Furthermore, the project looks to blur the boundary between private retail space and community by connecting these two entities through the façade. Through drawing, diagramming, collaging, and modelling, this research project has investigated how the significant changes within the streetscape impact the social dynamics and existing community culture of Footscray. This has diminished people's perception of the interconnection between the external natural environment and the interior. The question posed is; how can we design communal spaces in aged care to encourage the residents to foster relationships and interact? “Mediated Interior: Subjective and Empowering Productions.” PhD diss., Royal Melbourne Institute of Technology, (2016). The project comprises a series of embodied site-specific responses offering a commentary on the potential value a designer can access while working with fragments of the existing. Marking an emergence of this year’s graduates importantly INDEX is also a vibrant and continuing engagement of the program with our global alumni, industry partners and design community. It is an experimental interior to inhabit and celebrate, a becoming of exhibition, event and celebration. The Masters has a strong focus on collaboration, communication and engagement. A building of safekeeping, the Svalbard Global Seed Vault stores seeds from all over the world as a means of protection. Unlocking this great potential for enhancement of our current realities is both exciting and fraught. Welcome to INDEX, the 2020 RMIT Bachelor of Interior Design (Honours) Graduate Exhibition. Through the use of material-led explorations and digital mediums such as film and photography, this design research presents this experience of interior attunement through an online encounter to create a journey through the successive layers of virtual and actual interior and exterior spaces. For sick children, these negative emotions and insecurities were risen and couldn’t be overlooked. They are deeply anthropocentric, predominantly colonial and are often fixed and static in their manifestation. It is grounded in a relational style of thinking to advocate for more-than-human entities. TIME 2.00pm - 4.30pm . INDEX RMIT Bachelor of Interior Design (Honours) Graduate Exhibition. Co-living system: Living facade is a design for an urban site that considers community, affordability, sustainability, public amenity and innovative facade design for a new generation of suburbanites. Surfaces are conceived as membranes composed of different patterns on the outside, softness on the inside with cotton to form the structure. It explores the potential of sensory design to ask people to look for something normally hidden or unnoticed in our everyday experiences. Each project presents a unique and individual exploration into interior design. Using the body of research as a tool for design, existing design decisions from this case study are challenged and proposed with alternatives that would better facilitate the occupant’s wellbeing. Through material investigations and research into Japanese techniques of Kintsugi, the design celebrates the beauty of the parkland before it was destroyed. Never have we needed to be more aware of how bodies move through space and interact with each other. RMIT is known for an expanded approach to interior design and we offer the oldest and longest-running program in Australia. Can we implement something as subjective as value to dictate demolition, restoration and adaption? With a diverse international and domestic cohort of students, the degree fosters a community of practice where students work collaboratively on cutting edge partnered projects and connect with a global network of alumni. His appointment as Associate Professor, Virtual Interior is part of an overall discipline strategy to gather momentum around the spatial and temporal technologies in relation to the future of interior design practice, research and teaching. These interventions choreograph encounters that enhance a bodily and introspective experience with various spaces in order to prompt social interactions. Through strategies of filtering, layering, framing and connecting views the condition of a threshold subtly shifts the possible uses through the affordance of the materiality. This has led me to consider my home to be an archaeological excavation site within which I have staged works of intervention and installation that, through the use of photography, film and projection explore the act of remembering and the format of memory itself. My curiosity started as a personal inquiry into the meaning of a home, being with home and being at home. The program requires “participants” to choose from designed roles which provide ephemeral and spatial prompts. This epistemological approach considers the root cause of the production of one's own interior as well as social space, curating a body of work that unpacks the existing cultural production of multiple individuals within different communities. Furniture is used as a conceptual driver of the design, through a range of ritual experiments, sketches and physical modelling a ‘co-furnishing strategy’ was developed. Responding to current times, the fictional brand Studio X was established and developed to deliver experiences as intangible commodities that cost time and effect with emotional value. The consideration of agricultural production serving not just as an adjunct, but instead a formative element within the hospitality interior, has the potential to provide insight into the sites and processes that lead to the food on the plate. I have developed and produced a series of interventions that invite embodied participation for individuals to challenge the imposed boundaries and regulations that govern social space during the pandemic. This theatrical approach provides an accessible activation for Svalbard, creating an opportunity for public inclusivity and connection. It explores the proposition that as humans, we are inextricably linked to the exterior – we are a state-of-nature. At RMIT, design and technology are brought together through practical learning. If someone had said at last year’s INDEX that I would be giving a speech as an avatar and that INDEX would be on a server located in Tokyo being powered by electricity from Japan; that we would arrange and install an exhibition of the work of 76 students in a virtual interior composed of micro-environments - I would not have believed them. located in a row of harbourside houses of Mallorca island, Spain. 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