D/zine Issue 4 by The Dub Designers

D/Zine

ISSUE 4

Restoration and creation

www.renownedfurniture.com.au

EDITOR Erin Dawson ART DIRECTION Alexandra Perestrelo Miranda Rielly EDITORIAL CONTRIBUTORS Alexandra Perestrelo Angus Shaw Erin Dawson Ester Valmadre Gabriel Avenia Jaala Alex Jade Tane Den Taniora Lynette Letic Markos hughes Steve Szell Tom Emmett SPONSORS Architectus HAL Architects Renowned Furniture QUT

Funding for this initiative was provided by the Student Services and Amenities Fee (SSAF)

ROBIN 12

JAALA

WOVEN SKY 24

STORYTELLING FASHION 26

JOHN MILLS

If you dont want to keep me, recycle me

DUB COMMITTEE Naushin Rahman, Bridget Reardon, Sarah Vize, Steve Szell, Tom Emmett, Alexandra Perestrelo, Jade Tane De Taniora, Erin Dawson, Angus Shaw, Nick White, Miranda Rielly, Markos Hughes

DESIGN NARATIVE Issue 4 of the D/zine represents the interests, inspirations and achievements of the Dub in Semester 1 2014. This issue also marks the beginning of a new phase of the Dub which experienced a change in leadership at the commencement of the year. In recognition of this next chapter for the Dub, the chosen over-arching theme for this semester was ‘design narrative’. This concept of narrative encapsulates the process that is unique to design. This process, just like any story, begins with a time and place. The following course it takes is shaped by numerous groups and individuals that are woven into the story; all influencing, to varying degrees, its outcome. The contributors to this issue have communicated their interpretation of the theme ‘design narrative’, both textually and visually. They tell the stories of a design icon and career (Robin Gibson p.6), design projects and experiences (Jaala p.10, Woven Sky p.18) and the design concept and process (Storytelling p.22, Ideation p.30). At the Dub we recognize that as students our design narrative is just beginning and we should take every opportunity we can to learn from others. Hence was the motivation to continue the Dub’s talk and discussion series D/talks. This past semester we have had the privilege of hosting talks with Juan Pablo Pinto and Jed Long from Sydney based design collaborative Cave Urban, QUT graduates and Emergency Architects Australia volunteers Hannah Slater and Madeleine Swete Kelly, and director of Fulton Trotter Architects Mark Trotter. Each guest willingly shared their knowledge of design and the experiences that have directed and enriched their different career paths. Design is a complex web of narratives. This issue of the D/zine has teased out a select few that have inspired us here at the Dub. Enjoy. Erin Dawson

ROBIN GIBSON

Homage to the architect who shaped the landscape of Brisbaneâ&#x20AC;&#x2122;s cultural precinct

Words by Erin Dawson

During a period of 1975 to 1988, four buildings were built and opened on Brisbane’s South Bank forming the Queensland Cultural Center. Queensland Art Gallery, the Queensland Museum, the State Library of Queensland and the Performing Arts Center (featuring on the cover in a photographic work of featured artist Jaala Alex) were all designed by the late Robin Gibson (15 May 1930 – 28 May 2014). The catalyst of this major endeavor was a formal recognition made by the State Cabinet in 1972 to expand upon the state’s cultural precinct. Shortly after, Gibson won the competition to design the Art Gallery, however he then had to convince the Government to continue with the

