CK Folio Graphic Design

FOLI8 Volume III 2

0 2 3

KERNING K

A Space Between

CALLAN KNEALE 114 Planet Street Carlisle 6101 WESTERN AUSTRALIA AUSTRALIA

FOLI8

P ER S O N A L M ANIFES TO “Ke r ni ng is t h e a rt of creating harmony be twe e n le t t e rs , jus t as a successful design c a re e r is t h e a rt of c reating harmony be twe e n yo ur id e nt it y and your passion as a n LG BTQI A+ co mmu nity member.”

In b ot h c a s e s , it re qu ires a careful eye fo r de ta i l , a w illin g n e s s t o make adjustments, a n d a n un d e rs t a n d in g that the smallest c h a n ge s c a n ma ke a big impact. Embrace you r u nique p e rs p e c tive and let it shine th rou gh yo ur wo rk, just as kerning lets each l e tt e r st a n d o ut wh ile still working together to for m a co h e s ive whole. Remember, the be a u ty of a d e s ig n , li ke the beauty of your i d e nti ty, lie s in it s d iversity and the richness i t b r i n gs t o t h e wo rld.”

2 0 2 3

Volume III

CONTE NTS d es ign

CH ROI C p roduc t de si g n F I BONACC I p roduc t de si g n S C I E N CE I SLA N D LITHIA NIA arc h ite c t ure A N D E R SO N R E S IDENC E arc h ite c t ure S T J O H N O F G O D - S U BIACO i nte r i o r a rc hi t ectu re KAL A M UNDA HO S P ITA L i nte r i o r a rc hi t ectu re COLLECT I O N O F P ROJ EC TS s e l ec te d wo r k s T H E AT R I CA L D ES IG N s e l ec te d wo r k s G RA PHI C D E S IG N s e l ec te d wo r k s

PRODUCT DESIGN

PROJECT

01

The unit was about ‘research through making’ as it investigated the way furniture design draws materials, technologies, designers, the media, consumers, regulatory agencies, and users into complex networks of production, distribution, and consumption. The use of both traditional and technological practices resulted in a dynamic piece that both addresses form and function.

This project pushes the boundaries creating a unique form and representation of the original photographic series by Cape Town photographer Mujahid Ur Rehman.

The Chroic Sidetable characterised by its iridescent multicoloured finish; the nuance varying based on the viewing/ incidence angle to from the viewers standing point. As the viewer moves around the object shadows cast create a visual and somewhat magical evocative appearance. Refracted hues and tones give the impression of transparency and density, changing based on the viewing position. This original piece was created to evoke a sense of joy and fun whilst serving it’practical purpose.

“A Sunset in the Tree’s” Mujahid”

0 3

Dichroic Glass, Brass & Tasmanian Oak SIdetable

DESIGN

I N S P I R AT I O N

2 0 2 0

INDUSTRIAL DESIGN

CHROIC SIDETABLE

AWARDS

Volume III

MERBAU (BALI)

SPOTTED GUM (AUSTRALIA)

DULUX ALPHATEC BRUSHED BRASS

3M DICHROIC PA BLAZE

c a l l a n kn eal e

AMERICAN WHITE OAK (USA)

0 4

REFRACTION METHOD

THE FACT OR PHENOMENON OF LIGHT

Using traditional workshop production skills including timber lathe wood turning techniques, milling, metal lathe and finishing machines. I was also able to engage in rapid-prototyping computer-mediated, 3D printing production processes. The Brass glass clamp was designed in Rhinoceros 6 and 3D printed In the United States of America as they are currently one of the few places that have the ability to 3D print brass. The prototyping process however did not stall due to the ability to print the components within the university workshop using ABS plastics for testing. It was necessary for the success of my piece to make several jigs to assist in the accuracy within the design process. The 3D printing process allowed us to print a locating tool so that the turned brass legs located at a 30 degree angle to the turned timber leg whilst keeping the table surface parallel.

MANIFEST0 Physical space is bound by technical and economic parameters that exist at the time of its conception.

Conventional building methods give in to these parameters, thus becoming resistant to manipulation. This however does not mean that we surrender to them and stop exploring advancements in our built environment.

