Introduction
Program Director, Malte Wagenfeld
Welcome to ‘Final Assembly’, the 2010 RMIT
Industrial Design graduate exhibition.
The work seen here is the outcome of the
graduating 4th year student’s 1 year long major
project. Each year of graduating students has
its own particular flavour as individuals address
and respond to ever-changing local and global
challenges, shifts in society, culture and
technology. Each year students are presented
with new ideas, approaches and opportunities.
RMIT Industrial Design prides itself in having a
strong learner focus, allowing students to develop
their own path through their 4 years of study. At
the beginning of 2010 the approximately 55 final
year students were presented with the choice
of joining 1 of 5 diversely themed studios where
they could carve and shape their own trajectory
towards a unique career in industrial design. The
2
5 themes reflected what we identified as critical
paths in contemporary industrial design and
harnessed the expertise of the various lecturers.
It is important to note that each student project
was set by the student in response to the theme
of their chosen studio and that sometimes the
most difficult task was identifying and clarifying
this project before any design work happened.
So perhaps not seen here are the many twists
and turns, frustrations, sweat, hard work and long
nights the students went through as they analysed,
rethought and sometimes even restarted their
project. This all worked towards the goal of
students graduating as confident, informed and
engaged professionals who have a strong ability
for independent thought, analysis and decision
making; and a lust for lifelong learning.
Our graduating students step into a rapidly We congratulate all our graduates on their
changing world and Industrial Design will play achievements and wish them the very best for
a crucial role in shaping his world. Within this a bright and exciting future, and look forward to
context graduates need to not only be equipped seeing them develop as professional designers
to deal with this constant change, but more and the contributions they make to the local and
importantly to proactively respond and embrace global community.
it, and identify opportunities as they arise. With
this in mind the learning in these final 2 semesters
was focused towards students developing an ever Malte Wagenfeld,
greater level of self directed learning and ability
for independent analysis and decision making.
Program Director, Industrial Design
Many of the projects you see here will have a life RMIT School of Architecture and Design
beyond this exhibition and graduation. Some will
be entered into design competitions, some will be
further developed and commercialised and some
will travel to Milan to be exhibited at the Salone
Satellite at the International Furniture Fair as part
of Professor Kjell Grant and Gyungju Chyon’s
Melbourne Movement.

3
 Introduction
Student, Christopher ‘Ruzkin’ Hayes-Kossmann
I’d always expected that, by the time I graduated
with my Bachelor of Industrial Design, I’d be
almost swollen with new skills and ideas. There’d
be nothing I couldn’t build, no problem I couldn’t
manufacture a solution for. I, along with my fellow
students, would be the collective Alpha and
Omega of modern design.
It was both right and wrong. While RMIT has given
me a fantastic skillset, as well as the confidence
and know-how required to take my ideas to the
world stage, it also taught me that this degree and
this exhibition are only the beginning of something
much larger and more complex than I anticipated.
This is already obvious to me just by looking
around at the diversity of the pieces here at
Final Assembly. There is so much talent and
accumulated wisdom on display - from cutting-
edge furniture design to hard-core electronic
4
wizardry, speculative methods of future
transportation and revolutionary systems of
prosthetics manufacture - that I can’t help but feel
a little awed by how my fellow students had taken
the same degree and stretched it in so many
different directions with such wild results.
Even with ten extra years, I couldn’t learn all
the things I want to learn, to experiment with
all the different materials that have grabbed my
attention, to meet all the designers I admire. I’m
standing on the threshold of graduation and all
I want to do is scream - let me come back! One
more year, to take another studio and diversify
my knowledge that little bit more. One more year,
to pick the brains of the talented designers who
are our lecturers. One more year, to play and
make mistakes without fear of admonition.
No time for that now. We may be students
standing at the finishing line, but we’re also
qualified designers on the cusp of our careers.
We began our studies with only the simplest
understanding of what we’d undertake in the
coming years. To many of us, industrial design
was a skill that followed a checklist. Sketch,
sketch, sketch again, render, build in CAD,
prototype, celebrate. It took four years for us to
learn industrial design is not a single skill but
an amalgamation of many skills, some of which
could take a lifetime to master.
It took four years to find a definition for what
drives me.
Industrial design can be art, but it must be art
of such clarity and precision that its intention
is clear and without ambiguity, accessible to
engineers and laypersons alike. Industrial design
can be sculpture, but it must be sculpture that
communicates as much purpose as metaphor.
It can cherry-pick inspiration from music and
dreams, light and sound, the texture of an old
oak table, the shiver of perspiration trailing
down the side of a wine glass. It’s as complex
as all the manufacturing industries, prototyping
technologies, and consumer whims combined,
and understanding that is possibly the most
important part of our education.
Industrial design can’t be learned in four years,
or ten, or fifty. It may be a discipline but it’s
also an ongoing process through which we can
understand the world, and how we can make a
little bit better, a little bit easier. It’s a daunting
proposition, but I think we’re up to the task.
We are, after all, the future of design.
5
Beyond Tomorrow was set to examine the changing and challenging role of
designers today and in the future. Through developing innovative ideas into
furniture, objects and lighting, students continuously considered mental and
physical well-being, social and environmental ethics, and innovative ways of
applying technology. The designs had to offer original and unique experiences
to people. Students explored the process of production and commercialisation
of their design proposals based on research, knowing that the outcomes were
to serve them as a springboard for the start of working life outside of the school.
Students were expected to find and establish their own ways of working,
and to integrate design into life, both locally and globally. They engaged with
manufacturers for production of their projects and produced appropriate
documentation for production.
 Ivan Adhiteja

SHIMA is a modular coffee table designed to fit small living spaces.

It functions as “emergency” seating equipment which can be used
occasionally depending on its users’ needs.

It is constructed from layers of flat pack stools; each layer can be

easily disassembled and folded into a seat. The folding method is
inspired by how juice boxes are manufactured.
The furniture piece is made using EchoPanel, as the texture of the
material gives a warm feeling to its user, and it is strong enough to
compose the stool structure. In addition, by the end of the product’s
life, the whole furniture piece can be easily recycled as it is made
out of PET plastic.
:

CONTACT:
ivanadhiteja PROJECT NAME :
@yahoo.com

SHIMA
0449 065 543 .

8
9
 Sharifah Suaad
Shadzwa Alhadad

Sharifah’s Major Project investigated the existing public furniture

at the university campus and identified a problem; the current
furniture is rectangular in shape and fixed to the ground. A study
of sitting positions shows that when a group of two or more people
sit together, they would have to sit on an angle to face each other
to interact; the current seating does not enable social interaction to
happen comfortably.

The project addresses this problem. Thus, the proposal aimed to

design furniture that has flexible seating in terms of allowing users
to set many different sitting configurations to suit the needs of
space and position. The outcome is the Inchworm Bench; a fun,
playful, modular seating piece which is constructed of units that
: are connected to each other using a pivot system. This mechanism
CONTACT: allows the seating to expand and contract, and allows each unit to
be rotated to form a vast variety of seating configurations desired
shadzwa@yahoo.co.uk
PROJECT NAME : by the user. The bench suits both indoor public spaces, such as
INCHWORM shopping malls, convention centers, galleries or office lounges, and
outdoor contexts like parks, playgrounds or university campuses.
+60378 474 008 BENCH . Ideally the bench is to be fabricated from rotational-molded plastic;
however the prototype is made out of PVC pressure pipes and
0
1 fittings to represent the form of the concept.
1
 Tsz Man Chan

Sworm is a stool that forms volume through lines. The design

process was developed under the inspiration of the behaviour laws
of bird swarming. The contrast between a bird and a group of birds
showed that ‘unity is strength’.