Queensland State Library, Art Gallery and Museum

whole project. Gibson’s talent and enthusiasm was evident and consequently he was entrusted with realizing his architectural vision of the cultural heart of Brisbane and Queensland. These buildings form the physical and cultural landscape of the performing arts precinct and tell the story of the visual and performing arts in Brisbane. They are modest monoliths that waited patiently during their first few decades of being, and now host world-class performances and exhibitions that secured Brisbane’s place on the cultural map. Throughout his career Gibson designed a host of other buildings, treasured for their architectural merit and beauty, as well as their symbolic value of place-making and iconic value to the city of Brisbane. These include Mayne Hall (1972) and Central Library (1973) at the University of Queensland, Queen St Mall (1982), Anzac Square (1982), Wintergarden (1984) and St Stephen’s Catherdral (1988). To some, Robin Gibson’s brutalist landmarks at South Bank are symbolic of the authoritarian government that funded their construction; however, the experience of younger generations is somewhat different. Younger citizens of the state who have grown up with these buildings as their library, gallery and theatre have a fond attachment to their bare concrete walls, immense scale and sparse spaces. Their prominence on Brisbane’s physical landscape is an accurate reflection of their importance and value to society, as places that provide for the cultural enrichment and enjoyment of the coming generations of Queenslanders. Illustrations by Angus Shaw

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Queenland Art Gallery and Museum

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University of Queenland Art Museum

Illustrations by Angus Shaw

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JAALA Emerging photographer Jaala Alex talks about her journey from architecture to photography

Jaala Alex is an emerging photographic artist currently living and studying in Brisbane at the Queensland College of Art. Through her practice, she seeks to find beauty within the everyday, whilst closely observing the quiet moments of melancholy. With a background in architecture, her photographic practice is informed and inspired by her interest in architectural forms; this curiosity being evident through her landscapes and in particularly, her recent series Espied. Lynette Letic interviews her in regards to her education in the arts and architecture, her experiences abroad and plans for the future. You began your studies in Architecture at QUT and are now undertaking a Bachelor of Photography at the Queensland College of Art. When did you first develop an interest in photography and what led you to make the move to QCA? I have always been driven to make art since I was very young and my interest in photography really sparked in high school through Visual Art. Studying architecture was how I sought to make art, play with light and create feeling in space. I think these interests have followed through with my photographic art practice; architecture was just not the right means for me to create, which drove me to pursue photography at QCA. The course at QUT did, however, open my eyes to the crossover between art and the built environments and continues to inspire me in my photography. What themes do you seek to explore through your practice? While my practice can be quite vast, I often explore melancholic moments in life that are inherently beautiful. I tend to work within

Words by Lynette Letic

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the genres of still life and landscape, though my colour palette and tone vary, and reflect what I am interested in at the time. I am into sickly pastels and stark whites at the moment. The photographs featured in this article and the front cover of DUB are from your Espied series that you worked on whilst on a Photography and Fine Art Trip in Peru last year. What was your experience of South America? I had an immensely enriching experience in Peru. I found that the country was very different to what I had perceived before the trip. The land is so sparse and barren; it truly feels like being on Mars. Some towns are so vibrant, both in the colour of the streets and soul of the people, whereas the large cities like Lima are so dense, grey and cold. In Espied I attempted to juxtapose the beauty of the natural landscape with the bizarre nature of Peru’s urban environments. Did you have a project idea in mind prior to your travels or did you find it was more of an intuitive response? I didn’t have any idea what my project would eventuate to before we left for the trip. I wanted to be really open to experience and shoot with my intuition. I think that after practicing photography for a while you develop a strong methodology that is subconsciously built into your practice. I just shot things I loved the look of, things I was amused by, and unexpected urban spaces. There is one particular stretch of road we followed that was full of empty billboards. Apparently when the import/export season is booming and lots of truckers are on the road, the billboards are filled with advertisements. However, when it is off-season they are completely bare; some are merely skeletal. It’s really strange! What projects/plans are you working on this year? In September this year I am going on another Griffith University short term study tour to New York, which I am ecstatic to be involved in. I feel like some really exciting experiences and projects will grow from the people we meet, and connections we create. Besides looking forward to that, I’m focusing on creating a body of work for the end of year exhibition held for the photography graduates of our year. In 2015 I will most likely pursue postgraduate studies at QCA, or perhaps elsewhere. Lastly, have any particular photographic artists or texts been of influence to you and your work lately? Michael Wolf is someone I have been really interested in and inspired by lately. His work revolves around life in megacities, and I think after having visited a few major cities in the last few years (such as Mumbai, Lima and Hanoi) it’s something that I have a curious fascination with as well. My work in New York will mostly likely reflect my intrigue in his work. To see more of Jaala’s work, please visit her website. www.jaalaalex.com Image by Jaala Alex

