Adnanuddin Mohammed

STUDIO 5 NBG

This project, developed with my two teammates, envisions “Nothing but Green” a botanical garden and ecological exploration museum in Newport, Melbourne. Our goal is to reconnect with Newport’s natural history by restoring native landscapes and vegetation impacted by industrialisation, fostering ecological renewal in the heart of the city.

STUDIO 5 NGB

Seasonal night activities were created throughout the garden during the spring and autumn seasons. This involve a multitude of projections and illusions throughout this botanic garden creating an enchanted forest.

STUDIO 4 PYRA HARBOUR

This project involved designing student accommodation in the South Wharf district of Docklands. Our goal was to create a mixed-use building combining residential and commercial spaces along the waterfront. We connected the building to the water through a central courtyard, complemented by bridges spanning over the Yarra River.

STUDIO 2 LATVIAN YOGA HOUSE

The primary goal the project was to bring families together in order to perform physical activity of relaxation and detox through yoga itself. You wanted to bring not only families together as an activity but also bring those families closer to nature as it is situated within a dense forest in Latvia.

STUDIO 4 HYRA HARBOUR

The central Garden of the street accommodation was a primary function in order to generate fresh produce that are grown in house not only for students but also for the surrounding public and providing international students with connections towards new people both domestic and other international individuals in order to perform an activity that benefits not only physically but mentally as well.

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.