Call for Entries

In Partnership with
 Australasian Student Design Awards 2010

Call for Entries Design Institute of Australia

In recent years, Sustainable Design has moved past its pop-culture status to form The Design Institute of Australia is the voice of professional design in Australia and has
a key requirement of any good design process. Sustainable Designs allow us to been actively improving the community recognition and status of designers since 1947.
live, work and play in such a way that is more efficient, profitable, secure and
The DIA is the only multidisciplinary organization representing designers in Australia.
pleasurable but most importantly a way that does not compromise our future. Now
as one of the defining ideas of the 21st century, Sustainability holds tremendous The organisation promotes the value of design and designers to industry, business,
possibilities for designers. government and the community. The DIA provides a vibrant networking base on a state,
national and international level. Through its international affiliations, the DIA links its
The Design Institute of Australia’s Australasian Student Design Awards (ASDA) fosters
the future of Sustainable Design practice by rewarding the region’s best emerging members with designers in over 40 countries.
designers. As the foremost student design awards, the ASDA multidisciplinary program
attracts an exceptional range, depth and quality of entries.

The DIA invites Australian and New Zealand tertiary design institutes to nominate
their top student design projects that reflect design excellence and adopt innovative
Sustainable Design principles.

Now in its 15th year, the DIA presents the ASDA in conjunction with designEX. Entries
will be judged and displayed at this premier interior architecture and design exhibition
which attracts over 20,000 Australian and International design professionals.

The ASDA prize pool includes cash prizes, travel scholarships, art & design supplies, DIA
memberships and ASDA certificates.

Contact Details:
Caroline Benzie
National Events & Programs Officer
T: 1300 888 056  F: +61 3 9662 4140
T-4-2
LOW TABLE AND STOOLS

cbenzie@design.org.au

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 Australasian Student Design Awards 2010

Who can enter the ASDA? Entry Process:

Entry is open to design projects created in 2nd Semester 2009 or 1st Semester 2010
from entrants aged 18 years or older as at the date of entry who are:
• Permanent residents of Australia and New Zealand or international students
under a Student Visa in Australia and New Zealand.
• Currently studying, full time equivalent or apprentice tertiary courses at a
Certificate III, Certificate IV, Diploma or Advanced Diploma or Degree level or
graduated from any of these courses in Semester 2 2009.
Step One: Educators – Read the Call for Entries which includes
Category descriptions, Judging Criteria and Terms
& Conditions.
Step Two: Educators – Visit www.design.org.au/asda to register your
school and pay $60 (incl GST) + booking fee per entry
by 17/3/10

Step Three: Educators – Judge your students overall body of work

and submit your Entrant Nominations Form outlining

Why enter the ASDA?

your top three student projects per category by email or
fax by 1/4/10

The ASDA program offers great opportunities for young designers: Step Four: Educators – Send the Entry Specifications to
• Expose your work to a national and international design audience your nominated Students.
• Gain positive public recognition of your skills as an innovative emerging designer
• Gain peer recognition of your work Step Five: Entrants – Once nominated, read the Entry
• Launch your new design and ideas into the market place Specifications and submit your project in the form
• Media attention through media releases circulated to major media outlets and of a presentation board and PDF on CD by 9/4/10
features on the DIA Website, tri-annual Newsletter “Spark”, Facebook page and
weekly E-Newsletter
• Winning work will also be recognized by prizes and Australasian Student Design
Awards 2010 Certificate
Important Dates:
17/3/10 Educators Registration Close
The ASDA program also offers opportunities for Tertiary Institutes:
• Provide your graduates with a unique opportunity and advancement tools as they
1/04/10 Entrant Nominations Close
commence their professional careers.
• Promote your school’s design capabilities to a national and international audience.
9/04/10 Entrant Submissions Close

22/4/10 Final Judging Process

22-24/4/10 designEX Exhibition, Sydney Convention & Exhibition Centre

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 Australasian Student Design Awards 2010

Categories
SPACE
1. Interior Design
Residential, commercial or retail applications: designs should consider and resolve
the treatment of space and spatial volume, structural requirements, traffic flow,
furniture, fixtures, furnishings, overall lighting plans, surface finishes and sustainable
design practices.
2. Interior Decoration
Residential or commercial applications: designs should consider surface decoration
including colour applications in paint, fabric and furnishings, overall lighting plans and
sustainable design practices.
3. Exhibition / Display Design
Trade, retail or exhibition applications: designs should outline furnishings, fixtures,
display stands, signage, visitor flow, overall floor plan and sustainable design practices.
OBJECT
5. Industrial Design
Object, light fixtures or packaging applications: designs should focus on functional and
aesthetic aspects, human usage and behavior, and sustainable design practices.
6. Jewellery Design
Wearable applications: designs should pay particular attention to ergonomic,
functional and aesthetic aspects, and sustainable design practices.
7. Furniture Design
Movable object applications: designs should allow for all aspects of furniture that relate
to human usage and behaviour, product appeal and sustainable design practices.
8. Textile Design
Fabric applications for use in furniture, soft furnishings, clothing, vehicles, finishes,
plastics or other products: designs should consider aesthetic and functional aspects,
materials, weights, textures and sustainable design practices.

