Transcript
Situated beyond and to the left of the glass case that contains the taxidermized form of the famous racehorse Phar Lap is the entrance to the gallery that houses this exhibition.
The entrance way features the trio of colours that theme this exhibition: Black, Iconic White and Bright Cerulean (all provided by Museums Victoria Colour Partner, Taubmans). Above the Iconic White entrance way, in Bright Cerulean blue are the words ‘VCE 2026 Season of Excellence’. To the left, repetitions of the phrase ‘2026 Top Designs’ are stacked horizontally in black, except one, which pops out through its use of Bright Cerulean, and the blue arrow which points to it. These arrows, which are stylistic rather than functional, repeat throughout the exhibition.
Inside the exhibition, we first encounter the Title Wall, which bears the words ‘Top Designs 2026. Saturday 11th April – Sunday 26th July 2026. Beneath are the logos of the exhibition’s sponsors and cultural partners. Text reads: ‘Top Designs 2026 exhibitors explore what it means to be human now and into the future. The works on display interrogate the rapidly changing world around us, and demonstrate the research and experimentation involved in responsive design. The exhibition highlights the creative ways students have engaged with new developments in technology, materiality, sustainability, and community practices part of the VCE and VCE VET design studies in 2025. With applications received from government, independent and Catholic schools across Victoria, panels of expert educators selected 81 works across each of the 9 design studies. Managed by the Victorian Curriculum and Assessment Authority (VCAA), Top Designs is part of the VCE Season of Excellence, which also includes Top Talks, Top Screen, Top Arts, Top Class and Top Scribe.’
A giant projection immediately opposite the entrance scrolls through the names of each of the exhibitors and their schools beside an image for each subject, captured in three-dimensional rendered colour-tinted photography.
Text on a nearby wall reads ‘Top Designs acknowledges the Wurundjeri Woi Wurring peoples of the eastern Kulin Nations, on whose ancestral lands this exhibition takes place. We acknowledge First Peoples as the traditional and ongoing owners of the lands across Victoria, where exhibitors have investigated new creative possibilities and developed their bold designs. We pay respect to all First Peoples as the first innovators, inventors, storytellers and creatives of these lands, and recognise the deep knowledge of their Countries.’
Accessibility Information reads:
- This exhibition is wheelchair accessible.
- This exhibition includes 15 audio descriptions.
- All audio content in this exhibition is open-captioned.
- This exhibition is described in a visual Experience Story.
- Large Print exhibition labels are available online and in print.
- The nearest Quiet Room is located near the entrance of the Gandel Gondwana Garden and has a sign on the door saying Quiet Room.
QR codes beneath this text link to the audio descriptions and the accessibility information.
The high-ceilinged exhibition space is laid out by subject area. What would otherwise be a vast room is given structure through interjecting temporary walls that protrude into the space from either side and encourage focus on the separate areas as you progress through.
Large format horizontal banners (in the exhibition colourway of blue, white and black) identify each of the study areas. Each bears multiple repeats of the study area’s name in black, with one picked out in blue, an arrow (which is stylistic not functional), and a brief introduction to that study area.
Ahead are items from the VET Furnishing exhibit, including Emma Best’s ‘nesting tables’, which have been audio described). These are displayed, alongside a cabinet. As with all the physical exhibits, these are displayed on a white plinth beside written information about the exhibit. Glass panels fence off, or box in, each plinth.
Beyond the back wall of the VET Furnishing collection is a large screen. When unactivated, this bears the same wording and imagery of the title wall A touch screen panel beside it allows visitors to select one of the VCE Media exhibits, which then plays out on the large screen. 15 information boards mounted in a 3 by 5 formation provide information about each exhibit and their creator. Jake Syme’s poetic documentary, ‘Embers of the past’, Andrew Nguyen’s ‘Steady as she Goes’, and Henry Ferguson’s ‘In The Trees’ all have audio description available.
A Content Warning reads: ‘Some films contain flashing lights that may affect viewers sensitive to light, and reference to violence, coarse language and other mature themes. Please ask a member of staff if you would like further details. Recommended for mature audiences.
With the entrance behind, and the VCE Media exhibits to our left, turning right brings us into the next part of the exhibition.
On the left, a screen plays William Donaldson’s Media Photography exhibit, ‘Escape’, which also comes with audio description.
Beyond, another touchscreen enables visitors to explore (and play) Jason Xu’s convergent media product (comic and digital game), which comes with audio description.
On the right is the Music (Sound Production) area. Visitors can select their exhibit using a touch screen, and listen through either of the two pairs of headphones which flank the screen.
Beyond stretches a large space. Its focal point is a runway-style plinth.
Turning left, the ‘meet the exhibitors’ video is projected with closed captions. Prototypes from Systems Engineering and Visual Communication are displayed beside it to show the formative stages of some of the exhibits.
Exhibits from the Product Design and Technologies category are displayed on plinths that run parallel to the runway’s length, including Felix Cherrey’s V-Light Pro handlebars, which have been audio described. On the runway, mannequins show off the various Product Design and Technologies clothing exhibits.
Behind the runway are the Visual Communication Design exhibits, including Moses Abdel Malak’s exhibit, ‘Sora Refugee Centre’, which has been audio described.
Journeying back along the other side of the runway’s length we reach the folio banks: an array of touch screens mounted at hip-height where visitors can select an exhibit and scroll through its research and development folio.
Behind the folio banks is an area labelled ‘Beyond Top Designs’. This showcases the current work from four Top Designs Alumni of previous years: Ellenor Argyropoulos, Sarah McConnell, Roshan Ramesh and Jess Wootten.
These exhibits flank the exit from the Top Designs 2026 gallery, which leads us back out into the main gallery, with Phar Lap now on our right.
Descriptions by Polly Goodwin.
