Art, Architecture and Design (2010 - 2012)

Art, Architecture and Design University of South Australia Š 2011 Editor Dr Gjoko Muratovski Graphic Design and Cover Photography Alex Mertzanidis Logistics and Administrative Support Christina Penhall Editorial Assistance Jenna Bishop CRICOS Provider Number 001218 ISBN 978 0 980 766967

GPO Box 2471 Adelaide South Australia 5001 Australia Telephone: +618 8302 0366 Facsimile: +618 8302 0211 www.unisa.edu.au/aad

Colour images and text presented on Envirocare 100% Recycled, a stock manufactured entirely from waste paper and without the addition of optical brighteners.

Black and white cover photography printed on Kraft, a stock made from 100% Virgin pulp.

The sleeve is produced using Unlined boxboard which is 100% Recycled, made entirely from post consumer waste, while the corrugated board incorporated for the cover is made from 64% recycled paper.

All inks utilised for this publication are soy/vegetablebased inks which help to prevent air and water pollution, while providing brighter, lasting colours and contributing to the reduction of emissions from >30%VOC to as low as 2-4% VOCs.

All copy remains the intellectual property of the University of South Australia and each individual author. All rights reserved. No parts of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without prior permission of the publishers. While all efforts have been made to ensure accuracy, we apologise for any errors or omissions.

ART, ARCHITECTURE & DESIGN University of South Australia

Foreword Research Research Education Teaching & Learning Graduate Qualities Consultancy SASA Gallery Architecture Museum sd+b Research Centre Field Trip

11 12 16 22 23 24 28 32 36 38

Visual Arts High Achiever

40 50

Architecture Sustainable Design Construction Interior Architecture

52 60 62 68

Visual Communication Industrial Design

74 84

Awards & Prizes Staff List

94 96

FOREWORD Head of School - Professor Mads Gaardboe

As a consequence of the amalgamation of the South Australian School of Art (est. 1856) and the Louis Laybourne Smith School of Architecture and Design (est. 1906) in 2009 new opportunities for students and staff to transcend discipline boundaries have emerged. Together with the long held reputation for providing innovative and relevant professional academic programs, this has resulted in tangible indicators of success such as number and quality of annual student applications, satisfaction and graduate destinations together with increased research activity and international collaboration. Sustained by highly qualified staff and continually improved facilities, the School’s growth is set to continue. This publication provides a context for the School’s progress to date.

Innovation is rarely a result of a lone brilliant individual working in isolation.

It is stimulated by change and exchange of ideas and by interdisciplinary sharing of knowledge and experience. The awards for artists, architects and designers are seeing their ideas develop into tangible works that will help, be used or enjoyed by many.

Our collective knowledge expands relentlessly, and the school prepares creative and capable learners to extend the boundaries of their expertise. This is greatly is greatly assisted by the Schools location in a cultural hub in Adelaide’s CBD. Its buildings are distinctive, and internal spaces allow students from different

programs to mingle and find inspiration beyond own professional boundaries. The art and design studio is the core of the experiential learning environment, supported by well-equipped workshops with dedicated staff, and modern lecture theatres.

The School is continuously developing new and modifying existing academic programs to ensure that it remains at the cutting edge of education measured against international trends and benchmarks. Most undergraduate programs now lead directly to post graduate professional or research degrees, allowing flexible study plans also for the mature or inter-national student.

The matchstudio design consultancy attracts external clients while Design and Construction in remote areas of the country is an exciting exploration of architecture in cultural and climatically challenging contexts. The Sustainable Design& Behaviour Research Centre, The Architecture Museum and the SASA Gallery are unique facilities for researchers in and outside the School.

We hope you will find the pages in this catalogue of activities and works inspiring.

Not least we wish our graduates success in their careers and look forward to seeing the impact their knowledge and creativity will have on our society in the future.

11

RESEARCH Portfolio Leader - Dr Kathleen Connellan

12

In AAD we have a strong practice-led research awareness. The hubs of our practice-led research reside in the SASA Gallery and in architectural projects and consultancies. This strength is underpinned by a solid theoretical foundation which can be found in the Architecture Museum and amongst staff who consistently write for books and journals.

As artists, designers, architects and writers in AAD we share core values which incorporate three main issues, namely: ethics, sustainability, collaboration and imagination.

We are ideally gathered together to collaborate in inter-disciplinary as well as cross disciplinary research that can contribute to solving some of society’s toughest problems. These problems are our research foci and they include: sustainability, health, education and cultural equity. To this end we have active research projects that engage with each of these issues and in which our own researchers partner with relevant experts in the related fields.

Staff achievements and projects Cultural equity Pamela Zeplin ‘Heading South: a meditation on the “ruins” of the South Project; ‘Artful dodger: The Big Island in the Pacific’ & Co-editor, Australia (Special Issue: ‘OzPacifica’), ‘Not Lost at Sea: Turbulence and Tranquility in Contemporary Art of the Pacific’, The Great Journey: In Pursuit of the Ancestral Realm, Kaohsiung Museum of Fine Arts, Taiwan.

Heading South: a meditation on the “ruins” of the South Project’, Art History in (South) Africa and the Global South, University of the Witwatersrand.

Brenda L Croft ‘Homeland (Heimat)’, a visual art project at the CACSA New New show.

Kathleen Connellan ‘White and Fitted: perpetuating modernisms’. Race and Kitchens in South Africa.

“At home”: a discussion of diaspora and hybridity’.

Interior Spaces in Other Places: Interior Design Educator’s Association.

Kay Lawrence, ‘Parliament House Embroidery’ the meaning/value of embroidery in the lives of women who stitched the Parliament House embroidery.

Andrew Hill, ‘Visibility Hand in Hand’. Painting, photography and digital media project which engages with Indigenous youth in regional Australia.

Health projects Peter Schumacher, Tented Bed Project for the Women’s’ and Children’s Hospital in Adelaide.

The project aim was to make the Tented Bed easier to use, clean, move and maintain as well as making it visually less intimidating and more appropriate for the children’s hospital environment with a focus on user centred design principles research methods and practice.

Kathleen Connellan, ‘Stressed Spaces’ the relationship between mental health and architecture.

Funded collaborative project incorporating cross disciplinary expertise.

Education projects Kathleen Connellan, ‘Media, Culture and New Arrivals’. Funded collaborative project to work on visual arts activities that illustrate and investigate the process of ‘change’.

Green urbanism and sustainable design David Morris and Jason Oaten-Hepworth, Mimili Single Mens’ Housing. A remarkable solution to dire living concerns amongst Indigenous Australians in the APY Lands.

Ron Corso, ‘Creative Idea Generation as a Basis for a Foundation Program in Design’

Jasmine Palmer, CI on an ARC linkage, Re-considering Sustainable Building and Design: A Cultural Change Approach.

Stuart Gluth, ‘The Application of Principles of Creativity from Design Practice Across Other Specialist Disciplines: Case Studies in CrossDisciplinary Application of Creative Design Problem Solving Approaches.'

Veronika Kelly, ‘Triggers and Tactics: Resonance in Visual Design’ Gjoko Muratoviski, ‘Design and design research: conflicts between principles in design education and practices in industry’ Philosophy, history and the imagination Gabriella Bisetto. ‘Mind and Matter’ Object Australian Centre for Craft and Design, Sydney.

Robert Crocker, Re-assembling the past: tradition and modernity in the Anglo-American ‘period-style’ interior. What is history and theory for sustainable design education?

DARE – Di Barrett, Greg Donovan, Andrew Hill, Mark Kimber, Toby Richardson, Olga Sankey ‘embody-meant’ a collaborative exhibition between Adelaide and Canberra based artists from the Australian National University.

Khai Liew, Collec+ors Mark Kimber, ‘All that Glitters’, Still Gallery, Sydney.

Christine Garnaut, CI on (UNSW) ARC Linkage, ‘Cultural Heritage in the sustainability of remote planned communities’. Investigating the relationship between historic built heritage of the post-World War 2 era and the social and economic sustainability of communities in remote Australia.

Julie Collins, Susan Lustri, Christine Garnaut, Louise Bird, Civic Spaces for Children: playground design in 20th Century South Australia.

