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

Exterior Context

Perspective Context

Location Diagram and Site Plan

Floor Plans

Cross Section Progression- 1

Exterior and Performance Hall

A Public Pool in London

Studying the Westway

Tracing the changing city below the constant line of the motorway


Early exploratory studies


Developing the project

'Sea Life Through a Lense'

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

The Site Found

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


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


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

Mornings in the Nest

Section Through Practice and Performance Spaces

I took the ethos of empathetic design, sustainability, and fun into this featured work. This is a residential retreat for the musical charity Sistema Scotland. I focused on creating an environment that was safe and secure for the children but also allowing for autonomy and play. I explored the integration of playground design with music which resulted in a range of practice and performance spaces that changed in focus and formality.

Perspective View of Performance hall and Residential Retreat

Sketched Section Through Residential Building

This section shows the atrium space that connects all the residential rooms with a dynamic, multipurpose seating area. The section leads from the connection to nature with the park to the intimate relationship to the water.

Sketched Section Through Main Formal Performance Space

This section shows the key relation ships between the two public spaces created by the Performance hall. The walkable grass roof emphasises the existing viewpoint with roof lights scattered on top to entice people to peek down and explore the performance hall. A slightly more private square created by the water with the hall able to open to this square as well.

Performance Hall Model

Simple model images showing the sheltered walkways around my performance hall.

Performance Hall Interior Render

This render shows the main space of my performance hall, and can be viewed in three dimensions by clicking here (

Performance Hall Perspective Section

Performance Hall Site Plan

Library Model 1


Located in Balloch, Scotland, the residential retreat and performance hall will help children with a difficult family backgrounds reconnect with the nature and their surroundings. Seeking similarities between musical harmony, space and human body it is my intention to create a place of escape and contribute to childrens mental health through the interaction with my building, nature and music practice.

Site Plan 1_200

The site for the project is a cross point of three axis: Axis of journey, axis of escape and public/private axis. Laid out in an east-westerly direction, the building responds to its surroundings in a number of ways. The location of the buildings not only benefits from breathtaking views, but also is a part of environmental strategy. In order to achieve energy self-sufficiency, the project of a residential retreat is based on passive use of solar energy.

Floor plans of the Residential Retreat 1_200

The closer to the river edge the more private is the program of the residential retreat.

Perspective cross section of the residential retreat 1_50

The bridge in-between the two buildings is accessible from the sun space of the residential retreat creating the connection to the performance hall and practice rooms.

Proposed Location Plan 1:2500

Situated at the bottom of Balloch Pier, the new retreat offers an inclusive for all type of performance art. Surrounded by nature, this allows privacy, creating a peaceful environment to gain creativity - outdoor activity can occur.

Cross Section from Pier

Space Between Water.

Landscape Design

A series along the site, detailing how the land interacts with the water.

Rendered Site Plan

Extended Pier.

Perspective Performance Hall Section

Interior View of Balloch Performance Hall.

Redefining Homeless Housing


Redefining Homeless Housing

Cell Types

Redefining Homeless Housing

Cell Sections

Redefining Homeless Housing


Redefining Homeless Housing


Introductory diagrams

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

Location within the city

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


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

Ground floor plan

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


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

The Music Lab


Ground Floor Plan

First Floor Plan

Second Floor Plan

Masterplan Floorplan | Pathway | Rooftop

Cross Section

Section Diagramme

3rd Floor Plan

Living space : the cell

Citadel Communities Block 1 in Proposed District.

The Citadel Community encourages as many domestic, production and commercial tasks to be performed in groups, by providing a variety of large functional spaces that surround a central gathering space - like the layout of Islamic Citadels. The dwellings are organized based on individual and group activities and the many terraces surrounding them provide opportunities to socialize and grow as a community.

Citadel Communities - District in Context.

Glasgow faces the challenge of finding ways to function more sustainably and create less waste whilst housing and providing work for an expanding population. By encouraging communities to live in organized neighborhoods whereby neighbors can support each other with domestic and laborious processes: resources can be shared amongst many citizens and waste can be reduced.

Citadel Communities Block 1 and Residential Cells.

