Bayangun budyari Aboriginal and Torres Strait Islander yiyuragu Ngurra bimalgu
Yanma muday Ngurrawa.
Courtesy of:
English
We stand here on Bediagal Dharug Country. We learn on Bediagal Dharug Country.
We belong to Country, To Mother Earth, To Father Sky, To the waters.
We speak well of Dharug Elders yesterday, today and tomorrow.
We speak well of all Aboriginal and Torres Strait Islander Peoples and their homelands.
Walk softly on Country
Anissa Jones, Indigenous Academic Specialist, UNSW Arts Design and Architecture
Associate Prof. Bernadette Hardy, UNSW Built Environment
Prof. Gillian Barlow, UNSW Built Environment
WELCOME
Welcome to Luminocity 2024
Luminocity is UNSW Built Environment’s annual exhibition that celebrates student work and achievements across eight undergraduate degrees:
• Bachelor of Architectural Studies
• Bachelor of City Planning (Honours)
• Bachelor of Construction Management and Property
• Bachelor of Design (Computational Design)
• Bachelor of Design (Industrial Design)
• Bachelor of Design (Integrated Design)
• Bachelor of Interior Architecture (Honours)
• Bachelor of Landscape Architecture (Honours)
Across these degrees we work with our students and award-winning industry professionals to explore how we can make buildings, cities and design better – for both people and planet. We explore how we can plan and design more inclusive cities, buildings and landscapes, and how creativity and cuttingedge digital skills can reimagine everyday products, services and spaces.
We have a commitment to ensuring all our graduates are equipped to take meaningful climate action in their future careers, be it through designing biodiverse landscapes, reusing waste materials in innovative ways or designing buildings that are in tune with the natural environment.
As you take a tour around the exhibition, and this accompanying catalogue, you will see the breadth of our students’ work – their creativity, empathy and passion. You’ll see completed projects, communicated through physical models, drawings and even virtual reality. We’ve included profiles of our recent alumni, so you can also see how we’re educating future leaders in the Built Environment, and how our graduates go on to have impactful careers in their chosen industry.
You will see how Sydney is our laboratory – the city we call home, and where we put our ideas to the test. But you’ll also see our students’ global outreach through courses we run in Austria, Cambodia, China, India, Italy and more. These experiences have helped our graduates establish careers not only in Australia, but also in cities around the world.
I hope you enjoy Luminocity 2024, and I look forward to welcoming you back to UNSW Sydney in the near future.
Philip Oldfield Head of School, UNSW Built Environment
Luminocity 2024 Exhibition Modules
LUMINOCITY DESIGN AND FABRICATION
Luminocity 2024 Design Methodology
Building on the tremendous success of the Luminocity 2023 Exhibition, our challenge was to push the envelope for the 2024 exhibition by exploring new design methods that would allow for future reuse, reduce material consumption, and achieve overall design refinement.
Typical exhibitions often incur substantial financial and environmental costs. Once an exhibition concludes, many components often end up in landfills with little consideration for reuse. A key aspect of this year’s exhibition design is the modular system that requires no additional glues, fixtures, or fittings for assembly.
All components, including connectors, are cut from standard 20mm thick, 2400mm x 1200mm Hex Core Cardboard sheets. This system allows for rapid assembly while also enabling quick and easy disassembly with minimal damage, facilitating future use. Any damaged material will be recycled by the manufacturer and transformed into new sheets.
Close collaboration with fabricators has allowed us to identify limitations and maximise opportunities, achieving a refined and clean finish. Certain fabrication methods have enabled us to create a modular system that can be configured in multiple ways using only a base set of modules. These modules are reversible, rotatable, and standardised in size, allowing for an infinite number of configurations.
A key focus area was reducing material use. By decreasing the material thickness from 30mm last year to 20mm this year and focusing on a single, versatile plinth module, we’ve reduced material usage to less than one-third of the 2023 exhibition. Furthermore, we’ve implemented direct printing of graphics onto the cardboard sheets, eliminating the need for vinyl application and further reducing environmental impact.
In addition to using less material, we’ve optimised sheet layouts to reduce cutting time. This not only lowers fabrication costs but also reduces embodied carbon.
We will continue to improve these exhibitions in the years to come through ongoing design refinement and the pursuit of environmentally conscious practices.
James Hargrave Founder, Abstract8
www.abstract8.com.au
LIFE IN THE BUILT ENVIRONMENT
Using the Robots at the DFL
Students in Venice
Construction Students in the 360 Cinema
Landscape Architecture Students at the Cooks River
Construction Students Site Visit with John Holland Group
Urban Design Studio
BACHELOR OF ARCHITECTURAL STUDIES
The UNSW Bachelor of Architectural Studies is a three-year degree where you’ll learn how to design buildings and places to meet the needs of people and the environment.
Through industry-aligned coursework and design studios, you’ll engage with the creative, practical and ethical aspects of architecture. Hands-on projects will help you gain the vital skills to lead the way in a rapidly changing profession. You’ll learn how architectural design shapes the sustainability, inclusivity and connectivity of our buildings and cities and impacts our culture and economy.
Stimulating design studios and lectures will see you explore everything from architectural design to communications and digital fabrication, history of architecture, architectural science, environmental design and materials and construction.
The Bachelor of Architectural Studies is a powerful stepping stone on the road to becoming a registered architect. Most undergraduate architecture students go on to complete UNSW’s Master of Architecture, which has professional accreditation from the NSW Architects Registration Board and Architects Accreditation Council of Australia (AACA).
The Reading Room is an architectural project located at 22nd Noller Parade, Parramatta, Sydney, near the western end of the Parramatta River. This design acknowledges the river’s significance to Sydney’s urbanised, post-colonial history and its importance to local Indigenous communities.
With this context in mind, the project seeks to explore this history through the lens of personal culture from China. It draws parallels between the figurative symbolism found in Chinese text and Aboriginal artworks and carvings. The aim is to create a site-specific and intimate response to the challenges posed by the brief, which includes a library, an exhibition center, and a community room.
THE READING ROOM
Exterior Perspective
ROSEHILL LIBRARY SYDNEY, NSW
Interior Perspective
Massing Diagram
Rendered Axonometric
SOUTH KEMPSEY LIBRARY
KEMPSEY, NSW
The South Kempsey Library aims to be a new social and cultural hub of Kempsey. Understanding the cultural and historical relevance of Kempsey and the site itself, the proposed library respects the existing Kempsey Museum and references architectural strategies written by Glenn Murcutt to reinforce its cultural and historical significance. The South Kempsey Library utilises a hybrid spatial organization composed of linear spaces attached to a central spine.
Exploded Axonometric Site Plan
Plan and Elevation
THE TRANSITION
ROSEHILL LIBRARY
SYDNEY, NSW
The Library is located between the Parramatta CBD and the residential area of Rosehill, between the large and small scale, intense and quiet. The library will become the ‘transitional’ public space, featuring an inviting entrance that subtly merges with a new public plaza and the bridge. The programs include the library, exhibition and community room which are connected by the central circulation that acts as a bridge/transitional space to each program. The folding doors applied across the library and exhibition allow it to be fully opened and enclosed at a specific time.
The library is wrapped with curved edges and vertical timber louvre patterns to create the same language with the street. Meanwhile, the timber structure instills a timeless quality into the building, allowing it to seamlessly merge with the natural landscape.
Interior Perspective
Interior Perspective
Site Plan and Ground Floor Plan Interior Perspective
The Wiradjuri Nation utilised the Murray River as a central resource provider and natural boundary, fostering a sense of belonging and welcome to all communities. Paralleling the significance of Wiradjuri kinship within the notion of ‘meeting or gathering place,’ Bungambrawatha Community Centre invites residents and visitors to utilise spaces as a delicate balance between revitalising Wiradjuri culture at its forefront, and providing contemporary spaces that educate, connect and support the community’s diversity and growth.
NGUMBAAYDYIL
The project follows two distinct zones of the site - the urban and the cultural - where both can intimately intertwine, whilst also providing a controlled level of distinction and sensitivity to the activities occurring on their respective ‘gathering site’.
BUNGAMBRAWATHA COMMUNITY CENTRE ALBURY, NSW
SARAH IBANEZ CRUZ
DEGREE:
Bachelor of Architectural Studies (class of 2016)
CURRENT ROLE:
Senior Associate, Stewart Architecture, Sydney
SASHA LESIUK
CAN YOU TELL US WHAT IT WAS LIKE TO STUDY ARCHITECTURE AT UNSW?
Architecture is a profession where you wear many hats. You jump from being a designer, to a salesperson, to discussing technical details with engineers within a matter of minutes. Studying architecture at UNSW set me up with the skills to confidently wear those hats by encouraging us to engage in a wide variety of subjects. The course also exposed me to people within the industry who were not only valuable tutors but also became mentors who helped guide me through the course and into the working environment.
CAN YOU TELL US ABOUT YOUR CAREER SINCE YOU GRADUATED FROM UNSW?
Since graduating I have worked at a number of practices both locally and internationally. Through UNSW I was awarded a scholarship to work in Italy at the Renzo Piano Building Workshop where I worked on large scale projects such as One Sydney Harbour in Barangaroo and the Istanbul Modern Museum in Turkey. My experience in Italy was very formative and helped to shape how I think about the role of architecture at a larger, more urban scale.
WHAT’S YOUR CURRENT ROLE LIKE, AND WHAT DOES A TYPICAL DAY AT WORK LOOK LIKE FOR YOU?
