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Final Assembly Catalogue
Final Assembly Catalogue
Welcome to ‘Final Assembly’, the 2010 RMIT 5 themes reflected what we identified as critical
Industrial Design graduate exhibition. paths in contemporary industrial design and
harnessed the expertise of the various lecturers.
The work seen here is the outcome of the
graduating 4th year student’s 1 year long major It is important to note that each student project
project. Each year of graduating students has was set by the student in response to the theme
its own particular flavour as individuals address of their chosen studio and that sometimes the
and respond to ever-changing local and global most difficult task was identifying and clarifying
challenges, shifts in society, culture and this project before any design work happened.
technology. Each year students are presented So perhaps not seen here are the many twists
with new ideas, approaches and opportunities. and turns, frustrations, sweat, hard work and long
nights the students went through as they analysed,
RMIT Industrial Design prides itself in having a rethought and sometimes even restarted their
strong learner focus, allowing students to develop project. This all worked towards the goal of
their own path through their 4 years of study. At students graduating as confident, informed and
the beginning of 2010 the approximately 55 final engaged professionals who have a strong ability
year students were presented with the choice for independent thought, analysis and decision
of joining 1 of 5 diversely themed studios where making; and a lust for lifelong learning.
they could carve and shape their own trajectory
towards a unique career in industrial design. The
2
Our graduating students step into a rapidly We congratulate all our graduates on their
changing world and Industrial Design will play achievements and wish them the very best for
a crucial role in shaping his world. Within this a bright and exciting future, and look forward to
context graduates need to not only be equipped seeing them develop as professional designers
to deal with this constant change, but more and the contributions they make to the local and
importantly to proactively respond and embrace global community.
it, and identify opportunities as they arise. With
this in mind the learning in these final 2 semesters
was focused towards students developing an ever Malte Wagenfeld,
greater level of self directed learning and ability
for independent analysis and decision making.
Program Director, Industrial Design
Many of the projects you see here will have a life RMIT School of Architecture and Design
beyond this exhibition and graduation. Some will
be entered into design competitions, some will be
further developed and commercialised and some
will travel to Milan to be exhibited at the Salone
Satellite at the International Furniture Fair as part
of Professor Kjell Grant and Gyungju Chyon’s
Melbourne Movement.
3
Introduction
Student, Christopher ‘Ruzkin’ Hayes-Kossmann
I’d always expected that, by the time I graduated wizardry, speculative methods of future
with my Bachelor of Industrial Design, I’d be transportation and revolutionary systems of
almost swollen with new skills and ideas. There’d prosthetics manufacture - that I can’t help but feel
be nothing I couldn’t build, no problem I couldn’t a little awed by how my fellow students had taken
manufacture a solution for. I, along with my fellow the same degree and stretched it in so many
students, would be the collective Alpha and different directions with such wild results.
Omega of modern design.
Even with ten extra years, I couldn’t learn all
It was both right and wrong. While RMIT has given the things I want to learn, to experiment with
me a fantastic skillset, as well as the confidence all the different materials that have grabbed my
and know-how required to take my ideas to the attention, to meet all the designers I admire. I’m
world stage, it also taught me that this degree and standing on the threshold of graduation and all
this exhibition are only the beginning of something I want to do is scream - let me come back! One
much larger and more complex than I anticipated. more year, to take another studio and diversify
my knowledge that little bit more. One more year,
This is already obvious to me just by looking to pick the brains of the talented designers who
around at the diversity of the pieces here at are our lecturers. One more year, to play and
Final Assembly. There is so much talent and make mistakes without fear of admonition.
accumulated wisdom on display - from cutting-
edge furniture design to hard-core electronic
4
No time for that now. We may be students engineers and laypersons alike. Industrial design
standing at the finishing line, but we’re also can be sculpture, but it must be sculpture that
qualified designers on the cusp of our careers. communicates as much purpose as metaphor.
