Artichoke Magazine Prize
The Artichoke Magazine Prize is awarded annually to interior design/interior architecture students who demonstrate excellence in the visual and written communication of an interior design proposition. Here we present the 2019 winners.
The Artichoke Magazine Prize for design communication is awarded to one graduating student from each institution in Australia and New Zealand that offers interior design/ interior architecture degree courses, and which is a member of the Interior Design/interior Architecture Educators Association (IDEA). Each institution’s prize-winning student is selected by its school head.
IDEA — idea-edu.com
1 — Laychheng Lim of University of Technology Sydney
“Millenial Farmers” addresses social issues of the post-industrial city by combining traditional farm-to-table practices with the formalism of factory interiors. Visitors experience food production and consumption in the three-layered interior, moving through farming and cooking environments and ending in the dining area. This visual performance creates a theatrical experience, encouraging visitors to develop healthier eating habits, closer community engagement and a greater awareness of sustainable farming practices in the city.
2 — Lana Jones of RMIT
“With In Country” is an interior practice that positions interiors as confluences of conditions, whose spatial hierarchies can be deconstructed to inform future urban interior designs. Through a study of 81 locations in Melbourne, ten spatial designs within the Hoddle Grid are proposed. Current and historic conditions are understood through time spent on site and intensive research periods. The project reorganizes current hierarchies at play, foregrounding disregarded (non-colonial) conditions in order to provide new potentials of experience.
3 — Emma Grana of UNSW Sydney
This project aims to capture the surreal power of the unconscious imagination through the power of narrative, expressed through an impossible architecture. Emma has proposed a museum for all, a vehicle for two-way participation that is inclusive of its community both near and far. This collective museum is an urban infrastructure driven by social and economic responsibility – a space willing to give something back to the environment and the community.
4 — Sophie Harkness of Massey University
“The Rural Idyllic” explores the construction of New Zealand rural myths. It takes the tourist gaze as a starting point, and examines how ideas are constructed and landscapes are framed through the views of the moving car. A proposed spatial experience, along State Highway One in Hunterville, seeks to open up rural experiences to the urban dweller. A series of immersive installations challenge narrative constructs around stereotypes, the rural ideal and environment. These installations aim to start conversations and strengthen relationships between rural and urban New Zealanders.
5 — Anne Wagner of Monash University
Places that previously gave solace are in the process of being destroyed. Responding to rising eco-anxiety, “Refugia” explores speculative design, blurring the line between present and future predicaments, suggesting reality is the responsibility of the imagination. As an emerging spatial practitioner, I gave space to myself to explore what is possible in space through auto-psycho-ethnography (the study of an imagined self by the self). “Refugia” emerges as a reflection, projection and product that choreographs my existence in the world as interior.
6 —Felicia Spadavecchia of University of South Australia
“The Peak” is a restaurant design focusing on the finer details for a fine dining experience. Custom-made lighting and booth seating exuberate the delicacy and layers of a lemon meringue pie, the main source of inspiration for this interior. The restaurant provides its patrons with various visual and atmospheric encounters, while ensuring that the inherent beauty of the site was kept intact.
7 — Kate Becker of Curtin University
This design is an investigation into the notion of architectural porosity as a way of connecting people to place within a hotel environment in Sri Lanka. It addresses the ideas of storytelling, social responsibility and site interaction through establishing a journey from exterior to interior. Through tactile transitions, deliberate moments of tensions and a central connecting water body, the project draws upon Sri Lankan traditions to gain insight into how tourist accommodation can satisfy, and exceed, both tourist and local cultural needs.
8 — Zeenia Irani of AUT University
“Un/making Home” investigates placemaking as a daily practice of domestic rituals. Zeenia’s family ritual of breadmaking has been translated as a series of intimate encounters performed slowly. The project retraces my personal history and my family’s migrations to understand these habitual everyday domestic rituals. The creative and contextual research unfolds as a series of processes, as set out in the recipe for Persian flatbread nan-e bari: To Sift, To Fold, To Knead, To Rise, To Cut and To Burn.
9 — Brad Wyatt of Victoria University of Wellington
This design research project explores how to extend the flexibility of a typical 1960s open-plan office building. Through the use of cross-programming, the building now works along a twenty-four-hour timespan. Housing a co-working office, a community space and a night shelter, the building models a more efficient use of office space within our central cities. A focus on the individual allows a meaningful connection to the space and to others through parallel design interventions that operate as desks and as sleeping pods.
10 — Ben Burrows of Queensland University of Technology
“The Village” is an inclusive multi-use vertical village that reconceptualizes the existing narrative of the Brisbane urban environment and allows for queer people to connect to create a sense of community. The proposal of a podium-level museum and nightclub is conceptually driven by the queer embodied experience itself. A narrative of veil, queer, mirror, closet, bedroom and city is imposed on the building through the insertion of spatial devices. The journey takes precedence over the individual components of each space. A