My practice explores the relationship between permanent and the changeable through playing with the extremities of contrasting scales, forms, textures, techniques and histories. I seek to create work that’s inclusive and human first; With people themselves acting as an integral element to the architecture, adding to the architectural space and their relationship with it, through the rhythms of their day to day inviting adaptation and involvement. I aspire for everyday design to have an effortless enjoyability and experiential quality, making the potentially mundane special.

Balloch, West Dunbartonshire is a village which lies on the banks Loch Lomond. This project is a Public Music Hall and accommodation for the charity, Sistema, that seeks to transform the lives of children, young people and their communities through music. Inspired by the history of the train line which ran through the town to the end of the pier as my starting point, the project is an exploration of journey, destination and place. I wanted to create a feeling of anticipation through designing the music hall to act as a monument at the end of the pier, an area that despite being naturally scenic views remained neglected. Sites like these are wholly deserving of buildings that create a sense of spectacle, with a strong rooting in community history.

Pauls studied architecture at the Glasgow School of Art as well as the Academy of Fine Arts Vienna. Parralel to his studies, Pauls works with printmaking and investigates the technical drawing as a communication medium.

Pauls’ third year work at the Mackintosh School of Architecture looked at developing a venue and accomodations for a music education charity.

Project description:

Instead of taking place in sparse acoustic venues, Sistema orchestras have always dwelled in non-specialist settings directly within communities in need, prioritising social action over education tradition. How can a venue custom built for Sistema maintain this notion? To address this, Sistema’s methods were compared to those of Levi Strauss’ bricoleur. Similarly to a bricoleur, who “creates structures by means of events”, Sistema defines a venue by holding orchestra recitals in the available settings. By doing so, Sistema is shaped by the conditions and accessible resources, but at the same time can create new meanings and events within the environment. The response to the brief is not a design of a new building to be placed on the site, but rather an assemblage of the honest and mundane objects of the River Leven. A frame of one of warehouses on the riverbanks is dismantled and moved to a parking lot on the Balloch pier. There, it is furnished with rooms akin to giant bunkbeds and inhabited by the orchestra. A place to celebrate the education program and the unspectacular River Leven.

I think my initial motivations for studying and practising Architecture stemmed from the idea that Architecture intrinsically has the potential to shape its occupants and hence society. Throughout my studies I have considered and questioned this concept, and thus the role of the Architect in contemporary society.

Maeve Corke Butters is a third-year architecture student who enjoys exploring complex forms and communal environments. Her work focuses on the core ethos of empathetic design, sustainability, and fun. This was developed through the exploration of critical theorist Doreen Massey and Jane Jacobs leading to a better understanding of placemaking and the social systems that underpin them. She has developed her projects with careful consideration of client needs and requirements, offering creative solutions through complex spatial structures and communal spaces.

Maeve achieved a commendation from the Glasgow Institute of Architects Student Awards in her first year and is a current regional finalist for the Women in Property Awards.

Maeve is passionate, hard-working, conscientious, and independent. She always works to the best of her ability and strives to create the best result. She enjoys taking on tasks especially those that challenge her. She also enjoys working in an environment where she can work with others to refine and develop creative ideas.

Athia Syed
I am in final year of my bachelor’s degree at the mackintosh school of Architecture GSA.

Currently in my third year of studying architecture I have developed a passion for sustainable and simple living. The brief to design a music retreat including a performance hall and accommodation for SISTEMA Scotland in Balloch was refreshing and challenging. It was important to consider energy, landscape and culture and bring them all together. With the site being so close to home i wanted to capture the feelings and memories i had of visiting the site as a child; taking the train to the last stop in Balloch where ironically the journey only just began, discovering Loch Lomond only a footsteps away. Inspired by my trip around Scotland visiting the Maggie’s Centres’, I further looked into the work of Frank Gehry. The curvature in his architecture and abstract angles led me to creating two very different buildings which were to contrast but also compliment each other.

I am Jules Régis, student of architecture. I did my Bachelor degree at the Mackintosh school of Architecture. Currently in the 3rd year, I am finishing my study cycle this semester as part of an ERASMUS exchange in Spain at the Escuela Técnica Superior de Arquitectura in Madrid.

I am now back in Paris working at distance because of the current situation.

Concerning my design, I’m inspired by architecture that brings dreams into everyday life. I also enjoy attention to places and materials as well as the freedom in design.

Debora Gyimah works with a range of digital software to create architectural designs that tell a story. This project is a Residential Retreat resting in the unruly environment of Balloch. The retreat is a place to which children, teens and adults escape to learn and celebrate music in addition to building their social skills. The themes of this project are landscape, energy and culture.

The project explores landscape through materiality and placement. It deals with how the building instills itself into the environment and how it interacts with it. It also examines how the building can amalgamate its environment outside with that of the inside. Furthermore, the notion of placemaking is explored through landscaping. It allows the history of Balloch, the existing community, and the retreat to connect to one another.

Materiality also bleeds into the notion of energy. It is a factor that works in conjunction with form to create a design that conforms to the zero-carbon approach. Careful considerations were applied in the buildings form and materials for a design that is more sustainable.

Lastly, culture is explored by understanding those that will utilize the building, and their main goals, which are musical education and building communication skills. Tailored spaces are provided to accommodate these interests as well as other needs.

Tobias is currently on exchange to the Accademia di architettura di Mendrisio in Ticino, Switzerland. The past semester has been a unique challenge to navigate; starting a semester in a new country and staying through the pandemic. The work shown here is the product of that semester in Atelier Martino Pedrozzi; guided weekly digital tutorials in a bedroom/ studio/ workshop.He believes in the profound interrelation between the practice of architecture, a wider theoretical discourse and other allied fields. His academic work has been driven by a rigour and obsession with process as a means to test and produce critical and provocative interpretations of context and condition.

Born in London, Rachel moved to Glasgow in 2017 to study Architecture at The Mackintosh. Her practice explores methods of architectural drawing, combining hand-drawn elements with CAD. She seeks to portray impressions from the surrounding environment through forms and building materials, often exploring these themes by drawing.

Her latest project is a performance hall and retreat accommodation on the banks of Loch Lomond, in the centre of a vast valley. The building seeks to frame the view as its approached through the town of Balloch. Studying and photographing standing stones, perhaps the earliest form of intervention in the Scottish landscape, lead to experimenting with the simplest form of composition, solid and line, and how this frames the surrounding environment.

Rihards Saknitis is a Stage 4 Diploma in Architecture Student at the Mackintosh School of Architecture, who has been awarded a Bachelor of Architecture with Honours from the Birmingham School of Architecture and Design. Professionally, he has experience working on architectural projects in a variety of scales and contexts in the UK and Latvia.

Rihards Diploma study has been focused on establishing and experimenting with frameworks to identify and address social and environmental issues in the context of Glasgow. His projects explore how the city can function with less detriment on natural systems, by reestablishing and mimicking those systems in the built environment and how architectural planning can support more self-sufficient lifestyles. By designing space for nature, natural systems and principles of democratic production into the urban context, the consumerist culture and its impacts on the world are attempted to be reduced.

Jemima Harold-Sodipo is currently a Stage 4 Diploma of Architecture student, having completed her Part 1 BArch degree at The University of Nottingham.

The following is the thesis statement of the project showcased here.

In a society where many are separated or isolated, this scheme looks to retain community. Creating a place in the city catered to all ages and abilities, promoting inclusion and integration. All in light of the Glasgow City Council’s goal to repopulate the city centre.

It seeks to strengthen community infrastructure through shared experience and shared resource, creating a diverse and immersive communal space to engage with others. This is primarily achieved through participation and collaborative design within the immersive theatre space and craft facilities.

Tool hire, DIY advice workshop, and a community kitchen with a cooking workshop, share skills often shared within families and communities. Providing essential facilities for people from different social and economic backgrounds.

The program looks to support existing social infrastructure, with workspaces provided for existing networks that also seek to sustain community, boosting their reach.

A holistic approach to sustaining a community is advocating for longevity and sustainable practices. This is achieved through optimisation of passive technologies and natural resources.

Yichen Li is a RIBA Part II student studying in Mackintosh School of Architecture. His works are focusing parametric design and sustainable structure strategies.

My name is Sandy, I’m a stage 4 student of Architecture. Below are texts relating to each project from my stage 4 projects.

Urban Housing
The Anisotropic Grid

Today the digital world gives everyone access to a vast network of resources and connectivity. New formations of labour are arising, operating as a ‘gig economy’. This has led to a blurring of labour and domesticity from home to the city. Reordering domestic and labour activities into a spectrum from social to private, a greater flexibility of living and working can coexist. Inhabited walls scale up to form populated blocks punctuated by a series of public and private spaces. Separation between the dwelling and free labour programs is formed by the mass sitting perpendicular creating a series of hierarchical courtyards.