The ‘Acoma Pueblo’ in New Mexico housed a society that lived harmoniously with each other and the natural world. Emphasis is put on spaces where domestic and production activities were performed in groups, these are shared by many multi-level dwellings which are efficiently organized. These layouts have informed the separation of activities in the residential cells of the Citadel Community and allowed more space for public, commercial and production areas throughout all the levels of Block 1.

Citadel Communities - Section through Block 1.

wolvenberg watergarden

Inspiration is from Junya Ishigamis Biotop watergarden. Trees and puddles create a mesmerising space, where visitors can jump between the stones and explore the flora.

green ring vision

The ring road was built in the 1960’s and replaced the Brialmont fortifications from the 19th century. The ring road is highly dominated by road infrastructure, disconnecting the inner and outer city. However, it has potential of becoming a strategic area in the future city structure, turning into the Green Ring. The City of Antwerp has presented a plan with specific strategies for the Green Ring, focusing on green spaces that connects the inner and outer city, creating habitats for flora and fauna as well as for the people of Antwerp.

brialmont fortifications

To realise the Brialmont fortifications, huge earthworks took place. Soil was removed to make room for the forts and ramparts. Water canals were introduced and had to be dug out. The soil could then be used to build the ramparts. The principles historically used, ground manipulation and water introduction, have become factors informing a new language for the green ring, to bring a sense of what used to be in a present context. source of images: photograph - Natuurpunt Antwerpen Stad, map - Old Maps Online

parks of berchem - existing conditions

A specific site along the Green Ring has been chosen to explore certain strategies, namely the parks of Berchem. The parks include a few traces from the fortification, water bodies, topographical variations and masonry ruins. However, today the parks are fragmented by the ring road infrastructure.

proposal - landscape palimpsests

The method used for developing this project has partly been through landscape palimpsests. Designing through palimpsests is not about preserving the past but to celebrate a collective memory of the site for the users, even if it just provokes a vague mental presence that there used to be something different at this place.

An Architecture of Active Nihilism

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

Site: Petroleum Zuid

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

Contemporary Passive Nihilism

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

Toward Active Nihilism

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

Contamination and Remediation

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

The Patchwork City

The Journey of Migration

The Water Cycle

Ground Floor Plan

First and Second Floor Plan

Juxtaposition Field. (Photoshop Collage)

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

Anaerobic Digestion Park. (Physical Model, Photoshop Collage)

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

Productive Landscape. (Physical Model, Photoshop Collage)

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

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

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

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

Someone takes a sunrise dip in the dock.

The Agonistic Assembly

The thesis is set in 2029 Antwerp, whereby following the results of the general election, the New Flemish Alliance (N-VA) break the imposed cordon sanitaire and form an alliance with the far-right Vlaams Belang party. Together they initiate their common mandate for the establishment of a newly independent nation of Flanders. The thesis proposal is for the Flemish National Assembly, a public institution that integrates governmental ministers, NGOs, activists, and the wider public within one building. Several conflictual relationships will be enabled between diverse demographics through the intersection of high/low culture political and public programmes. The proposal seeks to establish an agonistic architectural language through the creation of a contemporary 'Polis', defined by professor Eric Swyngedouw as "the site for public encounter, democratic negotiation and radical dissent".

Insurgent Polis

Belgian Archipelago

I propose a reading of Belgium as an Archipelago of politically and geographically distinct islands. The federal government is formed from a complex arrangement of language based communities, cultural regions, and local provinces, that are fundamentally divided between the Capitalist and Socialist camps of Flanders and Wallonia. Geographically, Belgium is a low-lying country divided into 3 distinct regions: the coastal plains in the North-West, the low-lying polders in the centre and the Ardennes Plateau in the South. Similarly, Antwerp can be seen as a pluralistic composition of discrete islands, held in a dialogue through the urbanisation that connects them.


The proposition is situated around Antwerp's Bonaparte dock in Eilandje, at the threshold of the old medieval city. The unique urban room created by the old docks contains the features of the wider Belgian morphology, as represented by the six historic artworks. The thesis accentuates each feature through a landscape proposal that recreates the three distinct geographical regions of Belgium. The assembly creates an agonistic relationship with each of these constituent parts through a rotated grid that unapologetically interrupts the city whilst simultaneously allowing it to flow through the heart of the scheme.