IMAGE
9. Fashion Design – new 2010
4. Visual Design Wearable applications: designs should include a focus on functional and aesthetic
2D text, symbol or picture based applications: designs should have particular aspects, pay particular attention to relationship of the apparel to the human form and
emphasis on clarity of communication, the matching of information styles to audience sustainable design practices.
requirements and sustainable design practices.

www.design.org.au/asda 3 of 11
 Australasian Student Design Awards 2010

Judging
The ASDA Judging Panels consist of highly respected experts in each design discipline.
Each entry will be assessed on the following equally weighted criteria:

Sustainability:
• Demonstrated understanding and use of sustainable resources
• Consideration of economic, social and ecological design practices

Concept:
• Clear understanding of the parameters of the original brief from tertiary
course work
• Evidence of research, development and resolution of the original brief from
tertiary course work

Creativity:
• Innovative ideas translated from conceptual approach
• Effective communication of ideas

Space / Function / Materials / Technology (where appropriate):

• Design intent reflects and is supported by spatial arrangement
• Demonstrated functional practicality
• Appropriate and innovative selection of materials
• Demonstrated understanding, integration and resolution of manufacturing processes

www.design.org.au/asda 4 of 11
 Australasian Student Design Awards 2010

ASDA 2009
Award of Excellence - Tied Overall Winner

VEIL EBD PROJECT

As part of the Victorian Eco Innovation Lab Project for the EBD, (Eco Business
AQUA-ANYTIME Efficient water management for our future
District) we explored possible lifestyles for sustainable living at a site to be
developed in 2014, situated between Docklands and North Melbourne.

We explored and proposed Low consumption Urban living at the EBD in

2017, medium to high density living in high/medium rise purpose built 2. HYDRATE
buildings. These buildings have a focus on shared communal spaces to build
community and make a shared lifestyle desirable. The objective of this studio
was to develop products that would enhance sustainable living in the EBD
in 2017.
CURRENT SYSTEM

My project deals with water management for the communal garden in the
EBD district. The Aqua anytime water product system is a tool which would
help the EBD community better manage their garden water usage. It pro-
motes smart water management for the EBD’s communal garden. By doing
so it gives users the freedom of watering their garden in their own time.
We can plan for water wise gardens but what about the notion of using
water wisely to suit our specific gardening needs. Grey water can be recy-
cled for our rose bushes while rain water can be used for the food we eat.
The user can either select the use of clear or grey water to best suit their plot,
thus allowing the community to save on water usage from the mains.

1. ACCESS The aqua anytime system was designed for the communal garden. The
system could also be applied to other areas of such as industry and farm-
ing. The possibilities are endless. It looks like drought is here to stay. Victo-
ria is seen as the garden state of Australia. We need to take new measures
to keep out state green. Aqua anytime efficient water management for our
future.

EXPLODED VIEW
User Centred Techniques were applied to this project and through talking to
the plot holders at community gardens I found out the biggest problem fac-
ing community gardens. WATER!

Valves, meters, computer and a digital network make this system possible.
“Australia is the driest continent on earth and we are currently in a
The system has a central access point and the discharge points. The access
point is where the user inputs their key for identification and the discharge
drought. The lessons of the past show clearly that it cannot be eliminat-
point is what the user would use to water their garden. There are many
discharge points all depending on the number of plots in the community
ed. The current drought is now in its tenth year.”
garden. Source: http://drought.melbournewater.com.au/Default.asp?bhcp=1

Nazia Kachwalla - The Museum of Ephemera: Ching Tan - Aqua Anytime - Swinburne University
Interior Design of the Museum of Wellington City
and Sea - Victorian University of Wellington

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 Australasian Student Design Awards 2010

First: Wasim Jaber - Translating Fear - TAFE NSW - First: Nazia Kachwalla - The Museum of Ephemera: Commendation: Anthony Hamilton-Smith - The Slow
Sydney Institute, Design Centre Enmore Interior Design of the Museum of Wellington City Kitchen - RMIT University
and Sea - Victorian University of Wellington
Exhibition & Display Design

Second: Morgan Terry & Samantha Harwood - Second: Tessa Peach - Treehut Retreat - Massey Commendation: Georgia Ezra - Circa Silos -
A Century of Memories - Massey University University University of New South Wales
Interior Design

Third: Andy Florkowski - Archive of a Century - Third: Stephanie Schicker - Commuters Interchange
Massey University - Massey University

