RMIT Interior Design

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RMIT Interior Design

Retail,

[×]

Roger Kemp, Introduction [×]

This design studio was developed in partnership with Scentre Group and examined the current challenges that face the retail sector due to the immediate impact from the COVID-19 social restrictions and more broadly the transformation of retail operations through online sales.

Students conducted detailed research into the history, current challenges and potential future of retail environments and supporting operations. Early explorations saw the experimentation with a hybridization of 3 brands and retail typologies including the fixed tenancy, kiosk, food court and event.

The final brief asked groups of students (design teams) to develop a response to the hypothetical scenario that a large anchor store decides to vacate Westfield Doncaster leaving a substantial amount of retail space that would require renewal. The brief therefore opens a larger question around future models of retail, the integration of new technologies, social models, and the mall. The brief also required the design teams to address how the ‘vacancy’ is managed in relation to shopper’s experience.

Key considerations in this brief included the implications of social distancing on retail layouts and planning for optimum workflow, a re-evaluation of tenancy sizes, possible hybridization of retail typologies (food court, kiosk, fixed tenancy), innovations in the display of goods and services, reconsiderations for stock location with delivery/pick-up, broader activity for shopping centres (temporary, seasonal, event), integration of online/virtual shopping experiences augmenting physical experiences.

Dr. Roger Kemp
Program Manager, Master of Interior Design

Group I, Retail Innovation and Community Hub [×]

The future of retail is no longer solely for the purpose of consumerism. Shopping centres are a destination for community and lifestyle service, hospitality and retail innovation. Our approach to the renewal of the vacated Myer department store in Westfield Doncaster is to introduce a retail innovation and community hub. We aim to incorporate the idea of an 'Innovation District' typology within the concept of the retail sector.

An 'Innovation District' is an urban hub where institutions, corporations and individuals connect to create and share new ideas. This design facilitates a space which embodies community, whilst providing opportunities for retail and brand collaboration; a place of education and wellness. This proposal offers an environment for work, retail, and community.

The Myer department store plays an important role as the shopping centres key anchor, highlighting its importance for renewal. The Myer store drives foot traffic to the overarching shopping centre, as well as serving as a transitional point to the centre as a whole. Our proposed design develops this location to continue these qualities, as well as serving as a hub for entertainment, hospitality, retail innovation and collaboration to benefit the entire shopping centre.

The design concept encourages a greater connection to nature through incorporating biophilic elements such an planting throughout the space. Topographical characteristics are also used to define and distinguish the multifunctional activities to establish fixed and transitional elements throughout the space.

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Elicy Lay, Losing Your Anchor, Group I, Retail Innovation and Community Hub [×]

This individual project explores the ground floor site as a dedicated space for marketing and advertising. The floor area is divided into separate zones consisting of the entry pavilion, the work area dedicated to collaborative events, and the retail zone which showcases products from different brands.

The retail and work zones provide a platform and dedicated space for retail business, brands and start up companies to collaborate, pitch and showcase their new, innovative ideas. These zones consist of an amphitheatre, a performance space, and an event space for hosting presentations and forums.

Redesigning this anchor store in Westfield Doncaster is an opportunity to encourage brands and businesses to explore new ideas within retail design. Purposefully designed as an open space to all users, the public has the opportunity to interact with brands in a new and innovative environment. This new model offers retailers an insight into consumer feedback to better understand how their products are perceived and performing.

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Vaibhavi Setlur Raghuram, Losing Your Anchor, Group I, Retail Innovation and Community Hub [×]

The main concept of this individual project design is to create an innovative retail experience that brings value to the shopping centre as well as the community. This design creates a service-based retail space that not only provides assistance to consumers but also becomes a space for innovation. This space combines manufacturing, collaboration, and retail environments into one location.

The space provides an experience that allows customers to engage in each step of the manufacturing process. The manufacturing facility employs 3D printers, raw materials and product assembly lines that allow customers to see the products that are produced in real time. The retail environment has 3D printers and accessories on display, as well as a seated viewing area. The space also consists of a projection screen where information from the 3D printers can be viewed. In addition to this, there are workshop spaces for the repair and maintenance of the printers. In this space, customers can engage in learning the manufacturing process. These collaborative spaces encourage entrepreneurs, freelancers, and start-up business to collaborate and develop their products and ideas. The resulting space is an innovative retail design in both presentation and production.

