Next event:
ERINN SAVAGE – Performance
Tomorrow 15:00 GMT

SISTEMA

Representation of the residential retriet and concert hall for the SISTEMA charity and the local community in Balloch, Scotland.

Residential Retreat - Model

RESIDENTIAL RETREAT PERSPECTIVE ELEVATION

The view of the retreat is shielded partially by the untamed trees, to give the building a sense of security from those that use the park. The glass of the building creates a visual connection between the interior of the building and Balloch's landscape.

RELAXATION SPACE

A space at the top floor dedicated to people who want to escape from other social spaces. It gives people time to themselves, whilst overlooking the river and the scenery beyond.

Park Leven & Sistema Music Retreat

The Sistema Music Retreat project, for myself, was about creating two different buildings, in what I found to be a beautiful pastoral setting, that would create a semi private semi courtyard that kids and young adults can enjoy and have a free and diverse experience during their stay. The idea of having activities and places semi privatised for the kids was a leading factor in the design process for the River Side House and Leven Hall. After drawing the two buildings on site and working out the physical relationship they had with one another I wanted to go one step further and solidify the relationship my design had with its surroundings. On this map is not only my design for the Sistema retreat but also a redesign of the area. New pathways, activities and less tar parking lots. Having been inspired by the works of David Chipperfield, Gaudi’s Park Guell and the idea of place this project aims to give back both to the community and nature while not boldly conforming to its surroundings in a contemporary manner.

'Sea Life Through a Lense'

This image represents my fundamental design goal: how to frame the natural beauty of Balloch. I took my inspiration from those unfortunate sea creatures who are imprisoned in restrictive and oppressive fish tanks in a sea life sanctuary on the loch. Whilst they are so close to the outdoors they are actually prevented from thriving outside in their natural habitat. In human terms I wanted to create a more positive relationship between inside and outside where visitors felt safe and warm inside but were drawn to the views of the loch and nature outside.

The Site Found

1:1000 Site Plan exemplifying the linear relationship between the residential and performance hall venues; imitating the pre-existing railway of Balloch which, its final stop was at the tip of the pier. The progression of a boat from jetty to jetty via both buildings and a canopy shaded pathway on land, shows the multipurpose links and modes of transport available as ways to accommodate the users when moving around the site.

'Portamento'

Mammals and nature co-exist between the walls of the residential retreat, through vast glazing, an indoor / outdoor living experience and materiality and design elements. On arrival visitors will observe a hanging façade of carved natural wood. The flowing, rippled appearance of the wood connects to sound waves created by children inside to the lapping waves of the river made by Mother Nature outside.

INGREDIENTS

1:50 principles of building detailing and mirroring front elevation render

Mornings in the Nest

Perspective Site Plan_ relationship between two buildings

Introduction to Residential Retreat_ Concept diagrams

Exterior Render and Plans

Interior Renders

Exploded Isometric_ Technical study and Private void study

Collage

Early concept development

A Walk on Leven

Early documentation of the River Leven

Vale of storage units

Mapping of the industrial estates on the River Leven

Development

sketchbook scans

Development

sketchbook scans

Amphibious

A public performance hall and floating residential retreat for young musicians. Building for transience and commitment to the community through a duet of extreme difference.

Floating Residential Retreat

Public and Private route through the site

Balloch town when residential building has departed into Loch Lommond and Location Plan: Journey from Railway to Loch.

Sited in the centre of Balloch town, the scheme acts as a gateway to Loch Lommond and The Trossachs national park, defining a new town square along the soft boundary of the river.

Visualisations of journey through the site

From train ride to public space, through performance to safety and privacy in nature. Balloch is the remnants of a fractured journey from steam train to steam boat up to the highlands. This project creates a new journey away from the urban.

Floating Residential Docked in Balloch

Retreats being of temporary nature have informed the architecture to be transient. Departing from the performance hall which remains a place making, accessible public asset to the town.

The Pedestal

Initial schematic drawing and the development work at 1:2 scale.

Site Isometric

Construction Details

Construction Model

Showcasing the relationship between the brick volumes and timber roof.

Site plan at 1:500 scale

A Collective Library

The library becomes a place for families as well as individual sanctuary.

A Shared Culinary Experience

The communal kitchen provides a social and learning environment for all ages.

The Urban Demographic

What makes people want to stay? Currently, there is a state of impermanence in Merchant City. It is lively in at the weekend and empty during the week. It is seen as a place where time is spent passing through it rather then staying. Offering the amenities to have the choice to stay, whether you are an artist, student or young family is crucial to the design strategies.

Street Conditions; Light and Heavy Labour

Differences in light and heavy labour, changing position depending on light; heavy structures to the north of the site facing Wilson Street, and light structures to the south facing Trongate. The painting studio on the roof is a hybrid of heavy and light structure, allowing green space to envelope the studio in a tranquil setting. It becomes a garden and play space for children.

1:2500 Proposal in Context

The masterplan comprises a school, multi-generational housing units and an artists in residence unit. Colonnades invite you into the space, providing covered walkways and open spaces for markets and exchanges. A monument, not exceeding the heights of the surrounding context, acts as a waymarker in Merchant City.

Introductory diagrams

This project began by looking at the half stepped floor slab as the main separator of space within a living unit. The proposal is based upon the psychological divide this creates. The apartments provide the user with a high degree of flexibility and adaptability, with the half step as the only pre determined separator.

Location within the city

Like the masterplan developed previously in this project, where an outer edge contains the historic grid, the proposal conceals and hints at a hidden world inside the scheme.

Masterplan

A master plan was developed prior to the design of this scheme. The main ambition was to maintain the historic grid in Glasgows city fabric, utilise the surrounding vistas to create new ones and provide spaces for informal knowledge exchange in key spaces placed in the new vistas designed. We called these spots ”beacons”, to help visitors and passers by navigate through the neighbourhood.

Ground floor plan

Through chamfered corners, new vistas and narrow lanes, the proposal stays true to the outlines decided upon in the masterplan, and opens up at ground floor level into a semi private courtyard through a series of hour-glass shaped openings in the building fabric.

Sections

Section and cross section showing the dialogue between housing and public space, as well as its relationship with existing building heights.

Site Information

Thesis Investigation

Spatial Development

Ground Floor Plan

Long Section

Site Research

Concept

Diagrams

Orthographic Drawings

Urban block

We propose to arrange the different departments of a school around an urban block within the Merchant City and for it to be open for public use. The school is open to residents and wider city habitants, offering access to education and providing public amenities while being fully integrated into the city fabric.

Trongate facade

Typology section

The design uses a range of typologies and stacks them on section to create homes for varying types of users while sharing communal spaces in the form of a courtyard and roof terrace.

Deconstruction - reconstruction - deconstruction

Abandoned warehouses viewed as a resource in building a new masterplan, resulting in a circular use of materials.

Industrial and post-industrial areas of Antwerp

As industry has moved areas and buildings have been left behind, in close proximity to the city centre.

District plan: existing and proposed masterplan

33 warehouses have been identified in the district of Den Dam, which lack potential for new uses and for creating public space. These can be deconstructed in order to create a new masterplan made up of the same materials.

Catalogue of elements and materials

Elements and materials from the deconstruction process have been mapped and organised as a database for creating new buildings.

Deconstruction and its potential

Model 1 shows a method of mental deconstruction as a way to study each element of the space and building in relation to its qualities of light, texture, tectonics and spatial qualities. Model 2 shows one way of testing the new uses of structural elements.

01_AXONOMETRIC STUDY_ Existing Site

02_ANTWERP PLAN_ Block ‘Pitting’

03_STUDY MODEL_ Existing Site

04_LOCATION PLAN_ Site//Gentrification Band//Park Spoor Nord

05_CONCEPT MODEL_ Existing Site

Hypothetical narratives of living structures.Weaving Factory.

Weaving factory and urban garden on the edge This intervention is standing on the edge of the city. It is larger in scale than the previous two. The area is famous for crafts and hand made products. This intervention filled the understudied, complex, odd site. Weaving factory and urban garden facilitates the space for communal use of this craft neighbourhood and regenerate the area in a humble way. A small step of suggestive improvement with collective and participatory manner may lead to larger changes.

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Bicycle repair station.

This structure is built from a collection of observed components around Kyoto. Its is almost the exaggerated performative interpritation of Kyoto rich urban patterns. It represents the clash of tradition and contemporary in ad hoc and bricolage manner. Function inhabits this structure in a process, also its size is never defined, it can grow, develop. There is an initial part provided by the architect/professional, but the rest is easily attached and developed by the community, users.

This item is for sale, please contact for more information.

Bicycle repair station.

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Community Garden and Bee-keeping roof station.

Garden between sento public house and parking This intervention inhabited a shallow and underused site of contradictive situation. Such situations are often seen in Kyoto. The function of this intervention is urban garden and beekeeping stations on the rooftops. Again the structure comes from observed components and primarily recycled materials.

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Kyoto context from memories

Ad hoc and bricolge context. Traditional and contemporary clashes.

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Juxtaposition Field. (Photoshop Collage)

How can we expose, manipulate and utilise grain elevators and their industrial journey to integrate and welcome surrounding residential streets and activate community? Thesis identifies the area of T’Dokske, Merksem, as an area of vast juxtaposition of form, scale, function, purpose, class, materiality, infrastructure, density and permeability. The neighbourhood consists of industrial and residential terrain. Mixed neighbourhoods are generally a positive thing, but in the case of T’Dokske they behave as numerous mono-functional areas, with a lack of integration. The residential / industrial clash is further enhanced by the lack of boundaries – there is no definition between residential and industrial, thus creating contested terrain. Due to the industrial / residential permeability, residents, pedestrians, cyclists, HGV’s, vans, cars, children, boats, commuters, workers all share the same spaces. Historically, industrial T’Dokske had a strong relationship with the residential core of Merksem, but now this no longer exists. The thesis aims to re-establish this.

Anaerobic Digestion Park. (Physical Model, Photoshop Collage)

View from window of neighbouring street towards the new anaerobic digestion park.

Productive Landscape. (Physical Model, Photoshop Collage)

Grain elevators provide a large blank screen for outdoor movies in the summer months.

Storage tanks as Public Space. (Physical Model, Photoshop Collage)

Bio-waste from grain factories is turned into clean energy via the process of anaerobic digestion.

Landscape for the community. (Physical Model, Photoshop Collage)

Someone takes a sunrise dip in the dock.

An Architecture of Active Nihilism

The thesis scheme seeks to architecturally explore contemporary societal nihilism, beginning with a deep research period drawing from a breadth of philosophers, artists, and architects. The prime endeavour of the work is to act as a proposition upon societal relationships with death and being, and present a richly programmed scheme to conveying the arguments. This visualisation presents a gallery scene in which Bruegel’s ‘Dulle Griet’ steals from the gates of hell upon a vista of the decaying refineries of petroleum conglomerates past and present.

Site: Petroleum Zuid

Sitting 2.5km south of Antwerp’s old town, on the East bank of the Scheldt, Petroleum Zuid exists as terrain-vague, an overgrown relic of industry past. A thriving petrochemical in the early 1900’s, it is the oldest petroleum port in Belgium, and both the largest in Europe and second-largest in the world at its zenith. Long declined, with just a handful of petroleum companies remaining, the area straddles a unique landscape which affords key aspects and axes to the opposite bank of the Scheldt, and connection to central Antwerp.

Contemporary Passive Nihilism

Just 100 companies produce 71% off all greenhouse gas emissions, and pertinently lobby to ensure the undermining of real climate progress. Similarly, within the realms of technology, we are within the grips of private interest, our virtual presence bought, sold, exploited and entrenched through a socio-psycho cultural dependence, even in death. Technology’s ability for good is kept an arm’s length away, behind an ever-receding horizon of exponential advancement and capital. What’s the point?

Toward Active Nihilism

Expanding Nietzsche’s notions of passive and active nihilism, the argument is that we are societally entrenched within a state of ontological dysphoria. We innately struggle with the abstract finality of death: inevitably and infinitely us, and all, will eventually cease to exist. Society’s artifices of self-soothing, of death denialism, lead us to deeper entrenched passive nihilism, thus unable to globally contemplate the urgency of impending climate extinction. Thus, the programme seeks to act as memento mori, while exploring the ambivalence of meaning in a meaningless landscape of active nihilism, and the cathartic liberation of awakened sensuousness within it.

Contamination and Remediation

Historical leaking of underground pipes on-site resulted in severe contamination of the site’s soil and groundwater. An in-depth technology study was undertaken to examine the nature of the pollution and ascertain the best in-situ remediation strategies. Both bio and electrokinetic remediation are employed, however holistic phytoremediation through trees acts as the primary strategy. Through this method, remediation is effective, but slow, presenting a poetic allegory of the time required to remedy versus the nihilistic notion of time running out. Urgent, though perhaps futile while still in the grip of passive nihilism.

1. Natural Disasters

A major hurricane devastates at least one country in the Caribbean every year. While earthquakes and volcanic eruptions are not as prevalent, the Caribbean sits on a tectonic plate which could mean danger at a moment’s notice. This simply means that the architecture found in these places either need to be extremely resilient or adaptable. I have decided to take the latter approach.

2. Structural Model

The image shows the framework of a single ‘modular’ unit which has led to the design development of the thesis project. This form was generated through several iterations which were tested on site.

3. Community: Self-build Pavilion

The concept of self-build is complimentary with sustainability and disaster relief. This liberates the user from having to hire an expensive contractor and recognizes the social dimensions of the process, from consideration of the structure through to the lived experience of individuals.

4. Pavilion Functions

The pavilions themselves have specific functions to address specific needs. They can be used to address social needs such as gathering, community needs such as soup kitchens and market stalls and productive needs such as spaces for isolation and urban farming.

