Jamal Sakini

Industrial Design

Jamal Sakini is a multi-disciplined designer completing an Honours in Industrial Design.

He is working in Experience Design at Downstream Melbourne, completing projects for a range of varied clients. Downstream is a global company with offices in Amsterdam, Portland and Melbourne and has worked for big name clients such as Nike and Essendon Football Club. Jamal comes from an established career in the Medical Device Industry, this technical background has helped him transition into design, bringing a deep understanding of the make up and function of products.

Jamal has always had an interest in design and the function of objects and products. His design style highlights form and simplicity. Throughout his course he has not only developed his Industrial Design skills, but also his Graphic Design skills through a minor in Communication Design. He has an interest in sustainability, circular design and inclusive design and looks for ways to incorporate these principles into his design at university and work.

Jamal’s final year project, SFTR is premised on the idea that the function of the home is changing as more people around the world continue to work from home. The SFTR Room Divider aims to establish flexible zones in the house that create multi functional spaces through soft divisions, while maintaining an awareness of and connection to others in the home. The materials used allow soft light to travel through the divider to support that sense of awareness. The project is also an exploration in using simple, low cost materials and minimal manufacturing processes for the sake of creating a softer environmental footprint.

SFTR Room Divider - Capstone

Memento Mori - Bathroom Tap for MONA

Detroit Blackout - Publication

Beech Timber and Steel Vase

Acknowledgement of Country

The School of Design and Architecture respectfully acknowledges the Wurundjeri peoples of the Kulin Nation as the Traditional Owners and knowledge-keepers of the lands, waters and sky that surround us, where we work, learn, create, communicate and make place. We recognise that sovereignty has never been ceded and this always was and will always be Wurundjeri Country. We pay our respects to Elders past, present and to all Aboriginal and Torres Strait Islander people who continue to make a better world through design.

We extend our acknowledgement to the Aboriginal and Torres Strait Islander staff, students, alumni, real-life clients, and knowledge keepers, who have contributed to our own education diversity and growth. We will continue to ensure that staff and students respectfully honour ancestral connection to Country and Place in everything that they do.

We are dedicated to the notion of design to make a better world and we acknowledge that making tools, shaping place, sharing stories, making meaning, wayfinding and collaborating have long been and continue to be both central and integral to First Peoples' cultures. We recognize that Aboriginal and Torres Strait Islander Peoples’ cultural contributions have continued relevance to design practice and commit to: reconciling ancestries of design and contemporary practice as well as pursuing culturally and professionally appropriate ways to engage with a diverse population of colleagues, industries and clients. In a time of treaty-making and voice we understand that there are overlaps between caring for Country and the sustainable production of goods, services, experiences, products and buildings.

Guided by the principles of respect, reconciliation, and reciprocity we undertake to indigenising and decolonising design practice by dismantling colonial structures and challenging biases that have marginalised Indigenous voices and design.

As students of SoDA you will be given opportunities to both engage with and educate yourself in Indigenous creative practices and cultural protocols through a lens of inclusivity, diversity, respect, mutual understanding, inter-cultural dialogue in all aspects of design practice. Indigenous people have been telling stories, making tools, and connecting to Country through visual media, placemaking and place marking for more than 60,000 years and these practices are part of an ongoing, evolving and live tradition.