Flemish National Assembly

The built proposal seeks to express the conflict inherent in pluralism through the intersection of three formal political objects, a public field and the MPs offices. The objects house the debate chamber, the library and the committee rooms, and together they contain the lobby - the space of conflict and encounter between the MP's, activists, lobbyists and public. Each object has a formal masonry crust, containing the political programme, and a lightweight timber nest, which hosts the space of public conflict. The MPs offices are contained within a new city block, that reads as part of Antwerp’s grain. Suspended above is the field - a three-dimensional ruin that contains the public programme of the assembly (studios, broadcasting suite, workshops, press offices, and exhibition halls). This surrounds the government, creating a constant tension between political and public life, whilst remaining open to the city.

Hypothetical narratives of living structures.Weaving Factory.

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

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Bicycle repair station.

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

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

Bicycle repair station.

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

Community Garden and Bee-keeping roof station.

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

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

Kyoto context from memories

Ad hoc and bricolge context. Traditional and contemporary clashes.

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

The Virtue of Water and Salt (of the earth)

Deriving it’s name from a chapter featured in John Graham Dalyell’s 1834 work ‘The Darker Superstition’s of Scotland’, 'The Virtue of Water and Salt (of the earth)’ is an ongoing project. Belief in superstition has long been characterised as a sign of ‘low-intelligence’, and associated with societies most marginalised groups, such as the lower-classes, people with marginalised genders/identities, and people of colour. Superstition has arguably also played an important role in the lives of those who could not access essential yet costly amenities, from herbal remedies in place of the services of a costly doctor, to folk tales, impractical-practical advice and genuine reasons to socially interact with one another. This project aims to explore this second, less spoken of side to superstition.

The Virtue of Water and Salt (of the earth)

The Virtue of Water and Salt (of the earth)

A sketchbook example.

Invisible Place/Hidden Cities

‘Invisible Place/Hidden Cities’ ‘Invisible Place/Hidden Cities’, developed after reading Italo Calvino’s ‘Invisible Cities’, was an exploration of the role of lanes and alleyways within cities and places. I had become interested in whether lanes, in their overgrown and neglected state, often served as a more truthful reflection of the goings on in the area they are located than the better-groomed roads and streets which encased them. The final series, depicted here, sought to articulate the feeling of being stood in a lane, where it is almost always slightly dark and claustrophbically narrow, cluttered with weeds, forgotten objects and discrete happenings, which are seldom tidied up as they would be elsewhere. They sought to ask the viewer whether the events and stories (good, bad and secret) which occur within them could happen anywhere but the enclosed space of a lane, or are they where these occurrences seek refuge, away from open spaces and prying eyes.

Invisible Place/Hidden Cities

‘Invisible Place/Hidden Cities’ ‘Invisible Place/Hidden Cities’, developed after reading Italo Calvino’s ‘Invisible Cities’, was an exploration of the role of lanes and alleyways within cities and places. I had become interested in whether lanes, in their overgrown and neglected state, often served as a more truthful reflection of the goings on in the area they are located than the better-groomed roads and streets which encased them. The final series, depicted here, sought to articulate the feeling of being stood in a lane, where it is almost always slightly dark and claustrophbically narrow, cluttered with weeds, forgotten objects and discrete happenings, which are seldom tidied up as they would be elsewhere. They sought to ask the viewer whether the events and stories (good, bad and secret) which occur within them could happen anywhere but the enclosed space of a lane, or are they where these occurrences seek refuge, away from open spaces and prying eyes.

