Couture Academy Exhibition : a curation of the story behind a couture design

Research background: The general public is predominantly unaware of the complexities and skills involved in the fashion supply chain (design, manufacture and retail) of couture/bespoke garments. As cited in McMahon and Morley (2011) “While a high price tag is widely accepted as a necessary element of luxury products (Fionda &Moore, 2009) this must be accompanied by a story that gives the items intrinsic as well as extrinsic value (Keller, 2009). Research question: Is it possible to simulate a fashion couture studio environment in a non-traditional public space in order to produce and promote the processes involved in couture designs; each with their own story and aligned to the aesthetic of six collaborating high profile couture fashion retailers? Research contribution: The Couture Academy project allowed the team to curate the story behind the couture design and supply chain process. It was an experimental, curated, ‘hot-house’ fashion design project undertaken in real time to create one-off couture garments, inspired by key seasonal fashion trends as determined by leading Westfield retailers. The project was industry based, with Westfield Chermside as the launch pad for six QUT fashion students to experiment with design nuances aligned to renowned national fashion industry retailers; Cue, Dissh, Kitten D'Amour, Mombasa and Pink Mint. Industry mentors were assigned to each student designer, in order to heighten the design challenge. The exhibition consisted of a pop-up couture workshop based at Westfield Chermside. A complete fashion studio (sewing machines, pattern-cutting tables and mannequins) was set up for a seven day period in the foyer of the shopping centre with the public watching as the design process unfolded in real-time. The final design outcomes were paraded at the Southbank Precinct to a prominent industry and media panel, with the winner receiving a $2000 prize to fund a research trip to an international fashion capital of their choice. Research significance: This curated fashion project was funded by Westfield Group Australia. "It was the most successful season launch Westfield Chermside has ever had from both an average volume for exposure perspective, and in terms of the level of engagement with retailers and shoppers," said Laura Walls, Westfield Public Relations Consultant. Significant media coverage was generated; including three full pages of editorial in Brisbane’s Sunday Mail, with an estimated publicity value of $95,000. And public exposure through the live project/exhibition was estimated at 7,000 people over the 7 days.

EMAGN2012 Exhibition

The EMAGN2012 exhibition, a partnership between the Australian Institute of Architects ‘2012 National Architecture Conference: EXPERIENCE’ and State Library of Queensland’s Asia Pacific Design Library. The exhibition was held in the Asia Pacific Design Library from the 10 May-10 June 2012. The EMAGN2012 exhibition celebrates the diversity, quality and experimental nature of emerging architectural work undertaken in Australia in the last 10 years. The annual exhibition is an initiative of the Emerging Architects and Graduate Network (EMAGN) currently active in all Australian states and territories. The EMAGN national group established in 2006, seeks to provide a vehicle through which the practice and production of architecture can be engaged with and reflected upon by the public, with the aim of fostering a much broader cultural awareness of Australian architecture.

Near-Wall Turbulent Pressure Diffusion Modeling and Influence in Three-Dimensional Secondary Flows

The purpose of this paper is to develop a second-moment closure with a near-wall turbulent pressure diffusion model for three-dimensional complex flows, and to evaluate the influence of the turbulent diffusion term on the prediction of detached and secondary flows. A complete turbulent diffusion model including a near-wall turbulent pressure diffusion closure for the slow part was developed based on the tensorial form of Lumley and included in a re-calibrated wall-normal-free Reynolds-stress model developed by Gerolymos and Vallet. The proposed model was validated against several one-, two, and three-dimensional complex flows.

Oblique-Shock-Wave/Boundary-Layer Interaction Using Near-Wall Reynolds-Stress Models

A synthesis is presented of the predictive capability of a family of near-wall wall-normal free Reynolds stress models (which are completely independent of wall topology, i.e., of the distance fromthe wall and the normal-to-thewall orientation) for oblique-shock-wave/turbulent-boundary-layer interactions. For the purpose of comparison, results are also presented using a standard low turbulence Reynolds number k–ε closure and a Reynolds stress model that uses geometric wall normals and wall distances. Studied shock-wave Mach numbers are in the range MSW = 2.85–2.9 and incoming boundary-layer-thickness Reynolds numbers are in the range Reδ0 = 1–2×106. Computations were carefully checked for grid convergence. Comparison with measurements shows satisfactory agreement, improving on results obtained using a k–ε model, and highlights the relative importance of redistribution and diffusion closures, indicating directions for future modeling work.

