SOAD handbook

10

TE WĀHANGA WAiHANGA-HoAHoA

FAculTy oF ArcHiTEcTurE ANd dEsiGN

1 Architecture and Design 2010

Contents

FaCulty oF arChiteCture and design Te Wāhanga Waihanga-Hoahoa 139 Vivian Street, Te Aro Campus, Wellington 6011 Phone 04-463 6200 Fax 04-463 6204 email [email protected]

[email protected] www.victoria.ac.nz/architecture

www.victoria.ac.nz/design

Front Cover: Fourth-year design studio project by final-year architecture student Laura Tindall inside Cover: Digital Media student Sam van Bussel completed his project Light and us as part of the Sonic Fusion brief in the Audio Visual Space elective. Students were required to embed custom-made piezo disc microphones, speakers and other electronic components, into a sound emitting project. Ian Rouse and Jessica Castle look on and listen

imPortant notiCe

Victoria University uses all reasonable skill and care to ensure the information contained in this document is accurate at the time of being made available. However, matters covered by this document are subject to change due to a continuous process of review, and to unanticipated circumstances. The University therefore reserves the right to make any changes without notice. So far as the law permits, the University accepts no responsibility for any loss suffered by any person due to reliance (either whole or in part) on the information contained in this document, whether direct or indirect, and whether foreseeable or not.

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2A Focus on Sustainable Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4School of Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Overview of the 3+2 Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 New Bachelor of Architectural Studies Programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Bachelor of Building Science Programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Master’s Degree Programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Architecture History and Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Interior Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Landscape Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Bachelor of Building Science . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37School of Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Bachelor of Design Innovation and Master of Design Innovation . . . . . . . . . . . . . . . . . . 46 Teaching Programmes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 First-year Design Programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Culture+Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Industrial Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Media Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 International Opportunities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74 Current Research in the Master of Design Programme. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Industry Partners and Collaboration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Support and Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Vic OE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Scholarships. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Advice and Further Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

2 Victoria University of Wellington

introduCtion

At Victoria the connections between architecture and design are numerous. We enjoy the advantages and synergy of having many related disciplines under one roof.

Victoria’s Faculty of Architecture and Design occupies a central city location just off cosmopolitan Cuba Street. We offer world-class exhibition spaces, lecture theatres, workshops, computer labs and design studios. Our location means we are able to easily engage working practitioners in our teaching environment—the highest number of all disciplines in the University.

We currently offer degree programmes in Architecture, Building Science, Culture+Context, Industrial Design, Interior Architecture, Landscape Architecture and Media Design.

The new look Bachelor of Design Innovation (BDI) degree enables students to specialise in one of three areas: Culture+Context, Industrial Design and Media Design. The new degree offers students the opportunity to combine their studies with a minor as an elective bonus except for Culture+Context students for whom it is required. The minor can be from such disciplines as Psychology, Cultural Anthropology, Marketing, Māori Studies, Pacific Studies, Writing, Film or Media Studies.

The BDI will begin offering 200-level courses to second-year students in the 2010 academic year, gradually phasing out the previous Bachelor of Design programme. The School of Design will also commence the Master’s of Design Innovation (MDI) in 2012.

In 2010, the School of Architecture will offer the three-year undergraduate Bachelor of Architectural Studies (BAS), followed by two-year Master’s degree programmes. The BAS enables students to specialise in one of four areas: Architecture, Interior Architecture, Landscape Architecture and the new specialisation Architecture History and Theory, which replaces the Architectural Studies major within the Bachelor of Arts programme.


The changes to the degrees offered by the Faculty are based on the international two-tier model, culminating at Master’s level. Our programmes address the growing need for cross-disciplinary study and will provide greater capabilities for the professions our graduates enter, and better prepare them for the increasingly complex society they will engage with.

Exploration is an important part of the Faculty’s values and activities. The possibilities of discovery and invention are exciting and vital. Academic staff and senior students are involved in cutting-edge research of stimulating and diverse topics within design, architecture and building construction performance, in facilities that are amongst the best in the Australasian region.

opposite page: Te Aro Campus, Wellington

right: Student exhibition in the Faculty of Architecture and Design atrium


a FoCus on sustainable design

Sustainability is featured extensively throughout the Faculty of Architecture and Design.

We are one of only a handful of institutions nationally with such a strong focus in sustainability incorporated within our teaching programmes.

In the School of Architecture:

close to 40 percent of staff, including several recent staff ͠appointments, have sustainability specialisations or have strong sustainability credentials

a specialist sustainable architecture course has been offered ͠for the past 10 years, and in 2008 more than 50 percent of second-year architecture students elected to take this course, increasing from 30 percent of second-year architecture students enrolled in 2007

an Introduction to Sustainability course was introduced ͠as an elective course for first-year students in 2009, and will become a core course for students enrolling in the new Architectural Studies programme in 2010

a sustainable engineering systems specialisation is being ͠introduced as part of the new Building Science degree programme

sustainable construction is incorporated into all three levels ͠of the construction studies courses in both Architecture and Building Science

sustainability is integral to the Landscape Architecture ͠programme, and

urban studies courses which emphasise designing for ͠sustainable communities.

In the School of Design:

the Industrial Design programme features a sustainable ͠material use component, and

the Design Led Futures programme seeks to mitigate ͠greenhouse gas emissions.

In the Faculty as a whole:

postgraduate student numbers have grown considerably ͠over the past three years, and are expected to rise with the implementation of the new Architecture and Design degree programmes; more than 50 percent of these Master’s and PhD students are engaged in research that is related to aspects of sustainability in the built environment

research being carried out by Faculty staff and postgraduate ͠students includes: reuse of buildings; deconstruction; well-being/health/productivity; bio-mimocry and bio-inspired design; regenerative design, climate change, carbon neutrality and ‘zero’ energy buildings; waste reduction in the built environment; day lighting; embodied energy; sustainable urban design; sustainable design decisions; passive solar houses/commercial properties; modelling performance; sustainable construction; and sustainable building rating tools.

opposite page

top left: Work completed by architecture student Beth Cameron

top right: Student work by Hanna O’Donoghue in her second-year design studio

bottom left: Graduate Andrew Just’s final-year studio work, Biomimicry and Skyscrapers, NZIA Finalist

bottom right: : Balanced Pause in a State of Flux, final-year thesis by interior architecture student Daniel Cole. Re-design of Victoria University, Faculty of Architecture and Design



As designers and makers of our physical and material world, landscape architects, architects, interior architects and building scientists are at the leading edge of the environmental and social challenges of the new century. Among the most pressing of these are climate change, urbanisation, energy conservation and social and cultural equity. The demands are now of such a magnitude that the professional silos of the nineteenth and twentieth centuries are no longer adequately configured to deal with the new scales and complexities of environmental design. A collaborative professional approach is urgently required and universities must respond by providing the best interdisciplinary education available. To this end the School of Architecture at Victoria University is structured to incorporate programmes in Architecture, Architecture History and Theory, Interior Architecture, Landscape Architecture and Building Science.

Architects imagine, create, design and build awesome public places, homes, workplaces and spaces of cultural and spiritual significance. They take our breath away with magnificent enclosures and design and build our cities of the future. Interior architects will make and embellish our spaces and interior worlds; they paint our places with light, wash rooms and sequences of space with colour, embroider surfaces with texture and exquisite materials and craft, fabricate and design the artefacts of everyday life. For landscape architects the canvas is made up of terrains and ecologies from the mountains to the sea, from gardens to parks to waterfronts to urban and rural landscapes. They design and repair the natural and ecological systems of which human habitation is one aspect. Building scientists will invent and apply the science of building technology to solve the most pressing issues of contemporary habitation and create a liveable and sustainable world. They will manage the complex projects which will achieve this. All these people will graduate in a post-recession world and will lead us into the future.

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overview oF the 3+2 Changes

The professional degrees within the School of Architecture have been restructured to align with international standards. From 2010 all disciplines are introducing a three-year undergraduate degree followed by a two-year Master’s degree, rather than four- or five-year Bachelor’s degrees. As a result of their rigorous and specialised education our graduates will be ready to take their place as leaders of local, regional and international practice. Victoria University is uniquely positioned to offer these opportunities, and carry the responsibility of educating future design professionals from a position of unique cultural and creative capital that is at the core of New Zealand tertiary education.

these pages: First-year architecture student projects created in ARCH 111 Architectural Design studio course. These projects explore the architectural elements and issues including: surfaces, structure, facades, symbolism, visual and aural properties in spaces. Design ideas are developed using carefully crafted drawings, three-dimensional models and other interpretations of environmental qualities


new baChelor oF arChiteCtural studies Programme

year oneThe Bachelor of Architectural Studies (BAS) is a three-year undergraduate degree offered in four specialisations: Architecture, Architecture History and Theory, Interior Architecture and Landscape Architecture. The first year is a common year in which design, technology, environmental studies and communication practices are studied in the context of all five disciplines offered within the School: Architecture, Architecture History and Theory, Interior Architecture, Landscape Architecture and Building Science. These courses give an overview of design knowledge for the built environment and introduce concepts, vocabularies and skills in an interdisciplinary context.

years two and threeStudents then select one of the BAS disciplines to specialise in. The second year is discipline-specific, inclusive of technological, theoretical and design subjects which relate to the chosen specialisation. The third year reintegrates the disciplines and offers a richer and more complex and interdisciplinary approach. This degree alone does not qualify students for professional registration and would lead to a career as a technician rather than a professional architect or designer.


baChelor oF building sCienCe Programme

The Bachelor of Building Science (BBSc) has a first year which is similar to the BAS but at second year students choose a specialisation in either Project Management or Sustainable Engineering Systems. A Project Management specialisation focuses on building project delivery mechanisms and human and material management systems involved in procuring large, complex infrastructure, engineering and building projects. A specialisation in Sustainable Engineering Systems would lead to expertise in the science, simulation, design, assessment and fabrication of technical systems in a range of environmental and natural resource projects, including buildings.

Buildings are a big part of our lives. Their quality is vital to our economy, our lifestyle and our environment. Building scientists contribute to the development of more enjoyable, safer, stronger, healthier, more comfortable, more durable and more sustainable built environments. They understand the human, environmental and construction issues in buildings.

Building Science has been taught at the School of Architecture since 1975, and the University is an international leader in the field. In the past 10 years, the Building Science curriculum has evolved into the country’s leading programme devoted to the science of building construction and practice.

The first year of the programme consists of seven introductory courses that lay the foundations for the following years, plus an elective course of your choice. Two technically orientated courses focus on the technologies inherent in today’s buildings and sustainability. Four others cover basic aspects of design and its history and theory. They will introduce you to the world of architecture in which building science plays such an important role.

In the following two years you will study core Building Science topics, including construction, structures, environmental science and systems and management. Depending on your choice of courses you will specialise in one or both of Sustainable Engineering Systems and Project Management. At the end of three years’ study you will have knowledge and skills to either begin a satisfying career in some aspect of the building industry or to continue your study in the two-year Master of Building Science programme.


master’s degree Programmes

The two-year Master’s degrees in Architecture, Building Science, Landscape Architecture and Interior Architecture prepare students for professional careers. The entry requirement is a ‘B’ average in core subjects in years two and three of the undergraduate degree. Year four is a consolidation and integration of previous knowledge gained in design, technology, environmental studies, communication practice and

Architecture

BAS year one

BAS (Architecture)

MArch(Prof ) Master of Architecture (Professional)

Architecture History and TheoryBAS

(Architecture History and Theory)

PGDipATH Postgraduate Diploma in Architecture History

and Theory

MArch(Prof ) Master of Architecture

(Professional)

Interior ArchitectureBAS

(Interior Architecture)MIA

Master of Interior Architecture

Landscape ArchitectureBAS

(Landscape Architecture)MLA

Master of Landscape Architecture

Building Science BBSc year oneMBSc

Master of Building Science

specialisationyear of study

one two three Four Five

summary oF study oPtions

professional and business studies as a precursor to professional practice. Research methods are taught to prepare students for a Master’s thesis in final year. Final year involves a major design thesis which tests a research proposition and demonstrates a degree of academic rigour and professional specialisation prior to graduation.

BBSc

Project Management

Sustainable Engineering Systems


Architecture graduate Andrew Banks’ final-year project, Dissolving Theatre, NZIA Finalist


arChiteCture

Programme overviewArchitecture is the most public and tangible of the arts. In addition to serving basic human needs, it is capable of lifting the human spirit to the highest level. People are constantly making and re-making their world either to facilitate activities or to express individual and cultural identities. Architecture captures the full complexity of this human endeavour. History, technology, communication, management and of course design all contribute essential skills and knowledge to the discipline. For this reason, architecture is one of the few professions which still demands a ‘generalist’ education. At the same time, architecture provides specialised conceptual tools and practical skills which differentiate architects from other professionals. Principal among these is an ability to think visually and three-dimensionally, particularly in relation to spatial subjects. Accordingly, the School’s Architecture programme combines core skills such as 3-D representation and design with breadth of knowledge in a range of relevant subjects. This combination prepares graduates for effective practice, critical thinking and leadership roles in their future profession. However, your architectural education will not finish with the receipt of a degree. There is no end to the world-making possibilities and outcomes for architecture. Studying and practising architecture is a rewarding life-long journey.

Career oPPortunitiesThe Architecture programme—BAS(Architecture) and MArch(Prof)—comprises five years of full-time study and provides students with the skills, practical knowledge and theoretical approaches required in the architecture profession. Many students who enrol in the Architecture programme will move onto a satisfying career in mainstream architecture in a private practice or as an employee in a firm or government

organisation. However, because an architect’s skills and training are so broad, there are also many opportunities in careers outside mainstream architecture.