As Jasmine would like to use the minimum amount of material

possible, she found a new structure and a new form of construction,
by making scale mock-ups. They both use primary geometryas
a starting point; a literal transformation of a 2-dimension material
into 3-dimensional form. Followed by some strength tests, Sworm
was formed by a circular repetition of a single element to form an
hourglass-like stool. There was no need to include materials like
carbon fibre to mix with the resin used, because it would result in the
stool being over-engineered; Sworm’s structural form was enough.
:
By exploring different ways of weaving and wrapping, Jasmine has
CONTACT: created Sworm, the extremely light weight but strong stool.
PROJECT NAME :
jaschan@ymail.com

SWORM
STOOL
.

2
1
3
1
 Wanyi Gong

From art-inspired Ming Dynasty chairs to an exclusive functional

contemporary design piece, Wanyi incorporated a new platform
of expressing ‘contemporary classic’ which included material
replacement, modern ergonomic studies, stackable storage and
shipping, redesign of non-nail joint and seat-back carving.

As a Chinese designer, Wanyi has a strong devotion and sense of

belonging towards the Ming Chair. She aims to find a modern way
to convey Chinese virtues in her designs with important values such
as family bonds, views on fortune, and appreciation of nature. The
distinctive and unique shape of the Ming Chair allows her to bring
creation into play without undermining the classic. The design blurs
the line between classics and modern art, and at the same time,
highlights the essence of both the antique Chinese and modern
:
industrial cultures without conflict.
CONTACT:
PROJECT NAME :
Wanyi’s Ming chair has been given a modern makeover by
wanyi.gong@gmail.com
THE replacing the structural material from expensive hard wood to
CONTEMPORARY metal tubes, transforming the traditional chair (reserved for people
0432 635 022 MIING of power, strength and status in China) into a more functional and
approachable piece of furniture.
.

14
The Contemporary Ming
by Wanyi Gong

15
 Lee Kwok Wai

People spend a lot of time working at their desk. As a result. it is

common to have health problems, such as a sore back, which may
be caused by incorrect height of seat. Shoulder pain is another
symptom of bad keyboard positioning. Vision problems are among
the worst of these kinds of complaints, and are usually caused by
bad lighting. This project focuses on preventing vision problems
while working at a desk.

A high quality lamp is needed for people working for long hours at
their desk.

: ZAMP is a sustainable desk lamp. LED lighting is more energy

CONTACT: efficient, compared with traditional light sources. The body of the
lamp is made of recyclable material.
PROJECT NAME :
eddykw@gmail.com

eddykw.wordpress.com ZAMP LED The look of ZAMP is like the simple Z form. The Z shape is adjustable.
It can easily be adjusted to different heights by the user, and it folds
0411 231 870 DESK LAMP
. into a flat form to reduce size. It is convenient to transport, store and
pack . Also it is made from a minimal amount of materials to achieve
16 high economic value.
17
 Fraser Munro and
Jordan Robertson

Fraser Munro and Jordan Robertson have transformed their long

fascination with the rawness of concrete into a construction marvel!
Their journey has seen them challenging the behaviour and
performance of a wide variety of concrete mixes, to develop an
understanding of their capabilities and performance. Once a sound
understanding of these materials was obtained they moved on to
creating a flexible concrete composite, ‘Conflex’.

Being lighter, having greater crack resistance, flexing capabilities

and far greater strength than common concrete, Conflex is ideal
for use in earthquake affected areas, marine applications, civil
engineering, defence and small-scale construction.
:

CONTACT: Fraser and Jordan specifically designed a polyurethane reinforcing

bar particularly suited for use in Conflex. The reinforcing bar offers
fraser@baldhorse.com
jordan@baldhorse.com
PROJECT NAME : additional strength for larger jobs and is less susceptible to corrosion
baldhorse.com CONFLEX than common steel reinforcement.
F: 0411 165 983 . Upon graduation, Fraser and Jordan hope to have Conflex accepted
J: 0415 380 558 into the market and used diversely around the world by engineers,
18 designers and builders.
19
 Patrick O’Connell

What has resulted from Patrick’s exploration is a hybrid form, a

merging of three ideas, in a way that each seprate entity is still
identifiable, but now as a part of something much bigger.

Living as one of five in surburban sharehouse accommodation,

Patrick conducted initial primary research on the way the household
interacted with an archetypal stool. He observed that the stools pop
up in the most bizarre of places and circumstances. He was taken
aback by the raw creativity applied at times (by himself, and the
housemates) towards the furniture object to cater for their individual
: living needs.
CONTACT:
Using these observations, Patrick aimed his project at designing a
peejdesign@gmail.com
PROJECT NAME : stool in a way that caters not only for the very identifiable function
peejdesign@tumblr.com HI-STOOL of sitting, but also the additional functions that occur to the user
unconsciously (using the stool as a step ladder to gain a higher
0438 259 316 . reach, and hanging clothes on it to dry). He combined these ideas
to create a form that gives the common object a higher understood
20 value to the observer.
21
 Elsa Poon

O’My Spice is a piece of kitchenware. It is a container designed

specifically for dried spices and herbs. It is designed for hobby chefs
and all domestic kitchen users. In a domestic kitchen, people usually
store many different kinds of spices and herbs. They usually store
them inside the cupboard or using a spices and herbs rack. The
common problem of traditional spices and herbs storage is, people
do not have quick access to their collection. If they want to find one
specific herb out of their collection, it takes time, and they have to
take out everything inside the cupboard to find the specific one. This
process is time consuming and is not convenient for users.

O’My Spice aims to resolve this problem. An interlocking system

has been developed. The user can interlock as many O’My Spice
units as needed.
:

CONTACT:
poonchuchu PROJECT NAME :
@yahoo.com.hk
O’MY SPICE
0412 563 989 .

22
23
 Ngo Yik Poon

This project searches for beauty within a cheap unwanted material – plastic
shopping bags. Plastic bags are thrown away without thought. This project
looks for better options for this cheap plastic material. Plastic bags, often
made of polyethylene, are not environmentally friendly because this material
is derived from natural gas. They often end up in landfills or in the oceans
and this creates a significant environmental issue, as polyethylene is not
biodegradable. It takes several centuries until plastic bags are efficiently
degraded.

This project aims to take the plastic bag material from consumerism
to the design world. The material is borrowed from one typical purpose
and applied to another, unusual purpose. This is an attempt to create an
unexpected material and to search for a new solution, to transform a source
of waste into an innovative design material. This project believes that the
: plastic bag as a thin, soft, flexible, translucent, and more importantly, long-
CONTACT: lasting material has its value; it only needs undiscovered technology and
craftsmanship to unfold its potential.
poonyikngo PROJECT NAME :
@hotmail.com
ONE MINUTE Plastic bags do not need to be eliminated from society completely, but we
need to make sure that their place in this world conforms to ecological
0423 221 489 . principles and matches the purpose for which we make them. We can use
this material, which has variety in aesthetics and innovation, to make good,
24 if we use it wisely.
25
 Mitchell Rose

Birichino, Italian for mischievous.

Mischievous: mis-chie-vous. Adjective.
1.Showing a fondness for causing trouble in a playful way.

Much like the designer’s personality.

The Birichino Chair was designed from serendipitous inspiration, a

pleated curtain detail Mitchell spotted while walking home.
Mitchell imagined this curtain folding and becoming a cone in
three dimensional space. The size of the folded cone provoked the
: thought that one could sit inside of it.
CONTACT: The curtain pleating also instantaneously reminding Mitchell of
Il Carnevale, an Italian festival learnt during Italian classes in
mitchrose
@hotkey.net.au
PROJECT NAME : secondary school. During these classes Mitchell
THE BIRICHINO was dubbed the nickname “Birichino” by the class teacher.
CHAIR
0422 573 862 . These two thought strands collided in the Designer’s imagination.
The Birichino chair presenting itself with a strong yet playful
26 aesthetic.
27
 Ellen Tanoemarga

Ellen used an unusual approach in creating her final project piece of

furniture. She started by creating numerous mock ups, all of which
originated from full, circular paper disks, thus skipping the need for
initial sketches. She poured out her ideas through paper models
as it is her preferred method of developing a design. The circle is
her starting point, and she intended to retain its values of simplicity,
continuity and perfection; which later became her main criteria in
assessing the form ideas.