Prof. Steffen Lehmann: Authored book ‘The Principles of Green Urbanism. Transforming the City for Sustainability’ (London, 2010).

Co-editor book, 4 volumes: 'Sustainable Architecture and Urban Development' (Amman, 2010).

Co-editor with Dr. Rob Crocker 'Designing for Zero Waste' (London, 2011).

Prof. Steffen Lehmann: Refereed book chapter 'Green Urbanism. Rejuvenating Mature Housing Estates in Singapore', in: Wong, T. and Yuen, B. (eds.)

'Eco-City Planning' (The Netherlands, 2011).

Prof. Steffen Lehmann: Refereed book chapter 'Energy-Efficient Building Design' ELOSS Encyclopedia (UNESCO, 2010).

2nd November 2010: First sd+b Annual Symposium 'Solutions for a low-carbon urban future'

Linda Walker, ‘Room’ AEAF, The New New, CACSA 19th May 2011: Second sd+b Annual Symposium 'Solutions for a low-carbon urban future' and Early Career Researchers' Colloquium

13

Khai Liew | Kokoso Cabinet

RESEARCH EDUCATION Portfolio Leader - Dr Pamela Zeplin

16

Research Education in Art, Architecture and Design (AAD) is alive and thriving in the only school in Australia to offer a full suite of undergraduate and postgraduate training programs in visual art and crafts, architecture, interior architecture, visual communication and product innovation.

A robust culture of creativity and innovation encourages many kinds of cross-disciplinary collaborations and community engagements that draw upon more than two hundred and fifty years of combined research practice established by the South Australian School of Art and the Louis Laybourne-Smith School of Architecture and Design. In 2010 the opening of a new Zero Waste SA Research Centre for Sustainable Design + Behaviour (sd+b) within the School has created even more exciting opportunities for collaborative research across the university and beyond, from architecture and planning to the social sciences.

The School’s unique environment offers a rich spectrum of opportunities for inquiry and creative practice in a postgraduate program which is challenging, diverse and vibrant, and which ranges across pure and applied research. Research Education may be undertaken at PhD or Masters’ level in theoretical studies, through PhD

by Portfolio or by practice-based research projects, which represents a particular strength within the School. Students in all disciplines are attracted from across Australia and internationally, from Hong

Kong, Canada, Macedonia, Namibia, Iran, China, USA, Sweden, Bangladesh and Austria. Providing a wealth of material and support for architecture, design and art research is the award-winning Architecture Museum which is managed within the school while Higher Degree Research staff and students from all disciplines participate in exhibitions and research projects at the School’s contemporary art space, the SASA Gallery.

The excellent reputation enjoyed

by AAD Research Education builds upon an active research base by specialis professionals across numerous disciplines who provide high calibre supervision.

From contemporary glass and architectural theory to visual communication, interior architecture and sustainable design, this foundation has created a stimulating research environment where crosscultural, collaborative and institutional partnerships are fostered with industry and the broader community. In this way AAD staff and students regularly engage with external organisations, individuals and activities on local, regional, national and international levels.

Working across and between academic fields, the scope and quality of HDR achievement is remarkable and embodies the School’s broader research vision of criticality and excellence. Our postgradate researchers are leading the field in many areas, from art historical investigation of Indigenous-settler relations in the

Gawler Ranges (SA) to surgical instrument design, contemporary self-surveillance in social media and product globalisation of children’s toys. Other innovative research topics include: a video performance study of Iranian women and the chador; a library of artist books probing the cross-cultural role of textiles in West Timor; jewellery and architectonic space; cultural interaction with video game design; art censorship and homosociality; and ‘Gothic’ phenomena in recent antipodean painting practice. Architectural studies include examination of cultural heritage and sustainability in remote planned communities such as Woomera Village, and an industry sponsored scholarship from architectural firm HASSELL to study this company’s role in disseminating modern architecture in Australia. Increasingly, postgraduate research complements the expertise of staff research interests and priorities, producing a number of active research clusters and cross-disciplinary projects.

HDR candidates regularly publish their research outcomes through journals, catalogues and conference presentations where practice-based research is peer reviewed through architectural and design awards and exhibitions presented at recognised local, interstate and international galleries. Regular AAD research seminars and symposia by students and guest speakers provide a wellspring of stimulating and challenging ideas, attracting audiences from the broader community. Students

are supported by a program of research training workshops, creating a lively community of informed discussion while weekly critique sessions complement and stimulate a wide variety of visual practices in the spacious Liverpool Street studios.

Students have presented their research at conferences and galleries in most Australian capital cities, as well as internationally; in Limerick, Ireland (Melissa Connor); Loughborough, UK (Julie Henderson); London and Oxford, UK (Sandra Uray-Kennett, Naghmeh Nouri, James Marshall); Spain and New Zealand (Troy-Anthony Baylis); Montreal (Chris Boha); Shanghai, Paris and Dubai (Nassim Nasr); Singapore and Paris (Siamak Fallah); Tunisia, Greece and United Arab Emirates (Dolly Daou); the Netherlands and Mexico (Annika Evans); Hong Kong (Sunny Wang) and in 2011 James Marshall will take up a three month residency in Los Angeles.

Since 2007 HDR research has been nurtured by the AAD Higher Degree Research National and International Travel Awards which allow students to extend their research within an international context. In 2010 awardees travelled to Mexico and the Netherlands (Annika Evans), London and Rome (Johnny Dady) and Switzerland (Sabine Pagan). The Friends of the South Australian School of Art have also instituted an International Travel Award for HDR students from 2011.

This year will also see a new scholarship made available to undergraduate and HDR

17

18

students, bequeathed by the late Linda Patterson (aka Linda Lou Murphy) who was a highly acclaimed 2009 Masters graduate of the HDR program. A retrospective of her extraordinary performance and paper textiles work, Flight of a Bird was exhibited in the SASA Gallery in 2010.

In December 2010 the HDR Program inaugurated an annual national postgraduate training symposium: Work with the Experts at the University of South Australia in association with the Art Association of Australia and New Zealand (AAANZ), convened by Research Portfolio Leader, Dr Pamela Zeplin. Nine AAD candidates, most of whom are practitioners, presented their research in this high profile Australasian forum. Other HDR students and staff also presented work alongside eminent theorists at the accompanying AAANZ Conference: Tradition and Transformation at the University of Adelaide and in other prestigious conferences throughout Australia and New Zealand. Early in 2010 Research Education hosted an interdisciplinary sound workshop with German artist and musician, Johannes Sistermanns and a Postgraduate Masterclass with eminent artist/bio-engineer, Stelarc. International artists Jorge + Lucy Orta held an Adelaide Festival of Arts Workshop at the School’s Liverpool Street Gallery which resulted in a three month residency in Paris for HDR candidate Matt Huppatz. Twenty seven AAD HDR students and supervisors

participated in another Adelaide Festival of Arts exhibition; Heartlines was an ephemeral outdoor event curated by the SASA Gallery at City West campus.

In 2010 a monograph by Dr Cath Kenneally, About Being Here was published by ArtsSA and South Australian Living Artists Inc. (SALA) on the work of Angela Valamanesh, one of Art, Architecture and Design’s internationally recognised postgraduate students. In the same year this candidate also received one of Australia’s highest honours, the Order of Australia Medal in the Queen’s Birthday Honours List.

In Art, Architecture and Design many opportunities for creative collaborations and projects take shape in dynamic and often unexpected ways. With further development and cross-disciplinary activity, we envisage an even brighter future for our HDR researchers and welcome prospective candidates.

Nasim Nasr | 'Liberation' from 'Women in Shadows' series

Mary-Jean Richardson | Underground 9

TEACHING & LEARNING Portfolio Leader - Greg Donovan

22

AAD provides opportunities for students to explore individual studio practices as emerging architects, designers and visual artists seeking to sustain newly developing practices and careers.

Academic staff consistently win national teaching and learning awards and within the University of South Australia gain recognition of their outstanding achievements and contribution to learning. Students continue to win national and international awards which are often linked to the shared learning environment nurtured between staff and students.