0 5

Volume III

PRODUCT DESIGN FURNITURE & LIGHTING

University of Western Australia

Callan Kneale

Chroic Sidetable

■

Hossein Farmani & Romain Lahoussine Co-founders of DNA Paris www.dna.paris

c a l l a n kn eal e

0 6

PRODUCT DESIGN

INDUSTRIAL 2 DESIGN 0

2 1

PROJECT

FIBONACCI LAMP Marble Sphere, Brass

DESIGN

01

Taking a broad view of what might constitute furniture, this unit asked me to engage critically with furniture and product design through research, representation, and making. I was required to critically examine the joint concepts of ‘assembly’ and ‘disassembly’ and to engage in a hands-on way with the materials and processes used in contemporary design production. During the unit I ‘learn through making’ as I designed, constructed, and documented a number of full-scale, working prototypes.

I also acquire the skills required to produce professional working drawings, enabling me to communicate my designs with industry.

ITERATION

0 7

Volume III

PRODUCTION DRAWINGS

c a l l a n kn eal e

0 8

0 9

Volume III

ILLUMINATED THE GOLDEN RATIO MANIFESTO Proportions: The Fibonacci sequence is a mathematical pattern that is found in nature, such as in the spiral patterns of seashells and the branching of trees. By incorporating these proportions into the design of our lamp, we can create a visually appealing object that feels harmonious and balanced.

Materials: In keeping with the principles of sustainability, the lamp should be made from eco-friendly and renewable materials. the lamp is made from stone & brass both beautiful and environmentally conscious.

Functionality: The lamp should be designed with the user in mind. It should provide ample light, be easy to use, and be versatile enough to fit into any workspace. The Fibonacci principles can help guide us in creating a lamp that is functional, flexible & intuitive.

Lighting: The Fibonacci sequence can also be used to determine the optimal light output and distribution of the lamp. By using this sequence, we can create a lamp that provides a warm and inviting glow that is comfortable to the eyes with honeycomb louvre.

By incorporating these principles into the design process, we can create a lamp that is not only visually appealing but also functional, ecofriendly, and durable.

c a l l a n kn eal e

1 0

One hundred and forty-four entries were received from 44 countries, representing an amazingly diverse set of architectural proposals.

1 1

NATIONAL SC IE NCE A ND I NNOVAT I O N CENT RE O F L I T HUA N I A

Volume III

LOCATION

ARCHITECTURE PROJECT

Kaunas City

DESIGN

SIZE

The contest sought outstanding designs that both integrated the latest environmental thinking and crystallised the emerging identity of Kaunas, creating a symbol of the city. Science Island’s mission is to popularise science through hands-on enquiry and exposition and celebrate recent achievements in science and global technologies.

13,000sqm YEAR

2017 LECTURER

Sophie GIles

2 0 1 7

MUSEUM DESIGN

SCIENCE ISLAND LITHUANIA

ABOUT THE DESIGN In an aim to give back to the Lithuanian public, the museum doubles as both ramped public terrace on the North facade and sub-terranian science precinct. The stepped roof allows the public to inferace with its surrounding context and connection to the city. The casm that cuts through the building sets axial views across the pedestrian bridge into the city centre and the Kaunas University of Technology, whilst also allowing the public a glimpse into the spaces within. The building exeplifies sustainabilty in its sub-terranial ground position for maximised thermal efficiency, while using energy-efficient renewable resources. It utilised a grey water recovery system, geothermal heating, wind energy production and micro-algae glass facade.

This net zero building is the catalyst for Kaunas and Lithuanias technological future.

c a l l a n k n eal e

G E N E R A L I N F O R M AT I O N S

The Centre, within the celebrated university city of Kaunas, will focus particularly on environmental themes and ecosystems, demonstrating sustainability and future energy technologies in the design of its own building.

1 2

MUS EU M DE S I G N CO M P E TI TI O N Through rigorous cross-discipline collaboration, I delivered a design that balance aesthetics, function, sustainability and quality.

1 3

Volume III

URBAN DESIGN

c a l l a n k n eal e

SUSTAINABILITY & TECHNOLOGY.

1 4

LOCATION

Mt Hawthorn SIZE

680sqm YEAR

2022 LECTURER

DESIGN This was a client led small residential project that followed process and stages that an architectural project must go through to be implemented up until the commencement of construction.

This included; the understanding of response to urban design parameters through planning regulations; a sensitivity to passive design principles in order to comply with energy efficiency requirements; an introduction to working with consultants was explored; an understanding of how to communicate the construction of a project with building contractors; and ensuring compliance with building regulations.