Urban Building

Primarily Labour was a Fordist approach, where workers and resources would arrive at the place of work, and revolve around a rigid framework. New formations of labour are arising such as the ‘gig economy’, where free-lancers, home-workers and temporary jobs are more common. The industrial city was built around places of labour and at the heart of the civic realm.

“Glasgows history is in making, in craftsmanship. Its legacy is in buildings.” Toby Webster

My project attempts to create a new civic building in Merchant City, Glasgow, that accommodates space for creative practices to occupy and adapt. By bringing the act of crafting and creating into the public realm, the process can become the performance itself.

I am an Architectural student currently finishing the 1st year of my Diploma in architecture at GSA. I have a keen interest in the environmental field of architecture, having a goal to specialise in within this upon moving into the professional world.

For this project I decided to do something close to my heart and look at a more sociological subject by means of defining what makes a queer space. It was an opportunity to investigate something that does not have a wealth of research currently available, challenging myself to look deeper into the subject and make my own conclusions from what I found.

I also used the opportunity to try and define what a queer space is architecturally within a building and how to physically design such a space. Again, something that has not been studied much to date.

This was indeed challenging, but I am more than happy I decided on this thesis and have learnt a vase amount about my community and its history while doing so.

Throughout my time at MSA, I have maintained an interest in sustainable practice, pursuing this within a wider context in my part-time work at erz Landscape Architects alongside my studies.

My personal sustainable micro-home build project (from design to construction) has been endorsed by GSA Sustainability (see @studio_occupy). I’m developing my practical skills alongside my research project entitled ‘Occupation and the Right to the City: combining politics and action to reclaim the power of the working class’ to investigate the potential of physical building to unite and politically empower communities; this is a consistent theme in my design work.

I, as a graduating student at the Glasgow School of Art, would like to state my support for the Pause or Pay Campaign To read the full manifesto click here

RIBA Part I (BSc Hons with International Study, Strathclyde School of Architecture, 2012)
– Arkitektskolen Aarhus (ERASMUS semester, 2016)
– 3 Design Scotland (Interior Designer, 2018-9)
– MAST Architects (Architectural Assistant, 2016-7)
– JM Architects (Architectural Assistant, 2014)
– Ryder (Junior Architectural Assistant, 2012)

Ingrid Wennemo
Stage 4

In Urban Housing, the thesis sought to explore the notions of ownership in housing by utilizing an economic model that generates lower cost housing for affordable, long-term rental. By assuming the risks and working directly with the end users, the architect secures the viability of the project and removes the profit of the developer. The proposal of NO OWNERSHIP MODES adjusts the concept of fideicomiso to work with the state, meaning the state funding be used directly by the architect to produce housing at a lower cost and without the need of a developer. Engaging in a direct design process with the residents seeking socially rented housing would revolutionise the current notion of renting housing that does not respond to the needs of the end user.

In Urban Building, VESSEL FOR PARTICIPATORY DEMOCRACY creates an accountable form of governance – for a time of crisis – expressed as a citizens assembly. Provoked by the definition of a civic building as being where every resident has a shared claim on the resource, the programme represents a symbiotic relationship between politics, people and the ecosystem. The architecture aims to establish an alliance with the environment by cultivating and re-wilding the landscape. The seating plan of the VESSEL FOR PARTICIPATORY DEMOCRACY discards the form of the current house of commons, that can be interpreted as an expression of the political culture that it has helped to shape, us and them.

Cultural and technological shifts in the recent years have contributed to the increasingly blurred distinction between living and working, where we are no longer organised by the traditional 9 to 5 workday. Contemporary forms of labour involve entire life of workers and their spectrum of social relationships- relationships reliant on technology to mediate real-life interactions to a degree to which social isolation and loneliness are now considered a serious epidemic in the UK. These shifts are, to lesser and greater degrees interconnected with forms of living closer together.

The proximity of the site to the City Centre and transport links provide an opportunity where it is able to accommodate various commercial and residential uses where they are able to flourish. With housing shortages, inflated prices and increasing levels of loneliness mean that shared living models are becoming more relevant.

At the basis of this thesis lies the ambition to rethink the idea of housing as an apparatus where form, economy and dwelling converge. The project implies a new social contract in which housing is driven no longer by traditional forms of ownership, but by a cooperative contract among inhabitants that allows them to live together by sharing spaces and facilities that would not be possible within the confined orthodox typology of a “house”.

A City must be resilient in order to absorb, recover and prepare for future economic, environmental and other shocks. For a city to be resilient and sustainable, it must strive for self sufficiency in its food demands, feeding into the local and circular economy and placing food ownership in the hands of the consumers. This thesis seeks to address how food production can be integrated into a city’s existing urban fabric, using Antwerp as an example.

We view cities and agriculture as separate things. Food has always shaped our cities. In river cities like Antwerp it came in from the river, was grown in and around the city and walked into the city as livestock. Cities were once busting with activity as a result of the buying and selling of produce as well as managing the waste. While cities still rely on the land for sustenance, this relationship is no longer explicit and the effects of industrial agriculture on the planet are devastating and in many ways unethical. Access to healthy, sustainable and affordable food is made difficult when the majority of food shops are owned by private corporations who put their pockets ahead of the population’s health. Only 5% of all food sold in Belgium comes from independent markets.

Currently half the world’s population lives in cities and consumes 75% of the World’s food and energy resources. By 2050 it is estimated the population in cities will increase to 75% the global population, and with the increasing global population that means effectively double. Where are all these food and energy resources going to come from?

The production, processing and transportation of food is responsible for around a third of our greenhouse gas emissions, and then a third of all food goes to waste with less than 2% of valuable nutrients being looped by cities. This is all before we consider the effect it is having on our wildlife such as the current mass insect extinction which, if it continues at this rate, means the insects global agriculture relies on for pollination will be extinct.

For a city to be sustainable it must strive for self sufficiency in its food demands.

*Please note the thesis is ongoing and will be updated as it develops

Since graduating from University College Dublin in 2017, I have gained a wide range of experience working as an architectural assistant for Hoban Design in London and John Halligan Architects in Ireland, both award winning practices with international profiles.

Project experience to date has involved work at a variety of scales and functions, both nationally and internationally, from residential complexes, civic infrastructure and cultural centers to individual house design and interior fit outs. Passionate about designing places where materiality, detail design and sustainability are intimately connected.

I believe that architecture presents the opportunity for transformation – materially, conceptually and sociologically. The
work I create is driven by the desire to enrich and improve daily life by designing places that aspire to meet the diverse needs of the communities they serve. Inspiration is drawn from many local and global influences, and the work clearly articulates this enthusiasm for issues of place and identity.

Ella has a BA(Hons) Degree and Diploma in Architecture from the Mackintosh School of Architecture and has professional experience working abroad in Denmark.

Ella started her thesis project while on exchange at KTH Royal Institute of Technology in Stockholm and has based her project within the Stockholm Archipelago.

Her thesis is concerned with understanding anthropogenic relationships with the Baltic sea and using these to establish a strategy of remediation within a public landscape.

Architecture embedded in place has been a pivotal line of enquiry throughout Nancy’s practice and therefore the vernacular and both listed buildings and structures have become a focal point in the progression of her career. This thesis therefore considers the ruinous post-industrial landscape as a place-less fragment of the modern city and seeks to reconnect it reinforcing its historic connection to the cities economic growth from the industrial revolution. Sustainability can no longer be ignored through architectural practice and has also played a part in driving the design thesis.

The Anthropocene and climate change are in urgent need of addressing. The Anthropocene is the current epoch that some define as the point in which we have altered our environments on and irreversible planetary scale. This is greatly linked to the Industrial Revolution and the push for development within the Great Acceleration from the 1950’s onwards. Within Antwerp this is conveyed through the industrial externalities of modern and disused mass petroleum refining sites.

The thesis addresses issues within the Anthropocene with the intention to improve upon contamination left behind by the petroleum industry within the soil and air. This is done through utilising mycology (the study of fungus) as a biotechnology for bioremediation and CO2 down-draw/carbon store. Overall the thesis considers how architecture can be used as a tool to educate, facilitate and reconnect the city to its polluted landscape as a symbol for a new future built on the ruins of industrialism.

An aspiring designer interested in adaptability, metabolism within an architectural/ urban framework, future technologies and sustainable systems. I explore architecture mainly through photography and it’s manipulation as we currently live in a world in which our smartphones are an altered perspective of our collective realities.

The Library of Babel

[BRIEF] The mythical Antwerp of the ‘golden age’ and the archetype of the library are examined as platforms for the exchange, exploration and intersection of different ideas and cultures to guide the proposal for Antwerp’s central library – a catalyst within the diverse local community of learning and a vehicle for reimaging the city and its myth.

[CONCEPT] The title encompasses the two main objectives of the project: re-exploring the typology of the library in the era of information overload, reviving the ‘myth’ of Antwerp to focus the direction of the positive change currently going on in the city after a period of decline.