In recognizing the quality and value added by the significant profile of international students in AAD to the student experience across the school, AAD has an Intercultural Committee which as part of its statement of intent oversees the international student experience. Further, and in support of an international perspective the school continues to develop curriculum initiatives which ensure that programs are interculturally inclusive.

The teaching methodology and pedagogy of undergraduate and postgraduate coursework programs is underpinned by a reflexive curriculum emphasising contemporary studio practices, benchmarked by experiential learning and linked to research in the creative disciplines offered in AAD.

Recently through a UniSA Learning and Teaching grant, AAD was provided with a significant injection of additional funds to develop the following initiatives: - To design and fabricate 3 Mobile Architecture and Design Spaces (MADS) by students for off campus experiential learning opportunities. These units will be transported by a recently purchased truck to local and regional areas of Australia.

- To develop a school-wide approach to research methodologies and an integrated approach to visual art and design writing, ranging from the first weeks of undergraduate degrees through to Honours and postgraduate coursework.

- To implement a new AAD Consultancy and to continue to develop external partnerships to support workplace learning and service learning further enriching opportunities for community and industry engagement for local and international students.

- To embed Career Management skills into each level of undergraduate programs, using an e-portfolio with an emphasis on the creation of an integrated career development resource for students.

GRADUATE QUALITIES

Learning and Teaching in the school of Art, Architecture and Design is intrinsically linked to experiential learning, studio focussed teaching, applied research and individual and collaborative excellence.

Importantly Learning and Teaching in AAD is focussed and directly linked to the University of South Australia’s graduate qualities as listed below: 1 Operates effectively with and upon a body of knowledge of sufficient depth to begin professional practice 2 Is prepared for life-long learning in pursuit of personal development and excellence in professional practice 3 Is an effective problem solver, capable of applying logical, critical and creative thinking to a range of problems 4 Can work both autonomously and collaboratively as a professional 5 Is committed to ethical action and social responsibility as a professional and citizen 6 Communicates effectively in professional practice as a member of the community 7 Demonstrates international perspectives as a professional and as a citizen

23

CONSULTANCY Studio Director: matchstudio - Jane Andrew

24

Authors of ‘The Creative Age: Knowledge and Skills for the new Economy’ (1999), Seltzer and Bentley articulate a central challenge for the education system is to engage students in learning activities that offer a curriculum that structures learning around distinct issues and real life problems. This requires multiple disciplines to contribute to their resolution. Within this educational environment creative skills and an ability to think laterally would, as Seltzer and Bentley suggest, require: - The right balance between skills and challenge: creativity emerges in environments where people are engaged in challenging activities and have the right level of skill to meet them.

- Interactive exchange of knowledge and ideas: creativity is fostered in environments where ideas, feedback and evaluation are constantly exchanged, and where learners can draw on diverse sources of information and expertise.

- Real world outcomes: creative ability and motivation are reinforced by the experience of making an impact – achieving concrete outcomes, changing the way that things are done.

An opportunity arose in 2009 to develop a teaching and learning iniative that combines all elements of what Seltzer and Bentley describe are important to stimulate the development of creative skills and professionals.

Through the participation in client based project activity match-studio provides students the opportunity to develop skills in client consultation, client focused concept development, project costing and time and project management skills.

Participating in client focused project activity within matchstudio enables students to gain invaluable experience in real life projects supported by industry respected teaching staff, interdisciplinary research and knowledge sharing networks and creative industry mentors. matchstudio is engaging in a steady flow of research and project activity in collaboration with researchers, government, not-for-profit organisation, schools, industry and a diverse array of businesses.

In January 2011 projects were undertaken as Summer School intensives, such as the Women's & Children's Hospital courtyard after matchstudio was approached to develop concepts to assist in the 'redesign' for the space created with the closure of the King William Road Entrance. Warwick Keats of WAX Design worked with matchstudio Director Jane Andrew, and a small group of students from across the school to develop concepts

for the space. The development and presentation of the student concepts has acted as a catalyst to attract internal and external funding to undertake the design documentation and construction phase. At the time of this publication consideration was being given regarding the selection of one of the concepts to progress to the design development and costing stage. Should this occur, a student will be selected to work shadow Wax Design to complete this stage of the project which will then be awarded to a building contractor for implementation. matchstudio has also been engaged to facilitate the development and installation of a public art mural on the northern wall of UniSA’s City West Child Care Centre, facing Hindley St, Adelaide. The artwork concept development and implementation was undertaken during an Art in Public Summer School in January 2011. Twenty seven from a students from a range of AAD school’s disciplines worked under the guidance of professional artist and UniSA graduate, James Dodd.

This project offered students an experiential learning opportunity to work on a client focused public art project and introduced them to some of the considerations and skills required to undertake large-scale murals. The hands on workshop involved stencilled aerosol, aerosol, and hand painted techniques were presented as methods to create the mural artwork.

Second-year Bachelor of Visual Arts

student, Hailey Lane, is majoring in photography and was interested in seeing if there was a way to combine her two passions. “I wanted to be able to figure out if there was some way to be able to incorporate art and photography and to build the relationship between them,” Hailey says. “After seeing a lot of street art while studying this course, I saw works that had been manipulated from images or photos and I definitely think there’s great potential there.”

In 2010 over 55 students were involved in match-studio projects, such as; The Freemont Elizabeth High School Mural project and concepts for Senior student centre interior, Women’s and Children’s Hospital tented bed concepts, Forensic SA mortuary storage concepts, Fleurieu Regional Waste Authority logo and stationery suite, Architecture without Paper invitation for Architecture Museum, 2010 Visual Arts graduate exhibition catalogues, invitations, posters and the Architects Board of SA History publication.

25

26

"matchstudio is an interdisciplinary research and professional practice studio established in 2010 that supports our students’ transition from university to work life."

Jane Andrew

2010 Mural | Visual Arts Program and matchstudio

SASA GALLERY Director - Dr Mary Knights

28

The South Australian School of Art (SASA) Gallery is being developed as a centre for high-quality research and as an active site of teaching and learning. The aims of the SASA Gallery are to: - Showcase the South Australian artists, designers, writers and curators associated with the School of Art, Architecture and Design in a national and international context - Support a program of researched exhibitions with a strong curatorial premise or rationale which focus on experimental, innovative and excellent contemporary art and design - Engage in dialogue and extend critical debate about contemporary visual art, design and culture - Engage with current theories, concepts and issues relevant to contemporary art and design practice - Create opportunities, such as touring exhibitions, exchanges and residencies, for artists, designers, writers and curators to engage in research of national and international relevance - Create opportunities for staff and research post-graduate students to contribute to the research output of the School of Art, Architecture and Design

- Contribute to teaching and learning through student engagement with a professionally managed gallery; a nationally significant exhibition program; and mentored student centred learning - Promote the School of Art, Architecture and Design as a centre of excellence and innovation in writing and curatorial practice.

The SASA Gallery Exhibition Program supports research-based curated exhibitions that engage with innovative, experimental and performative art and design practices and positions South Australian practitioners in the national and international context. Rather than presenting or restaging work the SASA Gallery, like research laboratories in other disciplines, generates challenging new research that is of international relevance and makes a significant contribution to national dialogue and debate. The SASA Gallery is positioned at the cutting edge of contemporary art in Australia and part of a vigorous network. The amalgamation of the disciplines of Art, Architecture and Design at UniSA offers the exciting opportunity to broaden the disciplinary research focus and extend networks.

The SASA Gallery Publication Program is being developed as a key research platform. An exhibition catalogue with one or two scholarly essays or creative

texts engaging with ideas relating to the curatorial premise is published alongside every research based exhibition. These are in high demand from artists, designers, curators, writers, academics and scholars and are held in university and state library collections around Australia.

The SASA Gallery External Scholars Program brings substantial interstate scholars to Adelaide to engage with curators, artists, designers and writers on various stages of the research and development, contribute a text for publication, and participate in academic and public programming including exhibition launches, gallery floortalks and workshops. External scholars have included Prof Paul Carter, University of Melbourne; Prof. Anne Marsh, University of Melbourne; Anne Brennan, ANU; John Kean, Victoria Museum; Prof. Divya Tolia Kelly, Durham University; Lisa Kelly, independent scholar; Jim Sepungkat, CP Foundation, Indonesia; Prof Dianna Wood Conroy, Wollongong University; Prof. Pat Hoffie, Griffith University; Prof. Domenico de Clario, Monash University; Lola Greeno, Tasmanian Aboriginal elder; Dr. Adrian Martin, Research Fellow, Monash University, Prof. Ross Gibson, Sydney University, Dr. Maria Kunda, UTAS, Prof. Michael Tawa, Sydney University.

