I am a Belgian-British student in third year architecture at the MSA. I like to take on ambitious and innovative projects and take pride in my work. At this stage I am currently finalising an 11 floor pyramidal housing complex in central Paris for my Erasmus at the École Nationale Supérieure de Paris Belleville. I am also looking for Part 1 internships between August 2020 and August 2021.

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

Part 1 Architecture Student

Sistema Scotland transforms the lives of vulnerable young people through music. My aim was to provide a safe and inspiring environment for these students. The Stage 3 project addresses both the practical and the poetic aspects of placemaking while creating a residential retreat and performance hall. My intention was to link past, present and future by placing my proposal on an old, existing public pier in Balloch, on the shores of Loch Lomond. The buildings needed to be responsive to the local and cultural context of their setting. By using the old pier the buildings are already ingrained within the existing framework of the village and provide continuity, a connection to history and a sense of place. The creation of a ‘retreat’ as a place of rest and nurture was paramount. Incorporating the Maid of the Loch prompted my decision to extend the pier over the Loch in order to take advantage of the spectacular scenery and enhance what already exists. Level changes heighten the sensory experience: the performance hall descends towards the water, adding drama and establishing a visual connection to the outside; the viewing platform ascends, showcasing the landscape. The idea of duality was important to my concept: the need for private and performance spaces; and the natural and built environment co-existing in harmony.

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

Rachel is a third year student of the BArch programme. Her practice is driven by sustainable design, having been awarded the Krystyna Johnson Prize in the second year of her studies for displaying exceptional ecological thought and intent to her practice from the outset.

Passionate about equal opportunities and broadening the routes of access to the profession, in the summer of 2019 Rachel worked under DisOrindary Architecture as a teaching and supporting staff member for UCL’s Architecture Beyond Sight pilot scheme commissioned by Professor Alan Penn, Dean of The Bartlett Faculty.

The project brief was to create a retreat for Sistema Scotland, a charity who tackle social inequality through musical education by fostering a sense of wellbeing, self-esteem and aspiration among the young people taking part.

Developing her response through orthographic drawings and an iterative model making process, Rachel responds sensitively to the landscape, drawing on both architecture and geology to unite the land with the Loch.

This work is a summative reflection of the final stage of a part I architectural education.

The project takes a focus on a design process exploring: site, concept, formation, detail and eventual resolution of scheme which becomes tied to its landscape: in Balloch, on the shores of Loch Lomond. It exists as a true reflection of the needs of its client, Sistema Scotland; a charity endeavouring to bring music and a sense of community to children of all ages and backgrounds.

There is a delicate edge between public and private in this project as the client requires a safe, intimate environment for potentially vulnerable children to retreat to, learning music whilst buried in a new landscape, for any time from a few days to a few weeks.
However, the second arm of this scheme requires a public space, a space that the students feel belongs to them but also one which ties the project back to the community of Balloch.
A performance space becomes the end point of the musical journey the students have embarked on during their time in the musical retreat. The phrase “celebration” is one I feel encapsulates the atmosphere this space should hold as it signifies achievement and camaraderie.

This scheme wholly represents a journey, both physically and metaphorically.

Hakki Tuna Taylan graduated the Saint Joseph’s French Highschool in Izmir Turkey where he is from. He came to Glasgow at 18 to study architecture. Interested with ancient antiquity sites, history and urban design since childhood he after considering archaeology as a major he understood he didn’t just want to discover the and study the past but was looking for a way to leave a physical mark on the world. Urban design and restoration are the two subjects he is most interested in and would like to further study after his bachelors.

Lily is a RIBA part 1 graduate whose work is unique and playful. Social commentary and strong conceptual strategy inform her practice. Lily’s recent projects are highly polemical. With a spirit of invention and interrogation, she seeks to create inclusive spaces that will engage with the richness of a site’s community, landscape and history.

Lily’s achievements include Young Creative Awards 2016 for Architecture & Design and multiple ERASMUS scholarships to live and work in Germany, Romania and Slovakia. As well as working on many 1:1 builds, Lily is passionate about craft and heritage and is skilled in a multitude of disciplines including illustration, textiles and jewellery design.

Lily is primarily concerned with the social sustainability of the built environment and creating empathetic and accessible designs that facilitate empowerment.

I am a Third Year Student at the Glasgow School of Art, inspired by nature and human-centred design and focus on preservation, placemaking and sustainable building practices in my architectural work.
The musical retreat in Balloch strives to create a beautiful and calming environment to nurture the community and orchestral talents of children from the Big Noise organisation.
Sistema or Big Noise creates communities for vulnerable children through music, helping them engage with their studies, develop life skills and secure emotional wellbeing. To create a supportive environment for music, safety and serenity on the water I explored the typology of the docks as a safe space to tie down, subtly following the long narrows shapes of the boats, docks, paths, railway and the slipway.
The resulting courtyard structure serves as a protective boundary and the inward-oriented structure creates a community for the children who have come here to make music and connect as a group. To accommodate for the musical nature I’ve added domes, platforms and sloped objects to play with noise dispersion and perception, calling them acoustical wonders.
The appearance of the project was heavily influenced by several Latvian traditions such as Araisu Ezerpils to show an ancient protected community as well as ‘’Ezeru Skanas’’- floating musical performances.

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

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

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

The following images are from my first project of Stage 4. This project explores homeless housing which questions and redefines the relationships between labour and domesticity.

