Professor/Associate Professor of Architecture role to applicants who identify as female only. This is the first time the university has advertised a women-only position for architecture. The role will help the university – and the profession – move forward in terms of gender equity and representation. Architecture at Swinburne is strongly related to other design professions and is situated within the School of Design. The undergraduate course commenced in 2018, and Swinburne is preparing to launch postgraduate courses in 2019 – including the Master of Architecture, the Master of Urban Design and the joint Master of Architecture and Urban Design. While the architecture team has successfully brought its first student cohort through the first year of the course, opening the Master of Architecture has created an opportunity for additional staff members – and for the university to take a leadership role in addressing gender equity. Diversity, creativity, equity Pro Vice-Chancellor (Academic Innovation & Change) and Professor of Astrophysics Sarah Maddison has been leading the Science in Australia Gender Equity (SAGE) program at Swinburne and sees this role as one more step in the university’s gender equity journey. “As a university we are committed to providing diverse, secure, exciting and rewarding career paths for our future STEMM academic leaders,” says Professor Maddison. “This leadership role provides a visible commitment to developing women in architecture. “Women are largely under-represented in architecture; only 31 per cent of architects in Australia are women,” Professor Maddison says. “This is a pathway issue. While 50 per cent of architecture PhDs are women, we’re not seeing this translate into senior roles within academia or industry. “Critically, only 20 per cent of senior academics in STEMM disciplines in Australian universities are women, including in architecture and building. Swinburne is not immune, but we’re in a position to do something about it.” Swinburne’s women-only Professor/Associate Professor position in architecture is open until 16 November. For details or to apply visit the Swinburne careers page at SwinJobs. Swinburne and gender equity Swinburne is part of the Science in Australia Gender Equity (SAGE) pilot program to improve the promotion and retention of women and gender minorities in STEMM. The university has long been a champion of gender equity and for the past nine consecutive years has been recognised by the Workplace Gender Equality Agency (WGEA) as an Employer of Choice for Women. While Swinburne’s overall workforce gender balance is fairly evenly split, only 30 per cent of staff in the university’s STEMM areas are women – and only 31 per cent of these women are academic staff. The percentages decrease further as women progress up the STEMM academic ladder, with women comprising just 20 per cent of the university’s STEMM academic professoriate. Offering women-only roles in crucial STEMM areas is part of a wider range of activities undertaken by the university, including broad parental leave and flexible-work options, a STEMM-based school holiday program, and mentoring networks as well as the Vice Chancellor’s women-only research fellowships in STEM.
12 November 2018 13:40
https://www.swinburne.edu.au/news/2018/11/swinburne-recruits-for-women-only-architecture-role/
https://www.swinburne.edu.au/news/2018/11/swinburne-recruits-for-women-only-architecture-role/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
Professor Mark Burry AO elected Fellow of Australian Academy of Technology and Engineering
Professor Mark Burry AO elected Fellow of Australian Academy of Technology and Engineering
Founding Director of Swinburne’s Smart Cities Research Institute recognised for long track record of leadership and impact.
Swinburne’s Professor Mark Burry AO has been elected as a Fellow of the Australian Academy of Technology and Engineering (ATSE), recognising his long track record of leadership and impact across these disciplines. Professor Burry is the Founding Director of Swinburne’s Smart Cities Research Institute and a world leader in the “science of architecture”, pioneering the use of digital technology for construction and sustainable building processes. He is one of 25 experts to be elected to ATSE, an independent body of more than 870 Australian scientists and engineers seeking to enhance Australia’s prosperity through technological innovation. As an architect, Professor Burry says he is honoured to become a fellow of ATSE and looks forward to the opportunities that being part of a community of progressive thinkers and doers from various disciplines will bring. “Perhaps more than many other architects, I’m especially interested in how to construct sophisticated and exciting contemporary design that is achievable and affordable – and we look to science and technology to help make that happen,” Professor Burry says. “I’m hoping to explore how we can further engage with technological innovation to get building construction productivity up and costs down. I’m very interested in how productivity in the construction industry has flat-lined for at least three decades, yet in the manufacturing industries, science and technology has given pathways to all sorts of amazing innovation,” he says. Academy President Professor Hugh Bradlow welcomed the election of the 25 new fellows, saying that they will strengthen the Academy’s aim of ensuring that Australia remains a world-leading technology economy. “We’re motivated by what’s best for our nation’s future,” says Professor Bradlow. “And we do that by bringing together the brightest minds in technology, engineering and science to offer impartial, evidence-based, and practical advice.” As the Founding Director of Swinburne’s Smart Cities Institute, Professor Burry leads the development of a whole-of-university research approach to helping ensure that our future cities anticipate and meet the needs of all – engaged smart citizens for engaging with the design of smart cities. He will be formally welcomed into the Academy, alongside the 25 other experts, at its Annual Meeting in Melbourne on 23 November. Find out more about how the Smart Cities Research Institute is leading innovative transdisciplinary responses to the urgent challenges of digitised urban futures.
29 October 2018 14:47
https://www.swinburne.edu.au/news/2018/10/professor-mark-burry-ao-elected-fellow-of-australian-academy-of-technology-and-engineering/
https://www.swinburne.edu.au/news/2018/10/professor-mark-burry-ao-elected-fellow-of-australian-academy-of-technology-and-engineering/
Design
Faculty of Health, Arts and Design (FHAD),Smart Cities Research Institute
Technology,Engineering
true
-
Re:act video humanises truck drivers as they share experiences
Re:act video humanises truck drivers as they share experiences
Video features interviews with truck drivers and Swinburne Communication Design students
Re:act has released a new road safety video that demonstrates how an understanding of truck driving changes the behaviour of young drivers around trucks. The video features interviews with truck drivers and Swinburne Communication Design (Honours) students. The students took part in this year’s Re:act road safety behaviour change program, that focused on 18-25 year olds and their understanding of road safety around trucks. In the video, students talk about how Re:act opened their eyes to the challenges facing truck drivers. They relate how this improved their understanding and changed the way they behave on the road near trucks. Truck drivers also feature in the video and share the challenges they face on our roads. The video was developed by Melbourne creative agency Hard Edge with the support of Swinburne, Melbourne Metro Rail Authority, the National Road Safety Partnership program, Transport Accident Commission, the Australian Trucking Association, and Mr Smith Productions (video production). The content is shot in a controlled studio environment, with the focus firmly on capturing the experience and emotions of the interviewees. The purpose of the video is two-fold. “It’s designed to build empathy for truck drivers by humanising them and breaking negative stereotypes. This is achieved by their descriptions of frightening encounters they’ve had on the road in an emotive way that shows their more vulnerable and ‘human’ side. The student testimonies show how awareness and understanding can create behaviour change in young road users,” says Swinburne Communication Design Honours Course Director, Associate Professor Nicki Wragg. Initiated by Hard Edge, the Re:act program has been a collaboration over three years with the Swinburne School of Design involving Communication Design (Honours) students. From its inception design students have created campaigns educating young drivers about - Safer Use of Mobile Phones in Vehicles, Driving the Morning After Drinking, and this year, Safe Interaction of 18-25 Year Old Road Users With Trucks. The 2018 Re:act program gained the most traction due to the exposure and support the student works received at the ARRB Awards, the ATA Conference, student presentations to the ARRB Steering Committee and seminar for Transurban. Re:act is the brainchild of Hard Edge and Andrew Hardwick, Managing Director of Hard Edge. “The number of trucks on Australian roads is expected to double in the next twenty years and major projects, like the Melbourne Metro tunnel are increasing interactions between cars and trucks, particularly on city roads,” explains Hardwick. “We need creative and innovative ways to change attitudes and inspire drivers to change their behaviour around trucks,” he says. The video is a powerful way to humanise truck drivers, to make people see that trucks are not just big vehicles but have real people behind the wheel. It will be broadcast across Australia. Swinburne students shared their work at Swinburne’s Open Day in July this year and Melbourne Metro have asked them to share the program at their construction sites near the University of Melbourne and RMIT University. Read more news on design at Swinburne.
23 October 2018 08:00
https://www.swinburne.edu.au/news/2018/10/react-video-humanises-truck-drivers-as-they-share-experiences/
https://www.swinburne.edu.au/news/2018/10/react-video-humanises-truck-drivers-as-they-share-experiences/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
MIT Senseable City Lab and Smart Cities Research Institute collaborate
MIT Senseable City Lab and Smart Cities Research Institute collaborate
MIT Senseable City Lab and Swinburne Smart Cities Research Institute partner in student workshop
MIT Senseable City Lab and Swinburne Smart Cities Research Institute (SCRI) have partnered in a student workshop at the Swinburne Innovation Hub. Students were challenged to devise ideas to integrate digital media and information technology to benefit the future urban environment and urban renewal of Fishermans Bend in Melbourne, putting citizens first. The Masters and PhD students from Design Factory Melbourne, Swinburne Design across diverse disciplines presented their ideas in a public forum at Carme Pinós’s MPavilion. Students presenting their Ecosystem Eco Interface idea at MPavilion. Cross-disciplinary students working in teams at Swinburne Innovation Hub. MIT Senseable City Lab works with the Internet of Things (IoT) to anticipate aspects of urban life that impact on people and to find new approaches to urban development. Through design and science it develops and implements tools so we can learn about cities, and our cities can learn from us. SCRI investigates innovative approaches to address the challenges facing the world’s fast-growing cities, with a unique transdisciplinary socio-technical approach. The Institute spans the whole of the university, and brought together masters and PhD students from three faculties. “Each team fielded at least one ‘hustler’, ‘hipster’ and ‘hacker’, drawn respectively from the faculties of Business and Law (FBL) Health, Art and Design (FHAD) and Science, Engineering and Technology (FSET),” SCRI Director, Professor Mark Burry AO explains. “With a wide complement of business, creative, and technical skills, the participants quickly saw how powerful this combination is for generating ideas then strategising and translating them into credible outcomes in a very short space of time. We were amazed by the productivity. So were members of the public attending the pitch,” says Burry. “The Fishermans Bend site is a prime area to embed sensors into the city. If we could use smart technologies while we recreate this part of the city and reconnect it to Melbourne, it’s a huge opportunity to create a unique place that’s not just an extension of what we have elsewhere,” says Fabio Duarte, Research Scientist, MIT Senseable City Lab. Dr Fabio Duarte, Research Scientist, MIT Senseable City Lab at the Swinburne workshop. “In just two days most of the students came up with well-defined ideas. Some of them are very clever and easily implemented,” Dr Duarte says. Seven ideas were developed by the multi-disciplinary teams. The ideas are based on collecting aggregated data from Fishermans Bend for and by the people, living things, infrastructure and buildings at the site. Step Out, gamifying health with smart step illuminated tiles in public spaces - Cristobel Sierra Celis, Akhil Joseph, Meghrajsinh Mahipatsinh Mahida, Melanie Calleja. Civitas augmented gaming experience collects data for and about the community - Naeimeh Assadpour Zavehei, Ruth Lewis, Eugene Hawkins, Abdul Hakeem Fai zan Mohammed. Ecosystem Eco Interface, social ecological system for wetlands of Fisherman’s Bend - Melissa Pineda Pinto, Deanna Rocha, Liam Anderson, Jing Tan. “Fishermans Bend will go through a radical transformation and we are almost starting from the very beginning,” explains Dr Duarte. “We know some of the ideas can’t be implemented immediately but they could serve as inspiration for the development. If this is successful the ideas could be expanded to other areas in Victoria. The students have some great ideas,” he says. Team Lollipop robotic assistants guide people safely in the urban environment - Faisal Mahmood, Siddarth Girish Nair, Srdjan Kotush, Nataly Alejandra, Jeannie Foo, Arevalo Garcia. Spotlight smart community garden - Benjamin Britton, Tim Delaney, Jeeva Selina Ali, Kanika Shah. Compool choreographs serendipity with communal match making - Gokul Sidarth Thirunavukkarasu, Vaibhav Navinchandra Vaniya. Avoiding Automated Dystopia supports diversity, social engagement and access with digital portal points - James Hamilton, Irfan Ahmad, Melanie Phillips. MIT Senseable City Lab and Swinburne Smart Cities Research Institute are producing a book due for release in December, documenting the ideas for presentation to the Victorian government and urban development partners. Find out more about how the Smart Cities Research Institute is leading innovative transdisciplinary responses to the urgent challenges of digitised urban futures. Read more news on design at Swinburne.
22 October 2018 15:10
https://www.swinburne.edu.au/news/2018/11/mit-senseable-city-lab-and-smart-cities-research-institute-collaborate/
https://www.swinburne.edu.au/news/2018/11/mit-senseable-city-lab-and-smart-cities-research-institute-collaborate/
Design
Faculty of Health, Arts and Design (FHAD),School of Design,Smart Cities Research Institute
Sustainability
false
-
Playable art tram runs through Melbourne International Games Week
Playable art tram runs through Melbourne International Games Week
An interactive art tram designed by a Swinburne academic is running throughout Melbourne International Games Week 2018.
