Having completed the BArch programme at the Glasgow School of Art, I will begin establishing myself as an intern in Vienna, Austria.

I hope to learn from the construction methods and materials applied to European projects and expand my knowledge on sustainable building methods.

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

This project is an accumulation of two separate parts comprised of a residential retreat and performance hall that together create an approach for a sustainable, sociable and environmental masterplan. In situation with the Bonnie Banks of Loch Lomond, the concept is for an exciting client known as ‘Sistema Scotland’. Sistema is a charity programme that aims to transform the lives of children from challenging communities through the power of music. Whilst the primary aim is to develop core musical skills such as listening, concentration, teamwork and rhythm skills the secondary aim of the programme is also to develop social fluency and health and well-being. With such inspiring targets an equally aspirational and multi-functional building is needed: a building that is first and foremost a safe space; as well as an idyllic retreat where they can contemplate and reflect; a space where staff and pupils can free themselves to become immersed in creative experiences; and somewhere that can easily be personalised to suit the needs and preferences of the various individuals who will visit.
On my first site visit to the town of Balloch, enthralled by the picturesque landscape, the question occurred to me; in which way as a designer can I create a concept for a building that captures and compliments the natural untouched beauty already present? This burning question, along with my innate desire to create environmentally conscious creations was the catalyst for my completed design. To study the important relationship between Architecture and nature, I embraced the study of Phenomenology, which, when interpreted by and through human consciousness, seeks to understand the outside world. The belief of German Architecture theorist and Phenomenologist, Martin Heidegger, is that all man and nature are connected. He suggested that the best way to create an experience is to be more in touch with the mystery of existence. In architectural terms it is my challenge to create these experiences, which in turn create lasting, tangible memories. To make these memories more vivid I engage all of our human senses by manipulating materials, space and light. To truly embrace the theory of Heidegger my design also strives to bring man and nature closer together. By creating opportunities where we can submerse ourselves in nature Heidegger believes the more we will truly experience phenomenology and be at one with our consciousness, and once experienced, will have a lasting effect on how we view our world. It is my hope that through various design techniques and choices, a strong essence of the contextualism of nature and the experience that comes with that can be appreciated throughout the imagery of my Project.

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

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

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

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

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

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

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.

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.

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.

Jordon Lim is a RIBA part 1 graduate born and raised in Singapore, who explores architecture as a medium for social engagement.

Being raised in a rapidly developing country, he acknowledges the disjunction of architecture. He believes that architecture should be thought with inclusiveness, to allow a whole community to thrive.

His works are based on research focused on experiential spaces, to enrich a given context with the opportunity of seeing and learning how environments can tell stories and communicate emotions, create formative moments, and provide a stage for public life.

Micro Production and Shared Commerce

Production Is returning to the urban realm. Over the past 50 years’ the production of goods has largely been outsource to countries that are able to mass produced cheap products. Unable to compete with the outsourcing and low cost of mass produced products, large swathes of the Uk’s production industry closed.

Current trends have shown a reanimation of production in western countries. The current state of the earth’s climate has led to consumers being more interested and involved in the storey of locally produced goods. With the rising cost of space in the urban realm and with a growing interest in sustainability previously separate forms of production have learned to band together to minimise waste and to tell the story of the ingenuity.

Using this as the foundation I hoped to create a community of differing scales operating within the shared economy, creating a lively varying hub of micro labour for entrepreneurs, technical and creatively minded people. To reduce the amount of outsourcing, in the hope of creating a self-sustaining community.

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

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

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

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.

Rebecca Hodalova
Stage 4

Urban housing

Nowadays we take pride in the reputation of being busy. Our business defines our social status. Even though, there is scientific proof that this type of overworking lifestyle is causing the rise of mental health issues, none of us are still able to give this reputation up.

This project responds to this problem by reintroducing the currently dissolved barrier between Labour and Domesticity. It does so through physical separation of these spaces and a carefully designed ‘green-belt’. It caters for the need of a working productive façade, while creating a retreat from work, a place where pure leisure is celebrated in the inside. So, you can metaphorically keep your façade of a hardworking busy person, while enjoying the benefits of a hidden labour free oasis.

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

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.