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cover front cover back spread
Graphic Design & Visual Communication
spread
spread spread
Matiu/Somes: The Inhabitants Book design
Sarah Bowie
Nature has been a constant source of inspiration in the design of the
human environment. The ‘model of nature’, with its forms, structures,
and organising principles does not only inspire the widest range of
concepts and design processes, but also can be expressed in a broad
spectrum of forms and functions.
Pressing sustainability concerns and immersion in an increasingly
non-organic environment have created a need for design to embody
ecological principles, inspiring this project’s central proposition: ‘Design
inspired by nature seems to acquire relevance whenever modern
society finds itself in crisis as it searches to re-establish a harmonious
relationship with an environment perceived as out of balance or hostile’
09013-asda-594x420.indd 3
First: Sarah Bowie - Matiu / Somes: The Inhabitants
- Massey University
video stills
typeface design
Kinetic Typeface and video design
Richard Payne
By using Cuba Street, Wellington, New Zealand as the context, this
project explores the ways in which stories can be told through the
design of letterforms. The student is to transform these letterforms
into a typeface and construct a 30 second digital production that can
further enhance the chosen story by utilising sound and motion.
Kinetic is a typeface that puts forth the notion that Cuba Street is a
place of chaos and frantic movement. People appear to be in a rush,
09013-asda-594x420.indd 1
Second: Richard Payne - Chaotic Cuba - Massey
University
reusable shopping bag design
typeface design
Wellington Creative Markets System of visual communication design
Kate Arnott
Wellington Creative Markets is an artisan market with a focus on New
Zealand made and designed products. It is a vibrant weekend event,
incorporating 80-100 stalls selling high-quality local goods, cuisine
and hosting live performances. The market will eventually evolve into
a group of linked markets around Wellington. No comparable market
exists in New Zealand currently.
It became clear that a visual communication system for the Wellington
Creative Markets needed to be flexible, as the market was an ever
changing event. The graphic solution had to be able to be updated
easily and without additional expense or environmental impact.
The concept was to combine the colourful vibrancy of a carnival with a
typeface inspired by handpainted market signage with the idea that a
system design market is the sum of all of its parts.
09013-asda-594x420.indd 2
Third: Kate Arnott - System of Visual Communication
for the Wellington Creative Markets - Massey
University
spread
spread
spread
(Sachs, 2007). This project builds a documentation of the history of
Wellington Harbour’s Matiu/Somes Island by using remnants from
inhabitants as inspiration for a graphic and typographic direction.
From the beginning the aim was to document Matiu/Somes Island’s
layered ‘living history’ in a visually engaging way in order to generate
interest in preserving the island’s future. In essence this project has
taken the form of an alternative history book.
The nature-inspired concept of ‘building a nest’ has been employed
to ‘build up a past’ and tell the island’s many stories. Like a nest is
constructed of found objects, this project was inspired by remnants and
whether they are passing through or shopping on the street. From my
observation Cuba Street is a sustainable environment, in which walking
is the primary means of transportation. Walking reduces air pollution
and can be healthier to our environment than other means of transport.
The medium used to create each individual letterform was flour, a
fairly inexpensive and sustainable resource that contrasts with the
dark footpath. By walking through the letterforms and documenting the
process I was able to portray the idea of movement. The transforming,
packaging design
The result is a an energetic, vibrant, complex and yet simple, system
of visual communication. The system is based on a few guidelines,
that allow it to be flexible and evolve while still retaining the look and
feel of the market identity. These guidelines include the use of a colour
key. This is based on the three categories of entertainment (yellows),
food (reds and oranges) and products (purples and blues), which when
combined with a palette of neutrals, convey the vibrancy of Wellington
Creative Markets. The format also allows for change, so that when
necessary, stall categories can be removed and replaced with new
ones, simply by swapping out one piece of the composition.
This visual communication system was then applied to various design
problems including external market signage, promotional posters and
flyers, stationery including business cards and a letterhead, a reusable
shopping bag and recycled paper packaging.
Australasian Student Design Awards 2010
DESIGN INSTITUTE OF AUSTRALIA
OUTDOOR PARTY PLATTER
AQUA-ANYTIME
2009 STUDENT DESIGN AWARDS
VEIL EBD PROJECT
As part of the Victorian Eco Innovation Lab Project for the EBD, (Eco Business Efficient water management for our future PROBLEM STATEMENT TARGET MARKET
District) we explored possible lifestyles for sustainable living at a site to be
developed in 2014, situated between Docklands and North Melbourne. The Outdoor Party Platter has been designed in response to a brief The intended users for the Outdoor Party Platter are females aged be-
We explored and proposed Low consumption Urban living at the EBD in
calling for a portable household item that meets a current consumer tween 20 and 50 of a medium to high socioeconomic background.
2017, medium to high density living in high/medium rise purpose built 2. HYDRATE need. Specifically outdoor products and accessories, including barbe- These people will probably have full time jobs, and will spend time relax-
buildings. These buildings have a focus on shared communal spaces to build cue grills, food and beverage coolers, outdoor furniture, picnic items, ing and entertaining friends on the weekends. They may have a
community and make a shared lifestyle desirable. The objective of this studio patio and garden accessories. deck,patio or outdoor entertaining area.
was to develop products that would enhance sustainable living in the EBD The problem identified is that existing outdoor serving platters do not
in 2017. take environmental or food safety issues into consideration. Also
CURRENT SYSTEM existing food coolers on the market are mostly large plastic cavities
that are not appropriate for the storage or transport of a platter of STYLING
food or they may be small single meal containers whose primary func-
tion is to keep food warm.
When dining outdoors food may be left for an extended period of time After analyzing 2009 color trend forecasts a variety of colors have
at unsafe temperatures without protection from flies. Food needs to been chosen to highlight the outdoor party platter.
be kept cool when travelling to destinations, such as picnics or a
friendʼs house.
The Outdoor Party Platter has been designed in response to the prob-
Lime Green French Blue
lems identified.
My project deals with water management for the communal garden in the We can plan for water wise gardens but what about the notion of using
EBD district. The Aqua anytime water product system is a tool which would water wisely to suit our specific gardening needs. Grey water can be recy- EXISTING PRODUCT ANALYSIS
help the EBD community better manage their garden water usage. It pro- cled for our rose bushes while rain water can be used for the food we eat.
motes smart water management for the EBD’s communal garden. By doing The user can either select the use of clear or grey water to best suit their plot,
so it gives users the freedom of watering their garden in their own time. thus allowing the community to save on water usage from the mains. Coolers- thermally insulated containers, Protective Food Covers- Prevent contami-