During my Part 1 year out working at MAST Architects in Glasgow, I worked on a variety of social housing projects. I found that the skills I learned here helped me with my exploration of social housing typologies and design strategies.

Every day in Scotland, 18 people are made homeless. In Glasgow, there is a lack of housing for these people. By changing our approach to social housing, this could be changed.

One of the leading causes for homelessness is the loss of work. By integrating work and living into a new form of co-living and co-working social housing I hope to eliminate this problem. This can be done by creating a space in which skills can be learned to enhance the working life and help educate homeless people, allowing them to reintegrate into society.

Homelessness affects many different types of households. In Scotland annually 70% of these household types are individuals or couples and 30% are families. These two household types have different requirements and often different responses to labour, therefore they require different cell types. Spaces where all of these household types can coexist and encounter will allow them to benefit from learning skills from each other.

Isolation is a problem within the homeless community. I aim to eliminate this through the creation of a sociable space, where interaction is encouraged. By creating a community through a sociable space, people will support each other. In addition, community spaces which allow other homeless people out with the programme to visit, will allow residents to support these people and teach them skills.

By creating a self-sufficient space, with the facilities to grow their own food, the finances will no longer be a priority and the focus can be placed on learning skills. Through the use of built-in furniture in permanent spaces, this reduces the users need for furnishings.

Jonathan’s research project, A Complex Whole: Kyrka to Kulturhuset, attempts to understand the varied architectural language developed by the Swedish architect Peter Celsing. The photographs shown here were taken whilst visiting each building during a research trip to Stockholm and Goteborg.

Celsing was an underrated architect who deployed architectural language with wit and intelligence. Even a brief glance over his work highlights this, from the deep and tactile language of the Helsingborg brick used at Harlanda parish church to the light and transparent language of glass stretched over steel and concrete at the Kulturhuset complex in the centre of Stockholm city.

With a love for art, history, travel and culture, Celsing was an architect for whom reference and imagery could be used freely as an artist would; his buildings were formed by the movement of his hand, pen on paper, brush on board. The language that he developed for each project seems always to have become a study of the relationship between the interior and the formal whole; the constellation of parts becomes something more.

His practice was artisanal and deeply rooted in history, but he did not shy away from international culture and global aspiration, and so his projects, regardless of scale and brief, were optimistic and profoundly civic.

Somebody would consider Architecture as something fancy. In my opinion, architecture is something that comes from the people, hence well-connected to their daily life. We are both users and designers simultaneously. It would create various kinds of atmosphere after combining different kinds of key elements of space such as the feeling of materials or design of space.

Despite the numerous regulations for architecture, it would not be convincible to propose a ‘correct’ way to create great architecture. Though we can always chase and creating the answer to it. Yet one thing for sure is that great architectures are timeless. It originates from the past, lives in the present, and creates the future.
The course I took during my BA degree at the University of Liverpool, coupled with my practical experience as well as the Diploma of Architecture I’m taking in the Glasgow school of arts has helped me to develop a unique appreciation for the complexities of the subject matter.

During my studies I have been interested in how the context would influences the architecture, hence the dialect relationship between human beings and the habitation instead of people being manipulated by space.

Living in the contemporary world, architects need to consider the relationship between physical and social spaces, which related to subjects of relevance to society and social issues. Combining the critical and pioneering thinking of the city with the elegant design of materials and joints in order to create architecture with great experience and quality is what I aim to do. I do wish to become an architect who is taking part in the design of architecture which takes social responsibility and with well-considered joints and materials.

I am interested in the intersection of architectural practice with environmental and social justice. I believe that the architectural profession is currently out of step with the environmental crisis we are in and that remedying this is the primary challenge of our current generation. We must update our practices to value ecological and social sustainability as paramount, reflecting the impact that the built environment has on carbon emissions, material waste and social inequality. These challenges inform my design work and research, and set a direction for my future career.
This year in my projects and research I have explored ideas of shared living, material conservation and reuse, circular design and structural appropriation. I have also previously incorporated self-build principles and natural construction materials into my work.
I would like to state my support for the Pause or Pay Campaign, which calls for reimbursement of fees or the provision of additional resources (when it is safe to do so) for art students across the UK. Read the full manifesto at pauseorpayuk.org.

Having completed my undergraduate degree in University College Dublin, I moved to Glasgow to broaden and re-contextualise my architectural education. My work focuses on presence and the balance between heavy and light taking particular interest in materials and what they offer the user over time.

I aim to think of the built environment as a living, ever-morphing realm and carefully consider time passing and a building’s continuous existence through it. True sustainability and usefulness comes not just from fulfilling a brief but imagining the brief in many years to come and taking ownership of your responsibility to design for humanity.

Cultural institutions based on historical formal social structures have stopped working well. I propose non hierarchy architecture as civic institution. It is an open architecture that the servant space and the served space are switched and the functions are changed from time to time. This building functions as a library in everyday life and as a concert hall in Extraordinary. The building has a open ceiling space in the center with a gentle slope surrounding it. The slope allows you to go up and down without division, creating a continuous space and bringing the experience of connecting the city to the ground.

Yik Yeong Look is an architecture student from Malaysia. He received his architecture degree from a local university and spent 2 years working in local architecture firm before moving to Glasgow in 2019 to pursue Part 2 in Mackintosh School of Architecture. His design approach focuses on challenging the conventional architectural typologies and the boundaries of urban realm.