"Food For Thought" Selected Design Installation DIA Homegrown 2011 Life In the Slow Lane Exhibition: Little Stanley Street, South Bank, Brisbane

'Homegrown is an initiative of the Design Institute of Australia–Queensland Branch to promote the collaboration and cultivation of local design talent in Queensland and strengthen the connection between design, plate, planet, people and culture.' Homegrown 2011 Exhibition Catalogue Excerpt

Affecting interference

This collaborative project by Daniel Mafe and Andrew Brown, one of a number in they have been involved in together, conjoins painting and digital sound into a single, large scale, immersive exhibition/installation. The work as a whole acts as an interstitial point between contrasting approaches to abstraction: the visual and aural, the digital and analogue are pushed into an alliance and each works to alter perceptions of the other. For example, the paintings no longer mutely sit on the wall to be stared into. The sound seemingly emanating from each work shifts the viewer’s typical visual perception and engages their aural sensibilities. This seems to make one more aware of the objects as objects – the surface of each piece is brought into scrutiny – and immerses the viewer more viscerally within the exhibition. Similarly, the sonic experience is focused and concentrated spatially by each painted piece even as the exhibition is dispersed throughout the space. The sounds and images are similar in each local but not identical, even though they may seem to be the same from casual interaction, closer attention will quickly show this is not the case. In preparing this exhibition each artist has had to shift their mode of making to accommodate the other’s contribution. This was mainly done by a process of emptying whereby each was called upon to do less to the works they were making and to iterate the works toward a shared conception, blurring notions of individual imagination while maintaining material authorship. Empting was necessary to enable sufficient porosity where each medium allowed the other entry to its previously gated domain. The paintings are simple and subtle to allow the odd sonic textures a chance to work on the viewer’s engagement with them. The sound remains both abstract, using noise-like textures, and at a low volume to allow the audience’s attention to wander back and forth between aspects of the works.

Bouncing back : homegrown. Curated exhibition of student work and design workshop

Bouncing Back Architecture Exhibition: This exhibition showcases interpretations of urban resiliency by 2nd and 4th Year undergraduate architecture students who explore the notion of Bouncing Back from the 2011 Queensland floods, in the context of contemporary Brisbane built environment. Design solutions have been expressed in a variety of forms including emergency shelters, flood-proof housing and a range of urban designs, some of which address extreme environmental conditions. Design Process Workshop | Architecture Workshop with Queensland Academy of Creative Industries Students: In collaboration with Homegrown Facilitator Natalie Wright, Lindy Osborne and Glenda Caldwell and some of their architecture students from the QUT School of Design, extended the university design studio experience to 18 Secondary School students, who brainstormed and designed emergency food distribution shelters for those affected by floods. Designs and models created in the workshop were subsequently included in the Bouncing Back Architecture Exhibition.

Shaky Ground

Shaky Ground was a solo exhibition of works by Charles Robb held at Ryan Renshaw gallery, Brisbane in 2012. The exhibition comprised three sculptural works: a white rotating roundel with a drawing of the artist as seen from above; an artificial rock with a spinning aniseed ball nestled in one of its fissures; and a sculptural portrait of the artist dressed in a protective dust suit which was mounted perpendicular to the wall. The works were derivations or reorientations of previously exhibited work and established an ambiguous field of associations with each other based on formal characteristics or their proximity to the production site and processes. In so doing, the work formed part of the artist's ongoing exploration of sculpture, subjectivity and autogenous approaches to art practice.

Queensland centre for photography : September exhibition catalogue

Tina Fiveash: Grace; Shannon Brett: I didn't get to cry till now; Ana Paula Estrada: Of another time; Janina Green: Be home before Dark; Paul Batt: Escalator Series 2011.

Silver Gelatin Print: A group exhibition curated by Karen Milder that investigates and captures the traditional processes using photograms, liquid emulsion, toning, hand-colouring and film. Part of the Queensland Festival of Photography 4 (QFP4).

Pillar of salt: (3 hand-applied silver gelatin photographs) Statement: For women moving into new experiences and spaces, loss and hardship is often a price to be paid. These courageous women look back to things they have overcome in order to continue to grow.