containing ice for keeping food and nation caused from flies landing on food
1. ACCESS The aqua anytime system was designed for the communal garden. The drink cool. Suitable for transport. Fuschia Yellow
system could also be applied to other areas of such as industry and farm-
ing. The possibilities are endless. It looks like drought is here to stay. Victo-
ria is seen as the garden state of Australia. We need to take new measures
to keep out state green. Aqua anytime efficient water management for our Thermally Insulated food containers are designed to Multi-tiered Lunch Boxes-portable containers which allow
future. keep small portions of food hot or cold when eating layers of different food types to be carried together.
away from home
Serving Platters- a large flat dish or plate,
typically oval or circular in shape, used for
serving food.
CONCEPT DEVELOPMENT
objects left behind. Through revealing layers of the island’s inhabitation
EXPLODED VIEW
the viewer is invited to ‘look through’ to the past. A nest is an object User Centred Techniques were applied to this project and through talking to
composed of many different layers that form a whole. This has been the plot holders at community gardens I found out the biggest problem fac-
used as a metaphor to express the diverse historical character of ing community gardens. WATER!
Matiu/Somes Island.
Valves, meters, computer and a digital network make this system possible.
“Australia is the driest continent on earth and we are currently in a
drought. The lessons of the past show clearly that it cannot be eliminat-
1.
A nest is also symbolic of a sanctuary and represents the island’s
The system has a central access point and the discharge points. The access
future as a conservation project. Like a nest, Matiu/Somes Island
point is where the user inputs their key for identification and the discharge
represents a place of refuge.
point is what the user would use to water their garden. There are many
discharge points all depending on the number of plots in the community
ed. The current drought is now in its tenth year.”
garden. Source: http://drought.melbournewater.com.au/Default.asp?bhcp=1
20/04/09 10:08 AM
First: Ching Tan - Aqua Anytime - Swinburne Commendation: Vicki Runnegar - Outdoor Party
University Platter - Griffith University, Queensland College of Art
decaying state of letters indicates a presence of people and a sense
of time. The words NO, TIME, TO, TALK, are re-arranged to further
illustrate the nature of Cuba Street in the digital format. Sound effects
add interest and a sense of rhythm to help illustrate the story. My
project speaks about the importance of preserving our environment and
maintaining a healthy lifestyle through the act of walking. As such a
sense of movement is captured in the progressive movement of
the alphabet.
Industrial Design
19/05/09 8:42 AM
Second: Liam Mugavin - Evo Book - University of
South Australia
In 2009 we are throwing things away Arm for hanging
at an alarmingly fast rate, so fast in mobiles
fact that in some countries only one Cradle Alive is flat packable
percent of goods are still in use six
months after the date of sale. Certain dots act as both
decoration and covers
Children’s goods are no exception. for bolts necessary for
Our landfills are overflowing; our air, change over period
water and land is polluted and our
planet is warming. To this extent the
need has arisen for thoughtfully What becomes the base on
the storage bench acts as
designed cradle to cradle goods, made storage shelf and brace in
from sustainable materials. Cradle cradle form
poster design
Alive has been designed in response to
this need. http://www.storyofstuff.com
Seatback for safety
The Cradle Alive changes from a Cradle Alive becomes a rocking
horse once the child has
rocking cradle, suitable for the first grown out of the cradle
year or so of a child’s life, to two (perfect rocking horse age)
distinct pieces of furniture; a fun and
colourful rocking horse, (suitable for
flyer designs children 2 years and over), and a
distinctly adult storage bench, which is
not restricted for use in the kids room,
but could be used in the lounge room,
hall way etc, as either an ottoman or
bench seat giving the piece a
considerably longer lifespan. The
piece reconfigures by means of the Cradle Alive becomes a distinctly
decorative screws hidden behind the adult piece of furniture
dots on the horse never to be seen
until they are needed.
Cradle Alive
Posters and flyers are only reprinted seasonally or for special events,
as instead of listing the businesses who have stalls each week they
represent the variety and vibrancy of the market itself. This means
they become a semi-permanent advertisement of what’s on at the
Wellington Creative Markets; this saves on printing costs and helps
prevent unnecessary paper waste.
The reusable shopping bag is both practical and a design object. It
Cradle that reconfigures into a rocking
reflects the Market’s policy of no plastic bags and works together with
the recycled paper bag packaging.
External market signage is the physical form of the visual
communication system. It covers the entire exterior wall of the
Wellington Creative Market’s location with painted pieces of wood
horse and storage bench
displaying stall categories. Despite its large scale it is still flexible,
allowing for pieces to be removed and repainted if necessary, when the
Market stalls change.
1
20/04/09 10:07 AM
Commendation: Serena Holloway - Cradle Alive -
Griffith University, Queensland College of Art
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T-4-2
T-4-2 is an environmentally sustainable furniture solution
which consists of a contemporary style low table and
LOW TA B LE A ND STOO LS
integrated stools.
The design brief identifies the target market as inner city
living requiring furniture solutions which are appropriate
to space constraints and can adapt to meet user needs.
Australasian Student Design Awards 2010
sustainability
The Manhattan Shed Bar and Restaurant project highlights sustainability. It
incorporates the fundamental concepts of water management, energy
The table elements were manufactured using a flat efficiency, recycled building materials and efficient site management
bed CNC machine. The plywood sheet was cut into rib
into each unique project. It incorporates economical building systems and
like shapes to maximise sheet usage and help minimise
the use of energy efficient fixtures and fittings. As a result, it provides
wastage. The ribs were aligned using dowels before
direct financial savings on construction costs. This project will address
the environmental aspects such as:
being glued together with non toxic PVA glue.
After sanding it was finished with a combination
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of natural oils and waxes.
insulation materials in the construction process.
The compact yet versatile table and stools can be
While the two “pill” shaped cushions made for prototype  Œ/¢IG:
arranged in a variety of ways both when in use or
use a traditional extra firm foam the intention is to make  Œ'0*GG:
when in storage. The cushions have been designed
future cushions using new environmentally friendly soy-  Œ)GG
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to be stored away within the table when not in use.
base foams when they become commercially available.  Œ1GGG
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Environmentally responsible FSC Certified White Birch However, traditional foam can be chipped and recycled  Œ1GG
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lines which sweep across the surfaces before wrapping are covered in a 100% recyclable upholstered fabric.  Œ'0*GHIIGIIG:
around the ends of the table. The repetition of line Natural biodegradable upholstery fabrics could
was intended to resemble the growth rings of a tree. also be used as an alternative.