Her final design was derived from model #53, a simple form with
: only a single cut and a single fold within the disk. It still holds the
CONTACT: integrity of a circle as well as being aesthetic and functional. Model
#53, or better known as the Hod chair, is constructed from sewn
e.tanoemarga
@gmail.com
PROJECT NAME : pieces of saddle leather, reinforced with hidden structure. The
THE HOD configuration allows the leather disk to be folded in a certain way,
CHAIR in order to transform it into a functioning chair. The flat-pack ability
0410 869 053 . makes transportation and delivery more efficient. Intriguing and
classy, the Hod chair adds a touch of the contemporary in modern
28 housing and public lounges.
29
 Roger Wettenhall

Through keen observation of people playing the sport of golf

experiencing difficulty in storing and transporting their golf bag carts
(golf buggies) to and from golf courses, and believing that golfers
could benefit from a fresh buggy design, Roger has developed an
idea that essentially aims to produce an innovative golf buggy that
incorporates the advantages, and improv es upon the disadvantages
of existing golf buggies.

Roger’s design offers the user a new experience relative to existing

solutions, both in its passive and active states. This is achieved by
: providing a buggy that is distinctly different in terms of form and
CONTACT: functional elements, through introducing an original storage concept
that is married to a simple yet refined design.
wettenhallroger1 PROJECT NAME :
@gmail.com

STO PRO Focusing on true space-saving ability when not in use and by
introducing features yet to be seen on existing buggies, Roger’s
0408 241 459 . resultant design improves the user’s experience of the buggy in its
passive state by providing a product that is user friendly in terms of
30 transporting and storing the buggy when not in use.
31
 Mayuko Yoshida

Mayuko’s major project started with a question ‘how could she

blend essences of nature into everyday life in order to remind
people about the importance of nature?’ She focused on provoking
feeling through physical movement. Natural phenomena, which are
usually dominated by movement, was picked up as inspiration. Of
the myriad natural phenomena clouds are close to our everyday life,
so the idea of clouds was chosen to be explored.

This could tend to become simple such as just representing the form;
however, Mayuko found the essence of cloud through experiments
such as intuitive visualisations, conceptual understanding and
testing with different elements. She assessed her experiments and
extracted the essences of her findings; elements such as semi-
: transparency, vulnerability, flexibility, freedom, subtle gradation of
CONTACT: shadow and random configuration.

mayuko.ysd@gmail.com PROJECT NAME : In order to represent these elements, she picked up a combination
CLOUD of bellows and helixes to create continuous layers and to change
LIGHTING density with smooth movement applied to lighting design. The
0430 270 480 . outcome brings people to a moment of thinking about their own
creation. The form of shade can be changed freely to give a variety
32 of patterns of illumination in everyday life.
33
The focus of the ‘Experimentation’ Major Project studio was on developing an
experimental design practice as a method of discovery which empowers the
student to develop highly original and innovative design; the final outcome need
not be experimental – but it will always be innovative.

Experimenting is a verb, a doing word, and this studio is all about doing and
discovery by doing. Students were actively, and in most cases physically,
engaged in this process of exploration. Each student began with a proposition;
a focus and an idea; however, they did not begin with a fixed outcome in mind.
This is not a re-design process where one takes an existing idea or design
and improves on it, this studio focuses on discovery and breaking new ground.
Through this process students develop their own design methodology and
‘philosophy’ based on a practice of asking and setting design questions and then
exploring and developing them.

As a consequence, this process can invariably lead to many failures, frustrations,

reflections and realignments. These misadventures are an important part of
the process; they shed light on the project topic and propel students in new
directions.

The predominant theme this year in the student’s work looked at the relationship
we have with objects; the role objects play in our lives and / or how such objects
become intricately linked to our lived experiences and how we live our lives; not
only with, but sometimes through, our objects. Students investigated themes
relating to time, anxiety, spatial perception, our emotional connection with objects
and object user/s interactions. The work seen here is the result of this year-long
investigation and should be viewed as an exploration of a design question and
not necessarily as a set of singular objects: as such, the role of the physical
object/s is to serve as a manifestation of this investigation.
 Joelle Boelen

Joelle seeks to oppose the established sexual taboos.

Let us glorify feminine ideology in a world where varied female

form and perspectives are worshipped; a female perspective that
is different to the air-brushed porno chic, the future of the feminist
identity.

Joelle has materialised her vision into crafted tangible forms of high
aesthetic design, and meticulous material fabrication; a form that
becomes an extension of the body transcending into an erotic tool
for intimate exploration and pleasure.

CONTACT:
frillandfrank@gmail.com PROJECT NAME :

EROTIC
0400 563 553 DESIGN
.

36
37
 Sadira Campbell

For every object we interact with, we form an opinion of the

experience. Even when an object performs its function, thoughtless
design can leave a person feeling uneasy or unsatisfied. Something
well-designed, on the other hand, is also successful functionally but
can leave a person feeling positive about their interaction with that
design and keener to use it again. Using this hypothesis as the
starting point, Sadira has researched and redesigned an object that
encompasses the overall positive user experience. For classical
musicians, the foldable music stand is a necessary but scarcely
liked accessory. There is currently little variation or innovation
in the design of music stands, and this redesign aims to offer an
alternative design with a focus on the tactile pleasure of unfolding
: and using the stand. By focussing on the user interaction, Sadira
CONTACT: hopes that this offering will be a foldable music stand that can be
treasured rather than endured.
PROJECT NAME :
sadira.c@hotmail.com
GRIP As well as her interest in user experience and interaction, Sadira
sadiracampbell.com
PORTABLE spent a semester studying at Zurich University of the Arts,
0418 419 542 MUSIC STAND
. Switzerland and is interested in cultural differences in design. She
hopes to spend some time working overseas in the near future so
38 that she can develop this further.
39
 Georgie Cummings

Limited Life is a focus on filling voids that have been created through
a high-tech throw-away culture of mass consumption and waste
production. What has been lost or replaced by the creation of virtual
existences? Are we craving the basics of human need; contact,
connections and empathy, to experience with anyone, anything?
Perhaps it is this culture that has led to how we see objects in our
lives, as quick fixes, fleeting romances and emotionally inert. It is
hoped that through this investigation objects subjected to these
limited lives can be elevated in value as a method of reducing
waste, sustaining narrative and ultimately extending an object’s life
and worth.

CONTACT:
georgie.cummings PROJECT NAME :
@gmail.com

LIMITED LIFE
0414 564 768 .

40
41
 Ghill de Rozario

Ghill de Rozario’s major project Living Small aims to promote

small space living as a way of reducing our carbon emissions and
environmental impact on the planet.
The project questions the choices we make, in Australia, regarding
the ever growing size of our homes and argues that there are many
benefits to small space living, not just environmentally but also
economically and socially.
The project outcome is a furniture design solution, which serves
as an example of the type of furniture and products which can be
bought at the concept store, Living Small.
This store works as a system which aims to promote small-space
living by making these environments easier and more comfortable
: to live in, through utilising space, increasing functionality and ease
CONTACT: of use.
All the products must be easy to carry and should fit into a car for
ghill_d_roz@hotmail.com
PROJECT NAME : easy and affordable transportation, allowing the users to have a
LIVING SMALL more nomadic lifestyle. They are mostly modular and can be
customised to suit various living situations.
0413 539 783 .