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Wei-Yang Tseng, Losing Your Anchor, Group I, Retail Innovation and Community Hub [×]

The key concept of this area operates as a bridge. Through the application of technology, a fast, convenient, and interesting experience is provided to the consumers, providing entertainment while receiving product information. These experiences provoke consumers' interest in retailers and with the intent to invite them into the actual store. Spaces for reading, meeting, and resting are provided allowing users to enjoy staying in this space comfortably.

The space is divided into three areas, the retail showcase area, co-working area, and recreation area.
The retail showcase area is a space for retailers to showcase their products through technologies, such as AR fitting, providing a quick service for consumers to check out products and socialize with each other.

The coworking area provides a space for people to read, relax, meet, drink tea, and have a nap. A sunken bookstore is located in the centre of the space and is surrounded by cafes, vending stationery stores, meeting spaces, and a green bed area.

The recreation area has a digital interactive playground, while providing entertainment to children, it can also help toy retailers showcase their products. For parents, there is a café for them to rest next to the square.

These facilities promote multiple types of connection between people, retailers and consumers in the wider shopping area.

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Weiwei Lu, Losing Your Anchor, Group I, Retail Innovation and Community Hub [×]

This is not just a place where food is sold, but also a place where people can participate in the fun of making food. The history and culture of food are displayed and exhibited, in addition to also being a social venue where people can gather, transforming the space into a major tourist check-in point. Our concept is to reinterpret food through culture, and let people experience a closed loop, a story of cognition, production, exhibition, and enjoyment.

The open, landscape terrace facilitates a design that fully participates in the whole process of eating and promotes eating as a continuous experience. The participatory food studio provides consumers information that they can then shop with. Visitors first learn about the historical origins of food culture from the food-themed exhibitions, as well as the origins of different foods such as grains, meats, fish, and wines.

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Group II, Weco.Hub in Westfield Doncaster [×]

With the advent of e-commerce is changing, the way people typically shop for goods and the role of traditional anchor stores has changed, attuned to a shift in consumers demands. This project looks at a new model for anchor stores which provides an entirely new type of experience that is experiential yet practical. On top of the existing layer of hospitality and retail offerings Westfield Doncaster shopping centre holds, we intend to convert the vacant site into a mixed-use destination, adding a further layer of social and communal context to enrich Scentre Group’s ‘living center’ concept. The proposal curates a variety of activities for communication and interaction, engagement and collaboration, cultural exchange, and economic development.

The ‘Weco.Hub’ incorporates the idea of co-living, co-working and co-retailing in an urban village topology to knit communities together and to provide an in-store experience to participate and explore. It will focus on community, flexibility, and sustainability whilst supporting individuality. The design adopts a modular unit system which will be a 3 by 3 by 3 module, housing various elements and offering flexibly in order to reflect the various programs on offer. The unit will be standardized and can be prefabricated off-site and assembled on site. The material used for the unit will be a cross-laminated timber which has huge environmental advantages.

Weco.Hub is divided into zones containing communal circulation, shared working and living space, retail and food space, daycare and playground, workshops and services, community garden and a central courtyard. The modular units wrap the central atrium courtyard over three levels with every functional area facing the central space. The design proposal of Weco.Hub caters to a sustainable and flexible lifestyle, providing communal and shared spaces to encourage social interaction for people of all ages, positions and backgrounds.

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Anchor Store, Losing Your Anchor, Group II, Weco.Hub [×]

In recent years, the fast-paced nature of society has pushed consumers to seek convenience over craftsmanship. With the rise of technology and lack of environmental awareness, the value placed on craftsmanship has gradually reduced. This retail proposal offers a one-stop service cluster that brings together a variety of essential craftsmanship service in the one location.

The ‘Anchor Store’ consists of a three level, multifunctional kiosk system combined with workshop spaces to promote the value of craftsmanship and the importance of environmental sustainability. This innovative design aims to integrate the craftsman and the customer, allowing indirect interaction between the two.

This prototype design aims to stimulate the customers nostalgic connection with the shopping experience. Their ability to view the narrative of skilled workmanship facilitates a connection between the maker and the buyer throughout the experience. The Anchor Store encourages a community that promotes sustainability and environmental awareness by facilitating a lifestyle that repairs and reuses.