Grameen Bank's social performance disclosure : responding to a negative assessment by Wall Street Journal in late 2001

Purpose – The aim of this paper is to establish a linkage between negative global media news towards Grameen Bank (GB), the largest microfinance organisation in the developing world, and the extent and type of annual report social performance disclosures by GB, over the nine-year period 1997-2005. Design/methodology/approach – Content analysis instruments are utilised to analyse GB annual report social disclosure. Findings – The study finds that GB's community poverty alleviation disclosures account for the highest proportion of total social disclosures in the period 1997-2005. The results of this study are particularly significant in relation to poverty alleviation – the issue attracting severe criticism from the Wall Street Journal (WSJ?) late in 2001. The community poverty alleviation disclosures by GB are significantly greater over the four years following the negative news in the WSJ than in the four years before. The results suggest that GB responds to a negative media story or legitimacy threatening news via annual report social disclosures in an attempt to re-establish its legitimacy. Originality/value – This paper contributes to the literature because in the past there has been no research published linking global media attention to the social disclosure practices of major organisations in developing countries

Effect of environmental conditions on degree of hoof wall hydration in horses

Objective: To determine the effect of various environmental conditions on the degree of hydration in hoof wall horn tissue from feral horses and investigate the effect of short-term foot soaking on moisture content in hoof wall and sole tissue in domestic horses. Animals: 40 feral horses from 3 environments (wet and boggy [n = 10], partially flooded [20], and constantly dry desert [10]) and 6 nonferal Quarter Horses. Procedures: The percentage of moisture content of hoof wall samples from feral horses was measured in vitro. In a separate evaluation, the percentage of moisture content of hoof wall and sole tissue was measured in the dry and soaked forefeet of Quarter Horses. Results: Mean ± SD percentage of moisture content was 29.6 ± 5.1%, 29.5 ± 5.8%, and 29.5 ± 2.9% for feral horses from the wet and boggy, partially flooded, and constantly dry desert environments, respectively. Moisture content did not differ among the 3 groups, nor did it differ between dry and soaked hoof wall samples from nonferal horses. However, soaking in water for 2 hours resulted in a significant increase in the percentage of moisture content of the sole. Conclusions and Clinical Relevance: Environmental conditions do not appear to affect moisture content in the hoof wall horn. Soaking horses' feet regularly in water would be unlikely to change the degree of hydration in the hoof wall horn but may further hydrate the sole.

Fourth wall removed : womens' liberation or entrapment?

Australian dramatic literature of the 1950s and 1960s heralded a new wave in theatre and canonised a unique Australian identity on local and international stages. In previous decades, Australian theatre had been abound with the mythology of the wide brown land and the outback hero. This rural setting proved remote to audiences and sat uneasily within the conventions of the naturalist theatre. It was the suburban home that provided the back drop for this postwar evolution in Australian drama. While there were a number of factors that contributed to this watershed in Australian theatre, little has been written about how the spatial context may have influenced this movement. With the combined effects of postwar urbanization and shifting ideologies around domesticity, a new literary landscape had been created for playwrights to explore. Australian playwrights such as Dorothy Hewett, Ray Lawler and David Williamson transcended the outback hero by relocating him inside the postwar home. The Australian home of the 1960s slowly started subscribing to a new aesthetic of continuous living spaces and patios that extended from the exterior to the interior. These mass produced homes employed diluted spatial principles of houses designed by architects, Le Corbusier, Ludwig Mies Van der Rohe and Adolf Loos in the 1920s and 1930s. In writing about Adolf Loos’ architecture, Beatriz Colomina described the “house as a stage for the family theatre”. She also wrote that the inhabitants of Loos’ houses were “both actors and spectators of the family scene involved”. It has not been investigated as to whether this new capacity to spectate within the home was a catalyst for playwrights to reflect upon, and translate the domestic environment to the stage. Audiences were also accustomed to being spectators of domesticity and could relate to the representations of home in the theatre. Additionally, the domestic setting provided a space for gender discourse; a space in which contestations of masculine and feminine identities could be played out. This research investigates whether spectating within the domestic setting contributed to the revolution in Australian dramatic literature of the 1950s and 1960s. The concept of the spectator in domesticity is underpinned by the work of Beatriz Colomina and Mark Wigley. An understanding of how playwrights may have been influenced by spectatorship within the home is ascertained through interviews and biographical research. The paper explores playwrights’ own domestic experiences and those that have influenced the plays they wrote and endeavours to determine whether seeing into the home played a vital role in canonising the Australian identity on the stage.