The final design outcome is a modular, nomadic, coffee table which

42 is customisable to integrate a workstation/desk and laptop storage.
43
 Sha Haker

Sha’s project looks into the use of a space and how a person
experiences it. Each person experiences their world in their own
unique way, and will have a different perception of the spaces
they inhabit and/or interact with. Of course, the experience of the
inhabitants is usually intended by the creation of a space (e.g.
comfort, productivity, aesthetic); however the individual experience
is always subjective.
Through explorations into the phenomenon of space as a system,
Sha has designed a way for a user to create his/her own boundaries
and the use of the space. The project outcome is a ‘divider’ that
gives the user a way of defining the way that they want to use the
space, to write its own boundaries. Each part has its own function
and can be modified. It can be used indoors as well as outdoors.
:

CONTACT: Space is not fixed or linear, but a constant rearrangement of relative

PROJECT NAME :
relationships between objects, people and ultimately, the observer.
shahaker3@gmail.com

BETWEEN
0416 813 560 .

44
45
 Yuna Hong

The outcome plays a role as a medium, letting users create their

own atmospheric experience. During daytime, it becomes an eye-
catching decoration for the space.

The blown glass balls absorb natural light to cast patterns on a

floor. During the night it transforms the light source into aesthetically
pleasing visuals (the entire surface becomes a huge canvas) and
completely different atmosphere compared to the daytime. Unlike
the other existing form-driven lighting designs, ‘luminarie’ does not
urge users to be informed what the shapes and form of the entire
product is supposed to represent. By letting users physically interact
with the given material (glass) and the quality of light, it allows users
to change it to meet their daily needs.
:

CONTACT:
PROJECT NAME :
‘LUMINARIE’,
THE LUMINOUS
SENSIBILITY
.

46
47
 Ben Hurt

The discipline of design is very well versed in our connection and

interpretation of things in the three dimensions of space. The fourth
dimension of time is as valuable and necessary to the quality of
our lives as the environment we are in, yet we rarely focus on it
or experience it with the same awareness and connection. The
human quality of time experience is a highly subjective, fluid and
personal phenomenon, but the dominant paradigm of ‘clock-time’,
mechanical and unwavering, is where we most consciously reside.
This often oppressive experience of a quantitative metering of
activities increasingly drives our agendas, interactions, and lives
and is at odds with the qualitative nature of time to which our life
experience is most aligned.
:

CONTACT: The traditional tools of time organisation, such as diaries, calendars

and clocks fail to reflect the multi-faceted nature of time, and as a
benhurt1
@bigpond.com
PROJECT NAME : result our humanistic experiences of time are constantly clashing
TAKE YOUR against them. This project suggests a different set of tools. Through
their use, a different way to relate to time emerges: one that
0423 908 994 TIME
. recognises the individual, and above all, respect to the self. It allows
for the opportunity to claim a sense of control over time and navigate
48 the boundary between our time, that of others, and that of the clock.
49
 Thomas Llewellyn

‘The argument about imagination begins by exploring language that

attempts to direct and guide bodily skill.’
— Richard Sennett

Thomas’ major project is the design of the drawing board.

The object as tool.

The word ‘tool’ connotes an object imbued with action and intention:
the object facilitates a function. The object, the user and their
relationship determine the function. This relationship involves not
only how we guide the tool but also how it guides us.
The drawing board is a tool, which privileges the role of the hand.
The concept of a two-person drawing board is explored. This design
looks at the tool’s role in guiding, not only our relationship with it but
also our interpersonal relationships.
A space for drawing.
: ‘Ambiguity in visual design ultimately leads to a greater variety of
CONTACT: functions than designs that are functionally fixed.’ — Andrea Zittel
To influence our use of objects, and strengthen our relationship with
masterllewellyn
@hotmail.com
PROJECT NAME : objects, design must be open and inviting to us and our hands.
DRAWING Simple, ambiguous design allows for adaptability and encourages
TABLE resourcefulness.
.

An instantly recognisable composition enables interactivity and

50 potential.
51
 Kenji Nagai

The project ’fusion cutlery’ is about creating cutlery for fusion cuisine
which is a mix of two or more culinary cultures. The ideas, function
and design will contribute to the new dining experience for the users
as well as inspire chefs for new dining methods instead of focusing
just on presentation and flavour of the dish.

Through this project, my aim is to create a set of cutlery which

substitutes the functions of fork, spoon and knife which will also
be designed for a pre-structured fusion menu. The menu will be
based on the fusion of Japanese and western cuisine. Although the
whole fusion culture has settled into the culinary practices around
: the world, which now have a wider range of variety as well as depth
CONTACT: in terms of history, the modern culinary culture still has unlimited
potential to evolve.
kenji.nagai PROJECT NAME :
@hotmail.com

FUSION Kenji’s project focuses on developing new ideas and breaking the
tradition of the current dining through the genre of fusion cuisine.
0430 015 451 CUTLERY
. As much as chefs develop new menus through flavour and
presentation, he has challenged himself by expanding the horizons
52 of dining through design.
53
 Ky Snyder

Things we do and experience have resonance. It can die away

quickly or last a long time; it can have a clear centre frequency or
a wide bandwidth; be loud, soft or ambiguous. The present is filled
with past experience ringing in various ways and now is coloured by
this symphony of resonance.

As a way of illuminating design one can draw upon analogies with

music. ‘Resonance: design as a translation of music’ is about
exploring analogies of these two disciplines, giving insight into
:
aspects of human process and perception. As a point of focus
CONTACT: the project investigates the tangible, physical existence of sound,
drawing parallels of musical components such as rhythm, harmonics
PROJECT NAME : and timbre.
RESONANCE:
DESIGN AS A The outcome of the project to date, is a piece which attempts to
TRANSLATION OF
. provoke thought on the parallels of music and design; executed by
MUSIC adopting qualities which are distinctly musical to define physical
54 form of the design.
55
 Simone Steel

Simone is fascinated by the sense of touch. She believes that

sensory perception is what defines the nature of experiences with
objects and spaces and she uses this knowledge to enhance their
inherent value. Simone sees honesty in objects that are crafted by
hand and in the traditions of material appreciation.

Simone’s Honours Project culminated in an outcome that was

both process and object based. She designed and hand crafted a
series of Bespoke Sensory Objects for and with three women with
Asperger Syndrome, developing and documenting a ‘co-creative
design’ process.

Simone formed and tested a number of hypotheses about

the relationship between sensory experiences, perception,
memory, emotion and anxiety. She orchestrated three phases of
experimentation, beginning with communication and interpretation of
: emotion. The second phase explored material-tactile associations,
CONTACT: and the final phase investigated physical expressions of emotional
nurture.
simonesteel.design PROJECT NAME :
@gmail.com

TACTILITY Through this research she was introduced to the conditions of

hypersensitivity and acute anxiety, often suffered by people with
0422 487 131 . Autism Spectrum Disorders (ASD), including Asperger Syndrome.
As such, Simone proposed to design personal sensory craft-objects
56 that would reduce anxiety in individuals with ASD.
57
 Matthew Sutianto

Matt’s project is based on the history of the Japanese bento box and
trying to relate this within today’s society through experimentation
and design. He believes that the Japanese Bento Box is vastly
becoming one of the most chosen set meals off the menu today.
Matt realised that whether people are eating in or taking away, the
readily made ‘lunch box’ offers a collective group of small portions
and food options to cater to a variety of tastes. To most people
the bento box is viewed as just being a container with dividing
sections to separate the food, but to the Japanese it has much
:
more significance and meaning which most of us don’t even begin
CONTACT: to realise.