These include:

urban planning/urban design ͠

interior design ͠

environmental design ͠

stage/movie set design ͠

property development ͠

project management ͠

construction management ͠

facilities management ͠

teaching ͠

research ͠

construction law ͠

building conservation ͠

international aid. ͠

The MArch(Prof) is recognised by the New Zealand Registered Architects Board (NZRAB) as fulfilling the academic requirements for registration to practise as an architect. A period of practical experience (usually between two and three years) is prescribed by the NZRAB prior to registration. This culminates in the Board’s examination of an individual’s professional competence. The Commonwealth Association of Architects (CAA) also recognises the School of Architecture and member countries accept the MArch(Prof) from Victoria University as fulfilling their academic requirements for membership and registration. This acceptance is subject to some local requirements for evidence of course work and practical experience.


exPressive seashore house wins the 2008 sPring arChiteCtsJury ComPetitionBudapest, 25 June 2008

Based on five months of voting by the community of ArchitectsJURY.com, the ‘JURY’ selected the waterfront house project from Aotea, New Zealand, as the winning entry. The project was designed in ArchiCAD by David Chisholm, who is currently studying architecture at Victoria University of Wellington.

“I strongly believe in sustainability, and that buildings should excite and inspire their users, not just on an intellectual level. Too often I hear architects and students justify their designs with abstract theoretical jargon that is aimed at other architects, rather than the real users (or victims) of their architecture,” said David Chisholm. “I have been enjoying using ArchiCAD for several years now and was interested in seeing how my work down here in New Zealand compared internationally.”

The intention of the designer was to create “a house with a rustic timber form which climbs gradually out of the eroded landscape, forming a defensive stance against the aggression of the sea, with its cantilevered watchtower-like master bedroom, fort-like cladding and imagery of a coastal embattlement. At the same time, the building is in battle with itself, its two forms intertwining and distorting one another. The (natural) timber form overtakes and engulfs the (man-made) zinc-clad form perched lightly on the site, symbolizing the struggle between man and the elements.”

To see and read more about the winning entry, and for more renderings and plans, visit www.crescendo.net.nz/arch

About ArchitectsJURY

This Web 2.0 community site was launched by Graphisoft in 2006 to enable students to share their designs and get feedback from their peers on a global basis. Anyone visiting the site is offered a unique series of design works to vote on. Visitors can also give comments and discuss design issues of the published works at http://architectsJURY.com

opposite page

left top: Design elevation drawing by architecture graduate Lucy Feast

left bottom: Fourth-year design project by architecture student Suhana Suliaman Nasir

right: Architecture graduate and NZIA Finalist Andrew Just’s final-year exhibition in the Faculty of Architecture and Design atrium



John hardwiCk-smith miChael hannaway

arChiteCture and building sCienCe graduateJohn Hardwick-Smith has completed a double degree in architecture and building science from Victoria. John had grown up on the land and previously studied agriculture. He became interested in pursuing studies in the built environment, in particular ideas of human interventions in both urban and natural landscapes.

Our programmes developed John’s insight into how people interact with the environment and provided him with the perfect introduction to the Building Science degree programme.

Coming to Victoria offered John the chance to meet some interesting and committed people: “They introduced me to new ways of thinking and questioning things from an architectural perspective. I learned that you must keep questioning the relevance of everything you do—while it’s a good time to explore theoretical ideas, it’s also worth having a go at real issues and situations.”

John advises prospective students to take advantage of the University’s services in as broad a way as possible and to interact with the city.

“Studying here gave me the chance to interact with Wellington. The harbour here is one of the country’s few good urban waterfronts. I’ve had the privilege of being involved in quite a lot of design work in that vicinity.”

arChiteCture and building sCienCe graduateWhen Mike Hannaway graduated in 1987 the share market had just crashed, similar to the economic issues facing the world today. He was fortunate to get a job with a small Wellington architecture firm. Mike was given a lot of responsibility for project supervision and working in a small practice was a fabulous way of learning. He really enjoyed being on building sites, understanding problems and solving them.

After working as an architect for more than 10 years Mike found that he really enjoyed ‘making projects happen’ rather than responding to the direction of others, be they clients or other consultants. The industry was maturing and a new participant was gaining more prominence—the project manager. It was the project manager that was becoming the influencer and the people taking this role were often engineers or quantity surveyors. Mike thought architects should be good at this.

At this time Mike remodelled his career to become a project manager: “I was doing a lot of the same things I did before, just a little differently,” he says. He worked for a firm managing a lot of small projects before taking a project management role where he started to work on some large projects as a development planner. This involved finding a site, market analysis, design management, and business case and feasibility planning.

“After six years heading in this direction it was ironic that my architecture background won me the opportunity to work on some really great projects. I was the project manager for Waitangi Park in Wellington, the largest urban park in New Zealand. I got this role because the project had a focus on producing a high-quality outcome and the client wanted a project manager who was able to appreciate and relate to this objective and work with the designers to achieve it,” Mike says.


Mike’s current role as a senior project manager for the Department of the Prime Minister and Cabinet involves managing the conservation of Government House: “This project is fascinating and has really enabled me to ‘make a project happen’. When we started three years ago the Department knew they had to so something but weren’t sure what,” Mike says. His role has been to actively guide the project in obtaining approval and sourcing funding.

Mike is attracted to architecture and the building industry because “you can really gain a sense of achievement, you are putting things in place”. “My last two projects will long outlive me,” he says.

above: Mike Hannaway on site at Government House

right: Lyn Lye water sculpture opposite Frank Kitts Park, Wellington


PhiliPPe CamPays

leCturer in the sChool oF arChiteCtureNDAET, Architecte DESA (Paris), MArch, Auck Registered Architect, ANZIA

Philippe Campays has 20 years’ experience as a practising architect and has been a full-time academic for three years. His professional architectural work has taken him all over the world, from cultural research in East Africa, to resort projects throughout the Pacific and residential and commercial work in Australasia.

To Philippe, architecture is more an art than a science. The enormous force of creativity within architecture inspires him: “Due to the constantly evolving nature of architecture it is vital that learning, research and practice intersect and complement each other,” he says.

The exchange of ideas with disciplines outside the field of architecture allows students to see the familiar in quite unfamiliar ways, providing new insight and offering fresh perspectives. Such cross-disciplinary ideas led Philippe to initiate the work Somatic for second-year Interior Architecture students. A collaborative work with students from the New Zealand School of Dance, Somatic explored the boundaries of design, performance and dialogue. This assisted students’ learning of space and its relationship to the body: “It worked on a physical, emotional and spiritual level,” says Philippe, “and helped us to define the nature of interior architecture.

“University lets us explore and test ideas. Students need to make sure that they study what they enjoy and enjoy what they study. Find your passion and follow your dream.”

right: Somantic, a collaborative work by second-year interior architecture and performing arts students from the New Zealand School of Dance


simon twose

senior leCturer in the sChool oF arChiteCtureBArch(Hons), Registered Architect, ANZIA

Simon Twose runs his own architectural practice in Wellington. He has worked on a range of projects from the civic scale, such as the Auckland Museum, to various residential scales, to the detailed level of furniture, objects and exhibitions.

Simon’s current interest lies in architectural practice as an experimental activit: “Broadly, I’m interested in connections between practice and theory, building and concept,” he says.

However, the essence of what first attracted him to architecture still remains: “Having things that are not there become there, the sense of the intangible becoming tangible, is something I enjoy. I still enjoy the process of making stuff. Seeing a scale model become a building is fantastic!”

Teaching has allowed Simon to combine theory with practice: “Teaching and practice are complementary. Having both worlds inform each other provides creative friction and gives us the chance to question what architecture is, how it is thought of and how thinking is constructed.”

“Architecture,” Simon says, “can accept a broad range of interests. In fact, architecture is best when it incorporates all strands. This allows students to shape their interests in architecture around what drives them most.”

right: Architectural building project by Simon Twose



arChiteCture history and theory

Programme overviewArchitecture History and Theory is a new specialisation introduced as part of the Bachelor of Architectural Studies (BAS).

This specialisation sets its lens wider than the professionally orientated architecture degree programme. It focuses on the historical, social, political and critical contexts of how and why we design buildings and spaces.

Students within this specialisation will share the same courses as those studying in Architecture, Building Science, Interior Architecture and Landscape Architecture. This will provide a unique opportunity to draw from all surrounding disciplines encompassing the built environment.

This interdisciplinary approach aims to link all aspects of architecture to the rest of culture. The course offers the opportunity to investigate every kind of inhabited space—from buildings, to streets and landscapes.

Architecture History and Theory presents a range of lecture-based courses on historical and theoretical topics, which make fresh analyses of architectural, archaeological and historical material. This enables students to conduct a comprehensive piece of research of their own choice and definition. Great importance is placed on originality of information uncovered, the creativity of the interpretations made and the rigour of the methodological procedures adopted.

The specialisation is structured with flexibility to suit differing aspirations. You can pursue any architectural passion from the skyscrapers of 1900s New York to the shaping of the ‘New World’ societies in the American West, Australia and New Zealand.

This specialisation is also available as a major for students studying within the Bachelor of Arts degree, replacing the previous major in Architectural Studies.

Career oPPortunities Architecture History and Theory comprises three years of full-time study and provides students with historical, social, political and critical contexts of the built environment. Graduates can also pursue further studies in our one-year Postgraduate Diploma in Architecture History and Theory (PGDipAHT).

There are many opportunities for students studying in Architecture History and Theory to pursue various careers. These include:

architectural conservator ͠

archivist ͠

critic or writer ͠

curator ͠

historian ͠

librarian ͠

museum researcher. ͠

opposite page: Samuel Fastier’s work completed for ARCH 412 Architectural Design Studio



interior arChiteCture

Programme overview Interior Architecture at Victoria is a three-dimensional discipline encompassing space defined by the language of architecture, as well as a four-dimensional discipline encompassing the elements of time and perception.

The Interior Architecture programme encompasses not only the design of residential, hospitality, commercial, cultural and institutional spaces, but also furniture, performance, installation and exhibition design. Our aim is to prepare students for leadership roles in the discipline.

Students are trained to take a strong personal position in relation to design and to develop an experimental product of discovery based on reflective analysis of the implications of that design position. Students are taught to explore how time, movement and perception challenge presumed boundaries between the pragmatic and the theoretical, and even between the habitable and the mythological.

As a provocative means of design expression, Interior Architecture at Victoria challenges not only ideas about traditional architectural envelopes, but also our interactions with urban space, landscape space, performance, installation and exhibition space—inside, outside and in between. It also examines, interprets and applies concepts taken from related realms such as psychology, philosophy and sociology.

Interior Architecture can embrace the full range of human perception, from touch, sight and smell to emotion, memory and ritual. Interior Architecture at Victoria is therefore intimately concerned with people and their physical, cultural and emotional environments. It reveals and celebrates the multiplicity of space, opening up an expansive world of possibilities.

Career oPPortunities Victoria’s Bachelor of Architectural Studies (Interior Architecture) and Master of Interior Architecture degrees are internationally recognised through their affiliation to the International Federation of Interior Design/Architecture (IFI).

Our Interior Architecture graduates often become specialists for interior design firms and architecture firms, and in the interior divisions of large multidisciplinary specialist design firms. Our graduates also have career opportunities in retail design and lighting design. Many specialise in exhibition and furniture design, and even set design for theatre and film productions.

left: Breaking the Fourth Wall, final-year thesis by graduate Tiew Tung Ting


adam alexander

master’s student in interior arChiteCtureAdam Alexander is currently completing his Master’s degree in Interior Architecture. His thesis Substations was awarded a $2,000 scholarship that enabled him to travel to Rome for five weeks to collaborate with an internationally renowned installation artist.

No stranger to success, Adam was awarded the NZIOB (New Zealand Institute of Building) Student Achievement Award for his final-year thesis in Interior Architecture and has also received the top prize offered by the New Zealand Historic Places Trust.

The variety of study techniques Interior Architecture offers, in addition to the wide range of career paths it presents,

impresses Adam: “We are exposed to a wide and varying range of inspiration, particularly from sources outside the fields of architecture and design, such as literature, fine art, music and philosophy.”

While Adam’s studies have involved a lot of hard work, he says it is all worth it: “I enjoy the satisfaction felt after spending many a sleepless night slaving away on a design and having it pay off, and the many laughs shared in the studio.”

The former Aucklander, who now calls Wellington home, plans to relocate to New York upon completion of his Master’s degree to continue working within the field of installation art. He has this advice for those thinking of following in his footsteps: “Follow your true passions in life, experiment as much as possible, as soon as possible, and don’t forget to have fun doing what you love. Architecture and design aren’t degrees, they are a lifestyle. So live it up!”

above: A Silo for Shadows—Half Open Men, final-year thesis by student Adam Alexander

left: Adam researching Substations while on postgraduate research in Rome, Italy


nazia kaChwalla

interior arChiteCture graduateNazia Kachwalla (right) is a recent graduate of our Interior Architecture programme who has been recognised in New Zealand and abroad for her final-year thesis Museum of Ephemera. She is also currently completing her Master’s degree in design/architecture.

Most recently Nazia’s final-year design research thesis won first place in the Interior Design category of the 2009 Australasian Student Design Awards in Melbourne, as well as the 2009 ASDA Overall Award for Excellence in all categories.

Her thesis was also awarded the NZIOB (New Zealand Institute of Building) Student Achievement Award ’08, and the distinguished DINZ (Designers Institute of New Zealand) Gold BeST Design Award ’08. At the DINZ BeST Awards 2008, Nazia received the top gold award in Spatial Design, Student Category and $500 in prize money.

As a redesign final-year thesis for the Museum of Wellington City and Sea, her Museum of Ephemera challenged the new while taking into consideration the historic elements of the existing building. Not only were the historic elements of the building important as a driver for the design, but also the function of the building over the period of its history played an important role: the building’s historic use as a warehouse was one of the driving forces of the design.