As a Senior Associate at Stewart Architecture I am heavily involved in the day to day running of the studio from administration tasks to client management, as well as leading teams within the office to deliver projects. My day typically involves internal design meetings where we workshop and problem solve elements of a project. I also spend time liaising with consultants to ensure that our design intent will be realised through the documentation and construction process. Often a project involves a large team of varying disciplines and as the architect I see our role as bringing all the information together in a way that is functional, practical, financially viable and also beautiful (it is a fun balancing act!).
WHAT UNEXPECTED SKILLS DID YOU GAIN FROM YOUR DEGREE THAT YOU HAVE TAKEN INTO YOUR CURRENT ROLE AND WHY HAS IT BEEN SO VALUABLE?
I think one of the biggest skills I gained from my time at uni was the ability to communicate a design concept verbally and visually –whether that be to an individual or a large
audience. The ability to communicate clearly is a valuable skill that will often enable you to achieve an outcome on a project without compromising the design. Spending time presenting to design juries at uni also made me better at thinking on my toes and answering questions with confidence.
WHAT ADVICE DO YOU HAVE FOR SOMEONE INTERESTED IN STUDYING ARCHITECTURE?
The key piece of advice that I would give to someone interested in studying architecture is to keep an open mind, be curious and never stop asking questions. It’s also important to remember that once you leave uni you aren’t expected to know everything in five minutes flat. It takes a lifetime to build the knowledge and experience to be a ‘good architect’ - it’s a process that is challenging but also full of a lot of joy and creativity.
Internship at Renzo Piano Building Workshop, Genoa, Italy
BACHELOR OF CITY PLANNING (HONOURS)
The UNSW Bachelor of City Planning (Honours) is a four-year, full-time degree that shows you how to shape the future of built environments to benefit residents, businesses and communities alike. Because cities and regions need to be more than efficient and convenient – they need to foster a sense of connection, create new ways of living, and make sure we can grow sustainably.
Learn to thrive at the intersection of land use, development and urban design. At the same time, gain the knowledge and skills to turn your creativity and critical thinking into solutions. From protecting our natural and heritage-built environments to working with communities in cultivating fair, equitable and inclusive neighbourhoods – you can make real change. You’ll also benefit from our strong ties to industry when you complete our highly regarded and world-leading ‘Practice Year’ in your third year of study.
This planning degree gets to the heart of what makes great places tick. Shape the future of our cities and regions and make your mark on what urban and regional planning will be capable of for years to come.
The Broadmeadow Urban Design Proposal aims to transform Broadmeadow into a key node within a high-speed rail network, integrating with the broader city of Newcastle. The project leverages Broadmeadow’s central location, robust transportation networks, government-owned land, and industrial sites ripe for urban renewal. It seeks to foster housing, employment, public spaces, and facilities over the next 30 years, enhancing connectivity and accessibility. Key components include the revitalisation of the Nine Ways Junction, mixed-use structures along Belford Street, and the development of community buildings such as a new library and cultural centre. The design prioritises pedestrian access, ecological sustainability, and the preservation of heritage sites, with adaptive reuse of historical buildings and enhancement of green spaces.
URBAN DESIGN PROPOSAL FOR BROADMEADOW
By embracing principles of Connecting with Country, the project honours the Awabakal and Worimi peoples’ cultural heritage, ensuring an inclusive approach that respects the land’s traditional custodians. This holistic development strategy aims to create a vibrant, sustainable urban environment that reflects the historical and cultural significance of the area
HIGH SPEED RAIL URBAN DESIGN FRAMEWORK FOR BROADMEADOW STATION. BROADMEADOW, NEWCASTLE,ON THE LAND OF THE AWABAKAL PEOPLE
Site Axonometric
WATERFRONT PRECINCT PLANNING PROPOSAL
NOWRA EAST, NSW
This project involves creating an Urban Design Framework and Planning Proposal for the city of Nowra based on the foundation of urban renewal opportunities created by the proposed highspeed rail development in NSW, which aims to improve transport connectivity between Sydney, Wollongong and the Shoalhaven region. The Nowra Eastern Waterfront Precinct Planning Proposal outlines a vision for a waterfront-focused space near the Shoalhaven River that prioritises greenery and safety which is conscious of community wellbeing. The master plan involves a variety of building styles and heights, new community facilities and open spaces, with the goal of establishing a living environment that subtly blends with the existing Shoalhaven waterfront and is future-proof to the changing natural environment.
It underscores densification with an emphasis on connectivity while centralising open spaces and community facilities, such as the library, at the heart of the precinct. The streets are planned to be neighbourhood-friendly, featuring protected bike lanes, a diverse mix of tree coverings and wide sidewalks to encourage active mobility and human-centred growth.
LEP Controls
Solar Studies
EAST GOULBURN URBAN DESIGN FRAMEWORK
EAST GOULBURN, NSW
This project is an Urban Design Framework and Planning Proposal that explores the potential impact of High Speed Rail in renewing ageing regional towns in NSW. Goulburn is a key regional centre in NSW and is a prime location for urban renewal and densification, particularly East Goulburn which is currently poorly connected to the rest of the town and lacking in amenities. This proposal seeks to redevelop East Goulburn into a vibrant local centre anchored by a retail main street, linear park, central plaza and key public buildings. New street connections, and public and active transport initiatives, will improve the accessibility and walkability of the precinct, whilst the retail main street will activate the area and create a unique local character.
A mix of housing typologies will be provided including terraces and low-to-medium rise apartment buildings to respond to increased population growth associated with the High Speed Rail, and ensure that all residents can find a home that best suits their needs. The proposal facilitates the renewal of an underutilised area and underpins the transformation of East Goulburn into a vibrant, green and high-amenity local centre.
JOANNA KONTOGIORGIS
Street Perspective
Solar Study
This new development is a model of the future of Sydney’s neighbourhoods. A self-sustaining, vibrant community hub, that provides an active and engaging lifestyle for all walks of life. A smart neighbourhood of high social amenities, easily accessible within 15 minutes, through a free-flowing, pedestrian oriented transport network.
Where natural systems and built form are interdependent in a nature positive design that increases biodiversity, while also providing food and reclaiming water.
NEXUS POSITIVE
A clean neighbourhood that is carbon neutral, generates its own green energy, giving back to greater Sydney, through energy supply and an innovation driven economy, supported by the University of New South Wales. Proving that high density living is the Australian dream of the future.
Site Model
AYLAR DARYAKENARI
NEXUS POSITIVE MASTER PLAN
ROYAL RANDWICK RACECOURSE
RANDWICK, NSW
Illustration by Ruirui Zhao
Illustration by Ruirui Zhao
DEGREE:
Bachelor of City Planning (Honours) (class of 2018)
CURRENT ROLE:
Policy Manager, Committee for Sydney
ESTELLE GRECH
CAN YOU TELL US WHAT IT WAS LIKE TO STUDY CITY PLANNING AT UNSW?
Studying City Planning at UNSW was the best! I really enjoyed the diversity of subjects from sociology or urban design through to economics and law. You get a taste of so many different fields which means it’s always interesting and there’s something for everyone. I also loved the interdisciplinary subjects where you get to learn with students across the School, one of which was an architecture housing studio in Vienna that was life changing. The other thing that’s unique about studying City Planning at UNSW is that you’re with the same cohort of people throughout the whole four-year degree. This means you get to know your class really well, and generally you’ll keep bumping into them across your career. Some of my best friends today are people I met in my very first planning class.
CAN YOU TELL US ABOUT YOUR CAREER SINCE YOU GRADUATED FROM UNSW?
The UNSW City Planning degree gave me a head start with its embedded practice year. My first job as a strategic planner at Fairfield City Council sparked my passion for people and place. I then joined a social planning consultancy, focusing on community
engagement and open space strategies. During COVID, my UNSW lecturer Michael Bishop recommended me for a role in Minister Rob Stokes’ office, where I advised on public spaces and urban design. It was a privilege to work with Rob, the Ministerial team and the public service at a time when there was a huge focus on public spaces and Active Transport. After that, I travelled to the US and Europe on a Churchill Fellowship to research how to design better cities for women and girls, a topic I explored in my final Honours year. Now, I work at the Committee for Sydney, an urban policy think tank, tackling key issues like planning, housing, and equity policy through research and advocacy.
WHAT’S YOUR CURRENT ROLE LIKE, AND WHAT DOES A TYPICAL DAY AT WORK LOOK LIKE FOR YOU?
At the Committee for Sydney, no day is the same, but it always starts with me scanning the papers for any new policy announcements and then riding my bike to the office. Typically, my day includes a lot of meetings with industry or the public service to give advice, collaborate on projects, or understand their perspective on policy issues. When I’m at my desk I’m researching and analysing data, writing
submissions or reports that seek to advocate for positive urban change. Other days I might be helping to curate events or facilitating panel discussions with a wide range of experts. Sometimes I may need to provide quotes on an issue for the newspaper or even a radio interview!
WHAT UNEXPECTED SKILLS DID YOU GAIN FROM YOUR DEGREE THAT YOU HAVE TAKEN INTO YOUR CURRENT ROLE AND WHY HAS IT BEEN SO VALUABLE?
The planning degree is so great because it equips you with such a broad range of hard and soft skills, from GIS and ABS table builder to report writing or Adobe InDesign and Illustrator—all of which I use daily. But the most unexpected skill I’ve gained is negotiation. As a planner you’re taught to listen to the community, understand their needs, and find solutions that balance tradeoffs like building height versus privacy or live music versus residential complaints. Both in the degree and the practice year, you
learn to navigate these challenges and think creatively to negotiate good outcomes for the community or your client—or ideally, both. This was also a skill that definitely came in handy when I found myself negotiating legislative amendments with the opposition or crossbench in NSW Parliament!