2 0 2 2

SITE

Nathan Steele

ARCHITECTURE PROJECT

RESIDENTIAL DESIGN

ANDERSON RESIDENCE

1 5

Volume III

c a l l a n kn eal e

1 6

1 7

Volume III

c a l l a n kn eal e

1 8

“The relationship between art and travel is long-standing, deep and complex. We travel to see art, and even when art isn’t our primary destination, we naturally gravitate to the art of a place in order to understand the meaning of that place.”

- Dr Wendy Were ‘Domestic Arts Tourism: Connecting the country, Australia Council for the Arts.’

1 9

Volume III

LOCATION

Rottnest Island SIZE

350sqm YEAR

2020

CLIENT

Rottnest Island Authority

GALLERY PROJECT 2

0 2 0

MUSEUM/GALLERY DESIGN

ROTTNEST ISLAND MUSEUM - WADJEMUP

The building which houses the Rottnest Island Museum was built in 1857 by Aboriginal prison labour and was originally used as a hay shed and granary. The Museum provides information for visitors on the natural features and environment of the Island, aspects of the Island history, marine wrecks, and the social history associated with recreation and tourism. The museum is staffed by Rottnest Volunteer Guide Association members, with curatorial support provided by RIA staff.

RIA also holds a large collection of objects, artefacts, photographs, audio and video recordings and other historical materials, some of which are rotated through display at the Museum.

Prior to commencement of the Rottnest Island Management Plan (RIMP) 2020-24 RIA began investigating options for renewal of the Museum display and interpretation resources, and curatorial support, in consultation with the Western Australian Museum and with the assistance of specialist consultant Creative Spaces and myself. This work is continuing under the RIMP 2020-24 as a key initiative to enhance Island Museum and collections. With the intention of creating a model regional museum which will continue as a significant repository of Island-related historical materials, be more closely integrated with other aspects of the Island’s built heritage and social history, and continue to function as a significant visitor attraction.

Rikki Clarke

Project Lead

Callan Kneale

Interior Lighinting Designer & Visulisations

c a l l a n kn eal e

2 0

Development of the Rottnest Island Museum is to be undertaken with funding provided by the Commonwealth under the National Tourism Icons program. As part of the renewal and revitalisation program there will be a focus on options for interactive, augmented reality and other multimedia experiences employed in accordance with best contemporary practice. Refurbishment of the Rottnest Island Museum is proposed to include facilitating optimal functional layout, new reception, retail opportunities, new display cabinetry, hanging rails, signage and feature lighting.

2 1

RENDERS

Volume III

Rikki Clarke

Project Lead

Callan Kneale

Interior Lighinting Designer & Visulisations

c a l l a n kn eal e

2 2

HOME NOT HOSPITAL

2 3

Volume III

2 0 2 2

LOCATION

Kalamunda SIZE

5000sqm YEAR

2022

H E A LT H C A R E DESIGN

KALAMUNDA HOSPITAL

RENOVATION PROJECT

CLIENT

East Metro Health

The rooms were completely stripped, and we created a dedicated hospice entrance, waiting room finishes to the existing hospital. Skylights and larger windows were installed for much more vibrant and comfortable spaces for patients. A huge consideration was taken with the illumination design around Human Centric circadian rhythms for better patient comfort & wellness.

The area includes fit-for-purpose therapy rooms, an outpatient rooms for symptom management clinics, new toilets/amenities, a café-style kitchenette with patio area, and a social room, which opens up to a fully accessible native garden surrounding the Darling Scarp. Flexibility in the social room was a key function to allow for rest and relax, as well as space for activities with volunteers. Design in a clinical environment

Morag Lee

Healthcare Principal

Callan Kneale

Lead Interior Designer

Hassell Project

c a l l a n kn eal e

2 4

The upgrade also greatly increased feeling of warmth removing the clinical aspect to the space​. Lighting and finishes were carefully selected to bring balance and harmony to the space

2 5

Volume III

2 0 2 0

LOCATION

Subiaco SIZE

3500sqm YEAR

2020

RENOVATION PROJECT

CLIENT

St John of God

AMBIENT

ACCENT

SCENIC

Through rigorous cross-discipline collaboration, function, cost, and quality. The planning process departs from the abstract realm at the very outset and is immediately affected by existing conditions.

Sonja Taneska

Lead Interior Designer

H E A LT H C A R E DESIGN

ST JOHN OF GOD HOSPITAL

The frame of reference in a renovation project is, contrastingly, an existing building, and thus a totally different concept.

