Major Project _final presentation interaction

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[Music] What do you want?

Um, yeah. Um, just if you can make some

yeah. Um, just if you can make some notes and then send it to me.

Where's the guys?

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Okay.

Everyone okay to go? Over to you.

Um, good morning everyone. Good morning

to my panels. Thank you for coming to my final presentation. My name is Lucy and

final presentation. My name is Lucy and today I'll be presenting to you my final research major project and how I have traveled in the last eight months. I

would like to first start with acknowledgement. I respectfully

acknowledgement. I respectfully acknowledge the people of the Wan and Burang language groups of the Eastern Cooland nation as traditional custodians

on whose sincere lands this research has been developed on. My project is titled at the intersection. I claim my research major project to be a speculative

open-ended interior design emerging interior design practice that delves into the ideas of time, space and interior relationships. The progression

interior relationships. The progression of my project from semester 1 into this semester is very closely connected.

During semester 1, the day before our very first class, I took these two photographs on my way from my house to uni. And it is photographed of a trail

uni. And it is photographed of a trail of reflected wet footprints casted onto the train carriage floor on a rainy day after a group of people has left. I then

begin to recognize this photograph as a pattern that documents people's activity in public spaces and of their intersecting encounters and pathways in

the same space across different times.

Then I edited and developed this pattern and applied onto various kinds of material to test out their material expressions and more potentials to that.

And would you like to come up close?

So all of these um has one side to it and once you there's the other side of the expression and all of these materials all look different on

both sides.

And then so this was a collection a capture of the body of work um with this photo this capture of the body of work

that I producing stamp once and my pro my practice is very process based and process driven and I'm always researching and designing at the same

time and through all of the making the findings and mistakes or the serendipitous glitches within the process are being considered reflected and then that prompts the next set of

iteration. So each iteration leads into

iteration. So each iteration leads into the next. This semester I went back to

the next. This semester I went back to look at um my work and wanted to use perspective as a lens that offers up more opportunities for

and I looked at these two diagrams that I have developed during semester one which is also um the two big diagrams at the entrance of the room. these two

worlds. So the large one down at the bottom was the explains the process of making this material prototype display.

So it's actually a shelf that can stand up directly like that. And I wanted to show it different material expression on both sides. How I have used iterations

both sides. How I have used iterations of the same pattern as a digital input onto physical fabrication and testing

out its material outcomes. And when I made those diagrams, I actually modeled them in Rhino. So on its own, it's got spatial quality and all different ways

and angles of looking at them. So the

desired view was set to be parallel.

Um, so this was a design view that I wanted to achieve with this diagram and I wanted to look at other views of looking at it. For example, this is front, right, and northwest and I'm

covering other ways of looking at it.

And this other diagram here which is at the top in the center within the frame was the desired perspective the view that I wanted to that I wanted to

achieve and outside the frame were all of those other elements that was laid out for the making of that view and that was hidden um outside the diagram

and this idea of the frame becomes really interesting. Jules Doo the

really interesting. Jules Doo the philosopher talks about how in cinematic context the frame changes the perception and perspective of the viewer and at the

same time there's so much more outside the frame extending and expanding as there is a much bigger context and through time things are always dynamic

and fluid and it constantly and this semester I really wanted to find out my interest and passion for interior design and what I really want

to develop and research as my practice being the last semester in this program.

Um, and those ideas about time and space and interiors were really fascinating to think about when I look at I look back at these two photographs I've taken at the start of the year. And I've taken

these two prints with me throughout this proc this entire process and use them as a source of inspiration. These two are actually the original prints. That's why

the paper is a little bit different and those ideas like at the time of taking these two photographs I didn't know that it would influence my entire way of practicing and researching and

how much information it carries. Not

only does it contain exact time or to second millisecond its camera information, ISO, aperture, lenses and as well as its exact location, latitude

and longitude. And I wanted to unpack

and longitude. And I wanted to unpack some of these ideas now that I've discovered a new layering behind this pattern in the semester. So I started with sketching. This diagram describes

with sketching. This diagram describes the process of unpacking those layers behind these two patterns. It actually

matches with these four diagrams at the front. Like to come up close and have a

front. Like to come up close and have a look at it.