The SASA Gallery is committed to developing a rich teaching and learning environment for students. Exposure to

some of the best researchers in the field is facilitated by residencies. Since March 2007 numerous residencies, varying in length from two or three days to seven weeks have been developed by the SASA Gallery. As well as public programming such as lectures and floortalks, experiential learning opportunities are developed through internships, mentorships, curatorial and exhibition opportunities.

For instance Heartlines included in the Adelaide Festival of the Arts – Artist Week showcased 40 emerging and established artists including many postgraduate students and recent Honours graduates.

The Director, SASA Gallery would like to acknowledge the contribution of the gallery team Keith Giles, Chris Boha, Peter Harris, Sue Kneebone, Madeline Reece, Tom Squires and Julian Tremayne.

29

30

“The opportunity as a post-graduate student to co-curate an exhibition in the SASA Gallery was valuable as a learning experience. The SASA Gallery has supported my career development by generating strong interest in my creative practice resulting in further academic and professional opportunities.�

Dr Sue Kneebone

Dr Sue Kneebone | For Better or For Worse

ARCHITECTURE MUSEUM Director - Dr Christine Garnaut

32

The Architecture Museum is a facility for the acquisition, preservation and management of South Australian produced architectural and related records, and for promoting enquiry into and producing scholarly information about the state’s architectural and built environment history. It is the only museum of it kind in Australia. As a member of the International Confederation of Architectural Museum, it is connected to a global network of similar institutions.

The Museum holds a substantial research collection of over 200,000 items including approximately 25,000 drawings, 4000 antique prints and a 2500 volume library. The collection also comprises specifications, correspondence, diaries, notebooks, photographs, slides and ephemera. Items are donated by retired or retiring private practitioners based in South Australia. The Museum supports research investigations by undergraduate and postgraduate students along with external visitors from diverse groups.

Additionally, it initiates research projects and exhibitions with funding from external and internal sources.

It developed Architects of South Australia with funding from the former Department of Environment and Heritage.

2010 Highlights Arquitectura sin papel/Architecture without Paper Kerry Packer Civic Gallery, Hawke Building, UniSA. First shown at the Venice Biennale 2008, the exhibition featured built and unbuilt works of fifteen young Spanish architectural practices. The entire exhibition was presented in digital format.

Suburban Dreams: House and Home in Adelaide 1945-1965 History SA invited the Architecture Museum to collaborate on staging a major exhibition in 2010 on the post-war home. Collections Manager Julie Collins and Mandy Paul (History SA) curated the exhibition which was designed by Arketype and held at the Migration Museum, Adelaide.

Collection development project In late 2009 the Architecture Museum secured funding through the Australian National Data Service to undertake the project, ‘Taking Australian Architectural and Built Environment Records into the Commons’ with the UniSA Library. The project is enabling the Museum’s collection records to be discoverable and accessible through Research Data Australia (RDA).

Publications Lustri, Susan and Collins, Julie (2010) The Architects Board of South Australia: A History 1939-2009, Architects Board of South Australia, Adelaide.

Cooper-Dobbin, Melanie (2010) Harold Griggs: the People’s Architect, Architecture Museum Monograph Series 04, School of Art, Architecture and Design, University of South Australia.

Museums Australia Multimedia and Publication Design Awards (MAPDA) 2010 The Architecture Museum’s 2009 publication, Moving to the Modern: Art Deco in South Australian Architecture by Carol Cosgrove, won the Book category for Level A organisations. Design was by students Ranna Hannun and Belinda Paulovich of AAD’s Visual Communications Design Consultancy.

33

"The Architecture Museum houses a unique Australian collection and actively promotes research in architecture and its allied fields."

Dr Christine Garnaut

Glenelg Ozone Cinema (1937) | Garnaut Collection S308

sd+b RESEARCH CENTRE Director - Professor Steffen Lehmann

36

The Zero Waste SA Research Centre for Sustainable Design and Behavioure (sd+b) continues to push the boundaries of innovation and research in its pursuit of environmental sustainability. The Zero Waste SA Research Centre for Sustainable Design and Behaviour makes national and international contributions to understanding material flows and sustainable behaviour; and is the hub for thinking in sustainability, building design and material flow-related research.

The Centre’s mission is to foster sustainable futures through integrated research about the linkages among materials, waste, consumer behaviour and natural systems to support decision making in both local and global spheres.

Established in 2009 in a partnership between the Government’s Zero Waste SA Department and the University of South Australia, the Centre aims to build a long term capacity in research and focusses on reducing the creation of waste, avoiding wasteful consumption and optimising material efficiency. The Centre is comitted to developing international research expertise for intelligent and holistic solutions and improved decision making in environmental sustainability.

The Zero Waste SA Research Centre for Sustainable Design and Behaviour, in conjunction with the Australian Research Council has developed several projects aimed towards creating a sustainable future in waste management.

‘Zeroing in on food waste’ will lead to improvements in measuring, reducing and understanding food waste in South Australia from production to consumption. A second research project entitled ‘Work life and sustainable living’ explores how work, household and community life interacts to affect environmental behaviours and outcomes. Other research projects include ‘Reconsidering sustainable building and design: a cultural change approach’ and ‘Paving the way: mathematical modelling and design of permeable pavements’.

The Zero Waste SA Research Centre is also committed to engaging with early career researchers and young academics, as well as fostering involvement with developing countries in the Asia-Pacific area while working towards a global agenda. The Centre is proud to be associated with organisations within the community as part of strategic alliance partnerships. The Centre has key partnerships with the State Government through its Zero Waste Department, local governments, an international collaborative network of academics and key industry and community representatives.

37

"The aim is to avoid waste and reduce consumption without compromising lifestyle. This is an economy which does not grow at the cost of our health and environment.�

Professor Steffen Lehmann

FIELD TRIP Hong Kong/China Study Tour

38

Thirty three staff and students from Architecture, Sustainable Design, Industrial Design, Interior Architecture and Visual Art visited design offices, manufacturing facilities, galleries, contemporary architecture and ancient sites in Hong Kong, Shenzhen, Suzhou, Shanghai, Beijing and, of course, the Great Wall.

Study Tour Reflections - Bachelor of Visual Art (Specialisation) student Sonya Hender. “I was fortunate to view both contemporary and traditional art which involved calligraphy and the use of seals.

I visited several galleries including the Galerieurs Meile which exhibited the work of Shan Fan, a contemporary Chinese artist whose works varied from traditional calligraphy, to creation of marks base on the leaves and stem of bamboo.

I was also able to view examples of ancient calligraphy at the Forbidden City in Beijing and the Shanghai Museum of Art. I was intrigued by the number of older Chinese people who would spend time appreciating these beautiful works. I learned that it wasn’t the overall design, composition and movement or patterns but the subtle marks of the ink and brush that were unique to specific artists."

"I spent some time with a Chinese artist who was quite elderly and I had so many questions to ask him. He had a tiny table in a busy commercial area but there was such dignity in his work, he carefully washed his brushes, his small pots of

ink in faded china were pristine, his silk paper was carefully wrapped and stored.

It was at the end of the day when I visited him, there were no two images alike, everything was done with much care and detail. He watched me carefully as I viewed his work and seemed pleased with my final selection of two small paintings which had only two colours but again a complicated signature which include both calligraphy and his personal seal."

“In Beijing, I observed the daily activities of those living in a hutong through the open doors to the courtyard. People prepared their goods for market, babies were washed in bowls on washstands, food prepared on small charcoal fires, bicycles were repaired amongst much laughter and lively discussion. Late one night, I saw belongings piled high on scooters which had small carts attached and a variety of furniture carefully tied to wheelbarrows. People were preparing to leave and were frantically packing their treasured possessions. The next day, the hutong was completely abandoned and the buildings were being quickly demolished. During this process, a small stairway emerged and it appeared very old. I could almost discern the pattern of footsteps that had been worn into the stone over the years and within minutes, it was smashed and removed.”