Callan Kneale

Interior Lighinting Designer & Visulisations

Hassell Project

c a l l a n kn eal e

2 6

LIGHTING & LANDSCAPE DESIGN PROJECT LOCATION

Perth CBD PHOTOGRAPHER

Matt Devlin YEAR

2018

CLIENT

Primewest

BRIEF

Australia Place, 15-17 William Street, Perth is located in the core of the Perth CBD on William Street between St George’s Terrace and Mounts Bay Road.

This modern, 14 level office tower offers a well designed floor plate with excellent natural light and river views.

2 0 1 8

URBAN DESIGN

AUSTRALIA PLACE

The refurbishment saw upgrades to facade anodising, lighting, glazing & new cafe tennancy fitout. Design was to be eye catching on approach to draw people from St Georges Terrace into the forecourt and soft and subtle when departing.

Incorporation of external cafe seating and planters add to the urban fabric of the space.

Catherine Lindsay Architect

Callan Kneale

Interior Lighinting Designer & Visulisations

2 7

Hassell Project Volume III

LIGHTING DESIGN PROJECT LOCATION

Scarborough PHOTOGRAPHER

Matt Devlin YEAR

2014

CLIENT

Old Field Knott & Capitol Corp.

BRIEF Bringing the vibe of a glitzy Las Vegas resort to Perth’s relaxed beachside suburb of Scarborough was never going to be easy, but the Matisse Beach Club delivers bright lights and bold colours with all the confidence you’d expect from the famous desert oasis. A shimmering pool, sun lounges, casual ottomans and palm trees capture the essence of poolside glamour while retro cabanas in brash colours are reminiscent of the old bathing boxes which once lined the beach. Remotely operated screens and tilted glazed walls offer protection from salty air while nonslip ceramic tiles, compressed fibre cement weatherboarding and high performance fabrics deliver functionality as well as style.

2 0 1 4

H O S P I TA L I T Y DESIGN

MATISSE BEACHCLUB

More than just eye-popping colour and summer ambience, this project required intelligent design to combat the corrosive sea breeze.

Jenlin Chia

Lead Interior Designer

Callan Kneale

Interior Lighinting Designer & Visulisations

c a l l a n kn eal e

2 8

LIGHTING, INTERIOR & LANDSCAPE DESIGN PROJECT LOCATION

Perth CBD PHOTOGRAPHER

Matt Devlin YEAR

2018

CLIENT

CBRE & Harry Seidler & Associates

BRIEF

The QV1 End of Trip facilities offers amenities to support and encourage tenants to embrace active modes of transport whether that’s cycling, running or walking to get to work or general fitness activities before and after starting work.

Fitted with European fixtures, natural stone and timber finishes, the amenities are designed to an exceptional level of quality with modern style and comfort in mind.

2 0 1 8

URBAN DESIGN

QV1 PLAZA & EOT

The QV1 Plaza is designed to be a counterpoint to the modernist architecture of the iconic Harry Seidler designed building. Located on the Hay Street side of the building, the QV1 Plaza is the West End’s key dining precinct, offering a vibrant meeting place where workers and visitors can enjoy great food and beverages, pop-up events or catch up with friends.

Sophie Bond

Architect

Callan Kneale

Interiors Lighting Designer & Visulisations

2 9

Hassell Project Volume III

LOCATION

Perth

PHOTOGRAPHER

Matt Devlin YEAR

2016

CLIENT

Lighting Options Australia

BRIEF Lighting Options Australia is a solution-driven commercial and architectural lighting specialist. We work with engineers, architects, interior designers and private organisations to bring their lighting designs to life. We deliver the best lighting solutions, sourced from leading brands across Australia and the world, that offer the greatest value for money.

2 0 1 6

COMMERCIAL DESIGN

LIGHTING OPTIONS INTERIOR DESIGN SHOWROOM PROJECT

Design brief was to convert an old paper warehouse into a showcase of the worlds finest lighting & furniture products.

Surface texture, finish & colour played an integral role in showcasing different lighting techniques and styles.

Callan Kneale

Lead Interior Designer

c a l l a n kn eal e

3 0

BRIEF

LOCATION

Manjimup

PHOTOGRAPHER

Jody Darcy YEAR

2019

CLIENT

Shire of Manjimup

Power Up Electricity Museum is part of a new multipurpose facility that has contributed to the transformation of the Manjimup Heritage Park into a regional tourism precinct.