An interactive art tram designed by a Swinburne academic is dropping travellers directly at the hub of Melbourne International Games Week 2018, at the Melbourne Convention and Exhibition Centre. Running along Melbourne’s Route 96 from East Brunswick to St Kilda Beach, the tram has been designed by games and interactivity senior lecturer Dr Troy Innocent. The artwork features a geometric design that incorporates augmented reality technology. Using an app named Accelerando, a layer of animation and sound is revealed when the tram is viewed from the camera of a smartphone. The app plays a musical score as it detects fragments of the design. Image: James Morgan “The speed of the tram generates different musical compositions, whether it’s stationery, accelerating, at full speed, slowing to a stop and so on,” Dr Innocent explains. Creating playable cities While on a residency in Barcelona this year as part of his time as a Melbourne Knowledge Fellow, Dr Innocent began to develop his design. “I started thinking about how to make urban infrastructure playable; to take something functional and everyday and turn it into something poetic. So I proposed transforming a Melbourne tram into a musical score playable via augmented reality,” he says. Dr Innocent’s design was inspired by the language of geometric abstraction and how it blends with machine vision and code. “I’m interested in art that is readable by machines but that can also be appreciated by people. In this case, the inspiration was the concept of turning a 32.5-metre C2-class Melbourne tram into a visual music score – to literally make the tram playable.”
22 October 2018 13:36
https://www.swinburne.edu.au/news/2018/10/playable-art-tram-runs-through-melbourne-international-games-week-/
https://www.swinburne.edu.au/news/2018/10/playable-art-tram-runs-through-melbourne-international-games-week-/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
Swinburne Architecture Professor co-edits Flow
Swinburne Architecture Professor co-edits Flow
A new book documents the relationship between interior and exterior spaces
Professor of Architecture Mark Taylor’s recent book is the result of a long-term research project with Professor of Design History at Kingston University, Penny Spark and Elisabeth Murdoch Chair of Landscape Architecture at the University of Melbourne, Gini Lee. Professor Taylor co-edited Flow: Interior, Landscape and Architecture in the Era of Liquid Modernitywith Professor Spark and Professor Lee, along with Associate Professor, Department of Architecture and Landscape, Kingston University, Patricia Brown and researcher, Modern Interiors Research Centre, Kingston University, Patricia Lara-Betancourt as key editor. The editorial team is international and diverse, and offers a transdisciplinary approach to the subject. “After a conference in London in 2010, Penny, Gini and I had a conversation about the relationship between landscape and the interior and how architecture often gets in the way. I’d written a few papers about this relationship and we were looking for a way to advance a project about it. The idea is to take architecture out of the equation to start with and then bring it back at the end, rather than it foregrounding the work,” says Professor Taylor. “To support our aim to examine the interior/landscape relationship, we organised a conference held in two parts; the first, held in Kingston in the UK, focused on historical examples of the relationship, while the second, held in Melbourne, examined the same issues from a theoretical perspective,” Professor Taylor explains. For the Melbourne conference, invitations were extended to practice-based artists and designers to exhibit their work and be included in the publication. The works include video, live streaming, and a performance piece, all of which are detailed in the book. The book is a range of case studies and papers that explore the interconnectedness of the interior and exterior, on a literal and metaphorical level. It brings together historical, theoretical and practice-based approaches to consider central themes of nature, mobility, continuity and frames. Spread from Flow showing Bailey House by Richard Neutra circa 1947-48 with living area and outside patio, image supplied by Bloomsbury “The movement towards the interior and exterior as being a single environment comes from the advent of modernism, the opening up of walls and the creation of the ‘picture window’. It’s the idea of a seamless transition between outside and inside. A cultural and societal aspiration, the idea that you transition between the two,” Professor Taylor says. Spread from Flow showing photographic representations of interior images from the Adelaide city archive, by Gini Lee and Dolly Daou, image supplied by Bloomsbury “The significance of this research is that it positions interior, landscape and architecture in close relationship. It provides a perspective on architecture as an enabling instrument that creates and describes relationships between things. FLOW emphasises the ways in which they are interconnected and the movement between them, whether real or imagined,” says Taylor. Spread from Flow showing Tasman Bridge by Leigh Woolley and Northland Triptich by Colin Mc Cahon, image supplied by Bloomsbury “The interior has a strong connection to the exterior and this extends to much bigger ideas and notions of place, and how you enter and navigate through a space.” he says. Flow: Interior, Landscape and Architecture in the Era of Liquid Modernity is published by Bloomsbury. Read more news on design at Swinburne.
22 October 2018 08:00
https://www.swinburne.edu.au/news/2018/10/swinburne-architecture-professor-co-edits-flow/
https://www.swinburne.edu.au/news/2018/10/swinburne-architecture-professor-co-edits-flow/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
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Swinburne researcher contributes to the development of new 50 dollar note
Swinburne researcher contributes to the development of new 50 dollar note
Dr Karen Hughes has been the subject matter expert and leader researcher for the David Unaipon side of the new 50 dollar note.
Swinburne’s Dr Karen Hughes has led the research behind the design of one side of the new Australian 50 dollar bank note that features celebrated Indigenous Australian David Unaipon. A senior lecturer in Indigenous Studies and expert in Ngarrindjeri history, Dr Hughes has been researching the life of the revered elder of the Ngarrindjeri people. An inventor, scholar, author, lay preacher and activist, David Unaipon has featured on the 50 dollar note since 1995 to commemorate his extensive contribution to Australian society. Dr Hughes has been working with the Reserve Bank of Australia on the development of the note since 2015, and says the process has been extremely thorough. “Each side of every banknote has its own historian, ornithologist and botanist. You might not consider that so much research is involved, but it is a really extensive and rigorous process, in keeping with the banknote’s high public profile and longevity, and also its educative role,” Dr Hughes says. “The final design is the culmination of three years of historical research in which I searched most major national archive collections to find the narrative elements, text and images for the note.” New features The Reserve Bank of Australia officially released the note on Thursday 18 October. The note features a number of new designs, each of which has been carefully researched and selected by Dr Hughes to tell the story of David Unaipon’s contributions to the nation. “The narrative data has to be very specific because of the space limitations and the method by which the designs are placed onto the notes,” she says. Among the changes to the note is the addition of a black swan, known to be David Unaipon’s totem, or ‘ngaitji’. “In Ngarrindjeri culture, your ngaitji, or totem, is your closest relation, friend and protector through life. This can be an animal or other animate being, or an element, such as the wind or rain,” Dr Hughes says. There are also updated security features, an updated portrait of David Unaipon, the Point McLeay Mission church, native wattle flowers, and 18th century Ngarrindjeri shields representing technologies that inspired his inventions. “The microprint also includes excerpts of Unaipon's book, Legendary Tales of the Australian Aborigines,” Dr Hughes says. Dr Hughes’ research Dr Hughes is passionate about the importance of sharing Indigenous histories and culture and is pleased to have been able to contribute to this project. “The First Peoples of Australia’s stories and knowledge is foundational to the nation. David Unaipon was a great scholar, activist and inventor. He is one of many Indigenous Australians, some celebrated and many others whose lives are less public, whose contributions are vital to who we are as a nation.” Dr Hughes has been a researcher and lecturer at Swinburne for seven years and regularly works closely with the Ngarrindjeri community in South Australia. Currently, she is working on a research project in association with the University of Sydney, looking at the fate of the children born to Indigenous mothers and American servicemen stationed in Australia during World War Two, funded by the Australian Research Council.
18 October 2018 13:04
https://www.swinburne.edu.au/news/2018/10/swinburne-researcher-contributes-to-the-development-of-new-50-dollar-note/
https://www.swinburne.edu.au/news/2018/10/swinburne-researcher-contributes-to-the-development-of-new-50-dollar-note/
Design
false
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Stay alive, and if something moves, shoot it: one year of phenomenal success for Fortnite
Stay alive, and if something moves, shoot it: one year of phenomenal success for Fortnite
Dr Steven Conway analyses why this online game has made such an enormous impact.
The online videogame Fortnite Battle Royale was launched just a year ago in September 2017. Since then the game had amassed 125 million active players by June and made US$1.2 billion (A$1.6 billion) for the developer, Epic Games. It has also been linked to 200 divorces and a case of aggravated harassment where a 45-year-old man threatened to kill an 11-year-old boy after losing to him in the game. Love it or hate it, the question begs: How has Epic Games created a game with such enormous social, economic and psychological impact? Just shoot! Fusing elements from recent hits such as Minecraft, PlayerUnknown’s Battlegrounds and Overwatch, the game is deceptively simple: up to 100 players are placed in a constantly shrinking environment, and the objective is to be the last person (or team) standing. Think Hunger Games and you’re not too far off. Fortnite’s success rests on three principles: accessibility, sociality and spectacle. Accessibility The game is completely free to play and, as of August 2018, it’s available on all major platforms, from consoles to phones to PCs and Macs. It’s very simple to play: stay alive, and if something moves, shoot it. It can also be played in very short bursts. The average match goes for 20 minutes or so. Just shoot! Flickr/Whelsko, CC BY The free-to-play business model emerged in the late 1990s as the internet drove a social and cultural shift in how we view and use entertainment. People were now less inclined to pay for a one-off, single piece of static content, and more inclined to invest in an evolving library of content accessible at any time. This shift is often described as a move from offering a “product” to offering a “service”. Game makers were, as ever, early adopters, providing downloadable content to users for a fee. Downloadable content became commonplace as broadband availability and smartphone adoption grew. Soon developers were releasing “freemium” games with “in-app purchases”: you can play the game for free, but gain a bunch of advantages by paying. But converting players to purchasers is a tough business: a 2% conversion rate is not uncommon. Fortnite has managed an astonishing 68.8% conversion rate, with the regular spend being US$85 (A$117). More pointedly, the average spend is 850 “V-bucks”, Fortnite’s in-game currency. This is a classic trick of psychology known by theme parks and banks: exchange real money for something more abstract (like Disney dollars or payment by card tap), and the pain of parting with your hard-earned cash lessens. Epic is also very active here, listening to the player base and constantly updating content to tease more V-bucks from players’ wallets. Sociality This leads into the second principle: Fortnite is built to be social. When you pay, you’re mostly buying cosmetic items, such as a new outfits, dances or taunts. These items are not about providing gameplay advantages, but about players wanting to express themselves. More than 70 million views! Accessibility once more helps. Since the game is free and on every major platform, users can play with friends whether on their phone, console or computer. Enough play time and customisation generates a sense of psychological investment, as a person’s sense of identity becomes linked to the game. At this point Fortnite can activate psychological triggers, often based on negative emotions such as “FOMO” (“Fear Of Missing Out”), by sending notifications on your platform of choice whenever a friend starts or joins a game. This pushes players to engage with the game once again. Of course, the downside to this is feeling compelled to play even at inopportune moments. Thus a US survey reports that 35% of students have skipped study to play, and 20.5% of workers have missed work for Fortnite shenanigans. And, as I said earlier, an addiction to Fortnite and other online games has been mentioned in 200 divorces in the UK. Spectacle It’s well known by game developers that, for a player, losing a match is a horrible moment. So if you’re going to make your player fail, make failure fun. Building on sociality, Fortnite makes failure a spectator sport. When you’re eliminated, you get to watch your team mates, or the player who eliminated you. The fun of failing. This is of course a prime opportunity for your antagonist to unleash their latest and greatest dance moves and taunts, but it also makes for great streaming material. One YouTube and Twitch streamer, Tyler “Ninja” Blevins, has made up to US$500,000 a month streaming Fortnite sessions from his bedroom (even playing with hip-hop royalty Drake, setting a new Twitch viewer record). He’s so popular that he is due to appear on the front cover of the October issue of the ESPN sports magazine. The game’s cartoonish style drives a lot of this spectacle, allowing a broad spectrum of fashion choices: from tooled-up cyberpunk ninjas firing lasers, to tomato-headed grenadiers shooting “boogie bombs” which make enemies dance upon contact. This again reinforces accessibility and sociality, as everyone feels welcome, and everyone finds something expressive of themselves. How long can a Fortnite last? The question now, as with any gaming trend, is how long this can last. While games such as Pokémon Go often have blockbuster openings, revenue quickly declines. One year on from launch, Fortnite is still going strong – at the moment –and releasing on Android in August opened up a whole new market. Whether Epic Games can keep up the pace, offering fresh new content appealing to its player base, is an open question. How long will people keep shooting things on Fortnite? Flickr/Whelsko, CC BY Written by Steven Conway, Senior Lecturer - Games and Interactivity, Swinburne University of Technology. This article is republished from The Conversation under a Creative Commons license. Read the original article.
24 September 2018 08:16
https://www.swinburne.edu.au/news/2018/09/stay-alive-and-if-something-moves-shoot-it-one-year-of-phenomenal-success-for-fortnite/
https://www.swinburne.edu.au/news/2018/09/stay-alive-and-if-something-moves-shoot-it-one-year-of-phenomenal-success-for-fortnite/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
Mosquito zapper recognised by James Dyson Awards
Mosquito zapper recognised by James Dyson Awards
A Swinburne student’s unique device to help stop the spread of mosquito borne diseases has been recognised by the James Dyson Awards.