VISUAL ARTS Program Director - Di Barrett

40

The School of Art Architecture and Design offers South Australia’s most prestigious and extensive undergraduate and post-graduate visual arts qualifications. Students experiment with visual ideas, pursue their own unique vision and develop a professional practice in contemporary art studios and workshop facilities. Located in the Adelaide city art precinct the school provides opportunities for students to take part in exhibitions, work experience, master classes, cross institutional study and internships.

Students at all year levels have access to the many online UniSA activities available and a library with the largest collection of art, craft and design resource materials in the state. Students are introduced to theoretical, technical and conceptual skills linked to studio practice in the many disciplines. Experienced practitioners and lecturers in the School introduce students to compelling ideas and research in contemporary visual arts. Their ongoing creative practice informs their teaching methodology and many are nationally and internationally recognised artists.

Visual arts students are offered an impressive range of studio specialisations: ceramics, drawing, glass, jewellery and metal, new media arts, painting, photography, printmaking, sculpture, textiles, art history and theory. Students undertake research, exploring both traditional and contemporary art techniques, as well as testing their ideas that implement

resolutions. A program of guest lectures by visiting national and international artists provides students with opportunities to further broaden their understanding of contemporary arts practice. The program is the only one of its kind in South Australia to offer a specialisation in art history and theory.

Students can experience placements in industry with a number of local organisations such as Artlink magazine, the Contemporary Art Centre SA, CraftSouth, Experimental Art Foundation, the Advertiser and Community Arts Network. Students can participate in an off campus specialisation field trip to the Australian outback or participate in public mural projects. These projects teach students to work autonomously, collaboratively, pursue personal development and technical skills within their selected specialisation. Students are encouraged to gain an international perspective, to extend their knowledge by participating in the UniSA study abroad program by undertaking a 6 month term of study overseas at institutions such as San Diego State University USA, Concordia University Canada, Instituto Europeo Design Italy, Dansmarks Designskole Denmark, Sunderland University UK, Universidad Politcnica D’e Valencia Spain and NENU East University in China.

Collaborations are encouraged within AAD for cross-discipline learning in Architecture Studies, Industrial Design/

Product Innovation, Interior Architecture, and Visual Communication Design programs exposing students to experiential learning with designers and artists and the opportunity to develop and network with industry partners such as the Jam Factory and ArtSA. Employment destinations for visual art graduates are diverse. A number of graduates identify themselves as selfemployed artists in their specialist field adding significantly to the diverse art market within Australia. They may pursue careers as commercial photographers, computer artists (web page designers), jewellery and glass designers, ceramicists, painters, printmakers, sculptors, textile artists and art historians.

Students who successfully complete the Bachelor of Visual Arts (Specialisation) can apply for either the Bachelor of Visual Arts (Honours) with an emphasis on research and the Graduate Diploma of Visual Art and Design with an emphasis on professional practice, leading to a coursework masters degree in Visual Arts or Design. Both the honours and coursework masters programs have been nationally recognised for excellence in learning and teaching.

Visual Arts students were recipients of a number of awards and prizes in 2010, including; The Inaugural University of South Australia Division of Education, Arts and Social Sciences Visual Art Award The Hill Smith Gallery/Helpmann Academy Friends Award The South Australian Professional Photography Award The Helpmann Academy/Total Photographics Award The Royal South Australian Society of Arts Photography Award The Constance Gordon-Johnson Prize for Sculpture and Installation The Carclew Youth Arts Centre Award The Helpmann Academy/JamFactory Award The City of Adelaide Award The Peter Walker Fine Art Encouragement Award.

41

Lauren Playfair | Shattered Roses

Tim Mallone | New Quarantine

Tom Buchanan | Multiple Personalities

Jaynie Langford | One Hundred Ways To Say I Love You

Natasha Natale | Decomposition

Sally Gibson-Dore | Remember?

HIGH ACHIEVER Bachelor of Visual Arts - Kim Buck

50

Since completing her Bachelor of Visual Arts (Specialisation) in 2009, Kim has embarked on a successful career as a nationally acclaimed artist in the field of drawing. The Bachelor of Visual Arts (Specialisation) allowed Kim to conceptually develop and technically perfect her singular approach to drawing.

Kim uses one of the most elementary art materials there is, charcoal pencil, to create drawings in a realist figurative style that capture the movement, fluidity and the stillness of the human form. Her finely drawn floating or falling figures have a sense of restriction within the confines of their paper boundaries. Each drawing requires 150 – 300 hours of careful, intense work to complete. Kim takes advantage of digital technology with her drawing process by enlarging high resolution photographs on a large screen, revealing the micro grain detail of the human form. She then translates this to paper with incredible precision, the end result being works of hyper real quality.

Kim first stumbled upon a rare ability to produce realistic charcoal pencil drawings in 2006. Sketching at home led to a number of commissioned portraits for family and friends and eventually to her enrolling in the Bachelor of Bachelor of Visual Arts (Specialisation) in 2007 which gave her the opportunity to hone her skills. In her final year Kim was offered a solo exhibition at Peter Walker Fine Art Gallery, Adelaide: the show

sold out before it opened to the public.

Kim’s work has since then been in great demand and exhibitions of her drawings in Melbourne and Sydney in 2010 also sold out. Last year Kim enjoyed numerous successes. She received an ArtStart Grant from the Australia Council valued at $10,000, the Bendigo Bank Award ($5,000), the Limestone Coast Art Prize and the Helpmann Academy Peoples Choice Award. She is currently working on a new body of work to be exhibited nationally and on the international stage.

Kim describes her love of drawing eloquently: “Drawing began as a hobby for me and I started to find that the more I did it, the more I wanted to do it. I had no expectations of where it might lead and very little understanding of what it meant to be an artist. Now, five years later, I feel like I’m slowly getting the hang of it.

Sometimes it is very difficult to maintain the discipline, commitment and faith required to do this all day, every day.

But sometimes, something extraordinary happens. There’s no way of telling exactly when it will occur, but as soon as the point of the charcoal touches the paper, I can feel it. A kind of strange and unknowable something, an energy perhaps. It’s like my eyes and my hands and my pencils become a conduit to something else. The drawing draws itself. These moments - sometimes they can last for minutes, very occasionally hours, but mostly just seconds - keep me doing what I do."

Kim Buck | G

ARCHITECTURE Program Director - Stephen Ward

52

As a discipline, architecture is undergoing rapid change in response to developing technologies, environmental imperatives, and societal transformation. This change is reflected not only in the materials we use and the structure and form of our buildings, but also in the role of the architect and the type of projects in which architects are engaged. Architects can make a tangible difference through their response to community needs and by taking a leadership role in addressing critical social and environmental issues.

This contribution requires ecologically informed approaches to design thinking, the ability to address ethics and sustainability, and a close collaboration between education and practice. But to do this, architects need the ability to see, interpret and respond to what is happening locally and globally.

Exposure to the world of architecture is a positive part of student learning, and in the Architecture program at UniSA, the international focus has taken a number of forms, including the development of partnerships with overseas institutions for sharing of knowledge and exchange programs. Participation of our students in international architecture workshops in Beijing and Stuttgart and the recent study tour to China have given our students unique exposure to architecture and design in very different contexts.

The ongoing Masters Lecture Series has enabled leading practitioners from

interstate and overseas to visit the School and contribute to studio projects. Through its Architecture Museum, the school was also chosen as one of only two Australian locations to host the international exhibition Architecture without Paper originally shown at the 11th Venice Architecture Biennale. The exhibition was produced by a group of 15 young visionary Spanish architectural firms using digital media in a variety of ways – providing an opportunity for local students and practitioners to understand the issues affecting architecture on the other side of the globe.

The School’s engagement with the community has developed over a period of time, including working with Indigenous communities and disadvantaged groups – often resulting in built outcomes.

