Daniel Cardozo

I am a multi-disciplinary creative with an origin in Fine Art that has morphed into a practice of Industrial Design and Graphic Design.

I believe that Form and Function are equals and that design thinking, when applied with the appropriate framework, has the tremendous ability to positively transform user experiences regardless of their industry.

In the world of Sports Design, I am driven as a creative with the awareness that incremental improvements to components possess the ability to greatly enhance physical performance, shattering existing physical boundaries.

I currently engage in sport and assistive design having developed a pair of performance crutches for amputee soccer. The project has inspired me to (in the early stages of my design career) address the current state of design technology for adaptive athletes across the world, and to generate beautiful design that allows them to push past their limits to enhance their perseverance and dedication to their respective sports.

Don’t seek inspiration, instead, embrace creating it yourself.

Talon Crutches

Modular service framework for performance crutches in Amputee Soccer and everyday use.

EXO 2-in-1 Vacuum and Leaf Blower

Modular 2-in-1 vacuum and leaf blower utilizing an aluminium exoskeleton for a sustainabe and socially-responsible design framework.

Parent & Chlid Floor Lamp for About Space Lighting

Set of both floor and table lamps to offer customization of Yosh threads for About Space Lighting

ASW-G-08 Gundam Barbatos Helmet

Helmet design inspired by the Mobile Suit Gundam Barbatos

To Observe and Morph

Recurring 30-day challenge whereby mundane/every-day visuals are dissected to transform into digital visual art. Translations are metaphorical but are also often quite literal.

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.