Photograph by Jaala Alex

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Photographs by Jaala Alex

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Photographs by Jaala Alex

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WOVEN SKY

Two volunteers reflect on their experience of design, construction and collaboration with Cave Urban at project in Woodford

Design narrative is the backbone of any design project. It shapes the design process, justifies the decisions we make as designers, and gives depth and meaning to the project’s final outcome. Much like any narrative, it is also the accumulation of different characters and ideas that have an invaluable, even if minor, contribution towards the end result. Cave Urban is an organisation that specialises in the design and construction of bamboo sculptures whose narratives tell of the material, people and processes that create them. Cave Urban is a ‘grass-roots design’ collaborative firm based in Sydney. Their work is directed by research that focuses on understanding indigenous methods of sculptural and architectural design, and their application in various real life settings. The outcome is both visually and culturally engaging. Sustainability is implemented throughout every aspect of their practice; somewhat of a rarity in an industry where sustainability is increasingly used as a superficial label or marketing tool. The site of Cave Urban’s most recent project was the annual Woodford Folk Festival. After designing and constructing the Pineapple Lounge at Woodford in 2012, Cave Urban were invited by the festival Director Bill Hauritz to return and create another space for the festival the following year. With greater ambitions of a larger scale in mind, Cave Urban’s team leader and architect Nici Long approached internationally renowned Taiwanese master bamboo artist, Wang Wen-Chih to take part. The result was Woven

Words by Markos Hughes /21

Photographs by David Chapman

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Words by Markos Hughes /23

Sky: a large bamboo tunnel and dome which served as the main entry point into the festival amphitheatre. Bringing with them extensive research into understanding the properties and potential applications of bamboo, Cave Urban initiated a dialogue with Wang Wen Chih, who brought a wealth of experience and expertise to the collaboration. The Woodford Folk Festival also provided a stimulating context for the collaborating parties to draw on and unite their shared values and practice of promoting sustainability via artistic expression. Woven Sky originated from the shared ideologies of Cave Urban and Wen Chih (and their shared love for bamboo), but its design narrative further evolved when the team of fifty volunteers were brought on board for the material sourcing and construction of the sculpture. Whilst the vision of the project was clear from the beginning, the unique collaborative processes of the volunteers inherently shaped the final outcome.

“AT THE ‘WOVEN SKY’I WAS A PART OF A FAMILY AND JUST AS INTEGRAL TO THE PROJECT AS ANYONE ELSE ON THE TEAM.” QUT design student Steve Szell who volunteered in the project, reflected upon his experience: ‘If I wasn’t here, or if any of these other people weren’t here, this wouldn’t exist, it couldn’t exist… Everyone is appreciated, everyone is included and everyone is rewarded’. Hence, another invisible factor intertwined in this design narrative is sense of community that was fostered by the volunteers during the intensive construction process. Although the sculpture was disassembled at the end of the festival, the design narrative continued to evolve. The bamboo was gathered by Cave Urban to be re-used for future projects. Such projects will be enriched by the knowledge and experience Cave Urban gained from this special collaboration with Wen Chih. Not only did everyone involved in this p1roject gain a unique understanding of bamboo design and construction, but many also took away the beginnings of life-long friendships. To find out more about Cave Urban, please visit their website. www.caveurban.com Photographs by David Chapman

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STORYTELLING How consumers are increasingly appreciating and demanding design with a story

Towards the end of the 20th century, people began increasingly asking questions about the food they were eating, which, like most other aspects of life, had been affected by the explosive growth of consumerism and globalisation. The Slow Food organisation was formed by Carlo Petrini as a result of his vehement protest against the opening of McDonaldâ&#x20AC;&#x2122;s restaurant in the Piazza di Spagna, Rome in 1986. This also sparked the beginning of a series of Slow Movements, including Slow Design, which have continued to gain popularity all over the world. Similar to how consumers want to know where the food they eat is from, who grew it, and how etc., there is also a growing demand for transparency in design. Whilst mass produced goods provide

consumers with the cheapest and most convenient option, these products have an anonymity that conceals the story behind them. People are increasingly curious about the journey of an object from conception through to transportation, and now seek out products that tell the story of where they were from and how they were made.