WHAT ADVICE DO YOU HAVE FOR SOMEONE INTERESTED IN STUDYING CITY PLANNING?
Do it! If you’re curious about cities and a creative thinker, you won’t regret studying planning, it’s a bit of a hidden gem of a degree and career. It’s a specific field of study, yet at the same time gives you so many career paths to follow. Some of my friends are working in development assessment, data analytics, others in transport planning or policy roles like me. Regardless of whether you love numbers and maps, or research, writing and engaging with the community, there’s something for you.
How do we get more people cycling in Sydney? - Committee for Sydney
BACHELOR OF CONSTRUCTION MANAGEMENT & PROPERTY
The UNSW Bachelor of Construction Management and Property is a three-year degree when studied full time. Equipping you with the skills and connections to turn your passions into a tangible and meaningful career, this degree is one of Australia’s most respected in its field.
Throughout the world, our most iconic buildings and structures wouldn’t exist without inspired construction planning and execution. Complex construction projects need leaders who can meet the demands of a constantly evolving industry. During your study, you’ll develop the skills and knowledge needed for the management of property development, construction sites, projects, and quantity surveying. We place a strong emphasis on construction and property economics and management skills, including cost, time, human resources, organisational behaviour, risk management and information technology.
For those who want to deepen their knowledge of construction management and property further, and enhance their careers, we also offer an optional one-year Bachelor of Construction Management and Property (Honours) degree, available after completing the three year program.
PREFAB VS CONVENTIONAL
THE CHALLENGES IN CONSUMERS’ PREFERENCES WHILE SELECTING BETWEEN PREFABRICATED AND CONVENTIONAL HOUSES IN THE HOMEBUILDER MARKET IN NEW SOUTH WALES, AUSTRALIA.
Background statement:
Prefabricated buildings have been implemented in many places such as Sweden, Singapore and other developed countries. Approximately 84% of buildings in Sweden are manufactured off-site. Starting from 2014, the Singapore government had mandated the inclusion of prefabricated bathrooms in all residential buildings owned by the government. According to Australian Bureau of Statistics (ABS), 163,836 new homes commenced construction in 2023, however, there are only 3-4% of new buildings each year constructed using prefabricated building systems.
In November 2023, NSW government released a statement that it will put aside $10m in 2024 to explore modular housing. It is evident that the authorities are keen to roll out the prefabricated building to resolve the current housing crisis. Many literatures have outlined the benefits of prefabricated houses such as time saving, better quality, cost benefits, etc. compared with conventional houses.
Problematic statement:
Most renowned home builders such as Metricon Homes, McDonald Jones Homes, Rawson Homes are not offering prefabricated building solutions to their customers. Only a small group of homebuilders are promoting prefabricated construction technologies. Conventional on-site building systems seem still to be working well in NSW, even though they may involve the risk of delays and escalating costs in materials and labour. The reasons that prevent major home builders from adopting prefabricated construction systems are worth thinking about. Merely outlining the advantages of prefabricated buildings without adequate explanations for market acceptability is not prudent. There is a lack of studies investigating the market acceptance towards prefabricated dwellings in Australia.
Research purpose:
The purpose of this paper is to identify the obstacles in consumer preference while selecting prefabricated houses and conventional houses. Furthermore, this paper will determine the specific demographic or group of buyers who are most likely to purchase prefabricated houses and suggest promotional techniques in the homebuilder market.
Proposed research methods:
There are two research methods adopted in this thesis. Surveys in the form of questionnaires will be sent out to the general public via Survey Monkey and real estate agent channels. The key data generated from this method will be analysed via quantitative methods to identify the significant variables or obstacles in relation to consumers’ decisionmaking. The respondents will be grouped into four categories: first home buyer, investor, down-sizer, and family owner.
Interviews with major homebuilders’ sales representatives and real estate agents will be conducted while collecting the survey data. Sales representatives from the major homebuilders and real estate agents are the key parties involved in providing recommendations and suggestions to potential buyers. Interview questions will be prepared based on a list of questions that consist of technical knowledge and potential feedback. The interview data gathered will be analysed using Nvivo Pro 12 with coding.
Excavators
Shifting Rock On Site
ENVIRONMENTAL PERFORMANCE
ENVIRONMENTAL PERFORMANCE COMPARISON OF CLT AND STEEL IN MID-RISE SUPERSTRUCTURES
Background and Problem Statement:
In the past two decades, there has been a growing trend for awareness around the impact of global warming, especially the detrimental role the construction industry plays. It has become increasingly apparent to recognise the importance of environmental sustainability in building design and construction. Stakeholders now have a growing interest in understanding the environmental performance of what was previously known as unconventional building materials and to now implement these as they strive to minimise the ecological impact of superstructures. This research will compare the environmental performance of Cross Laminated Timber (CLT) with steel in mid-rise superstructures.
Moreover, embodied carbon plays a significant role in buildings constructed with various different materials. Embodied carbon refers to the total amount of carbon emissions in relation to the construciton of a building. Through comparing CLT and steel in midrise superstructures, this research will aim to shed light on the environmental implications
of material selection and emphasise the potential of either CLT or steel as a sustainable construction method.
Research Purpose:
This research study aims to compare the environmental performance of CLT and steel in mid-rise superstructures, specifically analysing these two materials. The decision to focus on CLT and steel stems from the observation that the comparison of steel/concrete and CLT/ concrete is commonly addressed, whilst the contrast of CLT to steel has received relatively less attention over the past two decades. This comes from researching and reading many theses and research papers about the sustainability of different building products in a superstructure. Through undertaking this research, this thesis aims to provide valuable insights into the sustainability implications of choosing CLT and steel to help fill the knowledge gap for stakeholders. This study will analyse the parameters around these superstructure materials by assessing the performance of their carbon footprint, energy efficiency, thermal performance, and life cycle analysis, thus enabling
informed decision-making for sustainable mid-rise superstructures. As a result, this thesis has significant implications for all built environment stakeholders, including construction professionals, consultants, and developers.
Proposed Research Method:
The research method proposed for this thesis study will employ a mixed methods approach; this is a combination of both qualitative and quantitative and will adopt a case study research strategy. The case study will allow for a thorough analysis and in-depth exploration of the environmental performance of CLT in contrast to steel in mid-rise superstructures within their real-life contexts. It will involve collecting and analysing data from multiple forms of qualitative and quantitative sources, allowing a comprehensive insight into the sustainability implications of CLT and steel in mid-rise superstructures.
The qualitative methods will involve interviews with various mid-rise construction industry stakeholders, such as architects, engineers, and sustainability managers. These interviews will provide this thesis with subjective perspectives, allowing the research to explore their experiences, attitudes, and perceptions related to CLT and steel. More qualitative data will be obtained through previous theses, research papers, industry reports, and case studies as they will offer additional information on the sustainability aspects of CLT and steel in mid-rise superstructures.
Moreover, quantitative research will include surveys of the aforementioned individuals; this will be distributed to collect data on the specific aspects of environmental performance, such as carbon emissions, energy consumption, and thermal performance. The quantitative data will be analysed using SPSS or Excel to generate objective measurements and comparisons between CLT and steel.
In terms of this thesis’ research philosophy, this study will align with pragmatism, which acknowledges the value of subjective experiences and objective measurements. Pragmatism will recognise the differences in methods and approaches that can be useful in understanding complex phenomena. By using qualitative methods to capture the subjective perspectives of all stakeholders and quantitative methods to illustrate the measurable parameters, this study will provide a holistic understanding of the environmental performance of CLT and steel in mid-rise superstructures. Thus, through the mixed methods case study approach and pragmatic research philosophy, this thesis will seek to engender informed decision-making whilst generating practical knowledge for sustainable mid-rise superstructures.
Construction Site Simulation
Site Coordination
DEGREE:
Bachelor of Construction Management and Property (class of 2014)
CURRENT ROLE:
Operations Manager, Marr Contracting, Sydney
ERIN DOYLE
CAN YOU TELL US WHAT IT WAS LIKE TO STUDY CONSTRUCTION AT UNSW?
The construction degree at UNSW is designed to ensure that you get as much industry exposure as possible, with the content we learnt being directly applicable to a future role in the industry. It was great to have lecturers that were current or ex-industry professionals, who could use real life stories and examples to demonstrate how knowledge could be applied. The content was also varied, ensuring that we could choose a section of the industry we liked, and UNSW really encouraged us to gain as much work experience as possible while still studying.
CAN YOU TELL US ABOUT YOUR CAREER SINCE YOU GRADUATED FROM UNSW?
I have been very lucky since graduating (and even before graduating) to have worked on some amazing projects around Sydney. While I was still at UNSW, I got a Cadetship with Mirvac, where I remained for 12 years. I progressed through the ranks from Cadet to Site Engineer, Project Engineer, Senior Project Engineer and Project Manager, working across Infrastructure, Apartments and Commercial projects. More recently, I’ve accepted a role with Marr Contracting as Operations
Manager – taking the opportunity to expand my business skillset, along with experiencing new areas of the industry, including both local and international energy, mining and major infrastructure projects.
WHAT’S YOUR CURRENT ROLE LIKE, AND WHAT DOES A TYPICAL DAY AT WORK LOOK LIKE FOR YOU?