“Library of Babel” is a short story by Louis Borges about an infinite fractal library containing all the possible variants of information. The contemporary library becomes an interface for the search of relevant information, rather than the source of otherwise limited access to knowledge and culture. Simultaneously, ‘Tower of Babel’ is a local masterpiece painted by Peter Breughel as an allegory of the 16th century Antwerp and the issues faced by the rapidly expanding and globalized city, which mirror the challenges of the present day.

The project explores the idea of urban mining – as Antwerp expands into the outskirts of the industrial port, the dismantled warehouses and cranes can provide steel in the form of standardized building elements. The port – a historic platform for exchange of knowledge and ideas becomes the framework of the new city library.

As an advocate for the natural environment and the conservation of wildlife, Gabrielle Buckley takes the premise that an empathy and understanding of nature should be at the root of good design.

At this moment in the shared global environmental crisis, she believes that every architect has a responsibility to do their utmost to change the current mindset from focusing solely the ‘built environment’ to the ‘environment’. This will enable the creation of places which harmonise both the urban and natural realms.

This years final design thesis titled “Act Natural: can mankind live harmoniously with nature for a healthy functioning ecosystem and planet through the medium of architecture?” explores ways to integrate urban development in nature sensitive and environmentally conscious manner.

With an awareness and interest for the endless possibilities and opportunities created by the cross collaboration of design disciplines and the allied arts, along with the belief that nature has the potential to be the greatest model that mankind can emulate to create a better world, initial research started with biomimicry which informed the building type and program.
This naturally led to further research into low key solutions and a design that retained and enhanced the integrity of the site through a ‘light touch’ approach to form and materials.

My thesis as you will see, focuses on the reduction of material wastage in our environment and construction industry. This thesis was a chance for me to explore areas of architecture that I have always been interested in. The key themes of this project are Natural Construction, Sustainability, and Adaptive re-use.

These topics are areas of Architecture that I am most interested in persuing and learning more about. As such I hope to potentially continue this focus into a Masters program and furhter into my professional career.

Christopher Michailidis is a RIBA/Part ll postgraduate. He completed his RIBA/Part l at Northumbria University, and holds a qualification of character design and concept art from ESCAPE studio in London.

He has worked as an architectural assistant in Cyprus and London. His main areas of interest are residential architecture, western history of architecture and phenomenology.

Lauren has been studying at the Mackintosh School of Architecture since 2014, and during that time has attained her Bachelors with Honors and Diploma in Architecture. She has worked on a variety of projects from housing, community buildings, educational institutions and city master plans. Her most recent work is a study of community, culture and politics within the city of Antwerp, Belgium.

‘Scaffolding the City’ is a project which inhabits underutilized land across Antwerp. The spaces are filled with an unorthodox architectural language which speaks of informality, community engagement and adaptability. As an inhabitable scaffolding form, the proposal takes on a series of incisions into the urban landscape where normality is fragmented and boundaries, physically and politically, can be breached. The scaffolding incisions will inhabit gap sites across the city for the duration that the site is vacant or until thegrowth of a permanent sub-district community infrastructure. In its lifespan the structure will facilitate a socially stimulating landscape for the sub-districts of Antwerp City. The programme for this is based on key strategies which encourage the growth of a politically and culturally stimulated programme: Exchange, Peoples Forum, Knowledge, Cultivate and Play.

Laurens work encompasses an interest in the social aspects of architecture. For her dissertation she studied Glasgow tower blocks and the social aspects of vertical living. Employing the concepts of community and shared spaces researched during this, she has built from these themes to lead all of her projects since. By documenting social aspects which could benefit architectural design, her work aims to address the larger social issues in the industry such as discrimination and design equality.

I am a multi-disciplinary designer and I love working with type with a passion for editorial design and branding.
I am a believer in an insightful strategic approach and putting audience engagement upfront in my evidence-and-context based design practice but I believe these traits should be a given. It’s truly my will and ability to innovate pushes me to find a fresh solution towards experiences that impacts peoples daily life positively.

I love working under pressure with tight deadlines as well as collaborating with other creative, playing the role of a team player and strive to not just better myself but those around me.

I’m a photographer and multidisciplinary artist born in Brighton (1996) and based in Glasgow.

My current projects focus on human intervention, exploring globalisation, public space, British culture, urban environments and social behaviour.

Through contemporary photography I attempt to extract new meanings from within the landscape and materialise ideas, tensions or emotions that are otherwise unseen. Interested in the reciprocal relationship between human and environment; I often manifest my ideas through reoccurring motifs and patterns found in people and objects. My work has become more socially and politically motivated in recent years, a natural response to our current climate. Conveying the human condition through a sense of unfamiliarity, I attempt to reveal new interpretations of ‘truth’.

My current project ‘In Moleca’ documents the events and effects of the ‘Acqua Alta’ (high-water) which transpires annually in the city of Venice, Italy. This tidal activity is a natural occurrence, however in recent decades it has been aggravated by the effects of human activity. Mass-tourism, global warming, urban expansion and industrialisation are damaging factors which have influenced the deterioration of the Venetian lagoon, this has led to the increasing tide and subsidence of the ‘floating city’. Exploring issues caused by human intervention; this series highlights the tender balance between urban inhabitants and the environment. ‘In Moleca’ questions how cities like Venice can harmonise this interdependent relationship and adapt to the age of the Anthropocene in an increasingly globalised world.

This year I worked on a short film commissioned by the Scottish Football Association (SFA). This documents United Glasgow FC, a club who campaign for refugees rights and champion the ideals of inclusivity and accessibility in Scottish football.

In recent years my work has been published by Intern-mag, CNN, Public-Source XYZ and Issues-mag. Please contact me via email for any enquiries, commissions or collaborations!

I am a graphic design graduate of The Glasgow School of Art looking for opportunities within the field. My interests in graphic design are shaped through the ways the domain is present in all visual communication aspects of our lives; through the transmission of information and the influencing of intellect. Good graphic design for me is a social, cultural and interpersonal navigational matter.

I like to gather inspiration from a broad range of fields across the arts, design and technology. Looking at a publication, I enjoy when I hold a piece of quality in my hands. Similarly, I find delight in looking at digital media that both communicate to me, and serve as food for thought in our daily lives. It gives me great joy when I get to work on a project that has an extra layer of meaning. I believe in collaboration and the sharing of different perspectives, skill sets and knowledge. Good dynamics and a positive working atmosphere mean a lot to me.
My portfolio includes a variety of self-initiated and collaborative works.

Originally from Sweden, I am a detail-oriented graphic designer focusing on typography in all of its forms. For the showcase I have decided to share three projects from my fourth year at Glasgow School of Art.

TEMPLETON
Type Design

Templeton is an uppercase-only typeface inspired by Glasgow’s historical past in the carpet design. The main source of inspiration is the ‘T’ which can be seen in the company Templeton’s old logo, and the Arts and Crafts movement. It is a new take on the Glaswegian typeface, with sharp edges and decorative swashes.

TYPOGRAFI
Editorial Design

Typografi is a bilingual type magazine aiming to highlight and promote type designers from the Nordic countries. It features Or Lemmen as the issue’s typeface, alongside projects such as Sweden Sans and The Pyte Foundry.
Throughout the process of making the magazine, the page size and layout changed progressively. This can be seen in the work-in-progress image, which features four iterations – with the last one being the first printed mock-up.

COMMUNICATION DESIGN WORK IN PROGRESS SHOW 2020
Exhibition Identity
Group Project

With the initial idea of creating a poster as an intervention of a space, this identity took the inspiration from warning tape. The letters used in the poster are made from manipulating a typeface found in the caseroom at Glasgow School of Art, with a playful take on the spine of the S. The captions and the rest of the visuals for the exhibition incorporates the design guidelines established in the poster, such as condensed type and narrow formats.
The identity of the exhibition started with creating the poster, which went through a large amount of iterations before arriving at the final ones.

Léa Mariella is a freelance Photographer completing her last year of Undergraduate studies in communication and Design at the Glasgow School of Art.

Her practice, influenced by a background in environmental and behavioural sciences, focuses on the definition of ‘the body’ in a political and cultural context.
From physiological studies of boxing practice to the documentation of physically limited artists, Léa’s use of visual language aims to highlight the inherent link between scientific and artistic disciplines.

As a photographer, Léa constantly questions her practice with a clear emphasis on ethics and empathy.

My work, although mainly graphic, is at the intersection between several disciplines, between printed projects, proposals for the public space, for musicians or associations, and more physical work, from material research to exhibition design… A cultural and often contextual graphics work, as a tool for opening up to other disciplines and other worlds.
Often starting from personal proposals, I also work collectively and from commissions. I’m interested in different production/printing techniques and ways of subverting them to explore the connections between my tools and the subject I work on.

I’ve spent the last months of this year working on research-based editorial design. The project Silent Storm is a book investigation on the representations of the Gulf War and the strategic and ideological role of images in a context of war.

Balancing a sensitive and camp visual language, I explore the artificiality of photography through constructed image making. With colour, form, and semiotics being main components of my process, I tend to allude to elements of staging within my photographs to explore the relationship between photography and reality.