When Glasgow first started off as a bishopric and then later burgh, domesticity and labor were inseparable where craftsmen and family worked and lived together in timber structures. During industrial revolution, the emergence of factories separated work from domesticity. Factories at that time were in the center of the city with collective dwelling structures built around them to cater the massive immigration of laborers. After the war and economic depression, factories fell into decline and were being zoned out of the city. The industrial buildings in the city were later converted into flats and offices. The primary reason factories are moved to area outside of the cities is because of the noise and pollution. However, factories now are getting smarter, cleaner and quieter. They are more ready than ever to return to the city. Factories in the city would be closer to skilled workers and urban amenities. This design thesis investigate the relationship of domesticity, labour and the city through exploring the idea of factory being brought back to the urban fabric, as a generator of the city, in the form of hybridization with urban housing.

Jackson Deans is a multidisciplinary designer from North Yorkshire. He specialises in architectural design, graphic communication and illustration. With a fondness for bold and brutal forms, his work draws from 20th century Post-Modern, Metabolist, and Brutalist architecture that feeds into all aspects of his work. Whilst studying in Stage 4, Jackson has designed two large-scale architectural projects relating to domesticity and labour in the urban context of Glasgow.

‘Urban Housing’ explores the relationship between not only domesticity and labour, but the broader district in which our site is located, and a masterplan design was established in order to discuss vital social issues within the district. The project is presented from the large scale of the city down to the small scale of an archetypal dwelling, or ‘cell’ that forms the larger build up of the housing complex.

With ‘Urban Building’, Jackson develops a hybrid typology that incorporates contemporary nightclub spaces into the fabric of a traditional Roman bath house. This project addresses issues relating to the LGBTQ+ community and offers spaces that intend to provide different, perhaps contrasting experiences catered to the desire of the user; a meditative spa, an intense techno nightclub, private darkrooms, and virtually any spacial and experiential variance in between.

ShihLin Tseng, stage 4 architectural student.

Occasionally love architecture.

You don’t need to know me, contact me, if you want to know me.

Reusing existing knowledge and materials is integral in order to promote a sustainable future for architecture. My thesis concerns reuse, and designing for disassembly in order to facilitate this.

I am defining reuse in two ways. The first is the physical reuse of existing components. This is not a new concept, but it is something that must be made more available in order to be readily accessible within new designs. By creating a framework for the circular economy and reuse of materials within one area, this allows for a similar structure to be set up elsewhere. This should include a place for salvaged materials to be stored in between disassembly and reuse, as well as each new building’s design being well documented and detailed in order to facilitate future disassembly if the building is ever to be taken apart.

The second definition of reuse, is the sentimental reuse of a place and it’s memory. By recycling the materials within the same area and detailing where they came from and where they go, you preserve a place’s history within the reuse. By creating more localised hubs for reuse, you preserve the material memories of a place whilst still revitalising and building on what is already there. The current culture of demolition without any effort to preserve the materials through salvaging or documenting them, is not only wasting resources but also wasting the chance to learn from what has already been done. Frameworks should be put in place to aid the preservation of reuse on a local scale.

My project compromises of three sites all within walking distance of the other in the University district of Antwerp. They are all gaps sites; there were many gap sites in the area and all of them left behind footprints of what was previously there, which parallels the idea of preserving an area’s memories through it’s materials reuse.

The three sites will also work together showing how the materials from one building can be reused within another for a different design and function. Two sites will work as case study A and case study B. The materials from A will be designed and detailed in a way that can facilitate the reuse within B, whilst still providing a unique design for a different programme. The third site will act as a Material Library; this will be the in between point where the reclaimed materials can be stored before reuse, as well as displayed to showcase and preserve the components of an area.

In summary the three sites should show how reuse can be facilitated within a local scale, in order to preserve the history of an area whilst also aiding to it’s growth.

Please not, the thesis is ongoing and will be updated as it develops.

Leanne is a Scottish part II architect and artist. She graduated with a Master of Arts in Architecture from University of Edinburgh before attending the Glasgow School of Art. She has an international portfolio, with work in practice from offices in Amsterdam and Taipei, Taiwan. Here she also completed an intermediate course in Mandarin Chinese through attending language classes in the evening at Tai Da University. Previously, through her studies in Scotland, she won first place in The John Byrne Award for the submission of a series of portrait painting and a play. Since then she has always used a combination of art and technical drawing to communicate her projects.

Through her childhood spent in the national parks of America, she has developed a keen curiously in the topology of space, both natural and urban. This is portrayed in her Stage 5 project,

Samuel is an Australian-native, completing his Bachelor of Architectural Design at the University of Queensland. Relocating to Glasgow in 2016 and now graduate of the Mackintosh School of Art, he won the school’s annual dissertation prize in 2019 for his thesis ‘The Ambivalent Sublime.’ As co-founder of Chez Etym., a multi-disciplinary body of work exploring architectural place and time, he has hosted both panel discussions and exhibitions in Glasgow featuring local and international names, and is currently editing a forthcoming publication, ‘Chez Etym.’

A foundation of Samuel’s process is a deep intrigue in considering macro- topics often outwith standard architectural discourse, be they social, aesthetic or technological. Focuses have included the intersection between corporeal society and ‘virtual place,’ etymological exploration of poetry in architecture, and most recently, the architectural expression of contemporary societal nihilism. His final thesis at the MSA concerns this philosophical musing, of an architecture of active nihilism, in an ambitious and multi-programme scheme. With a love for thorough research and its morphing into novel propositions, Samuel’s aim is for clear, purposeful and considered design.