Lillianne is a Norweigan Part I student, and has attended The Mackintosh School of Architecture since the beginning of her Bachelor. Her professional portfolio includes work from London as well as freelance work in various places of Norway.

Her stage 4 work is an exploration of how a building may serve as an asset in creating a sense of community, and how it can engage with the public creating interest of the program of the building.

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.

Chloe Spiess is an American architect in training. Spiess graduated with her B.S.Arch from the Ohio State University in 2017 and proceeded to find work in an architecture firm in San Diego for two years. During her time at Ohio State, her interests in architecture focused on considerate design reflecting the history and needs of a place.

“each of us is not simply a machine “sleeping, eating, drinking, and performing its numerous other animal functions- but also seeing, touching, and remembering familiar associations and all the other intangible activities of the mind and soul; all of which I personally believe are of far greater importance and in far greater need of consideration than our purely practical functions in life.”
– Alexander Girard

The project – a physical critique on the present-day relationship between labour and domesticity, developed in three phases and scales: a cell unit, a masterplan, and a housing block.
For the working parent, navigating the time/interaction between labour and domesticity is crucial, for their own well-being, the well-being of the next generation, and the impact of their labour and dreams. I believe that by increasing living arrangement flexibility, “sharing” the burden of domestic labour between genders and under-employed neighbours, providing opportunities for rest, wonder, and exploration, working parents and their families will have more time to focus on what they deem most important.

The Cell – I started with a double-unit 2-story cell with a shared terrace for an inter-generational family, wrapped around a tree. Crucially, each unit possessed an independent entrance. As I adapted the initial cell to the form generated in the masterplan, the stair-and-tree-well lost the tree and was pushed to the edge of the unit, creating a filtered-light effect and providing a green-house-like effect inside.

The Masterplan — was the result of the collective work of Samuel Us, Tess Hillan, Gabriella Togni, Norbu Verhagen, and myself. Multiple courtyards take the central idea of my cell and expand it with gardens and plazas in the centres. As a prospective development along the high street of Glasgow – Trongate, we felt that such a project had a duty to provide an alternative to the commercialism of the surrounding area. Towards this aim, we imagined a series of public, semi-public and resident-only open spaces to make up for the lack of similar spaces in the Merchant City.

The Block – The block of the masterplan that I chose resides in the South-Western corner of the site. Hedged by the main street of Trongate and the side-street of Hutcheson, the block is a sandwich of dental offices, live/work units, a creche, a grocer market on the ground floor, housing in the middle, and entertainment (badminton court, petting zoo, community garden, café/bar, and therapy offices on the top with a view of the magnificent Merchant City skyline.

Graphic style – During the last few weeks of the project, I was also reading a book about Alexander Girard – pioneering designer of the mid-century modern movement and friend of Charles and Ray Eames. His playful use of colour and texture inspired me to go wild with my graphics, as well as add a kinetic rain-screen to the deck-access units.

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

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

Thomson Lee is a passionate young architect who aspires to continue his architectural journey in the UK, working in the UK and being qualified as an Architect by the RIBA.

I am a Canadian born Hong Kongese, I believe my international background facilitated my sense of design and aesthetics greatly. My design language and architectural interests is a collective blend from my multicultural background. Having worked in various multilingual professional environments, it well equipped me to communicate with colleagues and clients under all circumstances. I strongly believe the combination between my architectural knowledge, ability, and experience allows me to be a productive member in any environment.

Having the opportunity to study in GSA throughout my whole architectural tenure has been nothing but memorable, this school was able to provide me with countless tangible and intangible skills and knowledge.

Architecture has always been my passion and life long dream, and I look forward to continuing my professional journey in the UK. I am a hardworking, self-motivated, and fast learning individual. I strongly believe that providing me with an opportunity to work in the UK would not be a disappointment.

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

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

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

Against Aseptic Corporeality.