The Power Up Electricity Museum explores the development of the electricity network in West Australia’s history through the former World of Energy collection, balanced against a lighter future of renewable energy and innovation. The exhibition design provides an engaging experience, which plays with the concept of ‘lightening the load’ through volume, colour and materials.

2 0 1 9

GALLERY DESIGN

POWER-UP MUSEUM & INTERIORS MANJIMUP LIGHTING PROJECT

Rikki Clarke

Project Director

Callan Kneale

Interiors Lighting Designer & Visulisations

3 1

Volume III

LIGHTING DESIGN PROJECT LOCATION

Cannington PHOTOGRAPHER

Matt Devlin YEAR

2017

CLIENT

Scentre Group

Power Up Electricity Museum is part of a new multipurpose facility that has contributed to the transformation of the Manjimup Heritage Park into a regional tourism precinct.

The Power Up Electricity Museum explores the development of the electricity network in West Australia’s history through the former World of Energy collection, balanced against a lighter future of renewable energy and innovation. The exhibition design provides an engaging experience, which plays with the concept of ‘lightening the load’ through volume, colour and materials.

2 0 1 7

COMMERCIAL DESIGN

CAFE 63 & GELARE CANNINGTON

Callan Kneale

Lead Interior Designer

c a l l a n kn eal e

3 2

THEATRICAL D

3 3

Volume III

DESIGN WORK

c a l l a n kn eal e

3 4

CHICAGO LOCATION

KINKY BOOTS LOCATION

Western Australia

Western Australia

COSTUME DESIGN

SET DESIGN

YEAR

YEAR

CLIENT

CLIENT

Callan Kneale 2018

Kooliny Arts

3 5

Callan Kneale 2019

Limelight Theatre

Volume III

FORBIDDEN COUGAR BROADWAY MORRISON LOCATION

LOCATION

State Theatre Centre

Western Australia

SET, GRAPHIC & COSTUME DESIGN

COSTUME DESIGN

Callan Kneale

Callan Kneale

YEAR

YEAR

CLIENT

CLIENT

2019

EXECUTIVE PRODUCER

c a l l a n kn eal e

CURRENT

Cllint Strindberg

3 6

GRAPHIC DE

3 7

Volume III

ESIGN WORK

c a l l a n kn eal e

3 8

PRIDEFEST 2023

EDITORIAL

LOCATION

Western Australia CLIENT

PrideWA MERCHANDISE

PRIDEFEST 2022

BRANDING EDITORIAL

3 9

Pride Wa Catalogue 2022 Final.indd 1

17/10/2022 11:56:43 AM

SOCIAL MEDIA

MERCHANDISE

BRANDING

Volume III

PRIDEFEST 2021 LOCATION

EDITORIAL

Western Australia YEAR

2021

CLIENT

PrideWA

BOOKINGS

SCAN ME

SOCIAL MEDIA

BRANDING

BUSPORT SIGNAGE

c a l l a n kn eal e

MERCHANDISE

4 0

PRIDEWA LOCATION

Western Australia CLIENT

PrideWA

4 1

Volume III

FAIRDAY & PRIDEFEST EVENTS

EDITORIAL

LOCATION

Western Australia YEAR

2021 & 2022

CLIENT

PrideWA

EDITORIAL

EDITORIAL

c a l l a n k n eal e

4 2

GATHER FOODS LOCATION

EDITORIAL

Western Australia YEAR

2022

CLIENT

Gather Foods & Leeuwin Estate EDITORIAL

BRANDING SOCIAL MEDIA

4 3

Volume III

FORBIDDEN BROADWAY LOCATION

Western Australia YEAR

2021 EDITORIAL

EDITORIAL

SOCIAL MEDIA

c a l l a n k n eal e

4 4

HASSELL

EDITORIAL

LOCATION

Western Australia YEAR

2018-2022

CLIENT

Hassell

HEADSHOTS

4 5

Volume III

COUGAR MORRISON LOCATION

Western Australia YEAR

2016-2018

CLIENT

PrideWA

c a l l a n k n eal e

EDITORIAL

4 6

FOLI8

“The best way to predict the future is to create it”

2 0 2 3

Volume III

KER N I N G

FOLI8

S E L E C T E D

W O R K S

2 0 2 3

ca l l a n k ne ale - c arlisle - we stern au s tralia - 0 4 2 2 6 0 9 6 9 4