bachelor of interior architecturE
Dr. jack tooley
|Propelled through the twenty-first century, we realise ourselves in what can be labelled ‘the liquid modern’ (Bauman, 2000); a condition of constant change in which we must not only be highly skilled, but agile, creative, resilient, innovative and experimental. To design for this context, it appears logical that we task students to command their own projects – their own pitches to showcase these liquid-ready attributes. Afterall - the students are the people they will soon be designing for.|
|In their final studio in the Bachelor of Interior Architecture program, we asked students to pursue their own spatial interests; a space they haven’t yet attempted to design; a space they want to know more about; a space they want to align with for their future careers as interior designers.|
This self-driven pitch is guided by a design action research methodology which helps scaffold the projects toward completion through an iterative cycle of planning, designing, reflecting and improvement. Students were tasked with the goal of economic sustainability by engaging several interrelated bodies of design knowledge.
Convivial design encourages people to linger by generating experiences that are sociable and joyous. Amongst many convivial manoeuvres, this is achieved through ample seating, adaptability, appropriate scale, clusters and sequences of the spatial journey to slow and manipulate movement, and opportunities to be voyeur between spaces upon other occupants.
A central tenant of convivial design is to offer diversity of use where occupants can attend for one function and find another. Students therefore engaged hybrid design principles, whereby the cross-pollination of self- selected typologies were considered vertically, horizontally, topographically, monumentally and eccentrically. Hybridity is fully realised when the constituent typologies coalesce to create a unique emergent spatial personality – the star of the show.
The site for this convivial assemblage is the original AMP building at 22 King William Street, Adelaide. It’s main insurance and banking hall is a local 1930’s exemplar of classically derived interior architecture. The reflected solidness, immovability and consequent surety implied through the neo-classic ornate marble interior, alongside the space’s original use, contrasts with our time of uncertainty and liquid change. This is a juxtaposition and irony that students have dealt with through adaptive reuse principles and precedent investigation, making moves to contrast, compliment, install, insert or intervene the existing building fabric relative to their individual projects.
Convivial and hybrid knowledge are derived from urban design discourse, in this final studio students were presented with a unique challenge to translate this spatial discourse into the more intimate scale of the interior. The unique outcomes span from a launderette X nightclub to a planetarium X public bath, an entomology museum X entomophagy restaurant to a bar x public library.
The exhibited projects are the culmination of student’s industry-ready skills; their ability to put research into
|design; their ability to empathise occupant experience; their ability to command concept design, design development and documentation stages of interior architecture; their unique interests; their bravery in the face of constant uncertainty —|
their P I T C H.