My current role is great – it’s very varied, and I get to interact with a whole range of people across the business. In saying that, I don’t have a ‘typical’ day – some days might be client meetings on project sites, some days could be in the office working on improving systems and processes, and other days may be project planning or project reviews. What every day does involve though is an amazing project, challenges to overcome, and various interactions with all sorts of roles in the industry – it’s certainly never boring.
WHAT UNEXPECTED SKILLS DID YOU GAIN FROM YOUR DEGREE THAT YOU HAVE TAKEN INTO YOUR CURRENT ROLE AND WHY HAS IT BEEN SO VALUABLE?
An understanding of how broad the construction industry can be. An appreciation for different specialisations and roles that are needed and relied upon. A lot of people assume that construction is just so you can be a “Project Manager”, but that’s a misconception I don’t like – there are valuers, quantity surveyors, contracts managers, site managers and a whole host of other roles that are equally rewarding. UNSW taught me to have that respect for people who are experts in their craft, and I wouldn’t be successful now if I wasn’t able to identify those people and ensure that the right person is on my team.
WHAT ADVICE DO YOU HAVE FOR SOMEONE INTERESTED IN STUDYING CONSTRUCTION?
To anyone that has an interest in construction, remember that the industry is so varied – no matter what your strengths, likes or dislikes are, the construction industry will be able to provide a very rewarding career. UNSW is the launchpad for that – use it to experience the people, the potential careers, the different facets of the industry and find something you love.
Marr Contracting
BACHELOR OF DESIGN (COMPUTATIONAL DESIGN)
Computational Design uses digital technologies to enhance and optimise design processes. Through algorithms and cutting-edge technologies computational designers develop creative, technical and aesthetic solutions to solve the challenges of the 21st century. This specialisation is offered in our UNSW Bachelor of Design degree.
When you study computational design at UNSW, you’ll learn to approach challenges differently through design-thinking. You’ll gain hands-on experience with cutting-edge technologies, including 3D modelling, digital geometry and parametric design, responsive environments, AR and VR, and robotic and digital fabrication using 3D printers and laser cutters.
Through design thinking and computational design theory, you’ll hone critical-thinking and communication skills to create inclusive designs for diverse contexts. As part of our supportive Arts, Design & Architecture community, you’ll be encouraged to collaborate across disciplines, gain professional experience, and take advantage of programs that support entrepreneurship and innovation. You’ll have the opportunity to work on real-life projects set by UNSW’s partners in the built environment, architecture and design industries such as Cox, Arup, Hassell, BVN, Bates Smart, PTW Architects, Grimshaw, Mott McDonald, and Aurecon.
Working at the intersection of design and technology, computational designers are in-demand. Your skills and ways of thinking will set you up for exciting career paths that engage with future digital built environments.
This research examines the functionality of adopting a new design workflow for creating customised soles through the use of 3D printing. To design soles tailored for people is essential, as it offers significant benefits for foot comfort, ergonomics, and injury prevention.
Traditional computer-aided design (CAD) manufactured soles provide a limited number of options, which does not adequately meet the specific needs of each customer. In contrast, 3D printing technology offers a flexible and adaptable solution.
UNDER PRESSURE
This fabrication approach enables the onetime manufacturing of soles customised to individuals by utilising biomedical data collected from their feet. Preferably, customers could visit athletic stores and obtain a pair of custom soles within hours, perfectly suited to their personal requirements. This study considers the usage of grasshopper platform and the potential in applying of 3D printing to revolutionise the footwear industry, in saving time, reducing waste, and improving foot health.
A PARAMETRIC DESIGN METHOD FOR CUSTOMISING 3D PRINTED INSOLES USING FOOT PLANTAR PRESSURE MAPPING DATA.
Concept Product
PARAMETRIC FABRICATION
PARAMETRIC VELOCITY CONTROL FOR NON-PLANAR ROBOTIC 3D-PRINTING
This research project looks at the development of a novel parametric speed control technique for large-format pellet-based robotic 3D printing. This method addresses the critical challenge of varying layer heights in multi-planar slicing, ensuring consistent print quality and reliability.
In the rapidly growing 3D printing market, expected to reach USD 117.8 billion by 2033, the need for advanced control in LFAM is paramount. This approach utilises parametric speed adjustments to compensate for local layer height variations, maintaining a stable extrusion rate and significantly enhancing print fidelity. This technique is particularly advantageous for largescale pellet-based systems, overcoming the limitations of flat speed and extrusion rates.
Through an action design research methodology, we developed and refined this parametric fabrication workflow. The outcomes include a series of test geometries demonstrating the improved accuracy and quality of prints using this technique. Our findings pave the way for cleaner, more reliable non-planar pellet printing and set a foundation for further exploration into complex geometries, diverse materials, and varied nozzle diameters. This research not only advances the field of LFAM but also provides a robust base for future innovation in large-scale 3D printing.
Slicing Methods
Real World Applications
Large Scale 3D Print
CONCRETE SHELL STRUCTURES
DIGITAL VS PHYSICAL
Through comparison of digital and physical model making, we are able to obtain a greater understanding of structural outputs. Despite the ability to obtain optimal forms through rapid digital testing, physical prototyping remains a necessary step within the fabrication process. As demonstrated throughout the structural exploration, despite the logic behind the analysis and its viability in digital format, the shells thickness was not translatable to physical form, signifying the gap of development between digital and physical modeling.
Design and Fabrication Methodology
Whilst the digital analysis provided a greater understanding regarding internal and external stress, deformation and utilization, the physical model submitted a realistic understanding of its fabrication. Thus, it is imperative that these elements be explored in parallel to ascertain a greater understanding of the built form within construction.
Fabrication in the DFL
Mesh Refinement
Plan, Sections, Elevations
Fabrication in the DFL
Finished Model
EMOTIONAL LINES
TRANSLATING FACIAL EXPRESSIONS INTO ROBOTIC ILLUSTRATIONS THROUGH A GEOMETRIC FEATUREBASED METHOD
This project presents using a novel facial recognition model, FACEOSC, using a geometric extraction approach. The system allows real-time facial input using a Webcam, this development pinpoints 6 dimensional facial feature vectors, eye, mouth, eyebrows, and nose feature points. The analytical model expresses facial change due to different expressions, this observation is presented in normalised numerical data range. The features extracted from the eye, lips, eyebrows, etc. region play a very important part in recognising the difference in 4 basic expressions. The experimental results show that the proposed, existing model is efficient in the recognition of 4 basic emotions: fear, anger, joy, and sadness. Humans are inclined to interact more with a robot with emotional intelligence. Despite extensive research of human-robot interaction in social robotics, there is a lack of substantive research on communicating with robots in a non-verbal communication through voice, facial expressions, and gestures.
Expression Studies
Expression Studies
It raises questions like: how should human emotions be modelled for a correct representation of their state of consciousness? How can geometry be distilled to contribute to robot translation and communication of human emotion? To interact with people, robots need to recognise and detect humans' behaviour and its changing modality during social interaction. The main methodology is capturing real time facial features, detecting facial landmarks, extraction of data, normalisation of data, mapping movements as parameters, transmit commands, and output geometry based on each emotion.
When training and classifying 4 emotions, I used a software program Wekinator. Wekinator enables the application of machine-learning based music information based on OSC messages. It mainly is for retrieval techniques in real-time musical performances. The Wekinator is based on MIR algorithms for tasks such as harmony analysis, and beat tracking. What if this software is used for facial training data? The basic requirement for this software to play is the feature extraction in real time, which FACEOSC is perfectly capable of doing. Beyond just running in real time, this software trains and records the OSC vector data in real time when one does an emotion. The vectors that are outputted when a certain emotion is expressed then is classified into 4 classes. Each 4 inputs are trained using Samples. These samples are influenced by the subtletly of each expression, the lighting, facial pose and overall gesture when detected through a Webcam. This page, visualises the training samples used for each emotion. The higher the number of samples the more accurate in detecting emotion.
WEKINATOR WORKFLOW AND LIMITATIONS
Facial Expression Tracking Data
When WEKINATOR is launched, it is presented with the image above. Recieving the OSC data is through control ports, FACEOSC has a port of 6448. When connecting these two ports together, on the front end input 6448, and on the back-end the python scripts connect to port 12000 for Wekinator. Once the ports are connected, the OSC message input path is connected to the raw input path of FACEOSC. Inputs are 4 classes for each emotion stated, and outputs is a single integer. The emotions are assigned to 4 numbers, 1 for anger, 2 for joy, 3 for sadness and 4 for fear. The outputs are OSC messages /wek/outputs back into the python script which outputs the result in the terminal, “1”, “2”, “3”, and “4” based on each emotion detected.
ROBOTIC MOVEMENT FRAMES SADNESS
GEOMETRY DRAWN
TRAINING SAMPLES
Sad Robot Motions
DEGREE:
Bachelor of Computational Design (class of 2020)
CURRENT ROLE:
Computational Designer, Cox Architecture, Sydney
DANIELLE BISAZZA
CAN YOU TELL US WHAT IT WAS LIKE TO STUDY COMPUTATIONAL DESIGN AT UNSW?
Studying Computational Design at UNSW was an enriching experience surrounded by talented peers and teaching staff. The curriculum covered a variety of topics from data analytics to digital fabrication. I was also provided with opportunities to collaborate with other organisations, expanding my experience and network during my studies.
CAN YOU TELL US ABOUT YOUR CAREER SINCE YOU GRADUATED FROM UNSW?