Swinburne product design engineering student Paul Eterovich’s unique device to help stop the spread of mosquito borne diseases has been recognised by the James Dyson Awards. Mr Eterovich was named one of two Australian runners-up in the prestigious design competition for his Indra Mosquito Zapper. The Indra Mosquito Zapper is an insect control device made from recycled materials. Powered by wind and solar energy, the device creates electricity to zap and kill mosquitoes. Once fully charged, the stored electricity also creates light and can charge electronic devices through its USB port. “I feel a sense of accomplishment to have my design acknowledged,” says Mr Eterovich. “There have been many challenges along the way, but my hard work and passion for creating have enabled me to overcome them. The recognition of the James Dyson Award is a great opportunity to reflect on what I have achieved so far.“ Real-world impact Mr Eterovich was inspired to tackle the endemic problem of mosquito borne diseases (MBDs), such as malaria and dengue fever, which are a major public health problem in India, particularly to street vendors. As much as 65 per cent of the population at risk of becoming infected with malaria in South-East Asia reside in India. And between August and September 2015, there were 2,818 cases of dengue fever in Gujarat. Existing methods to prevent MDBs can be inconvenient and toxic. The objective of Mr Eterovich’s design project was to provide people with an inexpensive and safe way to decrease the number of mosquitos and other pests where they work and live. The Swinburne experience His achievement follows Swinburne’s success last year in which a student team was shortlisted for the international James Dyson awards. “Studying at Swinburne has strengthened my ability to take a design from an abstract concept to a manufactured product,” says Mr Eterovich. “I have learnt solid design skills from teachers who are familiar with current industry practices and techniques and had access to a well-equipped workshop with knowledgeable and helpful staff.”
12 September 2018 15:26
https://www.swinburne.edu.au/news/2018/09/mosquito-zapper-recognised-by-james-dyson-awards/
https://www.swinburne.edu.au/news/2018/09/mosquito-zapper-recognised-by-james-dyson-awards/
Design
Faculty of Health, Arts and Design (FHAD)
Engineering
false
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Inaugural TOM @ University launches at Swinburne
Inaugural TOM @ University launches at Swinburne
In a new initiative, Tikkun Olam Makers and Swinburne have begun a first of its kind TOM @ University
In a new initiative, Tikkun Olam Makers and Swinburne have begun a first of its kind TOM @ University. The program launched on 3 August, and involves a two-stage process, using Design Factory Melbourne and Engineering Practice Academy capability. Tikkun Olam Makers or TOM is a global movement of innovators dedicated to creating affordable solutions for the needs of people with disabilities worldwide. Established in 2014, TOM is a strategic initiative of the NGO, Reut Group, based in Tel Aviv, Israel. TOM brings together makers, engineers, designers and innovators and solves problems with ‘Need-Knowers’, people with a deep understanding of a specific disability challenge. In this way, affordable solutions for real-life challenges are developed. TOM and Swinburne hosted successful TOM Makeathons in 2016 and 2017. Need Knower and students working together at TOM @ University | TOM Melbourne TOM @ University combines the TOM process with teams of makers and Need-Knowers, with interdisciplinary, human-centred design and engineering curriculums. Design Factory Melbourne and the newly established Engineering Practice Academy will partner with TOM @ University to deliver the first iteration of the project. Measuring walking aid at TOM @ University | TOM Melbourne During the first twelve weeks of the project, Master of Occupational Therapy students will work alongside design honours and masters students studying at the Design Factory Melbourne. The final ideas from the Design Factory Melbourne program will be open source, documented and presented as design demonstrators or working models, with a focus on the value these design solutions provide to users. Swinburne’s Engineering Practice Academy for undergraduate engineering students is partnering on the second phase of TOM @ University to further develop four to five ideas to a more tangible outcome in 2019. Vision Australia, Scope and Solve Disabilities Solutions represent the Need Knower groups participating in the program. Some participants were involved in the TOM Makeathons at Swinburne. There are eight challenges that Need Knowers and the students will respond to. One Need Knower from 2016 and 2017 Makeathons is a quadruple amputee with prosthetic arms and legs. Her challenge for TOM @ University is based around her wheelchair. When she uses her wheelchair in a garden or on dirt roads, her husband needs to clean all six wheels manually with a brush. This task is difficult without support. She’d like to create a wheelchair docking station, like a car wash, where you roll in the wheelchair, and the wheels are cleaned. Another Need Knower is a Communication Access Assessor at Scope. In 1985 he suffered from an acute asthma attack, causing an Acquired Brain Injury (ABI) as well as Action Myoclonus. His ABI has impacted his speech and mobility. He finds it very difficult to put on compression support stockings without assistance and needs a way to assist him to do this. Need Knowers and students sharing problems and ideas at TOM @ Melbourne | TOM Melbourne Students will collaborate with Need Knowers in multidisciplinary teams of up to five people to unpack each problem, then co-create and design interventions through prototyping. As per TOM guidelines, each prototype must be a low-cost solution, capable of being made from readily available materials. Read more news on design at Swinburne.
31 August 2018 08:51
https://www.swinburne.edu.au/news/2018/08/inaugural-tom--university-launches-at-swinburne/
https://www.swinburne.edu.au/news/2018/08/inaugural-tom--university-launches-at-swinburne/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Design sprint teaches students to problem solve in five days
Design sprint teaches students to problem solve in five days
Design Sprint at Swinburne finds ways to improve engagement with superannuation and investments.
In a five-day Google Ventures ‘design sprint’ at Swinburne, digital design studio MASS and financial services company Netwealth worked with students to find ways to improve the average Australian’s engagement with their superannuation and investments. Tim Kotsiakos, Director at MASS and Andrew Braun, General Manager (Marketing) at Netwealth, signed a Memorandum of Understanding with Swinburne and hosted the sprint in the Swinburne Innovation Precinct. “A sprint differs to other problem-solving techniques. It allows many ideas and different voices to be heard. Sometimes the best ideas can come from the most unlikely sources. It also allows you to reframe a design problem into an opportunity by rephrasing it as a, ‘How might we…’ statement” says Tim Kotsiakos, Director at MASS. Team Not Nuts categorising and discussing and their ‘How Might We’ cards. Working in creative teams, final year students from across the university collaborated with business analysts, financial advisers, marketing specialists, design experts and design educators, mapping out solutions to their “How might we…” propositions. The six groups in the Swinburne sprint developed prototypes, presented them on day four, and tested, evaluated and refined them all on day five with their target groups. The final prototypes were presented to a panel from Netwealth. Design sprinters listening to the presentations from industry experts. With ten minutes to present and time afterwards for questions and comments, six groups created six solutions. All prototypes were developed using technology such as digital design platform, Marvel and collaborative interface design tool Figma introduced at the design sprint. The sprint allowed groups to explore important questions to research and share. Netwealth staff were embedded in the groups and staff from Netwealth and MASS were available every day to facilitate questions. Discussing ideas at the sprint. Students from different disciplines contributed knowledge and skillsets to their groups. They developed a schedule of questions to ask their target audience on the final day. Each group was responsible for recruiting people to test their prototypes. “Testing the prototypes was an aspect that the students enjoyed the most,” says Associate Professor Nicki Wragg, Course Director, Communication Design Honours, Swinburne School of Design. The sprint taught students a new method or process of design. They learnt collaboration skills and how to effectively work in a group. “At the start of the sprint, a set of values was outlined for the five days. All input was valued. Any question was considered a good question. Everybody was listened to,” explains Associate Professor Wragg. “The sprint process gives you the opportunity to try an idea, test and evaluate it quickly with input from the correct demographic. This avoids toiling away individually on a project without input from a client or target audience, only to find that your solution misses the mark. “It formalises an effective process for working in groups and how to ask questions that are respectful and robust. It teaches how to frame a design problem positively. It allows different dynamics to emerge in a group rather than letting dominant personalities lead." Read more news on design at Swinburne.
31 August 2018 08:15
https://www.swinburne.edu.au/news/2018/08/design-sprint-teaches-students-to-problem-solve-in-five-days/
https://www.swinburne.edu.au/news/2018/08/design-sprint-teaches-students-to-problem-solve-in-five-days/
Design
Faculty of Health, Arts and Design (FHAD),School of Design,Innovation Precinct
false
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Digital projection lights up Melbourne Knowledge Week
Digital projection lights up Melbourne Knowledge Week
Massive digital projection forms a vibrant centrepiece at Melbourne Knowledge Week 2018.
A massive digital projection onto 25 metres of orchard tree netting at North Melbourne’s Meat Market formed a vibrant centrepiece at Melbourne Knowledge Week 2018. Innovation Fellow at the Swinburne Innovation Precinct and lecturer in Digital Media Design, James Berrett, was approached by Grimshaw Architects to design the projection. Melbourne Knowledge Week is the City of Melbourne’s unique annual festival for a smart and innovative city where Melburnians are invited to explore ideas for the future together. Grimshaw’s brief was to design a large-scale digital projection for the net structure to support the theme of Watershed, referencing water and the movement of ideas. The netting spanned over 25 metres with a width of 10 metres and height of eight metres. Mr Berrett worked with classic watershed mathematics and cellular imaging to inform the projection design. Watershed image processing has many practical uses in Magnetic Resonance Imaging, cellular biology and scientific studies of fish eggs. Watershed imagery. “Watershed mathematics are used in image processing to segment features by representing pixel brightness as height, creating a topographic map of an image. By ‘mathematically flooding’ the map, lines that run along the tops of ridges are highlighted, helping to identify discrete features,” Mr Berrett says. He created a projection simulation space based on Grimshaw’s plans, and using a section of net he tested how digital light projection would work. Lab simulations of projection onto netting at Swinburne. “The simulation enabled us to plan how many projectors to use, the optimal position and types of projectors and lenses needed to cover the net surface,” Mr Berrett says. Simulations determined that video footage looked too busy and unclear and content made up of particles looked noisy and bland. This clarified that the design needed to use the layered holographic effect produced by projections onto the net. Animation speed was also set so it created atmosphere without being too distracting. “The use of negative space was key to give the content a layered holographic look,” says Mr Berrett. Projection phase showing negative space and a layered holographic. Mr Berrett wanted to create something new and completely different that had substance and would make people ask questions and provide intrigue. Watershed transformation does not typically move. The watershed movement was designed to be subtle and slow and was calculated using randomly generated variables. The movement of blue cell shapes in the projection showcases the lower point of the cells as a red dot. This is then filled with colour and light to the point at which it meets joining cells. Blue cell shapes in the projection. The Watershed work transformed the event space and connected the events and discussions during the Melbourne Knowledge Week program. The project involved multiple collaborators including Swinburne, Grimshaw Architects, City of Melbourne, Supa Dupa Industries, Arup, Melbourne Knowledge Week, the Meat Market, and Melbourne Water. Read more news on design at Swinburne.
30 August 2018 10:18
https://www.swinburne.edu.au/news/2018/08/digital-projection-lights-up-melbourne-knowledge-week/
https://www.swinburne.edu.au/news/2018/08/digital-projection-lights-up-melbourne-knowledge-week/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Designers at Swinburne create 3D printed pendant lights for LimeLite
Designers at Swinburne create 3D printed pendant lights for LimeLite
After designing 3D printed track lights for LimeLite, Swinburne designers create pendant lights.
After recently designing a range of 3D printed track lights for LimeLite, Swinburne designers have partnered with the manufacturer again to create a stunning range of pendant fittings. The pendant collection is designed for manufacture using 3D printing technology. LED technology is used to provide a large range of lighting temperatures with remote control. The lights have been designed as statement fixtures, featuring complex geometries not usually possible with traditional manufacturing processes used in the lighting industry. Each light is made using two to three 3D printed parts. Geo Arc pendant light. Lantern pendant light. Product designers at the Centre for Design Innovation created a total of five lights for LimeLite. Three are currently in production and are commercially available. The lights are manufactured on the same 3D printer production lines developed for LimeLite’s track lighting range. “As a manufacturing method, 3D printing allows you to create aesthetically complex geometries that are otherwise unachievable with traditional manufacturing technology. Products are designed with inbuilt features, reducing or replacing the number of fixtures required, such as screws and bolts,” says Chair, Interior Architecture and Industrial Design at Swinburne School of Design, Professor Blair Kuys. “After designing the first lighting range we were more conscious of creating forms that could be printed with minimal support structures. This was crucial in reducing the assembly time and labour required for post-processing each 3D print, allowing the client to price his products more competitively,” says Professor Kuys. Geo sphere pendants, image by Centre for Design Innovation The pendants were designed to have a timeless style and aesthetic as a stand-alone statement fitting. The lights appear delicate and fragile but they are robust and can withstand the rigours of everyday use. The intricate forms would usually be complex to manufacture using traditional methods. “To experiment and test the illumination patterns created by the intricate forms, we used simple tests, shining a light through a random 3D print to see how the print would glow or how the light would catch on an edge. We would then try to replicate that effect in the designs,” says Professor Kuys. Testing prototype pendant lights. Using 3D printing technology makes achieving this level of geometric complexity much easier. The pendants are more lightweight than most pendants of a similar size as they don’t contain cumbersome metal or glass components. “The 3D printer's ability to print these complex geometries allows us to integrate multiple parts into a single component. We can produce and explore forms and aesthetics, that are difficult to produce and generally avoided in conventional manufacturing. We were not trying to design something to be complex for complexity’s sake, instead we were trying to fully capitalise on the capabilities of a 3D printer,” explains Professor Kuys. Cut-away drawing of Lantern pendant. The maximum size the design team were working with for a single printed part was 190 x 160 x 160 mm. To create pendants that were big enough, most of the designs are created in two parts to create this volume. The pendant colours are the original material colour in white or black, no finishes need to be applied. The surfaces are easily cleaned. Read more news on design at Swinburne.