It can cherry-pick inspiration from music and
We began our studies with only the simplest dreams, light and sound, the texture of an old
understanding of what we’d undertake in the oak table, the shiver of perspiration trailing
coming years. To many of us, industrial design down the side of a wine glass. It’s as complex
was a skill that followed a checklist. Sketch, as all the manufacturing industries, prototyping
sketch, sketch again, render, build in CAD, technologies, and consumer whims combined,
prototype, celebrate. It took four years for us to and understanding that is possibly the most
learn industrial design is not a single skill but important part of our education.
an amalgamation of many skills, some of which
could take a lifetime to master. Industrial design can’t be learned in four years,
or ten, or fifty. It may be a discipline but it’s
It took four years to find a definition for what also an ongoing process through which we can
drives me. understand the world, and how we can make a
little bit better, a little bit easier. It’s a daunting
Industrial design can be art, but it must be art proposition, but I think we’re up to the task.
of such clarity and precision that its intention
is clear and without ambiguity, accessible to We are, after all, the future of design.
5
Beyond Tomorrow was set to examine the changing and challenging role of
designers today and in the future. Through developing innovative ideas into
furniture, objects and lighting, students continuously considered mental and
physical well-being, social and environmental ethics, and innovative ways of
applying technology. The designs had to offer original and unique experiences
to people. Students explored the process of production and commercialisation
of their design proposals based on research, knowing that the outcomes were
to serve them as a springboard for the start of working life outside of the school.
Students were expected to find and establish their own ways of working,
and to integrate design into life, both locally and globally. They engaged with
manufacturers for production of their projects and produced appropriate
documentation for production.
Ivan Adhiteja
CONTACT:
ivanadhiteja PROJECT NAME :
@yahoo.com
SHIMA
0449 065 543 .
8
9
Sharifah Suaad
Shadzwa Alhadad
SWORM
STOOL
.
2
1
3
1
Wanyi Gong
14
The Contemporary Ming
by Wanyi Gong
15
Lee Kwok Wai
A high quality lamp is needed for people working for long hours at
their desk.
eddykw.wordpress.com ZAMP LED The look of ZAMP is like the simple Z form. The Z shape is adjustable.
It can easily be adjusted to different heights by the user, and it folds
0411 231 870 DESK LAMP
. into a flat form to reduce size. It is convenient to transport, store and
pack . Also it is made from a minimal amount of materials to achieve
16 high economic value.
17
Fraser Munro and
Jordan Robertson
CONTACT:
poonchuchu PROJECT NAME :
@yahoo.com.hk
O’MY SPICE
0412 563 989 .
22
23
Ngo Yik Poon
This project searches for beauty within a cheap unwanted material – plastic
shopping bags. Plastic bags are thrown away without thought. This project
looks for better options for this cheap plastic material. Plastic bags, often
made of polyethylene, are not environmentally friendly because this material
is derived from natural gas. They often end up in landfills or in the oceans
and this creates a significant environmental issue, as polyethylene is not
biodegradable. It takes several centuries until plastic bags are efficiently
degraded.
This project aims to take the plastic bag material from consumerism
to the design world. The material is borrowed from one typical purpose
and applied to another, unusual purpose. This is an attempt to create an
unexpected material and to search for a new solution, to transform a source
of waste into an innovative design material. This project believes that the
: plastic bag as a thin, soft, flexible, translucent, and more importantly, long-
CONTACT: lasting material has its value; it only needs undiscovered technology and
craftsmanship to unfold its potential.
poonyikngo PROJECT NAME :
@hotmail.com
ONE MINUTE Plastic bags do not need to be eliminated from society completely, but we
need to make sure that their place in this world conforms to ecological
0423 221 489 . principles and matches the purpose for which we make them. We can use
this material, which has variety in aesthetics and innovation, to make good,
24 if we use it wisely.
25
Mitchell Rose
Her final design was derived from model #53, a simple form with
: only a single cut and a single fold within the disk. It still holds the
CONTACT: integrity of a circle as well as being aesthetic and functional. Model
#53, or better known as the Hod chair, is constructed from sewn
e.tanoemarga
@gmail.com
PROJECT NAME : pieces of saddle leather, reinforced with hidden structure. The
THE HOD configuration allows the leather disk to be folded in a certain way,
CHAIR in order to transform it into a functioning chair. The flat-pack ability
0410 869 053 . makes transportation and delivery more efficient. Intriguing and
classy, the Hod chair adds a touch of the contemporary in modern
28 housing and public lounges.
