Assessment 1, Task 5; Letter Arguing for Funds

To all those concerned,

I am writing on behalf of Kickstarter Inc. in order to detail a project that is currently looking to be implemented in third-world and under-developed countries. Developed by designer Martin Fisher, our vision is to create preparatory kits that look after the basics of human integrity through sanitation and privacy. Our patented Domed Pit Latrine Kits are designed to be as practical and cost-effective as possible, so as to be easily constructed by the labourers of the area.

You have the opportunity to create a difference for the less-privileged. The purpose of our correspondence aims to extend an offer of affiliation with Kickstart, from here there are several ways you have the ability to become an entity in this venture; either through a donation, or the outline of terms for a potential investment in our goals. The funds will go towards the materials needed for construction, which are primarily derived of concrete, bamboo and bricks, furthermore we intend to run a program in the hope of instilling the knowledge of pit construction and ongoing support for those in the area.

I have attached a number of pamphlets which go into greater detail of the product and it’s benefits. An example of which will help to keep insects away and therefore reduce the spread of bacteria and diseases. It is common practice to install these and they are relatively simple kits, using a lot of the natural terrain as it’s foundation, meaning a small donation for our neighbours will help to increase their standard of living significantly.  The program is already popular through our Kickstart campaign and it is only a matter of time before these kits will be deployed around the world to help those less fortunate. If interested, we can discuss financial options that suit your needs and give the community a chance to flourish. We hope to hear back from you shortly.

Kindest regards

Michael Czermak



Cooper-Hewitt, (2012). National Design Museum. DOMED PIT LATRINE SLAB KIT.

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Unicef, (n.d).

Pickford J, Shaw R, (n.d). Latrine slabs and seats.

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Polak, P. (2007). ‘Design for the Other Ninety Percent’, in C. Smith (Ed), Design for the Other Ninety Percent (pp.19-25). New York: Cooper Hewitt/National Design Museum/Smithsonian. Retrieved from




Assessment 2, Task 4; Design for a Sustainable Future

As a multiple award-winning culinary institution of Melbourne, owner Shannon Bennett has created a unique atmosphere up on top of the 55th floor of the Rialto Towers that embraces the concepts of sustainable design, functionality and operation put forth by Alaistair Faud-Luke in his 14 part manifesto (2002). Bennett has enlisted the help of local design firm Elenburg Fraser to “design with integrity, sensitivity and compassion” (Faud-Luke, 2012, p. 15) in relation to the Australian-sourced materials that resonate throughout the venue.

It is the belief of Faud-Luke that 14 principles help to distinguish the “thoughtful designer” and Vue Du Monde (VDM) embodies a number of these. The seventh proposition on Faud-Luke’s list states that one must “design to use locally available materials and resources wherever possible”, and from the “locally sourced black basalt” bar surface to the “Australian timber, fur, veneers and furniture” that are all tailored by Australian designers (ArchitectureAU, 2012). A key function of the brief for Elenburg Fraser was to use native materials and processes as much as possible. something they have achieved so as to represent Bennett’s heritage and the ingredients used while maintaining a beautiful simplicity for the design of the venue.


Bennett’s dedication to sustainable design practice goes further then the aesthetics of the venue as well, he toys with the third item on Faud-Luke’s manifesto, which suggests that ‘eco-pluralistic’ design must also “harness solar income rather then use non-renewable [energy] such as fossil fuels”. This belief spreads to the kitchen in Vue Du Monde which utilises “cold kitchen technology” and “recyclable products” (Vue Du Monde, n.d). Bennett is well-renowned within Australia for his progressive thinking and VDM is crowned his “most sustainable” project yet (Vue Du Monde, n.d).

With this in mind I believe that the aggressive tactice used by Vue Du Monde in it’s quest for sustainability the reflects the Australian landscape can only help to add it it’s opulence and sense of purpose. Many corporations could begin to invest in renewable energies and responsibly sources materials in a bid to raise their profile rather then believe it is now a necessary inconvenience that should be reluctantly followed.






Australian Interior Design Awards, (2012). 2012 Hospitality Design Award.