PLASTIC PHOTOGRAPHY & TWIN(S)

Plastic Photography is an ongoing body of work that examines and scrutinises this conflicting relationship between photography and reality by representing familiar objects in unfamiliar still life constructions. I have used the camera to challenge the idea of the real by creating a disconnect between reality and what is depicted in the photographs.

Twin(s) is an unresolved project that questions ideas surrounding the creation of self through both nature and nurture. By photographing myself and my identical twin, I wanted to better understand where our similarities and differences originate, with specific focus on the origin of our differing sexualities. Working thematically, this body of work dissects our relationship.

Rebecca Ashton is a multidisciplinary illustrator with a heavy focus on film and painting. She uses a culmination of stop motion approaches, drawing frame by frame, as well as creating props and costume to create an authentic yet often disturbing reality within her film. This exchange of mediums through out help to create a collage like feel, playing to her referential approach to narrative. She is currently working on a pixilation animation exploring the concept of virginity.

Danielle Macleod is a photographer from the Outer Hebrides. Her work depicts the oral traditions of the Gaidhealteachd where stories are passed down generationally, growing a new magical detail every time they change hands. She gathers these stories through interviews and records them as collections of poetic photographs, re-telling the stories once more and leaving space for their regenesis.

Having been based in Glasgow for a number of years, Danielle’s photographs reconnect her with her island home in a new dimension, where landscapes become mystical and people become the keepers of mythology. She seeks to deepen our spiritual connections to the places we call home by reimagining her own through the lens of living legends.

—

“One day whilst droving cattle by the shore at Bayble, my great-great-great grandfather was approached by a small rowing boat. He was kidnapped by the men aboard and put to work in a far away place. Six years later he reappeared, walking down the garden path to his widow.” —Scott Macleod

‘Nuair a Leig i Tharais Thu’ tells the story of a kidnapped crofter and his return home, portrayed in these photographs by his direct descendant Scott Macleod. Whilst tending to daily tasks, he was snatched away by a strange ship from his pregnant wife and island community, making his quiet escape and eventual return 6 years later. In those days, men from the west coast were sometimes kidnapped in this manner for forced labour, because of their hardiness and familiarity with seafaring life.

Initially, I had intended to salt print these images using seawater from the locations in the story, but due to COVID-19 that has been put on hold. This project is on-going; I plan to collect more stories and turn it into a series.

I am an observer! Through both photography and film, I explore landscapes and those who seek the outdoors and the adventure it brings. Thriving in challenging conditions, I aim to capture moments in which humans interact with the environment, whether it is through athletes pushing their bodies to the limit in extreme conditions, or simply as an onlooker to a landscape.

Zoë Ward is a womenswear designer from Brighton, currently based in Glasgow, Scotland.

She appoaches design and making with a visceral exploration of craft and craft history resulting in textiles and garments rich in detail.

Zoë prioritise’s a slower approach to making – isolating techniques, such as hand smocking and appliqué that would enforce a more mindful and meditative approach. By applying honest, traditional craftsmanship, the garment can be seen as a narrative object; it tells a story of time and care before its even worn. Zoë believe’s considering clothing in this way we come to respect and value our belongings in a deeper sense. Applying this philosophy she hopes to re-address the relationship we have with what we use and what we wear.

Sustainable practice is at the core of what Zoë does. Utilising second hand, up-cycled, found, or in some way repurposed cloths and materials. The resulting textiles and garments reflect this history, the provenance; the landscape they come from and the people who created them.

Zoë hopes her collection honours the communities that have inspired her, that it recognises the traditions and processes of generations of craftsmen, and that it celebrates narrative in the objects we own and treasure.

Sophie Marshall is a Womenswear Designer and Pattern Cutter based in Glasgow. Throughout her studies, Sophie has developed a keen interest in tailoring which has become a fundamental component of her graduate collection. Sophie is passionate about the physical aspects of the design process, particularly creative pattern cutting.

Her graduate collection, ‘These Will Be Our Pink Days’ is a womenswear tailoring collection which aims to challenge society’s construction of femininity. By deconstructing sexualised representations of women in the media, it is possible to instead create a flattened sense of sexuality- leaning towards androgyny- which will allow women to exist outside of the confines of their gender. Sophies research consists heavily of female artists whos practices are fuelled by a desire to emancipate women from the patriarchal gaze of our heteronormative society.

Sophie’s practice involves using traditional tailoring found in menswear, alongside silhouettes and fabrication techniques from women’s lingerie. Her design process involves analysing the cultural significance and sartorial power associated with certain items of clothing- namely, traditional tailored pieces-and using these symbolic references to distort and subsequently rewrite society’s idea of how a woman should dress, look and behave.

The aesthetic drive for this collection lies within the highly sexualised and auto-erotic representation of women in 1990’s/early 2000’s advertising and the media in general. Sophie is interested in the individualist portrayal of women in postfeminist imagery, which suggests that women are empowered and in control through consciously conforming to a heteronormative, patriarchal construction of sexiness. This collection has been influenced by feminist theory and an in depth understanding of the need to disturb and breakdown stereotypical representations of women in the media.

Even when worn by a woman, it is difficult to see a suit and not also have an attached idea of that suit belonging to menswear. For this collection, Sophie takes specific elements found in tailoring and uses these in nontraditional ways to grant women the power which belongs to men’s tailoring, without there actually being any notion of gender.

I, as a graduating student at the Glasgow School of Art, would like to state my support for the
Pause or Pay Campaign. To read the full manifesto click here

Exploring the role of place as the cause and outcome of social action, Gibb’s work examines how the multiple and dynamic identities which emerge from and within place impact the past, present and future. Her work primarily comments on the influence of Christianity in the shaping of social relationships, attitudes and outcomes within the context of her native Northern Ireland.

The graduate collection featured, Where There Is No Vision the People Perish, explores the influence of strict Christian morality in our affinities to each other, ourselves, our bodies and our space. Gibb scrutinises the manifestation of creed in the sculpting of societal ideals of sexual virtue in contemporary Northern Ireland and respectfully commemorates the subsequent detriment with the objective of equality. Through the study of changing bodies, posture and psychology, healing and mending Gibb presents this relationship to materiality through the creation of genderless, slow fashion.

As a graduating student of the Glasgow School of Art, I won’t be using this platform to present and promote my practice as an act of solidarity with the Pause or Pay Campaign. If you would like to see my full works please follow this link to my website: gibb.cargo.site

Melody Uyanga Ramsay is a Scottish-Mongolian fashion designer whose work focuses on heritage, ethics, sustainability and its intersections using fashion.

After gaining invaluable experience in the Concept Design Department at Ralph Lauren, she has honed her own creative vision working between fashion, installation, performance and video.

As you start to figure out her visual language; the process of theoretical and historical research becomes evident as a form of figurative expression, transporting you with tailored British narratives and a homage to Mongolian horse-riding culture. This melting-pot of culture and art forces to overwhelm and define you.

Through her research, she has developed a design process that involves a rich cross-pollination of sources, bringing together literary, material and visual references.

Her 2020 graduate collection is presented as a meditation on cultural narratives, presented within a carefully considered scenography and casting.

Drawing upon the images and textiles of authoritarian dress in a transnational dialogue, she moves across time and space by bringing these references under the lens of a new era in postcolonial critique.

I, as a graduating student at the Glasgow School of Art, would like to state my support for the Pause or Pay Campaign.

With an enthusiasm for story telling and cultures of the past, Caitlin Fraser is a unisex designer from Glasgow. Whilst studying her BA in Fashion Design, Caitlin has had a keen interest in garments of the past and how they could convey so much information about the person wearing them. This interest has spanned from the tudors of the 1500s to the punks and skinheads of the 1980s.

Caitlin’s current project is about exploring her own heritage and identity by focusing on the city where not only she grew up but also her family generations before her. The main inspiration behind this project comes from old family photographs, poems and film as each garment aims to tell a different story through the cut, silhouette and fabric choice.

I, as a graduating student at the Glasgow School of Art, would like to state my support for the Pause Or Pay campaign. To read the full manifesto click here: https://drive.google.com/file/d/1MwdvZfLTp1udaASJ1EAmRT9XR-OPQIyU/view

Born in Germany, Isabell is a Glasgow based designer and seamstress. After successfully finishing an apprenticeship as a seamstress she moved to Glasgow in 2014 and will graduate with a BA (Hons) in Fashion Design summer 2020. Isabell gained a wide range of knowledge for manufacturing and garment construction, throughout her studies and work in the bridal, costume and performance sector.
Especially through her work for bespoke bridal gowns and creating her own collections at the art school, she developed creative problem solving and pattern cutting skills.
Isabell herself is outside the studio passionate about a wide variety of outdoor activities. Her connection to nature and her creative way of thinking is her drive to push sustainability in the sports industry forward.