Nazia retains her connections with the discipline and is currently tutoring in the School of Architecture after spending the past five months in Dubai and Sydney.

right: Museum of Ephemera, final-year thesis by graduate Nazia Kachwalla


assoCiate ProFessor daniel k. brown

interior arChiteCture Programme direCtorBA(Hons), Williams Coll, MArch, Yale, RA

Associate Professor Daniel K. Brown’s research for the past five years has openly challenged the presumptive definitions, prescriptions and limitations of interior architecture.

In new work in collaboration with American artist Kristin Jones in She-Wolves Trilogy, he explored and publicly evidenced how exterior architecture can be redefined as interior through use of projection, sound and reflection inhabited by history and mythology.

Trilogy was selected as the premier event to celebrate the birth of Rome. Daniel’s contribution to Trilogy, entitled Intermezzo, was performed in Rome from sunset until midnight on the anniversary of Rome’s birth in Rome’s most illustrious outdoor civic plaza, Michelangelo’s Piazza del Campidoglio (Capitoline Hill). Intermezzo evidences critical spatial transformation of an interior space.

The work inhabits the space with history and symbolism (the mythological she-wolf) and establishes interiority using projections onto the façade of Michelangelo’s Palazzo Senatorio. It was attended by around 3,000 visitors.

top: Concept designs for She-Wolves Trilogy

bottom: Intermezzo, She-Wolves Trilogy, Capitoline Hill, Rome by Daniel K. Brown


Jeni mihova

leCturer in the sChool oF arChiteCtureMsArch, Sophia, Bulgaria

Jeni Mihova came to New Zealand in 1992 after nine years’ professional practice in Bulgaria. She currently teaches a variety of courses, including History and Theory of Design, Communication Studies and Drawing for Design.

At present, Jeni is developing a series of educational games relating to the Acropolis and Parthenon temples in Athens. “The project’s aim is to present archaeological science as a contemporary educational instrument that facilitates an exciting and appealing form of historical enquiry for younger audiences.”

Jeni is also working on a book dedicated to the repatriation of sculptures taken from the Parthenon Temple. “For a long time the repatriation have been repetitive, they had invited no substantial development so far. My research has made me realise that whatever we do in life, we inevitably take a site and hence we are 'politically' involved by default”.

Jeni’s passion for history is unmistakable; she sees the future ‘as a past which has not yet happened’.

left: Acropolis, Athens 3D model in scale, laser cutting and engraving by Jeni Mihova and Matthew Fraser

right: Parthenon marbles book, laser engraving on matt board by Jeni Mihova:


nat Perkins

leCturer in the sChool oF arChiteCtureMTech(Hons) (ProdDev), Massey

With an academic and professional background in industrial, interior, product and furniture design, Natasha Perkins has 20 years’ experience in design and product development.

Recently, Natasha has focused on what she terms techno-craft, an interest in models that challenge existing structures and methods, one example being Ponoko.com. Ponoko is the world’s first personal manufacturing platform—an online community space for creators and consumers to use a global network of digital manufacturing hardware to co-create, make and trade individualised product ideas on demand.

In practice as Last Paddock Design, Natasha has consulted in the areas of product design and development, interior design, retail design and architectural product design with products ranging from stadium seating to library design and the development of branded furniture ranges.

Natasha enjoys the lively atmosphere of teaching in studio and seminar situations where discussions can challenge and investigate students’ ideas and thoughts.

Nat Perkins' award-winning Braille at Otago School of Medicine in Wellington


sam kebbell

leCturer in the sChool oF arChiteCtureBArch (First Class Honours), Victoria University of Wellington, Master of Design (Distinction), Harvard

Sam Kebbell teaches because he enjoys “asking the questions”. However, after some thought, he adds “but I think I probably love the responses to those questions even more”.

An internationally respected architect, Sam worked in New York, Amsterdam and Sydney before returning to Wellington to form the company Kebbell Daish with John Daish Architects.

Sam is enthusiastic about architecture and its importance to society: “Architects have a very direct effect on the world: we draw lines that become buildings. Those buildings define companies, families, cities, regions and countries.”

To Sam, combining his duties as a practising architect with his teaching duties at Victoria is something that comes naturally: “I love talking about buildings as much as I enjoy making them. I get a kick out of conversations turning into drawings, drawings turning into buildings and buildings turning into places that are valued enough to get another conversation going.”

He explains that research and exploration are as fundamental to architectural practice as designing buildings is to teaching in advanced studios: “For me,” he says, “it’s hard to imagine doing one without the other.”

Sam’s current research is focused on how social and cultural values are declared and questioned through form, space and atmosphere in contemporary architecture.

“We live in one of the newest civilisations on Earth and architects are charged with the responsibility of building it, turning our country’s beliefs into bricks and mortar. There is nothing I can imagine that is more challenging, more exciting and more rewarding than that.”

30 Victoria University of WellingtonCaption


landsCaPe arChiteCture

Programme overviewLandscape Architecture sits at the forefront of rising global interest in the environment, the sustainability of cities and the quality of urban life. As facilitators of change, landscape architects draw together diverse disciplinary interests in the creation of landscapes that are culturally, economically, socially and environmentally responsive. The programme’s vigorous interdisciplinary design culture promotes the skills and values necessary to practise as a landscape architect in a wide variety of contexts within this rapidly growing and pivotal field of the built environment.

Career oPPortunitiesLandscape architects work in private, public and academic organisations and typically collaborate with artists, ecologists, architects, planners and engineers to plan and design a wide variety of projects at regional, urban and local scales. These may include large-scale infrastructure projects and the rehabilitation and design of post-industrial and residual urban sites as well as parks, gardens and public open spaces.

urban design studio Opportunities for the integration of teaching across disciplines are widespread at the School of Architecture. In 2008, third-year landscape architecture and architecture students joined together in a design studio to work on a project that addressed place, community, activity, meaning, form and aesthetics in urban design. Students were asked to work collaboratively and prepare design concepts for a large area centred on Wellington’s Basin Reserve. The outcomes delivered integrated solutions for open space networks, transport routes, street typologies, built form, land use mixes, recreation space, community facilities and urban ecology. Following this collaboration, students developed, in detail, one part of their master plan, allowing them to explore the contingencies of detailed site concepts within the discipline of contemporary urbanism.

welComing visitors From Penn state Each year a number of students from Pennsylvania State University participate in an exchange with Victoria University. The exchange furthers discussion amongst all the students; the visiting students bring with them their own design vocabulary, precedents, design strategies and modes of working. Cross-pollination and collaboration amongst the students situates Victoria’s School of Architecture within a global dialogue focused on design and research.

left: Philip Belesky’s Mapping of the Kumutoto Wharf


moved to design: Collaborative design studio and PubliCation How can we assist the city to creatively adapt to the unpredictable cluster of environmental impacts likely to occur as a result of climate change?

This question forms the focus of a collaborative publication, MOVED to Design, co-authored by Penny Allan, Programme Director of Landscape Architecture at Victoria, and Cath Stutterheim, Lecturer in Landscape Architecture at the Royal Melbourne Institute of Technology (RMIT), Australia.

Student proposals developed during intensive design studios form the focus of this book. The projects from Victoria focus upon the existing and projected condition of four low-lying coastal sites in Wellington. The proposals consider the consequences of a 1 to 3m sea level rise, and the underlying physical, ecological, cultural and socio-political issues of each site. Often enlisting the effects of climate change as a catalyst for action, projects focus upon the opportunities existing in the sites’ inherent vulnerabilities, responding to long standing issues and inequalities—from contamination and ageing infrastructure to inappropriate land use, inadequate public transport and illegible urban form.

The publication was accompanied by a physical exhibition in Melbourne and Wellington. In Wellington two 20ft shipping containers descended on the city’s waterfront for one week. Visitors were immersed in student projects, audio presentations and explorative video work examining the changing face of our city.

top: Moved to Design, published by RMIT in association with Victoria University

bottom: The Moved to Design exhibition on-site in Wellington


agenda Our website Agenda represents the importance we place on the broadest dissemination of our work, provoking debate and informing change. Presenting the outputs—many collaborative—of our students and academics, Agenda accounts for our activities in the studio and beyond.

View student projects by course and year, keep up to date on our latest visiting speakers and springboard to landscape architectural sites around the world at www.agenda.org.nz

right: Liam Hosford’s Phenomenol proposal for Mount Victoria


marita hunt

third-year landsCaPe arChiteCture studentFrom a young age Marita Hunt was interested in the spaces people occupied: “I wanted to play a role in shaping these spaces and the experiences of their users.”

Initially enrolled in Architecture, Marita soon realised that Landscape Architecture offered her greater opportunities to work across a broader range of scales, with the public as her main client.

Studying at Victoria has been a rewarding and challenging experience for Marita: “The field trips in our technologies course have been amazing. This course gave us access to experts, published authors and accomplished researchers in the fields of ecology, botany, geomorphology and cultural studies.”

Marita says she might take her experiences and knowledge to work in South America on projects with a strong humanitarian focus. Long term, however, she says her passion for landscape will eventually bring her back to New Zealand.

Marita Hunt’s third-year studio project work


diCCon round

graduate oF landsCaPe arChiteCtureBefore studying to be a landscape architect Diccon Round (right) studied music and he says the two disciplines have much in common: “I like the idea of drawing together different elements and ideas, creating a synthesis.”

At Victoria Diccon found the mix of disciplines exciting: “I liked the fact that I didn’t have to limit myself to one thing. It was great being in an environment with people from across different fields of design.”

Diccon has spent the last two years living and working in Oslo, Norway, working for ‘landscape infused’ architectural practice Snohetta.

“This experience has spoilt me; I got the opportunity to work on concept design, across various design fields, developing building and landscape concepts. This is an opportunity I never thought I would have, especially on such a global scale. I get to travel a lot!”



baChelor oF building sCienCe

Programme overview Building Science (BBSc) examines and analyses the built environment and the way people interact with it. It gives a thorough grounding in the development of construction methods, materials and systems, as well as an awareness of the impact and importance of trends in the development of sustainable building technologies. It introduces the science of comfort in terms of air quality, heat, light and sound. You will develop an understanding of structural engineering, and of the legal and economic environments in which buildings are constructed and inhabited.

At Victoria, Building Science is taught alongside the Architecture, Achitecture History and Theory, Interior Architecture and Landscape Architecture programmes, enabling BBSc students to engage with these related disciplines and ensuring that the science of buildings is explored in the context of an awareness of architectural design issues.

In 2010, the Building Science qualification will introduce two new specialisations in Sustainable Engineering Systems and Project Management. The BBSc programme is a three-year programme leading into a two-year Master of Building Science (MBSc) for students wishing to become professional building scientists, sustainable engineers and project managers. In your first year you’ll share most of the courses undertaken by Architecture, Achitecture History and Theory, Interior Architecture and Landscape Architecture students. You will then specialise in Sustainable Engineering Systems or Project Management, or both.

Career oPPortunities If you have completed a degree in Building Science you are ready to contribute to one or more areas of the building industry, both nationally and internationally. There is not one obvious career path but rather many opportunities to apply your knowledge and skills. In some cases you will increase your capability in a specialised field by further formal or informal study, coupled with work experience. Your building science background prepares you for a huge range of jobs that incorporate design, construction, management, research and even marketing, mostly within the building industry. Below are some possible careers with Building Science qualifications:

construction project management ͠sustainable systems engineering ͠consultant advising design teams on energy conservation ͠lighting adviser, designer or supplier ͠

researching building materials’ performance either in a private ͠company or a research institution such as the Building Research Association of New Zealand (BRANZ)computer-aided design and documentation ͠

C ͠ ity Council Buildings Consent processes

technician in a structural engineering consultancy, perhaps ͠beginning with computerised drafting and moving into management

fire design and regulations ͠

quantity surveying ͠acoustic engineering ͠technical writing. ͠

As you can see, the range of career options is vast. Where you work depends on your area(s) of interest and the level of personal goals you set for yourself. A degree in Building Science prepares you for a satisfying career in the building industry.

left: Interior building render, created in BBSC 303 Computer Applications by Ashton Wright


(wyne) teo hui yin

Final-year baChelor oF building sCienCe studentMoving to a new country can be a daunting prospect for many international students, but it doesn’t have to be—especially if you choose to study at Victoria, says Malaysia’s Wyne Teo.

Wyne recommends Mount Victoria for the views and Oriental Bay for a morning jog: “Wellington’s awesome. For students who are thinking of studying abroad, please choose New Zealand. The people here are friendly and warm; I’ve never felt left out.”

However, Wyne did find that studying in New Zealand was quite different from anything she had experienced: “It took a while to adjust to the more practical and hands-on aspect of study here.”

Wyne is quick to point out that this isn’t a negative aspect: “There are many site visits in this course. They are always informative and a lot of fun. The hands-on experience leads to a better understanding of the theories we learn during the course and we get to see the latest technology in use, which is great!”

Wyne particularly enjoys the group work required in some courses: “It’s an excellent way to meet new people and start to build a network. We can help each other out and share ideas and the tutors are always there whenever you need them.”

Upon completion of her degree, Wyne plans to return to Malaysia: “In my future career I will use the knowledge I gained in my uni life, especially in the field of building science technology, which is not very common in my country.”

And, of course, she will be recommending New Zealand to her friends.

right: Wyne Teo holds her building model from second-year construction course


shaan Cory

baChelor oF building sCienCe (honours) studentIt was working in a timber yard that led Shaan Cory to enrol in a degree in Building Science at Victoria: “Builders often complained that architects designed structures that looked good, but did not work well,” he says.

It is the way buildings work and the implications of how people use and occupy them in today’s ecologically aware climate that most interests him: “Halfway through my degree I realised that buildings don’t need to guzzle energy to be comfortable. I want to have a real influence on the environment through energy-efficient building design.”