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Elenberg Fraser, (2012). Vue Du Monde [Official Guide]

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Fuad-Luke, A. (2002). Design for a sustainable future. London: Chronicle & Thames and Hudson.

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Vue Du Monde, (n.d). Shannon Bennett Biography.

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ArchitectureAU, (2012). Vue Du Monde.

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Architecture and Design, (2012). Vue Du Monde.

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Assessment 1, Task 4; Compiling a Reference List


Ezra E, (2000). Georges Melies. Manchester & New York: Manchester University Press.

Hammond P, (1974). Marvellous Melies, London: Gordon Fraser

Rubin M, (1993). Showstoppers: Busby Berkeley and the Tradition of the Spectacle, New York: Columbia University Press


Journals and Online Articles

Mottram J, (2006). No more the dreamer ; French director Michel Gondry’s new films should see him moving away from his journeyman’ tag.

N.A. Blessed are the Forgetful: Eternal Sunshine of the Spotless Mind.

Retrieved from.



Curry I, (2009). Georges Méliès: A Magician at Work.

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Dellamorte A, (2007). Exclusive Interview – Michel Gondry.

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Goldsmith L (2004). The Word of Director Michel Gondry. 

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Webster M, (2008). Marvellous Melies.

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Yuan J, (2013). Michel Gondry on The We and the I, Bronx Kids, and Mood Indigo.

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Audio Visual Media

Bromberg S, & Lange E. (Directors) (2011) The Extraordinary Voyage, France: France 3, Lobster

Gondry M, et al (Wriers.Directirs) (2003). The Word of Director Michel Gondry [Documentary]

New York, USA: Palm Pictures

Partizan Official. (2014). I’ve Been 12 Forever (Side B) – short film – Michel Gondry (2004).

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tap2323. (2010). Busby Berkeley (Director). Retrieved from

Scorsese M (Director), (2011). Hugo. [Motion Picture]. Hollywood, Ca: Paramount Pictures

silentfilmhouse. (2011). The Haunted Castle 1896 George Melies silent film.

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Assessment 2, Task 3; Comparing Tricks and Effects

The variety of work that Michel Gondry undertakes gives him a broad spectrum of ideas that often range from a glimpse of visual oddity in his music collaboration work, to full on sensory-overloads in his feature films. Patrick Mullen claims Mood Indigo, one of the more recent films by Gondry, to be a “serious case of.. zany surrealism” (Mullen P, 2013)

Mood Indigo still seems to draw from the genius of early directors such as Georges Melies and Busby Berkeley, with interesting visual patterns and refreshingly basic special effects dressed up in the quirk of the world Gondry has created.




Here seems an ode to the long gone era of the excessive 20’s as Gondry has recreated a the geometric pattern’s in sculpture and human repetition that Berkeley made famous.






The surreal, dream-like worlds that typify Gondry allow him to explore with other crude techniques inspired by Melies, all while adding to the worlds that he creates. It can be seen that Meleis haunted house uses a simple string to puppeteer a bat around the set. Gondry takes this idea and creates a peculiar cloud contraption that seems to be lifted by a crane. In a satirical manner, Gondry also uses the same effect to lift Audrey Tatou and Romain Duris while they are walking underwater.





Movie Clips Trailers, 2013. Mood Indigo Official Trailer #1 (2013) – Michel Gondry Movie HD.

Mullen P, 2013. Indigo is the Wooziest Colour.

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silentfilmhouse, 2011. The Haunted Castle 1896 George Melies Silent Film.

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Partizan Official, 2014. I’VE BEEN 12 FOREVER (SIDE B) – short film – Michel Gondry (2004)

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Assessment 1, Task 3; Journal Research

Early techniques involving the production of moving images were often simplified yet beautifully thought-out ways of creating the sort of effects that would have otherwise been very difficult given the technology at the time. In fact, the effects introduced to film at the time almost seemed to be derived from the influx of magicians and optical-based shows that were so popular during the 1800’s. Georges Melies is explained by Matthew Solomon, to blur the lines between going to watch the shows live, and using the primitive recording technology at the time to capture the unique stage productions that are now infamous. It was said that “such brutal but often casually inflicted violence is not at all uncommon in the films of Méliès as it was in his magic theater” (Solomon M, 2012).