Since graduating from UNSW, I’ve used my studies as a foundation to become valuable within my company – Cox Architecture in Sydney. My career began in signage and wayfinding and has since expanded into lots of different sectors, including residential, transport and planning. Additionally, I’ve had the opportunity to give back by tutoring at universities, sharing my knowledge and experience with others.
WHAT’S YOUR CURRENT ROLE LIKE, AND WHAT DOES A TYPICAL DAY AT WORK LOOK LIKE FOR YOU?
As a computational designer I model and analyse building data to develop meaningful processes that solve complex design problems. A typical day involves collaborating with my colleagues, addressing any problems they have and coming up with solutions together (with plenty of coffee included). Due to the nature of this work, every day is unique, presenting new challenges and continuous learning opportunities.
WHAT UNEXPECTED SKILLS DID YOU GAIN FROM YOUR DEGREE THAT YOU HAVE TAKEN INTO YOUR CURRENT ROLE AND WHY HAS IT BEEN SO VALUABLE?
One unexpected skill I gained from my degree that has been invaluable in my current role is the ability to apply logical thinking to architectural design problems. This skill allows me to approach challenges from a different perspective, leading to innovative and efficient solutions. Additionally, building connections with others during my studies has proven immensely beneficial. These relationships have provided ongoing support, collaboration opportunities, and access to a wealth of
knowledge and expertise that continues to enhance my professional growth to this day.
WHAT ADVICE DO YOU HAVE FOR SOMEONE INTERESTED IN STUDYING COMPUTATIONAL DESIGN?
If you’re interested in studying Computational Design, my advice is to go for it! This degree not only provides a strong foundation in computational techniques but also complements other skills you already possess. The interdisciplinary nature of the program allows you to integrate your existing knowledge with new, cutting-edge tools and thinking, enhancing your overall capabilities.
Sydney Metro Gadigal Integrated Station Development and Over Station Development.
BACHELOR OF DESIGN (INDUSTRIAL DESIGN)
Industrial Design is the professional practice of designing the products we use every day. Also known as product designers, industrial designers explore solutions to ensure products meet marketing, manufacturing, and functional requirements. This specialisation is offered in our UNSW Bachelor of Design degree.
Industrial design combines design thinking, materials knowledge, production technologies, human factors, and sustainability to create products that lead to a better quality of life. When you study Industrial Design at UNSW, you’ll be inspired and challenged to use insightful and strategic product design for the good of people and the planet.
Through practical studio classes and theoretical courses, you’ll develop design skills in drawing, ideation, making, prototyping, and digital visualisation as you learn about manufacturing processes, user interaction, environmental and social responsibility, and more.
As part of our creative Arts, Design & Architecture community, you’ll be encouraged to collaborate across disciplines, and take advantage of programs that support entrepreneurship and innovation. Through our strong industry links, you’ll be able to gain real-world professional experience and connect with design leaders. As a graduate of Industrial Design, you’ll also be eligible for membership with the Design Institute of Australia (DIA).
Industrial design sets you up for careers that combine innovation and creativity, with technology and business. Your experience across the breadth of the design process will set you up for a successful and diverse career.
This design is a kit that allows communities to create biodegradable tiles, to replant dislodged seagrass. This hands-on approach raises awareness, fosters stewardship, and advocates for stronger nature protection laws to preserve marine ecosystems. The solution is a kit that allows communities to create biodegradable tiles. Volunteers collect seagrass from beaches, cast the tiles using biodegradable materials such as gypsum and replant the seagrass into the openings. The openings are intended to be lined with materials made from natural fibres, which hold displaced seagrass in place until they attach themselves to the sand beds. Finally, the tiles are placed on underwater sandbanks, where the natural ecosystem takes over. This process provides a gentle yet effective means of anchoring seagrass into sandy seafloors, seamlessly blending in with the natural marine world.
MAREN PROJECT
The Maren Project fosters sustainability and inclusivity by targeting coastal businesses, communities, and tourists. It aims to broaden environmental awareness and significantly increase seagrass meadow coverage. Envisioned as a new tourist activity, individuals can create tiles and witness barren areas transform into vibrant ecosystems. This strategy inspires community stewardship and encourages advocacy for stronger nature protection laws.
3D Mock-up of Planter Kit
3D Prototype of a Diver Placing Modules on Sea Bed
A COMMUNITY-CENTRED SOLUTION FOR SEAGRASS RESTORATION.
The Concept
Mock-up
Mock-up of Planter on Sea Bed
LUMIO
A
MONITORING NIGHT LAMP FOR PARENTS IN INFANT CARE.
LUMIO is a night lamp designed for new mothers, easing night-time infant care with automated lighting and health monitoring, providing comfort and assurance to enhance maternal well-being.
Concept Render
Concept Render
Iterative Design Refinement
Concept Render
Shaping Bluefoam on a Lathe
PHYLA
AN ALGAE BIO-PLASTIC STOOL FOR THE HOME
Every year 30,000 tonnes of furniture waste end up in Australian landfills due to overconsumption and material toxicity. Therefore, Phyla was created to provide a sustainable furniture alternative that focuses on materiality, assembly and end of life breakdown. Phyla is an algae bio-plastic stool designed for the domestic living environment that replaces petrochemical components with bio-materials and circular end of life processes. Focusing on the environment, the stool is made from an algae and PLA composite base and a recycled HDPE seat top. The idea behind Phyla was to not only visually emulate the free-flowing nature of seaweed through its aesthetics, but to also showcase algae as a main material source. Torqued vertical fluting contributes to the dynamic form and sense of movement whilst providing structural strength.
Furthermore, ergonomic features such as an underseat groove, footrest and filleted edges were incorporated to improve comfort and ease of use. The Phyla stool embodies a story of regeneration as no adhesives are used in the manufacturing process and it can easily be disassembled, re-pelletised and reused in future designs. This circular model reduces the amount of post consumer waste ending up in landfills and encourages sustainable practices for both designers and consumers.
JASMINE
3D Mock-up
3D Mock-up
3d Mock-up
Plastic Compositions
3D Printing in the DFL
Stool Assembly Diagram
This design consists of a set of modular and rearrangeable benches that have sensors to help researchers and designers optimise a seating space.
BENCHMARK
Bench Bend Mechanism
Bench Bend Mechanism
3D Mock-up
MODULAR AND RE-ARRANGEABLE BENCHES
3D Bench Components
3D Mock-up
3D Mock-up
DEGREE:
Bachelor of Industrial Design (class of 2015)
CURRENT ROLE:
Industrial Designer, Apple Inc., California USA
MARCUS LEE
CAN YOU TELL US WHAT IT WAS LIKE TO STUDY INDUSTRIAL DESIGN AT UNSW?
Studying Industrial Design at UNSW was such a stimulating and exciting time for me. Each semester I was being exposed to new areas and concepts that really fed my curiosity. I also fondly remember learning from and creating such great relationships with many of my lecturers. Relationships which eventually led me to fantastic professional opportunities. The UNSW campus also has a special place in my heart. I grew up and lived very close by and as a child, attending UNSW was a dream of mine. It has and always will be a very special place for me.
CAN YOU TELL US ABOUT YOUR CAREER SINCE YOU GRADUATED FROM UNSW?
My first job came about from a little design competition that was being held within one of our classes. I was fortunate enough to win that competition which was being sponsored and judged by an external company ‘Watermark Products’ who specialised in products for the aviation industry. This led to an internship, then a part-time role, eventually cumulating into fulltime role straight after graduation.
It wasn’t too long until an opportunity came
along at an Australian design consultancy I adored – Nielsen Design. Under the wing of legendary designer Adam Laws, I spent 3 wonderful years learning from and working with the talented team there. Then in 2019, the opportunity to join Apple in California came up and it was simply something I had to pursue. It has been 5 years at Apple now and it has been an absolute dream. I often think back about Australia and how much I’ve grown and learnt since graduating, it’s quite surreal and I’m always grateful for where I am today.
WHAT UNEXPECTED SKILLS DID YOU GAIN FROM YOUR DEGREE THAT YOU HAVE TAKEN INTO YOUR CURRENT ROLE AND WHY HAS IT BEEN SO VALUABLE?
A big part of Industrial Design is knowing a little bit about a lot of things and having such a wide range of exposure during my studies has helped a lot. For instance, working with engineers on our solar car project gave me valuable insights, enhancing my collaboration skills with different disciplines. Classes on marketing taught me how the products that I’m designing fit into an actual real-world business strategy, while even the statistics class in my first semester provided a solid foundation for interpreting and relying on data that informs
design decisions. Everything feeds back into who I am, and eventually what I do every day in my job.
WHAT ADVICE DO YOU HAVE FOR SOMEONE INTERESTED IN STUDYING INDUSTRIAL DESIGN?
If you have a curiosity for how things work, the passion to make things better and the desire to connect the dots of the world in creative ways then Industrial Design is for you. I’ll admit, I wasn’t immediately confident in my choice of degree; it took about a year into the program before I truly felt that Industrial Design was right for me. However, today I can’t imagine how foolish I would have been to pursue anything else, and I can’t believe how lucky I am to do this for a living.
Industrial design studio work by Marcus Lee
BACHELOR OF DESIGN (INTEGRATED DESIGN)
Integrated Design offers an interdisciplinary approach to design in which the skills and knowledge of a number of studio areas are brought together, whether integrated as an individual designer or as a design team. In a rapidly changing world, this approach to design equips you for complex and creative problem solving across diverse industries, as well as developing a unique and individual design career. This specialisation is offered in our UNSW Bachelor of Design degree.