The Architecture for Youth at Risk in Adelaide is another example of this focus providing students with a sometimes confronting insight into a contemporary social issue. Coordinated by Angelique Edmonds, this project was recently awarded a citation in the UniSA Chancellor’s Awards for Community Engagement in recognition of its valuable experiential learning aspects in engaging students with diverse and disadvantaged communities. The students’ proposals now provide a platform for community partners, who were closely engaged in the project, to investigate opportunities for funding and potential for adoption of the proposals.

Our students are also very active participants within the university and the profession, as demonstrated by national student leadership of SONA (The Student Organised Network for Architecture) and representation in the accreditation of other architecture programs interstate.

Our students will also hold key roles in the organisation and creative direction of Flux, the national Architecture Student Congress 2011, which will be hosted in Adelaide after intense lobbying by our students. This event will focus on the role of architects and consider the discipline’s response to crises; environmental, financial, humanitarian and professional; and will help re-affirm UniSA’s architecture program’s engagement at the local, national and international level.

The undergraduate and postgraduate programs in architecture are underpinned by the design studio stream which is integrated with other core courses, to ensure that as design skills develop they are supplemented with other critical knowledge. The success of this approach is demonstrated by the high level of design, communication and technical competence in projects produced by our students. The work produced is a clear demonstration of a student’s personal interests and skill sets, from hand drawn to digital environments, and from handcrafted models to work produced in our digital workshop with laser cutters, 3D printers and CNC routers. The quality

of work is often recognised through individual or team achievement such as in the cross-institutional design competition superstudio, a 24 hour event organised simultaneously across architecture schools in Australia, which has seen teams from UniSA consistently advanced to the national finals.

The school is very conscious of the role it plays in educating professionals, and our engagement with practice is therefore a critical one. Our school is unique in having significant numbers of staff with practice backgrounds, and many external practitioners make a valuable contribution to our teaching program, bringing with them real-world experience. The relationship between the teaching and practice of Architecture is receiving much critical debate, and the school has been central to this issue in organising and hosting Archivision, a joint national initiative between the Australian Institute of Architects, the Institute’s National Education Committee and The Association of Architecture Schools of Australasia.

In providing a platform to engage with academics and professionals drawn from around Australia, Archivision has provided a place for discussion of issues of vital importance to the profession and our built environment.

53

Andrew Fotia | Architecture for Youth at Risk in Adelaide

Adrian Kenyon | Crematorium

60

SUSTAINABLE DESIGN Program Director - Jasmine Palmer

Recognising the complex social, economic and environmental systems in which design occurs and the essential interconnectivity of design disciplines, the Masters of Sustainable Design program is a multidisciplinary program which employs a reflective and innovative approach to sustainability. The program is focussed on developing an in-depth understanding of existing unsustainable practices and behaviours, their history, context and consequences.

Through collaborative cross disciplinary studios scenarios are generated in which sustainable design can take place, an approach which emphasises the designer’s role in co-shaping contemporary consumer culture. The design questions posed to program participants in 2010 focused on urban food consumption and social innovation. The end of year

exhibition titled ‘seeing through sustainability’ featured work from students at all stages of study in the 1.5 year program. The multidisciplinary nature of the program ensured that work presented crossed a vast array of scales, ranging from Aluminium manufacturing systems, urban food farms, urban consumer goods recycling repositories, to wine packaging, online health services, classroom games and urban architectural interventions.

2010 sees the Sustainable Design program complete its third year of teaching; a year of substantial growth and increased diversity. With student backgrounds as diverse as urban design and environmental law, a scholarly forum has rapidly developed through which the potential to design ourselves into a more sustainable future is becoming increasingly tangible.

Johnathon Kirby | Urban Nostalgia

62

CONSTRUCTION The Mimili Project Coordinators - David Morris & Jason Oaten-Hepworth

As early as 2004, investigation into the APY lands had uncovered the cultural need to establish a place for single men to be removed for greater community to learn law without the interference and influence from the general community, a Tawara wati ku. After a lengthy consultation with the Department of Family and Communities in 2005 the Department agreed to fund UNISA’s Student and Construction Program (SPC) to design and construct single men’s housing for Mimili community, which is in the Anangu Pitjantjatjara Yankunytjajara lands, 1194km north of Adelaide. After many trips to Mimili community and extensive consultation with the general community and later with the specific users of the proposed facility a culturally specific design was chosen and signed off by the

community which the gained development approval in 2008. Following this, prefabrication of the project commenced involving a total of 17 intensive two week prefabrication electives courses, each involving 20-25 students. In April 2009, students and the Mimili community worked together onsite to install services and pour slabs. A succession of 7 Onsite construction courses followed, resulting in the completion of the equivalent of 2 standard houses (tawara wati ku, single men’s quarters) with the addition of a singular bedroom house (Tjilpi ku, elders quarters). The facility houses 14 Anangu men and was completed in April 2011.

Mimili | Single men's housing

CJ Taylor | Mimili Traces

INTERIOR ARCHITECTURE Program Director - Jane Lawrence

68

The Interior Architecture program at the University of South Australia aims to produce interior design graduates who have the ability and desire to transcend the known and expected outcomes of contemporary design practice.

The 4 year program distinguishes itself nationally through a number of innovative programs and schemes. All student learning occurs within an educational context that integrates theory and practice through the art of craft and making. This is predominantly manifested in all studios from first to fourth year and particularly through its experimental furniture design stream. Utilising the excellent facilities of the Art Architecutre and Design School’s Kaurna studios and Dorrit Black workshops on campus, students begin with manufacturing models, design prototypes and then full scale furniture pieces in a better attempt to replicate and understand the complexities of design, construction, material possibilities and the significance of design details.

Interior Architecture students participated in international, national and local competitions, study tours, specialised master classes and designed interiors for a variety of real projects. In 2010 there was a focus on community and industry collaborative projects which included two diversely different fourth year studios one which proposed interior designs for the new class of submarines and another to revitalise Adelaide’s West End precinct

and a second year project to upgrade teaching and learning facilities at the Elizabeth Fremont High School.

Austere and cramped living conditions aboard submarines and difficulties to both retain and recruit Australian submariners inspired a collaboration between Deep Blue Tech – an innovative arm of the Australian Submarine Corp and the Interior Architecture program to make innovative proposals for the living, sleeping, recreational and ablution blocks of the new generation of submarines.

Fourth year interior architecture students worked closely with engineers and submariners from Deep Blue Tech to challenge existing conventions of submarine design.

Students had to work within strict spatial, habitual, hierarchical and engineering guidelines to produce innovative and sophisticated design proposals.

Driven by the relocation of the Royal Adelaide Hospital to the West End precinct a group of fourth year students undertook a project to revitalise Gray Street as the principal pedestrian connector street from the West End to the proposed hospital site. Students worked in groups and developed interior scenarios involving the reconfiguration of a diverse and challenging collection of existing buildings to activate the street and link the proposed hospital back into the city of Adelaide.

The project was carried out in conjunction with the Adelaide West End association and Torren’s Health partners who provided

expertise in place making and business improvement strategies and sponsored a $2000 prize for the scheme that best demonstrated an innovative vision for this dilapidated part of the city.

A second year interior architecture intensive studio proposed designs for the student study centre at the Freemont Elizabeth City High School for year 11 & 12 students. Engaging with staff and students from Elizabeth Fremont provided a unique and relevant learning opportunity for both secondary and tertiary students.

The studio foregrounded problems of audience and participation while at the same time proposing new forms of institutional design in a part ofAdelaide where students and teachers are rarely exposed to design and design culture.

Master production designer Robert Webb ran a mastercalss for Interior Architecture students in 2010 which provided students the opportunity to undertake a creative project in a 5 day intensive studio. The project was basedon an Australian film script Caterpillar Wish, where the students performed the roles of art directors, set decorators, prop buyers, story board artists and locations team.

The elective was concluded with the showcasing of the film, enabling students to compare their own production design, with that of the original.

In order to make more evident the relationship between practise and research and designing and making, all fourth year

interior architecture students are required to design and fabricate a contemporary furniture piece. In 2010 students designed and built abstract coat racks destined for an international forum. Working with strict material, weight, footprint and height limitations, 15 pieces were selected by renowned furniture designer, Adjunct Professor Khai Liew to be exhibited at the Salone Satellite in Milan in April 2011.

