Object Affection    Katie Collins                                                                | project |

The Space of Wonder     Tess Milne                                                          | project |

Within Dissolved Boundaries    Kylie Chan                                               |project |

Sound Bubble    Naomi Fogel                                                                     | project |

Book Mooch Re-Brand    Maeng So Yun                                                     | project |


Object Affection     Katie Collins
Jewellery, intimate connection and interior experience

The area of the sentimental in regard to jewellery offers up interesting connections in terms of its relation to intimacy and the interior. Notions of an interior are present in jewellery’s form and casing, providing literal spaces. However it is the emotional relationship that occurs between person and object that is a significant interior and the focus of my thesis. These relationships are highly intimate, secret and enclosed, as the object is a container of precious memory,making its inside so much larger than its outside. This thesis explores these two areas simultaneously, seeking out possibilities of designing an object for both an intimate connection and an interior experience.


The Space of Wonder       Tess Milne

My thesis topic is the space of wonder. Wonder describes the feeling of intrigue, mystery and excitement, which triggers a viewer’s engagement with a space. I use abstraction, removal of forms and subtle shifts in a site to produce the effect of wonder.

These particular processes are to produce artifacts of wonder. They take the form of a model, a photograph and a video. Like the set of a play these artifacts enable the occupant to immerse themselves in the space, actively constructing their own fiction or narrative.

Within Dissolved Boundaries  Kylie Kaixuan Chan

How can the ethereal qualities observed in nature be used to inform the production of an interior space?

I am interested in the ethereal qualities in nature and their ability to tranquilize a person’s state of mind. The temporality of natural phenomena appeals to our senses and therefore draws one to engage with his/her surroundings through ever changing spatial experiences, at the same time allowing one to venture into a liberating journey of imagination, thought and discoveries.

My thesis proposition is to design a yoga retreat that focuses on a holistic approach towards a balanced, rejuvenated mind, body and spirit. Located within Victoria Harbour in Melbourne, this is a place where one can withdraw attention from hectic everyday life and totally immerse in the experience of focusing within.

Through the manipulation of light on forms and materials, my design explores the idea of dissolved boundaries (both physically and mentally), as well as the relationship between engagement and intimacy through sight and body movement.

Sound Bubble    Naomi Fogel

What makes for an unforgettable experience rather than just a night out?
The aim of my thesis project is to design a performance space for a multi-sensory musical experience with an emphasis on the connection between audience and performer(s).
My ‘bubble’ is designed with Melbourne’s thriving music scene in mind, proposing an intimate alternative to the grotty multi-purpose pub environment. My space is specifically intended for slow, amplified performances. An immediate informality is implied by the removal of formal seating arrangements, providing a variety of seating typologies by integrating casual sit-on-the-floor gradations into the structure.
By suspending the structure in an existing building where the floors have been removed a strong juxtaposition is created, giving a performative quality to the pod itself. Part of it pierces through the façade, providing a glimpse even before entering, adding to the build-up and anticipation so integral to the experience.



Book Mooch Re-Brand   Maeng So Yun

What is branding? We live in a branded world. The idea of ‘re-brand’ is to recreate an unexpected branding experience in this branded world.

Branding does not only mean selling a product. Instead I am creating an image for experiencing branding. My design intention is initiated by the idea of re-branding the culture and habit of the reading experience. The project will further support the aspiration of ‘Book Mooch’, a book swapping community for exchanging used books and supporting a more sustainable way of reading.

My thesis proposal is to design reading & book exchanging spaces for the brand ‘book mooch’ which help to promote their brand image through unexpected spatial experiences. The designs are of three different temporary reading & book exchange spaces which will be inserted in three distinct locations, each with its own unique theme, in Melbourne city during a period of time.

My proposed designs will create a memorable, fresh and interesting reading experience for people. At the same time, the project will encourage the public to enjoy reading and exchanging books, and generate knowledge and awareness for the brand value of ‘book mooch’.




Digital Gardens   Lucy Bock                                                                      | project |

To Notice What We Have Already Seen      Katrina Brizzi                         | project |

Temporal City     Sarah Davies                                                                  |project |

De-hospitalising the NICU     Paola Andrea Echeverry G.                           | project |

OUTside Inpatient     Micaley Gleeson                                                       | project |

Mimesis: a theory of inhabitation     Kate Alexandra Jackson                    | project |

de_familiar     Cassie James                                                                     | project |

Down Not Out      Catherine Killen                                                              | project |



Digital Gardens

Lucy Bock

Gardens and parks are the antithesis of industrial urban environments. In essence they are a place for aesthetic experimentation to invigorate
one’s senses whilst marvelling in their natural beauty.

As we advance in a postindustrialised era, gardens may become the interface for future living. In reality the garden is a still life, a composition
of textures, foliage, colour and perfume. In virtuality it is a living breathing organism, responsive to human presence and interaction.

As our cities grow we are faced with the prospect of fewer open spaces in which to appreciate our natural environment within urban settings.

As higher density redevelopment of brownfield sites is inherently more sustainable than urban sprawl, our goal should be to utilize each urban hectare as effectively as possible. The derelict, contaminated and abandoned industrial wasteland of the former Carlton United Brewery is a site in Melbourne that presents an opportunity for bioremediation and redevelopment.

My thesis proposal is to design a photosynthetic interior for future living, while responding sensitively to the heritage of the site. Essentially I am exploring the nexus between ornamentation and decoration, lighting design, textile design, and landscape architecture in the realm of intelligent interior environments. Interior landscapes that are luminous and tactile will respond to human presence and enhance our vitality and wellbeing.