5. Filling the Urban Void

Welcome to Europark, a district located on the left bank of Antwerp city centre. There is an interesting collage of urban typologies and landscape fragments found within the district however, there is a lack of social infrastructure. Ninety-five percent of the land is residential and is otherwise completely isolated and not maximizing its full potential. The aim of the thesis is to solve the problems set forth by this type of modernist landscape such as, the lack of jobs, lack of social infrastructure and numerous urban voids while addressing the needs of the demographic.

the Neutral Sacred Space

territory of several denominations were indicated by colours and the dome and white are shared as a sacred place

Mosque & Synagogue in Antwerp, within twentieth-century belt

the Conflict

conflicts among culture, religions, architecture and territory

the Journey of Time

Authenticity

perception - a certain length of time pass repeatedly

In Moleca

Immersed in canal water, a tourist arriving in the city hesitantly stares into the path ahead of them. It is unclear where the path ends and the canal begins as boats wash up on the sidewalk.

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In Moleca

High-tide levels, painted on a wall by locals. These ambiguous DIY markings can be found around the city, documenting the increasing tides of the Acqua Alta. Like children’s measurements on a wall, it is uncertain as to what height these markings may be in the future.

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In Moleca

A member of ‘Comitato No Grandi Navi’ holding a banner representing their local initiative and the issue it opposes: cruise ships. Around 600 enter the lagoon annually. It’s estimated that 1 cruise ship pumps out the equivalent to 1 million cars worth of emissions in a single day.

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In Moleca

A tourist in fancy dress stares into the water whilst travelling on a vapareiso water-bus during the ‘Carnevale’, the famous Venetian festival. This is the busiest time of year in Venice and attracts thousands of tourists who come to experience the old traditions of the ancient city.

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In Moleca

A cruise ship docked in the industrial area of Marghera. The scale of these ships in comparison to the fragile island that they are docking in is absurd. These have a devastating impact on the lagoon’s ecosystem and the city’s underpinnings. An old utopian ideal of travel that should be forgotten.

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Dream on the Beach (1)

Digital drawing

Dream on the Beach (2)

Digital drawing

Dream on the Beach (3)

Digital drawing

Dream on the Beach (4)

Digital drawing

Dream on the Beach (5)

Digital drawing

Figure I

Drypoint, 2019

Figure II

Woodcut, 2020

Black curve

Drypoint, 2020

Black line I

Drypoint, 2020

Black line II

Drypoint, 2020

Atlanta Bonus Features Site

User interface design for a conceptual site that works like a DVD bonus features towards online streaming site for the television show Atlanta by Donald Glover. Pulling out references from the television show to create content.

Life After GSA 2019 Graphic Graduate Replies

A publication made up of a compilation of uniformed question and answer email from GSA Communication Design graduates. Answers were aim to provide helpful advices to graduating students. The brief requires the usage of 2 tones of colour and to pair the black text I selected blue to evoke reli- ability and authority . Other things to consider was the density, font pair- ing, layout system and restriction as well as the potential mass production of the booklet hence the spiral bound.

Call Me Maybe Oh Canada

An experimental perfect bounded book containing riso printed geomet- ric illustration of popular songs using a program called songsim. Songs varies from pop star Carly Rae Jepsen's hit Call Me Maybe to the Canadian national anthem Oh Canada hence the title of the book. The cover is typeset and printed in the letterpress.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

Glasgow 1980

Videos I put together for 'Work in Progress' exhibition

Research

Initial research behind project looking at poems and old family photo albums

Look 1

Cropped suit jacket inspired by photographs of my mum in the 80s with a white nylon romper.

Look 2

Distorted jacket inspired by photograph of my Grandad with exaggerated high waisted tailored trousers.

Look 3

Exaggerated tracksuit jacket with cut out details exposing yellow nylon lining. Inspired by photographs of my older sisters.

HISTORICAL TRAUMA / 15 400 PIECES

Untitled

Untitled

Untitled

BIKE FRAME BAG

The COVID-19 situation is a crisis and challenge effecting the whole of us. Trough this pandemic creatives had to find new ways of making, marketing and distributing products. These have to provide safety and purpose. Isabell put her own gtraduation collection on hold to help make medical scrubs during the lockdown period. This also led to exploring smaller projects like these commuter bags to provide a product with a deeper meaning and function. Sustainablitly is a key element in Isabells designs. The prototype bags were made out of left over calico, retiered yoga matt, retiered tent fabric and secondhand zips.

BIKE FRAME BAG-

BIKE FRAME BAG

Fashion Collection: Sherpa and the Altidude

Looking at my previous research from a new angle led to a curiosity for the Sherpas in the Himalayas. I want to explore the impact of the commercialization of Mount Everest on the Sherpas, their families and their environment. Mass excursions force the mountain to drown in garbage and their locals to suffer from the impact on their water and ecosystem. But in the same moment there’s the need for heavy tourism to keep their economy going. These conditions put extra danger and responsibilities on the Sherpas. I want to express how a change in clothing and functional outerwear provides the Sherpas with more protection, but conversely increases accessibility to inexperienced or amateur mountaineers with life-saving clothing/ gear. This in turn feeds into the commercialization of high-altitude mountaineering. (Altidude aka. privileged adventure tourist driven by his amateur financial impetus to be one of the best mountaineers in a once in a life time excursion.)

Age of Experience

EEG-VR wearing concept / Illustrator

Age of Experience

Virtual garden illustration / Illustrator

Age of Experience

Virtual garden illustration / pencil, colour pencil

Age of Experience

Virtual garden / Unity

Hosting Focus Groups

Through hosting creative activity-based workshops, I have been collecting honest, first-hand experiences from young people in relation to their mental health. Using the information gathered from these activities and discussions I determined 3 key themes; medication, barriers to accessing support and stigma. Using these themes, I have been developing a series of works.

Medication

From discussions that took place during the focus groups, it became evident that young people consider mental health support and care to feel very clinical. In particular, participants commented on feeling ill-informed, anxious and confused about the use and role of medication on their treatment. This work is a visual interpretation of these discussions. Using machine learning to generate fictional medication names, I have been designing and assembling my own medication packaging. My intention is for this packaging to be convincing and mistaken for real prescription medications, thus highlighting how trivial and alien medication names, and the role of such medications, can feel to a young person.

Experimentation Documentation

Development Sketch

(t)ether work in progress

Mockups

Mockups of Final Outcome

Michael (desktop computer) displaying the Chrome extension that replaces technology related words such as computer, machine, CPU etc. with their humanised counterparts.

Screenshot of the same extension replacing words on a webpage.

Sample of the extension's code done in Atom.

Screenshot of extension working on webpage.

Hand Sketches

Valentine

From 'Conversation' series

Ankita

From 'Conversation' series

'Conversation' series

This series is a study of gestures taken from a set of interviews.

Hand Held

Looking through history, people have labelled different hand positions and movements, through symbolism within cultures and specific moments in time. Furthermore, how people have progressively shifted their hand behaviours through the age of personal devices. Our hands have adapted physically to its new demands. Taking selfies and holding a portable device in your hand has become the new norm and what body language culture has spawned from this era.

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Machine learning/trained print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Objects in Liminal Space

Documentation of design research in liminal space.

Sculpture of the Machine

Digital computer aided design model of 3D printed sculpture.

Portrait of the Machine 1

Machine learning algorithm image output from self-portrait sequence.

Portrait of the Machine 2

Machine learning algorithm image output from self-portrait sequence.

Uncanny Artifact

Digital computer aided design model of 3D printed sculpture.

Wire Experiment

Wire Experiment

Proposed Sculpture (untitled)

Genesis, Neuromancer, Gamer Theory - framed prints

Rust

When we take images using our phones we typically take them in bursts and select the best ones for social media. This is explored in Rust where taking a memorable day from her own phone she has used machine learning to generate artificial beach imagery to imitate existing memories which she has planted within the grid of a camera roll. As we scroll through our camera roll would we notice that false images had been placed amongst the burst? What else could be suggested to us?

Jamais Vu

In Jamais Vu images are generated based on social media status updates which others have publicly reposted and shared through memory apps. These images were then framed and staged within her own home as sentimental photographs would be. The frames are placed above artificial flowers next to a family clock which has stopped working. While the scene may seem ordinary in passing, on closer inspection may appear odd.

Patterns of Play-

Print of a match between Rafael Nadal and Rodger Federer in the 2008 Monte Carlos final.

Patterns of Play Documentation video

Video documentation of how the artist created his work, exploring the technology and thinking that went in to finalising the piece

Patterns of Play

Still image of the prints on display

Patterns of Play

Image of how the prints compare to live tennis matches

Motion Capture Tennis

A motion capture experiment of a point between Rafael Nadal and Juan Martín del Potro in the Wimbledon 2018 Quater-Final

COUNSELLING ROOM VISUAL

This is one of the 7 counselling rooms. This one in particular is used for one-on-one counselling, but group discussion rooms are also available. The walls will be lime washed with a pink terracotta paint over to create a rough atmospheric feel to the wall. The floor is finished with a poured concrete. To juxtapose this hard floor will be a soft embedded playground rubber material acting as a rug beneath the two soft chairs.

COUNSELLING ROOMS SECTION

A section of the counselling rooms and waiting area. One of PLATFORM's main aims is to support and counsel people with mental health issues that have steamed or worsened by social media and the virtual world. Trained councillors will BE specifically trained within this field. Young people can get in contact with the PLATFORM themselves, referred to by a GP or encouraged to take a visit by a school. The acknowledgment that schools and GPs are struggling to help young people with such mental health issues and a need for a centre the specifies with the virtual world would not only help the young people but also lessen the demand on GPs and schools. “1 in 8 children have a diagnosable mental health disorder-that’s roughly 3 in every classroom.”

MANIFESTO

This poster visually symbolises my project's manifesto setting out my main aims and declaration for the year ahead. The internet chic and vaporwave aesthetic is something I want to capture throughout the entirety of my project. I want to explore the visual themes and trends of internet culture as well as the ethical and moral issues.

JOURNAL WORK

Exploring the social impact the digital world has on young people’s mental health, I hope to create a centre providing educational and counselling support. Seeking inspiration from online trends and issues such as surveillance and cancel culture. The centre remains unbiased and recognises the grey area that most of the internet lives in, the centre simply wished to educate people on issues so the users can use their technology more wisely and confidently.

EXTERNAL VIEW

Formerly a primary school this building now houses the most cutting edge teenage hub in town. This iconic building in Polloshaws has been totally transformed and brought back to life to serve the younger generation once again.

GROUND FLOOR PLAN

This ground floor plan reveals the true size of the building which once served 500 pupils.

SECTION AA

This section AA cut unfolds the first steps of the users journey. Entering the space they will be greeted by natural light in the atrium which will navigate the users through a dynamic open plan space leading onto different floors to their desired activity.

RECEPTION

The atmosphere of the reception has been achieved by bringing the aspect of natural materials and light into the space, making a more welcoming and stylish environment for teenagers.

JUICE/ SANDWICH BAR

The design of this former assembly hall/dining space is inspired by the original features such as arch windows and red and white concrete grid ceiling. This space now serves the purpose for the users to meet new friends and enjoy a quick snack either to wait for their scheduled activity session or to just chill.

Title Page

Floor Plan

Ground Floor Plan

I. DISCOVER

My developing research publication, Mass Extinction, discusses the decline of liturgical practice in Glasgow within the spatial context of Gillespie, Kidd & Coia's post-war ecclesiastic inventory. Driven by the reinvention of the Catholic Church in the wake of the Second Vatican Council, Modernist-influenced structures were generated as tangible examples of the reinvented liturgical dynamic. Their current status, however, is mostly as poorly maintained and somewhat dilapidated structures with a severe lack of public appreciation. A rejection of both religious activity and modernist technique has left nearly a quarter abandoned or destroyed with many more facing socio-economic difficulty.

II. DEVELOP

The [ongoing] design response is via adaptation of one such site, St. Charles Borromeo Church, into a learning centre for the circular economy. Structurally, adaptive reuse as itself a form of circularity; questioning every element of materiality through both reuse of the waste stream generated and any new, introduced material sourced from within the peri-urban region. Discussing circular principles applied to the existing material, concrete is the most challenging; hence, concrete becomes, in effect, 'consecrated' in situ, a defined rule that it must remain entirely without alteration. The infill brick masonry has been removed and regurgitated into a new internal structure - the threshold of interiority is redefined whilst creating spectacular visual permeability into an environment previously fraught with conformity and privacy. Yet, the form of the original construction is maintained. The new insertion is monolithic yet intimate - it distills a learning process for circularity into principles of education, application and fabrication allegorising with the tripartite existence of spirit, soul and body. To receive, to animate, to incarnate. Thus, the building becomes an incubation of it’s theory: a catalyst to promote, define and direct sustainable intervention. A project that decrees that liturgical intervention can be more unique, more aggressive. In fact, with the present situation, it has to be.

Footage of live renderings as a real scene.

Sunrise Over the Bridge

Morning sun with a haze over the lights.

Spire Overlooking

Through the glass onlooking the spire.

Wide Angle Join

Kelvinbridge wide angle.

Marble Interior

Design interior with a white marble finish.

Site Context

Section View

Plan View

Entrance

Feature Wall

Project Concept Poster

Concept poster for The Wheatsheaf Hotel and Cook School, which expresses brand ethos and materiality.

Axonometric Drawing

An axonometric drawing of The Wheatsheaf, expressing the zoning and spatial arrangement of key spaces.

Visual of Corridor with Void

View from the second floor corridor, looking down through the void onto the entrance and cook school.

Materiality of Key Spaces

Detailing of the cook school, reception and corridor spaces.

What do we need for rest?

visual collage

In dream

visual collage

Reception

Male's chaging room

Women's bathroom

Message

visual

Contract

video

Concept Video

video

Longitudinal Section

visual

Floor Plans

visual

Nithsdale Mission Hall

My community project utilises the former Nithsdale Mission Hall in the Strathbungo/Govanhill area of Glasgow’s Southside. Designed by Alexander Skirving and built for the Queen's Park United Presbyterian Church in 1887-88, it felt like an appropriate choice of site given its history as a supportive community space. However, I also fell in love with the Greek Thomson style architectural details on the building’s exterior façade, as well as the site materiality, which provided lots of exciting inspiration throughout my design development process and ultimately greatly influenced my final design concept. As a result of a fire, the roof and interior were completely destroyed, however this worked to my creative advantage providing me with an empty shell to design within.