Integrated design at UNSW is a studio based and research-led university experience. You will develop skills in concept development, making, critical thinking, technology, research, and management, leading you to a diverse range of careers. Your innovation, problem-solving skills, technological capability and agility will find you in demand, and prepare you for the following career pathways:
· Design: including graphic design and illustration, web design, experience design, object design, textile design, jewellery design, furniture design, animation, industrial or product design, and service design.
· Communications and marketing: including digital marketing, advertising, media production, public relations, corporate communications, and social media.
· Technology: including user interface development, game development, app development, and virtual or augmented reality.
Online social media and dating apps are responsible for curating interactions. They cause algorithmic bias, manufacturing an artificial environment that undermines self-worth. ‘Glow Code’ is an event-based system that uses screen printed UV reactive tattoos to display a user’s socialising intentions. It aims to reinvigorate real-world interaction by using mark making to depict personal identity. ‘Glow Code’ uses an original range of ten logographic symbols, each representing a different social goal. The user will be supplied a UV-reactive paper key to decode their own and other user’s symbols. This glowing paper key becomes an asset to the black-light user experience. As a device-free atmosphere, the key replaces the emission of blue light with a physical glow. This intends to mentally equip the user for a future of mindful socialising.
GLOW CODE
‘Glow Code’ lies at the intersection between branding, art and design. It celebrates the history of logographic language before its transformation to modern script and type.
REFRAMING THE ISSUE OF PLASTIC WASTE THROUGH MARKETING, TEXTILE AND GRAPHIC DESIGN.
An antidote to the troubling phenomenon of plastic waste, UseLessPlastic encourages Gen Z to ‘use less’ and view ‘useless’ plastic waste in a ‘usable,’ refreshing and engaging context. Recognising that current media based approaches driven by scare tactics and overwhelming statistics are the antithesis of what resonates with a young audience, Alice Regan has transformed the plastic bottle into a sequin-like embellishment. Rather than paralleling existing industrially transformed plastic-based textiles, this project explores the juxtaposition of the hard plastic material against a soft textile, strategically maintaining a visual link to its original form. Captivating the desired audience, an accompanying visual identity and marketing campaign were developed, exploring the issue through a modern lens, where its playful and approachable aesthetic diverges this project from conventional environmental brand identities.
This is no accident. By drawing upon the notion of the unexpected, this project sparks interest and ignites sustainability conversations among a young demographic.
Finished Bag
Promotion Mock-up
Bag In Use
Plastic Bottles Laser cut Into Sequins
Sample Sequin Patches
Bag Macro Shot
DIGITISED DIASPORA
PUBLIC INSTALLATION
Digitised Diaspora is an intervention into the ongoing tensions experienced by the Chinese Australian (CA) community. Using the form of a public installation, the project is centred on the featuring of household objects as a vessel for cultural storytelling. As household objects have always held stories and histories behind them, this project has been developed with the intentions to generate stronger forms of cross-cultural dialogue between the CA community and the wider Australian public. Hence the project involves a process of public participation whereby audiences of the installation are invited to contribute their own objects to the work.
By means of 3D scanning and digital augmentation, these objects would be featured in a travelling installation work positioned in areas of high-traffic, public spaces. From shopping centres to the built environment, the work as whole draws upon key principles of cultural visibility to help build and inspire a more culturally diverse and respectful future.
BILL CHAU
Mock-up Display
Mock-up Installation
Images Used to Generate 3D Objects
Collage of 3D Scanned Objects
Mock-up Installation
Mock-up Installation
Mock-up Installation
Matthew Tsang is a graphics and interaction designer driven by a passion for enhancing people’s lives through digital innovation. In response to the escalating stress of air travel, Matthew created AirGuide — an immersive solution that simplifies the airport experience. AirGuide presents a seamless journey by breaking down the complexities of airports into easyto-follow steps, fully customisable to cater to any accessibility needs. At its core lies a unique visual identity inspired by the distinctive architecture of airports worldwide. Elevating the user experience further, the app’s interface dynamically adapts, mirroring the environmental colours of each airport — think the calming blues of Sydney or the vibrant reds of Berlin.
AIRGUIDE
Matthew follows a user-centric approach that empowers travellers with real-time information throughout their airport journey, eliminating the hassles and uncertainties associated with air travel. Say goodbye to airport stress and embrace a seamless journey with AirGuide.
Airguide Mock-up
Airguide Mock-up
YOUR STRESS FREE AIRPORT JOURNEY STARTS HERE.
Airguide Mock-up
Airguide Mock-up
DEGREE:
Bachelor of Design (class of 2003)
CURRENT ROLE:
Independent Designer, Alice Springs
ELLIAT RICH
CAN YOU TELL US WHAT IT WAS LIKE TO STUDY DESIGN AT UNSW?
It was a lot of fun. A whole school dedicated to helping us think, learn, experiment, discover, make! Tutors and lecturers there to listen to your ideas in order to encourage and guide you. Technicians at-the-ready to help you make, a library, printing lab, so many resources you’re likely to never have at your finger-tips on your own time again.
CAN YOU TELL US ABOUT YOUR CAREER SINCE YOU GRADUATED FROM UNSW?
My professional placement as part of the degree was at The Centre for Appropriate Technology in Mparntwe Alice Springs. They are an Aboriginal and Torres Strait Islander technology and research organisation. My first project was to design a wheelchair for people living in remote settlements. I think it might still be the hardest brief I’ve even been given. A few years after moving to central Australia I started my own practice. I’ve honed this statement over the years since;
For Elliat Rich the design process is a creative translation between materials and culture, alive to a broader context of power and social value. Based within the complex socio-bio-historical
ecology of Mparntwe Alice Springs, Rich works with many respected clients and collaborators within central Australia and nationally. Through her limited-edition objects Rich responds to the sentience of the planet through mythology as a way to nest and communicate knowledges, experience and otherness. Lead by curiosity, enriched through wonder and always calling on the possibilities of the imagination.
WHAT’S YOUR CURRENT ROLE LIKE, AND WHAT DOES A TYPICAL DAY AT WORK LOOK LIKE FOR YOU?
I’m living in Canberra for the year; on Monday and Tuesday I’m based at my ANCA studio working on commissions and new exhibition pieces, Wednesdays I’m doing a residency at the Canberra Glassworks and producing a collection with them, Thursday and Fridays I work with my partner James B. Young on our studio Elbow Workshop which is part of the Dairy Road precinct, that’s also when I do my client directed work. I love having a varied week with lots of different projects and roles.
WHAT UNEXPECTED SKILLS DID YOU GAIN FROM YOUR DEGREE THAT YOU HAVE TAKEN INTO YOUR CURRENT ROLE AND WHY HAS IT BEEN SO VALUABLE?
In reflection my studies at UNSW taught me how to research and recognise which design processes were applicable to different projects. Being able to study and practice the application of ideas through different materials and in different settings has meant I can take on almost any brief, understand the spoken and assumed contexts, empathise with what the client wants / is trying to communicate and then research what is needed and what’s possible and then distil and produce a designorientated response. The degree gave me the foundation for working across disciplines and ideas.
WHAT ADVICE DO YOU HAVE FOR SOMEONE INTERESTED IN STUDYING DESIGN?
As designers your role is to understand the many contexts you are a part of. This is your time to experiment and understand what you are trying to say to anyone who comes across your work. If you’re not saying something different and conscientiously crafted then you’re reaffirming the status-quo, and that’s a context that needs a lot of shifting.
< Profile image was taken on the traditional lands of the Arrernte people, the rock-face you can see was exposed as part of an extractive mining practice, in all likelihood without the consent of its’ custodians. Through settler culture this place is called the Ilparpa Quarry, although the access road has already been washed away and the damage, unseen by most, left without amends. It is also the site that I was first introduced to a lived experience of mythology. Craig San Roque and company’s Persephone, a simple performance that threw shadows from fire light against the rock, faced the ancient expanse of the Ilparpa valley beyond and teased the threads from those of Greek heritage with those of this site. I felt both tale and place simultaneously and wished I believed the stories being told. My thanks to photographer Martina Capurso, Margaret Hancock-Davis and Sabina Wakerman for their assistance and to the 3-second wind that visited at this precise moment.
Standing Place, 2018, Sophie Gannon Gallery. Weaver, 2018
Made by Bryn Meredith and George Gelagotis. Photographs by Sean Fennessy.
BACHELOR OF INTERIOR ARCHITECTURE (HONOURS)
The Bachelor of Interior Architecture (Honours) at UNSW is a four-year full-time degree, where you’ll learn how to improve the interior environments in which we live, work and play.
Through a combination of creative thinking and making, you’ll study and work within a design community that collectively reimagines and reshapes the interior environments within our homes, workspaces and cities.
From the manipulation of the spatial, material and structural elements of a space to exploring interior architecture through theory and practice, you’ll graduate with the confidence and work experience you need to take the next step in your interior architecture journey.
The projects presented here are developed in a course co-led by Associate Professor Bernadette (B) Hardy (Dharug Gamilaraay) with guidance by Uncle Tim Bishop (Murrawarri), and Country as teacher (Dharug, Bidgigal, Gadigal, Wangal). Students explored ‘Creative Communities: Caring for Country’ and cultural knowledge is embedded in all of their work. In respect of ICIP law and Cultural Law/Lore, please refrain from sharing imagery. Please scan the QR code to find out more about ICIP Law and Cultural Law/Lore.