The second article I have chosen also examines the idea that early film took inspiration from magic shows as “[Richard] Mansfield’s performance in Jekyll and Hyde was similar to a form of magic act known as ‘quick change artistry’ ” (Danahay M, 2012). It could be said that the special effects in early film were merely magic tricks performed under the new-found technology of video capture. The legacy of early film tricks and the application of techniques like dolly shots and stop trick appear to have inspired directors in the present day, with Christopher Nolan, Wes Anderson and Michel Gondry all making modern interpretations of the dream-like, unfamiliar scenes that Melies and Mansfield made originally.



Danahay M, (2012). Jekyll and Hyde and the History of Special Effects.

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Solomon M (2012). Georges Méliès: First Wizard of Cinema (1896-1913).

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Assessment 2, Task 2; Design Language

Ultimately the goal of every logo is to brand an organisation or entity in an abstract manner. It can never be too literal or the magic of what is being conveyed will be lost. It needs to speak about the uniqueness of the entity, in this case a city, without plastering its strengths for all to see.

It’s debatable whether the two examples I’ve chosen meet this goal appropriately. It would surely be easy to brand the city of Sydney, it’s idyllic harbour and famous opera house are world renowned. By Australian standards its a well populated area and along with Melbourne, is considered the beating heart of modern Australia. For tourists there is no reason not to go but having said that, nature can only do so much, the identity that has been created for Sydney misses the mark on quite a few points.


The visual language of the graphic shows a consideration for some recognized design elements. There is a strong presence of line throughout, it’s density and colour changes in defined segments until it reaches a far, shallow mark in the centre. The rounded, sans serif font resonates some degree of casualty, and shows the place isn’t too austere. As discussed through SpellBrand though, you really have to stretch the imagination to define what the logo means for Sydney. It’s hollow, emotionless, shows weak structure and makes no reference to any of it’s iconic architectural achievements (Bonigala M, n.d). What can be derived from it is a clear advocacy for diversity and possibly to show the beach loving nature of the city, it could be interpreted as a beach ball.

The logo for Canberra, which only has come into effect recently as part of a major re-branding for the capital city of Australia, spells out CBR in a modern, bold font. It can be filled in with monochrome or colour, or as seen here, given a dynamic outline. It now also stands for “Confident. Bold. Ready.”, (Armin, 2013) a new slogan they have developed to match the logo. The design does well to match the lines with a part of the cities road map. While also signifying that everything within the city is connected. The lines between within the letters join to to create strength and reinforce the cities values.


Canberra logo 2013

There are a number of differences between the two designs (even though geographically the states are right next to each other), mainly being that one is coloured based on shape rather then letters, but the identity Canberra is creating with its new branding strategy has the potential to bring it out of the view that it is purely a ‘political’ state. They have approached the task of creating a “unifying symbol” (Glickfield, 2010) in different ways, and while Canberra feels progressive, Sydney’s already feels dated and generic. Both prove though that cities should take on identities to create a sense of purpose for tourists, businesses and residents alike.



Bonigala, M (n.d)

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Glickfield, E (2010).

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Armin (Dec, 2013)

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Assessment 1, Task 2; Design Activism

As a community recognizes the problems inherent with a capitalist society, there are many ways to tackle issues such as sky-rocketing unemployment rates and the ever vicious cycle of homelessness. The Advance to Zero (Inkahoots, (n.d) campaign brings attention to these problems, and as explained during Defining Design and Activism (Thorpe, pg 6, 2011), it aims to keep track of the challenges with mass housing while fighting for the rights of those without an “institutionalized power” (Thorpe, 2011). While not a conventional method of achieving these goals, creating a visual personality that can be spread throughout the city with posters acknowledging the strategies that are being implemented over four years. While not strictly stated, it implies the actions involved will develop “data-driven solutions” (Inkahoots, n.d) that raise awareness of homelessness as part of a “broader movement” to society.






Inkahoots (n.d). Advance to Zero.

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Thorpe, A (2011). Defining Design and Activism.

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