Studying at Victoria has been great, he says: “Students share ideas and work as a team. Theory work is backed up with practical applications. We get to meet and work with a wide range of industry people as well as highly renowned lecturers and staff.” Not only that, but the school also provided tutoring and industry work in his chosen field.

The move to the capital from his home town in the Bay of Plenty has been a positive one: “Wellington is a great city. It’s compact, multicultural and there is always something to do. Building Science has been a great degree. The career opportunities are so wide open. You can go into areas as diverse as project management and environmental engineering.”

What advice would Shaan give to first-year students? “Have fun and work hard. Apply for scholarships and get involved as much as possible. It will all pay off in the end.”

top: Fire escape route and access design by Shaan Cory and Raymond Atkins

bottom: False colour render in a lighting appraisal by Shaan Cory


nigel isaaCs

teaChing and researCh Fellow in the sChool oF arChiteCtureBE(Elect), Auckland, MBSc, DipBA

Nigel Isaacs (right) knows the cold facts about New Zealand’s homes. Together with his Building Research Association of New Zealand (BRANZ) colleagues, Nigel recently completed the Household Energy End-use Project (HEEP). HEEP explored how, where, why and when energy is used in our homes. The results of this research have revolutionised the way we understand New Zealand homes. It has contributed to changes in the New Zealand Building Code Clause H1, provided better advice for designers and architects, improved products and promoted new knowledge. When people talk about how cold our homes are, the facts to support the debate have come from the HEEP study.

While a relatively new discipline to some, building science is something Nigel has been closely involved with for more than 20 years. Although his first degree was in engineering, his Masters of Building Science was the first awarded by Victoria University.

Nigel’s research has focused on the use of energy in society and buildings. He was first involved with the School of Architecture through the Centre for Building Performance Research (CBPR) where he worked on energy use in schools, hotels and offices as well as post-occupancy evaluation and building code development. In 1986 he went on to become the Principal Scientist (Energy & Environment) at BRANZ. Nigel continued to hold an appointment as an Honorary Lecturer at the School of Architecture until his return in 2004 as a part-time Teaching and Research Fellow.

Teaching, which Nigel describes as “explaining, exploring and experimenting with ideas”, allows him to return some of his experiences and pass on the knowledge he has developed to help those starting out on their careers.

“The next generation of graduates must learn how to build responsibly. Our buildings are a reflection of our society,” he says. “Without great buildings that are well operated and provide places that we want to use, we will never achieve a sustainable society.”


dr george baird

ProFessor oF building sCienCe, Postgraduate Coordinator FIPENZ, FIRHACE, FCIBSE, CEng

Dr George Baird, the School of Architecture’s highest internationally-ranked academic, first became interested in the performance and energy efficiency of buildings in the early 1970s at the time of the world’s first major oil crisis. Now, more than 30 years later, as the world slowly comes to grips with the threat of climate change, George’s early interest in energy conservation seems remarkably prescient.

George moved to Wellington from his native Scotland when the School of Architecture was founded in 1975. His research here is pushing the boundaries of what is known about the way users experience buildings.

He is particularly interested in the ways designers address (or neglect) the functional features of buildings—their environmental control systems and building services.

“Buildings need to be looked after. If they are not they don’t function nearly as well as they should,” George says. “My work, in many ways, is a plea for a modern day ‘janitor’—but one whose job is not only to keep the building working at peak performance, but also, and arguably more importantly, to keep the occupants comfortable, healthy and productive.”

In his role as a teacher, George takes particular pride watching graduates develop and take their place on the world stage: “I just love working with intelligent, creative, young people who share my enthusiasm for architecture and building science.”

George advises future students to use their time at university wisely: “Regard your lecturers as your mentors, your coaches. Their mission is to help train your mind, so keep it open to new ideas and concepts, but be prepared to test and challenge as well.”

George is the recipient of numerous awards, including the 1999 New Zealand Science and Technology Bronze Medal and the 2004 Victoria University Excellence in Research Award. His latest book, Sustainable Buildings in Practice: What the Users Think, is scheduled for publication by Routledge Architecture in January 2010.


Caption


opposite: Exterior building render by final-year interior architecture student Yerim Chang

top left: Interior building render of downstairs chapel perspective by third-year architecture student Sol Amour for BBSC 303 Computer Applications

top right: Building render by Jake Osborne completed for BBSC 303 Computer Applications

bottom: Building render by Nazirah Aby Hashim



The global recession and the associated pessimism about our collective future presents a provocative challenge to design, particularly as a discipline that actively seeks positive change.

In the spirit of positive change, the School of Design has already addressed this challenge by launching the new Bachelor and Master of Design Innovation programmes in 2009. This signals our commitment to foresee and lead the latest developments in design education within a constantly changing global context. The growth of exciting new disciplines, along with the increasing sophistication and complexity of design theory and practice, demands new academic programmes that respond to these emerging trends.

Only in this way can we ensure that our young graduates are prepared for the changes they will face, as well as being fully aware of their potential to actively implement meaningful change and to design more optimistic futures, not only for humanity, but also for themselves and their own futures in design.

Inspired by the changing context of design today, the School has forged a unique environment of collaboration between Media Design and Industrial Design with a strong focus on digital technologies. The School has also initiated a new and highly original design specialisation in Culture+Context as a means of strengthening critical and theoretical exploration of past, contemporary and future design issues within a studio context.

This approach brings a human dimension to our commitment to digital technologies. While technology inspires and shapes us, it is also the role of design to shape technology for the benefit of humanity, for it is at the point where the social, behavioural and cultural insights of humans meet technology that truly innovative, unexpected and meaningful designs emerge.

All these developments are supported and informed by an expanding design research programme that will enhance the School’s teaching culture and provide new perspectives on the potential of design as a creative discipline. This will enrich the undergraduate programmes with innovative design knowledge and theories, while providing a channel for young graduates to continue their studies and to take design scholarship to the highest levels.

In order to sustain the high quality and global relevance of its programmes, the School of Design calls upon the significant international profile, expertise and experience of its academic staff. In addition, the School has a strong commitment to forming and maintaining working relationships with world-class businesses, organisations and institutes.

below: Maxe Fisher teaching in the Faculty of Architecture and Design atrium


baChelor oF design innovation and master oF design innovation

In 2009, the School of Design introduced a new three-year Bachelor of Design Innovation (BDI) with three specialisations: Culture+Context, Industrial Design and Media Design. The three-year undergraduate degree leads into a two-year Master of Design Innovation (MDI), which will first run in 2012.

The new BDI and MDI replace the current Industrial Design and Digital Media Design programmes within the four-year Bachelor of Design (BDes) degree, which will be gradually phased out starting in 2009.

The new degree structure will give students a greater variety of recognised qualifications and a much greater opportunity to customise their course of study to their individual interests and intended careers.

Students specialising in Industrial Design or Media Design may elect to do a minor in Interaction Design, a first in New Zealand. Students enrolled in Culture+Context will be offered a range of minors from a wide variety of complementary disciplines available across the University.

The Head of the School of Design, Professor Simon Fraser, says, “We are uniquely positioned at Victoria University to align the School with disciplines that are not normally associated with design but have real potential to enrich the discipline. We felt it was an opportunity not to be missed. The minors offer courses of study for our students which are simply not available elsewhere—nationally or internationally. We expect to see our graduates occupying some exciting, unexpected and influential career niches in the future—in areas where other design schools cannot compete.

“Design is increasingly understood as a multi-disciplinary activity. Because of the growing importance of collaborative work, the ability to function effectively across disciplines and in multi-disciplinary teams constitutes a critical workplace competency for new graduates,” he says.

The new degrees are aimed not just at educating future generations of designers, but also design educators, curators, critics, advocates and scholars who will strengthen the operating framework for design by contextualising it within a broad theoretical, technological, commercial and cultural exchange.

The new degree was named Bachelor of Design Innovation for several reasons.

First, it more accurately reflects the experimental approach to design and design education that is practised at Victoria.

Second, it captures a philosophy and an approach to design where innovative and previously unknown design solutions are a primary objective, rather than reiterating or ‘restyling’ the existing.

Third, since innovation can only be achieved through research, it signals the research-led nature of our programmes. This is particularly true of the MDI, which is aimed at graduates who are not only versed in forging innovative ideas and knowledge, but who also have the ability to create value by successfully applying and disseminating new ideas to expanded audiences and markets.


teaChing Programmes

Culture+ContextBDI Bachelor of Design Innovation

(Culture+Context)MDI Master of Design Innovation

(Culture+Context)

Industrial DesignBDI year one BDI Bachelor of Design Innovation

(Industrial Design)MDI Master of Design Innovation

(Industrial Design)

Media DesignBDI Bachelor of Design Innovation

(Media Design)MDI Master of Design Innovation

(Interaction Design)

specialisationyear of study

one two three Four Five

summary oF study oPtions

Design not only responds to human cultures but also plays an active role in shaping and defining future cultures. The teaching programmes at the School of Design are structured to empower students with the necessary knowledge, critical and creative abilities, self-motivation and skills to operate as active, perceptive and independent participants in this process.

In addition, students are not only encouraged to be creative in their work, but also to be creative and enterprising in configuring their careers.

Our graduates respond well to the challenge. While each specialisation offers exciting career opportunities in specific areas, the flexibility of the BDI/MDI also prepares graduates

to seek a variety of unexpected and often entrepreneurial opportunities beyond their immediate specialisations, across the whole spectrum of the creative industries.

Graduates from the three-year BDI can target entry-level support positions in education, business, industry and cultural organisations, while graduates from the five-year MDI will be well prepared for leadership positions at the highest levels of professional design advocacy and practice. The programmes encourage global perspective, and the young but growing network of alumni demonstrates that the programmes are highly competitive nationally and internationally.


First-year design Programme

A unique and distinguishing feature of Victoria’s first-year School of Design programme is its cross-disciplinary nature, which allows for relationships across Culture+Context, Industrial Design and Media Design to be investigated and re-defined. In an intense and integrated programme of study, first-year students investigate a broad range of essential design ideas, principles, histories, theories, practices and strategies. Vocabularies of three- and four-dimensional design are also established during the first year, allowing students to challenge traditional and presumptive definitions of design.

The first year offers a highly structured learning environment which supports creative exploration, helping students to develop the discipline necessary for working in an innovative, creative field. Study is structured around the concept of ‘designing by making’, where students develop design confidence and commitment through a series of strategically formulated and progressively complex design challenges. All students are encouraged and assisted to develop a strong, individual approach to design that allows them to engage in both the real and virtual (physical and digital) while evolving a commitment to a specific design discipline.

Students are able to vary the structure of the first-year programme to a certain degree, allowing several options in the transition to the second year of study.

tobe: innovation in sneaker designDesigners often have their own personal obsessions. For Lee Gibson, Senior Lecturer and Programme Director for first-year design at Victoria, it is sneakers. He wears them, collects them, and now Lee is designing them for newly established Wellington-based creative collaborative ToBe. The design collaborative is hoping to register New Zealand’s first international sneaker success with the release of their minimalist-inspired black and white range. Lee’s involvement has expanded recently beyond design to include establishing manufacturing relationships overseas, negotiating with New Zealand suppliers for innovative materials, and collaborating with Victoria staff and students to help develop a broader understanding of the value of design. After a few years in the development phase, ToBe’s first sneaker line is scheduled to launch in December 2009.

For more ToBe news and images, visit www.tobe.co.nz


top left: Lee Gibson’s ToBe white super high sneaker

top right: Sketch by first-year student Kate Raine

bottom right: Model by first-year design student Richard Clarkson



Culture+Context

Programme overviewCulture+Context is a new specialisation within the Bachelor of Design Innovation (BDI).

Culture+Context is a unique programme within New Zealand in which you will creatively explore evolving theories, new concepts and historical ideas, which all contribute to design within contemporary culture. This innovative and emerging field of study acknowledges the increasing significance of design in our everyday lives, crossing cultural, social and political milieus. You will learn how design influences and is influenced by an ever-increasing diversity of factors: new technologies, shifting geo-politics, ecomomics, ecology and social and cultural issues, to name a few.

The BDI Culture+Context specialisation is a three-year programme that leads into the proposed two-year Master of Design Innovation (MDI) for students wishing to become professionally involved in design. In your first year you’ll share the same core courses with all Industrial Design and Media Design students. This develops knowledge of both the real and the virtual, from creative experimentation into new materials to the potential of immersive experiences. This common foundational grounding in theory and practice will build innovative design thinking, support a shared vocabulary, open debates and dynamic exchanges amongst each of the design disciplines in the advanced years of study.

Students wishing to study Culture+Context must select a ‘minor’ at the outset of their course of study chosen from a range of design-related disciplines offered by other faculties at Victoria University.

Subject to confirmation, the range of proposed minors includes:

Architecture ͠

Art History ͠

Asian Studies ͠

Composition (Sonic Arts) ͠

Computer Science ͠

Cultural Anthropology ͠

European Studies ͠

Film ͠

Gender and Women’s Studies ͠

Geography ͠

Industrial Design ͠

Interaction Design ͠

Management ͠

Māori Studies ͠

Marketing ͠

Media Design ͠

Media Studies ͠

Music ͠

Pacific Studies ͠

Philosophy ͠

Psychology ͠

Sociology ͠

Theatre ͠

left: SQUAREeyed by Niguita Coats-Harrison asks us to explore our own sight, mixing the real and the virtual with a wearable interplay of here and there


Career oPPortunitiesPotentially unlimited opportunities are within reach for students with a Culture+Context specialisation, as the new programme aligns with contemporary expectations, needs and developments across business, the creative industries and cultural organisations. Furthermore, this approach has the ultimate outcome of increasing awareness of design as both a commercial and cultural imperative throughout New Zealand and the world.