Rebecca Lindsay is a digital artist and designer who in her recent work explores the act of cognitive offloading and the trust we place in technology storing information without error. We often misremember things as our memories change over time and can be altered due to outside influences. As our minds are fallible we take pictures to remember events which we backup to computers and phones under the assumption that this information will remain unaltered. Many of us use memory apps through social media to remind us of events. However, as our devices and apps can be hacked our information can be compromised – could we remember clearly enough to dispute that our information and consequently our memories had been altered?

Inspired by artists such as Zbigniew Rybczyński and Sophie Calle, her recent work uses machine learning and coding as a method of generating imagery. Using personal information uploaded by others and herself ranging from text to images Rebecca’s work explores our relationship and reliance on technology to both save and express aspects of our lives and identities within a non secure digital landscape.

Zach Mason’s work investigates the relationship between digital and physical spaces through design research across both spaces. The liminal space created between these environments is experimented with in order to reproduce objects in alternative forms. This subverts their purpose, and reduces their forms to better understand them, and the process of object reproduction.

Hoping to break down the stigmas associated with digital space, he uses 3D modelling and machine learning along with 3D printing to move objects and ideas from one facet of space to another. Using surreal and intangible notions, he aims to break down engrained barriers within the spaces we inhabit, in order to invite users to approach them in a less fragmented manner. He sees mental, physical and digital space as a continuous realm to be explored, made tangible through a symbiotic trifecta which allows for the creation of objects in liminal space.

Inspired by the blurring line between reality and the imagination, Ankita Nagaraj’s work is an experimental exploration into our relationship with the technology we have created. Finding the most interest in the journey of research and development, her work branched from the imagery of machines gaining consciousness, free thought and emotions, shown in the music video ‘The Music Scene’ by Blockhead. Basing her work on this science fiction idea, while pulling reference from the concept of singularity in Eastern culture as discussed by Alan Watts, she uses browser extensions, popups and physical pieces of technology to personify and humanise these machines.

Callum Blair is a Scottish born creative technologist who is interested in discovering how design and technology can be used to convey movement in sports, particularly in tennis which he has a passion for. By comparing the elegance and beauty of the movement in tennis to an improvised dance he can see the relation to art. The skills required to perform at highest levels allows players to develop shapes and styles while they move on court which Callum transfers into his design practise.

Callum’s work looks at how he can turn this motion into data visualisation, by listening to radio broadcast of past tennis matches he turned the language used in the broadcast and turned it into data. With inspiration from Brian Eno rule based thinking, Callum explores how rule-based patterns could influence his work using them to direct his design choices when using data to create his visuals.

Along with the data visualisations of past matches, Callum experiments with machine learning, feeding a computer algorithm text from radio broadcasts. He taught the machine how to reproduce its own tennis points. By interpreting the points made he would draw the interpretations and create prints and calling it a collaboration between human and machine, drawing the interpretations and creating prints.

Throughout her practice, Ailsa’s work focuses on the subject of identity, which has been explored in several different mediums. Many of the works focused on the face; specifically how history, culture and similarities passed on through the generations help to define us as individuals.

This year Ailsa’s work consists of various studies looking at the gestures that we all use to accompany our dialogue, predominantly centering around hand movement. People often display nuances in their movements, emphasising how gestures are specific to that individual. It is Ailsa’s belief that these subtle differences in gestures can convey as much information and emotion as the spoken words they accompany.

Starting with detailed pencil drawings of hands, Ailsa progressed to several small studies. These included looking at contrasting performing arts and exploring the ways people use hand gestures to express themes and passions. Through a series of interviews, she scrutinised the way in which people’s bodies responded to her prompts and guidance. Experimenting with both digital machine learning and physical plotting devices, Ailsa’s work continues to explore the use of sculptural materials as a means of data visualisation.

Sally’s practice primarily focuses on ideas and issues related to mental health. From experiencing mental health problems herself, Sally has become passionate about using her personal lived experience and creative practice to open up much needed conversation and challenge existing stigma and ill-informed perceptions of mental health problems. She uses technology to develop interactive and immersive audio and visual experiences that communicate the often hard to explain realities of living with a mental health problem.

Sally often combines her creative practice with her voluntary youth work role at See Me Scotland. In her most recent work Sally has been working closely with other young people from See Me to develop a series of engaging and interactive works that communicate voices, lived experiences, challenges and stigma that young people face in relation to mental health. This work focuses on three key themes; stigma, medication and barriers to accessing support.

Valentine Scherer is a French/Australian interaction designer who is interested in finding and making connections between generative and organic processes, analogue and digital, material and non-material, to discover new lenses on sense-making in a world of chaos & disinformation. Her most recent research and work were initially inspired by some of Richard Sennet’s writings on craft and how we live in the built environment.

Her work interrogates processes in making, production and consumption in the networked digital society. Allusions to the circularity of the economy are made throughout her work as an attempt to make a playful commentary, drawing from a broad range of inspirations such as Dadaism, George Brecht’s instruction art or more contemporary artists and designers like new media artist Philipp Schmitt. Much of her research and work on the ecology of modularity stems from a fascination with the role of craft as a means of sense-making in society.

Much of this work is based on a set of images of hybridised furniture pieces which were produced using Machine Learning algorithms via Runway ML software. This process enabled the generation and computational ‘imagination’ of a new set of furniture designs based on standardised IKEA graphic instruction covers.

Seeking to critique flat pack and modular furniture and the IKEA model which is hyper-dominant for all students and young people worldwide, she uses machine learning, 3D modelling and printing methods to uncover the flawed value system underlying the culture and production ethos. Using a playful and absurdist spirit of inquiry, she developed a way to auto-generate semi-functional modularity which shows just how ridiculous it is, and how it is just creating toxic landfill at an exponential rate, how this culture in itself is a huge driver of economic externalities that can only be eliminated by thorough system change.

Charlotte Holland is a creative technologist exploring the intersection of art and technology. Her latest body of work explores our relationship between the real world and the virtual, through the lens of online gaming.

Her work incorporates the “W”, “A”, “S” and “D” keys, which are a common input when playing computer games. Each letter acts like an arrow key, moving the player up, down, left, or right in relation to its position on the keyboard.

Mirroring these controls, she has used each letter to signify a direction. Generative line drawings are created by analysing a text and then plotting each instance of “W”, “A”, “S” and “D”, moving the line in the corresponding direction.

She developed a particular interest in the unique language patterns used in gaming chat logs. Taking gaming conversations out of their original context, she uses chat-log messages as input data to create these generative artworks.

Chat-log language is typically informal, rude, misspelt, and laced with gaming jargon. She found it humorous to create works of art inspired by this which from the outside seem sophisticated and mature. Her work plays with perceptions of what is worthwhile or important in this new digital age, finding beauty in unexpected places.

YongWon Choi is an artist based in the Glasgow, United Kingdom and Seoul, South Korea. He is working on various subjects of art and science conflict, reality and virtual, immersive content, brain-computer interface, data visualisation, and user experience based on the question of human essence and humanistic knowledge.

His latest study, “Implementation of Interactive Content in Virtual Garden with Application of Personal Data,” is questioning about “Can future immersive content, such as virtual reality, be used as a form of art?” and “How can we use reactions such as the mind and the emotion of human nature to provide a different experience in art?”

His work is a virtual garden space where you can experience a new form of multisensory (visual, auditory, tactile) as an immersive content, and implements a responsive brain-computer interface based on theoretical backgrounds such as immersive content, simulation, and user experience data. His work consists of a brainwave recording device (EEG) and a virtual reality headset, and that produced in the Unity programme.

The new value presented by his proposal is that the user’s creative response (sensory experience) to virtual reality, emotions and empathy can be interpreted and understood in a new way by integrating into the art in the form of ‘data’, and this value can lead to new forms of creativity that are different from existing art. His work says that the act of seeing in the future will be an active process based on interactive communication, not a passive process that unilaterally accepts transmission from a two-dimensional screen. This change of experience will eventually change the future beyond our conventional and general perceptions and lives.

Light is the primary creative medium of Sean Mallon’s practice and he has been increasingly inspired by the technological use of light in invisible wavelengths for networking and data distribution. He is concerned with using visible light to express the effects of connectivity on the psyche. Seminal texts have been drawn from, such as those by Marshal McLuhan, who famously wrote of the interplay between the development of our brains and the media processed by them or as his contemporary John Culkin said; ‘we make the tools and then in turn the tools help to shape us’ (Culkin 1967). His work aims to express this interplay between technology and human experience and to show that we are at a new intersection of adaptation as we are exposed to networked media.
These ideas are expressed with interactive installation work which aims to draw attention to the body / self. An awareness of oneself is created by mirror images of pixel-like white light, transplanting the body with a digital representation of such. Light follows the movement of the viewer, reaffirming the interplay and our close ties with technology; symbolising the technological human condition we now inhabit.

I am a conscientious, self-motivated and driven Interior Design student in my final year of BA (Hons) at The Glasgow School of Art.