Cross section A-A

Sòlas, meaning comfort and happiness in Scots Gaelic, is a space bringing new Scots and the local community together to support one another and celebrate multiculturalism through food, learning and social exchange. The space offers a range of services including English lessons, counselling, a crèche, a multilingual library, book group, study areas, a contemplation space, and a cafe with pop-up multicultural dinners. The structural layout has been deliberately kept open to allow visitors to see the range of activities happening, and navigate around the space with ease. In doing so, I wanted to create a “buzz” within the space in order to create a comfortable, convivial atmosphere.

The Cafe and Welcome Area

Entering the space from street level, you will arrive in the cafe and welcome area. The cafe servery acts as an informal welcome desk to help visitors navigate the space and is therefore strategically placed close to the entrance. The familiar cafe scene should aim to reduce anxieties for new visitors. I have designed several different seating areas to adapt to different user needs and requirements. The curved wooden balustrade aims to soften the space, while the natural tones give a welcoming warmth to the interior, along with the addition of plants and flowers. There are subtle references to the site materiality through the servery design and the wooden balustrade.

The Vertical Multilingual Library

The vertical multilingual library is a central feature in my design, as it is seen from every space in the building. This helps ease navigation through the building, acting as a familiar reference point. I wanted to create an innovative and exciting space to stimulate learning and encourage cultural exchange, with a space designed on the upper level for the book group to meet. The curved stepped seating acts as an informal reading space as well as a pop up event space for talks or meetings. The circular apertures in the library structure are inspired by Skirving’s original trusses (destroyed in 2005 fire), which I have reinstated in my design.

Cyber Sexual Harassment

Cyber sexual harassment is a topic that is extremely common but generally ignored by the wider public. It may seem easy to dismiss as something relatively harmless and without consequence, but the feeling of disgust when experiencing harassment is indeed true. The four booklets draw on four real experiences of sexual harassment on the Internet. By using a distinct visual language to express the negative impact of harassment, the work reflects social realities and engages the audience through empathy.

The Shift in Perception of Women in Chinese TV Series

Given that Chinese television dramas reflect the collective consciousness and mainstream values of Chinese society. This project aims to explore how female characters are perceived and how they evolve under different social, cultural, economic and political norms. Particularly what is deeply entrenched and what is considered the female ideal.

The Empty Vessel

The Empty Vessel series, a collection of representational vessels, visualises and embodies the way grief takes from the individual and how we build around the space left behind. Clean white architectural forms become projected aspects of self, deemed appropriate for outside consumption. Inside an absence is present. The absence is the embodiment of grief, carried internally, its weight becomes perceptible in the physicality of the vessels. These corporeal forms become the embodiment of self creation in the face of the void. As empty vessels we traverse the spaces we occupy as representations of formed bodies. The ceramic forms relate to one another, standing alone but remaining interconnected in their expressions, just as grief isolates the individual whilst injecting them into a fundamental shared aspect of the human experience.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

Throughout 2019, millions of young people took to the streets to protest for their right to a future. No other year has seen such a rise in awareness on the topic of climate change, with the issue being brought loudly to the foreground by public demand. From February 2019 to early 2020, I documented the climate strikes in Glasgow, Edinburgh, London, and Italy, working closely with the organizations as a volunteer photographer. I focused on the stories as much as on the photography, aiming to crystalize my personal experience of the events by writing in the same way I was doing with the images by shooting. The result is a detailed, firsthand reportage where images and words are tightly connected, currently waiting for a space to be published.

FRIDAYS FOR FUTURE - Turin, October 2019

Die-in in Turin, Italy, October 2019. Young people lie on the ground of Via Roma, while a passerby cyclist stops among the bodies and tries to figure out what is happening. A young student walks back and forth in the street reading a Fridays For Future pamphlet with a megaphone. A mum is lying side by side with her two kids, the youngest being barely 3 years old. They check on their mum once every few seconds, then check the others. They’re excited, but they try to stay serious. ‘Like this?’, they ask. [Continues]

BLUE WAVE 2 / ARE WE NEXT? - Glasgow, March 2019 / February 2020

Left: On Leap Day 2020, XR Glasgow organized the secondo Blue Wave event of the city. Silent as the rising sea levels, step by step, centimeter by centimeter, just like water does, the Blue Brigade walked slowly from the bridge towards the people gathered in the Clyde Amphitheatre. Then proceeded leading the march through the city center of Glasgow, all the way until Buchanan Street steps. Right: Kelvingrove Museum, 3pm. Kids and parents together under the gigantic skeleton of Dippy the Dinosaur. Grandparents, too. To the sound of a violin, the signal, everybody lay on the floor. Under Dippy's skull, several kids turned around and around holding a sign reading: ‘We Are on the Midst of the Sixth Mass Extinction’. They were silent, the kids. Many were dressed as animals, or with animal masks. Some had dinosaur toys. They lay down for about twenty minutes, holding signs and banners on their chests. The banners were reading: ‘Are we next?’ [Published on The Guardian]

INTERNATIONAL REBELLION II - London, October 2019

“He had been playing since it all started when they began moving everyone out of the road. When the arrests began he didn't stop. One song after the other, he was accompanied to the sidewalk on one side just to turn back at the last moment and head to the opposite side, back and forth from where the people sitting on the road were waiting to be arrested. A bright sunny day in London, and in the middle of the road he was cheering everyone up, and making the police desperate because who wants a violin to stop playing? Back and forth, eyes fixed on something only he could see, and a rejuvenated smile every time he paused and people clapped for him beyond the police line. Making his difference, one tune at a time.” [Continues]

HOLYROOD REBEL CAMP - Edinburgh, June 2019

In June 2019, despite Scotland’s PM Nicola Sturgeon declaring the climate emergency, the Scottish Parliament set the country’s target date to become carbon neutral in 2045. According to the IPCC report, radical change is required before 2030 in order to avoid massive ecological disasters. I spent four days camping in front of the Scottish Parliament in Edinburgh with Extinction Rebellion, documenting the actions aimed to raise awareness about the inadequate climate bill and the climate crisis.

Media bias and Polarization. Part 1 Face posters

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Media bias and Polarization. Part 2 Hong Kong book

Since March 2019 there have been a series of protests in Hong Kong. And media outlets provide very disparate narratives of their motivations. Because of these reports many people's opinion on these protests have been extremely polarized. The book collects news headlines from Pro-China media and Pro-Protester media throughout the protests offering readers an opportunity to make a comparison with different depictions of the same subject. At the same time, it highlights the influence of media and its role surrounding controversial events causing polarization.

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Photo book (Material experiment)

This photo book is an experiment which trying to the possibility of physical books. Compare with digital reading, different books can provide readers with different touching feeling by their material. As the most important sensation of human, I think touching could be an interesting factor to be considered during the book design and helps the emotional expressing. I made my photos in this photo book. The photo that I selected was taken at the moment that I felt depressed and lonely. I hope the book itself can also show the fragile inside of me. I made plicated foil cover board as the book cover and use very fragile tissue paper inside. The contrast of touching is conspicuous which can prompt reading experience and expressing the emotion.

Photo book (Material experiment)

The project was an exploration of the possibility of physical books. Compared with digital reading, physical books provide readers with different material experience. Touch could be considered the most emotional sensation of a human being and I believe touching is an essential factor to be considered during book design to help the emotional expression. The photos selected were taken at moments I felt depressed and lonely and the book aims to convey a fragility inside of me on those occassions. The foil cover board cover and the use extremely fragile tissue paper gives a contrast when handling prompting an unusual reading experience and expressing further emotions.

Mask Design in Peking Opera

The iconic masks of the Chinese Peking Opera use colour and pattern to imply characters' various personality traits, such as connotations of benevolence and malevolence. Using the same methodology, masks of well-known political figures have been approached and reconfigured to create new portrayals alongside characters from the novel Boule de Suif: Donald Trump, Kim Jong-Un, Vladimir Putin, Jacinda Ardern, Nicola Sturgeon, Mrs Loiseau, Boule de Suif and Thor.

These masks are depictions of famous political figures Donald Trump, Kim Jong-Un, Vladimir Putin, Jacinda Ardern, Nicola Sturgeon.

These masks are descriptions of the famous character Thor and the short story Boule de Suif (English: Butterball) by French writer Mopossant and the heroine Butterball.

Font Design of Grim Reaper Culture

Using dreams—specifically my own surrounding death—as a starting point, a font was based on the Grim Reaper and its surround cultures. Elements of the font are constructed from the death culture in various regions and cultures and their narratives about death.

DIASPORA TYPEFACE


Diaspora is a display font exploring Italian immigration to Scotland between 1880 and 1920. A diaspora emerged to such an extent that the Scot-Italian became recognisable as a fully fledged persona encompassing characteristics of both cultures. Diaspora expresses these hybrid identities of Italians who immigrated to Scotland. This is translated by the addition of seven alternates for the letters A, E, M, N, T, U, V and W. To underline the concept of immigration by the means of type-design, the traditional and iconic aspects of lettering from both countries are emphasised. While having their own characteristics, Diaspora’s letters are designed on a single basis structure, helping to create a harmonious set. Each user can develop their own identity of the font using alternates. Diaspora is available on request through the GOODEGGS Type Foundry website: [www.goodeggstypefoundry.com](www.goodeggstypefoundry.com); or you can drop us an email to hello@goodeggstypefoundry.com

The Dick Pic Project: Submission Cards

41% of British women aged 18-36 have received an unsolicited dick pic.1 Through open submissions over the past two years people have been sharing their stories, experiences, and images of cyber flashing, which have been retold and represented through explorations across different media. The project aims to create discourse around this rarely discussed yet prevalent issue, as well as providing a platform for victims to take ownership of their harassment. 1 Smith, M. (2018) YouGov: Four in ten millenials have been sent an unsolicited penis photo

This work may contain graphic imagery, Click to toggle blur.

thedickpicproject.com

The website functions as a platform to show all the images, stories and animations made throughout the project, whilst also having sections that provide practical information and direct victims to support services. The design of the main page bombards the audience, playing on ideas of consent. Although the content warning is clear, when exhibited at GSA in October 2019 the work still caused controversy and was censored by senior management. Surprisingly for an institution where one of the core values is ‘disruption’, the project has often faced knockback from staff, who have encouraged a more metaphorical approach. This has called into question how much influence the male gaze still has on today’s society – even within the art school.

This work may contain graphic imagery, Click to toggle blur.

Penis Etchings

At the start of the project the images were developed in different media, considering whether presentation of the work through traditional methods of making would elevate the subject matter. Throughout the project theories of art and pornography were examined and challenged, both from the artist herself and her wider audience. Etching and printing the unsolicited dick pics immortalised them from throwaway, transient images into works of art. The traditional and highbrow status of the medium instantly elevates the work. Working on small individual plates allowed multiple images to be printed alongside each other, alluding to a carefully curated photo frame.

This work may contain graphic imagery, Click to toggle blur.

Penis Stitches

The embroidered pieces draw instant connotations with feminine and tactile craft: the soft threads and muted colours encourage the viewer to touch the work, and create a tension between the message and the medium. Unsolicited dick pics are often sent via social media platforms such as Instagram and Snapchat, where they disappear once viewed. In contrast to this, the permanent and labour-intensive processes of etching and embroidery preserve what we can assume were intended as temporary records of sexual harassment.

This work may contain graphic imagery, Click to toggle blur.

01. Am I a Graphic Designer?

Research on the conceptual pillars of graphic design, documented in form of an 8,000 word essay that includes an interview with the GSA Com Des professors. The information collected from the interview was transformed into ‘data sculptures on wheels’, visualising each of the interviewee’s opinions on contemporary graphic design. The data was placed on wheels to allow for interactivity usually only reserved for digital spaces. For more project details and images, please visit www.zzzzarko.com.

02. ‘How Motivated Are You?’ Installation

A data installation consisting of a series of helium balloons positioned in space and colour-coded to convey information. Participants were asked to report their daily motivational levels scaled 1 (lowest) to 5 (highest) for 10 consecutive days. The data was translated into helium balloons communicating the given values both through their color and position in space. A postcard decoding the data values was given to the audience. For more project details and images, please visit www.zzzzarko.com.

The flexIV device in situ

A CAD representation of the flexIV device in situ in the dorsal site

The accordion bend feature in flexIV

A CAD representation of the accordion bend featured in the flexIV

The silicone adhesive butterfly wings featuring in flexIV

A CAD representation of the accordion bend featured in the flexIV

A flexIV prototype in action

A still from the prototype in action presenting the advantages of the flexIV deviceA still from the prototype in action presenting the advantages of the flexIV device including the accordion bend and the silicone adhesive butterfly wings.

Prototype in Action pt.1

Prototype exhibiting the stability of the flexIV device

Presentation Poster

User Context

Diagnostic Imaging

User Interface

post_fossil_toolkit informational poster

Generation_tools harvest, produce and store sustainable energy on-site, energy is stored in the base_unit of each generation_tool and fed out to the required output point in the community space. Data from the base_unit is received and processed by the post_fossil_network. Position, kWh counter and Unit type are uploaded to the post_fossil_network_map. Users access cyber network to share, learn and develop post_fossil solutions as well as building a wider post_fossil community.

solar_uints and wind_units in urban context

Multiple different generation_tools can be implemented on one site. By analysing specific sites using the online location analysis tools, accessible via the post_fossil_network, an optimised tool_kit selection can be made. Tools can then be manufactured, utilising local manufacturers and workshops where possible, and distributed to end users. Once on-site the distribution team help install base_units. The users are then left to construct and monitor their post_fossil_tools.

post_fossil_tools in urban community space context

Inconsistency of environmental conditions across both time and location means that an effective, and democratic solution must be flexible and adaptable to specific locations. The post_fossil _toolkit promotes independence from expensive, time and energy consuming rigid infrastructure: Infrastructure without the economic and carbon cost. Generation_units feed electricity into the community space allowing it to function without necessarily engaging in the current fossil_based, capital driven energy systems.

base_unit detailing

The base_unit acts as the fundamental building block, on top of which the required generation_tools are constructed. Each base unit contains a sub-system of internal components: live Current monitoring and transmission hub, combiner box, charge controller, tesla power wall rechargeable storage unit, signal convertor, and an standard output point.

base_unit exploded view animation

In order to work within the post_fossil_production_labs theoretical framework, democratic design should be implemented at every stage of the production and usage process. This means deconstruct-ability and modularity have been used to define the design of the units. Where possible standard fixings are used to fasten the components together, allowing the product to be fully disassembled into its constituent parts for ease of maintenance and recyclability.