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sandstone wall carving

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plan level 1 vestibule perspective rendering

legend
First: Jacob Wong - Table & Stools T-4-2 - TAFE NSW First: Elizabeth Kirkland - Tides Eco Resort - CATC - Commendation: Thien Nguyen (Nathan) -
11.
The Brief... Is to design a scheme for a resort in North East Thailand. The client has purchased this property with the intention of running it in his 1. Scheisse exploding light bulb – Norway (Northernlighting.nor)
2. Pendant Light – Shade orange (Designer Lights)
retirement. He is very concerned with current global issues of sustainability and is interested in the local culture. The client has requested that the
3. Recycle Cast Iron Post – Black (Stepneys Restoration Centre)

- South Western Sydney Institute, Lidcome College The Rocks Manhattan Shed - RMIT University, School of Design
scheme encourages a sense of relaxation and wellbeing. ?: 1G(GI.®(GI‡)GG.ˆ
5. 5. Dining Chair with Stainless Steel frame (approx 60% recycled content) and
a recycled engineering grade timber seat and back mouldings – 3D (JR Sit)
My Concept... Raw Adornment was inspired by a Thai Festival called Loy Krathong, where the tradition is to send afloat a raft made from 6. Dining Table with Teak table top and Stainless steel leg (approx 60%

(TAFE)
recycled content) - MDT (JR Furniture)
banana tree trunks which are decorated with flowers and candles. The raft is symbolic of letting go of all ones grudges, anger and anxiety, so that
7. Adolfo Bar Stool with Satin Finish stainless steel leg and black Faux leather seat
one can start life afresh. The client is starting a new phase of his life in a cultural haven, this resort is a place to relax and let go of everyday life. C: GI+®*G‡+GIˆ
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design concept
6.

The Manhattan Shed is a study in architectural contrasts.

It begins with the contrasting name. Manhattan denotes the glitz and glamour of downtown New York.
cushion fabric Shed is a typically Australian term suggesting an informal outback setting that gathers workers.

The Look from the busy city street is one of both informality and formality.

7. The informality arises from the fact that the facility is in a basement setting. It has windows onto the street. As
cushion fabric pedestrians walk by they look down into the bar. Being in a subterranean setting, they would perhaps expect a
section
storage or informal work area. In fact, they view into a warm and hospitable ambience that is highly formalized and
set up to entertain.

From inside, this contrast is expressed further in the creation of a light and dark ambience. Black and white furnishings
cushion fabric are evident. Custom-made dark-coloured chairs are placed alongside light coloured tables. Lighting fittings create a
light and shade environment.

Dark timber partitions with stainless steel mesh inserts enable the basement space to be zoned. This creates formal
brass finish stair rails & ceiling panels seating from informal “standing room” only areas. These contrasts are softened by recycled timber floors. It is
cushion fabric
enhanced by brightly coloured bar features and vertical “Manhattan Shed” naming designs.

limestone flooring & pillars lounge fabric

lounge perspective rendering

Interior Decoration This conceptual approach is reflected in the furniture selections made from raw materials which have been intertwined to create decorative

elements within the space. The vestibule wall is constructed from sandstone which has been carved to achieve a sense of raw adornment.