The concept of phantasmagoria—a sequence of dream-like or filmic images—guides my design proposal. Analyzing Metropolis (1927) through this lens, I’ve embedded its themes of human-machine relationships, the contrast between underworld and upper world, and the grandeur of urban landscapes into my redesign. Early 20th-century film used phantasmagoria to foresee future realities. My redesign aims to create a space for collective future problem-solving, functioning as a phantasmagoria incubator.
PHANTASMAGORIA
This approach connects to the White Bay Power Station’s industrial scale and historical context, which originally focused on machinery over human interaction. By integrating these themes, the redesign will address future challenges while honoring the site’s past.
A CENTRE FOR INDIGENOUS FUTURES
REGENERATING CONNECTIONS WITH COUNTRY AND SHOWCASING VISIONS OF FUTURES INFORMED BY INDIGENOUS WAYS OF KNOWING, BEING, AND DOING.
WHITE BAY POWER STATION, ROZELLE, NSW
White Bay Power Station is located on beautiful Wanngal Country, in a place where fresh and salt water meet. Tasked with imagining a brighter future for the long-abandoned and dilapidated site, I was inspired by the Indigenous Futurism fiction I was reading at the time. A vision emerged of growing an Indigenous multi-disciplinary storytelling centre from the abandoned corpse of White Bay Power Station. This new centre aims to bring community together to regenerate connections with Country and showcase visions of futures informed by Indigenous ways of knowing, being, and doing. Stories of local Wangal and broader Eora land, water, and sky Country inform a series of vibrant interior landscapes. Each space has its own textural and colourful identity, favouring diverse remnants, recycled, and aggregated materials over monolithic uniformity.
Shaped by sustainability and community agency considerations, the interior is approached as an ever-changing landscape ecosystem, where the users of the future will replace fragments over time to let each space evolve like a living landscape.
THE CONDUCTOR
AN ACOUSTICALLY GUIDED RECONCILIATION OF URBAN KINSHIP WITH WATER AND COUNTRY. WHITE BAY POWER STATION, ROZELLE, NSW
With an Architecture guided by acoustics, the re-imagined White Bay Power Station is a grand theatrical gesture to restore urban kinship with nature and conduct new-formed understanding of country. This adaptive reuse acknowledges the site’s history with water, its exploitative and industrial agency, and through a series of reflective and performative spaces, reconciles the relationship between water and urban people.
The project narrative follows waters journey through space: from natural rain, to funneling into the interior, to musical activation, human interaction and return to Country, the relation with water has begun. This gesture of welcoming Country into interiors, challenges notions of civic space, and architecture, introducing a focal agency to exist in relation to Country, not in exploit of it.
Interior Perspective
Detail Perspective
Interior Perspective
Interior Perspective
Detail Perspective
Exterior Perspective
The extant site of the White Bay Power Station poses as a shell that is rich in history, heritage, and aesthetic accounts of what once was. With a concept driven by a theoretical integration of play, the White Bay Power Station sees a creative and interactive resurrection, exhibiting connections to the existing surrounding community, natural topography, and presence of Country. This research-based proposition is an imaginative response to issues pertaining to the creative sector of cultural infrastructure. This includes the mental and physical wellbeing of diverse demographics, while simultaneously allowing humans, architecture, and nature to harmoniously coexist.
STIMULATE RECREATE
To become ‘stimulated’ and interact through ‘recreation’ comes in a variety of forms. Play as power, fantasy, self, and progress act as the guide for the overall experience while the design approaches of sensory, cognitive, social, and neuromuscular forms of play, are the ways in which people are immersed in a sense of playfulness. The result is a transformative, multigenerational playscape that blends interactive elements with a deep connection to the value of Country, fostering playfulness and community engagement that breathes new life into a repurposed space.
WANGAL COMMUNITY PLAYSCAPE
WHITE BAY POWER STATION ROZELLE, NSW
Roof Perspective
DEGREE:
Bachelor of Interior Architecture (Honours) (class of 2019)
CURRENT ROLE:
Associate – Interior Designer, 3XN Architects, Sydney
DIANA ESPIRITU
CAN YOU TELL US WHAT IT WAS LIKE TO STUDY INTERIOR ARCHITECTURE AT UNSW?
Emotional and challenging – design involving the body and mind. Rewarding – it was fulfilling to create tangible objects and projects. Supporting and social – my best friends have come out of this degree.
CAN YOU TELL US ABOUT YOUR CAREER SINCE YOU GRADUATED FROM UNSW?
My career officially began as a student working for Bates Smart where I worked on a mix of typologies such as commercial workplace and multi-residential. I then worked for Woods Bagot where I focused on the education sector, including public schools and universities. I recently moved to 3XN (Sydney) where I will be working on a range of projects across the Asia-Pacific region, including a few projects surfacing in Japan. I am most excited to pursue evidence-based design by collaborating with 3XN’s research studio GXN who are based in Copenhagen.
WHAT’S YOUR CURRENT ROLE LIKE, AND WHAT DOES A TYPICAL DAY AT WORK LOOK LIKE FOR YOU?
I typically work on larger interior architecture projects across all project stages. Tasks during the front-end design phase consist of client and stakeholder workshops, internal design reviews, 3D modelling and presentation work. Back-end phases consist of BIM (Building Information Modelling), compiling variations, services coordination, and site visits (the exciting part!).
WHAT UNEXPECTED SKILLS DID YOU GAIN FROM YOUR DEGREE THAT YOU HAVE TAKEN INTO YOUR CURRENT ROLE AND WHY HAS IT BEEN SO VALUABLE?
Personal branding and storytelling skills. Personal branding is a way of showing people what you stand for. By creating a brand around my values, I have been able to expand my network to people that share similar aspirations, including peers, collaborators, and potential clients.
WHAT ADVICE DO YOU HAVE FOR SOMEONE INTERESTED IN STUDYING INTERIOR ARCHITECTURE?
Be ready for life-long learning and understand that the knowledge and skills you pick up are transferable across different disciplines, industries, and roles.
Workplace design in Fukuoka, 3XN Architects
BACHELOR OF LANDSCAPE ARCHITECTURE (HONOURS)
Are you ready to shape tomorrow’s landscapes?
Do you imagine a future where urban and regional landscapes are designed to be sustainable, adaptive and resilient to climate change?
Landscape Architects design and plan public spaces to ensure the ecological and social health of the environments that we all live, work and play in.
UNSW’s Bachelor of Landscape Architecture is a four-year, full-time degree, professionally accredited by the Australian Institute of Landscape Architects.
The UNSW Landscape Architecture Program will inspire and equip you with the knowledge and skills to design socially and environmentally responsive environments for a multi-species world.
Through design you will explore the local landscapes and landscape systems of the Sydney Region and experiment with novel solutions that emphasise a socially and environmentally just world. As you work together in our design studios you will build a community of like-minded peers and experience a wide range of approaches to landscape architecture with our award-winning educators, researchers and industry professionals as they partner with you on your journey.
The Green and Golden Bell Frog (GGBF) was once widespread along Australia’s east coast, but now is listed as endangered and only exists in isolated populations. Habitat loss, population disconnect, poor water quality, disease and predators have all contributed to its declining numbers.
The project site in Liverpool has been developed as a key habitat link along the Georges River to target existing populations. The wetland park provides key microhabitats for the GGBF throughout its life cycle. These include breeding, foraging, refuge, movement and overwintering.
The design process covered four key stages of investigation and development - habitat enhancement, water supply, experience and ecological performance.
LOOK AND LISTEN
Habitat enhancement involved understanding the key landscape elements of the six microhabitats and existing habitat potential on site. This was followed by an investigation into water supply considering catchments, overland flow, annual rainfall and water treatment processes. Analysis of human experiences on site and in precedent projects led to the development of design strategies that encouraged human interaction that was sensitive to each habitat whilst also promoting an educational program. Lastly, ecological performance involved collaboration with an amphibian conservationist.
Site Section
Site Plan
HOW CAN WE REDESIGN HAIGH PARK TO PROMOTE GREEN AND GOLDEN BELL FROG HABITAT?
LIVERPOOL, NSW
Perspective Collage
Site Section
Perspective Collage
SOWING STORIES
PRODUCTIVE COUNTRY LIVERPOOL, NSW
Sowing Stories is exploring the research question; how can implementing a productive landscape support the social and ecological resilience of the George’s River and Liverpool community? The project explores the potential of a Productive Urban Landscape (PUL) in Liverpool, NSW as a new dimension of Country-centred design, facilitating universal access to the landscape, to re-imagine the design and planning of urban spaces to include agricultural processes to create climate positive outcomes. Demands placed upon landscape architecture are expanding to include the complexities of the UN’s SDG goals, architects are now taught to think beyond the immediate landscape and consider the global implications of our anthropogenic network, with 74% of people predicted to be living within cities by 2061. Research compels landscape architects to “collectively shape our public realm to maximise shared value” (Jacobs, 1962, p. 52).
High ecological value can be found in urban agriculture sites compared with other green spaces such as, public parks, sporting fields and civic plazas, creating a case to test the potential of PUL landscape infrastructure in the public domain.
Coupled with the significant economic shifts in the cost of living for everyday Australians require ever more complex solutions, to create a narrative of sustainable cities capable of exceeding the demands of a rapidly growing population, this includes affordability and amenity without compromising conditional factors of the existing systems.
The project’s vision is to re-orientate the city of Liverpool to respect and care for the Georges River, creating spaces inspired by natural elements for the community to begin telling their stories along the Guraban. Where food is grown and shared to touch the earth more lightly and create equitable access to fresh produce.