So this diagram is on the train carriage floor and this is where these two photos have been taken. This is the map of from

my house to uni on the train and this is where these two photos have been taken and this is on a timeline of over 16 weeks I have taken these two photographs at the start and developed it over the

certain period of time into other projects and then this describes this journey on a bigger scale of over four years traveling on the same train route

and whil studying interior design and working at the same time. And this is where these two folders have been taken in 2024 surprisingly right before starting a research major project. So

this diagram connects up all of those frames that is behind that. And this time I wanted to further elaborate and expand

on it whilst containing all of these other layers and of sketches which more seem made of memory mapping drawing and

exquisite cors diagrams. So here's the digital transformation into this big poster. So in this center here is the

poster. So in this center here is the timeline of over four years uh traveling on this train and because I'm interested

in how we as individuals navigate through public spaces get more and more familiar with the space. So I have added in this top section here is all of the

classes that I've taken in the last four years through the interior design program. It's dates and classrooms that

program. It's dates and classrooms that I've been in in this building in the design hub. And below here is because

design hub. And below here is because I've been working at the same time. And

it was actually quite surprising to see when I drew this out that four different places that I've worked at were all along this train same train normally

within 5 minute walking zone to it closest station to its closest train station.

And in this process, I have used myself as the experiment subject to uncover these ideas about time and space. And

I'm interested in because a lot of these diagrams came from sketching. I realized

that through sketching this form of this way of expression, there is a rhythm and flow to it. that as I'm sketching down with my hand, my mind, I'm recalling

memories from the past and connecting to myself from various different spaces and times. And all of these memories are

times. And all of these memories are intertwined and tangled up together so that as I'm drawing on these multiple papers, I'm working across multiple

multiple I'm working across the four different layers at the same time going back and forth because of how memories are intertwined. And this is really

are intertwined. And this is really fascinating to see and it brings up my first research question. How are time and space experienced simultaneously in

a nonlinear manner? How does fragments of time and space make up our experiences and form who we are? and

leading to my second research question.

How do we perceive ourselves as part of a continuous narrative through time and space and the quotes by the philosopher paracitis that have been included in my

ashra as well no man ever steps into the same river twice for it's not the same river and he's not the same man and I realized that in this process of working

through these ideas that we cannot enter the same space and building again like the first time we did and every other time. Just like we cannot meet someone

time. Just like we cannot meet someone again like the first time we met them and every other time. And it is as if spaces have their own personalities. We

say that our interpretations of spaces is not defined in how they're being structured or built but rather based on our own personality but rather based on our own personal interpretations.

And I'm interested in how we experience spaces. How do we navigate through

spaces. How do we navigate through spaces getting more familiar and feeling like a part of the space? And how do we then take the space in into a part of

our library? And it links up to my third

our library? And it links up to my third research question. How do individuals

research question. How do individuals navigate public spaces whilst forming a sense of interiority?

And having traveled on the same train route over the last four years has in a way influenced to this way of researching and practicing and observing

all of these social systems and navigation in public spaces. And I wish to communicate these layers and ideas through edited through this film made up

of edited experience of time and space shown um on the screen and through the projection here with the layers because

with these layers they're made up the film is made up of edited experiences time and space and it's made up of more than 100 more little clips that I've

edited together and when I was editing I felt like I was in that space again across all of these different space and time. And through editing

time. And through editing in the process through editing through editing in the process, I realized that the transportation

carriage itself becomes a transitional space. So here's actually a material

space. So here's actually a material forming of the train carriage. The

transportation carriage cells becomes a transitional space that takes people from one place to another and then windows becomes documenting surfaces

that captures all of these situations and encounters through time.

And I wanted to form these scenes that have been seen on the train carriage.

And the train car itself documents all of these different unique and similar interactions. And through time, they're

interactions. And through time, they're all traveling all together into time together. And the window space becomes

together. And the window space becomes reflective at times and is especially visible at night when the spaces are dark and the inside and outside could be

seen at the same time. And sometimes

these layers come through the foreground, sometimes hidden on the background and sometimes hidden. And I

wish to form this speculative communication collection that wishes to communicate those ideas. In a

traditional design project, there is a linear process that it follows. First

there is the idea and then it gets communicated and then it gets the designer communicated and then that gets executed then that comes the end of it.

But maybe it doesn't just end there for one specific design project because through time things are always dynamic and fluid and in constant flux and maybe

there's a way to interject and interrupt into that process of communication visualization and make it an ongoing event.

