Simone Louey

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Having previously studied a Bachelor of Psychology, I found myself searching for a more creative path. I have always been interested in interiors and how built spaces affect the people who use them, and studying Interior Architecture has allowed me to explore and grow this interest. I have a passion for creating considered spaces that foster connection between the users and exist in harmony with their surroundings. During my Bachelor I have developed a strong interest in residential, hospitality, and community design, and believe all design should be led by the needs of the people using the space. Sustainability and accessibility in design are things I am equally passionate about, as I believe it is our responsibility as designers to drive change.

Kin

Kin proposes the adaptive reuse of Mackillop Estate, in Surrey Hills, as an intergeneration living facility to support ageing in place, foster community, and provide accessible housing.

Kin - Chapel Restaurant

The existing chapel was redesigned as a restaurant, bringing the wider community to the site and providing a space for connection and interaction.

Heide Pavilion

Heide Pavilion provides space for artist Takashi Murakami to live, create, and display his art at the Heide Museum of Modern Art.

Heide Retail

A retail addition to the recently proposed Heide Pavilion, at the Heide Museum of Modern Art. The design takes inspiration from the gum trees and the Birrarung on the site, using form and material to bring these into the interior experience.

A Second Chance Project

A Second Chance Project worked in collaboration with the Salvation Army to reimagine Spencer Street Outlet as a place to provide temporary accommodation and facilities for support for people experiencing homelessness.

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.