This thesis investigates our relationship to, and management of, our bodily excretions, using this subject matter to open up a broader societal conversation about the long term consequences and trajectories of our contemporary hyper-individualism.
This move away from the collective is illustrated by the changing relationship with (human) waste. The individual forgets that consumption, which has become a predominant element of all our lives, results in waste. Brought on by the introduction of municipal sanitization and the flushing toilet was the idea that waste can be moved into unconsciousness resulting in today’s ‘flush and forget’ culture where waste is disposed of, for someone else to deal with. Serviced by an invisible infrastructure beneath the ground.
The sewers are the backbone of the modern city. They are inexorably connected to urbanization, sprawl, and consumption. With the introduction of this subterranean urban landscape, connections between distant sources of water and water discharge in remote areas completely changed our concepts of space and time, expanding the city’s limits underground and thus permanently modifying the landscape. We now deal with our waste in the style of a chemical plant located in an industrial estate outside the city, taking all emotion and physical involvement away from the subject. It is no longer visible in our day to day lives and is now encased in anonymous architecture, hidden away from public view, and no longer celebrates the process of extracting its value.
Prior to the 1840s with the introduction of Bazalgette’s sewers in London, human excrement had not been regarded as ‘waste’. It was part of the working agrarian economy, the workers of the land brought their livestock or harvests to sell in the city, then collected the ‘night soil’ from the city’s streets to transport back to the field and use it as fertilizer. This system was broken with the development of sanitary infrastructure and in the process, the boundary between human activity and natural processes becoming fractured.
The thesis proposes a building that reveals this invisible infrastructure, allowing the individual to see their contribution to the collective and to reestablish a physical bodily connection to their natural ‘waste’. Situated in the city center of Antwerp the main building stands as a research facility and wastewater treatment plant, determining new ways to turn our ‘waste’ into a valued commodity. The end structure is a large public toilet situated in a place for leisure – a waste landscape. This landscape is constructed from the nutrient-rich byproducts produced by the treatment plant.

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

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

My thesis challenges the permanence of the city through the speculation of a new type of roaming civic architecture, challenging the centralisation of power and culture in Antwerp, whilst recharging these civic institutions as democratic forces for urban repair.

The idea of a civic centre is here adopted as a vehicle with the potential to shift social and political investment away from the medieval core of the city of Antwerp. The thesis proposes to establish a new civic centrality directly on top of the ring road between Antwerp’s historic city centre and the 20th century belt district of Morkhoven. The ring road is a product of permanent urban scarring inflicted by the medieval fortifications and this has subsequently been immortalised by the motorway that currently circumnavigates the inner city.

The civic centre can be defined by the presence of institutions of both culture and political power within the city. However, it could be argued that these institutions, namely our city halls and national parliaments, have become increasingly ambiguous in their contributions to the civic realm and in turn influenced the public’s perception of what constitutes civic architecture. This project aims to address this ambiguity within a new civic typology where institutions of power can now fully embed themselves within host communities with a renewed civic importance.

Institutions of power and culture are planned to move site every 15-20 years in an effort to repair more of the fabric of the city. Whilst these programmes are free to move, this thesis takes a critical position on the longevity of it’s architecture, whereby a balance is struck between permanent construction and the design of key spaces that are critical to the programme, thus are temporary and bespoke.

When the programmes of these civic institutions relocate, host communities inherit the site, where permanent structure is re-purposed for housing and community facilities. The dismantling of temporary structures allows for public courtyards to adopt new roles, shifting it’s responsibility from from serving the city, to serving the community and the individual.

To be continued.

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.

Tom Stark BSc DipArch studied architecture at the University of Strathclyde before completing his diploma at the Mackintosh School of Architecture, in 2020. He has worked for a range of practices within Glasgow including Hoskins Architects, Dress for the Weather, Marc Kilkenny Architects, and most recently with Baillie Baillie Architects on several residential projects throughout Scotland. In 2017, he was awarded the Glasgow Institute of Architects’ student prize for third year.

Since 2016, he has worked in partnership with James Faulds, a collaboration which is founded on a common philosophy that speaks to the on-going dialogue between a universal simplicity, context and the long lineage of architectural history. Through an appreciation of the humble and mundane, the studio maintains an approach which strives to make concrete an architecture which is subtle, considered and meaningful.

James Faulds BSc DipArch is an architectural designer, educated at the University of Strathclyde, Bauhaus-Universität Weimar and The Glasgow School of Art, where he graduated in 2020. Prior to completing his studies, James worked with Collective Architecture in Glasgow, where he gained experience working in the public-housing sector. In 2015, he was the recipient of the Glasgow Institute of Architects’ J.B.Wilson Prize.