Project Poster

Final year PDE project

Final Prototype

Completed, functional prototype of the slope inclinometer and compass.

Avalanche Equipment

The Final prototype alongside other essential avalanche safety equipment.

User Testing

Testing of the prototype was carried out at Nevis Range by multiple potential users.

A Product to Predict and Prevent Freezing of Gait in Parkinson's Disease

Poster outlining key design features in the context of the user.

A Product to Predict and Prevent Freezing of Gait in Parkinson's Disease

A video showing the user journey and interactions.

A Product to Predict and Prevent Freezing of Gait in Parkinson's Disease

A summary of iterative prototyping with real users.

A Product to Predict and Prevent Freezing of Gait in Parkinson's Disease

Details of product components.

A Product to Predict and Prevent Freezing of Gait in Parkinson's Disease

Summary of the inner workings and electronics required to make the product work.

Overview of Communicate

Autism Spectrum Disorder (ASD) is a lifelong condition, which affects how a person communicates with and relates to other people, as well as how they experience the world around them. Meltdown and shutdown are intense emotional response to “triggers”, which could lead to long-term mental health. Communicare aims to provide an effective meltdown and shutdown prevention system for autistic children through modular 3-lead ECG monitoring and stress analysis. It connects the ECG wearables to the caregivers’ devices, allowing them to detect the upcoming meltdown and shutdown, in order to provide the right support at the right time.

Why 3-lead ECG?

Communicare consists of 3 ECG modules, worn on both right and left wrists, and the right hip. These ECG modules communicate through Bluetooth connection, forming a 3-lead ECG setup. This setup is used, because it increases the overall accuracy of the product. It enables in-depth cardiac analysis, since ECG features such as HRV and ectopic beat are linked to the autonomous nervous system, which is triggered by the flight or fight response. In other words, stress can affect our ECG activity.

Communicate App

The ECG modules then send the ECG data to the Communicare application, which comes in both desktop and mobile forms. The application allows the caregivers (mainly teachers and parents) to monitor the child’s current stress level. On the wristband itself, the LEDs are shown, acting as a visual cue for the passer-by (who does not have the Communicare app). Overall, the product enables the detection of upcoming meltdown and shutdown of an autistic child.

The straps

The silicone straps are interchangeable, so that the user can choose different strap designs to their liking. It is secured through the watch strap pin, which is shaped like a puzzle piece to symbolise and empower autism. –This aspect is based on the interviews conducted with the user group.

Autosteam

Perfectly textured milk at home, without the effort. AutoSteam achieves this with its preset wand positions that are designed to inject steam at the perfect position to create a vortex in the jug. This is essential in producing perfectly textured milk, with silky smooth microfoam, every time. The steaming time is controlled by a thermometer built-in the drip tray, so all the user needs to do is fill their chosen jug with milk to the indicated level and move the wand into one of the preset positions.

TRI Seating in situ

Exploded view showing individual belt pulley mechanism

Seating design showing advertising opportunities inspired from tri-vision billboards

User interaction to rotate the bars and reveal a dry surface

Tourmaline Box

This silver and titanium box is inspired by the hexagonal prism crystal forms in the gemstone tourmaline. This box is hand-fabricated and is completely unique to reflect how no two gemstones are the same.

Price: £1,200

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Gemstone Sketches

This is a page from my sketchbook, showing drawings of the different types of crystal shapes from primary and secondary research. From left to right: (1st row) quartz, pyrite, copper, (2nd row) diamond, quartz, halite.

Blue John Stone Sketchbook

Blue John Stone is a variety of fluorite found in Derbyshire, UK. As part of my research, I visited the Treak Cliff Cavern, where Blue John Stone can be found in situé. This collage from my sketchbook shows how I started to build up shapes into my work, by painting out block shapes on top of my photographs.

Metal Samples

This shows how my samples in silver, niobium and titanium began to develop into finished pieces.

Detail of Silver Brooch

This is a detailed view of the crystal forms and sparkling rock texture I create in silver using the ancient technique of chasing and repoussé. The hexagonal prism shapes can be seen in minerals such as emerald and tourmaline.

Triptych

Copper and vitreous enamel, 8.5cm to 10cm diameter

Emerge

Copper and vitreous enamel, 9cm diameter x 6cm

Depiction

Copper and vitreous enamel, 8.5cm to 10cm diameter

Indistinct Pattern (sample)

Copper and vitreous enamel, 5cm diameter x 1.5cm

Pattern Play

Copper and vitreous enamel, 5cm diameter x 1.5cm, 8.5cm diameter x 6cm

Kinetic flower ring

Oxidised precious white metal, swarovski crystal, cintrine. 45 X45mm. Ring size M

Price: £650

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Chambers-Hill-Celeste-02

18ct gold filagree flowers

Gold flower ring

18ct gold filagree ring

flower earrings

Precious white metal filagree earrings with pink tourmaline and citrine gemstones size 100 X 40mm

Price: £750

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flower earrings

Precious white metal filagree earrings with pink tourmaline and citrine gemstones size 100 X 40mm

Price: £750

This item is for sale, please contact for more information.

Hearts on Fire

Samples of future badges made of enamel on steel and brass

Pans and Pots

Pin made of silver, brass and steel

Resist, Insist, Persist

Render of possible badges like safety pins

Destruction is a form of Creation

Close detail of a crackled enamelled surface

Els Carrers Seran Sempre Nostres (The Streets Will Always Be Ours)

Close detail of a pierced surface

Iron Moon I

Iron + Silver Brooch Lid with Oxidised Vessel. Materials include; Silver, Iron, Iron Oxide, Glass, Resin and Inks

Price: £P. O. A

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Iron Moon II

Iron + Silver Pendant Lid with Oxidised Vessel. Materials include; Silver, Iron, Iron Oxide, Glass, Resin and Inks

Technical

Silver + Iron Studio Work and Process

Origins

Photography / Digital Art Print of Materials Exploration and Chemical Reactions

Price: £Special Limited-Edition Prints available from website, prices starting from £75

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Stone-setting

Aquamarine, 18ct Yellow Gold, Oxidised Silver + Iron

Inspiration

Interesting Shadows Inspired my Initial research

Scribble Cup

Creating shadow inspired utilitarian objects.

Deconstruction

The notion of deconstructed vessels; re-constructed with laser cuttings.

Dissected Vessels

Copper spun vessels; re-formed and dissected.

Twist n’ Stretch

Silver vessel Design

finished objects

finished neckpiece and multicolored brooch, completed test pieces.

Price: £POA - finley7mcnamara@gmail.com

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works in progress

2 acrylic paintings, one bracelet in progress (bottom right) four necklaces in progress.

Price: £POA - finley7mcnamara@gmail.com

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Dive 1

Inspriation

Dive 2

Sketch

Dive 3

Work in progress

Dive 4

Necklace_ silver with gold leaf

Dive 5

Necklace_ silver with gold leaf

Inspiration

Mussel Cluster

Milroy-Christine-03

Repetition

Brahma

Triptych of 3D printed nylon and precious white metal bangles, can be hallmarked, inside circumference 220mm, width 16mm

Price: £ Individual bangle £624, as a set of three £1500

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PLA 3D print and copper bangle prototype

Marduk

Porcelain and precious white metal brooches, dimensions are different for each brooch, averages at 30x40mm

Price: £ POA

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Ilmr

White precious metal hoop earrings of repeated 3D scanned and printed noses, can be hallmarked, 30x25mm

Price: £388.20

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CAD model of hoop earrings

Primary reseach

Exploration of shadows using 3D drawings

Development sampling

Development sampling

Embellished samples

A1 Print

Sketchbook Pages

Anorak Visualisation

A1 Print

Paper Drawings

Research

Research produced using microscopy and collected insect specimens

Drawing and Development 1

Drawing and colour work with samples

DRAWING AND DEVELOPMENT 2

Drawing and colour work with samples

DRAWING AND DEVELOPMENT 3

Drawing and colour work with samples

Mackinnon-Jonathan-05

Drawing and colour work with sample

Initial drawing work.

White on white drawings.

Colour Work.

Development using Merlin Pro Machine.

Hold I

Athens, July 2019

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Watch

Agafay Desert, Morocco, December 2019

Across III

Marrakech, December 2019

Sailing Heart

Vinyl Lettering - Triptych of poems installed at Waterstones Sauchiehall Street store, for Hawk collective group Show: Glider, March 2020.

Intimacy

Vinyl Lettering - Triptych of poems installed at Waterstones Sauchiehall Street store, for Hawk collective group Show: Glider, March 2020.

7 Trees

Multi-Channel Video, Sound Design: Otis Jordan, Additional Sounds Dexter Stokes Mellor. Germany, 2020. 23.73 seconds, is the fastest time any known person has run between these 7 trees in Bleckede. 

23.73 Sekunden ist die schnellste Zeit, die je ein Mensch zwischen diesen 7 Baumen in Bleckede gelaufen ist.

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Reed Thicket

Single Channel Video, 2020, Germany.

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Movement Development

Sketchbook pages, Development through movement and intuitive play, 2020, Bleckede. My method of making is a reaction to the outdoors. When encountering natural formations, they inspire me to use my body as a player, the slanted tree turned into the proscenium arch of a theatre, calling for action beneath.

This item is for sale, please contact for more information.

This item is for sale, please contact for more information.

BREAK.FAST, I

2020 : 35 mm : 100 ISO : Colour Negative Film

BREAK.FAST, II

2020 : 35 mm : 100 ISO : Colour Negative Film

STITCHES

2019 - 2020 : 120 mm : 160 ISO : Colour Negative Film and Digital Paint

A Hole in the Sky

2019 : 120 mm : 160 ISO : Colour Negative Film

Observer

2019 : Moving Image : 51 seconds

A sculptural piece imitating the movements and reflections of water giving the visitor the illusion of being in the landscape of the water.

As sun shines through the metal mesh, it shimmers like water.

‘Speaking to Water’ Practicing Ho’oponopono technique in Turkish with a glass of water. Seni seviyorum, özür dilerim, lütfen beni affet, teşekkür ederim - I love you, I’m sorry, please forgive me, thank you.

Creating reflections on the wall by manipulating the mesh with light.

General Detritus (Photographed)

General Detritus (Photographed)

General Detritus (Photographed)

General Detritus (Photographed)

General Detritus (Photographed)

Lighter than air

Lighter than air

Good Country

hrough a study of place, material and memory, this project attempts to describe that which exist outside of language. It is a song to the natural world and the nature of joy, a celebration of that which remains undescribed.

Not Lost Just Somewhere Else series.

Digital Image. 2019.

Not Lost Just Somewhere Else series.

Digital Image. 2019.

Not Lost Just Somewhere Else series.

Digital Image. 2019.

Not Lost Just Somewhere Else Installation.

3x Backlit Film Print on Electroluminescent Light Panel & 4x Speakers. 2020.

red lorry, yellow lorry, blue car

3x3 grid of photos from the photography series ‘red lorry, yellow lorry, blue car’: a collection of over 100 photographs of red, yellow and blue cars together in and around Glasgow taken over 3 years. “Over the past 3 years living in Glasgow. When walking around the city, I’ve been spotting red yellow and blue cars all parked together in an array of different ways and circumstances. From vans, to minis, from lorries, to limos. These three colours of vehicle have been spotted all over this great city time and time again. For me personally when spotting these cars, I tell myself it is a sign of good luck and good things to come, as if the universe is looking out for me and has my back just like the three colours do” – extract from the zine

Price: £Available on request

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selection of zines

A selection of zines I’ve made throughout my time at GSA including: ‘BMX’, ‘I sneez in my sleep vol. 12’, ‘2-0’, ‘favorite is my favourite’, ‘grass ceiling’ (with captain arm band) , ‘bye bye wimbo’, ‘no signal’ and ‘red lorry, yellow lorry, blue car’.

Price: £Available on request

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The craziest gang member #4

Oil pastel and Crayola crayon on A2 paper. a collection of drawings of vinny jones taken from panini and merlin sticker books from when he played for Wimbledon fc. all drawings done in crayon and oil pastels. Also made into a zine and made back into stickers.

Price: £Available on request

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rhine-cone #1

A no waiting cone covered in 30,000 red, yellow and blue rhinestones on a rotating turntable.

Price: £Available on request

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bye bye wimbo, banger car 2

Colour film photograph taken at the last ever banger racing event at the Wimbledon stadium. Has been printed for exhibits in Glasgow and London scaled up to 107cm x 164cm.

Price: £Available on request

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Altar

Digital Photograph, 2020

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Bittersweet Escape

Photographic Documentation of Cocktail, 2020

Rückenfigur

Digital Photograph, 2020

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The Elixir of Quietude

Photographic Documentation of Cocktail, 2020

Mind

Digital Photograph, 2020

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Sacrosanct Statement

Icthys

Digital Image

Sun

Digital Image

Soil

Digital Image

Archangel

Digital Image

Enough seen, Enough had, Enough Known

Oil on Canvas, 160cmx240cm

Home sweet Home

Oil on Canvas, 109cmx155cm

Mercy

Oil on Canvas, 120cmx142cm

Untitled

oil on canvas, 90cmx135cm

untitled

oil on canvas , 48cmx45cm

Man in the Sun, Glasgow

acrylic on canvas, 98cm x 80cm

Lilo Boy

acrylic on canvas, 99cm x 130cm

This item is for sale, please contact for more information.