Miguel Espinosa Cancino is a stage 5 student from the Glasgow School of Art. His thesis explores threshold spaces between a private plastic recycling factory and public facilities in an urban environment.

The plastic recycling factory open to the public aims to bring
environmental awareness to the city. Since the 1950s, around 8.3 billion tons of plastic have been produced worldwide and currently accounts for 73% of beach litter.

The combination of both an otherwise alienated and unwelcoming industrial process with inviting and engaging public amenities aims to create new opportunities that help change the negative connotations surrounding waste facilities.

This innovative thinking promotes strong bonds with the immediate communities in the Cadix District, Antwerp and the public’s inclusion to the recycling process through accessible and transparent architecture.

The workmanship of risk’ is a term used by David Pye to describe the process of making ‘where at any moment, through inattention or mistake, the work could be ruined. In opposition to this is the workmanship of certainty, in which the quality of the result is predetermined and beyond control of the operative’. It describes the process of mass production which focuses on speed and quantity rather than quality.

The thesis seeks to investigate how the workmanship of risk can be refocused on within the modern city and how architecture might facilitate and encourage this. The thesis aims to explore how people’s value of goods can be reinvigorated by means of exposing and celebrating making and workmanship, and perhaps, to interrogate throwaway culture and the nature of consumerism today. Against the backdrop of the current climate crisis, there is an emerging shift in the way in which we consume goods, whereby there is a higher demand for sustainable, high quality, ‘made’ goods.

Antwerp’s history as a merchant city, has centred around craft and trade. From the craft guilds of the Golden Age to the global network of large-scale industry today, the city has evolved and morphed alongside the trends of consumerism and trade for centuries. Historically, places of trade and exchange were numerous within the city. Marketplaces, where makers of all descriptions made and sold their goods, were focal points within the city. The following quotes taken from ‘Antwerp, In the Age of Plantin and Brueghel’ by John. J. Murray, describe the diversity of trades and makers within the city and the constant presence of these places of exchange:

“ I saw a procession pass along the street, the people being arranged in rows, each man some distance from his neighbour, but the rows close one behind another. There were the goldsmiths, the painters, the masons, the broiderers, the sculptors, the joiners, the carpenters, the sailors, the fishermen, the butchers, the leatherers, the clothmakers, the bakers, the tailors, the shoemakers – indeed workmen of kinds, and many craftsmen and dealers who work for their livelihood ” – Durer

However, today, this vibrancy and diversity of trades and crafts has been removed from the city’s fabric and the vast majority of trade and industry has been pushed to the outskirts of the city.

The chosen site is located in the North Den Dam area of Antwerp. The site is largely desolate and is characterised by disconnection. It is disconnected from the city by major roads, rail and water. All of which bypass the site creating an island within the city. Secondly, it represents a larger disconnect within Antwerp as a whole. The disconnect between three major districts comes to a point at this site. Through the development of a programme centred around the ‘workmanship of risk’, production and exchange, this site has the potential to connect these areas.
The design aims to create a blur between what is public and what is productive and aims to encourage public engagement and visibility of the making of goods which have been produced through the workmanship of risk. The design introduces the Albert canal into the district to create a new dock which would serve the district, it acts as a spine which ties a series of proposed buildings and public spaces together. With an intention to demolish as little of what is existing on site, many of the sheds which characterise the area, are to be used for storage and for trades and crafts which may not necessarily need very specific servicing or bespoke spaces.

About me

I am curious about transformation of underused spaces, co-creation, rootedness, connection with nature, finding creative ways of working with communities and facilitating balanced urban developments.

I worked as architectural assistant with O’DonnelBrown Architects in Glasgow, Konishi Gaffney Architects in Edinburgh and EFFEKT Architects in Copenhagen. Also, I am a co-founder of Un/Common Glasgow (Architecture Fringe 2019 programme participants).

I would be pleased to discuss my thesis work or a future collaboration. My contact details are below.

Estate of Change

The thesis seeks to bring the diversity of urban life to Antwerp’s peripheral modernist social housing estates by improving the quality and equality of everyday spaces. Normally demolished as part of comprehensive redevelopment plans the four slab blocks of this proposition will be retained thus respecting the unique character of the modernist housing and allowing the existing residents to continue to occupy their flats during construction.

This proposition to transform modernist blocks in Luchtbal neighbourhood will focus primarily on re-working the ground level, which is so typically underused in modernist urbanism. Between the blocks and their existing pilotis the principles of shared commons, mixed use, gradation of scales, distinct spatial identities and lasting quality of design are explored.

Identified needs of the ethnically diverse and economically deprived residents were used to inform a new masterplan and related architectural interventions at multiple scales. The existing situation of a private dwelling, a common stair and an overwhelming open space outside are mediated in this proposal by adding the ‘missing’ in-between spaces, thresholds encouraging stronger social relations and trust between the residents of the blocks and the wider neighbourhood.

The proposition includes:

1. Additional ground floor housing to redefine the public realm. Existing flats are provided with new sunrooms to increase desirability and common stair landings are made more generous to provide space for conversation between neighbours;
2. New pedestrian streets with active façades linking major attraction points in the neighbourhood (for example, train station and leisure destinations) to create spaces with distinct architectural identities and reduce car dependency;
3. Affordable work spaces, community education facilities and the associated civic spaces are proposed to address unemployment and bring more visitors to the area;
4. Clear distinction between public streets and semi-private courtyards shared by the residents of the blocks in order to encourage ‘ownership’ of the underused green spaces and create opportunities to strengthen trust between neighbours. This introduces ‘fronts and backs’ to the serially planned slabs;
5. Shared community facilities such as kitchens and laundrettes in the semi-private courtyards to allow the possibility of residents to re-think their daily lives on more communal terms;
6. Architectural language, design code and materials of the newly formed spaces are respectful of the existing buildings, ease navigation and give a sense of scale, ‘warmth’, comfort and lasting quality.

