Felicity Tsiang

Interior Architecture

Hello! I’m Felicity, and majored in Interior Architecture while also undertaking a minor in Architecture. Being drawn to both fields, I’d like to think that I’ve incorporated as much knowledge as possible into my designs throughout the years.

Growing up in Hong Kong, I’ve always held a fascination for small living spaces, and my design philosophy revolves around the notion of questioning how much we really need to elevate and consequently maximise our quality of living. While form and structure is important to the making of good architectural design, I believe that creating atmospheric environments are equally as integral to the user experience.

Architecture Studio 3

A memorable group project in my 3rd year architectural studio, featuring works from Kai Dickson and George Milevski (class of 2023). We designed a maritime exhibition centre through a series of form finding exercises and iterative design processes, in the end presenting an open and contemporary space that invited users to learn about the history of the site it occupied, as well as spread knowledge of Melbourne’s marine life and research.

Interior Architecture Studio 3

The project was centred around CPTED principles, and asked us to design an existing public space to make it feel safer and more accessible through design. The image shown is of a tensile-shaped light structure along the alleyway.

Architecture Studio 1

The brief for my first architectural studio was to design a hybrid retail/residential unit within a laneway location. This project, which was all handdrawn, kickstarted my love for smaller, unique architecture and shaped my design vision.

Capstone

My final year project that combined both architectural and interior design elements. It also introduces an aspect of landscape design, which was very new to me.

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.