An Unintentional Community

This project explores community and sustainability on the Isle of Eigg, one of the four small isles of the Scottish Inner Hebrides. In February 2020 I visited the island and found a welcoming and determined community whose values align with much of what I feel is important. It is a community that harvests, respects the environment, is resourceful, and is considerate of others. Indeed, as we become more reflective on our way of life and consider the impact of our actions on our infrastructure and the environment, it seems we could all look to communities like Eigg as a source of inspiration. Perhaps now more than ever, considering the affects that Covid-19 pandemic is having on our society, we could benefit greatly from adopting a similar attitude to the people I met from Eigg. My interest in the island was sparked by my flatmate Rhona Brown, a product design student, who was researching Eigg’s ocean waste. The aim of her project was to empower the community by finding value in the materials that washed up on their shores. She had asked me to accompany her to document her trip (and probably provide a bit of moral support during the interviews she had planned!) This prompted me to invest some time into my own research which led me to learn about this truly unique island. The island came to be community owned in 1997 after a crowd funding project and the support of a mystery benefactor. Since then, the island has developed the infrastructure to generate and supply their own energy. Due to this success, they are no longer connected to the national grid and 95% of the energy they produce is renewable. This means they are self-sufficient without relying on mainland energy supplies, which I believe is a great example of their values and spirit. Living on an island comes with unique set of issues, some of which we learnt a lot about through meeting with locals. For example, the community organise beach clean ups finding ways to collect and recycle or dispose of waste that washes up on their shores, mainly from fishing boats. Only residents are allowed to have vehicles on the island and it isn’t very easy to get a new one over there. This means nothing working would be left unused. In fields and beach-side, there were old vehicles that had clearly been repeatedly repaired but had finally been cannibalised for parts. The care shown for the island, and the environment in general, is infectious. Volunteers come from all over the world to spend time working with islanders on environmental and conservation projects. I met Andreas, from Germany, who was working with Catherine and Pascal at their willow farm. Their craft sees them busy all year round, growing and harvesting willow to make into wicker baskets to sell internationally. One thing that resonated with me during a conversation with one of the islanders, is that most of the people who have moved there have not done so to live with the other individuals on the island. She described them as an ‘unintentional community’ who happen to share the island. They don’t always agree but they work it out and move on. A few people said to me that to live there, you don’t have a choice but to speak your mind, or else you’d go mad. I found the people to be honest and down-to-earth. They were humbly aware that they could not be, and wouldn’t want to be, the mouth piece for every islander because everyone had something different to say. This project is still very much in development, I had planned to return to Eigg to continue my research, but unfortunately I had to cancel due to the lockdown. Such a unique island could not have been captured in just one trip and so the project is very much on hold with a view to finishing as soon as I can return safely. Presented here is a selection of my photographs from my visit in February. I am excited to expand on this work and hope to eventually make a book that would document this unique place and inspiring community.


A Type of Sound

A Type of Sound Creating a relationship between type and sound. Using the typeface Futura the geometric sans serif typeface which was based on visual elements of the Bauhaus design style of 1919 to 1933. Futura’s simple geometric circles, triangles and squares represent function over form, taking away the nonessential and decorative elements. Working with a local musician Pefkin to match sound to type and create a sonic typeface, I immediately thought of how soundwaves are graphically represented by triangle, sine, square and sawtooth waveforms. We assigned a waveform to fourteen letters, matching the shape of the letter to a waveform, and created 2 octaves worth of tuned sonic type. With the remaining 12 letters we created more percussive tones, using found sounds. Instruments used include Korg Volca FM, Korg Volca Modular, Doepfer Dark Energy, Korg Kaossilator, Arturia Brute, acoustic guitar, Aeolian Chimes found object sound sculpture, zither, ebow, chimes, hydrophone.. The sounds were treated using reverse reverb, pitch-shifting, backwards loops. Using After Effects the new typeface was animated and combined with the individual sounds to create an interactive typeface that was ever evolving into a new sound or shape with simple overlays, pitch speed and rhythm. Through a significant period of exploration and experimentation the project has evolved from a simple circle, to a sonic, visual and interactive typeface which can be applied in work, play or identity. Mark Burnett Year 4 Com Des – Graphics

A Type of Sound

Creating a relationship between type and sound

A Type of Sound

Creating a relationship between type and sound

An interactive typeface.

Dream on the Beach (1)

Digital drawing

Dream on the Beach (2)

Digital drawing

Dream on the Beach (3)

Digital drawing

Dream on the Beach (4)

Digital drawing

Dream on the Beach (5)

Digital drawing

(Still from) Double Circle Bloom

(Still from) Bloomin

Sequoias are dying!

A short documentary film about the dying Sequoia tree.

It Has Gotten Weird Out Here

A postcard series.