28 August 2018 13:28
https://www.swinburne.edu.au/news/2018/08/designers-at-swinburne-create-3d-printed-pendant-lights-for-limelite/
https://www.swinburne.edu.au/news/2018/08/designers-at-swinburne-create-3d-printed-pendant-lights-for-limelite/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Swinburne Design and Boroondara Council improve customer experience
Swinburne Design and Boroondara Council improve customer experience
Swinburne develops information design tools to improve customer experience at Boroondara Council
In July 2017 the City of Boroondara in Melbourne’s inner east was exploring better ways to understand its customers. After a comprehensive series of workshops, data collected highlighted significant life events typically experienced throughout the Boroondara community. Swinburne researchers Dr Christopher Waller, Associate Professor Simone Taffe and Associate Professor Kurt Seemann, Director - Centre for Design Innovation, were engaged to work on the council’s Customer Experience Improvement Strategy. The aim of the research was to investigate how the data obtained from the workshops could be optimised through customer journey mapping. Customer journey maps are now a popular tool to communicate customer experience within human-centred service design processes. Journey maps use information design to create tables, charts, timelines or diagrams to communicate aspects of a customer’s experiences with a service in user-friendly ways. Led by Dr Waller, Swinburne researchers used co-design and information design research methods, supported by evidence-based research, to design visual customer journey mapping tools for use in the local government context by the City of Boroondara. This Visualising Community Experiences project has resulted in the development of unique customer journey mapping tools and toolkits for the City of Boroondara. Dr Waller and his fellow researchers developed a set of nine Customer Life Event Guide journey map designs and a reference guide. Customer Life Event, journey map design supporting residents purchasing a new home. The project has addressed the questions of how customer journey mapping tools can improve the customer-centricity of council processes and how the design of these mapping tools can effectively communicate customer voices throughout an organisation and across time. “We focused on creating customer journey mapping tools that would most effectively communicate the Boroondara ‘Voice of the Customer’ and the final design for each Customer Life Event Guide uses two complementary maps for each of the nine Customer Life Events,” says Dr Waller. "During co-design workshops where we worked with council staff to design maps and tools together, it became apparent that both a circular diagram and a table with cross referencing would work best." Sharing ideas in co-design workshops with Swinburne researchers and Boroondara Council staff. The circular customer-centric diagram communicates a higher-level mapping of customer life events, supported by a reference table with more detail about customer steps, goals, plus positive and negative experiences (or pain and delight points). A further outcome is a template for the Customer Life Event Guides for future use by council. Customer Life Event, journey map supporting education. Understanding the customer viewpoint and putting the customer at the centre, visually and symbolically, was crucial to the research for communicating insights into the customer viewpoint and bringing the customer voice to life across the organisation. The project outcomes have demonstrated the potential for journey mapping tools to assist council teams to transform Boroondara’s organisational approach towards a more customer-centric culture and develop service design processes that lead to improved experiences for their community. Read more news on design at Swinburne.
16 August 2018 07:00
https://www.swinburne.edu.au/news/2018/08/swinburne-design-and-boroondara-council-improve-customer-experience/
https://www.swinburne.edu.au/news/2018/08/swinburne-design-and-boroondara-council-improve-customer-experience/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Food democracy and socially responsible design features in new book
Food democracy and socially responsible design features in new book
Food Democracy, Critical Lessons in Food, Communication, Design and Art raises important questions
Based in Swinburne’s Department of Communication and Digital Media Design, Dr Oliver Vodeb develops research in socially responsible design. Dr Vodeb is also the Creative Director of Memefest, and Principal Editor and Curator of the Memefest Festival of Socially Responsive Communication, Design and Art. His book Food Democracy, Critical Lessons in Food, Communication, Design and Art was released earlier this year. For Dr Vodeb design is 'inter/extradisciplinary'. He investigates what he calls “urgent and burning issues in times of radical uncertainty and environmental degradation”. Dr Oliver Vodeb In Food Democracy, Dr Vodeb looks at food systems defined by production, distribution, consumption and representation. He asks how we can think and create socially responsive design, communication and art that counters the role of the food industry as a machine of consumption. “Food systems are largely taken over by corporations and operate at the expense of people and our natural environment,” says Dr Vodeb. His book develops a radical critique and proposes alternative socially responsive models and strategies for design theory and practice. The book is relevant to academics and professionals in design, advertising and related professions. It also includes unique cooking recipes, to help readers understand the arguments in the book on a deeper level. “My previous book discussed debt as an instrument for social control and explored the role of design in this. The research we have done on debt with the Memefest network in previous years led us to food,” Dr Vodeb explains. “Food is one of the most fundamental aspects defining our human condition. While there is an emerging sub-discipline of food design, inter/extradisciplinary research into design’s relation to food is missing,” he says. Dr Vodeb says the fact that design contributes so much to the state of our food ecologies shows it has a role as a technology in ‘defuturing’. A subject discussed in the book. “Our research addresses design issues largely from the perspective of communication. The three-stage methodology and research culture, developed at Memefest, produces unique research insights and impacts,” Dr Vodeb says. The book is the result of five years of work and involved more than 200 people from 27 countries. Food Democracy, Critical Lessons in Food, Communication, Design and Art, edited, curated and written by Dr Vodeb, is published by Intellect Books. Memefest.org features a preview. Read more news on design at Swinburne.
15 August 2018 08:00
https://www.swinburne.edu.au/news/2018/08/food-democracy-and-socially-responsible-design-features-in-new-book/
https://www.swinburne.edu.au/news/2018/08/food-democracy-and-socially-responsible-design-features-in-new-book/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Swinburne hosts first Australian node in IAAC Global Summer School
Swinburne hosts first Australian node in IAAC Global Summer School
Students push limits of how systems in nature can adapt to create man-made complex geometries
In early July, from Barcelona and New York to Muscat and Tehran, enterprising researchers and students in the Institute for Advanced Architecture of Catalonia (IAAC) Global Summer School nodes pushed boundaries in international workshops with the theme: Digitize. Swinburne’s architectural design program has introduced Australia into this exciting network. Australian participants from design and architecture pushed the limits of how design systems in nature can be adapted to create man-made complex geometries. Under the local banner of, “Bio-digital futures: from coding to cultivating”, the southern hemisphere Summer School was hosted in a chilly mid-Winter in Melbourne. Working with experimental bio-digital futures. “We represented Australia in the IAAC, Global Summer School network. The progress and outcomes were shared with sixteen cities,” explains Canhui Chen, Australia’s IAAC Global Summer School Lead and Lecturer in Architectural Design at Swinburne. The network shared presentations by academic leaders in various fields. The Summer School’s focus of exploration was the network-like root systems of mushrooms, botanically known as mycelium. Participants explored the relationships between biology and architecture by asking, 'How can we work with nature to grow our designs? Can we harmonise our digital designs with nature’s design systems?' Mycelium spores, assembled net and assembled form. Manipulating form parameters. “This isn’t new at all, but what we attempted to do was to push the limits of how design systems in nature can be adapted and applied to complex man-made geometries. Geometries that are created by computational designs and digital fabrication techniques,” explains Mr Chen. Summer School participants learnt by doing rather than by thinking and theorising. This introduced a liberating way to come up with ideas quickly. Fabrication of moulds and cultivation of mycelium. “When participants encountered problems, they solved these on the go and learnt to improvise their process. This ‘doing’ process is particularly important, and tactility offers an experiential dimension to learning,” says Mr Chen. Mycetopia, a remediation of a contaminated site. Participants learnt by “reflection-in-action” by provoking questions about their process and objectives. Participants engaged with their own design intuition and design decisions. “This is like asking someone to have an internal dialogue with themselves to reveal how and why they design the way they do,” he says. Biodegradable mycelium acoustic panels by Leixin Du Lesley and Pak Ying Tsang Kriztal. “We engaged students in critical thinking, creative explorations, problem-solving technical issues and pushed them outside their comfort zone so they would learn and grow as designers,” Mr Chen says. The fun of working together and peer encouragement to take risks in design, pushed students to achieve extraordinary outcomes within two weeks. Final student concepts The combination of participant interests, Swinburne’s architectural and digital design expertise; the School of Science Microbiology and Biology Laboratory, with expert in bio-cultivation, Dr Rebecca Alfred; and the Prototyping Laboratory’s expertise in digital fabrication; worked together to create restorative mechanisms for derelict buildings, biodegradable caskets, mycelium fashion and architecture that cleans contaminated lands. Experts across disciplines - Associate Professor John Sadar, Swinburne School of Design; Debbie Ryan, co-owner of McBride Charles Ryan; Damon van Horne, Principal, Grimshaw Architects; and Dr Rebecca Alfred, Swinburne School of Science sat on the review panel. Participant works were shared in an IAAC Global School online presentation shared with architectural and design enthusiasts worldwide. Read more news on design at Swinburne.
13 August 2018 10:59
https://www.swinburne.edu.au/news/2018/08/swinburne-hosts-first-australian-node-in-iaac-global-summer-school/
https://www.swinburne.edu.au/news/2018/08/swinburne-hosts-first-australian-node-in-iaac-global-summer-school/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
664 Collins St Media Wall lights up with Swinburne Digital Design
664 Collins St Media Wall lights up with Swinburne Digital Design
Swinburne student works at 664 Collins Street went live at a gala opening event
Swinburne student works at 664 Collins Street went live at a gala opening event celebrating the collaboration between Swinburne, Mirvac and Grimshaw Architects. Bringing the construction industry and academia together, the distinctive works by Swinburne digital design students on the massive media wall screen represent Phase One of the 664 Media Wall project. From left: Ashley Hood, CEO, Nexus Mutual; Jane Burry, Dean of Design, Swinburne University; Brendan Britten, Managing Partner, Pitcher Partners; Susan Lloyd-Hurwitz, CEO and Managing Director, Mirvac; John Koutsodontis, VP Fujitsu; Catherine Hart, Workplace Lead, AGL and Neil Stonell, Managing Partner, Grimshaw - photography by ImagePlay Celebrations at the Media Wall launch, photography by ImagePlay The large-scale LED screen will present the works until later this year when Phase Two of the digital project is launched. Mirvac, Grimshaw Architects and Swinburne share the common goals of enriching communities. They are championing the social and environmental issues of the public realm. Windy City by Kaliopi Georgio, photography by ImagePlay Support to establish the interdisciplinary collaboration was made possible through Swinburne’s Research Institute Seed Grants program. It connected experts in data visualisation, architecture and digital media design. Once the design team was created, weekly progress meetings with Swinburne academics and final year students in digital media design kept the project on track. Working to the design brief, 'Rendering the invisible, visible', Mirvac and Grimshaw played an active role in Swinburne design studios to review the student work. The student design works align with the technical and conceptual rigour required for a high-profile industry project at the public interface. Reflected image of Heart of 664 Collins Street by Jeppe Emil Kjoller, photography by ImagePlay “The student concepts are stories from sources as diverse as the sustainable performance of the building to tales of human bravery. The works engage with urban mobility and an audience at work and on the move in the heart of the city, using dynamic, screen-based media for storytelling for people passing by and within the 664 Collins Street foyer space,” says Swinburne Dean of Design, Professor Jane Burry. Sustainability is a core focus of the digital works and is a core value for Mirvac and Grimshaw Architects. The digital concepts reference weather patterns, climate change, the cosmos, biological systems, building data, macro-photography, sensor driven visualisations and visualisations of social network traffic. Rhythm of Emotions by Mitchell Arbuckle, photography by ImagePlay In support of sustainability, a more literal representation in the works was the extensive use of black backgrounds, as the LED display of white consumes more energy. The student works were created in an iterative design process guided by Emotional Goal Modelling, an agent-based approach developed by Swinburne. The process involves using emotional goals to identify, represent and evaluate high level abstractions of digital media design processes. Read more news on design at Swinburne.
13 August 2018 09:00
https://www.swinburne.edu.au/news/2018/08/664-collins-st-media-wall-lights-up-with-swinburne-digital-design/
https://www.swinburne.edu.au/news/2018/08/664-collins-st-media-wall-lights-up-with-swinburne-digital-design/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Swinburne’s Get Talking App teaches hearing impaired infants to speak
Swinburne’s Get Talking App teaches hearing impaired infants to speak
The Get Talking App is an interactive early intervention tool that makes learning to talk fun
Researchers at Swinburne School of Design are developing an app that teaches hearing-impaired infants to speak. They are collaborating across disciplines to create this world-first digital learning tool. The idea for the app started with Swinburne Senior Lecturer in Media and Communications Dr Belinda Barnet, who developed a way to teach her own child to speak using standard early intervention paediatric speech pathology exercises. “A great change has swept deaf culture in the last six years. The change is most dramatic among babies who are born profoundly deaf. These children no longer grow up learning to sign or attend deaf schools,” Dr Barnet explains. “They are detected by sophisticated equipment within days of birth, given cochlear implants before 12 months of age, and learn to talk. “Babies have a critical window to acquire fluent speech post implant and it starts to close after 12 months of age,” she says. Dr Barnet along with Department Chair, Health and Medical Sciences, Rachel McDonald; Emeritus Professor Leon Sterling; Director of Swinburne Baby Lab, Associate Professor Jordy Kaufman; and School of Design Associate Professors Simone Taffe and Carolyn Barnes are collaborating on the project. In 2016 Swinburne PhD student Caroline Tjung started working with the team in an investigation involving four digital app designs. Her research focuses on how to translate paper-based speech therapy programs and face-to-face therapy into the digital environment. This year research began as a Swinburne collaborative design program with sixteen Master of Design students and two speech therapists in four research groups and prototypes designed for a children’s speech app. Students with parent and child working on ideas for the app The apps feature stories and games requiring speech recognition with parents and children interacting and working together. They are designed as interactive teaching tools for hearing impaired infants from six months to three years. Ms Tjung is investigating the role of design, languages and the number of words needed for the apps. Using mood boards that six-month-old babies to three-year-olds like to look at, she is researching how they translate to digital. She is using rhyming, stories and repetition, testing for entertainment and distraction values. She is working on four app designs to test in the Swinburne BabyLab. Based on her findings a prototype design will be developed by August 2019. One of many app design layouts - Storyland with conceptual characters and worlds Design has a pivotal role in steering through the complex formative stages. Visualising the process and prompting discussion through prototypes. The role of colour, rhyming, and repetition in storytelling and how they are activated in a digital environment is an essential element to the research. “We want to understand how to capture a baby’s attention. How much screen time a baby should have is a debatable issue and we are drawing on the Swinburne Babylab’s research and advice on this,” explains Ms Tjung. Dr Barnet’s personal insights are published in this article in The Guardian in 2016. Read more news on design at Swinburne.