Self Portrait

acrylic on canvas board, 35cm x 27cm

Plasticine Fernando Botero

plasticine on board, 30cm x 24cm-For this image, I made an interpretation of a still life painted by Fernando Botero. According to him, his chunky, voluptuous characters avoid being fat, instead “they're exaltation of form and volume” that I see as clearly relating to more classical ways of painting, particularly Picassos 1920's beach period that I love. Apparently, his real inspirations come from the Renaissance era and in his early career especially, he was very fond of Piero Della Francesca too. I thought it fitting to use one of his images “Still Life 1998” since its physical tangibility is similar to the nature of his work which relies so much on volume and weight of form. I asked myself, how can I justify making a version of the artist’s work? Botero made re- appropriated images of Renaissance art, so I make re-appropriated images of his.

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Another One

plasticine on board, 40cm x 30cm

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21x14.5 cm graphite on sugar paper

Price: £50

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21x14.5 cm graphite on sugar paper

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21x14.5 cm graphite on sugar paper

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21x14.5 cm graphite on sugar paper

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21x14.5 cm graphite on sugar paper

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Crowdsourcing

Procedural Drama

Pause or Pay

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

I funerali non hanno discriminazioni

Lithography

Price: £150

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Le azioni hanno conseguenze

Oil on canvas 37cm*37cm

Price: £250

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Giorni di lavaggio in tempo di guerra

Oil on canvas 37cm*37cm

Price: £250

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Grande fuga

Oil on canvas 37cm*37cm

Price: £250

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La migliore camicetta M&S

Oil on canvas 37cm*37cm

Price: £250

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Encounter

mixed media, installation

Encounters

mixed media, installation

Encounters

mixed media, installation

Encounters

mixed media, installation

Traces

Acrylic paint and earth canvas, (123.1cmx 159.5cm) Off stretcher

Price: £850

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untitled

gouache on watercolour paper

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untitled

gouache on watercolour paper

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Conference Call

Oil on Canvas, 135cm x 175cm

untitled

Oil on Canvas, 135cm x 175 cm

untitled

Graphite on paper

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'Dissociate Triangle'

Digital painting, 2020.

'Untitled (Meditation)'

3D animation, 2020

Chemical Dissociation

59.4 x 84.1cm, Oil Pastel On Paper, 2018

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Under The Sun

150x210cm, Polychromos Pencil On Paper, 2018

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The Truth Is Stranger Than Fiction (Observe)Two-Part Series

240x150cm, Charcoal And Mixed Media On Paper, 2017

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The Truth Is Stranger Than Fiction (Reflected) Two-Part Series

150x240cm, Charcoal And Mixed Media On Paper, 2017

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Cold Magnet

240x150cm, Charcoal On Paper, 2018

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SING IT ON A FRIDAY (2020)

"Sing it on a Friday" is an auditory portrait of a group of people who come together each week to sing and be together. The sound installation aims to reflect back our experience of being part of it, an artefact of the ephemeral moments of the much-treasured rehearsal space. For this collaborative piece, Emma Brown and Lisa Fabian joined the Platform Singers community choir for several months. By closely working with the group as both participants and observers, this process attempted to prioritise and give value to the creativity and autonomy of the group. The soundscape consists of an assembly of fragments that are played in and out of synchronicity, on a six-channel sound installation. Being part of this warm group for an extended time allowed us to pick out the emotional experiences that moved and resonated with us most - the community, humour, harmony and relationships within the group. The installation mimics the welcoming space that is created by this gathering of voices in the warm rehearsal circle and aims to share it with the wider community.

Untitled (2019)

Here I am again, crouched, head down, fingers pushing out white putty into the tarmac, covering dulled greys of old chewing gum splotches with bright white porcelain that looks freshly chewed. People pass by, if they see me they verve round the dots that litter the hill. I’ve never known what it means, tracing these accidental decorations to the street. It feels the most natural place to be, kneeling in determination and red velvet, with strangers asking me what I’m doing. But that book was right. The street is the every day. The patch of land between the home and work and all those other places. I wonder if other people look down while walking, like I do. Perhaps I won’t be able to collect the imprints of the people like me, who cautiously place their feet upon the earth, avoiding any mess on hard concrete soles. I only capture traces of the people who haven’t noticed. The watchful go by unrecorded, too vigilant to leave a mark. I map out all these human-made marks on the street, visible and available to answer questions, I go back and remove the porcelain imprinted with unknown shoes and wheels, fire it all together in a big kiln until its hard and shiny and beautiful and chirrups when you hit it with a high fine singing note and then…

SUBWAY PIECE. SEVEN STOPS (2020)

Information notice displayed to the public: “There is a person in this carriage singing. We are making a film together. It’s about how you can sing at the top of your voice when the train is screeching loud and rumbly and nobody can hear you, not even the person sitting next to you. The video will be projected, sound loud and quiet, faces blurred, very small and very bright.”

THE LADY IN THE TUTTI FRUITY HAT! (2019 - 2020)

After working as a life model I started this project thinking about the politics of being drawn/ represented. In a series of life modeling performances I use a large prop fruit hat (a huge bobble hat, made from wool, in the style of a Carmen Miranda fruit hat; with grapes, pears, apples, oranges, kiwis, lemons, peaches, a honeydew melon and a watermelon) and a series of poses to explore how a female model presents herself, and how she is seen.

Bench

welded steel bench, painted & graffitied

Bench

welded steel bench, painted & graffitied

Bench

welded steel bench, painted & graffitied

Bench, a practical use

welded steel bench, painted, used

Bench, preliminary drawing

technical CAD drawing of bench

AIRMED I

clay figure (studio photo)

AIRMED I

clay figure details

AIRMED II

clay bust with floral crown

Price: £125

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AIRMED II

clay bust (exhibition photos)

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Lady Stirling-Maxwell (nee Norton Relief)

plaster relief of Caroline Norton for Pollok House Exhibiton

Price: £900

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Bloodletting

Leather, cast pewter, steel frame

Bloodletting

Leather, cast pewter, steel frame

Kitchen Cantilever 2020 1130 x 635 x 450 mm Formica, Steel, Paint, Wax.

Repurposing found street refuse, Kitchen Cantilever and Nothing Wrong Is With Me employ quotidian materials and processes in order to re-examine notions of utility. Submerged and camouflaged, these un-ostentatious forms serve to undermine the traditional fine art object, exploring concepts of value, identity and labour.

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Nothing Wrong Is With Me 2020 300 x 330 x 1750 mm Found Kitchen Cabinet, Skrim, Plaster, Pigment, Wax, Concrete, Steel, Paint.

Repurposing found street refuse, Kitchen Cantilever and Nothing Wrong Is With Me employ quotidian materials and processes in order to re-examine notions of utility. Submerged and camouflaged, these un-ostentatious forms serve to undermine the traditional fine art object, exploring concepts of value, identity and labour.

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Nothing Wrong Is With Me (Detail) 2020 300 x 330 x 1750 mm Found Kitchen Cabinet, Skrim, Plaster, Pigment, Wax, Concrete, Steel, Paint.

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Sections 2020 297 x 420 mm Graphite, Acrylic, Stone, Pastel, PVA, Ink.

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Sections 2020 297 x 420 mm Graphite, Acrylic, Stone, Pastel, PVA, Ink.

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Sertaline, Modafinil, Senna and a Coupla Jonnies Pal

(2020) (Video Installation, 6ft x 2ft)

This work exhibited in 'Cry and Laugh' in Glasgow Websters Theatre (former Lansdowne Parish Church) on 25th January 2020. Being in and out of relationships since I was 15, I adapted an emotional reliance on a partner to give me what I was avoiding to create for my self. The dimensions of this are of a telephone box; an abandoned communication portal I continuously salute as they represent the fragility and vulnerability of life. The titles of my work always act as a joke with a jab kinda coping mechanism.

Cheerio Lizzy, Thank You Alan

(2021) (Digital illustration)

The son of a civil servant, Alan Mathison Turing at the same age I am now (24) produced “On Computable Numbers” in 1936. He was a pioneer in the field of computer science; made several contributions to artificial intelligence and was awarded an OBE for his code-breaking work in WW2. Turing was also gay, and was treated appallingly as a result. In 1952 he was convicted of gross indecency for his relationship with a man. As an alternative to prison he was prescribed two years of ‘hormone therapy’. He died at the age of 41, this was recorded as a suicide. 59 years after his death he received royal pardon for the conviction. On 25th March it was announced that Turing will feature next on the £50 note.

EDI to GLA

A page taken from my sketchbook.

Talking Bollocks Mate

Collage

Price: ££800

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All illustrations are excerpts from THE LITTLE VULVA

Body Of the Vessel

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Body of the Vessel

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Body of the Vessel part two

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Relief

[Carved industrial pine, office chair and table.] GSA Y4 group exhibition, ‘It’s a Mess’.

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Relief

[Carved industrial pine, office chair and table.] GSA Y4 group exhibition, ‘It’s a Mess’.

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Relief

[Carved industrial pine, office chair and table.] GSA Y4 group exhibition, ‘It’s a Mess’.

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Relief

[Carved industrial pine, office chair and table.] GSA Y4 group exhibition, ‘It’s a Mess’.

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Ministrations

Pollok House, Glasgow. [Recycled pine wood]. Group Exhibition, ‘Call and Response’.

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An exhibition at Dornock Parish Church

Site specific installation including: stoneware letterstamped books, A5 gouache/watercolour paintings and a 40 inch monitor displaying a video

An exhibition at Dornock Parish Church

Site specific installation including: stoneware letterstamped books, A5 gouache/watercolour paintings and a 40 inch monitor displaying a video

Price: £30 per ceramic book

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An exhibition at Dornock Parish Church

Site specific installation including: stoneware letterstamped books, A5 gouache/watercolour paintings and a 40 inch monitor displaying a video

Price: £20 per painting

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These pews lie dormant

Illustration in watercolour and pencil of the exterior of Dornock church with tiny letterstamped poem

Price: £15

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These pews lie dormant

Illustration in pencil of Dornock church cemetry onlooking to the red lights of Anthorn Radio Station with poem letterstamped on top

Price: £15

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The Habitat Education and Restoration Agency (H.E.R.A.)

The Habitat Education and Restoration Agency (H.E.R.A.) draws attention to how our environment influences our behavioural habits and makes a statement that wellbeing and future thinking should no longer be a luxury. This speculative system is placed in a preferable future within an area between the urban and the rural, called the Sustainable Belt, dedicated to educating the population on sustainable and symbiotic living. The selection of artefacts makes up a personalised introductory kit for newcomers to the Sustainable Belt. In a tangible manner, it manifests the identity of the traveller and becomes a support mechanism throughout their stay.

With the move to a self-sufficient sustainable environment, H.E.R.A. aims to shift people’s understanding and relationships with their land. As a future vision of sustainable work practice on a micro and macro level, it puts the responsibility of creating a healthier landscape on each individual across society. This environmental structure could be implemented around every major city and would engage each citizen through an obligatory service, along with a possibility of gradually revisiting the compounds throughout their life. Through habitual practice, H.E.R.A. aims to strengthen and restore the lost connection to our landscape.

Driven to create an environmental heritage through rituals, I began drafting scenarios of a preferable future and asking 'what kind of world would we want to live in'? Critical discussions with sustainable development experts accentuated the fact that wellbeing and future thinking is a luxury that is not affordable for many, especially in the Global South. The aim of the project was to then make sustainable practice and knowledge accessible to all; ultimately making it a societal value.

At the developmental stage of the project, I have explored with various system mapping techniques to contextualise the proposal of the H.E.R.A. system. 3D pop up maps were an effective design tool for engaging and testing the user journey with the Sustainable Futures of Africa (SFA) network. By physically allowing experts to go through the matrix, they gradually explored how participants would transfer to the new environment, and have their profile run through Hera, an AI that then proposed suitable activities based on their skills, strengths and individualities.

By giving each citizen the chance to devote a stage of their lifetime to the Sustainable Belt, this government-funded organisation shows how an environmentally conscious mindset could spread across society. The project aims to equip and empower people to gain and grow their ecological knowledge and develop sustainable habitual behaviour that then can impact their local communities. The pictured H.E.R.A. application acts as a progress journal, archiving all data and materials gathered throughout the completed activities and workshops; acting as a memoir of the stay, with accessible expertise knowledge that participants can build on.

Plastic Community

I visited Eigg to research the ocean waste with the aim of empowering the community by finding value in the materials. The outcome is a service that gives the community the means of utilising the waste for their future needs. An example of this could be the potential for plastic to repair road surfaces impacted by significant erosion.

Plastic Community

My visit to Eigg and speaking with the islanders allowed me to clearly understand their wants, needs and fears. This enabled me to build a future map constructed from my research. The empowerment of the community was important to me, I wanted to give them the knowledge and enable them to find value in the marine plastic. A market space would allow the islanders with their future roles (for their future needs), or own individual needs to meet and exchange materials with other islanders, and they can make what they need to thrive as a community.

Plastic Community

I became closely acquainted with the islanders, their resourcefulness, the varied roles they take on, not only to survive but thrive. I got to understand their feelings towards the marine waste. From anger to fear, the islanders felt passionately. I wanted to turn this into an advantage for this rural community. I thought, what if I could create something that would allow them to know the material’s potential, and they could do it themselves, outside of mainland councils. Discovering each of the islanders have a ‘craft’ of their own, as well as other roles within the community. This drove my material testing to design materials around the islands future needs and therefore its future roles. Photographs from our trip shot by Charlotte Elcock, photographer, Communication Design @ GSA. Instagram: charlarts

Plastic Community

I collected a variety of marine plastic from Eigg, brought it back and tested the material’s potential. From my research however what was most important was empowering the community tackling the fears they had for the future. I wanted the materials to be capable of helping them in a large scale, their infrastructure for example. With future development the marine plastic could be used within agriculture – polytunnel’s for example to develop their crop yields and reduce imported goods.