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Muqiu Wang, Losing Your Anchor, Group II, Weco.Hub [×]

Westfield Doncaster is more than just a shopping hub, it is a lifestyle destination where people come to connect, share and engage with one another. This design proposal utilises different programs and functions for visitors to discover and contribute to the local community. Within this proposal, the library and community garden have been designed to serve as a versatile hub for cultural experience, embodying the cultural heritage of the local area.

As digital platforms take precedence in our lives, this design encourages the community to engage with and be re-inspired by physical reading material. The design of the social pavilion area integrates with the community garden and timber shelved staircases, offering an area for social activity across multiple levels. This modular design is easily adaptable to suit the future needs and growth of the community. The central courtyard connects the library, garden and co-working spaces to the main entrance area and works as a space for visitors to relax and connect. The coworking area on the upper level, introduced by Scentre Group’s partner – WOSTO Workspace – is a space to exchange ideas, socialise and build relationships within the local community.

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Group III, The Bay [×]

‘The Bay’ proposes the renewal of a vacant Myers store in the Westfield Doncaster shopping centre with a focus on social interaction. This project aims to transform the site into a community centre for residents, promoting a lifestyle which generates a feeling of belonging and connection with the shopping centre and its community.

The design proposal, including a new physical structure, operation system and marketing strategies, each work to support each other, forming the foundation of the Westfield image, both visually and virtually. The intention of the design is to push the boundary of the current shopping mall experience, exploring its limitless potentials. Although each element of the design is intended to work together, these elements can be applied individually. The operation system provides the potential, generating opportunity for our future. The physical structure holds and extends these potentials, and the marketing strategies are used to communicate and express all these functions to the users.

'The Bay' performs like a beachside location, providing open space, and opportunities for social connection. The project proposes a physical platform to bridge areas within the centre. In addition to this bridge, modular elements are placed throughout the centre which have the potential to evolve as the community needs. The site allows people to gather, celebrate their life and their success, enjoy the harvest, meet and share a moment together.

'The Bay’ proposes a place for community, to play, to relax, to work, to love and to connect. The Bay is a shopping centre, but also a friend, a figure that will always be with us, grow with us, provide care and shelter to protect us. The Bay is a place for living, gathering, and connecting.

Yiran Li, Losing Your Anchor, Group III, The Bay [×]

Play, one of the essential factors in the lifestyle reflected in The Bay, is represented by our playground system. The playground contains a variety of modulated facilities and installations. It contributes to the sense of leisure which we use to establish a connection with our retailers.

We have designed three different modular systems based on various age groups. In this case, we designed different modules for ages 0-4, 5-14, and above 15; these designations are based on our research from the WHO, which indicates that different groups require distinctive specifications. The location of each age group's modular system is also variously placed in the appropriate area.

The Bay is somewhat like a storybook, and our clients are the readers. The entrances are designed to attract our "readers" and begin the story. The inner landscape of the Oasis brings out the "climax" of the story, welcoming clients to an open space and carefully designed landscape.

Our journey comprises every element of our surroundings: the soil under our feet, the pleasant bitterness of a long black, the sound of children laughing, the smiles of our loved ones, the sight of a random wet dog, a cheerful greeting from a neighbour.

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Rachel Ren, Losing Your Anchor, Group III, The Bay [×]

Historical images reviewed in The Bay is intended to reinforce a sense of consumerism, expressing it in a positive way. Here, we are not just exchanging goods and services – we are here to communicate, to connect to one another and share our feelings; we are here together.

The sense of togetherness is built through the contextual background, restoration of nature, and the activity of connection. It is evident that encountering natural elements can have a restorative effect on our mind, as many research studies on environmental psychology have suggested. This is reflected in the natural environment designed for the residents, overall consisting of two parts: an outer oasis and an inner oasis.

The outer Oasis is intended to encourage public interaction; it contains playgrounds for our residents, as well as providing outdoor spaces for cafes and restaurants (which also complies with COVID restrictions). The inner Oasis performs as a natural gathering point, citing the role of central marketplaces in ancient cultures.

At the Bay, the sense of nature is communicated through the greenery that exists at the site: living plants growing and interacting with one another, offering a variety of enticing scents and sounds, as do the birds and insects they attract. An arch element operates as a symbol developing a landmark of sorts for Westfield. The space is alive, thriving, growing – forging new connections.