The unique combinations of subject areas available to Culture+Context students have the potential to lead to careers in a broad range of related fields including advertising, publishing, curatorial work, promotion, human-centred design activities or design-led business—and many more career paths yet to be discovered. Our Culture+Context graduates will have the breadth of training and experience to create their own futures in design.

As Maxe Fisher, Director of the new Culture+Context programme observes, “In our rapidly changing society, innovative opportunities for students with the Culture+Context specialisation will be found wherever design is being done.”

The Culture+Context specialisation in the BDI and the MDI programme allows a wide variety of career opportunities, a few of which are listed below:

One minor

C+C + Cultural Anthropology = design and material culture critic/researcher

C+C + Management = museum/gallery critic/curator

C+C + Māori Studies = Māori design advocate/promotion

C+C + Sociology = design consultant for social issues

Two minors

C+C + Industrial Design + Asian Studies = offshore design promotion/facilitator in Asia

C+C + Film + Media Studies = film industry commentator/writer

C+C + Psychology + Cultural Anthropology = design analyst

C+C + Media Studies + Marketing = advertising industry/in-house design promoter


right: Warped Dimensions by Andrew Matautia for DESN 389 Design Research expands perspectives of the physical dimensions through a spatial projection of light, lines and shadow

bottom left: In detail from Constraining Order by Henry Harvey, a human hair expresses the relationship between the perception of order and constraint in the act of designer

bottom right: Constraining Order by Henry Harvey for IDDN 389 Design Research considers scale as a principal factor in design


JessiCa morris

Culture+Context studentJessica Morris heard about the Culture+Context specialisation offered at Victoria and thought “this is me, this is what I want from design”. Wanting to probe deeper into design issues and ideas, Jessica saw the opportunity in Culture+Context to integrate design history, theory and research into her own methodology and progress as a designer.

Believing in the strong foundation this programme offers, Jessica says, “What will set Culture+Context graduates apart in the design industry will be our ability to always ask ‘why?’, and our training to use existing design knowledge and discourses in research and concepts, to see design in a broader sense, and to articulate our own designs in a unique way.”

In a project in her first year, Jessica investigated the concept of fluid form, experimenting with movement and how materials behave when pressure is applied. Jessica was especially interested in how a material could be manipulated by gravity, and investigated water and the properties it developed when falling in droplet form. Mimicking these properties of water, Jessica’s final model was made of transparent OHP plastic and threaded with clear, stretchy nylon—transparent and reflective. By suspending her model for the final presentation, Jessica was able to incorporate the forces of gravity acting upon it and the ephemeral property of change as it spun and moved.

right: First-year project by Jessica Morris investigating the concept of fluid form


zak kinnaird

Culture+Context master’s studentZak Kinnaird’s Master’s thesis The Conventions of Repetitions outlines contemporary problems faced by today’s practising designers. The project investigates several historical and theoretical issues, such as how designers can cope with rational acts of fraudulence within their design processes.

Popular culture does not look highly on the creators of mass-production in a world occupied with creating sustainable futures, a feeling shared by many practising designers. Designers may ask themselves if this is really something worthwhile. However, this modern myth serves to disorientate the role of the contemporary designer. The Conventions of Repetitions aims to contextualise design within a theoretical discourse in which these problems become opened up and reveal themselves as design opportunities.

Theory for designers often sounds daunting, even unnecessary; theory simply means to ‘view’ something, like putting on a pair of spectacles to see anew what you are looking at. Theory acts as a tool for making sense of the world, just as a new pair of prescription glasses renders the world clear after years of blurred details.

The Conventions of Repetitions acts as a conceptual lens in order for practising designers to ‘view’ the conventions binding their professional discipline from a new and arresting vantage point.

top: Master’s student Zac Kinnaird, Battersea Chair, digitally generated 'repetitions'

bottom: Zak Kinnaird’s exploration into the typographies of a Greek archetypal vase investigates how digital technologies are shifting traditional notions of industrial design surface and structure


maxe Fisher

Culture+Context Programme direCtor and senior leCturer‘Explorer’ is a word that Maxe Fisher (pictured), Programme Director for Culture+Context, uses to express her philosophy towards both design and life. With degrees in biology, industrial design and fine arts, Maxe traversed a diverse academic background before starting the Culture+Context programme as its first director.

This experience lies at the heart of the curiosity Maxe brings to Culture+Context and imbues the philosophy of the programme with the aim to learn as much about the world around us, asking why as a means to understand the complexity of the contemporary. This approach to industrial design and understanding characterises Maxe’s research, which examines the relationship between aesthetics, culture and technology.

Her interest in this area developed over the course of 25 years of investigation into abandoned industry while she was simultaneously involved in design for contemporary high-tech industry—specifically, the world’s first virtual reality helmet. These types of polarities are central to Maxe’s exploration of design, allowing her to interpret the silent continuity of culture as an expression of the meaning of design.

www.maxefisher.com

middle: Experiencing A Void Perception project by Jeremy Barribeau from IDDN 389 Design Research

bottom: Exploring the context of industry


margaret maile Petty

senior leCturer in Culture+Context Margaret Maile Petty (right) joined the new Culture+Context programme at Victoria as a Senior Lecturer in 2008, relocating from Brooklyn, New York. Margaret has found fertile ground to explore her passion—the study of design as a unique and deeply meaningful human endeavour—among the welcoming community of students and staff at the School of Design.

Margaret formerly taught at two of New York City’s leading design schools, Pratt Institute and Parsons: The New School for Design, specialising in the history and theory of design. In addition to teaching, Margaret has a fondness for writing, and her work has appeared in a variety of publications, including the design magazines Metropolis, Urbis, A/L and Core77, as well as such scholarly publications as The Journal of the Society of Architectural Historians, Scapes and Leuchtende Bauten: Architektur der Nacht. Margaret recently presented her research at University of Brighton as a part of the conference Occupation and is contributing to a forthcoming catalogue and exhibition sponsored by the Yale School of Architecture.

She is also currently completing her doctoral thesis on the relationship between lighting design and the expression and experience of modernity.



industrial design

Programme overviewIndustrial design is a creative discipline which aims to connect human cultures with technologies in innovative ways. It inspires new and unexpected insights that result in original, useful and meaningful manufactured products or product systems that enrich daily life.

The Industrial Design programme encourages a hands-on experimental approach to design with a focus on creative applications of digital technologies. Particular emphasis is given to digital technologies with physical outputs. Students quickly discover their value as a creative tool to enhance their design abilities, as well as the potential digital technologies offer in exploring new and more sustainable forms of manufacturing and distribution through online networks.

Students are encouraged to make full use of the School’s extensive digital prototyping capability, with a creative exploration of digital visualisation, laser-cutting, CNC machining and 3D scanning and printing.

The Industrial Design programme also encourages creative exchange with other specialisations such as Culture+Context, allowing students to explore the theoretical, behavioural, social and cultural considerations of the discipline, or to collaborate with Media Design to investigate interactive, responsive and intelligent products, services and environments that combine the physical and virtual in unique ways.

The Industrial Design programme is committed to collaboration with industry leaders in New Zealand and internationally, and regularly encourages students to reach wider audiences and explore ideas within a business context.

Career oPPortunitiesThe Industrial Design specialisation prepares graduates to work as designers in an exciting variety of specific product design areas such as furniture, homeware, domestic entertainment, personal accessories, healthcare, sports and leisure, transportation, office and industrial equipment, agricultural products, lighting, architectural and urban products.

Depending on interests and expertise, graduates may target a specific product category as an in-house designer or may prefer the variety offered by outside consultancy. Specialisations within the discipline such as CAD expertise or human factors will lead to more specialised career niches, while careers in related fields such as design education are also possible.

Opportunities include:

in-house product designer ͠

in-house design manager and strategist ͠

self-employed design consultant ͠

CAD and digital prototyping designer ͠

product development project manager ͠

film prop/set designer ͠

exhibition designer ͠

human factors designer ͠

academic/corporate design researcher ͠

design and technology educator ͠

left: 3D printed barcode speaker by exchange student Carolyn Stewart from Georgia Institute of Technology


david hakaraia

industrial design master’s studentKo David Hakaraia Tōku ingoa Ko Rakaumangamanga te maunga Ko Ipipiri te Moana Ko Te Rawhiti te Marae Ko Ngati Kuta me Patu Keha nga hapū Ko Ngapuhi-nui-tonu te Iwi

Along with two other Victoria students, David Hakaraia received a Creative New Zealand grant to design exhibition pieces based around what they believe might be a contemporary Māori lifestyle. Design and his Māori heritage are subjects about which David is deeply passionate and which have been a large part of his work both as an undergraduate and as a professional.

Currently working on his Master’s, David hopes to add to Mātauranga Māori (Māori Knowledge) by exploring new technologies available at the School of Design, which will allow him to express both himself and his culture.

“I believe that learning is a lifelong process—which is necessary for the evolution of my work—and there is no better place to do it than with likeminded people,” says David.

David is also the first Māori Master’s student at the School of Design to come from Te Rōpu Āwhina, which was established in 1999. The focus of Āwhina is to produce Māori and Pacific scientists, technologists, engineers, architects and designers to contribute to Māori and Pacific development.

As David describes, “Being a part of Āwhina has taught me the importance of being a good role model for rangatahi (youth). The whānau support system is excellent as it allows students to share and create ideas and stories through design. It also gives me the chance to show students that they have an opportunity to be part of the built environment.”

below: David Hakaraia presents to Ngati Toa kuia and kaumātua at Takapuwahia Marae as part of Victoria University Te Ropu Āwhina whānau outreach programme


JessiCa hubber

industrial design graduateJessica Hubber graduated from the School of Design in 2004, and after a short period tutoring at Victoria she decided to test her ability to compete on the international job market. As Jessica has a long-held interest in and respect for Dutch design (her mother is Dutch), she chose to follow her passion and travelled to Europe in 2006 to seek opportunities in the design industry. As Jessica describes her experience: “I learnt a lot about the sort of company my design style would complement, and was incredibly lucky to have been referred to Studio Stallinga by another company to which I had applied.”

At Studio Stallinga, Jessica feels privileged to work daily under the guidance and creative direction of Henk Stallinga. The company’s projects typically have a wide range, from mass production injection moulding product lines for companies like Heineken International to small, limited edition products that blend industrial techniques with artistic interpretation.

“In this job I have learnt how to take a creative concept and turn it into a feasible product that is ready for production no matter what the scale,” Jessica says. “I found that my education taught me to be a competent all-round designer who can approach multiple aspects of the design industry. These qualities have been incredibly valuable to me and I know I am only continuing to grow.”

right: Jessica Hubber at Studio Stallinger in the Netherlands


edgar rodriguez

leCturer in industrial designEdgar Rodriguez studied industrial design at Universidad Nacional Autónoma de México and at École Nationale Supérieure de Création Industrielle—Les Ateliers in Paris, before working as a designer at Sismo Design in Paris, MDA in Mexico City, Studio Santachiara in Milan and Samsung Electronics in Seoul. His designs range from furniture to consumer electronics and have won numerous international design awards, such as the ICSID 2001 Oullim Award in South Korea for the design of a showerhead. Edgar’s work has been exhibited internationally, including at the prestigious Milan Furniture Fair.

Currently in the final stages of his PhD research, Edgar is investigating the relationships between the emotions that products elicit in people, and the effect this has on behaviour. He is particularly interested in how objects permeate every aspect of our lives, from the fulfilment of primal necessities to the satisfaction of intellectual needs, as well as how objects can elicit powerful experiences such as surprise, enjoyment, and beauty.

Actively immersed in the research culture at the School, Edgar recently suggested the purchase of the full collection of the Vitra miniature chairs for the Architecture and Design Library (SoAD). The purchase has made the SoAD library the only institution in the world to hold the full collection (see 94).

Still early in his career as a researcher, Edgar has published and presented over a dozen papers at leading international conferences such as the International Association of Societies of Design Research, Design and Emotion, DesForm, Sustainable Product Design and the International Council of Societies of Industrial Design, among others.

top: Mouse trap developed as a medium of research of Edgar’s PhD studies

bottom: Lamp aurea by Edgar Rodriguez for Studio Santachiara and FontanaArte


ross stevens

senior leCturer in industrial designRoss Stevens finds that he often has difficulty explaining his jobs as an industrial designer and lecturer to people outside the professions, because, as he explains, “Somehow making things look ‘good’ doesn’t sound serious enough. People assume that it is a very technical activity—which it can be—but my personal fascination lies more in an object’s ability to communicate ideas to others.”

Ross started down this path early on, thinking that he would become a car painter because he was fascinated in how the final layer of paint could transform an old object into one that looked ‘as good as new’. From this simple interest emerged opportunities first to study design then to work internationally as a designer, and eventually to teach design. During this time Ross has applied his passion for design to create objects ranging widely in scale and type, from televisions to architecture.

Throughout his experiences as a designer, Ross’s initial interest in the top layer of paint on an object has endured, evolving recently into a completed Master of Design. In his Master’s research Ross explored the meaning and importance of wear on the surface of handheld electronic devices such as cell phones, finding that he no longer wished to conceal an object’s history through a new layer of paint, but rather acknowledging the unique qualities gained by an object through interaction with people.

top: Children’s TV co-designed by Ross Stevens and Philippe Starck

bottom: Ross Stevens’ Master’s research into surface wear


Ponoko: innovative loCal start-uP wins international aCClaim Wellington-based online company Ponoko has introduced global markets to the Kiwi passion for DIY and found widespread embrace among international customers and critics—more than 10,000 products have already been produced using Ponoko. The first company in the world to give individual users the ability to design and manufacture their own product ideas online, Ponoko is leading the digital design revolution by changing the way in which products are created, distributed and sold. The popular design webzine Core77 recently praised Ponoko, suggesting that the company is ‘eroding’ traditional definitions of industrial design with its bottom-up design approach.