Plastic Community

I created an initial model that shows 3 suggestions I have for material use. The model includes the market (front, centre), the waste shop (mid right) – which has the encyclopaedia as well as the machines and tools to mould the materials to their needs. The road shows how the marine waste could be used for road maintenance such as pot holes or to create a new road entirely. The houses (centre, left) indicate the other uses. Insulation from polystyrene and house tiles. My outcome was based on my research on Eigg, however Eigg acts as an exemplar community to inspire and educate other small, rural communities. Eigg resident, Hannah Morrison - “Our best work is education, especially in the school I myself remember being shocked going to high school and realizing that climate change education was not such a huge part of anyone else’s schooling.” More information can be found here.

Future Experiences - Renew your energy, resources, abilities together

Renew is an energy exchange service based within rural Africa in 2029. It is a tool for sharing resources and service in exchange for energy in order to give the community the power to create and manage their own equity circulating within their community. Whilst also promoting efficient use of your energy resources.

Renew's System Overview

Renew responds to the energy group’s future-based 2029 rural decentralised Malawian model village, TERRA. The TERRA community believes that energy should be freely accessible to all as it is fundamental for local productivity and progress. Here displays an overview of the renew system.

Expert Input

By working closely with experts within varied fields linked to sustainable development, my group and I examined the future possibilities for the use of energy: primarily within the global South. Renew acts upon our group’s vision for any new technologies to be introduced they must be integrating well within the community and promote a resourceful community philosophy to reduce waste.

Concept Development

I explored how Renew might be integrated into the community by generating possible community personas. Candis for example runs her own business at home and the amount of energy she needs fluctuates depending on how busy she gets. Grace however is retired and spends most of her time in the community garden. Here is an opportunity for an exchange that Renew will help you be made aware of. These paper prototypes were exploring how Renew might act as this visual queue through movement and form.

Community Impact

work : Renew helps you track and detect your excess home energy levels by visually indicating these to you and your neighbours, creating a new form of currency within the community and promoting self sustaining lifestyles.

Self-Initiated Project - 'Urban Memorial'

“An accessible multimedia motion chair to enable the remembering of deceased loved ones through creative, immersive engagement in mementos and other kinds of remains”

Self-Initiated Project - 'Urban Memorial'

For city-dwelling people who want to remember their loved ones, but find it difficult to access both the specific memorial site (such as a grave, especially if it’s overseas) and even any peaceful reflective local space that suits their needs within their own busy city. This person wants to have a richer reflective experience concerning their departed loved ones that contrasts with the daily distractions of the city.

Self-Initiated Project - 'Urban Memorial'

Contemporary life is becoming increasingly urban - more people are living in cities and their lives are increasingly busy making it difficult to make space for traditional acts of remembrance - especially when these acts require traveling great distances out of the city. Yet there is still a need to deal with emotional and rational responses to death - not just in one moment (often at the point of internment), but as a regular aspect of daily life.

Self-Initiated Project - 'Urban Memorial'

There are currently important city-based sites that function as places where the living and the dead can be brought into healthy proximity. However, such places require a large amount of inner-city space - is unlikely to be preserved in the future as city populations expand and cities themselves become more densely populated. Indeed, space is already becoming an issue for the nonliving: graveyards themselves are becoming full and there will be insufficient land in which to bury the dead. Moreover, how we live now is very different to the days in which traditional burial and remembrance practices were created.

Self-Initiated Project - Drawings

People are more internationally mobile - moving across the world to study and work and becoming less physically attached to their traditional home regions, often consolidating their movements to urban centers. This presents a designable moment: how might a product serve these mobile people in ways that static, singular memorial sites (such as graves) do not? People are more time-limited, which curtails their ability to make long journeys to these static sites. Nevertheless, people still have the desire and need to connect in some way with these sites. This presents another designable moment: how can we preserve the deeply affecting aspects of time-consuming pilgrimage for increasingly time-limited people?

Self initiated Project-Modern Meanings

Modern meanings is a research project that involves analysing forms of understanding and personal meaning through online platforms and develop a new experience that enhances the sense of collectivity and oneness. It conceptualises a platform for people who are on a path of self discovery online, aimed at connecting people within local communities who are also in search for meaning and wish to engage in productive meaningful conversations. There is a growing desire to seek new truths on the internet, and many generations are being brought up with this being a key factor in the development of their personal identity. However it is clear that with this, is the importance to provide guidance and community relationships to ensure they are not alienated from their physical community, a feature in society that is crucial to maintain. This is a video highlighting my focus in the project, various “internet evangelists” who grew very popular in the recent decade became a point of inspiration. To try understand what people seek when they watch these videos.

Researching Spirituality and personal meanings around a spectrum of individuals, I identified different mechanisms, phrases and objects that often are associated with the spiritual, allowing me to define its characteristics.

Self Initiated Project: Modern Meanings

Exploring spirituality in western society (Glasgow) through its systems, culture, Experimental influences and the Environment, as well as assessing my bias on the topic.

Future Experiences - Musi Co.

Musi Co. is a brand that connects people through creative waste management. Cultivating relationships between communities, individuals, and nature across the world by channelling art and music as represented in the logo. Leading to inspiring stories that bring people together through a collective effort; the concept of recycling generates a force for change in communities and around the globe.

Subscribe for Connectivity

Musi Co. teaches people to treasure the waste that engulfs our urban environments, as a subscription service it spreads culture and worth. Users receive access to playlists of music jams online. Musi Co. subscribers receive a portable device pod that allows them the opportunity to record their own sounds from waste and send them to be mixed. Users save their favourite tunes on the pod to listen on the go.

Future of Opportunities

The service creates various opportunities for employment, as people are needed to gather materials, build the instruments, manage subscribers, and oversee the service’s operation. Participants in the Global South collect useful waste materials work and craft to construct and convert these into unique musical instruments from the recycled materials. Producing music with these instruments have a direct stake in reducing waste and reusing discarded materials while influencing future solid waste management habits and practices.

Making a Change

A main value of my project was to connect people from around the world. I focused on mutual connections with the aim to create reciprocal relationships. Meanwhile it was important to harness value of culture, sustainability, and resourcefulness. The cycle of Musi Co. offers opportunities and job roles at each stage of the service.

One Man`s Trash...

This sharing of music with members in different countries creates a global network united by a passion for music and a desire to create culture from waste. “The message of this experiment touched me because of the empowering effect a group can have on individuals and communities through their innovative and creative use of discarded objects.” Vanessa

Future Experiences Project: 'CultivAid'

CultivAid is a system that uses digital technology to support and encourage indigenous farming methods. It promotes the sharing of knowledge and advice between farmers around the world to provide a support network within the agricultural industry, helping to face challenges posed by climate change. The project was inspired by challenges faced by farmers in rural Malawi

CultivAid': Agriculture and Climate Change

Based in Malawi, Africa, my project focussed on the transfer of energy between farmer and land in Agriculture through the lens of progressive Climate Change. Africa is more vulnerable than any other continent to the continually changing weather patterns and is predicted to see some of the most drastic impacts of Climate Change. 70% of people in Africa earn their income from farming, however increased variable weather conditions will leave their livelihoods vulnerable.

'CultivAid': Building Resilience

From my research and discussions with members of Sustainable Futures Africa, I gathered that there was an opportunity to learn from local knowledge as it is more accessible, often requiring little to no equipment, and often equally as effective as modern technology. This would make it easier for farmers around the world to adopt to become more climate resilient. Following this I was inspired to design a system to harness local knowledge to share with farmers experiencing different climates globally whilst providing data driven advice.

'CultivAid':Combining Senses and Sensors

I wanted to integrate the technology, providing accurate soil and weather analysis and advice, into the choreography of checking the soil and weather conditions. I made a series of wearable prototypes out of found objects to explore how the sensors and a feedback system could become part of a ritual.

'CultivAid': A Richer Connection

The CultivAid system helps farmers assess important factors affecting growth of crops such as soil conditions and climactic events in response to challenges posed by abnormal environmental conditions resulting from the Earth’s changing climate. Through enriching the connection between farmer and land by promoting indigenous farming methods, the senses are correlated and adjustments can be made.

Future Experiences Project - The Usual Place

The Usual Place is a framework of three core beliefs: ‘pride of place and tradition, cultural mobility in sound, and a committed and connected community’. The result is a community of music makers and consumers who identify with, and can be identified by, the special symbol and who can share culturally relevant beliefs to breed future-orientated thinking from within. This community can manifest in a number of ways depending on the socio-economic circumstances of place, including as an app to tie the community together and a physical-format music exchange.

The Usual Place - Context

In the coming ten years, trends indicate that record labels will become obsolete and the creation of music will come second to the advertising of products by musicians in order to make money. Large conglomerates will fuel this and act as the new music facilitators, thus muting cultures and dragging unsustainable notions of development bred in the Global North to the Global South in the wave of globalisation. Drivers of local culture, and change, including the youth, can identify with The Usual Place as a motion for rebellion. Something to hold on to, to preserve locality and tradition in the face of unsustainable growth.

The Usual Place - Insight

The brief laid bare a unique challenge in understanding my place as the designer who is being asked to design for sustainable roles for the Global South. Aware of avoiding ‘colonial’ approaches, I identified early-on during expert input sessions that it is key to encourage development from within communities in the Global South in order for fresh, relevant future-building approaches to arise.

The Usual Place - Process

I explored my work, especially in the early exploration and development stages of the project, through heavy use of sketch books. I find that this 2D visual format allows for me to document my thinking quickly and articulately. I can then use this as the basis for more refined visual communication of ideas, as a prompt for conversation with peers and tutors, and as a diary insight into my design approach.

The Usual Place - Value

The Usual Place has the capacity to evolve into a global community of like-minded groups who use music as a vehicle to allow cultures and traditions to drive change, instead of being carried along by the wave of globalisation. This change, as implied by the different iterations of the recognisable icon, would be tailored to the place in which it sits. This tailored change is more likely to be sustainable and innovative, unique to place and local problems, but supported by a wider network around the world.

Future Aberdreams Documentary Trailer

Aberdeen is changing. This project questions not just how this will impact people and how people will adapt, but what peoples’ dreams and aspirations are for their future of working in the Aberdeen region. The project aim is to co-create positive future visions of work in the Aberdeen region to focus and inform future investment and innovation. The documentary trailer features the voices of Lord Provost Barney Crockett and Maggie McGinlay, Deputy Chief Executive of Opportunity North East.

Mapping Aberdeen

Renowned for the entrepreneurial mindset and international outlook of the local people, the Aberdeen region is rich in both human and natural resources, that are supported by investment in infrastructural resources for the region in sectors such as education, transport, tourism and culture.

Expert Stakeholder Engagement

Engaging with expert stakeholders is a key part of the project’s design research methodology. Pictured is the Lord Provost of Aberdeen, Barney Crockett whose cultural insights have informed the project.

Future Aberdreams Landscape

Co-creation workshops were designed alongside a set of physical and experiential tools to make the emergent phenomena and future work landscape of Aberdeen tangible. The workshops aim to engage citizens and stakeholders in the question of future economic opportunities in Aberdeen and allow citizens to explore their future career ambitions within the region’s future landscape of work. Using these tools, and workshop insights, we can facilitate debate between decision-makers and citizens and begin to discuss our preferred future scenarios for the region, and ultimately roadmap how we might get there.

My Future CV, 2030

The Future CV artefact is a designed tool to allow workshop participants to begin to consider their future careers in a changing Aberdeen, and what kind of skills they may need to develop.

Future Experiences - Plastibank and The Exchange Machine

Plastibank’s mission is to empower individuals and communities that have been victims of plastic pollution. Plastibank’s product The Exchange Machine allows users to participate in a material stock market where they can deposit their plastic waste and receive financial credit in return.

Plastibank - The Global South

Plastic pollution is rife throughout the Global South. It has become the Global North’s dumping ground. Communities have become landfill sites where both people and environment suffer. Currently there are many countries and villages extracting valuable materials from these landfill sites however, at great cost to their health and of the surrounding environment due to the toxic fumes encountered when excavating these materials. Furthermore, the individuals involved in the removal of materials are exploited as they are paid a miniscule amount when they deposit their collection to material suppliers.

Plastibank - Redefining Economics

This quote by Dr Mia Perry co-director of the Sustainable Futures in Africa (SFA) set the tone for the entire project. Given that my domain to design for was ‘Economies’ it was an appropriate statement to act as the catalyst for this project. It inspired me to seek alternative currencies and to disrupt the idea that a nation’s value is solely based on Gross Domestic Product.

Plastibank - Presenting at the Work In Progress Show

Presenting my concept in a Work In Progress exhibition, at the Lighthouse gallery in Glasgow, allowed me to gain further insight and feedback from our partners at the Sustainable Futures in Africa, as well as friends, family and the general public. Presenting the project in this format allowed it to be viewed and treated as a design proposition rather than a response to an academic brief.

Plastibank - The Impact of Plastibank

Plastibank is the stepping stone for generational change. It is more than just a brand, it is a new sustainable way of living. Recycling waste material was uncommon and seen as unimportant in many developing nations but that has changed. Plastibank is a new economic system that financially rewards users for collecting plastic waste, which can then be reused to limit the amount of natural resources being transformed into virgin plastic. Finally, Plastibank allows for the creation of new sustainable jobs that benefit the community and the world.

Nine

This is an audio and visual exploration of the urban landscape. It processes street culture, skateboarding and music through a psychedelic lens, and opens up an alternative look into the city. repurposing spaces to bring people together across the asphalt jungle

Dust Binaural

surround(binaural) radio drama where I have created my own sound design to give the audience a spatially enhanced listening experience to draw them closer to the action.

My Brain and Me

is a 360 film based from my personal experience what it is like to have dyspraxia. The film immerses the audience in a world where voices and strange drone-like sounds move back and forth between the foreground and the background layered to give the listener/viewer a subjective perspective of my inner voice.

