Corey Cvetovac

Email Address

I’m Corey Cvetovac, soon to complete my Bachelor of Design [Architecture] at Swinburne.

Over the course of my studies, I’ve developed a growing confidence in both digital and physical design processes. I work primarily with Rhino alongside Adobe Illustrator, InDesign, and Photoshop. I’ve also found a particular enjoyment and strength in physical model making, which allows me to explore form and material in a more hands-on, intuitive way.

I’m always looking for new ways to learn, experiment, and improve my skills—whether that’s through trying a new software workflow, modelling technique or refining how I communicate a design idea. I value collaboration and the exchange of ideas that comes from studio discussions and pin-up reviews, and I enjoy seeing how different perspectives from peers and tutors can shape a stronger collective outcome. These experiences have strengthened my communication and teamwork abilities while reinforcing my appreciation for diverse perspectives in design.

Studio 5: MOTION//NEWPORT - Newport

Render
In Studio 5, my group partner Zac and I explored a concept that draws from both the site’s rich industrial heritage and our own personal interests. Motion//Newport celebrates the legacy of Australia’s automotive and locomotive industries, while highlighting the contemporary forms of manufacturing that continue to evolve today. The project responds to a brief asking to create an 'x' in the suburb of Newport as a way of inviting people in . We envision a space where production, exhibition, and public engagement intersect—creating an accessible environment that connects community and craft.

Studio 4: the Estuary Connect - Docklands

Physical Model
Shown is the final model for The Estuary Connect, depicting the framed site and its boardwalk along the waterfront, as well as the retained heritage boatshed and crane. The building’s structure is articulated through columns supporting each floorplate, with the main façade 3D-printed and the boatshed modelled in laser-cut white card. The western third of the model has been sectioned to reveal the intricate internal floorplates and spatial relationships within.

Studio 4: the Estuary Connect - Docklands

Renders, Diagram
Key moments showcase our group’s design for The Estuary Connect, a mixed-use waterfront development along Flinders Street in Docklands. The project’s organic form, derived from earlier form-finding explorations, was adapted to suit the site while preserving elements of the heritage boatshed below. Considerations of structure, column placement, and service cores were integral to our design process and are expressed in the accompanying parti diagram, highlighting the project’s balance between form, function, and context.

Studio 3: Ngarra Warra Centre - Warrandyte

Physical Models
Featured is a collage of photos of the final models I created in tandem with studio partner Zac Hoiles for our brief on a culture and arts building along the Birrarung in Warrandyte. The hero model used a cross-section to gain a glimpse of interior spaces, offices and exhibition on the ground floor, while retaining the provoking entrance. The site model was enjoyable to make with the large adjacent bridge and steep site.

Studio 3: Ngarra Warra Centre - Warrandyte

Renders
Key moments from my Studio 3 Indigenous Art Centre design are shown through perspectives from both patrons and workers. The first two levels are dedicated to gallery and exhibition spaces, with offices and meeting rooms located above. The project’s twisted geometric form—developed through iterative processes in Grasshopper—was refined to suit a compact riverside site, resulting in a building that balances sculptural expression with spatial efficiency.

Acknowledgement of Country

The School of Design and Architecture respectfully acknowledges the Wurundjeri peoples of the Kulin Nation as the Traditional Owners and knowledge-keepers of the lands, waters and sky that surround us, where we work, learn, create, communicate and make place. We recognise that sovereignty has never been ceded and this always was and will always be Wurundjeri Country. We pay our respects to Elders past, present and to all Aboriginal and Torres Strait Islander people who continue to make a better world through design.

We extend our acknowledgement to the Aboriginal and Torres Strait Islander staff, students, alumni, real-life clients, and knowledge keepers, who have contributed to our own education diversity and growth. We will continue to ensure that staff and students respectfully honour ancestral connection to Country and Place in everything that they do.

We are dedicated to the notion of design to make a better world and we acknowledge that making tools, shaping place, sharing stories, making meaning, wayfinding and collaborating have long been and continue to be both central and integral to First Peoples' cultures. We recognize that Aboriginal and Torres Strait Islander Peoples’ cultural contributions have continued relevance to design practice and commit to: reconciling ancestries of design and contemporary practice as well as pursuing culturally and professionally appropriate ways to engage with a diverse population of colleagues, industries and clients. In a time of treaty-making and voice we understand that there are overlaps between caring for Country and the sustainable production of goods, services, experiences, products and buildings.

Guided by the principles of respect, reconciliation, and reciprocity we undertake to indigenising and decolonising design practice by dismantling colonial structures and challenging biases that have marginalised Indigenous voices and design.

As students of SoDA you will be given opportunities to both engage with and educate yourself in Indigenous creative practices and cultural protocols through a lens of inclusivity, diversity, respect, mutual understanding, inter-cultural dialogue in all aspects of design practice. Indigenous people have been telling stories, making tools, and connecting to Country through visual media, placemaking and place marking for more than 60,000 years and these practices are part of an ongoing, evolving and live tradition.