The stair rails and ceiling panels are coated with a brass metal finish. It is important to implement environmental controls and systems to ensure

that there is no negative impact on surrounding environments. The limestone and sandstone is supplied by companies who offset where they can
and donate a percentage of their turnover to local and international sustainable organisations.
Furniture Design

Second: Alastair Blaine - Cellar Bench - University of Second: Vesnathailand - Raw Adornment - TAFE NSW
Mlinacresort RAW ADORNMENT

Tasmania - Sydney Institute, Design Centre Enmore

Bolito by Kundalini Whitewash Brick Living Stone by Grass Wall by Ustatic Pluto by Kundalini Kirei Board Spiral Island - David Trubridge Existing Flooring Spiral Island - David Trubridge
Smarin Self maintaining humidity substrate Reclaimed sorghum straw

Fingerprints - the individual mark of the designer signifying impact on our

visual and physical spaces. They are a mark of identification with our envi- ECO-MAGNIFY
matisse chair ronment and our influence over economical. social and ecological sustain-
ability. Spanish Interior Design Compa-
The brief I developed for this project is to provide a seating object for public and private residences suitable
ny Hadgley & Penderfytt are look-
for both indoor and outdoor use, able to be used singularly or as multiples and suitable for relaxation
ing to establish an Australian de-
in comfort away from the hubbub of life.
sign studio in a large older style
The inspiration for this piece are the Henri Matisse “gouaches découpés” series produced at the end Art Deco building in Sydney, NSW.
of his life. At seventy Matisse was confined to bed by poor health which kept him from painting so instead Their vision is for a fresh identity,
he used scissors and different colour paper to create a vivid world of flora and fauna. In his words "You see in keeping with the current con-
as I am obliged to remain often in bed because of the state of my health, I have made a little garden cern for economical and environ-
all around me where I can walk... There are leaves, fruits, a bird" mental sustainability. The existing
My “Matisse chair” is designed to be a highly visual organic seating object but with effective underlying marble flooring, brick walls, glass
ergonomics and functionality. The contour of the chair wraps around or encloses the human body doors and 8 metre high
within. The 360 degree swivel base and tilting system permit the outlook and orientation to be windows are to be in-
adjusted. Like a caring hand or Matisse’s little garden, these features allow the chair to provide corporated into a new
a degree of privacy in private or public areas. practical yet stimulat-
ing design concept. All
Matisse chair’s construction and materials are designed with sustainability in mind
materials, products and
- the main structure is made as a HDPE (High Density Polyethylene) shell which can
finishes are to comply
be cost effectively produced using rotational moulding. For outdoor use this creates
a durable, UV resistant object which is easily cleaned and available in multiple colours.
with commercial Aus-
The form of the chair facilitates the addition of cushions or coverings for additional comfort.
tralian Standards and
The indoor version of the chair would feature the addition to the HDPE shell of open cell flexible
reflect strong commit-
polyurethane foam (FPF) as cushioning with wool fabric upholstery. The lower structure with swivel
ment to ecologically
base and tilting system is made of steel sheet, steel spring and steel tubing. The HDPE, steel and foam sustainable, Australian
are recyclable and the fabric is a bio degradable natural material. made and owned prod-
ucts.

Third: (Alex) Shye Ru Lee - Matisse Chair - TAFE NSW Third: Kirby Clark - Eco-Magnify - CATC – Brisbane
- South Western Sydney Institute, Lidcome College

www.design.org.au/asda 8 of 11
 Australasian Student Design Awards 2010

What do I feel?

Textile Design
Have you ever had a perfect day?
A shining, sparkling, adventuresome day, When I rub the layers back,
what is underneath is real
the kind that just smells like a holiday. - passion and strength

Have you ever felt empty? Just … empty.

That cold, sharp feeling that teeters on the
edge of despair.
Breathless, 2008, ebony

Delve, for a moment,

into your memory and come
with me on my journey as I explore my
memories, tell my stories, where I’ve been
and where I’m going. Feel the feelings with
me; look for emotions in lines and colours,
textures and shapes. Explore with me, uncover-
I feel...
ing the hidden things, the unexpected treasures

waiting to be discovered.
My perfect day, 2008, 950 silver

“The heart of ecological design is not efficiency or

sustainability. It is the embodiment of animating spirit,
the soul of the living world embedded in each one of us

waiting to be reborn and

in what we create and design.” –
expressed Sim Van der Ryn
Van der Ryn, Sim, 2005, Design for Life, Gibbs Smith Publisher, Layton, Utah, p127 Passion, 2008, Tombak, paint

First: Danielle Butters - I Feel - TAFE NSW - Sydney First: Fiona James - Fabric Refractions - RMIT
Institute, Design Centre Enmore University

Vertical Landscape
“Fire has been used as a resource management tool by
Aborigines for many thousands of years, thus many
of the ecosystems encountered by the Europeans had
evolved under a long history of systemic burning…with
a clear adaptation of so many Australian species to peri-
odic fire.”
GOOT, Beth, Fire as an Aboriginal Management Tool in South-Eastern Australia, Conference Proceedings Australian Bushfire Con-
ference, Albury, July, 1999. 31 January 2008 <http://www.csu.edu.au/special/bushfire99/papers/gott/,

One of the many paradoxes of the The interconnection between

Australian environment is that food and fire is a thread that con-
only through the destructive na- nects both indigenous and non-
ture of fire can the diversity of life indigenous cultures and led to
exist. If early European settlers the inspiration for a series of
had learnt from the thousands candleholders. Fire is a common
of years of knowledge gained by element that takes centre stage
the Aboriginal people they would for both a fine dinning dinner ta-
have learnt to appreciate fire as ble setting and the bush campfire
a means of land management, as alike. There is also a connection
a preventative measure against between food and fire with the bio-
high intensity wild fires and as a diversity of native foods created
means of fauna rejuvenation and when using fire as a land manage-
biodiversity of native foods and ment system. The design hopes to
plant species. highlight the beauty of both cul-
tures in equal importance to the
overall diversity of the Australian
identity as well as highlighting
the need to understand, accept
and protect what remains of the
Aboriginal knowledge of this envi-
ronment in which we live.