29
Roger Wettenhall
STO PRO Focusing on true space-saving ability when not in use and by
introducing features yet to be seen on existing buggies, Roger’s
0408 241 459 . resultant design improves the user’s experience of the buggy in its
passive state by providing a product that is user friendly in terms of
30 transporting and storing the buggy when not in use.
31
Mayuko Yoshida
This could tend to become simple such as just representing the form;
however, Mayuko found the essence of cloud through experiments
such as intuitive visualisations, conceptual understanding and
testing with different elements. She assessed her experiments and
extracted the essences of her findings; elements such as semi-
: transparency, vulnerability, flexibility, freedom, subtle gradation of
CONTACT: shadow and random configuration.
mayuko.ysd@gmail.com PROJECT NAME : In order to represent these elements, she picked up a combination
CLOUD of bellows and helixes to create continuous layers and to change
LIGHTING density with smooth movement applied to lighting design. The
0430 270 480 . outcome brings people to a moment of thinking about their own
creation. The form of shade can be changed freely to give a variety
32 of patterns of illumination in everyday life.
33
The focus of the ‘Experimentation’ Major Project studio was on developing an
experimental design practice as a method of discovery which empowers the
student to develop highly original and innovative design; the final outcome need
not be experimental – but it will always be innovative.
Experimenting is a verb, a doing word, and this studio is all about doing and
discovery by doing. Students were actively, and in most cases physically,
engaged in this process of exploration. Each student began with a proposition;
a focus and an idea; however, they did not begin with a fixed outcome in mind.
This is not a re-design process where one takes an existing idea or design
and improves on it, this studio focuses on discovery and breaking new ground.
Through this process students develop their own design methodology and
‘philosophy’ based on a practice of asking and setting design questions and then
exploring and developing them.
The predominant theme this year in the student’s work looked at the relationship
we have with objects; the role objects play in our lives and / or how such objects
become intricately linked to our lived experiences and how we live our lives; not
only with, but sometimes through, our objects. Students investigated themes
relating to time, anxiety, spatial perception, our emotional connection with objects
and object user/s interactions. The work seen here is the result of this year-long
investigation and should be viewed as an exploration of a design question and
not necessarily as a set of singular objects: as such, the role of the physical
object/s is to serve as a manifestation of this investigation.
Joelle Boelen
Joelle has materialised her vision into crafted tangible forms of high
aesthetic design, and meticulous material fabrication; a form that
becomes an extension of the body transcending into an erotic tool
for intimate exploration and pleasure.
CONTACT:
frillandfrank@gmail.com PROJECT NAME :
EROTIC
0400 563 553 DESIGN
.
36
37
Sadira Campbell
Limited Life is a focus on filling voids that have been created through
a high-tech throw-away culture of mass consumption and waste
production. What has been lost or replaced by the creation of virtual
existences? Are we craving the basics of human need; contact,
connections and empathy, to experience with anyone, anything?
Perhaps it is this culture that has led to how we see objects in our
lives, as quick fixes, fleeting romances and emotionally inert. It is
hoped that through this investigation objects subjected to these
limited lives can be elevated in value as a method of reducing
waste, sustaining narrative and ultimately extending an object’s life
and worth.
CONTACT:
georgie.cummings PROJECT NAME :
@gmail.com
LIMITED LIFE
0414 564 768 .
40
41
Ghill de Rozario
Sha’s project looks into the use of a space and how a person
experiences it. Each person experiences their world in their own
unique way, and will have a different perception of the spaces
they inhabit and/or interact with. Of course, the experience of the
inhabitants is usually intended by the creation of a space (e.g.
comfort, productivity, aesthetic); however the individual experience
is always subjective.
Through explorations into the phenomenon of space as a system,
Sha has designed a way for a user to create his/her own boundaries
and the use of the space. The project outcome is a ‘divider’ that
gives the user a way of defining the way that they want to use the
space, to write its own boundaries. Each part has its own function
and can be modified. It can be used indoors as well as outdoors.
:
BETWEEN
0416 813 560 .
44
45
Yuna Hong
CONTACT:
PROJECT NAME :
‘LUMINARIE’,
THE LUMINOUS
SENSIBILITY
.