To Notice What We Have Already Seen
Katrina Brizzi

To Notice What We Have Already Seen is a study on designed spatial experience and its significance in the production of interior space. It encourages one’s ability to notice an occurrence rather than for its experience to be prescribed.

Some of the most affecting spatial experiences are those that are not in effect designed. They are moments where a receptive state of mind intersects with exterior conditions (atmosphere). This intersection collectively constructs a compelling experience, involving the exposure and shifting of thoughts.

Through exploring notions of spatial experience by means of both recognition and through design, I have investigated how a design practice can encourage an encounter with place through one’s receptiveness.

These spatial experiences become a key determinant in the production of interior design, as it is the relationships that they suggest which produce interior space. It is through the occupant’s ability to notice that an encounter with place is formed.

There is an attraction in these often small yet transformative encounters, which are not always meant to appeal or to be seen by all. They are all around us and when one’s state of mind meets with atmosphere, this encounter happens without human intervention. We begin to notice what we have already seen.

Temporal City - shifting sensory situations toward an engaged relation
Sarah Davies

The interest of this project lies with the sensory situations of the city, and shifting them to activate a relation between the situation and the dweller - creating a production - an engaged relation: Temporal City.

Stemming from a belief that modern cities tend toward the mono sensory and the singular, as well as the increasing disengagement of inhabitants, this thesis is interested in reigniting a participation with location and an awareness of sensation. Activating dweller, and shifting sensations to the multiple.

Viewing the city as a wunderkammer, to incite curiosity and wonder, a series of insertions are to be implemented in locations of sensational periphery, to create a collection of shifted situations. Through the production that is established, the Temporal City is shaped. Temporal City does not solely refer to this production however, but also to elements that constitute it: the temporality of the location: of the situation; of sensations; of the inhabitant; of material; and the shift itself of the sensory situation toward an engaged relation. It is all these components working toward and amongst the relation as well as the relation itself, that affect and constitute Temporal City.

De-hospitalising the NICU
Paola Andrea Echeverry G.

The name that has been given to the process of reducing the clinical and institutional feel of a hospital is to “de-hospitalise” the space.

The work featured explores design possibilities to de-hospitalise the Monash Medical Centre Neonatal Intensive Care Unit (NICU) facilities in Clayton, contributing to the wellbeing and physical and psychological health of all the inhabitants of the space, yet maintaining the organisational
elements that the hospital requires to perform properly. Releasing the NICU from its clinical character will have a positive effect on the successful development of premature newborns, the wellbeing of their families and hospital staff.

OUTside Inpatient
Micaley Gleeson

Can a connection to the natural outside elements assist in one’s healing process?

OUTside Inpatient explores the idea that adaptable, interactive and responsive spaces which mediate natural light and air and which have a connection to the exterior can assist recovery in healthcare.

The site for this exploration is the Epworth Rehabilitation Centre in Camberwell. At a closer scale the design investigates ways to allow control
of one’s environment even with restricted mobility.

Mimesis: a theory of inhabitation
Kate Alexandra Jackson

Mimesis is defined as the imitation or representation of aspects of the sensible world, especially human actions, in literature and art. Mimetic behaviour involves a moment of assimilation on the basis of a similar attribute; it expresses a resemblance and is derived from a common element which develops in the subconscious.

Mimesis is a process by which we can identify with the world; through mimetic behaviour we find our resonance in space. How then, can an interior evoke a mimetic response from the inhabitant?

This project is an investigation of empathy, imagination, and their collaborative roles in producing a state of mimesis through the arrangement
and representation of architectural elements and scenarios that hold an intimate relationship to the human body.

cassie james

‘keep yourself off balance because the process allows for a certain amount of discovery.’ artist benny andrews

Our knowledge of the world is often based on a knowing and understanding through a familiarity. There is a saying however that ‘familiarity breeds contempt’. This saying is pertinent to design thinking and production when design attempts to question convention and invent
new things.

The de-familiar project investigates a process of de-familiarising a space by looking at the same thing in different ways. In film making, the term de-familiarisation refers to the artistic technique of allowing the audience to see common things in an unfamiliar or strange way, in order to enhance the perception of the familiar. This concept has been a strong influence for this project. As a case study, the thesis project will investigate techniques of applying elements of de_familiarisation to a common gallery space. Familiar aesthetic, spatial, experiential, relational, and performative qualities will shift and question the commonplace that we tend to take for granted.
This de-familiarisation process endeavours to break through deadening and mechanical habits of conduct as both designers and inhabitants of space offering new relationships and ways of thinking.

Down Not Out - living underground to combat urban sprawl

Catherine Killen

Can underground dwellings be designed so that they are seen by society as attractive housing options? The issue of whether living underground
can help combat urban sprawl is dependant mainly upon designing to overcome peoples’ negative perceptions of underground spaces.

Underground residential development may be of interest to urban land owners who wish to subdivide their land when there is no room to build out, and restrictions on building up. One such site, the location for this design experiment, is a terrace house at 264 Elgin Street Carlton. Previously, a two-storey extension onto the back of the terrace façade was built in response to the Melbourne 2030 strategy of taking full advantage of inner-city land plots. I argue that the addition of an underground dwelling would further meet the aims of this strategy.
Designing a sub-surface dwelling poses an interesting interior-design challenge because underground space is a totally authentic interior environment. With minimal above ground presence the idea of architecture as object is overcome, and the focus of design is shifted to the experiential aspects of space.

The design concentrates on challenging widely held negative beliefs (substantiated or perceived) about living in underground spaces, by paying particular attention to issues of lighting, ventilation, connections with the exterior, and access and egress.