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

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

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

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

I have greatly enjoyed studying Architecture over the last three years.  Throughout my last year, my interest has been focused on philosophical thinkers in architecture and I have sought to understand some of their processes and theories. This has had a considerable impact on my work and thinking. It has pushed me to be more concerned with the process and the understanding of such, rather than, simply, the resultant set of drawings. I am currently working on a design book for the shown project. Having completed three years at the Mac, I am now looking forward to joining a practice as a Part 1 Architectural Assistant and gaining an understanding of other architects’ processes and how they allow a project to manifest itself in today’s age.

The project shown is of an activity’s centre and residential retreat, in Balloch, designed for Sistema Scotland. Sistema focusses on transforming children’s lives through music – offering group musical tutoring and social guidance to children and young adults in some of Scotland’s challenged areas.

The site stretched approximately 680m from the tourist office on Balloch road to the beginning of Loch Lomond and mostly consisted of green areas and forestry. I chose to design near the tourist office and engage with the urban material. Ultimately it was asked what this place meant to Balloch and what this place would mean to the children attending Sistema.

For the children it was a place of release, practice, and celebration: release from the day-to-day city life and a chance to experience a rural environment, of forests and picturesque views; practice of their instrument and social development within the Sistema program; and the celebration of the practice, by their performance in the activities centre hall.

To the people of Balloch the place served as a threshold between the urban and natural landscapes. It consisted of an uninviting gravel car park just off Balloch road. At the back of the car park was a grassy earth berm, that once you passed over, you were alleviated of all urban sounds, with no rumbling of cars or zinging of hedge trimmers. All that was left was you and a quiet path through a forest to the start of the loch.

I aimed to build on this change of scene, by placing two objects in the landscape that are experienced differently from opposite sides.  The two objects inform pedestrian movement and enhance the threshold between the urban and natural environment. Their material and structure take on a poetic quality that influences the experience of the passer-by and the child attending Sistema.

Stephen Brown is graduating stage 3 at the Mackintosh School of Architecture. This exhibit pulls the key representations from a year-long project that addresses sustainability and contextual engagement through the design of a concert hall and a retreat centre that accommodates performers. The proposal is situated in the Trossachs National Park on a narrow strip of land that runs from the town of Balloch to the south shore of Loch Lomond.

The project engages the themes of energy, landscape, and culture, as an exercise in rethinking and expanding ideas around sustainability. The proposal’s environmental strategy goes beyond the sourcing of local and renewable materials, to consider wider criteria including low energy/passive design, prefabricated construction, and longevity in the buildings’ relevance to the cultural context of the locale. In this sense, aesthetics, adaptability and intuitiveness are paramount to the designs, ensuring their sensitivity to their natural surroundings and their capacity to serve the requirements of their users and the wider local community.

A key design challenge was integrating sustainability into the structural fabric of the two buildings. The exhibit is presented in such a way to show how this is achieved through the use of simple volumetric forms, around which hinge modular elements to make up the secondary structure. This approach seeks to establish an equilibrium in spatial arrangement that is both efficient of space and materials, whist being optimal to the scale and movement of the human body.

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

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

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

In the educational process of becoming an architect. Awarded the 2017 Harvard summer School scholarship.
Inspired by nature and the beauty of elegant simplicity.

Alexis Piponides

‘They say that wanting to be an Architect is innate; it chooses you. Having always been a wanderer, an explorer of my surroundings, the world around me has opened up with a new sense of purpose and meaning through recording and sketch.’

This was my thought process before I started my degree, and now near to the end of my part one bachelors, I can not only sketch and absorb my surroundings, I now have the skill set to bring my sketches into life and developing a set of projects that have a sympathetic understanding of the built environment, its cultural and social sensitivity and my pure emphasis of simple and sustainable design.
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The Balloch musical retreat project takes on a sustainable approach towards designing two new facilities: the residential retreat and a public performance hall stretching along the River Leven. Strategies in my design such as architectural amphitheaters along the banks of the river, elevated pathways, and integrated walls leading to ‘secret gardens’ pose a heightened sense of curiosity, wonder, and nostalgia for my target audience; youths from Sistema Scotland. Together the two spaces form a new language voicing a safe haven and are set to inspire creativity, performance, and foster social interaction within its custom environment.