Elements such as repetition and the elongated, verti-

cal forms became the starting point for the design.
Layers of fine sheet metal wrapped around the centre
were etched to create the heavily textured surface.
Jewellery Design

Second: Joanne Piper - Vertical Landscape - TAFE

NSW - Sydney Institute, Design Centre Enmore

Third: Bibi Locke - Weeds of National Significance

Series 2008 - Griffith University, Queensland College
of Art

www.design.org.au/asda 9 of 11
 Before completing your nominations or submitting an entry,
please carefully read these Terms & Conditions.
Submitting an entry indicates that you have read and agree to all
the Entry Terms & Conditions.
1. Information on the registration and nomination forms and the
prizes themselves form part of them Terms and Conditions.
2. Entry into this awards program is deemed to be an acceptance
of these Terms and Conditions.
3. These Terms and Conditions apply to the awards program
Australasian Student Design Awards 2010, commences on 1
September 2009 and ends on in 1 July 2010. The Organiser
may extend the time or otherwise vary the awards program at
any time in its absolute discretion.
ASDA 2010 - Terms & Conditions
4. This awards program adheres to ICOGRADA’s (International
Council or Graphic Design Association) “Regulation and best
practices for organizing design award competitions best
practice paper”.
5. The Organiser may cancel the awards program at any time
without prizes being awarded.
6. Every attempt has been made to ensure accuracy, currency
and reliability of the information included in this document
and elsewhere. However, changes in content and process may
become necessary at the absolute discretion of the Organiser.
The Organiser accepts no liability for any use of the said content
or reliance placed upon it.
7. Failure by the Organiser to enforce any of its rights at any stage
does not constitute a waiver of those rights.
8. The Organiser reserves the right to remove any entry from the
awards program without explanation.
Entry Submissions
9. Entry is open to design projects created in 2nd Semester 2009
or 1st Semester 2010 from entrants aged 18 years or older as
at the date of entry who are:
a. Permanent residents of Australia and New Zealand or
international students under a Student Visa in Australia and
New Zealand.
b. Currently studying, full time equivalent or apprentice tertiary
courses at a Certificate III, Certificate IV, Diploma or Advanced
Diploma or Degree level or graduated from any of these
courses in Semester 2 2009.
ii. Digital Files
10. Officers, directors, and employees of the Organiser as well as
those individuals’ immediate family members and the residents -- Soft copy of the Presentation Board in a high resolution
of their household, are not eligible to enter. pdf format on CD/DVD.
11. To register and nominate entries, Tertiary Institutes must: -- File name convention: Category_Surname+First Intial.pdf
a. Visit the “Register Your School” menu at www.design.org.au/ b. Submit their entry by 4pm, 9/4/10 by the following methods:
asda and complete the online process and pay $60 (incl gst)
+ booking fee per entry by 17/3/10. -- POST: Design Institute of Australia, ASDA Entry,
GPO Box 355, MELBOURNE VIC 3001
b. Judge their students’ overall body of work and select three
student projects per category (Interior Design, Interior -- COURIER/HAND DELIEVERY:
Decoration, Exhibition & Display Design, Visual Design, Design Institute of Australia, ASDA Entry,
Furniture Design, Textile Design, Industrial Design, Jewellery Level 1, 175 Collins Street MELBOURNE VIC 3000
Design and Fashion Design) and submit your Entrant
15. Entries must be the entrant’s own unrealized or realized
Nomination Form by email to cbenzie@design.org.au or fax
original design.
+61 3 9662 4140 by 1/4/10
16. Entries may have been previously shown, sold or entered in any
c. Send the Entry Specifications to your nominated students.
competitions in Australia or overseas.
12. In certain circumstances, the Organiser may allow additional
17. Entries created using unauthorized, pirated copies of computer
student nominations per tertiary institution.
software will not be accepted.
13. Tertiary Institutes may not nominate the same students in the
18. Entries must be the work of one or two students. Group work of
same category in consecutive years. Tertiary Institutes may not
more than two students will not be accepted.
nominate the same students in 2 or more categories annually.
19. Entries text and diagrams must be legible from at least one meter.
14. Once nominated, Student or Graduate entrants must:
20. The front of entries must not include indentifying features
a. Create their entry in the following forms:
including the Entrant’s name, course or institute.
i. Presentation Board
21. Loose sheets not attached to entries will not be considered
during the judging process.
-- Textile and Fashion Categories: 1 x A2 foam core board
with light samples and fabric swatches attached.
22. Entries must be packed according to post office preferred
guidelines and may not have a frame or heavy attachments
-- Interior Design, Interior Decoration, Exhibition &
which constitute a handling risk. Secure freight and insurance
Display Design, Visual Design, Furniture Design,
Industrial Design and Jewellery Design Categories: costs to be borne by the Entrant.
1 x A2 coated/laminated 160gsm paper poster with no
23. Entries will be deemed accepted at the time of receipt at the
samples or fabric samples.
DIA and not at the time of submission by the entrant.
-- The front of the board must visually demonstrate one
24. The Organiser reserves the right, at any time, to verify the
design project. In under 300words, discuss the project
validity of entries and entrants (including an entrant’s identity,
using the following titles * Original design brief /
age and place of residence).
problem & * Description of project, design solutions and