And with this collection I hope to spark new ideas and have conversation with other designers and creative thinkers.

This form methodology way of working these mediums and techniques could be potentially used by others and applied into other films. And in my practice,

physical hands on making has been a really main part of it. Helping me to think and move through these ideas, finding out more things and transitioning through these

materials and makings and helping to communicate my ideas to others. and in a way gives more opportunity for creating interactions. So here is a space and

interactions. So here is a space and time you could hold up outside and you can spin it around. So it's

actually quite stable. You just hold it with one hand and then this is a way trying to communicate all of those layers communicating. the inner center

layers communicating. the inner center there is the footprint that have carried out through this entire research and practice that I've used. So that's like

trying to create one way of interacting and then this smaller prototype becomes a part of this bigger communication and mapping device on

here. So on if you would like to come up

here. So on if you would like to come up closer have a look. So in the center at the bottom is this sketch diagram of the yacht above this aluminum sheet and

above is warriors and the footprint that carried out through the throughout this practice and all those others and fragments that joins us together to

become this speculative communication device.

So on the gear is the mapping of the train route and every time it's spin to create new ideas and ways of forming this route. And at the start of the year

this route. And at the start of the year I've named my project at the intersection. When I have named it, I

intersection. When I have named it, I didn't know what it would actually be. I

just thought there's something that's really interesting at the intersection when it emerges. And every time I have develop new projects, I feel like it's

becoming of something else. Maybe now

it's the intersection of time and space and all of these other interesting countries.

Yeah, that is it for my Thank you for Lucy.

I'll hand it over to the panel. maybe

broadian.

Sure. I've got some hard questions.

Yeah.

No, no. I was going to say terrific body of work. You know, it's extraordinary what you produced over the year and obviously semester. So,

congratulations.

Amazing to sort of see the amount of detail and thinking and making I suppose um because the work is so comprehensive

process I wanted to ask some questions outcomes of this work and maybe contest that as a

question in terms of process.

Um but I I just sort of wonder whether um through the notion of sort of interesting your question

and how your questions align necessarily with the work. I think some answer some of that where you spoke about kind of intersection

but I mean that represent But um I suppose I would like to ask

what necessarily the value question through this entire it's a practice it's it's a process on

its own discovering those new ideas and how Each one of them his curiosity has been picking up I guess this whole project initial curiosity and that leads into

something else and your mention of um it's used to others uh this the outcome of this whole collection wishes to communicate those ideas through

different kinds of viewers and showcase as this collection that everyone when other people comes in to have a look at it every time I have a conversation with someone else there are different factors

which I don't pick up that might seem more important to them and in that process it drives more ideas and whilst the conversation is going and as you

have mentioned the device I guess it's sort of a the process of making that is also again experimental but the outcome of it is being shown to others but it's

not like a defined entire design a model it's experiment wherever I use those

so I have a deep connected to others as well this ideas about time and space is always really interesting I think in

terms of design this way of thinking that it leads through all these projects designs and I just think there's something really tangible

and I think I feel that the way you understand what the success of the work is and what you measure it success and then I think this idea of recent in

a number of different ways like I found so

value I found it really interesting when I have a conversation with someone when I talk to them and the feedback they're given back to me with our interact

raction because in that time of transitioning through exchanging information there is a connection between me and others and having this

connection and when you're patient we're in the same we're together like we're not only just in the same space same time but our minds are connected

together and ideas are linked up and it could also expand a lot so I found that that is quite a interesting point to pick with these experimentations.

And I pick up on those some of the ones I think are more successful in communication and interactive. So the

outcome is a bit more clear and then I take it into something else. For

example, like if I wish to connect it and communicate it to others, I would form a more um refined piece or like turn it into that device that is more

modeling just not just for me for me it's a way to experiment through these ideas but for others I guess opens up to more possibilities

last question can you define what you mean by how do

whilst material that first that question first came up when I was drawing this diagram when I drew out over the timeline

period. I tried teaching cuz in this

period. I tried teaching cuz in this process I have proved myself as subject.