Physical Model Perspective Collage
Site Plan
Site Section
IN THE WANDERING
HOW CAN REGULAR COMMUNITY ENGAGEMENT ALONG THE GEORGES RIVER REVEAL THE BEAUTY OF RICH ECOLOGICAL SYSTEMS FOSTERING STEWARDSHIP AND IMPROVING WELLBEING? LIVERPOOL, NSW
Often in the design of landscapes “what is good may not look good, and what looks good may not be good” (Nassauer, 1995, pg.161) requiring a shift in our perception of beauty. Aesthetics are “not immediate, nor [are they] exhausted by a glance” (Meyer, 2015, pg.36). They require time and an accumulation of recurring engagement through familiarity and knowing.
This project explores interactions between humans and the beauty of rich ecological systems as active and passive recreation stops along an accessible walking journey that is designed to be integrated into everyday life. This will create recurring encounters with potentially unfamiliar environments and conditions to improve long exposure. Time will allow the space to be enduring developing a desire to advocate for the landscape, improving its capacity to thrive in a healthier state for future generations.
HANNAH KOHLER
Perspective Collage
Site Plan
Site Section
Flowering Diagram
Open spaces are vital to a place’s identity and the formation of distinct cultures through the interactions of diverse people. They are especially important to migrants in Liverpool (an area with a high concentration of overseas residents in Sydney), so that they are not socially isolated. Currently, Liverpool’s public spaces like Haigh Park, lack services for migrants and should engage in accommodating spaces of adaptable use. The design utilises a leaf structure to encompass many versatile cultural programs, including the bamboo shade market hall, Greek inspired taverna and the Indian pietra-dura inspired amphitheatre.
SOUVENIR
Many of the materials used are influenced by traditional materials that are identified by the cultural groups in Liverpool. This space acts as a souvenir, allowing a user to imprint their own cultural traditions on site so learning and convivial interactions occur.
BRING A PIECE OF YOUR WORLD TO MINE HAIGH PARK, LIVERPOOL, NSW
Perspective Collage
DEGREE:
Bachelor of Landscape Architecture (Honours) (class of 2006)
CURRENT ROLE:
Director, Global Quality Assurance Leader McGregor Coxall, Sydney
ANN DENG
CAN YOU TELL US WHAT IT WAS LIKE TO STUDY LANDSCAPE ARCHITECTURE AT UNSW?
It was a golden period in my life when I began the journey of building a career that I will love for a lifetime. As an international student (and I believe I can speak on behalf of many), I struggled to understand what I was learning in my first year due to the language barrier. Although I was a good illustrator, I initially found it difficult to express my ideas verbally. I soon learned that in landscape architecture, the story and principles of good design begin with knowing how to convince your audience. Fortunately, I received endless support from my tutors and peers, who helped me bounce ideas and refine my designs. I had a million questions every day, but they were always answered in the end. It was remarkable to be able to grow and learn as a blank page while having fun at the same time.
CAN YOU TELL US ABOUT YOUR CAREER SINCE YOU GRADUATED FROM UNSW?
In the first few years, I was exposed to all kinds of projects at different stages. I began by supporting my project managers with technical production, learning by updating their markups, and observing and learning through client meetings. During this period, I gained
a deeper understanding of my own strengths and weaknesses, which was key to shaping my career direction.
After 2-3 years of gaining experience with the full cycle of deliverables, I was entrusted with small projects to manage. Gradually, I took on larger and more complex projects. By about the fifth year of my career, I began mentoring the younger team members around me, passing on my knowledge. I managed the team on a weekly basis, overseeing resourcing, finances, and training. I accomplished all this with continuous support from my key mentors—directors and other senior roles— ensuring that I was on the right track.
The highlight of my career was seeing the projects come to life on site! I think it was around year 5 I saw the first built project when I was the project manager.
I’ve recently started working part-time while leading Global Quality Assurance, collaborating with leaders to ensure all processes are in place. At this point, our company had grown to over 150 employees, making it a challenging role, as not everyone likes to be told they haven’t done something correctly—but that is the key to this role.
WHAT’S YOUR CURRENT ROLE LIKE, AND WHAT DOES A TYPICAL DAY AT WORK LOOK LIKE FOR YOU?
For the past nine months, I have been involved in strategic decisions for the company as a director. I have a dual role of being the Quality Assurance Lead as well as Director. I continue to work with all leaders on operations, company structure, design quality. There is always something of the company processes and systems needing to be refined. My day involves lots of meetings when I assess, listen, engage, action and monitor.
WHAT UNEXPECTED SKILLS DID YOU GAIN FROM YOUR DEGREE THAT YOU HAVE TAKEN INTO YOUR CURRENT ROLE AND WHY HAS IT BEEN SO VALUABLE?
Communication and negotiation are key. I have worked on some of the most political and complex projects, some involving over 200 designers (architects, engineers, planners, government stakeholders, etc.) within a single project, each believing their approach is the best. It is essential to know when to move forward and when to step back, as well as when to leverage other expertise to
get your ideas endorsed. Communication and negotiation are forms of design. I have developed my own “style” of communicating my design ideas to gain the support of clients and consultants. Working closely with contractors to ensure a high-quality built outcome is also a learning process in itself.
WHAT ADVICE DO YOU HAVE FOR SOMEONE INTERESTED IN STUDYING LANDSCAPE ARCHITECTURE?
Be a sponge and absorb as much knowledge as you can from your tutors and peers. Asking questions doesn’t make you stupid; it makes you brave. Starting work experience as soon as possible really helps in finding your career direction within the industry (and it also helps you find a job more quickly after you graduate). Work well with your team and support each other—it’s a small industry, so try to make some good friends. When tough times come, remind yourself of the passion you had on day one. Most importantly, have fun!
At UNSW Built Environment, we offer all our students exciting and impactful learning opportunities in cities around the world. Students can take a term, or even a whole year, on exchange at our many partner institutions, or take a summer intensive course abroad for a few weeks.
In our international courses students learn to analyse, document and interpret the local urban condition and design novel responses that address social, cultural and environmental factors. Site and construction visits allow interaction first-hand with technologies, culture, methods, techniques and practices within a local context.
During these courses students have the opportunity to work collaboratively with their peers from international universities, and with local architects, designers, builders, planners and communities to tackle global challenges, and make a positive impact on cities around the world.
Students in Venice
Students in Hong Kong
Internation Site Visit In China
Street Life Studies Course in Cambodia
Students in Kyoto
Street Life Studies Course In Cambodia
Street Life Studies Course in Cambodia
Students on the Train to Busan, Korea
Students at the Anganwadi Project in India
DESIGN FUTURES LAB
Design Futures Lab (DFL) is a teaching and research lab and a very hands-on environment. Making is integral to all the disciplines of the Built Environment through the creation of physical artefacts that support the analysis, understanding and design of our cities and places
UNSW is creating the largest network of connected makerspaces and workshops in Australia. A network of genuine collaboration and shared values. These values are centered on the principle of barrier free access to tools and tech for all Students, Staff and External Partners.
The UNSW Makerspace Network supports the University’s strategic goal of cross faculty collaboration, project-based learning, course integration of student led projects, industry engagement and building as an entrepreneurial ecosystem.
Large-scale Robotic 3D Printing
Timber Site Model
Design Futures Lab Staff
Students at the DFL
Using the robots at the DFL
Metal Workshop Hand Forming Fuel Tank
Clay 3D Printing Robotics
Metal Workshop
Environmental Statement
At UNSW Built Environment we have a commitment to ensuring all our students gain the knowledge, skills and empathy to tackle the climate crisis in their chosen careers.
We also recognise that all our actions have an impact on the environment. Knowing this, steps have been taken to reduce the environmental impact of the Luminocity exhibition. These include:
1. Luminocity plinths are designed as a ‘kit-of-parts’. This means they can be dismantled, stored and reassembled for future exhibitions, minimising waste.
2. All exhibition components are mechanically fixed together with cardboard, requiring no adhesives or tape.
3. Printing is directly onto the cardboard, minimising the use of plastics, paper and vinyl.
4. All the cardboard is Australian made, 100% recycled, and sourced locally.
5. At the end of the cardboard’s life, it will be sent to a local facility, pulped, and turned into new sheets of cardboard by the manufacturer.
An estimate of the carbon footprint (materials and transport) of Luminocity in 2024 is:
• Cardboard plinths and panels = 1,091 kgCO2e
• Catalogues = 1,705 kgCO2e
• Transportation = 499 kgCO2e
• Total = 3,295 kgCO2e
The impact of on-site electricity used at Luminocity will be negligible as UNSW sources all electricity from the Sunraysia Solar farm.
In 2023, our estimate of the carbon footprint of Luminocity was 3,716 kgCO2e. This means that in 2024, we have managed to reduce emissions by around 11%.
Exhibition Design, Development and Curation: James Hargrave, ABSTRACT8 www.abstract8.com.au
Student Work Collection and Curation: Dr Cristina Ramos Jaime Associate Lecturer, Computational Design UNSW School of Built Environment
Branding and Graphic Design: Tom Douglas, Tom Douglas Design
Suppliers
LiteCorp: Cardboard Supply
Photomart Printing and Framing: Material cutting and Printing
Carbon8: Catalogue Printing
Thank you to all the students who were selected and contributed their work to this year’s Luminocity exhibition and to all the staff and industry partners who supported our students in 2024.