‘between the exploration and what it will teach me, between my movements and what I touch, there must exist some relationship by principle, some kinship, according to which they are not only, vague and ephemeral deformations of the corporeal space, but the initiation to and the opening upon a tactile world.’
Merleau-Ponty, M (1968)

Mackintosh School of Architecture
BArch, 2020
Stage 3

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.

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

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

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.

The following illustrations have been selected to convey my thesis for the Urban Building project, which explores the hybrid of performance and education.  The design manifests itself as a performing arts venue in Glasgow’s Merchant City, providing an all-encompassing cultural hub accessible to every demographic.

This project is prompted by observations of current performing arts venues in Glasgow, often failing to be inclusive of all in the community and engage a multitude of arts categories in one space.  Supporting spaces within the design are formulated to be utilised by the community for collective and personal development – aiding education and leisure.

The design delivers a venue to experience performing arts in a variety of circumstances.  Permeable in nature, visitors enter from all angles of the building – emphasising its identity as a destination within the city.  Abundant void space in the venue affords the opportunity for sub-division, generating informal performance spaces.  Concrete stairs appear dense and sculptural within the light and open architecture, generated by the steel framed structure, resulting in a visual contrast between solid and void.  This contrast is employed further to convey visual legibility within the design, informing visitors of the function of spaces.  Ascending the building, spaces become increasingly “solid” and introverted for isolated practice to take place.  Polycarbonate curtain walls and glazing portray movement within the building to the streets as animated shadows, engaging the external context of Merchant city.

With boutique stores, galleries, annual festivals celebrating the arts, and many creatives basing themselves there: Merchant City is renowned as the cultural heart of Glasgow.  This venue is synonymous with this context and provides a civic space to cultivate a collective experience of performing arts to inspire personal growth, and collaboration.

Fredrik Frendin is a fourth year architecture student with a background in graphic design. Effective communication of complex ideas is a process which has intrigued Fredrik throughout his years in university. Through exploring a variety of methodologies he has established a comprehensive set of skills to ground his ideas, develop his designs and communicate his proposals in an effective way.

Fredrik has a vested interest in photography. What started out as a way of practising his understanding of buildings to prepare for architecture school has now developed into an essential tool to analyse and capture aspects of the built environment which intrigues and fascinates him.

Fredrik is part of the editorial team for the 45th issue of the MacMag, a student led publication celebrating the work, thought and life of students and staff at the Mackintosh School of Architecture.

I am a 4th year Architecture Student at the Mackintosh School of Architecture.

I have completed an internship at OZ Architects in the Netherlands.

I am enjoying the course and I am passionate about creating functional buildings which are politically, economically and socially robust and sensitive at the same time.

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

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

Craig Stephens is a Student, Freelance Architectural Consultant, Project Manager and Architectural Developer.

He studied Construction and Architectural Technology at Forth Valley College where he graduated in 2014 before taking up his first post in professional practice at Pollock Hammond Architects where he took on the role of Architectural Assistant for three and a half years, completing range of projects from small extensions to large-scale commercial projects, participating in all stages of the RIBA plan of work from concept, technical stages, procurement and administration.

Craig is particularly interested in the development of housing in Scotland and the UK and believes that Architectural Developers have the potential to transform the housing market to provide better end-results and better value for money. Since 2018, he has been providing Architectural services as a Freelance Consultant, project manager and Developer. 34 Riverside View, Alloa was his first project constructed as a ‘Design & Build’ Developer. Completed in 2019, he designed, costed, and project-managed the project.

Craig Studied undergraduate at GSA on the part-time mode while he worked in practice. Beginning Stage 4, he switched to the full-time mode.