PROJECT NAME : Matt’s aim is to incorporate the underlying meaning and ritual
MODERN behind the bento box, into the daily routines and eating habits of
our modern day lifestyle. Thus, his outcome provides and creates
BENTO
. a greater appreciation of the food we eat and its preparation.
Ultimately the nature of his project is to relate an old tradition to
58 modern design and living.
59
 Kelly Tinker

Is it possible to deliver engaging experiences through systems with

simple functionality?

Through her major project, Interface, Kelly aims to highlight the

link between technology and the physical environment. Social
changes in the last few years are forcing redefinition of approaches
to social intervention, focusing on highly individualised solutions.
This change has manifest in a new design approach undertaken
in this project. The objective of the outcome was to explore the
design potential of new situations that are occurring, as the result
of information and communication technologies being woven ever
more intricately into our day-to-day lives. She surmises that when
a collection of seemingly mundane items are brought together an
intriguing narrative emerges.

: For a space to interact, it must be capable of participation.

CONTACT:
The key concept was to create an interactive design that constantly
ktinker25@gmail.com
PROJECT NAME : changes, evolves and adapts to the users’ interaction input. The
INTERFACE audience is invited to dictate to the environment, through the
device, the emotions and story they feel and wish to convey through
0423 871 032 . manipulation of the surface, transforming mundane surfaces into an
arresting communication tool. The interactive experiences created
60 are situated between art, design and entertainment.
61
 Peter Wong

Food for others. From resource to product to resource again.

Closed loop cycle

Project Sustainable Furniture by Peter Wong has come a long way

since its inception at the beginning of 2010 as a Pre-major Project.
The theme of the project is sustainable seating with the concept of
the project being food for others, meaning the resources retrieved
from the ground are able to decompose back into the earth and fuel
growth for other resources.

The product’s function is to create sustainably resourced seating

for the mainstream community. The product must know its place
(its function), fulfil its human needs, purpose, and ergonomics and
: not clamour for attention. Unlike an exhibition piece, it must not
CONTACT: be the dominant piece within a room. It must be able to fit into
all households with varied facades. It must be clean, minimal and
shinn56@hotmail.com
PROJECT NAME : simple in design and function.
theloop.com.au/pswong SUSTAINABLE
FURNITURE A deeply sustainable process was used within the project
0433 398 071 . development. The design, materials and processes were all
scrutinised to develop a more eco-friendly seating that encapsulates
62 the main concept.
63
The Global Warming Studio has engaged transportation design as a sustainability
agenda item in response to the global financial crisis. Combined with the problems
of peak oil production and climate change, the crisis created an economically
catalytic event which has refocused automotive psyche towards community
needs and sustainable mobility.

The designers have actively challenged notions of car ownership as a goal.

They privilege utilitarian mobility and the experience of urban transport over the
acquisition of Object as a means of gaining status and its associated wealth,
performance and grandeur.

This has led to challenges to the designers’ self-perception and identity through
their own vehicles and mobility choices. We have witnessed that when the
agency provided by ones acquired vehicle is removed, the experience and
activity of transit create opportunities to radically re-vision the vehicle and
systemic transport structures, and provide opportunities for driver and passenger
experience beyond the contemporary ‘car’.
 Christian Beaumont

With a current population of over 4 million, Melbourne is growing at

a very rapid rate. This is putting a strain on our train network, with
213.9 million passengers travelling on it between 2008 and 2009.
The commuter rail model that the train network now represents
is its downfall. The lack of links between train lines causes an
unnecessary large amount of traffic in the CBD stations. Existing
links between train lines are mainly done by buses and a few links
are available with trams. These are not enough. Increasing the links
between train lines across Melbourne could reduce passengers’
trips to inner city stations to interchange.

Creating links between train lines with buses or light rail is an option,
but bus reliability being low and light rail costs being too high, there
are new and better ways to transport passengers between lines.
: Creating smaller modes of transportation that can carry two, four or
CONTACT: six passengers between train lines at times of need is a new way
of dealing with the problem. Using a more personal system where
cbeaumont87
@gmail.com
PROJECT NAME : the passenger can control when they leave and whom they travel
theloop.com.au/cstb_87 LINELINK with will evolve the way public transport can be used. The vehicle
will be easy to use, clean and will incorporate current and future
0438081187 . technologies. The new system will blend in and work in sync with
current Melbourne Public Transport to reduce congestion on the
66 train network.
67
 Jessica Bird

Jessica has spent her final year of study exploring sustainable

alternatives for mobility in the future. Stepping out of her comfort
zone, she took on the challenge of designing for a world with no
private car ownership. Creating a vision for Melbourne living in
forty years’ time, she used the opportunity to design a vehicle that
exists a long way from today’s automotive conventions. The Dr.
Who is a slow-moving, low-range vehicle, in which people stand,
as a statement against passive travel. Inspired by the grace of a
dancer, elegant lines of a lily blossom, and the gentle beauty in
disrupted forms, Jessica has striven to provide a visual nod to the
: performative aspects of her envisaged future. Closing the gap
CONTACT: between private and public transport, these vehicles glide about the
city as self-sustaining, living elements, endearing themselves to the
jessicabird.design
@gmail.com
PROJECT NAME : community.
issuu.com/jessicabird.design DR. WHO
Jessica’s design passions revolve around people and sustainability.
0414 305 055 . She works best in a collaborative environment and is interested
in service design, sustainability, social motivated design and
68 community projects.
69
 John Bof

With the concept of ‘no private ownership of cars’ being the

fundamental aspect of the Major Project, John was able to bring to
life the reality of such an extreme measure by constructing a future
scenario.

Set in the year 2038, the city of Melbourne is now six years into
the ‘no private ownership’ scheme, though many problems have
started to appear. With a gross over-population problem, Melbourne
commuters are forced to put up with an overcrowded, uncomfortable
and unsafe public transport system which cannot cope with the
: population. It is decided a share car system will be implemented
CONTACT: and thus the design of a vehicle has been commissioned.

john_bof@hotmail.com
PROJECT NAME : The vehicle designed is intended to serve as a tool in getting
TRINITY commuters from one place to another in an efficient, comfortable,
and safe manner. It was important to John that the vehicle did not
0421 223 008 . resemble the design and function of the automobiles of Melbourne’s
past, hence the unusual driver position and general ‘irregularity’ of
70 the design.
71
 Brady Haseler

A share car you can call your own

Imagine a world where private car ownership is no longer. Share

cars are the way of the future. Beyond tomorrow we can expect
radical concepts encompassed in vehicles that are shared among
a community of people. This is not a new idea; however, it is how
people will interact with these vehicles that will change the way we
look at transport forever.

In 2008 a bold vision was created for the city of Melbourne 2020,
including plans for Central Activity Districts, low energy emissions
: and a decent chunk of affordable housing along with public transport
CONTACT: running twenty-four hours a day. Ideas to reduce the amount of
vehicles travelling to the CBD are also high on the list of priorities in
bradyhaseler PROJECT NAME : order for there to be a more sustainable Melbourne. However, with
@gmail.com
A SHARE CAR a city built around the automobile, asking car owners to give up their
TO CALL YOUR vehicles will not be an easy task.
0439 397 389 OWN
.

This is the share car that will bring the best out of Melbourne and
72 still be a car that you can call your own.
73
 Robert McInnes

Currently rural India has one of the highest maternal mortality rates
in the world. Robert’s project seeks to address this issue through
the creation of a Mobile Health Pod.