46
47
Ben Hurt
The project ’fusion cutlery’ is about creating cutlery for fusion cuisine
which is a mix of two or more culinary cultures. The ideas, function
and design will contribute to the new dining experience for the users
as well as inspire chefs for new dining methods instead of focusing
just on presentation and flavour of the dish.
FUSION Kenji’s project focuses on developing new ideas and breaking the
tradition of the current dining through the genre of fusion cuisine.
0430 015 451 CUTLERY
. As much as chefs develop new menus through flavour and
presentation, he has challenged himself by expanding the horizons
52 of dining through design.
53
Ky Snyder
Matt’s project is based on the history of the Japanese bento box and
trying to relate this within today’s society through experimentation
and design. He believes that the Japanese Bento Box is vastly
becoming one of the most chosen set meals off the menu today.
Matt realised that whether people are eating in or taking away, the
readily made ‘lunch box’ offers a collective group of small portions
and food options to cater to a variety of tastes. To most people
the bento box is viewed as just being a container with dividing
sections to separate the food, but to the Japanese it has much
:
more significance and meaning which most of us don’t even begin
CONTACT: to realise.
PROJECT NAME : Matt’s aim is to incorporate the underlying meaning and ritual
MODERN behind the bento box, into the daily routines and eating habits of
our modern day lifestyle. Thus, his outcome provides and creates
BENTO
. a greater appreciation of the food we eat and its preparation.
Ultimately the nature of his project is to relate an old tradition to
58 modern design and living.
59
Kelly Tinker
This has led to challenges to the designers’ self-perception and identity through
their own vehicles and mobility choices. We have witnessed that when the
agency provided by ones acquired vehicle is removed, the experience and
activity of transit create opportunities to radically re-vision the vehicle and
systemic transport structures, and provide opportunities for driver and passenger
experience beyond the contemporary ‘car’.
Christian Beaumont
Creating links between train lines with buses or light rail is an option,
but bus reliability being low and light rail costs being too high, there
are new and better ways to transport passengers between lines.
: Creating smaller modes of transportation that can carry two, four or
CONTACT: six passengers between train lines at times of need is a new way
of dealing with the problem. Using a more personal system where
cbeaumont87
@gmail.com
PROJECT NAME : the passenger can control when they leave and whom they travel
theloop.com.au/cstb_87 LINELINK with will evolve the way public transport can be used. The vehicle
will be easy to use, clean and will incorporate current and future
0438081187 . technologies. The new system will blend in and work in sync with
current Melbourne Public Transport to reduce congestion on the
66 train network.
67
Jessica Bird
Set in the year 2038, the city of Melbourne is now six years into
the ‘no private ownership’ scheme, though many problems have
started to appear. With a gross over-population problem, Melbourne
commuters are forced to put up with an overcrowded, uncomfortable
and unsafe public transport system which cannot cope with the
: population. It is decided a share car system will be implemented
CONTACT: and thus the design of a vehicle has been commissioned.
john_bof@hotmail.com
PROJECT NAME : The vehicle designed is intended to serve as a tool in getting
TRINITY commuters from one place to another in an efficient, comfortable,
and safe manner. It was important to John that the vehicle did not
0421 223 008 . resemble the design and function of the automobiles of Melbourne’s
past, hence the unusual driver position and general ‘irregularity’ of
70 the design.
71
Brady Haseler
In 2008 a bold vision was created for the city of Melbourne 2020,
including plans for Central Activity Districts, low energy emissions
: and a decent chunk of affordable housing along with public transport
CONTACT: running twenty-four hours a day. Ideas to reduce the amount of
vehicles travelling to the CBD are also high on the list of priorities in
bradyhaseler PROJECT NAME : order for there to be a more sustainable Melbourne. However, with
@gmail.com
A SHARE CAR a city built around the automobile, asking car owners to give up their
TO CALL YOUR vehicles will not be an easy task.
0439 397 389 OWN
.
This is the share car that will bring the best out of Melbourne and
72 still be a car that you can call your own.
73
Robert McInnes
Currently rural India has one of the highest maternal mortality rates
in the world. Robert’s project seeks to address this issue through
the creation of a Mobile Health Pod.