10 August 2018 12:35
https://www.swinburne.edu.au/news/2018/08/swinburnes-get-talking-app-teaches-hearing-impaired-infants-to-speak/
https://www.swinburne.edu.au/news/2018/08/swinburnes-get-talking-app-teaches-hearing-impaired-infants-to-speak/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Leef, a smart walking stick with built in features for greater mobility
Leef, a smart walking stick with built in features for greater mobility
Leef is a smart, fashionable walking stick with multiple functions and a supporting digital app
Master of Design student Xia Zhang is in his final semester at the Swinburne School of Design. His inclusive and participatory design product, Leef, a smart and fashionable walking stick has multiple functions with a supporting digital app. The idea was inspired by the Swinburne School of Design’s Master of Design program theme, Re-imagine ageing. The project was led by industry partner John Pollears and Simone Taffe, Associate Professor in Communication Design. Mr Zhang has a fashion design background. This, combined with co-design techniques involve working with people trained in different design disciplines. Working this way, with the elderly, prompted him to cross into new technology domains for this project. “Feedback from co-design workshops helped me improve the idea. Some participants suggested that I could add fashion elements to the walking sticks. This made the sticks more popular and acceptable. They helped me to choose the most important functions for the walking stick,” says Mr Zhang. The Leef walking stick in six different colours, by Xia Zhang Designed to assist people with more than just mobility, the re-imagined smart walking stick features multiple functions. These include lights, GPS tracking, an alarm and wi-fi connection. The app connects to the features in the walking stick. It indicates battery life, provides tracking for carers to locate an elderly person using the stick, and monitors their activity. The Leef app by Xia Zhang The walking stick has a rubberised handle that is softer and warmer than steel or wood. The shaft of the stick is made from steel to support a person’s weight and to withstand daily wear and tear. When not in use the walking stick can be folded to a small size that fits into a backpack or carry bag. Leef comes in a large range of colours and patterns to match fashion preferences. The built-in light system is powered by a rechargeable battery inside the walking stick handle. Supplying divergent light, this is more convenient for elderly people on the move and is designed to guide people walking outside at night. Diagram showing the walking stick features by Xia Zhang A wi-fi connection inside the walking stick allows carers to connect to an elderly person using the stick with their mobile devices, by using GPS tracking and the support app. It tracks an elderly person’s location. If the user gets into trouble they can push an alarm button and the support app warns carers. Alternatively, using the support app, carers can detect lack of movement and the location of an elderly person and attend to them quickly. The app also indicates battery power levels in the walking stick, and can supply health data such as the number of steps walked each day. There are plans for the app to also provide news articles for carers and family about health issues, aspects of ageing and how to take care of ageing people. Read more news on design at Swinburne.
06 August 2018 13:26
https://www.swinburne.edu.au/news/2018/08/leef-a-smart-walking-stick-with-built-in-features-for-greater-mobility/
https://www.swinburne.edu.au/news/2018/08/leef-a-smart-walking-stick-with-built-in-features-for-greater-mobility/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Architectural Design focus on materials and making
Architectural Design focus on materials and making
Architectural Design has celebrated its inaugural architecture design studio presentation night.
Swinburne Architectural Design students presenting at the inaugural Architectural Design Studio created their work in new state-of-the art workshop facilities and presented to a jury panel in the studio. The industry and academic members of the jury panel were Finn Warnock, Director of Hachem; Robert Page, Project Director, SHoP Architects; Associate Professor John Sadar, Course Director of Architecture; Professor Jane Burry, Dean of Design; Professor of Architecture Mark Taylor and Dr Drew Williamson, Industry Fellow for Architecture and Director of Campus Space, Swinburne Architectural Design. Student work in the studio and ready for presentation to the jury The focus of the Architecture Design Studio is for students to understand and learn about materials. They are encouraged to embrace the act of making as a fundamental activity of architectural design. Students in the workshop building prototypes Students start by investigating different construction materials such as timber, concrete and steel. They investigate all aspects of these materials. They learn how they are created, manufactured, constructed and what tools and processes are involved. Students and instructors in the workshop making prototypes from various materials “Having access to materials and tools in the workshop, and making things is essential to the learning process at Swinburne. Students need to start from the ground up with a deep understanding of real materials before they can start to design,” says Canhui Chen, Bachelor of Design (Architecture) Lecturer, and Digital Fabrication stream leader at Swinburne. Students in the workshop working on a scale model with welded frame and metal cable system In the first half of the semester, students focus on fundamental studies, test and analyse materials and construction techniques. In the second half of the semester, they take this knowledge and start to push the boundaries while conforming to the principles of their chosen construction techniques. Verde, concrete panels moulded in vacuum formed mould from CNC machined forms by Architectural Design student, Charlotte Mwaba “For example, concrete needs a mould. But what can the mould be? What pattern? What shapes? Can it be curved?” explains Mr Chen. Students apply their knowledge of materials and construction to a digital design process to create new designs. Their design concepts push conventional understanding of a material construction technique. They create scale models - detailing connections, construction, pattern, shape or whatever is required, as a proof of concept. Koi, welded metal, cable with timber panels, by Architectural Design student Nick Aylward The final work is a pavilion design and a series of prototypes that demonstrate a material choice and construction principle. This is supported by digital sketches, drawings and renderings. New Wave, curved timber construction and large scale prototype, by Architectural Design student Ralph Santos “Prototyping is considered a fundamental activity of our architecture program. It equips architecture students with a knowledge of future architectural and construction technologies and the requirements of working in an Industry 4.0 environment,” says Mr Chen. Tectonic Systems, 3D printed parts, by Architectural Design student Amy Nuccio The Swinburne workshop has an enviable collection of tools and equipment for students to use. They are able to create three-dimensional models and prototypes to test and visualise their ideas, no matter how complex. Lattice Pavilion, timber construction, by Architectural Design student Jordan Veniamakis Architectural Design has a large workshop expansion planned for next year. The extended workshop will provide Swinburne Architectural Design students with 24-hour model making facilities and a prototyping space with advanced equipment including an industrial scale robotic fabrication system. Read more news on design at Swinburne.
06 August 2018 10:00
https://www.swinburne.edu.au/news/2018/08/architectural-design-focus-on-materials-and-making/
https://www.swinburne.edu.au/news/2018/08/architectural-design-focus-on-materials-and-making/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Growling Grass Frog animation creates awareness of endangered species
Growling Grass Frog animation creates awareness of endangered species
A digital animation by Swinburne Digital Media Design is creating awareness of an endangered frog
James Berrett, Innovation Fellow at the Swinburne Innovation Precinct and Lecturer in Digital Media Design at Swinburne, and student Jennifer Dudgeon have created a powerful digital animation to create awareness of the endangered Growling Grass Frog. Driven by the calls of the frog, it explores how sounds can be visualised. It is inspired by the frog’s characteristics and habitat. The Victorian native Growling Grass Frog is an endangered species due to rapid loss of habitat caused by the expansion of urban development around Melbourne’s fringe.
02 August 2018 13:47
https://www.swinburne.edu.au/news/2018/08/growling-grass-frog-animation-creates-awareness-of-endangered-species/
https://www.swinburne.edu.au/news/2018/08/growling-grass-frog-animation-creates-awareness-of-endangered-species/
Design
School of Design
false
-
Professor of Urban Design, Marcus White shares RAIA accolades
Professor of Urban Design, Marcus White shares RAIA accolades
Six RAIA awards for Marcus White and Stuart Harrison shared with four architectural firms
Swinburne Professor of Urban Design Marcus White, and business partner Stuart Harrison of Harrison and White Architects were one of five collective winners of six Australian Institute of Architects (Victorian Chapter) Awards. The awards were won in collaboration with Lyons, Harrison and White, NMBW, MvS and Maddison Architects to design RMIT’s New Academic Street or NAS, on Swanston Street in Melbourne’s CBD. View looking down Bowen Street showing diverse architectural languages of buildings and custom woven wire mesh façade, photography Tess Kelly Led by Lyons the joint venture between five leading Melbourne practices, won the Victorian Architecture Medal for 2018, the Henry Bastow Award for Educational Architecture 2018, Joseph Reed Award for Urban Design 2018, Melbourne Prize co-winner 2018, Interior Architecture Award, 2018 and the Sustainable Architecture Award, 2018. The NAS project is a reworking of several large post-war buildings in central Melbourne for RMIT University. With a focus around re-inventing the student experience, the project aims to connect the city into the campus through the introduction of urban lanes, arcades and pathways. Looking down ‘laneway’ out to Swanston Street, photography Tess Kelly Entry stair and arcade towards Bowen Street with Media Portal, photography Tess Kelly Harrison and White (HAW) worked jointly and collaboratively on the urban design and master planning of the site. They provided an innovative working structure. This led to an outcome that embraces diverse architectural languages and complements the city around it. HAW delivered the design of key areas including the North-West corner of the project, on the corner of Swanston and Franklin Streets. This included the works to the east end facing onto Bowen Street, including the interior spaces. Building 12 retail area with custom tensile ceiling, showing Innovative Display Showcase and sassafras clad Food & Beverage Outlet Pop-Up, photography Tess Kelly “It was a fantastic team project led by Lyons; a courageous client that pushes for innovative high-quality design; an incredibly complex set of existing conditions and urban design problems; along with challenging questions about contemporary learning environments to respond to. It was like a perfect storm,” says Professor White. “In addition to the collaborative structure of the urban design and architectural design process, the project is unique in many ways. The design manages to reshape the street interface and circulation of not only the buildings. It really reshapes that section of the city.” Media Portal on corner of Franklin and Swanston Streets, photography Tess Kelly Media Portal looking out to visually connected Swanston Street, showing triple height student space, photography Tess Kelly “What were pretty grim grey block buildings with anonymous and monotonous exteriors and interiors, have been recast as a permeable and integrated part of the city. It’s an architectural outcome that embraces many architectural languages and spaces,” he explains. “The project was incredibly complex. We came across every challenging aspect you can imagine in a project - working with a complex set of existing buildings that were built at different times with different construction methods. We had a large and diverse client and stakeholder group, with staging that needed to work around university semesters as well as maintaining fully functional student spaces. To top it off, part-way through the project, a Metro station started to be built right next door!” says Professor White. “The highlights for me are the voluminous interior spaces we created inside the Swanston and Franklin corner building which used to have super‑mean low ceilings. We are also extremely happy with the experimental collaborative pods section of the library. This area with our custom designed student seating, is one of the most frequently used spaces of the project.” Custom-designed study-pods in a range of scales and configurations allowing for single and collaborative student working modes, photography Tess Kelly Read more news on design at Swinburne.
01 August 2018 09:04
https://www.swinburne.edu.au/news/2018/08/professor-of-urban-design-marcus-white-shares-raia-accolades/
https://www.swinburne.edu.au/news/2018/08/professor-of-urban-design-marcus-white-shares-raia-accolades/
Design
School of Design
false
-
An interior designer’s tips to create the illusion of space
An interior designer’s tips to create the illusion of space
Course Director of Interior Architecture Kirsten Day gives her design tips for small spaces.