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Jin Song, Losing Your Anchor, Group III, The Bay [×]

Three retail brands are presented as examples to demonstrate how brands may interact with our clients and with the Bay. The strategy integrates feature brands in a similar way to furniture in a living room, rather than treating them like separate rooms within a home or like different sections of a market. Here, we are not only promoting the unique quality of each brand, but integrating it into the Bay as a whole. The boundary of consumerism still exists, but is blurred and merged with other aspects of living.

Market Lane café is placed near the entrance of the Bay, inviting user into the space. The Tsutaya book store is placed at the east side, supporting the program with our landscape. MUJI, located on the west side works in conjunction with the existing shopping mall structure, as a transition from the shopping mall to The Bay.

These three brands serve as a set of exemplary recommendations designed to suggest potentials for retailers. We intend to promote the distinctive characteristics of the brand while unifying them into our community.

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Yang Yang, Losing Your Anchor, Group III, The Bay [×]

The name for our retail centre is 'The Bay’, and is intended to perform like a bay in the community, providing space and reason for social connection. We are imaging people will gather here, celebrate their life and their successes, enjoy the harvest, meet and share a moment in their life. The Bay is a place for living, gathering and connecting.

The structure of ‘The Bay’ sets up the physical platform for the project, and acts as a bridge to connect and express Westfield. These are also modulated, a foundation for developing with the change of society, continually evolving a potentially profitable model. The proposed site is a semi-open space featuring arches, fixed tenancies and landscape (inner/outer oasis). The openness introduces fresh air, reduces the risk of COVID transmission, and as many reports suggest open spaces have a significantly lower transmission risk.

The visual element appears in ‘The Bay’ expresses a sense of casual and welcome as we are blurring the boundary between the retail space and the street. The materials used are also intended to be COVID-safe, with relevant tools to help staff in the cleaning process.

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Adam Nash, Introduction [×]

The Interior Design Practices course runs parallel to the Partnered Interior Design Studio and provides opportunities for students to refine specific skills and techniques in communication and technologies relevant to contemporary interior design practice. Over the past year we have investigated virtual environments in interior design practice.

In the first semester, we looked at the intrinsic qualities of virtual environments and how these yield, and yield to, new practices of interior design. How is our practice and understanding of interior design changed by virtual environments, and how does interior design change virtual environment design? What are the stakes, what is up for grabs and what is in play for designers working in the virtual? These questions took on a new relevance and urgency with the sudden onset of global virtual work and meetings occasioned by the coronavirus pandemic.

In the second semester, we tightened our focus to consider the role of virtual environments in retail spaces. Under the broad title "Immersive Distributed Retail Spaces", we looked at the state of the interaction, or contrast, between online and physical retail spaces right in the midst of the pandemic. Noting that, leading up to the pandemic, retail design had been moving towards 'experiential retail' for a physically immersive experience in-store, while leaving the prosaic acts of item selection and payment to be handled online, we explored the implications for experiential online retail. Taking experiential retail's fundamental concept of relationship, we explored notions of experience, immersion, narrative, presence, agency, journey and affect to work through speculative designs for a virtual and expanded notion of retail space design.

In many ways, these Interior Design Practices courses allowed the students to begin designing for the post-pandemic world, where the elements and principles of virtual design are elevated to a level of importance equal to those of space design, expanded from a utilitarian role of interface into a genuinely experiential function of lived interior. It is exciting to experience the designs of the students in this context and to participate in their design process as they respond to the intimidating but marvellous invitation of the virtual in the post-pandemic era of interior design.

Dr. Adam Nash
Associate Professor, Virtual Interior

Chee Yung Siau, Zimmerman [×]

This hybrid retail environment proposes a whimsical space for the iconic Australian brand Zimmerman. This store reflects Zimmermann’s brand values of sophisticated femininity utilising a laid back aesthetic. The archways featured in the design are reminiscent of the terraced buildings found on the Greek island of Santorini and a consistent element Zimmermann’s physical stores. This concept store’s striking colour targets female users and is suggestive of a beach side location. Different materials were used to create an uncanny visual effect and evoking the user’s curiosity, blurring the boundaries between users and virtual environment. Participants are embedded in a spatial narrative, a journey of discovery and immersive experiences. The interactive mirror is a key trigger point in this concept store, personalising and stimulating the immersive experience in an illusory environment. Beyond a store, this is an experience projecting a scene that aims to immerse users into a parallel dimension where emotions and sensations integrate, stimulating the senses and the actual realisation of dream or vision.