Dan Emery, a School of Design graduate, recently joined Ponoko and finds himself collaborating with designers in a variety of contexts from direct one-on-one contact to hosting live web-based seminars for the growing community of Ponoko designers. At Ponoko, Dan also works with universities and industry partners to produce everything from architectural models to entries for international design competitions.

Describing his experience at Ponoko, Dan says, “I’m using the knowledge and skills learned at university and passing them on to a global audience. My knowledge of materials and processes has been essential in my role at Ponoko. Our users can be on the other side of the world and need tangible feedback about how to design for these materials. It’s my job to give the best advice and ensure they make great products.”

www.ponoko.com

Dan Emery on Ponoko’s website


tenderrest: design innovation beyond aesthetiCs While many designers may dream of designing sexy high-performance automobiles or the next iconic chair, New Zealand’s own Tenderrest is tackling design for the next life: coffins. Tenderrest’s founder Andrew Hubbard set up a workshop in 2007 to develop a line of caskets offering an alternative to the design standards in this industry—particularly the use of chipboard, plastic and generally unsustainable and toxic materials. Hubbard argues that the typical industy approach tends to “discourage mourners from approaching and engaging” in traditional rituals and instead supports “the medicalisation rather than the humanising of death”.

Looking holistically at design for the departed, Tenderrest has created several eco-friendly, non-polluting, sustainable casket designs, including the Bambino and NextGen. Made entirely from environmentally friendly materials, the Tenderrest coffins utilise sustainably harvested bamboo and low-toxicity PVA glues, and are finished with simple furniture oil rather than polyurethane veneers.

Martin Boehnel, a graduate of the School of Design, is currently co-designing a new range of caskets with Hubbard that will offer a new form and aesthetic, as well as new materials and manufacturing methods, significantly advancing this traditional sector.

Martin says, “I value my studies at Victoria not just for gaining a wide range of design skills, but foremost for cultivating an eye for detail and a critical awareness for design concepts.” Tenderrest’s progressive approach and sensitivity to the need for quality and sustainability in casket design was confirmed recently with two bronze honours in the 2008 DiNZ Best Awards for the Bambino and Nextgen.

www.tenderrest.co.nz

below: The NextGen biodegradable coffin



media design

Programme overviewThe Media Design programme explores the diverse ways people interface with digital technology today: web/internet experiences, visual and audio communication, augmented reality, gaming, interaction design and embedded/portable computing. These areas present special challenges for design, addressing issues of communication, work, play and daily life in general. As designers, we approach these real-world problems in the studio through a variety of course briefs united by an overarching question: How can we employ digital technology to make life easier, more efficient, more sustainable, safer and more richly experienced? In seeking answers to this question, we encourage studio experimentation, innovation, research and interdisciplinary collaboration to obtain creative solutions for the future of the design industry and humanity as a whole.

Career oPPortunitiesThe Media Design programme will ensure students have the skills to become effective digital media designers, developers or project managers. In particular, we aim for our graduates to not only enter the design industry, but to also be successful with companies that set the bar and are known as industry leaders in media design. This covers many domains, such as:

entertainment and interactive TV ͠

web design ͠

education ͠

gaming ͠

business ͠

public sector and government. ͠

left: EVOgenics project by Digital Media graduate Kelly Cheeseman


meredith Crowe

third-year media design studentMeredith Crowe is a third-year student in the Media Design programme who moved to Wellington from the Bay of Plenty to study at Victoria University. Meredith notes with enthusiasm that “at this point in my studies, I can’t imagine studying anywhere or anything else”. Meredith enhances her university experience through her extracurricular roles as a faculty delegate and as an executive of the STUDiO, the student representative group. Her ambition to work with people of diverse backgrounds and interests is well met within the inherently collaborative nature of design.

As Meredith describes, “I think of design as not only a catalyst for ideas and communication, but a vital way of being active in the world around you. The Media Design programme allows me to apply my design skills and interests to a great variety of media and modes of presentation, from sound and video, to installation and theoretical pursuits.”

top: Meredith Crowe, Skindeep—acrylic, speaker and circuitry

bottom: Meredith Crowe, third-year digital media student, and Douglas Easterly, Senior Lecturer in Digital Media


signý bJörg guðlaugsdóttir

reCent media design graduateThe Media Design programme had its first graduating class in 2008. Some of these young designers have already achieved remarkable success making their way into the design profession. Signý Björg Guðlaugsdóttir has recently joined Weta Digital—whose position in the international scene of visual effects production needs no elaboration. Hailing from Iceland, Signý represents the geographical extreme of our international students.

Her final-year project, Moments from an Invisible Realm, was an interactive installation featuring a carpet embedded with pressure sensors that were activated by users stepping on the carpet. Once activated, these sensors triggered various media elements representing parallel universes. In developing her final project, Signý researched sources ranging from philosophy to quantum physics.

top: Signý Björg Guðlaugsdóttir, Moments from an Invisible Realm, 5th Dimension

bottom: Signý Björg Guðlaugsdóttir, Moments from an Invisible Realm, 7th Dimension


doug easterly

media design Programme direCtor and senior leCturerDouglas Easterly, Programme Director for the Media Design programme, has more than 15 years’ experience as a new media artist, designer and educator, including seven years as an Associate Professor at Syracuse University before coming to Victoria in 2007. As a Senior Lecturer, Douglas’s courses include digital game design, interaction design and tangible media (working with electronics and microcontrollers).

Douglas’s collaborative efforts with the art group SWAMP have earned broad international recognition, featuring in ReadyMade magazine and Core77, and receiving first prize from the VIDA Art and Artificial Life Foundation in 2004. He has also exhibited work at venues such as FILE in Brasil, ARCO in Madrid, VideoTage in Hong Kong and SIGGRAPH in the US. Exhibitions featuring Douglas’s work include MIC Toi Rerehiko in Auckland and Exit Art in New York. Currently, Douglas is working towards a PhD in Engineering and Computer Science; his thesis is titled Judgment Under Uncertainty in Life and Games and draws upon his interests in interaction design, digital games studies, evolutionary psychology and artificial intelligence.

www.swamp.nu

top: Douglas Easterly, Improvised Empathetic Device wearable computing design

bottom: Detail, Improvised Empathetic Device wearable computing design


morgan barnard

leCturer in media designMorgan Barnard is a digital media designer, filmmaker and lecturer in the Media Design programme. For the past 12 years he has used digital media as a core element informing his practice. From the early days of interactive digital media production at the California College of the Arts to film and video industry experience in Los Angeles and New York, Morgan has worked with media through digital technologies to tell stories, create experiences and engage audiences.

In 2005 he received a Master’s degree from the Interactive Telecommunications Program at New York University, where he also worked as an adjunct professor. In 2006 he was awarded a Production Fellowship at Eyebeam Atelier where he worked with fellow artists creating documentaries and designing interfaces for live video performance. Morgan’s background in the fields of documentary, music video, motion graphics and post-production continues to inform his academic practice. He is currently working on interactive installations, locative narrative, live video mixing and the creation of custom hardware and software for live visual performance.

www.morganbarnard.com

Morgan Barnard, Reflections real-time video documentary presented at urban screens in Melbourne


the dark side oF the Cell iiiA collaborative project by Anne Niemetz, Senior Lecturer in Media Design at Victoria’s School of Design and biochemist Andrew Pelling from the University of Ottawa (pictured), The dark side of the cell III was exhibited at the prestigious Microwave International New Media Arts Festival in Hong Kong in November 2008. ‘Transient Creatures’, the topic of the festival, brought together leading international artists exploring the collaboration of art and science.

The dark side of the cell III was the result of Anne and Andrew’s effort to combine their research and interests in nano-biotechnology, sound and installation design. It is also the first musical composition to utilise cell sonics and was developed from the discovery made by Andrew and Professor James Gimzewski at the UCLA Department of Chemistry that yeast cells oscillate at the nano-scale. These signals can then be amplified and heard through speakers. The tool with which the cell sounds are extracted, the atomic force microscope (AFM), can be regarded as a new type of musical instrument. Unlike microscopes that use optical imaging, the AFM ‘touches’ a cell with its small tip, comparable to a record needle ‘feeling’ the bumps in a groove on a record. These signals can then be amplified and heard on speakers.

In The dark side of the cell III the staging of the ‘musical cells’ takes place in a darkened, acoustically immersive space, enhanced with sculptural objects, onto which microscopic imagery of the sonic cells and their cellular sonograms are projected. The construction of the sculptural elements follows the tensegrity principle and is inspired by the inner architecture of cells.

www.darksideofcell.info

bottom: The dark side of the cell III


the museum oF wellington—City and seaThe Museum of Wellington—City and Sea hosts a wide range of exhibitions illuminating the history of New Zealand’s capital city. One of these exhibitions, titled Telling Tales, consists of 100 stories and artefacts that relate to the history of Wellington. In July 2008 the Museum invited media design students to use this permanent exhibition as the starting point to creatively re-tell stories using digital media.

The students undertaking this brief were enrolled in the elective course Design and Real-time Media, which focused on using electronics and sensors as an alternative to a keyboard- and mouse-controlled computer operation for interactive media designs. For this brief in particular, students disassembled and repurposed parts of computer mice in order to build novel interactive controllers that encouraged audience participation. The aim of this exploration was to create a work appropriate for the Museum of Wellington’s new show, Re-Telling Tales Digital. The students’ designs, inspired by the original Telling Tales exhibition, were interactive reinterpretations of individual stories chosen from the Museum’s collection.

The best and most appropriate student work was selected for inclusion in the exhibition by the curators at the Museum. The experience engaged students with the professional role of designing for a museum context, while also exploring new approaches to human-computer user interaction.

www.museumofwellington.co.nz

right: Work by fourth-year media design student Jackie Chow for the Re-Telling Tales Digital exhibition


international oPPortunities

international student exChangesVictoria has exchange agreements with universities worldwide, and recently a number of students from the School of Design have gone overseas to expand their design education as a part of this programme.

Tiago Rourke and Greg Saul both attended Carnegie Mellon University in the United States, gaining valuable experience and new knowledge (see pages 75 and 76), and Greg followed this experience by co-teaching a class on tangible interaction there. Fourth-year media design student Sebastian Ziegler travelled to Southwest Germany as an exchange student with the art and design university Fakultät für Gestaltung Hochschule Pforzheim, where he had opportunity to investigate bio-organic farming and tourism operation in the Swiss Alps (see page 77).

Victoria also sponsors many exchange students from universities in other countries. Last year Mikko Toivonen, a Finnish exchange student from the University of Art and Design Helsinki, Finland, spent a trimester in the School of Design’s Media programme and Shane Van den Hurk, from the University of Technology Eindhoven in the School of Design, Industrial Design programme (see page 78).

The School of Design maintains active student exchange links with:

Carnegie Mellon University School of Design, United States ͠Pforzheim University School of Design, Germany ͠Rhode Island School of Design, United States ͠The Technical University Munich, Germany ͠University of Art and Design Helsinki, Finland ͠University of Technology Eindhoven, Department of ͠Industrial Design, Netherlands.

right: Greg Saul: paper lamps


tiago rourke

student and teaChing Fellow in the sChool oF designRecent exchange student with Carnegie Mellon University, United States

School of Design student Tiago Rourke spent a semester at Carnegie Mellon University in Pittsburg, Pennsylvania. Upon his return to Victoria, Tiago became doubly passionate about the peculiar ideas and inventions coming out of the School of Design’s Industrial Design and Media Design programmes. He is now doing his best to help this mischief along by teaching full-time and assisting in postgraduate research in digital media.

After doing an international exchange at Carnegie Mellon, Tiago developed a taste for programming and electronics. Tiago is currently exploring new tools that allow designers to incorporate computation into their design methods and processes, and is interested in how these tools blur the boundaries between traditional industrial design and digital practices. Tiago is now planning to resume travelling abroad, and hopes to find further research or work opportunities within the fields of interaction design and physical computing.

Philosophical as well as reflective about his experience at Victoria, Tiago says, “The School of Design has changed significantly since I began my degree, and as students we all changed with it. Victoria taught us how to adapt within a discipline that is constantly changing as societies tackle increasingly challenging and extensive problems.”

right: Tiago Rourke with Homeostasis, a study of neural networks and generative form


greg saul

reCent industrial design graduateRecent exchange student and tutor at Carnegie Mellon University, United States

After graduating from Victoria in Industrial Design, Greg Saul spent a semester abroad co-teaching a class on tangible interaction at Carnegie Mellon University in the United States, where he had previously attended as a Victoria exchange student. In co-teaching this course Greg was able to apply what he had learned at the School of Design—strong conceptual thinking, an appreciation for materials and processes and an ability to explore concepts by doing—to interaction in industrial design. In exploring materials such as shape memory alloy wire, conductive fabric and micro computers, Greg was able to design things that could sense, think and react. Accordingly, Greg’s course was focused on a process of designing through doing—prototyping ideas through material experimentation, and then learning from the resulting successes and failures.

During his experience at Carnegie Mellon, Greg pursued design in an academic setting, exploring its research potential within the traditional practice of industrial design, including frameworks to evolve artefacts using planar folding forms; t-shirts that are embedded with the user’s social interactions though evolved graphic symbols; and a platform for communities to contribute democratically towards the design of individual objects, such as a coffee cup. Greg presented these projects at the prestigious Computer Human Interaction (CHI) conference.

right: Democratic Design by Greg Saul, a 3D print of a coffee cup designed by online collaboration


sebastian ziegler

Fourth-year media design student Recent exchange student with the Fakultät für Gestaltung Hochschule Pforzheim, Germany

Fourth-year media design student Sebastian Ziegler spent the second half of 2008 as an exchange student with the Fakultät für Gestaltung Hochschule Pforzheim, an art and design university in Southwest Germany.