The pod’s focus is to save lives and to do this it will have four major
streams of action. As a clinic it is a means of direct intervention by
enabling health care professionals to visit the rural communities that
otherwise have sparse local health services. As a research device
it gathers information on maternal health to better understand
the issue. This will then help to develop the intervention enacted
through the critical analysis of this information. A birthing space
is one of the many uses for the pod’s versatile interior. In an
emergency situation where an established medical facility is not
available the pod will be able to promptly transform into a space
: appropriate for a birthing situation. The campaign on maternal
CONTACT: mortality encompasses actions by many organisations that can be
conducted via the pod . The pod system will act as a point of contact
rmcinnes86@gmail.com PROJECT NAME : for the people affected and also as reference for global recognition
MATERNAL of the maternal health issue.
0422 962 328 HEALTH POD
. Though these actions and more the pod will invoke change on the
issue of maternal health and benefit the lives of those in rural Indian
74 communities.
75
 Aaron Muldowney
The Lexus IS3000 is a vehicle unlike anything that has ever been
proposed as a replacement of privately owned motor vehicles.
Thisvehicle is a part of a fleet of eight vehicles on offer; this being
the sedan, for people to use in Melbourne and metropolitan areas
surrounding the city. Whilst being an integral part of transport that
the people of Melbourne have become used to, the vehicle also
provides the city with an icon that is reminiscent of the London Cab
or Trams in Melbourne. The vehicle is to subtly become a part of
the city, as a moving sculpture that will not only be enticing and
functional for locals but attract outsiders to the town to attract tourism
to the area. The drive train is a minimum impact electric hub motor
on each of the rear wheels producing 100kw each. The vehicle
needed a brand that represents Melbourne as the classy, refined
and innovative city that it is. This is where Lexus comes in. Lexus
is a brand synonymous with class, innovation and taking an active
stand in conservation for the environment. And being a subsidiary
of Toyota, a brand although Japanese owned, is synonymous with
Australian culture, the choice seemed fitting. The vehicle is to be
: produced and maintained at its Altona plant, just 20 minutes from
CONTACT: the CBD; keeping Toyotas jobs safe when private car production
ceases.
aaron___m
@hotmail.com
PROJECT NAME : Inspiration for the form comes from Melbourne’s visual landscape,
Lexus IS3000 in particular its architecture. The vehicle is too provide the people of
the city of Melbourne, and those visiting, a mode of transport that
0413 798 659 . not only enables them to do all the things that they have become
used too with modern privately owned vehicles, but also a chance
76 to become part of the city’s visual landscape.
77
 Patrick Ryan

With a prediction of mass growth within Melbourne up to 5 Million

by 2032, the current transport system is flawed in catering for
and maintaining sustainable growth. Currently there is not a well
functioning link between major train lines, with buses sticking to
fixed routes and not providing the necessary connections between
rail and tram networks. Patrick’s proposal aims to incorporate a new
share car system that provides the missing link between suburban
train networks that also offers the flexibility of a privately owned
car. Patrick has endeavoured to create a concept that utilises
road networks for short station-to-station transit while offering the
flexibility to move between smaller ports situated within access of
residential areas.

Patrick’s project entails a vehicle design and system that provides a

suitable public transport solution for a maximum of two passenger
: intake. Its purpose is to minimise private ownership of vehicles
CONTACT: on the road while utilising electric drive-by-wire technology to
reduce carbon emissions. The vehicles are located conveniently
PROJECT NAME : within access of current Melbourne infrastructure, bridging the
UCAB gaps between existing rail networks to maximise the efficiency of
movement in the outer city. Its purpose is not to replace current
. systems but to aid them in providing an alternative link over short
distances for the public, working harmoniously to create a fluid
78 movement for all.
79
Inclusive design concerns the fabrication of artifacts that humans can use
intuitively in their everyday lives.
This focuses on the way objects are designed, and their inherent affects on our
ability to feel, see, hear, move and communicate effectively. The inclusive design
studio aims to encourage students to create user-friendly, barrier-free solutions
to design; to create designs that embrace the ‘human condition’ allowing for a
varying cross-section of the community to participate equally, confidently and
autonomously in their day-to-day activities.

An appreciation of inclusive approaches to industrial design offers new insights

into the way that people interact with the artifacts and conditions that surround
them within the fabricated environment.

This studio has been taught in a style that encourages peer collaboration ‘round
table style’ where each student has a part responsibility for informing their peers’
learning. This forms a dynamic, collaborative and formative feedback model
driving the direction of each student’s work through a design studio practice
model.
 Pip Grinter

Pip’s major project is an investigation into the lives of those living

with a wheelchair bound disability. His aim in this venture is to
move away from a designer-centric methodology in order to gain an
understanding of the influence that products and systems have on
the people that are using them. Pip’s approach to researching the
project has been a hands-on exploration – cutting down the books,
and getting out from behind the desk to make his own discoveries.
During the course of his final year Pip spent some time living in a
wheelchair and has sought the constant involvement of wheelchair
users. The inclusive nature of the project seeks to move away from
the traditional medical engineering model of wheelchair design and
add a fresh perspective.

The design process of Pip’s project has been very practical. Pip has
constantly tested ideas through a series of prototype iterations to
: continually validate and refine his ideas.
CONTACT:
The culmination of Pip’s research and design development is a
pipgrinter@hotmail.com
PROJECT NAME : prototype of a wheelchair that aims to simply address some of the
WHEELCHAIR day-to-day complexities that a wheelchair user may experience.
The wheelchair features an intuitive method of folding that locks
. and unlocks with the removal of the wheels. Specifically designed
storage spaces allow easy access to day-to-day items and the
82 careful use of materials maximises versatility and efficiency.
83
 Chris Hayes-Kossmann

Chris’s honours project is aimed at a very speciſc target audience

– below-the-elbow amputees who enjoy competition swimming, or
participate in the triathlon. As part of the Inclusive Design studio,
Chris was tasked with creating a product for amputees to aid in
difſcult or overly elaborate daily tasks. After deciding to focus on
amputees in sports, he set about reimagining the prosthetic limb
as a high-performance sporting tool instead of a medical product.
Based on interviews with medical professionals and amputees,
Chris’s swimming limb combines modern, aggressive design
with aerodynamics and ƀuid engineering to create a product that
democratizes competition swimming. Manufactured using standard
moulding techniques, Chris’s major project is designed to be
affordable, adaptable and easy to use – three of the hallmarks of
inclusive design.
:

CONTACT:
christopher.ruz PROJECT NAME :
@gmail.com

christopher-ruz.com PROJECT
PEIX
NAME
.

84
85
 Tom Hartnett

Tom Hartnett’s final year project attempts to reassess the ‘cash

and carry’ supermarket system that has operated in Australia for
over half a century from the perspective of Inclusive Design. This
involved an analysis of the elements of cognition, dexterity, mobility
and culture involved in the supermarket system along with historical
and theoretical research to establish gaps for innovation and the
application of Inclusive Design principles.

Through this research Tom has identified that a more inclusive

supermarket system could be created by reducing the multiple
handling of groceries throughout a typical shopping trip, reducing
the physical effort of negotiating a shopping trolley and providing an
: effective method of organising shopping relevant to home storage at
CONTACT: the point of sale. During the processes of market and participatory
research Tom also identified a necessity to include eco-bags into
tomharters
@yahoo.com.au
PROJECT NAME : his design as a solution to the ineffective environmental impact of
ECO BAG the plastic bag and profiteering by Australia’s supermarket duopoly.
TROLLEY Tom’s supermarket trolley design proposes a more user friendly,
0432 453 987 . inclusive alternative to the ubiquitous supermarket trolley whilst
encouraging the use of eco-bags by giving them a functional
86 advantage.
87
 Daniel Hood
The urban landscape is continuously being developed and society’s
focus on sustainability is increasing through the inclusion of natural
elements and sustainable materials which are used to construct
these areas.