I have a great eye for detail which is reflected in my visuals and technical drawing skills. My hand drawing skills were recognised by the National Design Competition Costa Coffee, London, 2019 when I was a shortlisted finalist. Interior Design brings out my creativity and gives me an opportunity to express myself which I have shown in each of my projects.

With each new challenge I increase my personal expectations, go over my limits and work even harder to create the best interiors.

I have a natural talent for art which sums up the type of person I am, energetic, always positive and full of creative ideas, either working alone or as a part of a team. Art allows me to put my feelings into my hand-drawings and designs.

I have developed a strong 3D modelling and model making skills as it helps me to get the feel of the space, explore the potentials as well as a variety of different design solutions. My aim is to enhance interiors by injecting colours, materials and finishes to bring it to life.

Therefore, I believe I have the skills, ability, talent and enthusiasm to lead me to a long successful career as an Interior Designer.

Samuel is a graduating designer from Liverpool showcasing a multidisciplinary approach to spatial practice, with a key focus on structural context and materiality leading to an increasing insistence on circular economic principles.

His work emphasises the phenomenology of space to create respectfully adapted and contextually significant spatial environments whilst applying understanding gained from working experience with companies including MADE.com and bluesky.

I’m Namy who is from South Korea.

I like the place connection with nature. The moment of connection between space, nature and I makes me feel the most comfortable.
I want people to stay in their own comfortable space and time even for a moment. It can be in any place, such as real or imagined. This is because I believe that the expression of proper emotion begins with comfort. This is why I work the priority of providing various comforts through different spaces to me and many people. To give comfort, I explore and project myself first.

My passion for Interior Design stems from the love I have for show homes, seeing the way people manipulate a space in various different ways. The achievement I feel when I see a project coming together is extremely motivating. I particularly enjoy designing domestic and commercial interiors. I have chosen to design a building featuring activities to enhance the learning and play of children. This proposal is a place that suits any type of child including children with learning difficulties giving parents an ideal place to take their children to experience the power of play.The interior features specific areas that expand different types of learning skills. I was inspired to design this type of space as I have a family member who is autistic and wanted to delve into their complex needs this is why I have designed this space within my concept to enhance their education through play.

Hi there 👋

I am a designer whose work explores the relationship between the virtual world and online spaces. I am specifically interested in the sociological aspect of the continuously advancing technology and how this impacts our interior environments. Throughout the past 2 years, I have been exploring how digital media, social media, and the internet has affected people, their mental health, and daily lives, through Interior Design and academic writing.

I have designed PLATFORM, a centre striving to support young people’s interactions with the continuously growing virtual world. Enabling the visitors to PLATFORM to feel empowered by the knowledge they have gained, to intelligently navigate social media and other online spaces. The centre offers counselling services and other education spaces where visitors will learn interactively.

PLATFORM tests how wrapping the built environment with a precise material pallet and technology enables questioning the boundaries between the physical and the digital worlds

This year I have been working with a local blacksmith to gain a greater understanding of traditional techniques within ironworks. Through my research, I have discovered a wealth of information on the steel & ironworks of Glasgow, specifically the work of Walter Macfarlane. I wanted to explore how iron could be used in Glasgow today. For one of my projects, I chose one of Macfarlane’s structures that was local to me; Kelvinbridge. The current staircase joining the road to the walkway beneath is well-used and worn out. Redesigning the stairway, I wanted to apply what I had learned to a new connecting structure. My proposed design is wood encased in steel, with windows inlaid to give a panoramic view of the Clyde.

I am Megan Collins, an Interior Designer from Glasgow. I studied at The Glasgow School of Art for four years whilst maintaining consistent employment throughout. In 2018, I and a group of collaborators designed and produced the school’s Graduate Fashion Week pop-up for that year’s graduates, seeing the development through from a charette based project into a fully realised scheme.

My Graduate Project – “The Waverley Studios”- surrounds the repurposing and restoration of a forgotten community building in Glasgow’s Southside. Originally used as a Cinema, the design aims to showcase several fundamental features that were discarded over time through revealing the barrel-vaulted ceiling and staircase in the building’s main hall. Split into two parts – The Waverley challenges the old and the new. The Entrance Hall acts as a tribute to Victorian Era in which the building was built, whilst adopting contemporary finishes. The Main Hall maintains its element of theatre through the construction of studios on the stairway, creating alien forms which allow glances into the workspaces through slit windows – revealing only moments of what is happening internally. Theatricality is also maintained for the user – with the addition of a louvre roof that when opened allows them to hear the sounds from throughout the building as well as maintain a visual connection with their surroundings.

Overall, The Waverley Studios presents Glasgow’s Southside with a new way in which to gather and celebrate both the Arts and the Local through both the building itself and the Community that inhabits it.

Mikaella Socratous is a multi-dimensional artist born and raised in Nicosia, Cyprus. Her work circles around energy, existence, spirituality and narrational opportunity. It ranges from 2D works, 3D sculptures and installations, video work and performances; as well as art + energetic therapy. The artist’s main focus is the stimulation of creative expression and the introspective methods of time and space apprehension. As a freshly graduated Interior Designer (BA Honors) from the Glasgow School of Art, the long-aim of the artist is to conduct grand scale transcendental and experiential spaces to allow for consciousness to dive within itself and potentially push masses to attain a sense of belonging in this world of ours.
In her BTEC Foundation Degree(Distinction), Mikaella Socratous formed a very successful large scale interactive installation exhibition in Cyprus, with 150 visitors that unknowingly contributed to a social experiment with their interpretations on the table. Something that she thoroughly enjoys doing is triggering the openness of the mind.

Her work mostly portrays fluidity, bold colours and positive energy. A connection to nature is always the case. What she longs for as a designer is a future with people feeling more alive and happier; and Socratous believes that through the evolution of design, that can easily happen. She aims at combining various creative fields when developing a design, whether that be music, theatre, sculpture or dance; in tribute to the power of inventiveness.

I took advantage of this last year to tackle the themes that obsess me in my design practice.
The themes of memory, psychogenealogy and synaesthesia of the senses have often surfaced in my work in the past, often unconsciously. With this project, I unearth these motivations, these design impulses, and try to dissect them in order to better understand myself as a designer.
My grandfather left a memoir before he died. I used it to explore the possibility of transforming his memories into emotional spaces. in an exhibition context. Visitors would wander through each space and experience the journey while projecting their own emotions and personal grief.
This project aims to address my own grief, to imagine someone’s life, and to challenge the visitor, who in turn would question his own memories and family.
In order to show my ideas, I like to try various mediums. This allows me to communicate sensations that are difficult to replicate with traditional design limits such as technical drawings and CAD. I love to use animations, sculptures, emotional drawings and textiles to trigger the viewer. This more abstract and conceptual approach to design helps me connect my practice to my personal creative obsessions. Making the process more intense and exciting.

My approach to interior design is playful, experimental and investigative and involves a rigorous site analysis, which enables me to take inspiration from local characteristics. In addition, I use model making as a key tool in the development and refinement of my spatial designs. My recent thesis researched social and environmental impact within interior design. As a result, I strive to be environmentally and socially conscious in my approach, specifying sustainable materials where possible and ensuring my designs are inclusive and accessible to all.

After being awarded first prize for my community hub design for the Linwood Community Trust in 2019, and thoroughly enjoying the project, I was keen to further this interest and develop something that would positively impact our society in Glasgow. My project focused on creating a space to facilitate the integration of refugees and asylum seekers into their host community in Glasgow, providing support as they rebuild their lives. I aimed to design a safe, comforting and inviting space for all where enriching experiences could be had, whether educational, cultural or social. The project was highly rewarding from start to finish, challenging me in many new ways. I enjoyed working with local people and organisations on such a multifaceted project, designing a range of spaces with varying functions, requirements and user needs.

Outwith interior design, I enjoy running, yoga, painting and travelling. I also have a passion for foreign languages, and speak French and German fluently.

Apolline de Luca is a graphic designer who focuses on editorial and type design. During her studies at GSA, she experimented with book design and its components such as printing techniques, book binding, and layout design, working both with clients and for her personal research. Her design practice is research based and she finds interest in telling stories through design creating physical or emotional experiences for the user/reader/viewer.
Alongside her graphic design practice, she specialised in type-design. During her final year at GSA, she designed Diaspora (a display font exploring Italian immigration to Scotland) with her class mate Alessandro Prepi. From this collaboration and love for type-design, they are now launching their own type foundry, GoodEggs TypeFoundry, to release Diaspora and future projects: goodeggstypefoundry.com

For her next steps, she is aiming to expand her practice at the intersection of graphic and type design.