While there, Sebastian enrolled in four courses: Typography, Audiovisual Media, Multimedia and Audio and New Media Design, which involved a semester-long project dealing with identity design and marketing strategy for a bio-organic farming and tourism operation in the Swiss Alps. The research phase included a trip to Sumvitg, in the Canton of Graubünden, Switzerland, to engage in traditional methods of preparing cheese, bread and fondue—all of which were consumed at more than 3,000 metres above sea level after a seven-hour tramp through the snow.

right: The School of Design at Pforzheim, Germany


mikko toivonen

master’s exChange studentFrom the University of Art and Design in Helsinki, Finland

The School of Design sponsors many exchange students from universities in other countries. Mikko Toivonen is a Finnish exchange student from the University of Art and Design Helsinki, Finland. He is currently finishing his Master’s study in new media with the Media Lab Helsinki. To foster new perspectives, Mikko decided to take up a trimester of study in the Media Design programme, taking three courses: Audio-Visual Space, Design Led Futures and Telematics.

Of his experience at Victoria, Mikko says, “I have really enjoyed my time in beautiful New Zealand. The School of Design facilities are good and the course coordinators and other staff are friendly and helpful. The Kiwi lifestyle is great, with a relaxed atmosphere infused with a positive attitude. Sadly I need to go back to Finland in July to write my Master’s thesis—but am hopeful I can come back in the future to work in New Zealand.”

right: Head of School Professor Simon Fraser interacts with Mikko Toivonen’s motion-sensitive sound design


studio abroad: mexiCoFifteen third-year students from across the Faculty of Architecture and Design travelled to Mexico for three weeks to participate in a summer paper led by lecturer Edgar Rodriguez. While exploring the landscape and culture of Mexico, students were asked to observe Mexican rituals and emotions, and then to create something representing what they had experienced. Examining a range of rituals and events—everything from Day of the Dead celebrations to the production of traditional crafts, to small cultural differences such as public displays of affection—students found meaning and inspiration for a variety of projects.


aPollo 13: mission ControlIn early 2008 Brad Knewstubb returned to New Zealand from a trip to Cape Canaveral in the United States with two things: a Red Dot Award and the concept for a theatre show based around the Apollo 13 mission, which has become the focus of Brad’s life ever since. Apollo 13: Mission Control was developed with the aim of transforming a theatre into a replica of NASA’s mission control, in which each audience member is invited to become a mission controller. Building the 68 interactive consoles for the show was a massive three-month undertaking, but Brad and his team believed that the concept had merit.

When the initial two-week season sold out within the first week, they realised the gamble had paid off. Receiving fantastic press reviews and winning two Chapman Tripp Theatre Awards—the Montana Award for most original production of the year and the Western Audio Engineering Award for best sound design of the year—Brad and his team were thrilled to also be nominated for another two awards—the Weta Workshop Award for best set design of the year and the Gail Cowan Award for actor of the year. Brad is currently in pre-production for the company’s next season in Auckland and Hamilton, for which they have received two additional Creative New Zealand grants.

Brad and his team are rebuilding the entire Apollo 13: Mission Control set and expanding it to 100 consoles, designing the whole environment to be more interactive by integrating microcontrollers and physical computing networks into each console. According to Brad, “This is definitely the most fun I have ever had working, and as we intend to take the show to Australia in 2010 and on to the United States in 2011, it’s only getting more exciting.”

right: Brad Knewstubb (left) with the set and cast of Apollo 13


Current researCh in the master oF design Programme

zak kinnairdThe Conventions of Repetitions outlines contemporary problems faced by today’s practising designers. The project investigates several historical and theoretical issues, such as how designers can cope with rational acts of fraudulence within their design processes.

dan sCudder Books, ebooks, books is a study of our past relationship with books and our current relationship with digital technologies. The objective is to understand both and integrate the two using digital manufacturing to create a rich emotive medium for information for the future.

kah ChanThe evolution of design means it is no longer just a visual communication medium, but is a powerful enabler for change on a social scale. With such ubiquity, contemporary design has to have some responsibility towards cultivating a self-sustaining social culture not dedicated to excess. Kah’s research explores this proposition in relation to health, particularly diet, and everyday nutrition, which are important aspects of every child’s education. It has never been so easy in human history to obtain so much food so easily. Children in particular may not be well equipped to deal with these nutritional and dietary choices. The question this research asks is: Can creating an empathic bond between 3D characters and children help communicate a healthy nutrition message more effectively?

Johann nortJeJohann’s research explores intuitive interfacing for visual performances regarding illusive spatial relationships, using Club VJ-ing as the vehicle. The investigations explore bodily navigation as an interface, moving beyond the conventional approach to standard computer interfacing.

david hakaraia Māori traditionally have an oral culture, and significant objects were carved with patterned forms to record and express these stories in abstract. They functioned as mental devices to trigger memory or to express significant figures or events, forming a physical expression of Māori beliefs. Māori culture with its wealth of creative traditions and storytelling has bred in an understanding and appreciation of a very distinctive set of forms and narrative structure. With the advancement in technology and materials many more techniques are now available to use. David’s research explores the possibilities for using these technologies to tell stories and represent Māori culture, which may open new avenues of expression.

emma Fox-derwinWhite Lies explores the notion of illusion in product skins by asking what characterises such a skin, or housing. Emma’s research will question how designers might engage in more meaningful and expressive ways with sensory incongruity.

naomi lambNaomi is focusing her research on current and past regional video jockey (VJ) practices, through observation and participation as experienced through her own practice while engaging with a cross-section of the New Zealand VJ community working in different contexts. This research will contribute to the literature directed toward the VJ community and help other academics and interested parties better understand what VJ practice consists of.

kris henningKris Henning’s thesis project ‘Unfolding Space’ is a research- driven investigation of folding as a means of exploring space and form within 3D stereoscopic immersive environments, with the ultimate aim of facilitating more effective and tangible prototyping techniques and processes.


industry Partners and Collaboration

The School of Design is committed to bridging academia and industry in the classroom. We do this by collaborating in a variety of ways with progressive and innovative companies competing in the international market. These partnerships help students understand corporate brands and the value of that knowledge in the process of design.

methven: CaPturing a sensory exPerienCeMethven, a leading New Zealand company in the shower and faucet market, has sponsored and collaborated with IDDN 312 industrial design students on a project examining how our senses are evoked in the experience of bathing and cleansing. Students strove to embody a unique sensory experience as an extension and interpretation of the Methven brand in their designs.

www.methvenltd.com

CliCk suite: insPiring CollaborationWellington’s award-winning design company Click Suite has collaborated with DMDN 212 students on a site-specific project in which students created a proposal for an interactive installation within limited specifications. Throughout the design process, Click Suite provided valuable feedback and guidance.

“It was brilliant for us to help the students learn about responding to a brief and presenting ideas, but it was also surprisingly stimulating for us—we were inspired by them!” says Click Suite director Emily Loughnan.

www.clicksuite.co.nz

wellington hosPital: design in healthCareTraditionally, medical equipment has been designed to relieve pain and suffering, and in many cases can make the difference between life and death. Design in healthcare addresses not only performance but also seeks to integrate tomorrow’s technology for today’s body. The partnership between the School of Design and Wellington Hospital provides critical access to the clinical environment, medical experts and the National Patient Simulation Training Centre. The Simulator, nicknamed ‘Stan’, features a range of responses that mimic those of a patient, situated within an operating theatre where designers can safely test their ideas in a controlled environment.

Current work is focused on anaesthetic equipment and the planning of a new postgraduate programme. National Patient Simulation Training Centre Director Dr Brian Robinson describes the partnership between the School of Design and Wellington Hospital: “Design is essential to every facet of human interaction with technology. This creates an educational and research relationship for the healthcare community and the School that is unique. Design innovation is an imperative in facilitating the best possible outcome for patients, technology and society.”

top left: Alex Ramaeker’s Methven-sponsored project. Awa is a conceptual hand basin which celebrates one of our most precious commodities—water

top right: Design by DMDN 212 students Mark Brown and Christina Smith

bottom: Anaesthetists debating interface experiments



suPPort and serviCes

te rōPu Āwhina: the whĀnau exPerienCe

e nga mana e nga reo tena koutou katoa he mihi tino mahana ki a koutou na te rōPu ĀwhinaTe Rōpu Āwhina is the campus whānau for Māori and Pacific students enrolled in the Faculties of Science, Engineering and Architecture and Design.

The kaupapa of Āwhina is to produce Māori and Pacific scientists, technologists, engineers, architects and designers who will go on to contribute to the development of their communities. Āwhina is all about people and collective success. Anyone who contributes to the building of Āwhina is part of the whānau.

Here’s what some of this year’s whānau had to say:

“Within Āwhina you will find friends and whānau willing to support you and help you reach the next level.” Te Ari—Fourth-year architecture student

“Āwhina has been the biggest help to me here at university. The resources offered and the sense of family it provides has made it much easier to succeed.” Earl—Third-year industrial design student

“Āwhina gives you an awesome sense of belonging. You always have the support of a whānau whenever you need it.” Anna—Fourth-year interior architecture student

“Being part of Āwhina made it possible for me to meet a whole variety of people who were learning and achieving amazing stuff. I was able to learn from them and, when the time came, I helped others too. It is an awesome vehicle for sharing knowledge and skills.” Rachel—Āwhina alumni

Te Rōpu Āwhina whānau was established in 1999 in the Faculties of Science, Engineering, and Architecture and Design.

te rōPu Āwhina Room 148, Level 1, Cotton Building, Kelburn Campus Phone 04-463 5987 email [email protected] website www.victoria.ac.nz/science/Awhina/

suPPort and serviCes


right: Whare Timu, final-year architecture student

bottom: Te Rōpu Āwhina mentors 2009


anna akroyd

rongwhakaata-te-aitanga-a-mahaaki Āwhina mentorFinal-year Bachelor of Design student in Interior Architecture

Anna has been an Āwhina mentor for two years and recommends it to everyone.

“Āwhina is targeted at Māori and Pacific students, but we welcome anyone who agrees with the kaupapa and is willing to be part of the whānau. We foster excellence.

“In Āwhina we gain confidence that you are going to make it. It’s really opened my eyes to the possibility of doing post-grad studies. Now, something that once seemed a dream is becoming a reality.

“Āwhina has helped me see the abilities of Māori and Pacific Island people and it’s given me a network of people I can approach for help. It’s really good to know a few extra faces around campus and know that there are always people you can go to when you need help.

“Āwhina is about whānau and camaraderie—a sense of belonging and being able to relate to each other. When you share your knowledge with others it makes you realise how much you’ve learnt. If your’e thinking of joining—just do it! It’s an awesome unique whānau experience.”

right: Farmgate: an urban farmers market a third-year project by interior architecture student Anna Akroyd


Casey anderson

Āwhina mentorFinal-year Bachelor of Architecture student

Casey is glad that he chose Wellington over Auckland when he decided where he wanted to study.

“Wellington has a much better culture and vibe within its streets. The University is great, too. I really enjoy the studio layout and the relaxed environment. It’s not really like studying. You have the freedom to be creative and the time you spend here is usually project related.”

Te Rōpu Āwhina is another reason Casey has enjoyed his time here at Victoria.

“It’s a really awesome way to help out young Māori and Pacific students in their first year of studying and it’s an amazing feeling to see someone achieve something they may have thought impossible before.

“It’s been great to help students who are in the same position I once was. New students learn from what they see the mentors doing and are often encouraged to become mentors themselves.”

Aside from the satisfaction of seeing their mentees flourish, the mentors also benefit from Āwhina.

“It gives you the chance to bounce your ideas off other people when you’re in a rut, or struggling for an idea. Some of the best ideas come from the young ones; they just need guidance to see it through.”

right: Architectural perspective drawings of Shelly Bay (top) and Upper Hutt Library (bottom) by Casey Anderson


tawa te Pouhiki hayes

ngati kahungunu, ngai tahu, tuhoe Āwhina mentee and mentorSecond-year student in landscape architecture

Tawa (right) has been a mentee in the Āwhina programme for just over a year now. He’s now a mentor to a couple of first-year architecture students. Participating in Āwhina has significantly improved his design and landscape architecture skills.

“Being mentored is great for clarifying work and picking up on things that are sometimes difficult to understand. Being able to mentor someone myself is a great learning experience. Looking at things that I have already covered and explaining them to someone else is great for revision.

“Āwhina has introduced me to a lot of great people within the Faculty of Architecture and Design who I am sure will be fantastic contacts in the future.”

To anyone considering joining Āwhina, Tawa says, “Do it! You won’t regret it.” As for himself, what are his plans for the future? “I want to finish my degree, make some cash and go and see the world!”

bottom: Tawa Hayes’ work Chews


viC oe

The Faculty of Architecture and Design is internationally connected. With more than 20 established exchange partners from universities all over the world, the Faculty is a strong participant in the global tertiary education community.

We have one of the highest proportions of students embarking on formal exchange agreement to these partner institutions through the Vic OE programme. Architecture and design students may attend universities such as Pforzheim University and Fachhochshule Mainz (Germany), University of Ferrara (Italy), Rhode Island School of Design and Carnegie Mellon School of Design (US) and Universidad de Valparaíso (Chile).

Victoria International (Victoria’s international relations office) administers the Vic OE programme. It allows predominantly third- and fourth-year students with a minimum average ‘B’ pass over the duration of their studies to have the opportunity to complete one or two trimesters of their degree abroad.

The University is very supportive of the Vic OE programme and presents every Victoria student who goes on exchange with a grant to help cover the cost of airfares and living expenses. Students gain full credits for their home degree from courses completed overseas.

