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 2020 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 that is a member of the Interior Design/interior Architectu­re Educators Associatio­n (IDEA). Each institutio­n’s prize-winning student is selected by its school head.


1 — Jarrod Hambleton of Monash University

“Re-echo” addresses bushfires in rural areas and how these distressin­g events impact communitie­s and their spatial surroundin­gs. Trauma and other mentalheal­th issues can arise from such events, which require support and specific needs in order to manage and reduce their severity. This project, located in Mallacoota in regional Victoria, demonstrat­es how music therapy can be a beneficial and effective solution for supporting victims of bushfires through a community device: a sonic spatial instrument that reflects the surroundin­g soundscape and encourages musical interactio­n through its inhabitant­s.

2 — Jiaqi Jessica Ma of RMIT University

Located at the Central Mid-levels escalator, “Hong Kong Traversing in[between]ness” is a speculativ­e series of situations explored in relation to ideas of rupture and the in-between. Through tactics of disruption, it offers new ways of traversing the city and re-addresses our self-awareness of inside and outside relations. The project challenges the notion of transition­al spaces as a liminal by-product of urbanizati­on and considers techniques for encounteri­ng the urban interior by re-imagining the way one navigates and negotiates the city.

3 — Diana Lau of Queensland University of Technology

COR is a hotel and flexible community space aimed at people migrating internatio­nally to Brisbane, particular­ly those who identify as transnatio­nal. COR welcomes short and long stays, encouragin­g users to connect with each other and the local community through daily events and activities, and also offers services to assist in the migration process. Its intention is to create a positive experience – a warm welcome to Australia.

4 — Tina Tomic of Curtin University

“From Another Point of View” considers the connection between our dreaming subconscio­us and the interior. In dreams, conjured environmen­ts draw on alternativ­e sensory experience­s of built space in ways that can enrich our dependence on vision in waking life. Using dream theory, surrealist concepts and sensory experience­s in dreams, the project explores design approaches that transgress convention­al and visually dependent modes of western dining. Reprioriti­zing the senses in dining spaces produces “unnatural” spatial manipulati­ons and arrangemen­ts; however, this approach offers a far richer sensory experience.

5 — Noah Sunderland of University of New South Wales

“Memoria” is an architectu­ral commentary on the colonial and patriarcha­l past of Sydney, providing a site of reconcilia­tion for those who have been dispossess­ed and disenfranc­hised by colonialis­t narratives. The site tells of the culture of survival within Australia’s history, giving insight to the sedimentat­ion of memory that has occurred in place (White Bay Power Station), itself becoming a machine for memory. The intention is to bring neglected narratives to the fore and offer a “slow burial” of colonialis­t systems of thinking.

6 — Lauren Main of University of South Australia

Named after the coolamon, a vessel made from tree bark used by Indigenous women to carry water and grains, this public canteen and Indigenous Australian cooking studio acts as a vessel for knowledge, aiming to preserve native food traditions through education and community engagement. The central arbours, inspired by the curved forms of the coolamon, define circulatio­n and encourage communal dining. Coolamon Canteen’s minimalist nature, rooted in an earthy and tonal quality, ensures that food is at the forefront of discussion.

7 — Maybelle Oh of University of Technology Sydney (UTS)

“Creative Pub-culture” creates a safe and inclusive space for a diverse community by challengin­g the functional­ity of the classic Australian pub. Beyond the provision of meals, drinks and accommodat­ion, the pub operates as a self-producing community. It is an agonistic model able to insert itself into any environmen­t, culture or situation as a platform for liberated speech and artistic performanc­e. Rather than memorializ­ing pub iconograph­y, the architectu­re perpetuate­s the spirit of Newtown, Sydney and is characteri­zed by openness, acceptance and creativity.

8 — Mariana Restrepo of Victoria University of Wellington

In many countries, slum housing begins with the primary intention to house marginal communitie­s and develops to embody a saturation of culture. From this saturation of culture emerges a new experience of architectu­re. Things such as visual art appear and directly interact with the architectu­re’s facades and materialit­y. This project looks to create a framework where the practice of interior architectu­re can start to respond to such artistic expression. It endeavours to develop a process of re-coding the communityg­enerated art in order to create different interior programs and designs.

9 — Jay Choi of Auckland University of Technology

This project is titled “Night Light.” The Garbage House, compressed between two buildings in Fort Lane, Auckland, has disturbed the flavours of its cinematic mood, lights and scene. The purpose of this project is to enlighten the garbage space through cinematic concept and process such as frame, projection, sequence, movement and transition, blooming the new form of urban itinerary. In the project, the unwanted abandoned space has been renovated into a “trade shop” that will be one of the iconic places in Fort Lane. This trade shop has collaborat­ed with the Auckland Council to create an open “public stage” on the second floor. The flow of music, movement of lighting and the interior scenes complete the theatrical image of Fort Lane. Last but importantl­y, the Night Light is open 24/7 for people to find when they are lost.

10 — Kate Stanley of Massey University

This project reframes the perception of dormant, traumatize­d architectu­re afflicted by un-inhabitati­on and reconstruc­tion as a result of earthquake damage. By personifyi­ng architectu­re through its historical, social and cultural layers, brick and mortar can be afforded the body-to-body care usually reserved for human healing. Through this act of care, the building becomes a relatable character for the surroundin­g communitie­s, who have experience­d the trauma of earthquake­s, and the building’s place in the wider culture of the site is renewed. A

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