Urban Roots Logo Development

This is just a few of the logos that were developed to get to the final logo used for the identity.

Urban Roots Leaflets

These are some examples of finished leaflets incorporating the whole identity.

BFK Rebrand

The Hungarian KKBK Inc. (Centre for Major Governmental Insverstments) rebranded itself to be the Budapest Innovation Centre (BFK). The corporation handles urban planning, real estate and sports planning related tasks in the capital. With the new name came a brand new logo and identity. This work is a proposed idea for the rebrand tender.

Perfect Citizen

'Perfect Citizen' is a satirical work, addressing the idea of a social credit system. In today’s society information is the primary currency. Our every move is digitised and converted into data. The rise of social media only served to significantly accelerate these trends. Centralised digital platforms enable easier tracking, where 'gamification' builds into surveillance. The idea of a social credit system fosters a public opinion environment, leading to a loss of agency and public shaming. In this project I explore different scenarios. I look at whether this phenomenon potentiates a culture of honesty and safety, or a society of deceit through representation and conformity. What happens to the maverick?


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



Fashion Collection: Sherpa and the Altidude

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

Glasgow 1980

Videos I put together for 'Work in Progress' exhibition


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

Look 1

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

Look 2

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

Look 3

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





Wire Experiment

Wire Experiment

Proposed Sculpture (untitled)

Genesis, Neuromancer, Gamer Theory - framed prints

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Machine learning/trained print

Beyond Flatpack Culture: Towards a New Ecology of Modularity


Beyond Flatpack Culture: Towards a New Ecology of Modularity


Beyond Flatpack Culture: Towards a New Ecology of Modularity


Beyond Flatpack Culture: Towards a New Ecology of Modularity


Experimentation Documentation

Development Sketch

(t)ether work in progress


Mockups of Final Outcome

Hand Sketches


From 'Conversation' series


From 'Conversation' series

'Conversation' series

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

Hand Held

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

Objects in Liminal Space

Documentation of design research in liminal space.

Sculpture of the Machine

Digital computer aided design model of 3D printed sculpture.

Portrait of the Machine 1

Machine learning algorithm image output from self-portrait sequence.

Portrait of the Machine 2

Machine learning algorithm image output from self-portrait sequence.

Uncanny Artifact

Digital computer aided design model of 3D printed sculpture.


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

Jamais Vu

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

Patterns of Play-

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

Patterns of Play Documentation video

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

Patterns of Play

Still image of the prints on display

Patterns of Play

Image of how the prints compare to live tennis matches

Motion Capture Tennis

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

Age of Experience

EEG-VR wearing concept / Illustrator

Age of Experience

Virtual garden illustration / Illustrator

Age of Experience

Virtual garden illustration / pencil, colour pencil

Age of Experience

Virtual garden / Unity

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

Screenshot of the same extension replacing words on a webpage.

Sample of the extension's code done in Atom.

Screenshot of extension working on webpage.

Hosting Focus Groups

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


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


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


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


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


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

Site Context

Section View

Plan View


Feature Wall

“Everything it would appear is a process through time and to make sense of it we have stories"- Donald Smith



In this space users can tell their stories and myths to an audience, the space is based on the idea of telling stories round a campfire. The dome structure bulges out of the building and its visible from the exterior. This allows users to see the sky and feel connected to their surrondings.


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


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

Project Concept Poster

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

Axonometric Drawing

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

Visual of Corridor with Void

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

Materiality of Key Spaces

Detailing of the cook school, reception and corridor spaces.

Hotel Concept

A collage of the key design elements of the hotel

Ground Floor Plan

Scale 1:150 technical drawing

Initial Reception Sketches

Initial reception sketches and concept


A visual of the reception

Reception Niche

A detailed visual of a reception niche

Title Page

Floor Plan

Ground Floor Plan

Footage of live renderings as a real scene.

Sunrise Over the Bridge

Morning sun with a haze over the lights.

Spire Overlooking

Through the glass onlooking the spire.

Wide Angle Join

Kelvinbridge wide angle.

Marble Interior

Design interior with a white marble finish.

The Waverley Studios

The Main Hall showcasing the Studios on the Stairs. Each step has a Mosaic Border Tile as a nod to the Victorian Era in which the building was constructed.

