GRAD SHOW

2025

RMIT

S1

COMM DESIGN

19–22

JUNE

Orchestration is the act of creating a single project from the choreography of multiple parts. It is not merely coordination but a deeper synthesis — a layering of disciplines, timelines, materials, and intentions that culminate in a singular, cohesive project. This principle is present in every instance of human and technological synthesis, from the structure of a digital interface to the design of a live performance. It is through orchestration that complexity becomes clarity.


Designers, in this context, are masters of visual, auditory and experiential orchestration. They move fluidly between concept and execution, holding space for both structure and intuition. Designers plan the appearance, function, and impact of products, systems, environments, and experiences. But beyond aesthetic or practical value, they master the ability to unify disparate elements — visual, auditory, material, and temporal — into one experiential form. This synthesis of sensory and spatial elements demands a deep understanding of how things come together, how they relate, and how they will be perceived or felt.


To design is to engage in a process — a relentless, evolving act of decision-making, refinement, and iteration. It is craftwork, it is hard work, and it requires profound dedication. The designer occupies a transformative space between raw information and meaningful visual or sensory expression. They hold the tension between logic and feeling, between data and emotion.


May we continue to hold on to the sentiment of “process” — not just as a means to an end, but as the very essence of orchestrated, creative expression.


Written by Eliana Roxas

Sonali Sunil Mirpuri

Sonali Sunil Mirpuri

Living Spaces & Typefaces: Translating Apartment Design into Experimental Typography

Typography
Master's
Website
Instagram


Imagine each letter as a tiny apartment: walls become bold strokes, beds and bathrooms fill spacious counters, and kitchen islands carve out cozy corners. Inspired by my journey of house hunting and furnishing a Melbourne flat, I sketched floor plans and watched letters spring to life. A “B” might feel like a living room, while an “M” evokes both a walk-in closet and an office. By transforming fixtures—beds, showers, sofas, and sinks—into letter components, reading becomes a mini home tour. This playful approach treats typography as interior design, inviting you to wander through each character as if exploring a compact, stylish living space.

GRAD SHOW

2025

RMIT

S1

COMM DESIGN

19–22

JUNE

Orchestration is the act of creating a single project from the choreography of multiple parts. It is not merely coordination but a deeper synthesis — a layering of disciplines, timelines, materials, and intentions that culminate in a singular, cohesive project. This principle is present in every instance of human and technological synthesis, from the structure of a digital interface to the design of a live performance. It is through orchestration that complexity becomes clarity.


Designers, in this context, are masters of visual, auditory and experiential orchestration. They move fluidly between concept and execution, holding space for both structure and intuition. Designers plan the appearance, function, and impact of products, systems, environments, and experiences. But beyond aesthetic or practical value, they master the ability to unify disparate elements — visual, auditory, material, and temporal — into one experiential form. This synthesis of sensory and spatial elements demands a deep understanding of how things come together, how they relate, and how they will be perceived or felt.


To design is to engage in a process — a relentless, evolving act of decision-making, refinement, and iteration. It is craftwork, it is hard work, and it requires profound dedication. The designer occupies a transformative space between raw information and meaningful visual or sensory expression. They hold the tension between logic and feeling, between data and emotion.


May we continue to hold on to the sentiment of “process” — not just as a means to an end, but as the very essence of orchestrated, creative expression.


By Eliana Roxas


ORCHESTRATED

RMIT COMM DESIGN

GRAD SHOW S1 / 25

 

RMIT University | School of Design

 

DESIGNERS:

Alexis Marinovic

Andrew Van Keulen

Candice Sun

Eliana Roxas

Hilary Zhao

Yiming Wei

 

LEADS:

Brad Haylock

Noel Waite

Russell Kerr

Ziga Testen

Lloyd Mst

 

CONTRIBUTORS:

Nicola St John

Shuai Shao

Yoko Akama

 

INDUSTRY PARTNERS:

Mecca

Studio Round

Uni Super

 

INSTAGRAM: rmitcommdesign
INSTAGRAM MCD: rmit_mcd

 

Congratulations to the graduating Communication Design cohort, of Semester 1, 2025. Continue to learn, grow and transform.

 

Sonali Sunil Mirpuri

Sonali Sunil Mirpuri

Living Spaces & Typefaces: Translating Apartment Design into Experimental Typography

Typography
Master's
Website
Instagram


Imagine each letter as a tiny apartment: walls become bold strokes, beds and bathrooms fill spacious counters, and kitchen islands carve out cozy corners. Inspired by my journey of house hunting and furnishing a Melbourne flat, I sketched floor plans and watched letters spring to life. A “B” might feel like a living room, while an “M” evokes both a walk-in closet and an office. By transforming fixtures—beds, showers, sofas, and sinks—into letter components, reading becomes a mini home tour. This playful approach treats typography as interior design, inviting you to wander through each character as if exploring a compact, stylish living space.