Khai Liew commented. ‘the student work selected for the Salone Satellite is hallmarked by creativity, sophistication and, in my opinion, a spontaneous elegance which sits comfortably in any context, comparing favourably with the best international design schools.”

In April 2011, the Interior Architecture program’s highly acclaimed exhibition at the Salone Satellite titled ‘a decent obsession’ resulted in invitations to exhibit at other significant international design forums and opportunities for collaboration with international institutions.

The interior architecture program was one of only 20 institutions invited to exhibit at the Salone Satellite in 2011.

The program’s exhibition received considerable attention from international design media and the entire collection was acquired by the Dada Group one of Milan's leading furniture designers and manufacturers.

69

VISUAL COMMUNICATION Program Director - Veronika Kelly

74

Visual Communication Design (VCD) at AAD encompasses the broad fields of design, research and the profession.

In design the focus is on process, theory, practice and processes of integration.

Research centres on purposes and goals; identifying and framing problems in, through and by design and contextualisation. In relation to the profession we model professional practice and processes, examine the role of designers in society and encourage entrepreneurship.

Schon (1983:40) argues "In real-world practice, problems do not present themselves to the practitioner as givens" and a design problem is not something that has a single ‘correct’ solution. In addition there is a shift to a broader understanding of areas of practice in visual communication design that “reflects the global shift from focussing on design as the production of an artifact to design as a strategic process that enables communication in a visual format”. This is what fundamentally makes design a social practice that centres on "human interactions with artefacts and situations" (Swann 2002:51), and why Visual Communication Design at AAD aims to graduate students equipped with the intellectual, creative and technical processes to address problems and operate as reflective, socially responsive practitioners in the field of visual communication design.

Visual Communication Design offers students valuable opportunities

to benchmark design work internationally and across Australia through participation in design projects integrated into the studio program. Students and graduates consistently achieve national and international awards through the Design Foundation’s agIdeas, the largest annual international design event held in Australia. agIdeas is a "program of events that celebrate design excellence and promotes the value of design driven innovation."

In 2010 Spencer Harrison was the 8th recipient from UniSA Visual Communication Design of the agIdeas Newstar Award; a scholarship trial to Fabrica, the Bennetton Group Communication Research Centre in Treviso, Italy. Since 2002, eight 12-month Fabrica scholarships have been awarded at agideas, with Visual Communication Design students winning six of the awards.

Students have the opportunity to participate in events and initiatives with the Australian Graphic Design Association (AGDA), Adelaide Advertising Design Club (AADC) and Design Institute of Australia (DIA), including mentorship schemes, studio tours and Industry Open Days.

International study exchanges provide students the opportunity to undertake a semester of study in other design programs and schools as part of their undergraduate visual communication program. UniSA VCD students have studied at the Danmarks Designskole (Denmark), University of Sunderland (UK), The

Chinese University of Hong Kong and Buffalo State College (USA).

In the 3-year undergraduate Visual Communication Design program, all students learn in a context that integrates theory, practice and research, enabling students to address both intellectual and practical aspects of design. Designer Saul Bass (1997:6) has said that one of the most difficult things for design students to understand is the process that it takes to achieve the exceptional or high quality design outcomes they admire. As students mostly see the end product, “they may have the illusion that these things really spring full-blown out of the head of some designer.” Exceptional solutions can seem ‘inevitable’ (as though they are the only solution), yet students are not privy to the (often) exhaustive process that it has taken to get there. That is why at UniSA, in spaces that encourage both team-based participation and independent learning, under the guidance of professional academics, students learn to design and develop a range of outcomes and propositions that emerge through a dynamic design process.

Within the 3-year Bachelor of Design (Visual Communication) program, students’ knowledge and skill develops through foundation design studies and experimental practice, working processes and theory in design projects and courses that, at the highest levels of study, approximate a professional practice.

Students major in graphic or illustration design and through elective studies consolidate and deepen individual strengths and interests.

The 2-year Master of Design (Visual Communication) by coursework is the program in which Bachelor graduates can build advanced professional knowledge and skill in visual communication design as they develop a unique portfolio of informed design propositions.

Core components of the Masters program are Design Studios where students undertake a range of independent and negotiated projects, Design Internship in a host studio or organisation, Research Methods where students develop a proposal for their major Masters project work, and engagement in consultancy work through matchstudio.

References Bass. S 1997 'Transforming the Ordinary' in Essays on Design 1: AGI's Designers of Influence, ed. R. Marsack. London: Booth-Clibborn Editions Swann, C 2002 'Action Research and the Practice of Design', Design Issues, vol. 18, no. 2, (Winter 2002), pp.49-61

75

Josh Osis | Learninglife

Peter Fong | Hello/Welcome

Nathan Cutts | St. Vincent De Paul Society Annual Report

Alex Mertzanidis | ELIA Olive Oil

Alex Mertzanidis | Explaining Creativity

INDUSTRIAL DESIGN Program Director - Peter Schumacher

84

The Industrial Design program graduates students into commercial design practice.

The program produces designers with the capacity to commence professional practice and the capability to critically examine their practice, their context and the outcomes of design, and to challenge and reinvent their practice in order to meet future requirements.

The success of a design depends on how well it meets the needs of the particular user and the contexts and constraints of its use. In the past the designer was close to the users and the means of production making it easy for the designer to be aware of the context and constraints and also the consequences of their design decisions.

As a result of the technologies of communication, transportation and production the designer is now remote, both spatially and often culturally, from the user and also removed from the direct consequences of their design decisions.

In addition designers are becoming more aware of some of the longer term, and often less visible consequences of technology such as the impact material can have on people’s health and the long term environmental impacts of products. It is important that designers are responsible for the consequences of their design decisions and develop the skills and knowledge to evaluate their designs.

There are many examples where the disconnection between the designer and the consequences of their decisions

can create problems. With an aging population in Western countries awareness of Universal Design and design for aging are becoming increasingly important, particularly when many designers can be 30-40 years younger than the eventual user.

Issues such as mobility, visual acuity and interface design need to be addressed with the needs for aging populations in mind.

The globalization of production and distribution can lead to problems of ensuring the correct physical fit of products for people from different ethnic groups.

For example during the SARS outbreak in Asia the face masks used by medical staff did not fit their faces adequately as they were designed for male Caucasian faces.

Designers need to be aware of the ethnic group of the users and of the potential problems if subtle anthropometric differences are not thoroughly considered.

The impact of material choice on user’s health is another issue requiring the designer to be vigilant as the complex blend of materials used in contemporary manufacturing can potentially result in undesirable consequences. For example Bisphenol A is a material added to Polycarbonate to increase its glossiness and transparency. Recent studies have indicated Bisphenol A leaches into milk heated in Polycarbonate baby’s bottles.

The leaching process can cause health issues as the Bispenol A has similar hormone characteristics as Estrogen. While some of the findings are still inconclusive

it demonstrates the need for caution in material selection as there can be possible long term effects of a products materials on people’s health.

With finite fossil energy reserves and raw materials the energy and material usage of products are significant issues.

The responsibility of the designer does not end with the sale of a product and they need to be responsible for the life cycle of products from material and energy used for production and over the life of the product as well as strategies for disposal and recycling of the products materials.

Design in isolation of users needs and the short and long term impact of designs is not sustainable or ethical. Designers need to be aware of the issues and also possess the knowledge and tools to effectively address the issues. This makes the responsibility of designers broader and the task of designing more complex.

In the face of these challenges new knowledge and tools are being developed to tackle these problems.

Ethnography and user observation are now important strategies used in product development as a means to close the gap between the user’s needs, culture and that of the designer. New tools for gathering and analyzing anthropometric data, such as full body 3 dimensional scanning, are being developed to ensure we have good, up to date human dimensional data across age and ethnic groups. In addition sophisticated means of using and inter-

preting anthropometric data are being developed to ensure products fit as many people as possible. As materials choices become more complex materials data bases and tools for product lifecycle analysis are being developed to aid the designer making choices and create design strategies to minimize energy usage and waste.

An important task of education is to show students there are consequences of their design decisions and how to evaluate their designs against a broad range of criteria, as well as providing skills and processes to develop creative and innovative designs to overcome the problems.