Section into the Studios

A section view inside three of the six studios that The Waverley has to offer. Each studio space is a different size and provide a unique working opportunity based upon their positioning on the staircase.

Studio 1 - Single Desk

Studio 3 - Collab

Studio 3. This Collab studio offers enough space for dual working, primarily for desk-based work such as Interior or Graphic design. It is also the first studio to offer underfloor storage. Highlighted internally by a darker wood stain, the hatch maximises the stairs and uses the gap to integrate needed storage space.

Studio 6 - Textiles

Studio 6. An interior to accommodate Fashion & Textile designers. The space offers two desks to keep tasks separate as well as shelving for fabric rolls and the deepest underfloor storage for additional samples.

Mask Design in Peking Opera

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

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

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

Font Design of Grim Reaper Culture

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

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

FRIDAYS FOR FUTURE - Turin, October 2019

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

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

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


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

HOLYROOD REBEL CAMP - Edinburgh, June 2019

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

Media bias and Polarization. Part 1 Face posters

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

Media bias and Polarization. Part 2 Hong Kong book

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

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Photo book (Material experiment)

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

Photo book (Material experiment)

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

01. Am I a Graphic Designer?

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

02. ‘How Motivated Are You?’ Installation

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

The Dick Pic Project: Submission Cards

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

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

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

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

Penis Etchings

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

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

Penis Stitches

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

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


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

Artificial Intelligence (AI) Face

AI_Face examines the consequences of Artificial Intelligence on our perception of beauty.

Artificial Intelligence (AI) Face

Artificial Intelligence (AI) Face


A coming of age story for generation Z.

Cyber Sexual Harassment

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

The Shift in Perception of Women in Chinese TV Series

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


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

UpCycle Poster

Descriptive Poster

Reduced Perspective View

Perspective View

Aerial View

Side View

Presentation Poster

User Context

Diagnostic Imaging

User Interface

Accessible Adrenaline Auto-injector

User scenario video

A video showing a scenario of a user interacting with the Accessible Adrenaline Auto-injector

Product Details

A visual of the important features of the design

Bringing awareness of anaphylaxis through colours and branding

An important goal for this project was to raise awareness of anaphylaxis and how severe it can be. Implementing dispensers in public places with an orange branding allows people to recognise what is it and what it is for

Management of Product

Ways in which the medical device will be managed to ensure it is safe to use

post_fossil_toolkit informational poster

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

solar_uints and wind_units in urban context

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

post_fossil_tools in urban community space context

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

base_unit detailing

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

base_unit exploded view animation

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


A portable solar powered battery.

Sound & Colour Synthesiser; Product Overview

Sound & Colour is an audio & visual synthesis device with powerful musical learning and jamming potential. Unlike many commercially available “learner” instruments, Sound & Colour takes an alternative approach to learning music, focusing on allowing the user access to the mathematical concepts and relationships which dictate musicality without having to understand them! It uses an intuitive “harmonic table” layout to provide the user an ergonomic and accessible musical map. This layout places useful musical intervals close together and reduces chord memorisation, meaning all the triads (the backbone of western music) can be played with just two different fingers each with just one finger. It also features a helpful colour changing LED display dispersed across the keyboard. This display helps the user to familiarize themselves with the tonal layout and to navigate the keyboard, instantly locating recognizable intervals through colour recognition. Finally the Sound & Colour features a simple yet powerful sample based synthesis engine. This allows the user to select different sounds and modify them to their taste, without getting bogged down in deep parameter manipulation. It features 8 note polyphony that allows the structure of rich chords and deep melodies and harmonies.

Harmonic Table Layout

One of the key concepts in the design of Sound & Colour and a big part of its intuitive nature is the harmonic table layout which forms its keyboard. This layout is nothing new, dating back to 1739. I discovered this layout early in my research and it has endured the design process. The harmonic table adds ergonomic, functional and user interface benefits due to its geometric symmetry. It clusters important intervals together for easy play and allows playing of chords with a single finger. I found it to be perfect for the vision I had for Sound & Colour. The other major contributing factor is the colour changing RBG LED display. This is designed to guide users around the layout and allow them to navigate in a very musical way (based on interval to colour relationships) for example the user can memorise chords and melodies as combinations of colours as opposed to note location or name.