Since 2016, he has worked in partnership with Tom Stark, a collaboration which is founded on a common philosophy that speaks to the on-going dialogue between a universal simplicity, context and the long lineage of architectural history. Through an appreciation of the humble and mundane, the studio maintains an approach which strives to make concrete an architecture which is subtle, considered and meaningful.

An Architecture of Emotion acts as a critical reappraisal of the value and necessity of collective and solitary emotional space, proposing a revised typology that considers the future of emotion, contemplation and memory within the contemporary city. Seven chapels form a constellation at the heart of the block, fed into by four gardens which are screened from the street by a series of modest gatehouses, each addressing their immediate context. Each chapel serves to offer space in which one may seek comfort, solace or celebration: spaces that aim in atmosphere, scale and material expression to elicit and sustain an emotional and spiritual need.

jamesfaulds6@gmail.com / tstark.arch@gmail.com

My project is called: “Fired up: Seductive Ceramics for Antwerp”. In it, I aim to show that craft has a role in contemporary architecture as it can connect architecture to place and to people. I have chosen to look at ceramics because of the rich history of ceramic making
in the city: Delft tiles originated in Antwerp, and then during the 1800s there was a huge industrial ceramics boom,started by the Boch family.Antwerp’s geographical positioning between the Scheldt and the Rupel rivers makes it an ideal centre for ceramics production because it sits on a band of clay rich soil. Clay is the basis of all ceramic products, and sour- ing locally has benefits for sustainability and giving regional distinction.

In my project, I intend to express the idea of ceramics in both the form and the programme. I’ve chosen a site in the Schipperskwartier.Walking through this area during our visit in September it felt like a ghost town, disconnected from the rest of the city despite its central location. Images and videos found online show recent open days held in the area trying
to encourage people to use the area more. I believe that creating a community hub based around the making of ceramics will help the area feel more like part of the wider city and connect people to each other.

I want to express the idea of ceramics in both the form and the programme of my build- ing.A light earth handcrafted wall, which houses the functional elements of the building gives orientation to the user. Brick is used to clad the exterior. Tiles and ceramic display are incorporated onto the facade of my building, with a ‘storage cabinet’ glazed wall expressing the function of the building.

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.

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.

My name is Katie Muir and I am a graphic designer and filmmaker. My work centres around the themes of the intersection of nostalgia and current world issues. The film ‘Sequoias are Dying!’ is a documentary short about human effect on the giant Sequoia trees in the Sierra Nevada Mountain Range. The film was made with the aim to see how nostalgic archive imagery behaves when placed within a modern context, and the effect this has on the topic itself. The project was expanded on with a series of satirical postcards. The film ‘Eastfield Jam’ also uses archive footage, and acts as a moving collage for the 10-minute musical piece it was made for.
The logo development and leaflets are part of a project reworking the identity of grassroots Glasgow-based charity Urban Roots. The project began by investigating current identities of smaller, not-for-profit companies, and aimed to create a visual identity that has a playful, professional and easy to use set of visuals that can be translated throughout the all aspects of the identity, and can be used by anyone in their offices and remain consistent.
The final project is an ongoing commission for a children’s book. It was made in collaboration between the author and another Communication Design (Illustration) student Bethany Millican, whose black and white ink paintings are featured.
I have also included an image from the Pause or Pay campaign in solidarity with the graduating class.

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

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

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

My work 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.

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

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

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

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.

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.

I’m a multidisciplinary graphic designer, splitting my time between Glasgow and the south coast of England. Integral to my practice is a love of craft, which translates into the work I do – spanning editorial, typography, branding and digital design. I seek to challenge convention by adopting a playful and inquisitive approach to solving design problems, to create work that brings joy to the way we see and interact with the world.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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

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

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

I’m Namy who is from South Korea.

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

My 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.

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

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.

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.

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.

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.

I started my Interior Design journey at the City of Glasgow College where I studied HND 3D Interior Design for two years. I progressed to The Glasgow School of Art to obtain a BA (Hons) Interior Design degree which has allowed me to grow as a young designer through developing my knowledge and pushing boundaries. Alongside my studies I have maintained the same part-time job where I am now a member of the management team after years of progress and determination.