Prior to joining the Glasgow School of Art, she graduated in 2018 from ECV Bordeaux with a Bachelor in Graphic Design. Throughout her studies, she completed several internships as a graphic Designer at Bordeaux’s CAPC Museum of Contemporary Art, at Studio Kubik in Bordeaux, and at Glasgow-based studio Cause & Effect. More recently, she was in charge of the design of A New Spirit in Painting, 1981, an art book published in 2020 by Koenig Books, London.

e-mail: apolline.deluca@gmail.com,  hello@goodeggstypefoundry.com
website: apollinedeluca.com, goodeggstypefoundry.com
instagram: apolline.deluca

Suzie Cichy is an illustrator and animator based in Glasgow. As an image-maker Suzie explores themes of gender, censorship and the provocative within her practice. For the last few years this has resulted in focussing on the phallus, and how the male gaze informs reactions to her work. At GSA Suzie has been exploring the ever-growing issue of unsolicited dick pics: something that is rarely discussed, yet happens to over 40% of young British women.

After graduating from the Graphic Arts & Design course at Leeds Metropolitan University, Suzie worked as a graphic designer, before going freelance and working as a print technician and co-operative member at Leeds Print Workshop. Alongside her freelance illustration practice, Suzie works at Print Clan, an open-access textile screen printing studio in Glasgow. She has also completed an internship at Risotto Studio. Suzie is particularly interested in facilitating arts access for disadvantaged communities and groups.

Zilin Dong is an international student from China, she has studied at the Glasgow School of Art on the MDes Communication Design specializing in graphic design and illustration. During this two year period, her work has covered type and publication design and iconic mask design using a combination of illustration and graphic design. Works always begin with an element of hand-rendering to then be developed and finessed digitally.

Zilin explores the concepts of uncontrollability whilst to reach an outcome combining dreams and three-dimensional book works. Another topic has been identity and personality in contemporary culture—particularly those of political figures—and drawing links to masks used in Peking Opera.

As a student from China, I have had to adapt to many new ways of thinking and learning throughout my studies in the vast and sometimes overwhelming space that is Communication Design. I don’t think of graphic design as merely a form of utilitarian communication, I consider it a powerful platform for authorial practice and self-expression. My work primarily focuses on social issues, like cyber sexual harassment, gender discrimination, and more broadly, the change of women’s rights in the course of social development.

Leda Bartolucci is a visual designer and storyteller. In her practice, the narrative comes first, allowing her to work with a variety of medium depending on which is more suitable for the message to come across. Her projects include the use of photography, graphic design, illustration, moving image or a combination of the above.

During her studies at The Glasgow School of Art, she researched and consolidated the relationship between activism and her professional practice. Believing in the role of Citizen Designer, she is interested in applying intersectional work ethics to the fields of photography and design.

In 2019, she spent a year documenting climate strikes in Glasgow, Edinburgh, London and Italy, producing a reportage where pictures are paired with the narration of her intimate take on the events they portray. At the same time, she volunteered as a graphic designer and teamed up with youth strikers to develop environmental campaigns such as the global strikes for climate, both at local and international level.

She was the European winner of the 2019 Wunderman Thompson ‘Helen Lansdowne Resor’ scholarship for female creative students. She is currently working with themes such as the climate crisis, migrants and refugees, human rights and the interdependence of these issues.

Alessandro Prepi Sot is a highly motivated Italian graduate of The Glasgow School of Art who is deeply interested in editorial and typographic design. For him, graphic design is not a hobby, job or even a love anymore: it’s an obsession. Designing a project means telling a story where the concept is at its core, with nothing left to chance; all details are meticulously attended to and it is hoped projects are timeless but with a degree of tension.

During his two years on the MDes Communication Design course, he has continued experimentation in the field of publication design and production, deepening an existing understanding of layout, materials, printing techniques and bookbinding. During the second year of the course, and in collaboration with fellow course mate Apolline de Luca, he conducted a deep and rigorous investigation in the field of typography which led to the realisation of the DIASPORA typeface. Through this successful collaboration, Alessandro and Appoline have formed GOODEGGS TYPEFOUNDRY, their own type-foundry to continue releasing type related projects.

Alessandro graduated with honours from UNIRSM DESIGN in the San Marino Republic in 2017. He has worked with ROVAIWEBER DESIGN STUDIO (Florence, 2015) and the photographic collective CESURA (Milan, 2017), with a particular focus towards the independent publishing activity of CESURA PUBLISH on which he continues to contribute.

email: alessandro.prepi@gmail.com
instagram: sir_sot
websites: alessandroprepisot.com, goodeggstypefoundry.com

“My practice focus on the visual expression of internal feelings, observations of environment and society and the space in which individuals and groups inhabit. I use a range of materials and techniques to explore various visual languages to identify the most exciting approach for the subject, its outcome and myself.

By recording the lives of people around me and their surroundings through daily tasks, exercises and experiments I continue to find a firmer voice and search for a world language through the mediums of drawing, painting, collage and digital techniques.”

My work mainly involves posters, collages, book design and other fields. I am good at hand-making stuff. I love to complete the design through hands-on technology, such as screen printing and laser cutting. As a young visual designer, I want to reflect some social problems through my own effort. For example, one of my projects is about the redesign of waste paper. I have been doing research on the reuse of waste paper, trying a lot and enjoying it very much. I try to make my own paper, make posters with my own paper, make books and other things, and make some installations and books from waste newspapers.

Another project is about collage, because collage is one of the things I am most interested in graphic design. In this project, I explored the difference between East and West about collage in my own way, hoping to have a deeper understanding about collage through the combination of materials, numbers or handicrafts.

Žarko Dumičić is a graphic designer who is exploring and re-imagining ways we communicate by creating more immersive modes of information exchange through a hybrid of design, sculpture and installation art. Influenced by the Radical and Critical design movements, the work developed as part of the GSA Master’s programme is a reaction to the current social and political environment riddled by misinformation and distrust, as evident by the spread of conspiracy theories and anti-science movements online.

Žarko’s GSA design work encompasses research on the impact of physical dimensionality on graphic design, especially within the field of data visualisation. His primary focus is on experiential and emotional aspects of communication that aim to create a conducive environment for critical thinking. As part of his research he developed a series of sculptural graphic design work constructed out of abstract data, statistics, as well as typography. By grounding communication in a three-dimensional physical form that one can interact with and experience in relation to their body, the work aims to slow down the consumption of information and create a tactile reference of the data presented. The resulting tangible objects and multi-sensory environments engage the audience emotionally and invite them to critically examine the information.

Originally from Zagreb (Croatia), Žarko is an alumnus of Parsons School of Design in New York (USA), was a co-founder and co-director of an award-winning and internationally published design studio in Mumbai (India), and has been selected for an exchange to Tokyo University of the Arts (Japan) during his Master’s studies at the Glasgow School of Art (Scotland). As a result of his international experience, he believes in a global outlook and reach of design that strongly influences his practice. For more projects, images and details of the developed work please visit his portfolio website at zzzzarko.com

Having graduated from the Shanghai Institute of Visual Art with a Bachelor’s Degree in Communication & Information Design, Qiaojia Song joined the Masters in Communication Design programme at Glasgow School of Art in 2018.

With interests that range from cyber- and youth culture to pop art and feminism, Song’s current work seeks to explore the impact that emerging communication technologies are having on our identities and relationships with one another.

As an undergraduate student, Song’s final year project received an award for excellence and she has exhibited in China, Japan and the United Kingdom.

Ignacio Amui is an Argentinean inventor and engineer. As a product designer, he is a spirited advocate of environmental sustainability. In 2016, Amui entered the University of Glasgow, where he developed his passion for renewable energy technologies. During his stay in Glasgow, he pursued most of his projects in the topics of IoT and renewable energy. In 2019 he was awarded the Best Student Certificate by the Institution of Mechanical Engineers.

Nanode, his most recent project, shows a homogeneous relation between design and technology. By using dye-sensitized solar cells, he created a portable solar charger which benefits form this technology. Amui believes that energy micro-generation can bring numerous advantages to users and guide us towards a sustainable future, as the user has more control over his energy sources.

Having spent a number of years working in the specialty coffee industry I’ve come to appreciate the craft involved in creating the perfect milk to accompany espresso. This has lead me to scrutinise the quality of milk produced by consumer products. Many home milk texturing solutions on the market don’t match the quality delivered by a barista.

Through research and testing of how milk responds to the injection of steam in a jug, my design intends to replicate the caliber of milk you would expect in your local speciality coffee shop.

For my final year project, I made the decision to design for death. This presented a challenge as death is a topic that can’t just be approached with arm’s length academic interest because it affects us all existentially. It isn’t simply an event at the end of our lives; it’s the horizon against which our entire existence unfolds. As such, this project became more than simply developing a product to deal with the prolific problems within the funeral industry, which includes a lack of burial space, the environmental damage caused by cremation and the high cost for families. I also needed to develop an understanding of current cultural practises and the meaning of the corpse and how it is treated. This was achieved through close conversation with various user groups and industry stakeholders.

The resulting design focuses on body composting, a process which transforms the deceased into soil. The body is placed inside a vessel, surrounded by sawdust and interred into a chamber. This provides the perfect environment for naturally occurring microbes to break down the body with aeration and slow rotation. The chambers and their glowing doors make up the future cemetery, one which is situated in the city and simplifies the current funeral process.