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The Real St Peters Seminary

Film Documentary detailing the rise and fall of a grade A listed building in Scotland

Tranquility & Disruption

This short film assignment was my first experience making a film with entirely original content. Within this piece I explore the diversity of the out door world, looking at Scotland and the industrial City of Glasgow. I wanted to draw attention to the 2 different worlds we live in; experimenting with tension and surprise in order to emphasise the contrast between the natural and the manmade. Blending progressive sounds, field recordings and harmonic tones, I attempted to compliment the rushes of the vast landscapes; slowing time and creating space for contemplation. This is disrupted by the glitchy scenes of the city, where industrial noises intensify the lights and brutal architecture.

Bosco Regina

"Bosco Regina" is a portrait of a man and his dogs as they hunt for the ultimate prize, the woodcock - also known as the queen of the forest. This visually spectacular documentary is a meditation on the coexistence of predator and prey and the beauty to be found between the lines of pursuit and action. It is a peaceful film about hunting, where the only shots fired are from a camera. Sean directed, filmed, edited and wrote voiceover and music for the film.

Not To Need You

“Not To Need You”, by Scottish act Dancing on Tables, is an example of Sean’s innovative and ambitious approach to filmmaking. The video was filmed in a single continuous take to help capture the songs building tension, and complex choreography was used to achieve the impression that the band were disappearing and reappearing, meant to visually represent the themes of loss and separation explored within the song. Sean directed, filmed and edited the video, with the help of a single assistant on the day to ensure he didn’t fall over when walking backwards.

Showreel

This showreel features work which has all been filmed and edited by Sean De Francesco between 2019-20. The musical accompaniment “Breaking Or Broken (Instrumental)” was composed by Sean as part of the band Moonlight Zoo.

Filming "Bosco Regina"

Taken during the filming of "Bosco Regina", which was shot entirely with a Sony a6300 + kit lens, mounted on an electronic gimbal.

Filming at the SSE Hydro

Scotlands Not So Secret Places

This is a short documentary I created about a well-known visually pleasing and picturesque site called Finnich Glen, otherwise known as The Devil's Pulpit. Located in the beautiful and scenic town of Stirling, The Devil's Pulpit is a popular site which is visited frequently by locals and those travelling far and wide. I wanted to create this documentary to not only highlight the beauty of the land, but to introduce some stories and background that is woven into the water and rocks that lay home to it. I really enjoyed creating this documentary as it was my first try at camera work and using Final Cut Pro X which were both new skills for me to learn. Some advice if you're going to visit - be careful!

Scotlands Not So Secret Places

An image taken at the bottom of the rocky and dangerous steps that lead down to the heart of The Devil's Pulpit.

Experimental, Situational, Phenomenal

This is a short documentary that was created by myself and my classmate Lucius about the Light and Space Art Movement. This was in interesting yet difficult documentary to create as there was little to no archived footage which meant it had to consist mostly of stills. However, we had some help from artists who we got in touch with such as Olafur Eliasson and an independent light show team called Squidsoup who allowed us to use some of their images and videos which was very kind of them. All of this teamed up with the relaxing soundtrack created by Lucius and an illustrative and informative voice over created by myself allowed us to produce this piece that we are both proud of. The most interesting part about creating this documentary was strangely all of the research. It was amazing to explore an art movement that neither myself or Lucius were familiar with and we enjoyed the plethora of unique art work that we found. Most of the pieces that we found impactful were added to the documentary, but sadly there were just too many to include them all.

Great Animal Orchestra by the United Visual Artists used in Experimental, Situational, Phenomenal.

This is an image by the United Visual Artists that was used in our film. used in Experimental, Situational, Phenomenal. All copyright goes to original artist.

Cube Audio Implementation Demo

This piece is included to demonstrate my experience using the game audio middleware ‘Wwise’, using its in-built demo game ‘Cube’. This type of software is designed to enable sound designers to implement audio in an interactive environment, while still having access to some of the tools and the familiarity of a traditional digital audio workstation. Using a combination of synthesis, Foley recording and sound FX libraries, I began accumulating sound assets that I felt suited the visual appearance of the game, that being a retro, low-res form. Once I had sourced and/or recorded the required sounds, I arranged and assigned them to create an interactive soundscape within the framework of Wwise. There are some issues caused by audio triggers from the game itself, namely the speed of footsteps and the type of underfoot surfaces, but despite this I am happy with the progress of this piece, and it has served as an invaluable learning exercise into the process of implementing sound in games.

Meta

This piece was inspired by the Franz Kafka novella ‘The Metamorphosis’, a story in which the main character, Gregor Samsa, awakens in his bed to discover that he has transformed into a giant insect. The story conveys a number of thematic messages, including those of isolation, disease and alienation. It can be read as a comment on the fragility of the mind and body, with emphasis given to the description of Gregor’s transformed state and the effect it has on him. For this work I produced and combined sound and visual imagery to represent the opening scene of the story, when Gregor awakens to the melancholy-inducing sound of rain on his window, before slowly realising what has happened to him. In this piece my primary aim was to create and use sound to convey Gregor’s shifting emotions, gradually moving from a subdued, melancholic state to one of dawning panic and horror. The visuals are intended to supplement these emotional connotations, while also helping to enhance the impression of claustrophobia and isolation.

Dada Is Everywhere

A short documentary about the Dada art movement. This film recounts the beginnings and later influences of the early 20th century European art movement. The film contains interviews, sound design and original music that pays homage to the movement itself.

A Story In Statues

Having documented heavily the extent of the street art scene in Europe. I began to create a series of posters showing a collage of street art and using statues I found in Europe as the focal point in each piece, I chose to create very raw images while juxtaposing them against the statue of Sir Stamford Raffles as a representation of Singapore and it’s street art scene.

A Story In Statues

Sterile Singapore

A Story In Statues

The statues

A Story In Statues

"Swee" in Hokkien is an adjective to describe something or a situation is "beautiful".

Skins Magazine

Created a magazine labelled 'Skins" highlighting the hobby of taxidermy and the importance of preserving our animals especially if they happen to go extinct

House of Gentlemen

Tasked with melding the legacy of an author of highbrow status with a regular street shop, the House of Gentlemen sees renowned Scottish novelist, Sir Walter Scott’s legacy reintepreted in a socially conscious nail bar for men. A sartorial take on traditional and contemporary standards of chivalry (an occurring theme in many of Scott’s works), House of Gentlemen lets men get their nails primed to help the ladies with the door whilst contributing to society.

Nawwwledge

Take a logical no-nonsense subject and give it some mind-boggling, non- linear thought. Nawwwledge does so by relating intelligent yet often dull topics to situations and deliberations of millennial life. For this issue, the rules of cricket is used as a metaphor for life experienced by millennials. It is a sublimely educational and highly relatable read.

Your fate in my hands

Motivated by my long-standing struggle with procrastination, I went on a quest to uncover the source of this conundrum and the cure to end it all. This poem book is the result of an introspective research process, expressing what goes on through the mind of a procrastinator and how I cope with it. It is meant to evoke a sense of familiarity and solidarity in its readers and to show them that they aren’t alone in this fight.

Your fate in my hands

The poem book can be read as a two-page spread and/or unfurled into an accordion piece.

Phil&Sophie

A self initiated project with the aim of simplifying philosophy for the interested laymen, as the complexity of existing materials are too intimidating for those interested to embark on their philosophical journey. Phil&Sophie aims to help the audience understand key concepts of various philosophical schools of thought, and prompt them to start questioning things around them on a deeper level. The zines are on a subscription based model, with multiple issues that explores an overarching theme each volume, with the art direction changing in each issue.

Phil&Sophie

The focus of the third issue is an examination of the Stoics’ views on the poisonous nature of complaining and the importance of rejoicing in what is. The art direction focuses on visual metaphors and a cut and paste scrapbook aesthetic that reeks of unprofessionalism. The printed copy will be filled with flaws and various printing errors, tempting consumers who expect perfect products to complain about it. However, the point will be for them to practice not complaining.

Magazine (re-used)

re-used magazine is a biannual publication that looks into the various issues and topics pertaining to the world of freeganism. Offering analysis and in depth discussions on the latest happenings relating to the freegan community, re-used magazine aims to spark conversations that will change your life. To prevent excessive consumption, there are only limited copies of the magazine, readers are encouraged to pass it on to another reader.

Magazine (re-used)

In the pilot issue, the topic is dumpster diving, arguably the best known practice of Freegans. Stories of various individuals that have something to do with the act of dumpster diving were included too. The magazine is mainly typeset in Ryman Eco, a sustainable free font which uses less ink than standard fonts. Printed on FSC-Certified recycled papers, re-used embodies the spirit of freeganism within its design and editorial decisions.

Get Lost

Often we become too focused on getting to our destination that we've forgotten the joy of being lost in the foreign paths and scenery. I had the opportunity to experience that excitement once again in Glasgow and designed a maze with no starting or ending point, allowing the ball to roam around the maze aimlessly with the map coordinates of the places I was lost in along the walls of the maze.

You Deserve Better

We are in a toxic relationship with plastics. The more we love it, the more it’ll hurt us, and yet we keep coming for more. This campaign aims to reduce the use of plastic bags through realising the love-hate relationship between us.

Celestien

In the year 2090, space travelling technology is advanced enough for everyday people outside of the 1% to travel to Mars and Moon for outdoor recreational purposes such as hiking and skiing. As the first space tour agency for recreational activities, Celestien believes that when humans get to enjoy space for leisure, we will truly be a species beyond Earth, becoming one with the celestial.

Celestien

In the year 2090, space travelling technology is advanced enough for everyday people outside of the 1% to travel to Mars and Moon for outdoor recreational purposes such as hiking and skiing. As the first space tour agency for recreational activities, Celestien believes that when humans get to enjoy space for leisure, we will truly be a species beyond Earth, becoming one with the celestial.

Civilization Typography - Creating a writing system in a pandemic

Are we prepared when a pandemic is no longer containable? A dystopian writing system of a re imagined future that mirrors the present we live today, The Dead Counter’s Medical Journal portrays a world where infection and diseases are rampant and a cure is non-existent. With medical staff being shorthanded , an entirely new writing system is needed to teach new medical residents at rapid pace. Amalgamating ancient medical symbolism, prefixes and futuristic code, medicine has never been more crucial.

“Everything is fine.”

What you consume, consumes you. Plastic has become essential that one cannot live without. Awareness of plastic pollution has been ongoing for years highlighting the negative impacts and urgency for eco life and us. Disturbing visuals has been the approach to trigger and change consumer habits however, are we changing our ways? Overexposure to such visuals could perhaps cause people to be desensitized with this whole plastic situation. Thus, this campaign features a series of posters addressing the problem with a twist. A joyful vibe in contrast with hints of black humour to make people rethink their actions towards the consumption of plastic by using marine life. The aim of using marine life ties in with the consumption of seafood. Research has shown that Singapore consumes seafood above average and reliance on plastic should be reconsidered, encouraging them to change their lifestyle habits. *For this project, images are taken online in the creation of these posters.

“Everything is fine.”

Ideation and process.

Good Citizen: Simi Lang Are You?

When it comes to the concept of preservation, language is a factor in consideration. Bilingualism being the utmost importance for self and economy questions our act of preservation. Following the act as a result of convenience, it has been an act of exclusion rather than inclusion. The effects of past campaign efforts are seen with a decrease in dialect communication in current younger generation. Language barriers can be inevitable with an increasing aging population down the road. This publication aims to question people in rethinking how we learn languages. Understanding and connecting on a more interpersonal level the inclusivity language plays a part in and preserving it for our future generation.

Good Citizen: Simi Lang Are You?

Good Citizen: Simi Lang Are You?

Sweet of The Forgetfulness

A story about a boy and his mysterious encounter with a MAMA Shop in Singapore, that give him a chance to reset his life. This project deals with discontentment we have in our daily life, always never satisfied with the life have, instead we are always searching for that reset button in life.

EVERYTHING IS LOVE

This is an alphabet book about a love that was really something and not just the idea of something. Reimagining Bonnie and Clyde relationship in the 21th century.

EVERYTHING IS LOVE

This is an alphabet book about a love that was really something and not just the idea of something. Reimagining Bonnie and Clyde relationship in the 21th century.

RE:Singapore

Little Red Dot, known as home for majority of the Singaporeans ; whom many assume had explore and seen everything but not yet literally everything to this date. In these series of photographs which depicts the interior, artefact and the women of Imperial Harem ( hou gong ) serves the purpose of leading back in time through the Thow Kwang Pottery Jungle which is also known for its famous Dragon Kiln. Delving back into the Imperial Harem of the Qing Dynasty where the Emperor, Empresses, Consorts and Concubines live. Many of these women who were at the age between 13-17 years old when they married the Emperor of China. Thus with this little collection and series of photographs it serves a meaning deeper to know that there’s after all light and hope to explore further and leave no stone unturned.

John Berger's Ways of Seeing – Voyeurism

By understanding sex and shifting the perspective of the woman’s role in society, this can help lower the rates of sexual assault, voyeurism and misogynistic tendencies.

OOH+ Sexuality Education

A non-profit organisation that delivers sex education that actually benefits, counsels & provides assistance to the young people of our society. Singapore’s sex education curriculum is not equipped to address and educate our young people, which makes them vulnerable.

OOH+ Sexuality Education

As teenagers are becoming more tech-savvy, they are exposed to unfiltered sex content which poses a high risk of early sexual relations and abuse of pornography.

Trailing Type

Using pen & ink calligraphy to explore typography over human body forms

The Plastic Problem

Plastic bags are portrayed sexually to create the image that sea creatures are getting choked without consent, consequently losing their lives. This project is catered to young adults, encouraging them to switch to a plastic alternative, Solubag, which is packaged like a condom.

This work may contain graphic imagery, Click to toggle blur.

The Plastic Problem

This work may contain graphic imagery, Click to toggle blur.

The Plastic Problem

This work may contain graphic imagery, Click to toggle blur.