Throughout my studies I have developed an interest in hospitality design, not only aesthetically but operationally and how individuals interact in this environment. That said, I am a willing young designer who is hungry to learn more about the interior design industry. During my 3rd year of GSA, I was a finalist in the Student Awards at the Retail Expo 2019 for my collaboration with Costa Coffee which I am grateful to have been a part of.

My final project – The River Hotel – is a boutique hotel in the heart of Glasgow’s City Centre, reflecting its surrounding picturesque views of the River Clyde. Selecting a location for this project was vital as it had to be easy to access, large enough for my design intent while having a unique edge. Building an interior palette from the surrounding architecture and natural elements allowed me to create a versatile interior which plays with the boundaries of private and public space. Allowing guests to enjoy a luxurious, peaceful or playful stay while being immersed in Scottish culture The River Hotel has a lot to offer.

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

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.

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.

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.

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

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

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

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

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.

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

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

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.

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

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

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

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

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

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 am a final year Product Design Engineering student on the integrated masters program with both the University of Glasgow and the Glasgow School of Art.

The past 5 years, on the Product Design Engineering course, have massively developed my skill set, confidence and creativity in regard to design. Having teaching from both institutions has provided me with both technical engineering-based learning alongside personal creative development and I hope that this is highlighted in my final year project where the aim was to inspire joy in train stations through interactive, rotating platform seating.

Over the span of this project, beginning in September 2019, I progressed through the major design phases to arrive at the final solution. A large amount of time was spent on the Discover phase where I explored what joy and well-being really means to people and more specifically, where it is lacking in our daily lives. I found that a moment of joy can not only be ignited through well designed functionality, i.e. providing a dry seat outdoors, whenever it is needed, but also that joy can be found within a subtle, pleasant touch or playful interaction. Being able to spark a moment of joy into someones day or distract them from the hard realities they may be facing, has the potential to positively impact their general mental wellbeing.

Studying PDE, I have developed a crucial blend of technical engineering knowledge and creative design practice to deliver successful products. Through a diverse range of projects over 5 years of studio work I have seen how vastly applicable the design process is to problem solving in any sector and love that no two briefs are ever the same. User-centered project work has ignited my passion to tackle overlooked problems and use design to positively impact peoples lives.

My final year project, Elecgo, is a lamppost-connected, e-bike Battery Swapping Charge Station for Urban Cycle Hire Schemes.

Current share scheme e-bike charging options are either logistically difficult or create hefty operational expenses and a pool of untapped value while the vehicles are recharging. These barriers prevent the widespread implementation of sustainable, shared e-mobility for cities of the future.

Elecgo is a lamppost-connected charge station developed to provide secure, on-site battery charging and swapping. E-bike batteries are housed in digitally locked, secure units with 24/7 self-service access for users of cycle hire schemes. The swapping model essentially provides ‘instant’ charging which boosts bike availability and revenue potential. A modular design allows quick install and is flexible to the changing demands of a city.

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.

As a product design engineering student at the Glasgow School of Art and the University of Glasgow I have acquired a range of skills in the fields of both design and engineering that have been and will continue to be very valuable in my career. The interdisciplinary nature of this degree has provided me with the ability to tackle problems with an open mind and considering a wide range of factors.

Throughout my degree I have also had the opportunity to intern as a product design assistant at SA Equip, a market-leading company in portable Ex equipment for extreme environments, for two consecutive summers. Whilst there I was able to apply and further develop the skills acquired during my studies to industry specific engineering and design problems.

My masters project is a bicycle cleaning and maintenance project in which I have designed a self-contained bike stand and bike mat for indoor use.

Bicycle cleaning and maintenance are essential aspects of owning a bicycle. Performing these tasks without access to appropriate tools, space or infrastructure can be difficult, particularly when living in a flat. Hence, I have developed a self-contained bike stand and bike mat that offers its users a simple, easily stored and easy to use device that eases the process of cleaning and maintaining a bicycle indoors.

A collapsible and extendable bike stand holds the rear wheel of a bike above the ground by supporting the bike using hooks that are placed on the seat stay and chain stay of the bicycle frame. Wheel size variation has been accounted for by offering both stand and hook height adjustment. The surface of the floor is protected by a durable, waterproof mat, dimensioned to accommodate all bicycle sizes. The chosen materials for the components of the product have excellent durability to water and organic solvents, ensuring cleaning solutions used will not cause damage. After use, all components can easily be wiped clean and stored within the base of the product, which in turn fits in a standard-sized cabinet.