â&#x20AC;&#x153; THESE PRODUCTS H CONCEALS THE STORY Hand-crafted products offer what the Japanese describe as wabi-sabi: seeing the beauty of something through the acceptance of imperfection, incompleteness and impermanence. This is an uncommon attitude for both designers and consumers as

Words by Tom Emmett /25

we are overwhelmed by ‘perfect’ objects that have been designed and manufactured with the aid of computers. British designer Max Lamb believes that the design and construction process is equally as important as the final outcome. He is well known for presenting his clients with video footage of himself sculpting, casting and assembling his designs to provide a deeper understanding of the object and educating them on the making process. He believes this also fosters a bond between client, designer and object that is often lost. Whilst the trend for handmade artisan products has increased the popularity of natural materials such as timber and stone, Australian company, Dinosaur Designs, demonstrates how a craft-like ethos can be applied to more contemporary, man-made materials and

manufacturing techniques. The designers experiment with clay and plasticine to develop the prototypes used to produce their resin jewellery and homewares. Co-founder Stephen Ormandy says their works are, ‘like 3D poems’ that tell the story of the hand crafting process that shapes the final product. The design consumer of today wants more out of a product: they want its story. The market is shifting towards the creation of more bespoke pieces which establish and strengthen the connection between designer, product and consumer. As the trend grows in popularity, design is increasingly becoming a communicative and expressive medium for education and storytelling.

HAVE AN ANONYMITY THAT Y BEHIND THEM ”

Photograph by Alex Perestrelo

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JOHN MILLS One building connected over time by common design philosophies

“IT WAS AN ARCHITECTS, A IT BECAME AN AND AN ENVIRO

Words by Gabriel Avenia /27

The John Mills Himself bar, tucked away in Brisbane’s CBD, has brought to life the long history of its namesake. John Mills Himself of 40 Charlotte Street, which opened in 1919 as a print workshop and warehouse, has since housed an array of creative groups and individuals. The Dub had the chance to chat to occupants of John Mills Himself, past and present, unearthing stories of the space and learning some of the history held within its walls. The John Mills Himself Bar occupies the basement level of the building and is accessible via Archive Fine Books as well as a laneway leading from Elizabeth Street. The opportunity to revitalize the small, and then derelict, space was taken up

N ECLECTIC MESS OF ARTISTS AND MUSICIANS, N INCUBUS OF LEARNING ONMENT OF INTERACTION” by design firm Pearler, of QUT Design graduates Helen Bird and Billerwell Daye. Recognising the potential, they set to work paring back the interior: ‘we could see the bare bones of the structure and it was beautiful’ said Billerwell. The design concept for the design of the café and bar was for it to speak of the building in its prime. This meant exposing the brick walls and large wooden beams and restoring the original windows to their former glory. Helen spoke of the primary aim

of the project to ‘bring all that history back and offer it to the public…the whole journey was about listening to the building and expressing elements of its history’. Current visitors of the bar can appreciate the integrity and the origins of the space by engaging with the exposed details which evoke the machinery and materiality of the 1920s printing workshop. The graphic branding of the bar is a continuation of the historical design concept. The bar menu, which includes a timeline of the occupancy of the John Mills Himself building, is another nod to the buildings past. The John Mills Himself bar has created a unique atmosphere, individual to itself, through both its design and business approach. A menu comprising of beers, wines, spirits, soft drinks and coffee of the region, strictly adheres to their philosophy of serving locally produced goods – a concept which sets the John Mills Himself bar apart. Helen pointed out how ‘choosing intentionally harder pathways can have returns of more than monetary value… It’s about people who feel enriched by having the experience and suppliers who we communicate and connect with personally’. Being Australia’s first ( and thus far, only) drink-miles bar, John Mills Himself promotes awareness of the quality of local products and the talent of the people that make them. Their strong-held ethos and the support they offer to fellow small businesses helps to drive their own: ‘it’s definitely something to be proud of and to continue vigilantly,’ remarked Helen. Photograph by Jade Tane De Taniora