This topic was vast and complex but hugely rewarding. It gave me the chance to develop a product that functions not only on a biochemical and mechanical level, but more importantly, on an emotional one. It opens up a conversation that I believe many of us need to have, and never more so than right now.

My Project:

On average 4,400 people visit Scotland’s A+E departments every day, with 25% of A+E patients in Glasgow waiting more than 4 hours for care. As each hour passes waiting in A+E, patients become stressed, restless, bored, anxious and frustrated with very little to occupy their minds.

AQUApod is a kinetic aquarium system, populated by biomimetic magnetic fish, designed to improve the physical and mental well-being of A+E users. By bringing an element of nature inside the A+E environment, the modular system engages patients passively or actively, by occupying their minds and positively distracting them while waiting. Passively observing the movement of the fish through water, like real aquariums induces a biophilic response shown to reduce heart rate and blood pressure. The subtle relaxing colours, refracting through the water promote a calming environment to negate user stresses.

The project was awarded support from the GU68 Engineers Trust.

About Me:

From building robotic beer taps in Turkey to designing solutions improving efficiency in industrial power systems in China, I have been involved in a variety of projects across the world, involving diverse teams, different cultures and unique challenges. I enjoy the challenge of developing innovative solutions and thrive during collaborative work.

In addition to my study commitments I have volunteered as part of a small team designing, printing and fitting a custom elbow driven prosthetic for a young boy in Glasgow.

I am also passionate about promoting equality within STEM. This year I was President of the Female Engineering Society at the University of Glasgow; responsible for overseeing and organising events for around 100 members. We work to promote interest in engineering subjects for young people, in particular females, as they are underrepresented in the faculty.

I’m excited to develop and learn new skills within the industry, with the possibility of positively impacting upon the world through engineering and design.

Inclusive design is quickly becoming a movement within the sports industry. Big sports brands are becoming more aware and more concerned about providing everyone with equal opportunity to participate in sporting activities. As an advocate of this inclusivity movement, I was eager to address this campaign head on. Through thoughtful and empathetic design, I have been able to produce a considerate, user orientated product solution.
The SLIP N’ GRIP is a 3D printed prosthetic terminal device that enables children with right transradial amputation to participate in hockey at school. The central ball joint mechanism mimics the natural rotation of the human wrist, offering the user full range of motion and hence allowing easy manipulation of the hockey stick during play. An adjustable elastic band system enables the user to alter the resistance of the ball joint, allowing them to tailor the device to suit their own mode of play.
Two of the key issues associated with current sports prosthetics are cost and accessibility. SLIP N’ GRIP aims to tackle these issues by offering a quick, cheap and easily accessible alternative that can be assembled at home.
It was extremely important to me that this project not only solves a problem and makes a genuine difference to people’s lives, but also enables me to explore the field of sports design and engineering. This is an area I have developed a passion for during my time studying at Glasgow and is one in which I hope to pursue a career. Being able to combine my passion for sports with my design and engineering skills has become the ultimate goal. I will be going on to commence a further Masters in Sports Product Design at the University of Oregon this coming September.

I’m half Scottish, half German and having grown up in the countryside in both the UK and in France, this was where my love of the outdoors and exploring new places began. Whilst at university this has meant I always prefer to take a hands on approach to solving problems, never underestimating the effect that even a simple prototype can have within the design process.

Although now I enjoy all aspects of design, I have developed a particular passion for closed loop design and considering products as part of a larger service or system for the end user. Finally, I always enjoy the simplest solutions to problems!

I am a Maltese Product Design Engineering student at the Glasgow School of Art and University of Glasgow. An MEng in Product Design Engineering at the two institutions has been an exciting and challenging journey, which has provided a multitude of opportunities in both engineering and design cultures.

My final year project, flexIV, was an exciting venture into the world of biomedical devices. flexIV is a stabilizing intravenous cannula for comfort and freedom. The device protects against dangerous accidental administration of an intravenous fluid into the subcutaneous tissue. This is known as extravasation, which is mainly caused due to movement and instability of the intravenous cannula. Extravasation causes painful side effects, as well as permanent cosmetic damage, loss of function in limbs, and potentially fatalities.

The flexIV device is an innovative redesign of the intravenous cannula. It introduces flexibility to the device to prevent internal catheter movement. With patient comfort in mind as well as extravasation prevention, the user is free to move comfortably without the worry of the catheter becoming displaced.

This project was an excellent opportunity to execute and improve my research skills, build professional relationships with a multitude of professions, and integrate my work ethic from my summer internship at ExxonMobil.

Monitum is a speculative project into the world of seizure prediction using next generation technology in ear EEG and mobile processing. Epilepsy is a condition that effect around 50 million people worldwide and causes danger and distress due to the unpredictable nature of seizures. The EEG earpiece was made using generative design in Fusion360 and is custom for each user to ensure a tight fit for the dry contact electrodes. This data is then transmitted via the Bluetooth module behind the ear to a phone or a dedicated processing unit carried by the user. The unit uses a neurosynaptic processor allowing for low power consumption when running deep learning algorithms which is needed for seizure prediction. When a seizure is detected the module behind the ear vibrates allowing the user to get themselves to safety.

I am in my fifth and final year of the Product Design Engineering integrated masters programme, split over Glasgow School of Art and the University of Glasgow. Learning across these two institutions has helped me develop an invaluable wide variety of skills, from technical engineering knowledge to following the design process and how to centre this around the user.

I have been fortunate enough to develop and apply this knowledge, firstly during an internship in New Zealand, working for an electronic design company that manufacture assistive devices. My final year project has also been a key factor improving these skills, where I set myself the task of designing a car seat insert for premature babies to reduce positional asphyxiation. Stork is an adaptable product that alters positioning through various regions of support. It is designed to be supplied by a hospital to assist a baby on their discharge home and increase their safety whilst travelling in a car seat. Consistent contact with professionals and stakeholders throughout the project was the main driver and confirmed the benefits that the product would have to both the healthcare system and the users. This, for me, was the most rewarding aspect of the project and confirmed my passion for designing for purpose, with the potential of helping people.

My Product Design Engineering final year project is an Accessible Auto-injector Dispenser for people who suffer from severe allergic reactions. The product is designed to be installed within indoor public places such as shopping centres and restaurants for emergency situations where an adrenaline auto-injector is immediately required. The presence of this product will bring more awareness of anaphylaxis (severe allergic reactions) and potentially save peoples’ lives.

I have gained experience throughout my time at university working on various projects within GSA as well as volunteering with a start up business in my free time. In addition I have acquired skills in website creation, creative photography and the conducting of effective user testing.

In the future I would like to explore this area of design further and be able to use my knowledge and skills to design and create unique and beneficial products.

This collection portrays structures that capture the inner workings of the mind and nervous system. The primary source of influence is neuroscience imagery, in particular brain scans used to diagnose various medical conditions. These detailed images of the brain and how they bring to light the intriguing shapes which lie within us all, are revelatory, natural cartographies of one of the most mysterious organs of the human body. The collection represents a process of practice in development; such structures, as they evolve, resemble forms of the human body similar to plant genetics, which, in Darwinian terms, comprise ‘endless forms’. Therefore, the objects presented here convey these interconnections between humans and the natural world; exquisite parallel realms of arts and science on a micro-scale.

Alaitz MM. Gavilan is a visual artist originally from Barcelona now based in Glasgow. Inclined towards jewellery making as mode of expression, Alaitz also engages with other self-taught artistic practices, like illustration and collage, to present her work.

The series of objects designed for this collection derives its meanings from social movements and reflects on how the fundamental rights that we take for granted today have always been achieved by public protests and demonstrations on the streets, and very often with violence involved. To create an aesthetic of resistance, of a type of distressed materiality, the jewellery pieces have been abused or damaged; putting the enamel under the pressure of a press form, for example, and creating a crackled texture, as metaphor of a broken individualistic society, characteristic of neoliberal economics and politics. The objects here call for empathy and solidarity, a demand for a more community-minded society, symbolised in these small-scale works. Importantly, this collection is part of a broader personal project to expand silversmithing & jewellery designs and bring these closer to a wider spectrum of people, from different social classes, a goal of many previous generations of craft-activists.

The works shown on this showcase are works in progress, (the completed pieces will be shown at a later date) yet the artist is open to commissions.

Designs for this collection derive from my engagement with photography and its particular handling of perspective. Over the course of development in this collection, the different ways in which photographic processes can distort, skew and determine perspective has provided models and sketches that can be transposed into contemporary geometric tableware. For example, the concentration on line and scale is especially useful when working with materials such as Perspex, which is included in many of these objects. Perspex, combined with metal form a highly polished aesthetic, well-suited to designs for dining. The precision with which Perspex can be cut with a laser enables a good deal of artistic and creative freedom, as demonstrated in the presentation of this collection.