The pod’s focus is to save lives and to do this it will have four major
streams of action. As a clinic it is a means of direct intervention by
enabling health care professionals to visit the rural communities that
otherwise have sparse local health services. As a research device
it gathers information on maternal health to better understand
the issue. This will then help to develop the intervention enacted
through the critical analysis of this information. A birthing space
is one of the many uses for the pod’s versatile interior. In an
emergency situation where an established medical facility is not
available the pod will be able to promptly transform into a space
: appropriate for a birthing situation. The campaign on maternal
CONTACT: mortality encompasses actions by many organisations that can be
conducted via the pod . The pod system will act as a point of contact
rmcinnes86@gmail.com PROJECT NAME : for the people affected and also as reference for global recognition
MATERNAL of the maternal health issue.
0422 962 328 HEALTH POD
. Though these actions and more the pod will invoke change on the
issue of maternal health and benefit the lives of those in rural Indian
74 communities.
75
Aaron Muldowney
The Lexus IS3000 is a vehicle unlike anything that has ever been
proposed as a replacement of privately owned motor vehicles.
Thisvehicle is a part of a fleet of eight vehicles on offer; this being
the sedan, for people to use in Melbourne and metropolitan areas
surrounding the city. Whilst being an integral part of transport that
the people of Melbourne have become used to, the vehicle also
provides the city with an icon that is reminiscent of the London Cab
or Trams in Melbourne. The vehicle is to subtly become a part of
the city, as a moving sculpture that will not only be enticing and
functional for locals but attract outsiders to the town to attract tourism
to the area. The drive train is a minimum impact electric hub motor
on each of the rear wheels producing 100kw each. The vehicle
needed a brand that represents Melbourne as the classy, refined
and innovative city that it is. This is where Lexus comes in. Lexus
is a brand synonymous with class, innovation and taking an active
stand in conservation for the environment. And being a subsidiary
of Toyota, a brand although Japanese owned, is synonymous with
Australian culture, the choice seemed fitting. The vehicle is to be
: produced and maintained at its Altona plant, just 20 minutes from
CONTACT: the CBD; keeping Toyotas jobs safe when private car production
ceases.
aaron___m
@hotmail.com
PROJECT NAME : Inspiration for the form comes from Melbourne’s visual landscape,
Lexus IS3000 in particular its architecture. The vehicle is too provide the people of
the city of Melbourne, and those visiting, a mode of transport that
0413 798 659 . not only enables them to do all the things that they have become
used too with modern privately owned vehicles, but also a chance
76 to become part of the city’s visual landscape.
77
Patrick Ryan
This studio has been taught in a style that encourages peer collaboration ‘round
table style’ where each student has a part responsibility for informing their peers’
learning. This forms a dynamic, collaborative and formative feedback model
driving the direction of each student’s work through a design studio practice
model.
Pip Grinter
The design process of Pip’s project has been very practical. Pip has
constantly tested ideas through a series of prototype iterations to
: continually validate and refine his ideas.
CONTACT:
The culmination of Pip’s research and design development is a
pipgrinter@hotmail.com
PROJECT NAME : prototype of a wheelchair that aims to simply address some of the
WHEELCHAIR day-to-day complexities that a wheelchair user may experience.
The wheelchair features an intuitive method of folding that locks
. and unlocks with the removal of the wheels. Specifically designed
storage spaces allow easy access to day-to-day items and the
82 careful use of materials maximises versatility and efficiency.
83
Chris Hayes-Kossmann
CONTACT:
christopher.ruz PROJECT NAME :
@gmail.com
christopher-ruz.com PROJECT
PEIX
NAME
.
84
85
Tom Hartnett
The timber, which is Australian red gum, has been reclaimed from
: one of the many stock piles of unused railway sleepers around
CONTACT: Australia. The concrete sections were formed using moulds made
from ‘Formply’ off cuts, which were then filled with ‘E-Crete’. A
danielstewarthood PROJECT NAME : sustainable substitute for traditional concrete; it is produced locally
@hotmail.com
MERGING in Victoria and generates 90% less greenhouse gas emissions
danielshood@wiggio.com
GREEN AND than common concrete. Galvanized steel sections are used as the
0407 135 732 GREY
. supporting framework which were also off cuts sourced from local
Melbourne fabricators. These parts can be flat packed and easily
88 installed in the commissioned location.