Tong Shu is an architecture student from Shenzhen, China and had his undergraduate study in Guangzhou, China and is studying DipArch in GSA. He is interested in exploring the spiritual significance of architecture and its contextual response to the urban environment.

Callum has studied at The Mackintosh School of Architecture since 2018 and received his Part 2 accreditation here, prior to this he completed his Part 1 at The Belfast School of Architecture. He completed his Part 1 year out working at Baker Garden Architects in Dunedin, New Zealand. His Architectural Interests are related to Adaptability in Architecture and the interplay between temporary and permanent elements.

The work enclosed is part of Callum’s Stage 5 Thesis Titled ‘Infrastructure as Performance’. The project was situated in Antwerp; Belgium, on a unique site located on the waters edge beside the historic Loodswezen building.

In the city key Infrastructure points are often closed off to the public which over time become derelict creating non-space within the city. The Hypothesis questions these notions and seeks to provide a hybridity to flood Infrastructure within Antwerp, and allow it to become a stage for performance / events that encourages social cohesion and activates the waters edge. These key ambitions are achieved through an acknowledgement of the quays qualities which inform the architecture. The notions of performance / events, transparency and the procession to the stage are important. How does this hybrid Performance Infrastructure come together and can it change common notions of Infrastructure within the city to engage the public?

A range of Analysis and research are enclosed with a detailed synopsis that highlights the main Architectural aims.

After graduating with an Honours degree and embarking upon the final year of Architecture, I sought to build upon skills and interest from the previous Honours year. With a particular interest in Sustainable design and Passivehaus, the final design thesis for Stage 5 focused on an educational institution within the urban landscape of Antwerp.
Taking the concept from Hermon Hertberger’s Space and Learning and applying it to the site, a project is proposed which creates a “Learning Landscape”, sculpted from the tools and measures which promote social interaction. This is achieved through designed space which embodies the idea of inhabited circulation that is given equal importance to the classroom with regards to space and lighting. By providing a communal area to bring together the different cultures of users, a catalyst is created for greater social networking.

My practice is founded on the idea of plurality, and the conflictual relationships that result from it. Pluralism is a social and political philosophy that is centred on the understanding of society as a heterogeneous collection of overlapping social groups, each with their own irreducibly different identities and interests. This pertinent theme is fundamental to the Western ideals of a liberal democratic system, yet the rejection of it is the crux of innumerable global crises. The acceptance of pluralism means the commitment to sharing a physical and political space with others who we see as equal. It is inherently spatial, and thus inherently architectural. The tension and conflict that result from the negotiation of opposing values is the point of departure for my architectural discourse and the following thesis.

The Agonistic Assembly.
(September 2019-Ongoing)

Politics may be defined as the struggle between opposing forces to which there is no rational consensus. How can a productive conflict between the public and the political challenge the toxic polarisation that is symptomatic of contemporary populist politics?

The Brexit referendum and the election of President Trump have shown the divisive power of populist rhetoric and how quickly it can divide a nation. This good/evil Manichean theory presents the notion that society is divided into two antagonistic camps, ‘the pure people’ and the ‘corrupt elite’. The populist leader claims to represent the voice of the ‘silent majority’, as though they are a homogenous entity with singular common interest. Such divisive rhetorics personalise and moralise the political debate, eliminating any productive disagreement between citizens and contemporaries who do not conform to the idea of the ‘real people’. Populism is inherently anti-pluralist, and as such it opposes liberal democracy. It acts as a force that denies diversity, rejects citizens as free and equal, and it eliminates the conflict that is constitutive of the political. The theorist Chantal Mouffe, states that “the task of modern democracy is to turn antagonism into agonism” – a conflictual relationship of adversaries not enemies.

The Agonistic Assembly is an exploration into how architecture can influence the present and future political discourse. Through the confluence of opposing programmes, objects, and materials, a pluralistic architectural language is developed that rejects the proliferation of the populist political rhetoric, in pursuit of new forms of productive conflictual encounter.

Georgina Bailey is an illustrator whose recent practise with pen and ink depicts our inner thoughts and narratives as intruders to a mundane space: a confrontation between the mini universes lived in our minds and the physical one we exist in.

Spike is a multi-disciplinary artist, specialising in moving image. Currently based in Glasgow, graduating from Communication Design Photography. Though the beginning of his exploration into film began with screenplay and narrative-based projects, in recent works he has explored the telling of true stories through documentary filmmaking having made pieces for clients such as The Scottish Football Association and Sailor Jerry.

The project showcased is a focus on the town of Saltcoats on the west coast of Scotland. The centre of the project is a documentary about the Saltcoats Labour Social Club and its members. The documentary conveys the mundane experiences that the members of the club value highly at the club. Alongside the documentary, a collection of stationary, photograph-like films of the town of Saltcoats were to be displayed in an exhibition surrounding the Labour Club documentary to give the mundane element context.

Molly Lindsay is a Communication and Design graduate, specialising in photography.