This project researches in detail the realm of public space, focusing

on the areas of ‘Inclusive Design’, sustainability and society’s
interaction with public space, choosing the Melbourne Docklands
Development as a case study and site for the end product.

The resolved design uses a combination of sustainable and

reclaimed materials along with simplistic replicable manufacturing
processes to produce a public seating concept which creates
minimal waste and dramatically reduces its carbon footprint in
comparison to today’s public seating designs.

The timber, which is Australian red gum, has been reclaimed from
: one of the many stock piles of unused railway sleepers around
CONTACT: Australia. The concrete sections were formed using moulds made
from ‘Formply’ off cuts, which were then filled with ‘E-Crete’. A
danielstewarthood PROJECT NAME : sustainable substitute for traditional concrete; it is produced locally
@hotmail.com
MERGING in Victoria and generates 90% less greenhouse gas emissions
danielshood@wiggio.com
GREEN AND than common concrete. Galvanized steel sections are used as the
0407 135 732 GREY
. supporting framework which were also off cuts sourced from local
Melbourne fabricators. These parts can be flat packed and easily
88 installed in the commissioned location.
89
 Elliott Hughes

Bicycle usage in Australia, and around the world, is on the rise but
along with that goes bicycle theft. The advantages and benefits of
riding a bike are well known, from being a sustainable and cheap
mode of transport to the many health benefits cycling brings.
Whether you’re commuting to work or just popping out to the shops,
the feeling of freedom acquired is tremendous. When your bike is
stolen, so too is your freedom.

PAUS is an innovative, integrated, immobilisation system that anyone

can easily use to help prevent their bicycle from being stolen. The
: system employs coded wireless technology hidden within the bike’s
CONTACT: head stem, that locks the bicycle’s own immobilisation system – the
brakes. Coupled with that is a motion sensitive alarm that sounds
elliott
@elliotthughes.com
PROJECT NAME : should the thief then decide to try to pick up the bike and run away.
elliotthughes.com PAUS
PAUS affords the user the freedom to park on the fly without the
0405 306 534 . hassle of carrying cumbersome, heavy locks and having to look for
somewhere suitably strong to lock the bike to. Alternatively, it can
90 be used in conjunction with a lock as a second line of defence.
91
 Lara Mikocki

Lara has recently discovered she will be considered an Industrial

Designer following the description of her project in this very booklet.
Everyone told her this was common knowledge after completing a
degree of this nature, but she maintains she wasn’t aware. Upon
realisation of this fact, she would consider her final project: The Bike
Barnacle, to luckily fall within the realm of her course outline.

The Bike Barnacle is a simple response to the inconspicuous night

:
bike rider, where the bike light is revisited to provide a more effective
CONTACT:
visibility aid. The project was driven by facilitating visibility effectively
and easily for many different users. The result is a flexible light in
laramikocki@gmail.com
PROJECT NAME : an ‘x’ orientation for maximum illumination in using the surface
area available, complemented with a basic fastening. The user is
THE BIKE
encouraged to be as resourceful as possible with the Bike Barnacle,
0400 33 9141 BARNACLE
.
to use it on their person, basket, bag and of course anywhere on
their bicycle, as such resourcefulness and creativity of the bicycle
92 rider was a key influence for the project.
93
 Youssef Tayeb

Youssef’s final year project considers a mobile method of fabricating

economical prosthetic devices for developing countries. His journey
began with a trip to Sri Lanka where he was introduced to the current
labour and material intensive methods of producing prosthetics in
the field.
The project was approached with the intent of utilising emerging
technologies to reduce set-up/production costs in the fabrication of
trans-tibial prosthetics, in direct response to the ‘ground’ research
he conducted. Furthermore, the project sought to facilitate the
mobility of a prosthetic lab to increase its responsive ability to
remote regions.
Adopting a low-cost, open-source ethos, he was able to tap in to the
technical expertise and collective knowledge of online communities
dedicated to these technologies. The information he drew from
these sources informed the design of a 3D scanning system which
translated an amputee’s residual limb into malleable digital data.
: This topographical information was then processed to customise
CONTACT: the interface between an individual and a prosthetic device for
fabrication on a 3D printer. The marriage of these technologies
yousseftayeb
@gmail.com
PROJECT NAME : produced a viable process for fabricating prosthetics in developing
yousseftayeb
LOW COST nations.
@wordpress.com
PROSTHETICS Maintaining a high degree of transparency in his research and
0420 632 712 . design, Youssef has openly shared his work with the online
communities he drew knowledge from, in the hope of a collective
94 advancement of his ground work.
95
 Ngo Bun Wong

Ngo Bun Wong’s major project addresses the solution for carrying
and lifting luggage in an accessible way. He observed that many
travelers have problems with grabbing and carrying their luggage
en route. He explained that there is a typical problem: when the
travelers grab their luggage in the baggage reclaim, they need to
stoop and twist their trunk to lift it from the moving conveyor belt in a
second. In his project, he designed the shoulder distance handle to
assist the travellers to grab their luggage more accessibly.
Also, he found that conventional luggage is bulky. It occupies much
space for storage in the house. He designed luggage to be reduced
in width through its adjusting device.

CONTACT:
dobywong PROJECT NAME :
@yahoo.com.hk

HANDS
0431 070 383 LUGGAGE
.

96
 ‘ Hands ’
Give hands to older people
to lift & drag a luggage

Ngo Bun, Wong - email: dobywong@yahoo.com.hk

97
Information and communications technologies can be can be convergent or
divergent. Convergent devices, such as the personal computer, play many
roles with a single interface, whereas divergent devices are part of a networked
interactive ecology each with its specific role, form and interface. These are also
known as ‘Information Appliances’. If we are to consider the home as an ecology
of Information Appliances, how do we access and engage with this information
on a meaningful level, considering that the home is a place for play, relaxation
and a deeper sense of being?

Each student in the Interactive Ecologies studio explored the user interface
possibilities of the Information Appliance in the home through developing their
own design responses to the above question. The results show a range of unique
contextual ideas that deal with problems of social cohesion, play, learning,
meaningful media access and representations of information flow. These
conceptual positions have been attained through individual research programs
that included iterative cycles of textual review, empirical user studies and design
prototyping.

This studio has been supported by Maurice McKinley, Senior Interaction

Designer at Philips Design Hong Kong. Maurice has provided feedback on the
projects at key stages throughout the year adding a unique professional texture
to the design conversation and an opportunity for the students to test their ideas
in the marketplace. The work has also been supported by Dr Andy Song and
his students from Computer Science and Information Technologies at RMIT
University.

Please enjoy this work as much as I have enjoyed watching it evolve and mature.
 Wil Campbell

‘Through aeons of human evolution, we have developed

sophisticated skills for sensing and manipulating our physical
environment. However, most of them are not used when interacting
with the digital world...’
Hiroshi Ishii, Professor of Media Arts and Sciences at the MIT Media
Lab, 2008

As Prof. Ishii so eloquently points out, despite being beautifully built

to interact with and manipulate the world around us, we humans
have created interface technologies that do not reflect the innate
richness of interaction we are capable of. Nowhere is this more true
than when trying to communicate and manipulate three dimensional
forms in the virtual realm.

: Wil’s Major Project, A Priori, is a proposed scheme of human

CONTACT: computer interaction. As you construct, create, manipulate and
modify your creations in the real world, virtual models are created
campbell.wil
@gmail.com
PROJECT NAME : at the same time. Kids make a skeleton of an animal, flesh it out on
leadscrew.wordpress.com A PRIORI the computer, animate it and then make a movie with friends who
have done the same on the other side of the world. At the same
0400 125 163 . time Mum and Dad are planning out their new back garden on the
kitchen table. When they’re done, the file will be emailed out to a
100 few landscapers so they can compare quotes.
 A proposed scheme of human
computer interaction (HCI)

As you construct, create,

manipulate and modify your
creations in the real world,
virtual models are created at
the same time

Kids make a skeleton of an

animal, flesh it out on the
computer, animate it and then
make a movie with friends who
have done the same on the
other side of the world.