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Elicy Lay, L’Occitane [×]

This design is a hybrid of actual and virtual retail environments for the skin care brand L’Occitane. The design explores three ideas, the interrelation of the exterior and interior, the concept of ‘monastic modern’ and ‘sentient space’ as well as a multi-sensorial experience within retail. The interrelation between exterior and interior integrates biophilic design elements, bringing nature into the interior. It also integrates virtual elements into the physical space for an enhanced experience of nature. The monastic modern aesthetic employs simple monolithic elements to create a more calming, meditative experience and sanctuary – a place of sentience. The design proposal incorporates multi-sensorial elements to heighten consumer’s emotions and cognitive experience. The L’Occitance brand reflects the qualities of the region of Provence in France. The space ultimately transports the customer into the beautiful landscape of Provence.

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Vaibhavi Setlur Raghuram, Trek Bicycles [×]

This project is a proposal for an hybrid actual and virtual retail space for Trek Bicycles, the largest manufacturer of bikes and related components in the world. The central idea for the proposal is a new in-store experience that enables deep connection with the brand and products. A key objective of the design was to engage the rider and provide a real time experience with the bikes. Store layout, a natural setting with green spaces, narrative, interactive screens, visual design, and ambient sound were used to facilitate stronger connection and experiences with the brand and products.

The store includes retail, track (trial), workshop and recreational zones. The retail zone showcases the products and supports knowledge development. The trail allows for test riding the bikes. This is structured according to the rider’s comfort and choice including three levels: Beginner, Intermediate and Pro-mode. Visitors are able to experience different bike models, track choices, elevations with AR headset and projection screens. The workshop space includes a customisation and an assembly area. Riders are able to customize their own bikes through an interactive mapping touchpad which allows a visualisation of their own customization. The recreational zone includes an interactive bike race using high-definition screens.

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Wei-Yang Tseng, Explore. Sarah & Sebastian [×]

‘Explore. Sarah & Sebastian’ is a virtual and actual hybrid space. By applying virtual elements to physical space, it allows both real-life experience along with an opportunity to explore the brand in more depth.

The façade uses stereo projection to attract people, provoking curiosity, then using a clean, white environment to emphasise the focal point of water floating in the air.

Upon entering the store an AR journey allows the visitor to experience the process of how the designers of ‘Sarah & Sebastian’ transform ideas from inspiration into the finished products. The visitor first experiences a snorkelling simulation with virtual sea creatures recreating the designers’ inspiration.

Some virtual creatures are different from others – these creatures were inspiring for the designers. If the visitor finds one of the special virtual creatures, it then leads the visitor to the next area, which is a corridor that displays the process of ideas transforming into products. Finally, the creature leads the visitor to the jewellery display area, where the finished products are displayed.

‘Explore. Sarah & Sebastian’ is an experiential retail model giving the visitors the same perspective as the designers, creating a stronger link between the visitor and the brand.

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Yiran Li, Futuristic Store [×]

Futuristic Store pop-up, utilises Unity to create a virtual installation. The design focuses on exploring and leveraging the borderless nature of the virtual environment. It brings into the relationship the actual with the virtual, seeking to open up new opportunities.

The design seeks to challenge assumptions about space, by folding in time, and positions them as inseparable from one another. The ‘Futuristic Store’ could become a model for future business and life, allowing people to experience the the virtual space and new possibilities this may bring to the future of the interior.

The project is an exploration about the impact and opportunities that virtual space and environments may have on actual spaces and environments and the changes that the borderless inner-quality of virtual space may have on interior design.

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RMIT Master of Interior Design
Exhibition 2020


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RMIT Master of Interior Design
Catalogue 2020


Suzie Attiwill, Introduction [×]

2020 has been a momentous year for each and every one of us – in collective, shared global ways and as individuals in specific, distinctive ways. We have been connected and isolated simultaneously. Our Masters’ students have shown extraordinary commitment in undertaking a new program and for many of them has also involved courage as they have moved to a new city and away from friends and family.

As we emerge from a ‘state of disaster’ in Victoria, there is a growing awareness of the immensity of the impact of Covid in all areas of life and it is becoming apparent that 2020 will be a watershed moment, a critical turning point in our shared global history. One can imagine looking back at 2020 from 2050 and that it will only be then that the impact and change becomes clear. At this point in time, we are immersed the event unfolding.