The work presented centres around the theme of walking; tracing and tracking the journey by drawing into the landscape. The red line continues into the project Uses of the Erotic, a visual response to Audre Lorde’s essay, challenging classical depictions of the nude in attempt to reclaim a definition of the erotic through a female photographer’s eyes.

I am Rosa Sawyers, a Graphic Designer, Image Maker and Film Maker based in Brighton/Glasgow.

I’ve recently been exploring my interests in moving image through various animation exercises, focusing on movement and growth within the natural world. My work tends to mix digital and organic processes, creating confusing and surreal imagery with lots of visual pleasure.

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

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

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

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

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

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

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

My work this year is an attempt to process the emotions relating to eco-anxiety. Environmental crisis is too big a problem to really digest, and at night I’ve found myself trying to deal with these pains in my dreams. In one dream, I was disturbed that something was wrong with the sun and no one else seemed to care. In another dream, I was cleaning up plastic from a beach, when I realised that all the plastic, ‘disposable’ items had once been my very own, and had ended up in the ocean. Helplessness, guilt, and grief are the main emotions related to my own eco-anxiety, and I decided to draw them, using the short stories my subconscious was telling me. In this showcase, I present some draft sketches from an excerpt of a longer comic I am currently working on, based on my eco-anxiety dreams.
As much as I may have quietly hoped, the goal could not be to find ‘the cure’ to eco-anxiety. I believe that the only real longterm solution to eco-anxiety is the radical dismantling of destructive systems in our society, and a revolution of human consumption on Earth. The point of my comics became simply to tell a story, to portray something of the emotional core in this existential matter. I am interested to continue my work exploring environmental issues further, moving through the stages of individual and collective grief, to find a place of personal meaning, community empowerment and continued action in the face of threat.

Type design and interactivity have been the underlying themes of my practice during my final year at the Glasgow School of Art. Throughout my Third year on my graphic design course i began to learn basic coding skills. This in turn opened up a whole realm of possibilities for my practice. It engaged my interest for the potential that lies between the border of communication design and interactivity.

Thus this drove my final years work. Scene 3.0 is a typeface I have designed which is reactive to the spoken word. It is a three Axes variable typeface. The parameters change in reaction to the sound. Focusing solely on the qualities of the human voice it measures the Volume, Pace and Pitch of the audio that is fed through it. Words are read to be spoken with this in mind i wanted to challenge the perimeters of type design to expand the capabilities of communication in letter form.

Originally from Spain. My background in advertising influences my illustration work. Solving the problem while telling a story is my aim.

For this showcase I selected a movie poster project that I will be updating.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I am an Interior Designer from the Highlands. I have studied Interior design at The Glasgow School of Art for the past three years. During my studies, I have researched the history of social housing, with a particular focus on Glasgow and have developed a passion for affordable, sustainable and high-quality design that can improve the quality of peoples lives. For my graduate project, I developed a social housing scheme which I named LYCHEE.

LYCHEE Housing stands for Light, You, Community, Health, Education and Environment. Its main goals are to provide tenants with a high quality of life by focusing on sustainable, affordable living that encourages a community spirit and sociable behaviour.

To provide a sustainable, affordable and high-quality environment, a range of energy-saving products and systems can be installed to achieve this.

Internal insulation, new energy-efficient doors, windows, lighting, and water-saving plumbing will be used to increase the energy efficiency of the building to also keep the cost of living and running the flat to a minimum.

Mechanical Ventilation Heat Recovery can be used to improve air quality and keep heating costs down. An MVHR system removes moist stale air and delivers fresh air to a property, in an energy-efficient way. It works by extracting warm, moist air from around the home, putting it through a heat exchanger to extract the heat and then expelling the cool stale air to the outside.

32.7% of households live in fuel poverty. Tumble drying is the healthier option for drying clothes but this is energy-intensive and indoor drying increases mould spore count in homes and can lead to health problems such as asthma and eczema. With a communal laundry room, this allows homes to have better air quality and also save money on energy bills by using the wastewater from washing machines to heat communal clothes dryers and louvre windows to ventilate the space for air drying clothes.

The communal laundry also acts as an opportunity for tenants to socialise and get to know one another encouraging the idea of community living. The focus of social space is considered throughout the building, dedicating the top floor to entertainment for tenants of all generations, in addition to wider corridors, to accommodate the voids through the centre of the building, which provides the corridors with natural light. This decision has been made to bring the sense of the streets indoors, giving peoples doorways personality and also providing a boundary between public and private space with the use of curved walls doubling up as storage on one side and a light void on the other.

My chosen site, The Crystal Palace, is currently home to a Wetherspoon pub, however I wish to re-establish it as a hotel celebrating Scottish authors of the 19th century and the building’s historic relationship with the Great Exhibition of 1851. The site was constructed five years after the exhibition’s grand opening as a result of the architect, John Baird’s, appreciation for the cast-iron and glass venue, which showcased the best of British design alongside notable global works. I chose to focus on hotel design as I have been keen to look deeper into the hospitality industry – particularly hotels – as I am fascinated with how one space must meet the needs of many, consequently impacting an individual’s experience in a given environment. Books are a great passion of mine so I was eager to explore the country’s storytelling past, researching Scottish writers’ works to enable an investigation into ways I could intertwine their illustrious imaginations within my hotel concept and design.

“As you grow ready for it, somewhere or other you will find what is needful for you in a book.”