Many of the projects in studio are structured so students can evaluate their designs and see their design operate in their intended environment. In first year students design tools for disabled users and their designs are evaluated by representatives of the user group who identify good designs features and areas requiring additional development. In second year students are required to design and build a functional object, and are assessed according to the efficiency of material usage and how well the devise performs.

Third year sees the students engage in design for usability projects with an emphasis on involving users in all phases of the design process and conducting a usability evaluation on the final designs.

Students also do projects with industry sponsors who provide input on the commercial responsibilities and considerations

85

86

of Industrial Design. The third year culminates with a major project for high volume manufacturing where students are accountable for material choices, product lifecycles and energy usage. The final year allows students to choose from a wide range of industry sponsored projects or pursue their own specialised design projects. At this level they are accountable to a broad range of criteria reflecting the complex agendas professional designers are responsible for addressing.

It is very encouraging that students are more than willing to embrace the responsibilities that come with designing and undertake projects that create real improvement for people within the context of challenging criteria of success.

Ben Hobbs worked with Africycle, a charity operating in Africa, which to provides improved mobility for Malawians via bicycles. A University of South Australia Industrial Design Graduate, Noel Wilson, works with Africycle in Malawi and proposed the project to develop a locally manufactured Medical Sample Carrying Device. Ben developed a sample bag to assist with the gathering of medical samples by local health workers to aid in the early detection and treatment of diseases such as AIDS. The bag was designed via extensive consultation with the product’s manufacturers and users, and was designed to be made in Africa by local people using local/waste materials. This allowed an economically attainable means

of creating the bag, ease of local repair and reduced dependence on external suppliers.

As part of an industry collaborative project Simon Chalk designed Re-time light therapy glasses in conjunction with the Flinders medical centre. This therapeutic device treats the effects of Insomnia, Jet lag and Seasonal Affective Disorder.

Kieran Ball developed the “Tannin Lounge�, constructed from recycled wine barrel staves, capturing the essence of the wine experience. Kieran commenced the innovation process while on an internship placement in Mexico, and the final iteration of the design was developed in the wine state of South Australia.

The task of the designer is becoming more complex and demanding as designers become accountable for a wider range of criteria including environmental impact, design for cross cultural settings, design for aged, health, ergonomics and usability.

The Industrial Design Program at the University of South Australia provides students with the knowledge, skills and design strategies to meet these challenges.

Ross James | Portable Impact Gauge

Ben Hobbs | Africycle

Kieran Ball | Tannin Lounge

PRIZES & AWARDS

Adelaide Advertising & Design Club Award Spencer Harrison 94

Armstrong Award in Architecture Mateusz Cejko Armstrong Award in Interior Architecture Rachel Pargeter

Design Institute of Australia Professional Encouragement Award Stephanie Fisher (Industrial Design) Jaana Bithell (Interior Architecture) Louie Smale (Visual Communication) Briony Milverton (Ceramics) Zoe Woods (Glass) Kelly Jonasson (Jewellery)

Art, Architecture and Design Higher Degree Research International Travel Award Johnny Dady Sabine Pagan Annika Evans

Desmond Tan Grant in Architectural History Ella Camporeale

Artichoke Magazine Prize in Interior Architecture Blake Sanders

Friends of the South Australian School of Art Prize Belinda Wood

Australian Decorative and Fine Arts Society, Adelaide Inc. Award Jaynie Langford

Hames Sharley Prize in Architecture Matiya Marovich-Tadic

Australian Graphic Design Association Award Spencer Harrison Australian Institute of Architects Prize Waleed Al-Moughraby Brianne Mills Ima Hadj Shirmohammadi Sarah Tardif Christopher Trotta Caroma Dorf Prize in Interior Architecture Alexandra Moeck Maebe Tetlow-Stuart CIDA Technology Prize in Interior Architecture Olivia Rogers Consultants Prize in Industrial Design Simon Chalk Design Institute of Australia Modelmaking Prize in Interior Architecture Jeshah Aronsten

Ethel Barringer Memorial Prize Katherine Smith

Hames Sharley Prize in Interior Architecture Alison Bralic Harry P Gill Medal Lynette John IMAGINiT Technologies Prize for Presentation in Architecture Alexander Sawicki IMAGINiT Technologies Prize for Presentation in Interior Architecture Alexander Watkins ISIS Projects Prize in Interior Architecture Bronwyn McKenzie John Christie Wright Memorial Prize Chloe Langford Lysaght Award for Outstanding Achievement Zeek Badman Branko Jaric

Manufacturers Prize in Industrial Design James French

Theory Prize in Interior Architecture Maebe Tetlow-Stuart

Nicholas Opie Travelling Award in Architecture & Design Cristina Nadasan Samantha Faehrmann

University of South Australia High Achiever Research Vacation Scholarship Svetlana De Gennaro

Photography Awards for Excellence: Deborah Paauwe Award Anis Ghazalli

Woods Bagot Scholarship in Architecture Branko Jaric Woods Bagot Scholarship in Interior Architecture Laura Tisato

Photography Awards for Excellence: Photographic Wholesalers Prize Alice Blanch

Worldsend Prize for Interior Architecture Research Alexandra Moeck

Schiavello (SA) Prize in Interior Architecture Casey Wood

Zenith Prize in Interior Architecture Daniela Goedecke

The Adelaide West End Association/Torrens Health Prize in Interior Architecture Alexandra Moeck

Zero Waste SA Pam Keating Memorial Scholarship 2010: Bill Page 2011: Kerrie Bell

The Architectural Practice Board of South Australia Travelling Prize in Architecture Christopher Trotta The Concrete Institute of Australia & Precast Manufacturers Association of South Australia Prize Adrian Kenyon The Constance Gordon-Johnson Sculpture Prize Rachel Harris The Dean W Berry Prize in Architecture Adrian Kenyon Heather Griffin The Laminex Group Prize in Interior Architecture Laura Tisato The University of South Australia Graduate Prize in Architecture Christopher Trotta

95

STAFF

96

Head of School Mads Gaardboe

Director of sd+b Research Centre Steffen Lehmann

Associate Head of School Andrew Hill

Program Directors Di Barrett (Visual Arts) Veronika Kelly (Visual Communication) Jane Lawrence (Interior Architecture) Jasmine Palmer (Sustainable Design) Esther Ratner (Industrial Design) Olga Sankey (Visual Arts Honours) Stephen Ward (Architecture)

School Manager Jackie Knowles Portfolio Leaders Kathleen Connellan (Research) Pamela Zeplin (Research Education) Greg Donovan (Teaching & Learning)

Adjunct Staff Judith Brine Stuart Davis Domenico De Clario Don Johnson Donald Langmead Gini Lee Khai Liew Ian North Albert Stevels Wendy Walker John Wardle

Staff Jude Adams Jane Andrew David Archer Marea Atkinson John Barbour Stephen Beckett Kate Beerworth Gabriella Bisetto David Blaiklock Koula Bouras Chris Brisbin Steven Carson Gavin Chow Richard Coker Julie Collins Ron Corso Robert Crocker Brenda L Croft James Curry Joanne Cys Denice Daou Matt Davis Doreen Donovan Angelique Edmonds Robyn Finlay Darren Fong

Peter Fraser Martin Freney Christine Garnaut Michael Geissler Luci Giannattilio Keith Giles Stuart Gluth David Gordon Peter Harris Pam Hart Louise Haselton Stella Ho Paul Hoban Jacinta Hughes Rachel Hurst Lynda Kay Christine Kearney Steve Kelly Margie Kenny Mark Kimber Mary Knights Sharee Kuchel Kay Lawrence Christian Lock Damian Madigan Joanna Majchrowska Carolyn McArthur

Joanne Mignone David Morris Jim Moss Gjoko Muratovski Ian North Jason Oaten-Hepworth Christina Penhall Sean Pickersgill Alice Potter Julie Rankine Toby Richardson Hazel Ryder John Schenk Peter Schumacher Gerhard Schurer Gavin Spackman Myra Thiessen Linda Marie Walker Sandy Walker Andrew Wallace Andrew Welch Hannah White Steve Wilson Jan Wissell