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Photographs by Miranda Rielly

/30 Mark Thomson, one of the founders of Entrepôt, looks back on his five years in the John Mills himself building with great fondness. Entrepôt was the architecture association at QIT formed in 1982 by students of the part-time BART course (Bachelor of Architectural Technology). Entrepôt was responsible for discovering and renting the John Mills Himself Building as a solution to the lack of on-campus studio space for the collective study of architecture students. Mark spoke about the ‘great experiences [that] grew out of not having a space at uni…we built our own space and our own culture grew from it’. Stories of the parties (Halloween was a particular favourite), police raid break-ins and the homeless man who acted as unofficial security, illustrate how vibrant the life of the building was during this time. The site was also used for offcampus lectures, exhibitions and talks by prominent architects; as well as rented studio space for a variety of local creative talents.

“SUCH A GREAT EXPERIENCE CAME OUT OF NOT HAVING A SPACE AT UNI. WE BUILT OUR OWN SPACE AND OUR OWN CULTURE GREW FROM IT.” ‘It was an eclectic mess of architects, artists and musicians… It became an incubus of learning and an environment of interaction,’ says Mark. The distinctive atmosphere, culture

and reputation the building was cultivated by the collective energy and passion of the students who it was occupied by. The enthusiasm of the students also drove the necessary transformation of the space from its original dilapidated and uninhabitable state. ‘We took ownership of the building and pared it back to its basic materials. We learnt how to be thrifty, learnt the value of the space and structure, and resourcefulness and resilience,’ Mark proudly recalls. During this physically intensive process, the students formed a strong attachment with the old building: ‘It was like it became a part of our soul… Once you become familiar with an old building you appreciate the character. This building had become home,” explains Mark. For Mark and many others, the significance of this building was not only an imperative part of his university experience, it also formed a bond that has continued throughout his future life and practice: ‘At the time we were just having a good time... Now I look back fondly and see the greater influence our time in this building had on my career.’ On the current use of the building, Mark says ‘it’s great to see things happening now, and different visions for the spaces being brought to life… It’s funny - we never once envisaged a bar[but] it’s fantastic that now people are realizing the small pockets of our vibrant, unique, cultural history’. Despite being separated by decades of time, both Helen Bird and Billerwell Daye of Pearler

Words by Gabriel Avenia /31

and Mark Thompson brought similar values to their respective regenerations of John Mills Himself. This approach, perhaps cultivated by the embedded ethos in QUTâ&#x20AC;&#x2122;s school of design, restored the structural integrity of the building as recognition of its former uses. These interrelated stories of the John Mills Himself building demonstrate the connection people have to the places they occupy, and how an appreciation and of its history enhances this relationship. The revitalization of neglected spaces creates the opportunity for surprise and adds meaning to the urban milieu, enriching the experiences of those who come across them. To embrace the existing character of a building with new uses, such as was done with John Mills Himself, ensures its survival and as a valuable component of Brisbaneâ&#x20AC;&#x2122;s social heritage. Illustration by Emily Fong

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IDEATION

Three QUT fashion students share the beginnings of their graduate collections

conceptual

Words by Alex Perestrelo /33

Words by Alex Perestrelo

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MICHAELA STARK Through fabric manipulation and exploration of baby doll inspired silhouettes Michaela considers concepts stemming from the Victorian Era when children were adulterated through fashion styles.