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.
IDEA — idea-edu.com
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