Research shows humans don’t like being caged in, preferring to be in larger, more open spaces. And different factors – such as the shape of rooms, the colour of surfaces and the positioning and brightness of lighting – all influence how we perceive space. These are the elements designers and architects consider when creating spaces. And there are several tips you can use yourself to make your apartment, or any living space, seem roomier. Extending space If your apartment has outside views, you should use these. By facing living areas and furniture towards the window or balcony, the outside landscape becomes an extension of the inside space, increasing the perception of the room’s size. Frank Lloyd Wright made the surrounds feel like an extension of the interior of his famous Fallingwater. From shutterstock.com Architects (including Frank Lloyd Wright in his famous work Fallingwater) have long used this tactic to draw the eye outside, as a contrast to smaller spaces with low ceilings. A window doesn’t need to be large to create this effect, but some research has shown it needs to take up about 20% of the wall to improve satisfaction with the interior space. You can also place a mirror opposite that view, which will reflect the outside and contrive another illusory kind of “outside”. A mirror’s view into another room would have a similar effect. A strategically placed mirror can create the illusion of extended space. From shutterstock.com Ceilings with light fittings tend to shrink a space. Lights are best located on walls, about 300mm below ceiling height and directed to shine up across the ceiling and down the walls. This spreads light over the surfaces, rather than concentrating it in a single direction, creating an illusion of size. Standing and desktop lamps provide the same diversity of spread and reflection. Using colour Interior designers do follow guidelines based on studies of colour and light theory to create the appearance of more space, though these may be seen as subjective and relying on intuition. Lighter colours, for instance, best reflect light and so create the appearance of space. Darker colours, decorative wallpapers and patterned fabrics shrink space and absorb light. Studies have shown lighter ceilings are perceived to be higher than darker ceilings. Lighter colours help expand the perception of space. Hutomo Abrianto/Unsplash Dark colours for floors can constrict a space. Deeply ornate textures and fabrics also shrink volume, as do exaggerated patterned carpets and rugs. Open and continuous flooring surfaces, like timber boards, engineered flooring, broadloom carpet and tiles, create an appearance of space. Flexible space A wall at door height doubles as a cupboard that faces the bedroom side of the divide. Jason Busch/Stanhill Studio renovation by Normam Day&Associates, Architects., Author provided You could reorganise the apartment to change the functions of the rooms. Think, for instance, are the bedrooms well placed, or should the living areas be relocated? Generally, external views are best adopted for the daylight hours and so for the living and working areas. And bedrooms rely less on broad outside views. Melbourne’s heritage Romberg’s Stanhill Building was designed in 1950 with flexible apartment spaces that could be used as residences, offices and medical suites. Later renovations repurposed the dining and living spaces as smaller bedrooms. The original bedrooms were redesigned as open-plan living and dining spaces, with views to Albert Park Lake. A studio renovation (see photo above) in the building adopted a storage unit (facing into the bedroom area) to door height, which acts as a screen to divide the nominal “rooms”. Things that normally work for a single purpose can take on more functions, which aids in using a small space for many purposes. For instance, if you own the apartment, you could replace a normal brick or timber dividing wall with a built-in cupboard which can face, back-to-back, into both rooms. For the apartment renovation in the same building, a storage unit was designed to be a bookshelf taking up most of a wall (below). A wall can become a storage unit to save space. Trevor Mein/Stanhill Aptartment 2013 Norman Day & Associates., Author provided Using furniture While there is limited research on the perceived spatial dimensions of furniture and its effect, studies do show the more furniture you put into a space, the smaller it appears. And most of us know the less “stuff” we have in our apartments the bigger they seem. Fitted living room furniture with built-in side tables that hug the wall is better than having large single units and isolated tables. TVs and sound systems incorporated into storage are more space-efficient than stand-alone units. Big furniture, like settees and coffee tables, ornate bedheads and oversized loose chairs, also overcrowds space. It’s not comfortable to have to walk around large pieces of furniture rather than through space. The less stuff you have, the more spacious things appear. @elisabeth_heier/Instagram (screenshot) The best types of furniture to use in small spaces are simple open-framed chairs and tables, furniture with light frames, steel or timber, and open backs. Written by Kirsten Day, Course Director Interior Architecture, Swinburne University of Technology.This article was originally published on The Conversation. Read the original article. Read more news on design at Swinburne.
27 July 2018 09:33
https://www.swinburne.edu.au/news/2018/07/an-interior-designers-tips-to-create-the-illusion-of-space/
https://www.swinburne.edu.au/news/2018/07/an-interior-designers-tips-to-create-the-illusion-of-space/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
Connecting Indigenous students with university through design at Swinburne
Connecting Indigenous students with university through design at Swinburne
Young Aboriginal and Torres Strait Islander school girls explore a creative future in design.
Young Aboriginal and Torres Strait Islander girls from Upper Yarra Secondary College, Gisborne Secondary College, and Korin Gamadji Institute have been given a glimpse into the exciting world of fashion design and communication design career paths through an Indigenous design workshop hosted by Swinburne University of Technology. The high school students took part in an immersive two-day workshop program, led by Gunnai/Wiradjuri fashion designer and artist Lyn-Al Young, who has recently been appointed as David Jones’ newest emerging artist and design collaborator. The workshop called “Fasheaming” — fashion and dreaming, focussed on personal empowerment, through culture, design and storytelling. Students created wearable artworks inspired by their own personal story, goals, and dreams. They each hand painted their own silk design and jewellery, then digitised the images to create personal branding and designs. A student modelling her own silk design. Ms Young showed students what they could create with examples of her own work, and shared the opportunities that she has been able to experience by pursuing a creative career. She has designed the guernseys for Carlton, featured in the 2018 AFL Dreamtime round, as well as an exclusive line of handpainted scarves, called Ngu-ng-ga-dhaany - meaning carrier in Wiradjuri, for David Jones. “My Fasheaming program is about working with young people to grow in confidence, cultural identity and set goals to achieve their dreams. It’s a perfect fit to partner with Marngo Designing Futures at Swinburne.” she says. The workshop was part of the ongoing Marngo Designing Futures program. Coordinated by Swinburne academic Dr Samantha Edwards-Vandenhoek, the program helps demystify university life for Indigenous secondary students using art, design and media. Funded through the Commonwealth Government’s Higher Education Participation Program, Marngo Designing Futures enables Indigenous secondary school students to explore life at university through the creation of their own artworks and to learn about career paths in design. Students filming and documenting their experience at the workshop. Dr Edwards-Vandenhoek, Swinburne’s Academic Director, External Engagement (Design), says the students are taught about design from a culture-centred perspective. “Focusing the workshops on place-based design makes the program relevant for these students. They are taught about design framed from a range of Indigenous perspectives and learn about the outcomes of pursuing a creative career,” she says. “The program also aims to demystify university and provide the kids with an opportunity to experience what it would be like to study on campus.” Marngo Designing Futures has already proven to be effective in deepening cultural connections and building leadership capacity in young people. “One school has integrated a full-time design and technology curriculum after being involved in the program and many schools have reported a direct correlation between participation and class attendance.” More broadly, she hopes to expand the program by embedding it in the curriculum in remote Indigenous communities and connecting it with certificate level training courses on offer at Swinburne.
16 July 2018 11:20
https://www.swinburne.edu.au/news/2018/07/connecting-indigenous-students-with-university-through-design-at-swinburne/
https://www.swinburne.edu.au/news/2018/07/connecting-indigenous-students-with-university-through-design-at-swinburne/
Design
Centre for Design Innovation (CDI),Indigenous,School of Design
false
-
Here’s how we teach young drivers truck safety
Here’s how we teach young drivers truck safety
With the number of trucks on the road increasing, Nicki Wragg believes we need to educate young road users on how to be safer around trucks.
Transport experts have warned that rising inner city populations and demand for new infrastructure could lead to more collisions, serious injuries, and possibly fatalities involving heavy vehicles, such as trucks. Young drivers (18-25 year olds) are four times more likely to be involved in serious or fatal crashes. This means road safety campaigns that focus on young drivers interacting safely with heavy vehicles can make a difference to our road toll. Road safety The number of trucks on Australian roads is expected to double in the next 20 years. In the 12 months to March 2018, 184 people died from 163 fatal crashes involving heavy trucks across Australia. And contrary to what people may think, 80% of road fatalities involving heavy vehicles are mainly caused by the other party – not by the truck driver. Around 63% of these other parties are aged 21 or younger. Read more: Are autonomous cars really safer than human drivers? The reason for this could in part be due to the fact most drivers have limited awareness of how to be safe around trucks. Past campaigns by Victoria’s Transport Accident Commission and others have highlighted the importance of road safety by focusing on aspects such as speed, fatigue and drink driving. But campaigns targeting safety around trucks are scarce around Australia. The Royal Automobile Club of Queensland created a video to show how to share the road with truck users. And while there has been a truck awareness campaign in NSW, Australia has not yet had a campaign targeting the most vulnerable road users (18-25 year olds). What people don’t know about trucks Swinburne University’s communication design students partnered up with Melbourne creative agency, Hard Edge, to research and design such a campaign for their peers. Some research suggests designers of a campaign who are part of a target audience are well placed to understand the visual tone, language and behaviours of their target demographic. There aren’t many road safety campaigns in Australia that focus on heavy vehicles. The students interviewed more than 200 participants aged 18-25. They found 80% never considered the truck industry and so weren’t aware of the risks involved with sharing the road with heavy vehicles. Half of the participants thought truck drivers were aggressive and unskilled, 20% were completely unaware of the location of blind spots on trucks, while 60% were vaguely aware trucks had blind spots. Most underestimated the time it took for trucks to brake to avoid crashes. Read more: Don't just blame the driver – there's more than one cause of fatal truck crashes The research correlated with the findings of the Australian Road Research Board regarding the daily challenges heavy vehicle drivers face in sharing the road with light vehicles. The five key messages from the board were: Give plenty of notice of turns or stops, especially in heavy traffic give trucks plenty of space when they change lanes when turning across or joining a traffic stream, watch out for trucks stick to your own side of the road as trucks cannot get out of your way easily wait for trucks to complete their manoeuvres before proceeding beware of blind spots. Trucks have four main blind spots on the vehicle, located immediately in front of the truck, beside the truck driver’s door, on the passenger side that runs the length of the truck and extends out three lanes, and 10m directly behind the truck. The size of a truck is an important consideration for young drivers. Heavy vehicles can range between 4.5-22 tonnes. Greater vehicle mass requires more space to brake, for example, a truck travelling at 60km/h takes around 83m to brake while a truck travelling at 100km/h takes around 185m to brake. Read more: Trucks are destroying our roads and not picking up the repair cost Inappropriate speeds in prevailing conditions continue to be a major cause of accidents. Coupled with speed in a third party vehicle this can result in rolling, cornering or difficulty negotiating roundabouts or lane changes. How we can teach them In NSW, the Be Truck Aware campaign focused on blind spots, with videos showing what truck drivers saw when they were in the driver’s seat. Putting people in the driver’s seat was an effective way to communicate a truck’s blind spots. As part of their research, Swinburne students also sat in the cab of a truck. From this vantage point, they decided the design problems for their campaign included how best to communicate the truck driver’s point of view to car drivers, and how to develop a way young people would recognise and accept their role in the problem. During their preliminary interviews, students discovered that 98% of people in light cars noticed truck-side advertisements. Some of the ideas they came up with included communicating the blind spots through colour on the sides of the truck. Teaching road users about blind spots through colour on the truck was one of the ideas students came up with. Vicki Litsoudis, Hannah Tempany, Maddy Hebden, Author provided They also devised interactive games, to highlight the stupidity of driver behaviour when pulling out in front of a truck, to be screened during quarter time at football matches. Road safety is a shared responsibility. Making our roads safer requires the support of organisations, industry, businesses, community groups and individuals. Design is well placed to translate the complexity surrounding the issues and develop behaviour change campaigns that educate and motivate. Written by Nicki Wragg, Associate professor, Swinburne University of Technology. This article was originally published on The Conversation. Read the original article.
05 July 2018 08:44
https://www.swinburne.edu.au/news/2018/07/heres-how-we-teach-young-drivers-truck-safety/
https://www.swinburne.edu.au/news/2018/07/heres-how-we-teach-young-drivers-truck-safety/
Design
false
-
Tackling the financial future of Australians through design
Tackling the financial future of Australians through design
Swinburne is hosting a ‘design sprint’ to tackle Australians’ finances with industry partners Netwealth and MASS.
In an effort to encourage more Australians to think about their financial future, Swinburne is hosting a ‘design sprint’ with industry partners Netwealth and MASS. The five-day sprint titled ‘Make It. Break It.’, based on the Google Ventures design sprint model, will take place 18 - 24 July at the Swinburne Innovation Precinct. Participating Swinburne students will have the opportunity to work with industry professionals, workshopping solutions to improve Australians’ engagement with superannuation and investments. “Having the chance to collaborate with industry experts while still studying is a fantastic learning and networking opportunity for our students,” says Course Director of Communication Design (Honours), Associate Professor Nicki Wragg. “Design sprints are still a relatively new process of working. Students, staff and industry taking part in the sprint are learning together and will be able to transfer the experience into their working lives. For some students, they might not have an opportunity like this until years into their career. “They will learn how to work with professionals, big picture thinking and the interdisciplinary skills they need to be successful in this industry.” The sprint is a five-day process for answering critical business questions through design, prototyping and testing ideas with customers. Students of all study levels will participate in teams to create the best design solutions. Looking to solve a big problem The collaboration between Swinburne, wealth management company Netwealth and design studio MASS looks to solve one of Australia’s growing challenges; how to get more people engaged with their super and retirement. For many, retirement seems a distant prospect, which can give rise to the problem of inadequate savings. According to Roy Morgan Research, 45.6 per cent of Australians aged 25-29 think ‘retirement is too far away for me to need to plan for it. Other challenges exist with women retiring with far lower super balances than males. “At Netwealth our vision is to enable people to see wealth differently and discover a brighter future,” says Matt Heine, Joint Managing Director of Netwealth. “Working with university students and MASS on this design challenge resonates with our core purpose. It gives younger Australians the opportunity to connect with the greater issue and come up with big and innovative ways to solve the problem. We can’t wait to see the results.” Connection with industry “We’re very excited about arming the next generation of designers with newer, better ways of working,” says Tim Kotsiakos, Creative Director and founder of MASS. “We’re interested in reshaping the role of the designer by using new globally progressive methods of working. “As a Swinburne alumnus, I am personally invested in taking what I’ve learnt in my career and sharing that with the next generation of design thinkers.” A Memorandum of Understanding (MoU) has been signed by all parties to further strengthen industry relationships. The MoU provides opportunities for professional development, education and industry engagement across all parties. For more information, see: Make it. Break it.