At the same time Mum and Dad

are planning out their new
back garden on the kitchen
table. When they’re done, the
file will be emailed out to a
few landscapers so they can
compare quotes.

a priori 101
 Winaya Kamaputri
MemoRe:Play investigates tangible ludic interaction with the aim
to increase family social cohesion at home through exploring,
editing and sharing digital photographs as representatives of visual
memory.

MemoRe:Play’s concept fits into a future home interactive scenario.

Home in this context is not only an individual’s space, but also a
place where family members another take care of each other through
intimacy and communication. This project takes digital photographs
as the primary resource to recall, and share, memory visually
between family members. To achieve this end, MemoRe:Play
employs affective computing through playful tangible interaction.
Playful interaction allows family members to interact without
‘borders’. Moreover, the act of ludic interaction brings enjoyment
through serendipity; which is similar to how human memory works.

MemoRe:Play is an interactive game concept that enables a family to

: explore digital photographs through related mementos (the tangible
CONTACT: objects that ‘contain’ meaningful moments) and to accelerate photo
viewing and sharing in a fun and creative way. By generating
winayask@gmail.com PROJECT NAME : different basic human movements, such as scanning, squeezing
winayakamaputri.tk MEMORE:PLAY and shaking in different directions, MemoRe:Play creates and
enables a fun photo editing session with different graphical effects.
0430 465 406 . In the end, the family plays together, aiming to be as creative as
possible in recollecting those memories and enjoying the moment
102 of sharing them.
103
 Laura Lippold

Emi is a device for logging time, location, motion and action as

a measure of anxiety, emotion and depression to aid Cognitive
Behavioural Therapy. There are many different types of chronic
illnesses, such as diabetes or high blood pressure, which have
various tests and ways of recording test results that are portable and
easy to use. Currently there is no such option available to people
with mental illnesses. According to research done by the ‘Beyond
Blue’Australian mental health organisation there is a staggering 1 in
5 Australians suffering depression and 1 in 4 Australians who suffer
from anxiety at some stage in their lives. This is a large group of
people in Australia who could use some help.

Laura’s project seeks to create a portable interactive device to assist

those with mental illness to decipher, record and track their various
:
states of emotion. It is to be use in conjunction with regular therapy.
CONTACT:
lippold.laura PROJECT NAME :
@gmail.com
lauralippold.vpweb.com.au EMI BRACELET
0418 864 135 .

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105
 Xisca Mairata

Xisca is fascinated by the way people and computers work, or don’t

work. She began her honours project by looking into the frustration
people have with their everyday technological environment, and
contrasting that with the pleasure people get from being in the
natural environment. After extensive research through literature
reviews, cultural probes and form studies, Xisca designed an
interactive installation for the future home: the Ivie Installation.

Ivie stands for Internal Verification of Information Ecology. The

installation is an interactive wall sculpture for the home, composed
of porcelain ivy leaves, embedded LEDs and Shape Memory
Alloy wire that represents the flow of digital information in and out
of a residential gateway, through movement, visual and auditory
: feedback. It serves two purposes: as a diagnostic tool giving the user
CONTACT: an at-a-glance evaluation of the ‘health’ of their internet connection,
and as a ‘kill switch’ that allows the user to physically sever the
x.mairata@gmail.com
PROJECT NAME : connection. Xisca used this installation to evaluate her hunch that
franciscamairatabradbury
IVIE the future of domestic technology will be ambient, intelligent and
@wordpress.com
INSTALLATION largely tangible. She anticipates that the current user-technology
0414 217 746 . relationship, represented by the Graphical User Interface, will
become redundant and that Tangible User Interfaces such as the
106 Ivie Installation will take its place.
107
 Tristan Tait

A design exploration into the home ecology and personal

music collections, Tristan’s project delivers an innovative and
contemporary medium for musical expression. The device facilitates
physical engagement and feedback in order to suggest a new user
experience surrounding personal audio playback and the real time
narrative of sound manipulation.

Based on selective user studies and interaction design research,

this device is attentive to the changing nature of the home listening
environment and the way in which tangible interaction can bring
about a meaningful synergy between technology and the user.

CONTACT:
PROJECT NAME :
tristantait@live.com.au

www.tristantaitdesign.com SONANCY
0421 776 584 DUO
.

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109
 Di Tan

As an RMIT final year Industrial Design student, Di Tan has

challenged herself to study with Frank Feltham in the field of
Interaction Design.
Her major project aims to explore how emotions can be visually
expressed through kinetic behaviours. This visual email remainder
pulls people away from the computer and lets them have fun when
they are getting emails as well as using other parts of the brain to
think.
The concept has coloured dots behaving differently on the user’s
wall to represent unread (new) emails that user’s are getting
throughout the day. The user can interact with the coloured dots
by getting closer to or further from the wall as well as moving left or
right in the study room.
The different behaviours are dictated by the content of the email.
: The emotion that each email contains depends on the sender. The
CONTACT: sender can select which emotion that they think their email conveys
(happy, urgent, passive, etc.); then when the email is sent, the colour
ditan928@gmail.com
PROJECT NAME : dot will behave according to the emotion the sender chooses..
ditan928@wordpress.com THE LIVING
WALLPAPER The project can be taken further by developing the floor tiles into
0411 088 757 . a rug (soft material and portable) or having the projection image
running in different locations throughout the home and deliver
110 different messages to the users.
111
 Ryan Van Den Dolder

Ryan’s major project’s aim was to find a better way for people to
interact with digital media such as music and movies in the home,
removing the reliance on graphical interfaces and overly complex
remote controls, as well as drawing on the intuitiveness of physical
media such as CDs and vinyl records.
The media surface allows users, through the gesture of choosing
a token for the digital media and placing it on the surface, to play
whatever media they want. There is no need to switch devices on
or search through endless lists of files on a computer, all that is
needed is done for the user. It combines the ease of physical tokens
: to search through and to hold as a connection to the media – like
CONTACT: the enjoyment of having a CD case – with the access to all the
media across a home network. The media space is also completely
RVDD.Design PROJECT NAME : ubiquitous until it’s wanted, hidden away until it’s in use, through the
@gmail.com
AURA HOME use of hidden light feedback and touch sensors. It does not impose
MEDIA technology on the home environment.
0439 014 240 SURFACE
.

The Aura Home Media Surface is a more physical and intuitive way
112 to access digital media in the home.
H O M E M E D I A S U R F A C E

*VU[YVSZÌPSS\TPUH[LÌPUÌ[OLÌTLKPHÌZ\YMHJL

113
 The Final Assembly Crew
Jess, Xis, Sim
Co-ordinators,
Treasurers,
...but we all did a bit of everything.
Secretaries

Wil, Youssef,
Lara, Tristan
Fundraising,
web, venue,
graphics

Thank You:
Murray - Lecturers, all of you, over the last 4 years; for your
Sponsorship skills, support and patience.
- Paul, Pete, Adam, Jamie, Pang, Beau, Alex; for the
Win connection to the real world.
Fundraising - Friends and family; for the hugs.
- The 2010 grads; for the feedback, and good work.
Chris - The FA Crew; for the time.
Words Special Thanks: Irena; for the pics
114
 Tom, Christian
Sponsorship,
planning

Ellen, Yi
Fundraising

Di, Mayu, Ivan,

Sharifah
Fundraising

Robbie
Fundraising, Georgie, Ryan
plinths Fundraising

115
 WE WOULD LIKE TO THANK OUR SPONSORS:

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4.

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