Samuel Sims

I would describe myself as someone who is competitive and enthusiastic. I like to think that I have no limit to what I can do and try to self-educate myself whenever possible. When it comes to design, I strive for practical, rapid, and game-changing designs that relate to Platos' theory that 'our needs will be the creator'—utilising resources and materials that are accessible and practical to challenge my design generation.

Research is where I focus most heavily during the any project, and is what I find most engaging. I emphasise the importance of understanding the problem before tackling an idea. Context is everything; without it, my designs would only reflect what I'd like to see.

I'm mostly interested in areas that revolves around transportation, furniture, and accessibility design. My style is minimalistic, and my breadth of ideas stems from my research. I keep my imagination loose and fresh - I often look towards specific design trends to keep my work contemporary. However, I have a great appreciation for art-deco and industrialism, especially the work of Raymond Loewy. I strive for a functional design that looks as well as it performs when forming my concepts. Photoshop, Indesign & Fusion 360 are my predominant assets. The flexibility of fusion has allowed me to generate ideas efficiently.

TBI-RD+

The TBI-RD+ (Traumatic Brain Injury Recovery Device) aims to ease the symptoms of concussion. Users experiencing head trauma struggle to achieve proper rest within their environments. The product filters out light and sound, which can aggravate symptoms and cause discomfort.

The key to its success is its modular design, which helps users progress through injuries and regain control of light and sound in moderation. The concept seeks to increase the efficiency and effectiveness of their rehabilitation, helping them transition back into their routines.

Coastal Kennel

The brief was to create a flat-packable piece of furniture that kept to a minimalist aesthetic and considered innovative thinking to address design issues surrounding DFD. I have already seen countless flat-packable pieces of furniture, so I designed a dog kennel.

This fun concept utilises design elements from existing cages, but instead of steel, it uses marine rope. The rope forms a wire-like frame, which creates a flexible but sturdy structure. There was no need for glue, nails or any permanent joining methods. The rope threading creates a unique, fun user experience and makes the product highly customisable.

yūfō

In collaboration with About Space, this design incorporates their signature Yosh thread and lampshade ornament. The brief was to use these two pieces to create a new item for their catalogue. I opted for a small table lamp inspired by nineteenth-century Japanese illustrations of UFOs. I was fascinated by the orb and wanted to encapsulate it within the frame. Using two dishes to direct light, with a frosted piece of fluted glass, creates a dimly lit concept suitable for restaurants and bars.

Bollente

Inspired by the translation of boiling water, the brief was based on a vague principle of designing something to heat a liquid. But not a kettle. My vision was a multifunctional product tool that could boil drinks or reheat beverages. Bollente has a digital interface with heat and time settings to recapture the heat of our once-hot drinks. The engaging factor of this product was focusing on engaging with our senses. There are coloured light indicators, a sound speaker, a fan for controlling steam and scented aromas to improve the user experience.

LUNAR

Lunar was the reimaging of a solar garden torch. Adapted from an existing product, I reimagined the concept for outdoor use with a camping-themed aesthetic. The product, Lunar, features a small, compact design that can be used as a hand-held torch or a simple table lamp. The ergonomic shape makes it easy to handle and fits snuggly in your pocket or backpack.

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.