I am interested in how we sort of experience space but how we as individuals all experience spaces differently and in this process is

actually one little example that I'll mention so this year open day I attended there and become a volunteer and last

year I also went there for open day and that was also volunteer right before leaving so I booked my ticket the next day to leave for Hong Kong and the

internships and then the year before that I came in and asked about the exchange program. So that sort of links

exchange program. So that sort of links up. I remember the first time I attended

up. I remember the first time I attended open was the first time stepping into this building and that moment becomes sort of significant as that was the

first time entering this building and I cannot experience it again and over the years living through this building and other spaces that have formed my way of

getting more familiar with the space. um

maybe all of these classrooms seem to look identical but that because we spend so much time in those different spaces we get more familiar with it and get

connected to it. So in a way um even though they're all public spaces that we cannot exactly keep as a part of our own but we form our sense of contingency.

final presentation as well. It's a huge achievement.

Um I'm interested to know like in terms of the intent of all of these iterations whether you were kind of going towards like a particular outcome or like how

you define the outcome or if you see that as an end point of the process the process itself the way I guess is

really interesting. I'm interested in um

really interesting. I'm interested in um because I have frame my practice to be open-ended and I'm always open to more possibilities to examine all try all of

these things to experiment through that.

the process itself becomes really interesting the way like the outcome I guess I've kept it really open and there's not a specific thing that I want

to have in mind like having a vision of it design it exactly and then make it because a part of my process um so thinking through it and then designing

and making at the same time I don't want it to be a really define like imagine exact make it exactly how I have imagined like Even when I make through

these things like this model, I didn't have a vision of how it would be exactly. I just worked through the

exactly. I just worked through the process and pick up on those interesting fragments and try to communicate in this way and all of those ideas will emerge

together as a layering process and then that sort of comes at the outcome.

It's kind of interesting because you briefly touched on nonlinear patterns of design process as well. which I was like kind of latched on to. I kind of wanted

to hear a bit more about that whether you had looked at that in relation to commercial practice as well said you know yeah there is that process of you get ready through a certain stage and

then there's like an outcome and like it's interesting the way that you're working is kind of coming back and interrogating these different points. So it's like process

points. So it's like process looked at how practices there's practices out there doing it design.

Yeah. So um I have been thinking about these ideas that I've carried with me throughout this year. So I um went to internship at

this year. So I um went to internship at the start of this year and this notebook at the front of the page where like when I was doing the internship working with

those really real like projects and then there's like I write down the date of like due date and when it's going to be achieved the stages of it the timeline

of it how many people working through it and then because I only entered there um for a month so there was like a bit of information there and then I sort of

carried on notebook and having drawn other pages now I've like opened it to more possibilities and then like just seeing it the way that I've been

sketching and drawing is different like now it's all sort of intertwined as you mentioned like nonlinear when I'm working because um the fourth year major

project is like more individually driven and there isn't a process that I have to follow there isn't a specific deadline or outcome that I I could be working through all of these

materials and experimentations at the same time and seeing what the outcome of that is.

I found that really interesting.

Yeah. like you kind of hit on something that is always like working with first nations communities as well like processing to

be a lot more circular and the way back on a particular type process is really important as well along the way to the

reflection.

Thanks so much. It's such a beautiful collection of work and I really appreciated how articulate and engaged

your presentation was. Was so enjoyable.

So, thank you for the very touching. Um

I have two questions. I have lots of compliments for you, but I'm going to run out of time, so I'm going to go for your question.

Um the first question is around all of these beautiful artifacts and the things that you've made. Um I suppose I'm curious um the work that you've made in

semester one and you semester two, what's kind of the relationship there?

Like how maybe have semester one semester 2? Um um yeah that's really

semester 2? Um um yeah that's really interesting because um given out the research project that was a part of our program that we had to document every single thing and working through it. So

I guess semester one was really heavily material and making based like I was just working through them and I have to document everything and recording it and that sort of feels like a collection on

its own. And then this semester like we

its own. And then this semester like we didn't have to do a research project. I

didn't have to document everything at the time of making it. I could just walk through it in a way that is fluid that I feel like um because I'm making it all

of those good ideas comes out of that and taking pictures I feel like sometimes frames that moment or like that is the outcome but there is no process of determining that as the

outcome. I don't have to document it

outcome. I don't have to document it because all of these things just like floats around in the workshop or like in my room and I look at them as all I

don't look at them as all separate path.