89
Elliott Hughes
Bicycle usage in Australia, and around the world, is on the rise but
along with that goes bicycle theft. The advantages and benefits of
riding a bike are well known, from being a sustainable and cheap
mode of transport to the many health benefits cycling brings.
Whether you’re commuting to work or just popping out to the shops,
the feeling of freedom acquired is tremendous. When your bike is
stolen, so too is your freedom.
Ngo Bun Wong’s major project addresses the solution for carrying
and lifting luggage in an accessible way. He observed that many
travelers have problems with grabbing and carrying their luggage
en route. He explained that there is a typical problem: when the
travelers grab their luggage in the baggage reclaim, they need to
stoop and twist their trunk to lift it from the moving conveyor belt in a
second. In his project, he designed the shoulder distance handle to
assist the travellers to grab their luggage more accessibly.
Also, he found that conventional luggage is bulky. It occupies much
space for storage in the house. He designed luggage to be reduced
in width through its adjusting device.
CONTACT:
dobywong PROJECT NAME :
@yahoo.com.hk
HANDS
0431 070 383 LUGGAGE
.
96
‘ Hands ’
Give hands to older people
to lift & drag a luggage
Each student in the Interactive Ecologies studio explored the user interface
possibilities of the Information Appliance in the home through developing their
own design responses to the above question. The results show a range of unique
contextual ideas that deal with problems of social cohesion, play, learning,
meaningful media access and representations of information flow. These
conceptual positions have been attained through individual research programs
that included iterative cycles of textual review, empirical user studies and design
prototyping.
Please enjoy this work as much as I have enjoyed watching it evolve and mature.
Wil Campbell
a priori 101
Winaya Kamaputri
MemoRe:Play investigates tangible ludic interaction with the aim
to increase family social cohesion at home through exploring,
editing and sharing digital photographs as representatives of visual
memory.
104
105
Xisca Mairata
CONTACT:
PROJECT NAME :
tristantait@live.com.au
www.tristantaitdesign.com SONANCY
0421 776 584 DUO
.
108
109
Di Tan
Ryan’s major project’s aim was to find a better way for people to
interact with digital media such as music and movies in the home,
removing the reliance on graphical interfaces and overly complex
remote controls, as well as drawing on the intuitiveness of physical
media such as CDs and vinyl records.
The media surface allows users, through the gesture of choosing
a token for the digital media and placing it on the surface, to play
whatever media they want. There is no need to switch devices on
or search through endless lists of files on a computer, all that is
needed is done for the user. It combines the ease of physical tokens
: to search through and to hold as a connection to the media – like
CONTACT: the enjoyment of having a CD case – with the access to all the
media across a home network. The media space is also completely
RVDD.Design PROJECT NAME : ubiquitous until it’s wanted, hidden away until it’s in use, through the
@gmail.com
AURA HOME use of hidden light feedback and touch sensors. It does not impose
MEDIA technology on the home environment.
0439 014 240 SURFACE
.
The Aura Home Media Surface is a more physical and intuitive way
112 to access digital media in the home.
H O M E M E D I A S U R F A C E
*VU[YVSZÌPSS\TPUH[LÌPUÌ[OLÌTLKPHÌZ\YMHJL
113
The Final Assembly Crew
Jess, Xis, Sim
Co-ordinators,
Treasurers,
...but we all did a bit of everything.
Secretaries
Wil, Youssef,
Lara, Tristan
Fundraising,
web, venue,
graphics
Thank You:
Murray - Lecturers, all of you, over the last 4 years; for your
Sponsorship skills, support and patience.
- Paul, Pete, Adam, Jamie, Pang, Beau, Alex; for the
Win connection to the real world.
Fundraising - Friends and family; for the hugs.
- The 2010 grads; for the feedback, and good work.
Chris - The FA Crew; for the time.
Words Special Thanks: Irena; for the pics
114
Tom, Christian
Sponsorship,
planning
Ellen, Yi
Fundraising
Robbie
Fundraising, Georgie, Ryan
plinths Fundraising
115
WE WOULD LIKE TO THANK OUR SPONSORS:
116
4.
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