Jonathan Maillie is a creative young student working towards a Bachelor of Engineering in the discipline of Product Design, delivered collectively by the world renowned institutions of the Glasgow School of Art and the University of Glasgow. Jonathan is also from Glasgow, a city synonymous with engineering innovation, and throughout his educational career has consistently taken an interest in the sciences and design. Always keen to understand how products work, on discovering the course in PDE he relished the opportunity to combine the dynamic mediums of engineering and design. Jonathan looks to develop the skills and knowledge he has gained through this course and multiple work experience positions to forge a career in product design. To further expand his skill set he will be embarking on a Design and Marketing postgraduate course in the coming year.

Alongside technology and design, the biggest influence on, and constant in, Jonathan’s life has been sport. From a young age he participated in rugby, hockey and swimming and now is member of the Glasgow University Tigers American Football team. Throughout his studies, the opportunity to influence the fast paced innovation in engineering and design in sports has been a key driver, allowing him to combine his two passions.

Precision Contact

A long list of injuries eventually prevented Jonathan from playing the sports he loved most, namely rugby. This, coupled with a strong desire to remain involved in the sporting world, inspired Precision Contact, a smart sports wearable designed to approach the increasing injury rate in modern rugby and other contact sports, and the response to it.

Precision Contact aims to tackle this problem through accurate visualisation of the impact on athletes in contact sports and create a better informed, streamlined injury recovery/rehabilitation process. It boasts thousands of pressure sensing areas, fitted to a compression style garment, whose data output is powered, collected and transmitted by an unobtrusive hub incorporated into the sports wearable. The product maps the various impacts given and taken by a professional or amateur level player and produces a visually engaging, informative pressure map displaying highly technical insights into the wearer.

As a product designed to address injury at all levels of the game, this could not only make players more injury conscious as they play, but also improve their interaction with team staff and sports researchers as they look to recover and return to play quicker than ever.

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

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

I’m interested in understanding and improving human experiences. I enjoy engaging with people, learning about new things, and problem solving – all of which I hope to continue throughout my career.

My project focuses on improving patient experience following orthognathic (jaw) surgery. After undergoing orthognathic surgery myself two years ago and having experience working in the orthodontic design and technology sector, I identified an opportunity for a patient focused solution which could improve clinical outcomes. The project involved working with patients and collaborating with the maxillofacial department at Glasgow Dental school, as well as members of the Centre for Medical and Industrial Ultrasonics at the University of Glasgow. Support was also awarded from the GU68 engineers trust.

Around 3,500 patients undergo orthognathic procedures in the UK every year. Following surgery there is a period of intermaxillary fixation where the jaws are banded shut. Patients are unable to eat or speak properly, and there is considerable facial pain, swelling and bruising.

Novo is a wearable system which accelerates post-surgical healing. The reusable adhesive patches apply low intensity pulsed ultrasound to the surgical sites, which has been clinically proven to increase bone density and reduce pain. A shortened intermaxillary fixation period enables the patient to get back to normal life sooner.

My Project:

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

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

The project was awarded support from the GU68 Engineers Trust.

About Me:

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

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

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

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

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!

My interests in the traditional crafts skills of silversmithing has influenced my decision to seek the transformation of vessels, predominantly domestic items. I considered various utilitarian objects in my initial research exploring shadows and was intrigued to find that I could use this method to alter and reimagine forms to create aesthetically appealing works. I take great satisfaction in working with metal, researching ways of combining such traditional silversmithing techniques with modern technology. My intention is to create pieces that are inspired and enhanced by technology, and that appear to create a juxtaposition with traditionally crafted forms, but which show, in fact, how these modern techniques and materials contribute to an evolution of form, shape and structure of vessels. In researching changing forms and technology I used parametric design, which has greatly influenced my design decisions. Small alterations to the parameters of vessels shown in this collection produce differing forms with similar styles. This process allows me to make visible communication between two elements of my designs; the traditional and technologically enhanced.

I would be delighted to accept commissions.