I look at it as a whole collection that goes into others like there are components that pick up with all around.

So you felt that because you didn't have to focus so much on documentation you were able to engage in a way.

Yeah. And there was Yeah. And there was actually quite a

Yeah. And there was actually quite a huge change at the beginning of this semester cuz at the start I really sort of struggled to form this like into

actual project and then I began to think about those ideas about time and space like last semester I did not work with sketching diagram filming videos at all.

But this semester because I've started working in all of those ideas that are behind it, all of these theories, I guess that provides more thinking to it

and I've chosen to experiment with these ways of expression, these ways of working as as well. Then I feel like this semester the research part and the

designing and the making really comes together that I'm I'm actually thinking about the process as I'm making it but I'm not just making it for the

documentation for the so that my question um is so wonderful at reflecting on

reflection what do you think the kind techniques or methods or processes from this year might be able to take forward.

Um, so all of these main things like is a way of experimentation and sort of what comes out of that. But

sometimes I think about now like this is all my work physically shown in this space here. Sometimes sitting in my room

space here. Sometimes sitting in my room what if I didn't have all of these with me the room is empty I cannot see any of my work then what is left there I think

it's the process the methodology that is behind that I'm really fascinated by this ongoing event and the traveling of time and space and it has shaped from my

past experience in the last four years of doing interior design that has really come to a result of that I'm sure that I will carry that sort of way of thinking

methodology into my further practice that even if it's not with these ways of making those ideas will carry on.

Yeah. Look, I think it's really beautiful something to take forward with main theme being you know when you're talking with Roger around your measure of success of your work being the opportunity to have conversations and

connect with people. Um maybe that could be something that you kind of keep exploring. So how to open up these

exploring. So how to open up these artifacts to audiences to further enable this conversation and I think this proposition here is really fantastic. I

think potential kind of sculptural process driven artifacts like this.

[Music] Can I add on to that? Of course. Um I

found it really interesting because working through years I have a lot of conversations with like other tutors and you are my um changing alternative

tutorial in Sylvester one and then recommended new material tool and I've used that as a part of it. So every time when I open a conversation with someone else exchanging information with like

tutors and my peers like I'll explain the whole process like in a few minutes and then they will pick up something that they think is interesting and that feed that idea back

into me and every time I have a conversation with someone their perspective is always different and for example like that device there's a multiple ways of perspective I'm talking

about it everyone when they look at it will realize they'll pick up on different things. They're like, "Oh,

different things. They're like, "Oh, this this element is quite interesting or like this layer is fascinating to me."

me." library. We try to take a photo of that.

library. We try to take a photo of that.

Every time the photo will look different and all of these same ways that they're intersecting and reappar [Music]

questions and so it's kind of a you set up specific questions. So I'm not sure you always

questions. So I'm not sure you always answer those questions and I wonder whether the questions came before the work or the work and just the relationship between them

but something that we do in the kind of PhD focus research model is to sort of tend to just leave the questions separate

from the work sometimes because sometimes the kind of questions can distort the work or vice versa or they can shift the work in certain ways. I

just wonder and this is sort of more a kind of ongoing thing but maybe to reflect on the body of work outside of the question and um because yeah just I

think there's maybe a slippage at times between what you're trying to do with the questions and what the expectation is there and what the work is actually doing and there's relationships between

it that they're not always so clearcut and so maybe to sort of reflect on it and what I encourage you to do is understand because I think in many ways you're

talking about representation, votes of representation of space.

So I think there's a conversation to have there your work too and that all your references talk to that

woods all of those working representation and somehow create a shift in the way we understand space

I think there's there's an attention you could take towards that and that might move it away itself and into a kind of the externalized

community of practice that provides you with some complexities and some challenges cuz I think one thing about

being so self-reflective is that what are the points of difference or what are the points of complexity or where are the where are the challenges in that

often you can produce all the work and because it's not necessarily rubbing up against something in a typical Right.

Everything's kind of good. Sometimes

that's not always the case. So it's

maybe [Applause] complexities or or challenges or or differences.

Yes.

Okay. Thanks panel. Thank you Lucy. Um

fantastic great great discussion. um

incredible years worth of work and um yeah just congratulations on what you've got to look forward to seeing what you do in the future.

[Music] Oh.

Oh yeah.

Hi.

How are you?

Good. How are you?