However here in this exhibition, in the projects and through the students’ designs and ways of working, we encounter and sense the seeds and emergence of this future. In this virtual interior that opens up and experiments with the experiential, atmospheric and co-presence; engaging spatial, temporal and digital technologies that have provoked us to recognise that these practices will continue to evolve as a critical part of interior design practice

The Master of Interior Design joins the Bachelor of Interior Design (Hons) in the suite of programs that compose RMIT Interior Design. The four-year bachelor degree was launched in 1949 and has been continuously offered under various titles over the past 70 years. Last year we celebrated 80 years of Interior Design at RMIT which means the very first program was offered in 1939, the year that World War 2 begun. The Masters is launched at a similarly confronting and challenging time in a year impacted a global pandemic. In many ways this is very apt as Interior Design is a practice that attends to the way people live; to the relationship between people and their environment in terms of physical and psychological parameters.

The rationale for offering a Master of Interior Design continues the 1949 ambitions held by our predecessors and our alumni in the profession. It is the only dedicated Masters in Australia and as a professional degree, it makes the claim and provides the opportunity for interior designers to have a Masters degree qualification alongside their peers in Architecture and Landscape Architecture. While there is no professional registration requirements, the Masters is critical in terms of recognising value and standing of Interior Design as profession and also ensuring equity within commercial practice.

We have also deliberately situated the program within the Asia Pacific region as part of a network of distinctive concerns, projects, social and cultural contexts that connect with our alumni and partners. The ethos of the Masters is to address key issues that are being grappled within this context and to bring the strengths of RMIT Interior Design in conceptualisation, strategy, venturous practice and transformative design to projects and briefs with industry partners and clients.

2020 will be another memorable year for RMIT Interior Design and as we open up to the future, I would like to congratulate our first 4 Master of Interior Design graduates – Yang Yang, Yiran Le, Joyce Song and Rachel Ren – and wish them the very best. We look forward to continuing to work with Masters students who will continue into 2021 as well as welcoming those who will join us next year.

Thank you to Dr Roger Kemp, Program Manager, who was also the key lead in the Master’s program development; to Dr Adam Nash (Associate Professor, Virtual Interior) for his expertise and creation of the exhibition space, and as coordinator of Interior Practices; and to our Masters studio partners in 2020: Bates Smart, City Harbour and Scentre Group.

Dr. Suzie Attiwill
Associate Dean Interior Design

Roger Kemp, Welcome [×]

Welcome to the RMIT University Master of Interior Design Exhibition for 2020. This catalogue and virtual exhibition gather together work undertaken by our inaugural group of students to this new program. We commenced our year with an introductory session on the roof of the Design Hub in Melbourne, then proceeded to a local Pizza restaurant for dinner. We held an introductory class the following day with Associate Professor Adam Nash introducing the group to ideas of the ‘virtual interior’. A day later, we were in lockdown with the spread of COVID-19 rising. The two semesters that followed, like many of our colleagues around the world were conducted through multiple digital platforms, online meetings, phone conversations, text messages and emails with a few frustrations, shifts in time zones but plenty of laughs.

The Master of Interior Design at RMIT is structured around Partnered Design Studios that shift focus each semester from commercial, civic, institutional and social projects. In semester one we partnered up with Bates Smart to look at the changing face of workplace. The final brief intercepted the pressing issues associated with the impact of COVID-19, embracing a decentralised urban model of working proposing a series of post-COVID suburban co-working hubs. In semester two, we partnered with Scentre Group to examine the current challenges to retail through both the impact of COVID-19 and an increasing proportion in online sales. We took the opportunity to rethink retail afforded through speculating on the loss of a high-profile anchor store at the Westfield Doncaster shopping complex in greater Melbourne, Australia.

I would like to congratulate and thank this generous and tight-knit group of students for their unwavering commitment and engagement in the program over the past year. To the four students graduating at this time, I wish you all the very best for a successful future. I would also like to take the opportunity to thank the staff who have participated in the teaching and development of the program – Anthony Fryatt, Adam Nash, Suzie Attiwill, Ying-Lan Dann, Kate Geck and Andy Miller. Thanks also to our partners Bates Smart (Michelle Skinner), City Harbour and Scentre Group (Rebecca Burk) for the encouragement and support over the year.

Dr. Roger Kemp,
Program Manager, Master of Interior Design