George MacDonald (1824 – 1905) in The Marquis of Lossie

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

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

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

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

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

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

As a designer I enjoy combining imagination and speculation with logical and rational outcomes. I am passionate about exploring disciplines outside my own such as illustration and textiles and incorporating them into interior projects. I am eager to explore numerous aspects of design both within and outside the realms of Interior design. The House Of Stories is a project which intends to restore engagement with Scottish Mythology whilst also encouraging users to engage with oral culture. Scottish myths have evolved organically from generation to generation for thousands of years and this project aims to create a space to continue this practice. The building allows users to learn about myths whilst also evolving and building on them. The creation of new stories is also encouraged and users have the opportunity to document and archive their own myths. The design of the building symbolises the myth ‘The coming Of Angus and Bride’ which tells the struggle of ‘Beira- Queen of winter’ with her son ‘King Angus’ (the physical embodiment of Summer) and ‘Bride’ (the embodiment of Spring). The tale, which was created by the ancient people of Scotland to humanise and rationalise the unpredictable weather patterns, represents the battle between storm and calm, spring and winter, growth and decay, light and darkness, and warmth and cold. This is conveyed throughout the space through various design choices such as, moss, rust and flowers cast in resin which are a preservation of both growth and decay.

The activities within the space are also inspired by the tale, the main body of the design is taken up by the mythology library which is a reference to Beira’s knowledge and age as she is the goddess of all gods and goddesses for she is all knowing and seeing. The creation of new stories is inspired by Angus and Bride as they symbolise youth, spring and summer which can be interpreted as the blooming of new ideas. The building should remind the visitors of the strength and great presence of nature. This is done by numerous structural implementations which connect the building to its surroundings as it is situated on the edge of the River Clyde as it flows through Glasgow Green. This is also done in less overt ways, by using forms and patterns which have been constructed from the topography of Scottish mountains and weather graphs. The main structure of the building echoes that of a Tholos, which is a type of Greek temple. The application of ancient Greek architecture is important within the space as the House Of Stories should encompass a modern day temple in which to celebrate and honour Scottish mythology and storytelling.

Hi there 👋

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

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

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

Hannah McInally is a Scottish illustrator and ceramic artist, currently working between Stirling and Glasgow. Her practice pushes traditional expectations of illustration by exploring three dimensional forms and spatial occupation. Through an instinctive approach to making and thematic exploration her work aims to inspire visual engagement and interaction with the audience, whilst still being highly emotive. At GSA her work has been guided by loss and creation, opposing states working in tandem, allowing her practice to be informed by emotion in a conducive manner. Hannah’s practice exists in a shifting state, fluctuating between art and design.

Before completing her Masters at GSA, Hannah graduated from the Illustration course at Duncan of Jordanstone College of Art and Design in 2018. During her undergraduate studies she undertook a semester abroad at the Alberta College of Art and Design, where she diversified her creative practice and expanded outwards into ceramic sculpture and design.

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

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

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

Whilst my background is in traditional Chinese painting which carries its own skills and theories, I found myself becoming increasingly interested in publication design. This led me internationally from CHina to study here at The Glasgow School of Art on the MDes Communication Design course.

Graphic design for me is an expressive tool to communicate information and it provides me with a clear path to introduce or covey complex ideas and emotions. I believe graphic design cannot always solve problems for everyone but can offer different thoughts and perspectives allowing the on a range of issues.

The 2 years of study at The Glasgow School of Art has allowed me time to observe, research and process and issues that I was not previously familiar with allowing for experimentation with ideas. During this times, I focused on exploring how digital media influence our reading habits and how much it had changed our intake of daily information. The past decade or so has seen a rapid development of information technology has brought great change to our lives. While enjoying the convenience brought by technology, we also suffer from information overload, fragmented reading, and reduced attention. Based on this research and through my outcomes I want to highlight issues that may not have been so obvious to the viewer and I consider a physical publication the ideal vehicle to consider the advantages of paper reading to digital reading.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As a design engineer, I am motivated by the challenge of developing solutions to enhance the user experience of a product or system. I approach design problems with an open mind and from a holistic point of view. My work explores the impact of the external environment on our body and mind aiming to bring harmony into our lives. I follow an iterative process, involving empathic mapping and user engagement.

My product WorkLed is the result of my masters project, A Happier and Healthier Workplace, exploring the application of innovative LED technology in tackling the problem of poor lighting conditions within working office environments. Current workplaces have no regulations for sufficient healthy lighting, and existing products demonstrate impracticalities of form and interaction. The Lighting Research Centre highlights the benefits of specific lighting conditions with emphasis on the sleep and wake cycle.

WorkLed is a new desk lamp which provides healthy working light levels and circadian regulation. My product aims to transform stigmatised perceptions of therapy lamps into an engaging and satisfying yet practical experience for the user. I defined three light settings in order to optimize light throughout the working day. The user can personalise their light by choosing between stimulating blue light, task light and smart ambient light.

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

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

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

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

I have thoroughly enjoyed my time at GSA and learned a lot on the PDE course. Last summer I did an internship with Scottish Power Renewables where I was able to put some of my Mechanical Engineering skills from the University of Glasgow into practice. I spent my final year working on a user centred design project and ultimately created a product to aid mobility in Parkinson’s Disease sufferers. Various research, user engagement and iterative prototyping and testing led me to my final solution and I gained invaluable skills working alongside the end users and key stakeholders throughout the whole process. My final design ‘Cammino’ is an assistive device that predicts and prevents one of the most debilitating symptoms of Parkinson’s Disease known as ‘Freezing of Gait.’