02 July 2018 10:53
https://www.swinburne.edu.au/news/2018/07/tackling-the-financial-future-of-australians-through-design/
https://www.swinburne.edu.au/news/2018/07/tackling-the-financial-future-of-australians-through-design/
Design
Faculty of Health, Arts and Design (FHAD),Innovation Precinct
false
-
To appreciate its power, think of design as a drug
To appreciate its power, think of design as a drug
Agustin Chevez writes about the allure and effects of a well-designed workspace.
The search for some concoction or contraption to improve our performance at work is nothing new. Lawyers, bankers and other professionals have famously used performance-enhancing drugs to gain a competitive advantage. But the design of a workspace can actually have similar effects on those who create it, consume it or pursue it. And, just like a drug, design can have good and bad effects. Instead of chemicals, design manipulates space to change behaviour. An increase in the length of a lunch table, for example, can encourage people who did not know one another to interact more. Read more: The research on hot-desking and activity-based work isn't so positive Several studies have looked into the association between office design and performance. These aim to understand attributes of the physical environment that can improve cognitive performance in a similar way to how scientists study substances in a quest for a smart pill. It seems that small open-plan offices support people better than large ones in conducting cognitively demanding tasks. Just as “smart drugs” have side effects – notably dependence, insomnia, nervousness and anorexia – so too does design, albeit different ones. One study of activity-based working, which provides people with a choice of settings for various workplace activities, found that, while it may improve interaction and communication within a team, this comes at the potential cost of concentration and privacy. Aligning beliefs, expectations and workspace There is, however, a very specific and equally important aspect that designing a drug and designing a workplace have in common – the expectancy hypothesis. A person’s existing beliefs prompt a response that is in line with their expectations. Inert blue pills are more likely than pink pills to produce a sedative response in patients. This is solely due to the expectations raised by the colour of the capsule. There is a great deal of pharmacology research showing how strong this response is. Placebo drugs, for instance, are defined as chemically inactive. But in practice they are far from inert – pills come with a whole bunch of meaning that has an effect. The opposite of the placebo effect is the nocebo effect – expectation of a negative outcome may lead to the worsening of a symptom. A doctor simply describing what might happen to a patient may actually create outcomes that are different from what would have happened without this information. Branded placebos have been found to be more effective at alleviating headaches than unbranded ones. Read more: Designer drugs imitate the 'food effect' This invites the question: can the brand of a designer impact the performance of a workplace beyond the attributes of the design? We don’t yet know the clinical answer to this question. The placebo effect has been shown to add 5 to 10 points on a standard IQ test. But can people’s creativity be similar manipulated? We don’t yet know, but this is the subject of my ongoing research into the expectancy hypothesis and workplace design. We are asking groups to complete a standard creativity test. While the groups will do the test in the same room, one group will be primed with a sign saying the “innovation lab”. Others will be negatively primed with a sign such as “storeroom”. The placebo will just be in a meeting room. Big Pharma, Big Design, Big Data … and the big gap This is an area we are just starting to explore, as we collect a bunch of new behavioral data in the workplace – people’s social interactions (e.g. speaking rates in conversation and size of social groups), daily activities (e.g. physical activity and sleep), sense of pride and community, and mobility patterns (e.g. frequency and duration of time spent at various locations), to name a few. These, however, don’t account for the nocebo or placebo effect. As we develop new ways of collecting data, we should improve the way we analyse it. What is more, studies of the way illnesses are managed have found that as the rituals imbued in the treatment of ailments are stripped back, so too is the meaning for the patient. This, in turn, diminishes the process and decreases the treatment’s ability to heal. This notion can be extrapolated to organisations. The way we design the workspace follows how the organisation itself is designed. Measuring the placebo and nocebo effect in design has the potential to further our understanding of the properties of space. And in doing so, we should be able to prescribe better treatments for organisations to work smarter. Kyla De Graauw, Psychologist Researcher at HASSELL, contributed to this article. Written by Agustin Chevez, Adjunct Research Fellow, Centre For Design Innovation, Swinburne University of Technology. This article was originally published on The Conversation. Read the original article.
28 June 2018 08:16
https://www.swinburne.edu.au/news/2018/06/to-appreciate-its-power-think-of-design-as-a-drug/
https://www.swinburne.edu.au/news/2018/06/to-appreciate-its-power-think-of-design-as-a-drug/
Design
Faculty of Health, Arts and Design (FHAD)
false
-
Swinburne interior architecture student wins Australian Graduate of the Year
Swinburne interior architecture student wins Australian Graduate of the Year
Chrissa Drossopolous has won Design Institute of Australia’s Graduate of the Year award.
Interior architecture student Chrissa Drossopolous has won the 2018 Australian Graduate of the Year Award (AGOTYA). The AGOTYA competition is an initiative by the Design Institute of Australia and celebrates the best of Australia’s young design graduates. The AGOTYA judging panel was impressed by Ms Drossopolous’ bridging of architecture and interior design. The panel found Chrissa had produced a really solid folio of interior design, bridging architecture and interior design, that included strong sustainability solutions and innovative site-specific design responses. Chrissa's proposed design of Campbell's arcade. | Image credit: The Upside of Under Brief Chrissa’s capstone project was based on Campbell Arcade, an underground shopping precinct that connects Degraves Street with Flinders Street Station in Melbourne. Her project sought to activate the retail spaces of the underground bypass by incorporating art, heritage and community engagement. “This award has shaped my career by providing me with credibility,” says Ms Drossopolous. “During my design journey at Swinburne, I gained practical experience through a design studio that evolved into a contract project. The support, knowledge, and dedication demonstrated by my tutors have been integral.” Ms Drossopolous’ commitment to her studies has set her up for a promising design career, says Course Director of Interior Architecture, Dr Kirsten Day of Ms Drossopolous’ initial state-level recognition. “Chrissa has developed into a very successful professional all-rounder. Her Capstone design for Campbell Arcade at Flinders Street Station is a sophisticated development of an engaging new public space,” says Dr Day. Chrissa received a cash prize of $1000 and a mentorship with a design practice to ensure she will succeed in her future design ventures.
26 June 2018 07:51
https://www.swinburne.edu.au/news/2018/06/swinburne-interior-architecture-student-wins-australian-graduate-of-the-year/
https://www.swinburne.edu.au/news/2018/06/swinburne-interior-architecture-student-wins-australian-graduate-of-the-year/
Design
Faculty of Health, Arts and Design (FHAD),Award Winners
Design
false
-
Design Factory Melbourne moves to renovated Fire Station
Design Factory Melbourne moves to renovated Fire Station
Repurposed Fire Station is new home of Design Factory Melbourne in Swinburne’s Innovation Hub.
Design Factory Melbourne or DFM has moved to a new location in Swinburne’s Innovation Hub on the Hawthorn campus. A historic Fire Station building has been purposefully designed to facilitate DFM activities. It supports design-led innovation as a pillar in Swinburne’s newly launched Innovation Precinct. “The move to the Fire Station gives the Design Factory more access to the wider university community and industry. It brings incredible value to our co-creation, interdisciplinary problem-solving approach,” says Professor Anita Kocsis, Director of Design Factory Melbourne. Professor Anita Kocsis and Design Factory Melbourne students in the new Fire Station. Photo credit: Nick Dempsey. The four-storey repurposed Fire Station, designed by Melbourne based architects H20 and constructed by Bldg.Eng, houses DFM and Innovation Precinct staff offices. The Innovation Precinct’s business incubator program, an event space, and flexible break out areas are designed for team collaboration. Studio space on first floor. Photo credit: Paolo Capelli Photography. “Design Factory has always been a link for industry to access university knowledge and expertise and gives our university community access to industry knowledge. The move to the Fire Station allows Design Factory processes and capability to be accessible across the university in new and exciting ways,” Professor Kocsis says. Design Factory students working in the Fire Station. Photo credit: Nick Dempsey. DFM provides an interdisciplinary platform for industry-engaged research. It brings end-users, students and researchers together in early stage product and service development, to experiment with concepts and their potential value. The Fire Station kitchen is the social heart of the building. It’s an inviting multipurpose space acting as kitchen, café, workspace and event space. Fire Station kitchen hosts an evening showcase event. Photo credit: Colin Giang. “It’s in the kitchen where ideas are hatched, partnerships are formed, strangers become new acquaintances and spontaneous meetings occur. It’s the engine for sparking serendipitous encounters and bringing the wider Fire Station community together,” says Professor Kocsis. The design of the new activity-based studio is flexible, to encourage collaboration. “This is where we unpack, brainstorm, ideate, prototype and solve wicked design problems,” explains Professor Kocsis. Design Factory students in the soft-prototyping space. “At Design Factory Melbourne, our interdisciplinary methods and mindset facilitate an innovation culture. It supports vital skills required to challenge the difficult, complex and unknown dynamics for success. This culture inspires industry to consider new models of working with students and researchers in order to create impactful solutions,” says Professor Kocsis. Researchers are given the freedom and resources to create genuine solutions. Students gain new learning experiences through interdisciplinary and international activities. Project sponsors get access to teams of top-level students and leading scholars. DFM was the first Design Factory in the Southern Hemisphere to formally become part of the Design Factory Global Network or DFGN in 2011. The DFGN is expanding its global outlook with a network of 24 Design Factories, including Melbourne. For more information, contact the Design Factory Melbourne at dfm@swin.edu.au Read more news on design at Swinburne.
24 May 2018 13:19
https://www.swinburne.edu.au/news/2018/05/design-factory-melbourne-moves-to-renovated-fire-station/
https://www.swinburne.edu.au/news/2018/05/design-factory-melbourne-moves-to-renovated-fire-station/
Design
Faculty of Health, Arts and Design (FHAD),Innovation Precinct,School of Design
false
-
Swinburne digital works for media wall at Mirvac and Grimshaw development
Swinburne digital works for media wall at Mirvac and Grimshaw development
Swinburne digital media works to feature on media wall at Mirvac and Grimshaw’s 664 Collins Street development
Digital content by Swinburne researchers and digital media design students will feature on a massive media wall. Developed by Mirvac and Grimshaw Architects, 664 Collins Street, Melbourne features the media wall in its lobby. The media wall is highly visible to thousands of passing commuters. People will view the works walking from Docklands to Southern Cross in the CBD. 664 Collins street, image supplied by Mirvac and Grimshaw Architects. “Rendering the invisible visible is the theme for Mirvac and Grimshaw’s 664 Collins Street. This aligns with Swinburne’s Smart Cities Research Institute’s research focus. It supports using soft infrastructure to give people a voice,” says Swinburne’s Dean of Design, Professor Jane Burry. “The project investigates opportunities for the media wall to meet Mirvac and Grimshaw architects’ social and artistic aspiration. A desire to enrich the communities they are designing and building for,” Professor Burry says. Students visiting the media wall site. “Mirvac has a strong focus on collaborating with artists to contribute to the urban landscape and community. Public art plays an integral role in creating engaging spaces. Selected Swinburne works provide vivid and dynamic content on the 664 Collins media wall,” says Mirvac Development Manager, Scott Jarzynka. “The works tell a story. They provide a sense of place and interpret data into an ever-changing series of visual and movement artwork,” adds Tava Darakamaran, Strategic Engagement, Grimshaw Architects. The big screen delivers data-driven stories. Sources are as diverse as sustainable performance of the building to tales of human bravery. Behind Sunlight by Serena Peregin, celebrates the invisible process of solar energy as it converts into electrical energy. Intricately placed tiles fall away, revealing light and movement. Sunlight is converted into electrical energy and particles dance and interact on the screen. Behind Sunlight by Serena Peregin. Media wall sketch with Behind Sunlight by Serena Peregin, celebrating invisible solar energy. Rhythm of Emotions by Mitchell Arbuckle depicts colour and movement as expressions of our invisible emotions. Average data collected from human-patient monitors when presented with various stimuli is visualised. Rhythm of Emotions by Mitchell Arbuckle. Media wall sketch with Rhythm of Emotions by Mitchell Arbuckle, expressing invisible emotions. Erased Space by Samuel Harvey is dedicated to casualties of the Iraq war. His work is created from longitudinal casualty survey maps. Casualties appear as large and profound depressions in the patchwork of Iraq’s nineteen provinces. Erased Space by Samuel Harvey. From September, the wall will include a second series of Swinburne design student works. These will feature real-time, interactive and evolving, data driven outcomes. “The new works will respond to internet data feeds. The value of crypto currencies and data from sensors around Melbourne will be referenced. Data about weather, parking and foot traffic will be used,” says Swinburne Digital Media Design leader James Marshall. “Works will reference evolving and adaptive algorithms. Students and researchers will use real-time interaction through personal devices such as smart phone sensors. They’ll use motion detection, touch and audio,” says Mr Marshall. Research and student works are generously supported by Mirvac with active input from Grimshaw and Mirvac. The Swinburne Smart Cities Research Institute is supporting this research. It is exploring the potential of combining artistic digital production and data science to captivate a transient audience, working to reveal the headline environmental and social stories concealed within big urban data. Read more news on design at Swinburne.
