Lucy Callahan

Lucy is a young designer and artist, who is inspired by fun and intriguing products that leave you wanting more. She specifically likes to make products that evoke a strong sense of desire from the targeted consumers through trending aesthetics, clean finishes and simple, yet detailed forms. Her background in abstract painting has encouraged her to think outside the box and challenge traditional approaches to product design.

Her main project ‘Moondial’ which seeks to redesign the traditional alarm clock to aid people who chronically suffer from fragmented sleep. The main aim was to reduce stress and arousal during periods of wakefulness, by minimizing the opportunity to do ‘sleep maths.’ (Sleep maths is the counting of minutes or hours left to sleep). This is achieved by inferring an approximate indication of the time relative to the intended waking hour. Additionally, by avoiding light and information to infer time, it means the brain’s central focus isn’t engaged, which makes checking the time a more peripheral action.

Moondial

A haptic alarm clock, designed to touch the time rather than read it to reduce the stress during periods of wakefulness for fragmented sleepers.

Moondial

Moondial has a sliding knob that moves 9 hours over your sleep, you feel where it is on the arch instead of reading the time.

ALEO

A worm farm, that is designed to be attractive and features drawers instead of stacked levels.

Serving Board (Swinburne X Country Road)

A collaboration with country road to post-process one of their products into a whole new one. A serving board and a display unit was created.

SLYD

A slotted furniture piece that requires no screws and adhesives to assemble and can be flatpacked.

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.