I have had a passion for Product Design from a very young age and the Product Design Engineering course was the perfect opportunity to allow me to develop on this. I have thoroughly enjoyed both the Engineering and Product Design aspects of this course and look forward to applying these new skills and knowledge in a professional setting.

Aside from Product Design, I am also a very keen skier. Having done a lot of backcountry skiing I was aware of the dangers and numerous fatal accidents that occur while partaking in this sport. This formed the basis for my final year project. The focus of this project was to reduce the number of accidents and fatalities in backcountry winter sports caused by avalanches.

Following research with some of the leading backcountry skiing and avalanche experts it became clear that preventing people from triggering avalanches in the first place was the route that my efforts were best focused on. Through this, a design for a device which would allow individuals to quickly and accurately measure a slopes gradient and aspect was created. The majority of people involved in these accidents are well trained in avalanche awareness but had just missed certain warning signs. The device encourages people to stop and take the time to make their assessment due to its simplicity. The information provided by the device, alongside the users own knowledge, allows them to make a better and more informed decision on whether a slope is safe or if it should be avoided.

Aside from my academic work I have also started a few small businesses designing, manufacturing and selling cufflinks and 3D printed products whilst at University. These have been hugely successful and I have over 500 customers to date.

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

I am an international student who has become fascinated with social and environmental development. I have a focus on the barriers faced by citizens when it comes to active travel and the psychology behind people’s behavioural patterns in this field. In response to my research and findings I developed the UpCycle, a product which houses 20 bicycles in a regular car parking space. Users are not required to bring their own bike locks and will have a cycling community to encourage sustainable travel habits. The UpCycle is automated and moves hooks around a carousel which saves space, users have an NFC device to grant them access. UpCycle is protects against vandalism, theft and weather and has a lot of social benefits too.

Isabella Gonzalez is a Venezuelan final year Product Design Engineering student at GSA and the University of Glasgow. During her degree, she developed interest in sustainable and environmental engineering which led her to follow her studies at KTH Royal Institute of Technology, getting an offer for a Master’s course in Sustainable Energies.

Kinethics is a product designed to provide independence to campers on how they get energy to power their devices. Applying a BLDC generator and a planetary gearbox, this power generator offers a simple and efficient way for users to produce their own electricity. With a detachable and portable power bank, the product becomes versatile for different situations, charging devices safely with the battery as an intermediary between the generator and the user’s devices. The user just needs to extent the crank, slide the power bank into the slot of the generator and start turning the handle. A red LED indicator will let them know the battery is being charged. After 2min of constant turning, the power bank will be charged ~3%, enough to make an emergency call on most smartphones. It comes in a small, lightweight, and ergonomic structure for ease of turning without the need of a surface.

I am a Product Design Engineer with a specific interest in the mediums of furniture and sculpture. I find fulfilment in the design and physical construction of my work and strive to expand my knowledge in both, as I continue to create.

Outwith my studies at the Art School, I have interned with London based designer Faye Toogood during the summer of 2019, where I worked on a plethora of furniture items and other home goods. I also collaborate closely with designer Geo Owen as we work towards a release of physical items in the near future.

I am an aspiring designer from the Highlands of Scotland. My long-running enthusiasm for making has led to an extensive practical and theoretical skillset which I am continually looking to expand upon. My eagerness has earned me experience in several aspects of design and a good eye for detail.

I am especially passionate about sustainable, timeless, and inclusive design, and I understand the importance of making sure every aspect of my work is carefully thought-out. I have strong interpersonal and teamwork skills with a knack for problem solving and thinking on my feet. Equally comfortable in both the studio and the workshop, I thoroughly enjoy bouncing between software-based work and a more hands-on approach.

Chang Wu BA(Hons) Silversmithing and Jewellery, The Glasgow School of Art, 2020

How Autistic space is understood is the basis of an idea for this collection. Autism is often associated with negative attitudes, such as fear, panic, anxiety and inferiority. Such attitudes can cause people with autism to be more defensive, in an attempt at a more robust sense of self-protection. In this collection of designs, these relationships are explored, with an emphasis on the self-conscious and self-absorbing nature of Autism Spectrum Disorder. The collection presents objects that might aid us in communications between these complex interior worlds and other external environments. This is achieved in the process of designing these objects: as the silver changes from a cold, hard to a soft, malleable fine line, silver wire is woven into an open and semi-enclosed space. It moves from its original isolation to a state of openness. Silver wire interconnects with the wearer on contact, but the woven reasonable space maintains a little safe distance from being disturbed, and the soft metal mesh leaves only traces of contac

My work for this collection is the culmination of interests in a range of ideas and themes I addressed in both my personal and professional roles. Previously, I worked as a costume and jewellery designer in film and subsequently, in training to be a silversmithing & jewellery designer, I learned how such objects perform as part of a narrative in people’s lives, both in fiction and in everyday encounters. I grew up in the Dorset countryside, remote from the kinds of popular culture that I enjoyed: film, animation, cartoon characters, pop stars and celebrities and have sought out forms of avant-garde culture during my student years. Therefore, this collection summarises these personal and professional views, especially ‘drag’, which is a powerful influence on my work more generally. Incorporated within bold, over-sized floral patterns and pastel colour schemes are ideas of the performance of gender identity, emphasising notions of ‘femininity’ in this series of jewellery pieces.

I would be delighted to accept commissions, please don’t hesitate to contact me!