Prototype Development

Displayed here are some of the physical prototypes I used throughout the development of this project. The prototyping process helped me refine the design through user testing and allowing me to get a physical hands on reperesentation of my design iterations. The LED and MIDI prototypes where particularly useful as they allowed me to visualise and demonstrate the concepts of the design.

Aesthetic Development Through CAD Renders

These renders represent the aesthetic development of Sound & Colour, as well as the development of its interface.

Video Prototype 1 - Fifths

This video demonstrates the harmonic table - travelling vertically increases pitch by an interval of a fifth.






The flexIV device in situ

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

The accordion bend feature in flexIV

A CAD representation of the accordion bend featured in the flexIV

The silicone adhesive butterfly wings featuring in flexIV

A CAD representation of the accordion bend featured in the flexIV

A flexIV prototype in action

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

Prototype in Action pt.1

Prototype exhibiting the stability of the flexIV device

Hearts on Fire

Samples of future badges made of enamel on steel and brass

Pans and Pots

Pin made of silver, brass and steel

Resist, Insist, Persist

Render of possible badges like safety pins

Destruction is a form of Creation

Close detail of a crackled enamelled surface

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

Close detail of a pierced surface

MM:000, Etched White Metal Necklace

Large draping necklace. Etched, press formed and attached using 3 different types of connections.

Commissions Available.

MM:001, Etched copper necklace

This etched and press formed copper piece can transfer into various forms of adornment. A necklace has been depicted within this image, however, is open to interpretation.

MM:002, Sketchbook

This sketchbook development page details samples and patterns.

MM:003, Metal components for adornment

These images detail various compositions of body adornment.

MM:004, Sketches

Sketches produced to show potential compositions that can be transferred to metal.

finished objects

finished neckpiece and multicolored brooch, completed test pieces.

Price: £POA -

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

works in progress

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

Price: £POA -

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

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

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

PLA 3D print and copper bangle prototype


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

Price: £ POA

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

Price: £388.20

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

CAD model of hoop earrings


Mussel Cluster




Interesting Shadows Inspired my Initial research

Scribble Cup

Creating shadow inspired utilitarian objects.


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

Dissected Vessels

Copper spun vessels; re-formed and dissected.

Twist n’ Stretch

Silver vessel Design

Testing at home

Vegetable paper boxes on wall

Photograph alongside the park


Fresh leaves prototyping

Field trips of the countryside

Sketch & Development

Mine Materials Pallet

Material experiment of natural and artificial leaves. Materials: spinach, spring onion, orange, carrot peel, celery, seaweed, coffee grounds, rose petals. cheese, rice, agar agar powder, tissue, recycled paper


Brooch, Sustainable cork, laser rubber, steel pins, 80mm x 30mm

Price: £POA

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

Sustainable cork, acrylic. 70mm x 60mm x 28mm.


Plaster, synthetic sponge. 65mm x 35mm

Digitally developed shape palette

Sampling natural and synthetic dyes

Objects of Human-object No.1

Mixed media, Size: 200*200*300mm

Price: ££500

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

Objects of Human-object No.2&3

Precious white metal (could be hallmarked), Size: double-straw candlestick 77*40*263mm; single-straw candlestick 39*72*260mm

Price: ££395; £260

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

Objects of Human-object No.2&3

Precious white metal (could be hallmarked), Size: double-straw candlestick 77*40*263mm; single-straw candlestick 39*72*260mm

Price: ££395; £260

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

Objects of Human-object No.4

Mixed media, Inspired by people's habit of licking yogurt lids

Price: ££630

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Objects of Human-object No.4

3D model, Rendering in silver and gold plating

1-Isla Cruickshank, Logie Brooch, Duck egg Inlay and Brushed Brass, 60mm x 8mm, £200

Price: £200

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

Newton Brooch in Quail, 50mm x 12mm, £165

Price: £165

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

Isla Cruickshank Newton Brooch in Burgundy, 50mm x 12mm, £165

Price: £165

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

4- Isla Cruickshank, Caldow Brooch, Eggshell Inlay and Brushed Brass surround, 40mm