22 May 2018 07:00
https://www.swinburne.edu.au/news/2018/05/swinburne-digital-works-for-media-wall-at-mirvac-and-grimshaw-development/
https://www.swinburne.edu.au/news/2018/05/swinburne-digital-works-for-media-wall-at-mirvac-and-grimshaw-development/
Design
Faculty of Health, Arts and Design (FHAD),Centre for Design Innovation (CDI),School of Design,Smart Cities Research Institute
false
-
Memorial design leads a pathway to peace and reflection for Korean War veterans
Memorial design leads a pathway to peace and reflection for Korean War veterans
Swinburne’s Centre for Design Innovation designs memorial to commemorate Australia’s involvement in the Korean War
Researchers and designers from Swinburne’s Centre for Design Innovation have designed a memorial for Korean War veterans. The memorial is a place to commemorate and remember the fallen and publicly recognise Australia’s involvement. Located in Quarry Park, Footscray, in the City of Maribyrnong the memorial site is west of Melbourne’s CBD. Construction of the memorial has begun with completion due at the end of 2018. The Melbourne Korean War Memorial Committee is steering the project. The project is also supported by the Government of the Republic of Korea, Victorian State Government, Korean Veteran’s Association of Australia and Maribyrnong City Council. View of the memorial site in Footscray with view of Melbourne CBD. “The memorial design was derived from the strong bond between South Korea and Australia. It recognises the significant contribution Australian forces made to driving enemy forces out of southern Korea. A path bridges and blends the South Korean and Australian elements of the design,” explains Mat Lewis, Industrial Designer and Project Lead, Swinburne Centre for Design Innovation. “A winding pathway links to the Taegukgi from the Korean National flag. Perforated panels feature key images and information about the war. The pathway ramps from both ends, reaching a slight elevation in the centre of the memorial. From the centre, visitors can take advantage of the spectacular view of the Melbourne city skyline,” Mr Lewis says. Plan view of the memorial design with bridge and winding pathway. The notion of South Korea rising from the ashes since the war, inspired the pillar-styled perforated aluminium panels. They represent progress and development. The panels are placed along the pathway that flows through and integrates with the Quarry Park site. Prototype memorial panel. Emotive images of Australian soldiers are perforated into the panels. They represent aspects of Australian involvement in the war, with imagery from both countries. Mat Lewis with a prototype memorial panel. The exterior panels of the memorial, feature national flowers, wattle for Australia and the hibiscus for Korea. Korean stone pavers in the pathway meet bluestone pavers commonly found in Australia. External view of panels at the Korean War Memorial. Perforated images of Australian soldiers on the central-exterior of the memorial depict them from behind. The soldiers look as though they are looking towards the memorial and Melbourne. “Visitors can enter at either end of the memorial. The wide path provides space to step back and get the full effect of the perforated images. Garden beds allow for subtle greenery beside the memorial and provide spaces for wreath laying,” explains Mr Lewis. Internal view of perforated panels at the memorial. The shallow ramped path and panel heights allow wheelchair bound visitors access to take in the view of the city skyline. “The design is contemporary whilst still being respectful. It’s something you can engage with. You walk amongst it. You pay your respects and gain a greater understanding of the impact of war,” says Mr Lewis. Read more news on design at Swinburne.
21 May 2018 14:30
https://www.swinburne.edu.au/news/2018/05/memorial-design-leads-a-pathway-to-peace-and-reflection-for-korean-war-veterans/
https://www.swinburne.edu.au/news/2018/05/memorial-design-leads-a-pathway-to-peace-and-reflection-for-korean-war-veterans/
Design
Faculty of Health, Arts and Design (FHAD),School of Design,Centre for Design Innovation (CDI)
false
-
Modern Asian Design by Swinburne author Daniel Huppatz
Modern Asian Design by Swinburne author Daniel Huppatz
Associate Professor Daniel Huppatz has written a definitive guide to design in an Asian context.
Swinburne School of Design Interior Architecture Associate Professor, Daniel Huppatz, is inspired by Asian design. His travels in Asia and subsequent Chinese language studies support this passion. His study in design research, compelled him to write Modern Asian Design. Associate Professor Huppatz completed his PhD on Design in Hong Kong. He taught Modern Asian Design at the Pratt Institute in New York and was approached by Bloomsbury Publishing to write Modern Asian Design after a conference in 2015. Associate Professor Huppatz is also editor of Design: Primary and Critical Sources by Bloomsbury. “There really is no general guide to design in an Asian context, so I wrote one. It offers a new perspective that challenges a lot of long-held assumptions,” says Associate Professor Huppatz. “It’s often assumed that Europe and the United States are where modern design originated and developed. Look back at 18th century Chinese porcelain and Indian textiles for example,” he says. “Europe was not at the forefront of design and technology. It learnt from Asian designers and their methods of production and distribution. “Another common assumption is that European design is ‘modern’ and Asian must be ‘traditional’. In Asian design, people tend to look for traditional items or modern things inspired by tradition. “If they come across anything modern in Asia - a modern bank building or a sewing machine, it must be an import or a local copy,” he explains. Modern Asian Design addresses this idea of copying. It starts with European manufacturers copying Chinese porcelain and Indian textiles. It highlights Chinese contemporary Shanzhai designers who mix and match features from electronic products to produce hybrids. “Shanzai is dismissed as simply pirating. Perhaps copying, adopting and adapting has always been part of design innovation,” explains Associate Professor Huppatz. In Modern Asian Design, the recent prominence of Asian design is the result of a long process. A process created by a global exchange of ideas, materials and people. The book maps this journey from the mid-nineteenth century to now. This includes ‘hybrid’ designs where designers or architects are incorporating European aesthetics, technology or methods. They combine these with local aesthetics, materials or techniques. Modern Asian Design introduces a history of Asian design and covers the importance of contemporary design practice. It features Japan, China and India. Case studies are from Singapore, Sri Lanka, Thailand and Southeast Asian countries. It highlights flows between cultures, by entrepreneurs and corporations operating across borders. “My book is part of an ongoing project among design historians. We are expanding and globalising the discipline. The idea of expanding design history is not just about geography. Design historians have moved beyond documenting significant objects, designers and styles,” says Associate Professor Huppatz. “We analyse flows of materials, ideas, people and organisations. And consider not only the production side of designed objects. We look at how they are marketed, consumed, reused or thrown away.” Read more news on design at Swinburne.
18 May 2018 13:34
https://www.swinburne.edu.au/news/2018/05/modern-asian-design-by-swinburne-author-daniel-huppatz/
https://www.swinburne.edu.au/news/2018/05/modern-asian-design-by-swinburne-author-daniel-huppatz/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
-
The Sound That Light Makes connecting architecture to nature
The Sound That Light Makes connecting architecture to nature
Canhui Chen and Alexander Knox’s tessellated facade in Brisbane’s CBD inspired by play of light on water.
Canhui Chen, lecturer in Architectural Design at Swinburne, has spent the past five years researching computational digital design. He is investigating how it brings new life to traditional manufacturing and construction techniques. He sees a synergistic relationship between computational modelling, manufacturing techniques and the fabrication process. “I am interested in computational design and complex architectural geometries. I am also creating fabrication processes that link with practical manufacturing methods and materiality. My focus is to create sophisticated and beautiful tectonic systems that are embedded with highly rational structural and construction logic that enables them to be affordable,” says Mr Chen. In 2015, Mr Chen and artist Alexander Knox won a competition to create an art facade for the new Brisbane Quarter development at 300 George Street in Brisbane’s CBD. Titled, The Sound That Light Makes, the facade aims to connect the natural world with the highly urbanised city of Brisbane. The form, pattern, and materiality of the ‘sculptural screens’ are inspired by sunlight playing on the surface of moving water. The work references the nearby Brisbane River, as it winds through the city. Rendering of art facade detail by Canhui Chen. “I am interested in engaging with the elements within the city that remain relatively unchanged since before European settlement,” explains Mr Knox. “Interactions between the movement of the river, sunlight and the sky look the same to us today as they would have to the various Indigenous groups that inhabited Meanjin (Brisbane) before European settlement. “Although the play of light on the river is an ephemeral phenomenon, it forms a thread through time. It’s a rare connection point within the contemporary city to the pre-urban environment,” Mr Knox says. Drawing on the dynamic natural presence of the Brisbane River, The Sound That Light Makes extends its effect and feel around the Brisbane Quarter podium. “The river’s undulating silver surfaces create a constantly changing play of light, metallic surfaces, shadows and voids,” says Mr Knox. Aluminium form details, by Canhui Chen. “I created an algorithmic model to synthesise the functional objectives and design complexities of manufacturing and construction of the facade. The 2400 square metre facade area is divided into parts. Each part has a limited number of repeating geometries. This makes the cost of tooling and construction viable,” explains Mr Chen. Algorithmic geometric patterns by Canhui Chen Consisting of 2660 panels, The Sound That Light Makes is tessellated with aluminium forms, pressed from sheet into three-dimensional shapes. These are trimmed and anodised. The forms create complex reflections and provide functional openings and structural strength. Sketches for the art facade geometry by CanHui Chen. Brisbane’s Urban Art Project detailed the sub-structures, the 12-metre-long backing frame modules and manufactured the individual facade panels. Completion of the facade and the Brisbane Quarter development is scheduled for 2020. Panels fabricated and assembled at Urban Art Project factory in Brisbane. Image supplied by Urban Art Project. For more information, contact the Design Factory Melbourne at dfm@swin.edu.au Read more news on design at Swinburne
17 May 2018 13:35
https://www.swinburne.edu.au/news/2018/05/the-sound-that-light-makes-connecting-architecture-to-nature/
https://www.swinburne.edu.au/news/2018/05/the-sound-that-light-makes-connecting-architecture-to-nature/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false
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Design Factory Melbourne concepts protect the planet and improve health
Design Factory Melbourne concepts protect the planet and improve health
Hydroponics in hospitals, nutrient patches, mining e-waste, adaptable devices design for our future.
An initiative of Design Factory Melbourne, the A3 Challenge Based Innovation Program or A3 CBI is run in partnership with IdeaSquare and The European Organization for Nuclear Research or CERN, in Switzerland, and Design Factory Global Network partners. Over six months, Swinburne Honours and Master of Design students work in the A3 CBI program. They are challenged to apply CERN’s lab-based technologies to design innovations. The design solutions need to be sustainable, benefit society and have proven commercial viability. Concepts address the United Nation’s Sustainable Development Goal 12 - Responsible Consumption and Production. This year, two teams from Design Factory Melbourne, Team ATMA and Dasein designed concepts for 2020, 2025 and 2030. Team ATMA’s Digisave concept, reduces electronic waste and changes the way we consume electronics. It uses drone mapping and mining of minerals in landfill. Next-gen personal devices are fabricated to reduce electronic waste via closed loop production. ATMA’s next-gen mobile personal programmable device, TACTI, can be repurposed into a duplicate device or into other devices. Scale models and concept illustration of e-waste mine site and drones by Design Factory Melbourne students. “Team ATMA’s goal is to design a more responsible way of managing the disposal of electronics in Australia. Their concept has a strong focus on metal recovery and value,” explains Academic Director, Design Factory Melbourne. Associate Professor Christine Thong. Digisave mines, recovers and sorts electronic waste. Metals are recovered rather than wasted. Components from electronic devices are fed back into the system where possible. “By 2030, the ultimate goal is to provide a digital presence in a new form that is tactile, and unique to how data presents itself in software. The TACTI device concept tackles the future vision of the personal device. It questions how smartphones might evolve or even disappear in the future,” says Associate Professor Thong. TACTI, next-gen mobile personal programmable device by Design Factory Melbourne students. Team Dasein’s Metaphor concept consists of two sub-concepts. The first is Metaflora for hospital patients on a normal diet. It reduces food waste in hospitals by onsite composting, cultivation and harvesting of fresh produce. “It’s a modular hydroponics system connected to the data ‘hive’ of a hospital. A dynamic system, that grows plants to order. It creates an equal ratio of food supply versus demand, with zero waste,” explains Associate Professor Thong. Metaflora, bladeless drones manage crops inside closed-loop self-sustaining hydroponic farms by Design Factory Melbourne students. Metaflora have modular hyrdroponic rings, attached to a central water pipe. The pipe dispenses liquid fertiliser into the rings and onto crop root systems through small nozzles. Plants are grown in compost pucks, made from hospital food waste. Bladeless drones plant, care and harvest crops inside the closed-loop self-sustaining hydroponic farms. The second Metaphor sub-concept isMetaphora. An infrared handheld scanner with a silicon transdermal patch, Metaphora is for patients who can’t consume food. “If a patient cannot eat, for medical reasons, or they do not want to eat, the patient is given a Metaphora transdermal patch to wear,” Associate Professor Thong says. Metaphora, infrared handheld scanner and transdermal nutrient patch by Design Factory Melbourne students. A nurse applies a clean, recharged patch filled with nano-encapsulated biodegradable nano-nutrients. The handheld infrared scanner is used to scan the patient’s nutrition levels and to detect deficiencies. Patches provide the required amount of nutrition through infrared heat activated nanoparticles. “In line with CERN philosophy, the A3 CBI is an open innovation platform. The details of these concepts and others developed in the Design Factory Global Network are always publicly shared,” says Associate Professor Thong. Read more news on design at Swinburne.
16 May 2018 10:07
https://www.swinburne.edu.au/news/2018/05/design-factory-melbourne-concepts-protect-the-planet-and-improve-health/
https://www.swinburne.edu.au/news/2018/05/design-factory-melbourne-concepts-protect-the-planet-and-improve-health/
Design
Faculty of Health, Arts and Design (FHAD),School of Design
false