sustainable thinking.
25. The Organiser collects personal information in order to conduct
the Awards Program and may, for this purpose, disclose
-- The back of the board must list the name of the student,
such information to third parties, including, but not limited
title and date of work, tertiary institute and educator’s
to, prize suppliers and as required, to Australian regulatory
name in Arial Font Size 24 on the right hand lower corner.
authorities. Entry is conditional on providing this information.
Unless otherwise advised, the Organiser may also use the
information for promotional, marketing and publicity purposes
www.design.org.au/asda 10 of 11
 including sending electronic messages. Entrants should direct
any request to access, update or correct information to the
Organiser.
26. All entries (excluding those entered in the Textiles and Fashion
categories) remain the property of the Organiser. Textile and
Fashion entry collection / return enquiries should be directed to
cbenzie@design.org.au
27. Entrants wishing to cancel their submission are required to
advise the Organiser in writing by email to cbenzie@design.org.au
Pre-selection Process
28. Prior to judging, a Pre-selection Committee will assess all
entries based on their compliance with Category Descriptions
and these Terms and Conditions. Entries that do not comply will
be deemed disqualified, will not be exhibited at designEX and
ASDA 2010 - Terms & Conditions
no entry fee refunds will be made.
29. The pre-selection process will be conducted by an Organiser
appointed Pre-Selection Committee including but not limited to:
a. Phillippa Rowland, General Manager, Design Institute of
Australia
b. Robyn Potter, Administration & Finance Assistant, Design
Institute of Australia
Exhibition
30. All entries which pass the Pre-selection Process will be
displayed at designEX, Sydney Convention & Exhibition Centre
from 22-24/4/10.
31. The Organiser will endeavor to hang students work according to
their directions however this may not always be possible.
Final Judging, Prizes and Intellectual Property
32. Final judging for all 9 categories will be conducted by an
Organiser appointed Judging Panel and a Chairperson (who will
have a casting vote and will write a report on the voting results)
at designEX on 22/4/10.
33. The entries in each of the 9 categories will be judged based on
the following equally weighted criteria:
a. Sustainability
-- Demonstrated understanding and use of sustainable
resources
-- Consideration of economic, social and ecological
design practices
b. Concept 39. Prizes will be mailed directly to winning entrants within two
months after the end of the Awards Program.
-- Clear understanding of the parameters of the original brief
from tertiary course work 40. Textile and Fashion category winning entries will be
professionally photographed. The Organiser reserves all rights
-- Evidence of research, development and resolution of the to use photographic reproductions for publicity purposes.
original brief from tertiary course work
41. Prizes, or any unused portion of the prize, are not transferable
c. Creativity or exchangeable and cannot be taken as cash, unless
otherwise specified.
-- Innovative ideas translated from conceptual approach
42. Multiple DIA memberships that have been awarded for the
-- Effective communication of ideas same calendar year through DIA National or State programs are
required to be taken concurrently.
d. Space / Function / Materials / Technology (where appropriate)
43. Each prize recipient agrees that acceptance, use and enjoyment
-- Design intent reflects and is supported by spatial arrangement
of the prize will be undertaken at their own personal risk.
-- Demonstrated functional practicality
44. The Organiser anticipates a note of appreciation will be written
-- Appropriate and innovative selection of materials by each prize winner to the sponsor of their category by 30/7/10.
Sponsor contact details will be available from the Organiser.
-- Demonstrated understanding, integration and resolution
of manufacturing processes
34. First Prize in each category will be awarded to the entry which
best fulfils the judging criteria. Second Prize in each category Contact Information
will be awarded to the entry which secondly fulfils the judging 45. The ASDAs Moderator is Caroline Benzie, National
criteria. Third Prize in each category will be awarded to the Program and Event’s Officer, Design Institute of Australia.
entry which thirdly fulfils the judging criteria. The Overall cbenzie@design.org.au T: 1300 888 056 F: +61 3 9662 4140
Winner will be selected from the First Prize category winners
46. The Organiser is Design Institute of Australia (DIA) ABN 12
and will be presented with the Australasian Student Design
004 412 613 Level 1, 175 Collins Street Melbourne 3000.
Award for Excellence.
www.design.org.au
35. Judges decisions are final and no correspondence will be
entered into in relation to the conduct of the competition, or the
methodology adopted to determine the First, Second and Third
Category Prizes or the Overall Winner.
36. Where an entry is created by more than one entrant, the prize
will be awarded to the the first individual named in the entry
form. This individual is solely responsible for sharing the prize
with the other individual involved. The Organiser shall have no
responsibility for or obligation in distributing the prizes to any
person other than the first individual named on the entry form.
37. Judging Panel, at its discretion, may withhold the prizes or
divide the total prizes in other proportions.
38. The Judging Panel’s results will be displayed at the conclusion
of the judging process at designEX on 22/4/10 and
www.design.org.au/asda . All entrants will also be notified
of the results by mail within two months after the end of the
Awards Program.
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