72 Virgins: Terrorist’s Digest

This is satirical digest showcasing the dos and don’ts of terrorism. It is curated specially for someone who is a terrorist, or wants to be one. In this digest, there is a showcase of how race can be a deterrent from you achieving the title of being the most successful terrorist. I also chose to poke fun at how they brainstorm certain ways to make terrorism become “socially acceptable”.

This work may contain graphic imagery, Click to toggle blur.

72 Virgins: Terrorist’s Digest

This work may contain graphic imagery, Click to toggle blur.

Humanity Washed Ashore.

A civilisation forced to abandon their home by the government and to seek asylum elsewhere. Hundreds of Rohingya refugees who are attempting to escape desperate conditions in their hometown remain stuck at sea. Even in these desperate times, the refugees' entry is being denied in countries. While some refugees are able to make it onto land, unfortunately, many wash ashore. 'Sarnar' is a typeface designed around the idea of micro-expressionism around the eye area. It is a typeface that translates human expressions into a semiotic. The semiotics are constructed and layered to compound meaning, just as how we learn to read expressions and emotions. The typeface, 'Sarnar', is designed to raise awareness of the plight and sufferings of the refugees stuck in the sea. Emotion is an innate human language. Governments tend to lack empathy in favour of economic and political gain. This seemingly abstract typeface is designed to elicit emotional response & encourage emotional decoding to understand the conditions these refugees are going through, in hopes of stirring up empathy from people.

Humanity Washed Ashore.

Guidebook.

Humanity Washed Ashore.

Artefact of communication.

Humanity Washed Ashore.

Artefact of communication.

Humanity Washed Ashore.

Overview

Comfort Zone

Comfort Zone is a project that aims to improve the standards of gathering spaces. By looking at the liveability of an interior space through the users’ comfort and the overall spatial layout, a design intervention would be developed. Proposed design would then be applied to three sites with different typologies, and this aims to maximise the user experience of such spaces.

Recurring Language

The design language of ‘Steps’ has been identified to be a suitable design element that can evoke a sense of comfort in interior spaces. It does so by introducing the idea of ‘Versatility’ into the users’ experience. This element was then incorporated into the design interventions throughout each of the three sites, serving as a connection that links the seemingly different proposals together.

Don't Tell Me How To Study

Don’t Tell Me How To Study is a library project that aims to break the studying conventions of a library space. Proposed at Jurong Regional Library, the project focuses on promoting ‘Physical Comfort’ through the intervention of a steps design which creates a versatile study space, and ‘Visual Comfort’ with the incorporation of a uniform design language throughout the whole site.

Don't Tell Me How To Study

All forms of structural elements such as walls and doors on the site are removed, resulting in the steps intervention spanning across the library. Different spaces such as walking paths and areas to read books are thus all integrated and taking place at the same area.

Don't Tell Me How To Study

The stairs intervention is a safe design that, while appropriate for a library reading area, seems to be too ‘sensible’ aesthetically. A dose of ‘fun’ in the form of box features was thus added into the otherwise boring space. While they stand out, these box features are still in keeping with the sense of uniformity created by the ‘steps’ intervention.

From entertainment to salvation, the former Venus Theatre in Singapore

In 1983, the Venus theatre in Singapore’s west went through a metamorphosis by adaptive reuse after the cinema suffered economically. In 1985, the Church of Our Saviour became its new occupant. Today, the church continues to operate in the community, struggling to stay relevant. This project aims to create a greater connection to the community through a multi functional, therapeutic space bringing people together whilst being relevant to the current context.

Breathe

This collage shows how the project proposes to open up the enclosed space, bringing people together and breathing new life into an old building. The site happens to be strategically located along the Queenstown MRT and Queenstown Secondary School. Because of its favourable location, the church adapted the space to fit the needs of the youth who can use the site’s facilities for quick foosball games, water break, resting spot and meeting point. However, the main church auditorium remains untouched during the weekdays making this space underutilised.

Model Exploration

With a desire to open up the enclosed space, model explorations have been undertaken to break the buidling’s rigidity by adding alternate circulation, playing with volume height and width, yet celebrating the original structure, and taking both its interior and exterior activities into consideration. Some of Singapore’s buildings seem greatly influenced by Le Corbusier’s modernist, 1960s practice, especially his “Five points of architecture”. In the case of the Church of Our Saviour pilotis act as a primary support of the building.

Redefining the Church

While adaptive reuse gives a space new purpose, the church community was forced to dwell in a building that was not originally meant for its use. This photo montage hopes to represent how a church hall could look- drawing individuals into the holiness of God through considerations of form, materiality, zoning, light and shadow.

Forms, Light and Shadow

Martin Luther gave birth to the reformation and protestantism, changing Christianity through a rejection of ornamentation, the legacy of empire and majestic socio-spatial power. These model explorations look at the influence that materiality and light can have on atmospheres that may draw individual to sacredness. Taking influence from monolithic architecture where buildings were carved from a single piece of material, these models try to replicate a similar raw, intimate dwelling space.

Urban Mobility in Singapore

It seems that vehicles take precedence and acquire privileges in the form of transportation in Singapore. However, a far more affordable and environmentally friendly mode of transport like bicycles and PMDs has insufficient opportunities and relevance in our country. Singapore is still lacking in offering traveling alternatives for car-less commuters other than its existing high standard of public transport.

Urban Mobility Devices

Over the years, bicycles, PMDs (personal mobility devices) and e-scooters have been a new mode of transportation for a handful of individuals in Singapore. It does not merely serve as a form of transportation but also as an important asset for some users to perform their daily jobs. However, pedestrians are anxious and unpleased as how these devices cause public alarm over the risk that it put to others.

Reactions From The PMD Ban

A large number of individuals were upset after being informed of the PMD ban on shared pathways in Singapore. It seems that these users are not given the rights and access in moving around the city freely. Besides, there are plenty of solutions that can be executed to facilitate them. Thus, banning of the PMDs is not a final resolution.

Collage of Site Settings

Collage of different site settings – hawker centre, market, MRT station and cinema.

Diagram of Hawker Centre

Diagram of inhabitation – hawker centre

HOME, TOO

Location: Interior design studio @ SIT, TP. When i first spoke to a group of migrant construction workers, it sparked off the idea of wanting to find out more about how one feels a sense of homeliness and how do one build their own home away from home. In his book titled "HOME: A SHORT HISTORY OF AN IDEA", Rybczynski compares the sense of homeliness to an onion. Onions are simple on the outside but complex on the inside, like homeliness, when dissected - it just does not make any sense and it cannot be measured. Anyone can recognise the sense of homeliness but have troubles explaining why they like it. However, he states that the Onion theory of comfort (domestic comfort) is essentially about convenience, efficiency, leisure, ease, pleasure, domesticity, intimacy and privacy. As my first project, i would want to find out how do one create a sense of home in the most minimal amount of space away from home. Everyone has a certain sense of attachment to a certain place, as for me, I decided to use my school's studio as my chosen site. The studio is where students spend most of their day there (design intervention can be used in offices and classrooms also) and my design intervention draws inspiration from our very own bedroom spaces. The way how i approached my intervention is based on these 4 main pointers: 1. the different degrees of private/ public spaces 2. the control over your own boundaries 3. the flexibility of space for interaction between people 4. the need for personalization of objects.This table shows the exploration of new materials in co-relation to the modules proposed.

HOME, TOO

In due respect to the current layout of the studio and not break the openness, I did a minor addition to the existing space. I implemented a grid ceiling that holds several elements in which the user can pull down/ take out to configure their own desired space and outcome. This current view shows the plastic netting (made out of deconstructed ziplock bags) acting as a form of partition when pulled down, hence the user can configure it based on their preferred privacy level.

HOME, TOO

The modular blocks are made out of material scraps found around the studio, all wrapped up inside a sewn-together ziplock bag. These blocks can be used however the user prefers - lying down, sitting, leaning, etc.

PLASTEAC

Location: Tekka centre Ultimately, to build the essence of home is about the people and I personally feel the need for not only the Migrant Workers, but also our own locals to not chase the papers but build communities instead. . I drew a parallel of our very own living and dining room where our families commune. Hence, I decided to use Tekka Market as my site as it is a public commune space. Having their vision as the "People’s Market" and a wide variety of audience, it made a good touch point to promote it as a space for interaction and communing there. Also,Tekka Market is home to the Migrant Workers during Sundays. My design intervention and program intends to push optimisation and promote this movement where we make use of things around us to build our own homes anywhere as a community. As there are several tea shops in the vicinity, I have chosen to promote tea culture into the space as tea is a common multi-cultural element and a good catalyst for conversation starters. The scattered layout contrasts with the traditional linear layout so as to give a sense of adventure to the patrons in the space to go around and attend different tea related workshops and source for the different flowers and herbs available for tea blending.

PLASTEAC

Plastic crates are readily available in the wet market and hawker centre. Inspired by the stacking of crates in the existing space, this terrain is where people can enjoy a different dining experience as compared to the original hawker seating. Patrons can also forage from the hanging down plants and from the crates.

Adjacent Play Space

This project explores ways to bring about playfulness in adults; to relieve stress relief, develop social skills, to allow for relaxation and to provide “escapism”. The installation is located in front of Ocean Financial Centre and is open to use for all who are passing-by. Enhancing their experience on what they deem as escapism / leisure in Raffles Place is key rather than physical play.

Adjacent Play Space

My models made were inspired by Bruno Munari’s geometrical shapes and Alexander Calder’s theory of the relation between things, to create “private-ness” as most adults there are comfortable being in their own zones like using their phones, talking to friends and looking around. Iteration one consists of most models but seem too enclosed. While visual play is being explored, play in this project is about embracing “private-ness” in the open space.

Adjacent Play Space

The proposed design works around existing circulation with visual play, movement, and interaction. Having natural lighting, there can be a play of colours that will reflect on the ground. The shapes hanging is an interactive installation, allowing to be pulled down or rotated while able for one to sit on it. This might make one feel more comfortable if they want to have a certain private physical boundary.

Retail Play

“Retail Play” This project leverages on the activeness in teenagers to create an interactive experience with the displayed products. Located in 313 Somerset, Level 1 and 1M, for the fashion brand, Bershka, the design centers on the idea of decentralisation. Bershka is about fashionable colours, contemporary furniture designs, and for it positions itself for adventurous young people who are aware of the latest trends, music and social networks.

Retail Play

Observations of consumers were made, and models were presented on how products can be interacted differently. The circular shape is chosen as the final as it is more cohesive with boundless circulation as compared to rigid fluidity, and there can be interaction with both merchandise and forms.

The norm of working

This is so apt in this moment of a worldwide pandemic where we are all forced to stay home, work from home and work from our limited desk. Humans are the most adaptable creature in the world, we went from agriculture to a capitalist society in such immense speed. What lies in the future of work?

Adaptive Living

Most of us are comfortable in our homes because it is a place to unwind after a full day out. It is a place where our true character unveils itself. Walter Benjamin famous phrase “to dwell is to leave traces” applies to most spaces, but especially in our dwelling, our home.

Spatial Use

When we micro-analyse our space usage, the original intent of the space ended up suiting our needs instead. A room turns into a workspace or a store. A dining table turns into a study table. A coffee table turns into a dining table. How users define the use of these objects and spaces are different in every household.

Embracing the mess

A collaged utopian world of what embracing all our assumed flaws and mess could be. A messy table with a conveyor belt of endless items. A house filled with surveillance cameras. A living room with clothes piled up. The lounging seat with extension plug becomes one with the wall filled without enough socket to charge all the devices at home. A balcony filled with cigarette butts that must be cleared away every day.

Life vs. Play

In the functional bus interchange, what difference does it make when life gets injected into the space. Through play elements, biophilia elements, art installations or localized bustling coffeeshop? The robotic-like functionality of the space was disturbing. The fact that we are all part of the system of dropping off and picking up points made the idea of this standard bus interchange boring and monotonous.

Introduction

IntrThe original definition of panopticon in relation to the prison environment, as discussed by Foucault has changed dramatically in the present day - to an all pervasive digital form of surveillance by governments and technology firms.oduction

HDB Corridor - Thief Deterrence

This project aims to explore states of ease and discomfort in public and private environments brought about by digital surveillance. Can interior design mitigate the fine line between surveillance for crime prevention and the crime of voyeurism?

HDB Corridor - Thief Deterrence

An initial idea of space appropriation by residential unit along a corridor.

Workplace - Controlled supervision

The use of views and perspectives are used in this office setup to maximise efficiency.

Wandering to Dwell

The Dwelling - Located at 8b Canton St above the convenience store, Seven Eleven, the living room was designed accordingly to the preferences of eating instant foods that both inhabitants cultivated whilst they were wandering in Glasgow. For example, the living room boasts of an unconventional kitchen with a sit-down hotpot experience. This is so that the inhabitants would be able to get their instant food from Seven Eleven.

An elaborate floor plan recalling the activities that happened in Ada and Kelly’s accommodation in Glasgow. The map revealed certain habits cultivated from their wandering in Glasgow. For example, the kitchen was always in use as the food in Glasgow was expensive. This resulted in both the inhabitants going to TESCO supermarket frequently to purchase instant foods.

This section is a work in progress to translate these wandering experiences into a dwelling. According to Witold Rybczynski’s ‘The Most Beautiful House’ in the world, the entrance is a key component in setting the tone of the dwelling. Hence it was considered that the inhabitants can enter their dwelling through Seven Eleven to create a certain porosity to the living arrangement.

The wandering experience also extends beyond Glasgow. Based on the experience of a visit to St. Andrew’s Cathedral, the bathroom was designed in a way to facilitate reflection and pondering by including a prayer area as well as a shelf for scripture to encourage the meditation of the psalms. Meditation and prayer are acts that allow the inhabitant to truly dwell.

Based on wandering through the magazine Apartmento issue #24, it was realised that a house is a collection of all things and experiences. Hence, the bedroom was designed for the many items and clothes that were collected as a result of travelling. There is also a seat by the window to allow the inhabitant to look out onto the streets and wander vicariously.