If you are interested in applying for the Vic OE you must:

be enrolled as a full-time student at Victoria University (at the ͠time of application)

have completed a year of full-time study by the date of your ͠intended departure

have achieved a ‘B’ average overall on your studies at Victoria ͠

be able to demonstrate that you would be a good ambassador ͠for Victoria.

Successful applicants will be supplied with grant funding of $1,000.

Students are also eligible for full StudyLink Student Loans and Allowances (if normally eligible in New Zealand).

Application deadlines

16 January 2010 (for study in Trimester Two, 2010) ͠

16 July 2010 (for study in Trimester One, 2011) ͠

University of California applications should be submitted as ͠early as possible, no later than 5 January and 30 June.

www.victoria.ac.nz/exchange/howtoapply.aspx

viCtoria international Student Exchange Office Room 207, Rutherford House 23 Lambton Quay, Pipitea Campus

Phone 04-463 5667 email [email protected] website www.victoria.ac.nz/exchange


sCholarshiPs

Victoria offers a wide range of scholarships and awards to its students. For details of current scholarships and information on how to apply for scholarships, visit the Scholarships website www.victoria.ac.nz/scholarships. Application forms and regulations for individual scholarships administered by Victoria are available from the Scholarships Database.

Although a range of scholarships is available throughout the year, the key dates are March for undergraduate scholarships and October/November for postgraduate scholarships. If you are a current Victoria student you can also link to the national scholarships database Breakout through the Victoria Scholarships website.

Information about external scholarships is also available from the Scholarships Database and Scholarships Noticeboard. Alternatively, you can download the latest edition of our Scholarships Handbook from the Scholarships website. A list of recent award and scholarship winners is also available on the website.

The Scholarships Office is located on the ground floor of 10 Kelburn Parade on the Kelburn Campus and holds information on a large number of undergraduate and postgraduate awards. Students are welcome to visit the office for advice and further details.

sCholarshiPs oFFiCe Research Office 10 Kelburn Parade, Kelburn Campus

Phone 04-463 5113 or 04-463 5557 email [email protected] website www.victoria.ac.nz/scholarships

right: Student presentation for DESN 389 Design Research


adviCe and Further inFormation

91

Course adviCeThe Faculty of Architecture and Design has student advisers who look after students from admission through to graduation. All of our dedicated team are knowledgeable in all of the programmes that we offer, and are well-placed to give advice.

Student advisers can help with a variety of services, including campus tours and information sessions, admission advice, credit assessment of prior study, degree audits, Vic OE (Exchange) or even just a friendly face to talk to.

We offer objective advice to help you make the right decisions when choosing your degree and planning your courses. Whether you’re entering first year or fifth, whether you want to change your degree programme midstream or you just want to be sure you’re on the right track, drop in and talk to them about your plans!

Student advisers may refer you to the Associate Dean (Students) or the Manager, Student Academic Services for further advice and guidance.

student and aCademiC serviCes 139 Vivian Street, Te Aro Campus Phone 04-463 6200 email [email protected] [email protected] website www.victoria.ac.nz/architecture www.victoria.ac.nz/design

sandra FranCe, manager, student and aCademiC serviCes Phone 04-463 6217 email [email protected]

Jenny Christie, assoCiate dean (students) Phone 04-463 6166 email [email protected]

how to enrolComplete an enrolment application form, preferably online and as early as possible. Online enrolment is available at www.victoria.ac.nz

To apply for the second year of the Bachelor of Architectural Studies (BAS) or Bachelor of Design Innovation (BDI) degree programmes, you must complete an application form, which is available as part of your enrolment. This must be completed before 10 December 2009 (for studies in the 2010 academic year). Late applications will be processed at the discretion of the Faculty. More detailed information regarding applying for second year can be found in the relevant prospectuses; see Publications on page 93.

Once your enrolment application is approved, you will be sent an offer of study, which will show you the courses you have been accepted into, and any comment concerning your choice of subjects. You must return your signed offer of study to confirm your enrolment.

You will then be sent a confirmation of study.

enrolment oFFiCe PO Box 600, Kelburn Campus Phone 04-463 5250 or 0800 VICTORIA (842 867), option 1 email [email protected] website www.victoria.ac.nz/home/admisenrol online enrolment oes https://signups.victoria.ac.nz/oes


student reCruitment & Course adviCeStudent Recruitment & Course Advice provides independent informed advice on courses and programmes to potential first-year students. They have liaison officers specifically to help both Māori and Pacific students. Student Recruitment & Course Advice also welcomes enquiries from mature students and has a specifically designated Liaison Officer for initial enquiries about all postgraduate programmes.

student reCruitment & Course adviCe Level 1, Hunter Building, Kelburn Parade, Kelburn Campus Phone 0800 VICTORIA (842 867) or 04-463 5374 email [email protected]

international studentsInternational students thinking of studying at Victoria should first contact Victoria International.

viCtoria international Level 2, Rutherford House, 23 Lambton Quay, Pipitea Campus Phone 04-463 5350 email [email protected] website www.victoria-international.ac.nz

student serviCesVictoria has a highly active Student Service network, which includes the Accommodation Service, Vic Careers, counselling, crèches, Disability Support, Financial Support and Advice, Kaiwawao Māori, Manaaki Pihipihinga mentoring programme, physiotherapy, Student Health and Student Learning Support.

Details can be found at www.victoria.ac.nz/st_services

left: First-year design project completed by Ruth Kiery


PubliCationsEssential publications are free of charge from Student Recruitment & Course Advice and our Faculty Student and Academic services or online. These include:

Guide to Study ͠ , which covers all you need to know about enrolling as a first-year student, and outlines degrees, courses and student life at Victoria

Guide to Enrolment ͠ , which contains information on enrolling, timetables and course descriptions to help you choose or plan your degree.

FaCulty PubliCationsEach prospectus below contains detailed information on undergraduate degrees offered by the Faculty of Architecture and Design, such as requirements for entry, degree requirements and course information such as course levels, times offered, points allocated and brief course descriptions. They also contain information on staff who teach at the school and other student services offered.

The Undergraduate School of Architecture Prospectus contains detailed information on the following degree programmes:

Bachelor of Architectural Studies (BAS) in Architecture, ͠Architecture History and Theory, Interior Architecture and Landscape Architecture

Bachelor of Building Science (BBSc) in Sustainable ͠Engineering Systems and Project Management.

The Undergraduate School of Design Prospectus contains detailed information on the following degree programme:

Bachelor of Design (BDes) in Digital Media Design and ͠Industrial Design (please note, this is for students who were enrolled in the Bachelor of Design prior to 2009).

The Undergraduate Bachelor of Design Innovation Prospectus contains detailed information on the following degree programme:

Bachelor of Design Innovation (BDI) in Culture+Context, ͠Industrial Design and Media Design.

The Postgraduate Faculty of Architecture and Design Prospectus contains information on the following degree programmes:

Graduate Certificate in Designed Environments (GCertDE) ͠

Postgraduate Diploma in Designed Environments (GDipDE) ͠

Postgraduate Diploma in Architecture History and Theory ͠(PGDipAHT)

Postgraduate Diploma in Building Science (PGDipBSc) ͠

Master of Architecture [Professional] (MArch) ͠

Master of Interior Architecture (MIA) ͠

Master of Landscape Architecture (MLA) ͠

Master of Building Science (MBSc) ͠

Master of Design—Industrial Design and Digital Media (MDes). ͠


resourCes

Vitra miniatures Thanks to the vision and generosity of Victoria University Library, in 2008 the entire collection of Vitra miniature chairs was purchased for the Architecture and Design Library. The handcrafted models meticulously reproduce every detail of the full-sized versions. Representing the most significant chair designs from 1849 through the 1990s, the Vitra collection is a physical survey of the history of design.

Lecturer Edgar Rodriguez, who suggested the Library purchase the $32,000 collection, says, “Chairs were often at the front lines of wider changes in design and society.” For Sean Antrobus, a fourth-year industrial design student, the value is tangible: “To be able to pick it up gives you a proper sense of proportion you’d never get from a photograph.”

arChiteCture and design libraryThe Architecture and Design Library holds Architecture, Building Science, Culture+Context, Industrial Design, Media Design and Interior and Landscape Architecture books, periodicals, maps and plans and audiovisual material. The Library offers a full range of reference, reserve and lending services, as well as access to a rapidly increasing range of electronic resources online and on CD-ROM and DVD. The Library has photocopying, scanning and photographic facilities, and rooms for group study. Computers with email and internet access are also available for student use.

arChiteCture and design library 139 Vivian Street, Te Aro Campus Phone 04-463 6241 ContaCts www.victoria.ac.nz/library/contact/departments.aspx#AD website www.victoria.ac.nz/library.aspx Catalogue http://victoria.lconz.ac.nz/


FaCulty oF arChiteCture and design teChniCal resourCesThe Faculty has a team of 15 technicians and a Technical Services Manager, supporting the specialist Architecture and Design technical infrastructure and services for students’ and staff teaching and research. These include:

Computing services The Faculty computing environment contists of approximately 350 computers spread around nine studios and six computer labs to support the particular needs of architecture and design students and staff. This also includes a dedicated Mac computer lab for students studying in the Digital Media Design and Media Design programmes currently offered by the School of Design.

Audiovisual facilities These include lecture theatres, seminar rooms, portable AV teaching equipment, mobile LCD displays, SmartBoard equipment and loan AV equipment for students. The Faculty also has an Advanced Learning Communications Facility (ALCF) containing video conferencing equipment and MediaSite recording. The ALCF room also has Access Grid technology connected to KAREN high-speed internet, and is one of only three such sites within the University.

Workshop facilities This includes not only the traditional carpentry and metal machinery areas, paintbooth and modelling equipment, but also three ULS laser cutters, four small 3D Modella routers, a full bed (2.4m x 1.2m) Techno CNC router and two Eden 3D Rapid prototype machines.

Technical Resource Centre This service for students provides for their specialist architecture and design needs. From here students can order wide-format printing and have prototyping carried out on site. Students can also loan digital AV equipment and building science test equipment, and purchase specialist modelling and art supplies at cost—an essential service considering the difficulty students would otherwise face attempting to source various modelling supplies from around the country.

Specialist Building Science and School of Design labs These include a wind tunnel, lighting lab, ergonomics lab and a photographic studio.

mark shaw, manager, PhysiCal resourCes and teChniCal staFF Phone 04-463 6251 email [email protected]

studio STUDiO is the student representative group for students in all courses of study at the Faculty of Architecture and Design. STUDiO officers are elected each year and are responsible for everything from social and sporting events to student representation on faculty boards. Along with class reps, STUDiO reps are able to assist their fellow students with course-related issues. STUDiO holds regular social events such as STUDiO-invited talks, barbeques, drinks evenings and sports tournaments, runs the annual STUDiO Ball each August and design competitions throughout the year, arranges student discounts with local shops and suppliers and generally incites fun and excitement to give everyone a break from study now and then. STUDiO is always looking for people to get involved and help run things—keep an eye out for STUDiO noticeboards near the main staircase of the Te Aro Campus and the STUDiO website www.victoria.ac.nz/architecture/about/studio/studio.aspx for information about events and meetings.

left: Industrial design student Emma Whiteside with some of the Vitra chairs collection


200928 august Study at Vic DayoCtober Enrolment Packs available1 oCtober Halls of residence applications dueSchool Leaver Scholarship applications due31 oCtober Discretionary Entrance applications deadline for courses starting 16 November 200916 november Summer trimester begins30 november—11 deCember Course Planning Weeks for first-year students, Kelburn Campus and Auckland1 deCember International students’ first-year applications due for February 2010 intake10 deCember Applications deadline for summer trimesterDiscretionary Entrance for courses starting 5 January 2010Applications due for limited-entry degrees and courses for 2010

201012 January Applications due for distance courses for 201029 January Paper applications due for open-entry degrees and courses and Discretionary Entrance12 February Online applications due for open-entry degrees and courses and Discretionary Entrance16 February International Student Enrolment 21 February Halls Head Start programme for all first-year students in halls of residence22—25 February Enrolment in Person22—26 February New Students’ Orientation Week26 February All fees are due the Friday prior to commencement of course, or immediately upon enrolment during the year 1 marCh First trimester begins; VUWSA Orientation Week1 may International students’ first-year applications due for second trimester intake Accommodation applications due for second trimester1 June Applications due for limited-entry degrees and courses and distance courses for second trimester25 June Applications due for open-entry degrees and courses and Discretionary Entrance for second trimester1 July International Students’ Orientation6—9 July Enrolment in Person for second trimester13 July Second trimester begins; VUWSA Re-orientation Week

Some of these dates are provisional, and should be checked in the Guide to Enrolment, or on the website www.victoria.ac.nz /home/study/dates.aspx Note that Teacher Education has different enrolment and start dates for some courses. Check out www.victoria.ac.nz/education for details.

opposite: Third-year design studio project by landscape architecture student Andrew Norriss

FAD0005-2009

Faculty of Architecture and design Te Wāhanga Waihanga-Hoahoa Phone 04-463 6200 Fax 04-463 6204 Email [email protected]

[email protected] www.victoria.ac.nz/architecture

www.victoria.ac.nz/design

139 Vivian Street Te Aro Campus Wellington 6011

Victoria University of WellingtonPO Box 600Wellington 6140New Zealand

student recruitment & course AdvicePhone 0800 VICTORIA (842 867) 04-463 5374 Fax 04-463 5193 Email [email protected] www.victoria.ac.nz/srca

Level 1, Hunter BuildingGate 2, Kelburn Parade Kelburn Campus Wellington 6012

Victoria internationalPhone +64-4-463 5350Fax +64-4-463 5056Email [email protected] www.victoria-international.ac.nz

Level 2, Rutherford House 23 Lambton Quay Pipitea Campus Wellington 6011 New Zealand

Documents

SOAD handbook