In Stage 4 Studio, he explored the relationship between Life and Work, developing a thesis based on his own experience as a work-at-home freelancer. His findings were that Life/Work is a balance that is constantly in Flux, influenced by individual requirements. A study of his own home environment, the successful implementation of Maggie’s Centres to provide mental stability, and Japanese Architecture as a way of blurring the lines between nature and the building environment, allowed him to focus on key factors in developing a successful design toolkit: Light, Nature and Adaptability. Adopting a Spacio-Structural system, inspired by the works of Kuma and Fujimoto, he developed a dwelling concept that would allow for quick construction and adaptation using 3x3x3m blocks which could be placed in a three dimensional modular layout. The result was a flexible, simple structural system that would allow nature to occupy the street level with dwellings floating above and courtyards to allow light to flood from above. Following this project, he worked on a new building adjacent to the development. This time a multi-storey commercial building that would provide development space for creatives to research, explore and develop their ideas. In order to maximise the creativity of the occupants Craig explored techniques for increasing creativity and productivity through the physical environment as developed a vertical building based on a continuous ramps system which followed the natural development of each project. This project is still in development.

Craig Developed his Dissertation on the viability of the Architect as Developer, as a practise that could improve the quality of social and private housing in Scotland and the UK. As part of the project, he developed his own experimental dwelling designs, based on real-life plots. From these he explored the design process, the construction process and the final costs, using his own experience and successful professional precedence.

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

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

Jodie Macpherson is a Glasgow based Scottish designer and recent graduate of the Mackintosh School of Architecture; where she achieved her BArch (Hons) and RIBA Part 1 certification. Throughout her studies, Jodie has implemented her previous background as a painter and visual artist into her work, and has developed a particular interest in architecture visualisation and 3D rendering processes. In 2018, she worked as a free-lance photoshop artist on a project for lighting design firm Kate & Sam (London). Her architectural works have a particular focus on user sensitivity and community integration, and are fabricated with a focus on sustainable design technologies and timber construction.

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

Urban Housing
The Anisotropic Grid

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

Urban Building

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

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

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

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

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

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

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

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

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

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

I am currently a final year architecture student from Scotland. After studying and receiving a Bachelors Degree from the University of Dundee I transferred to the Glasgow School of Art to complete my studies. During my Part 1 placement I worked for Lorn Macneal Architects based in Edinburgh New Town. During my final year thesis I became particularly interested in the themes of migration and displacement.

My current research explores and aims to understand the various stages of the journey of migrant populations arriving in Belgium and Antwerp.

Antwerp can be described as a patchwork city, not just architecturally but also culturally. This mixture of cultures and nationalities provides a diverse “melting pot”. The proposal intends to integrate migrant communities into the existing fabric of the city using skills and experiences they already posses through the sharing of experience. The concept of narrative is of fundamental importance to share migration experiences with the community to develop interaction and fundamentally integration. By focusing on the value of experience and culture secondary skills which facilitate integration, are seen a natural outcome of the process. The theme of “sharing a migration experience” is facilitated through the sharing of experience and “stories” through theater, and the sharing of culture through food in the form of a restaurant and also a cookery school were locals can experience different cuisines. The chosen site aims acts as a “hinge” between the various neighborhoods and enables a connection to these districts. These connections will be strengthened by the use of landscaping to create routes as well as water connections.

The architectural forms of the primary countries of origin have been researched and subtle references have been incorporated into the design. Courtyards are used to provide a degree of privacy in an external space with cloisters to reference religious architecture as well as providing shelter from the elements. The “layering” of the facade can be seen with the inclusion of the cloisters around the courtyard which provide shelter from the elements as well as picking up of cultural architectural references. Brick screens are used to allow a degree of privacy whilst allowing light to enter. The use of screens references middle eastern architecture whilst brick being “the material” of Antwerp – represents the merging of two cultures.

The element of Water is fundamental in the historical development of Antwerp and can be seen as a symbol of migration, able to transport people. Referencing the water cycle, water can be used to thermally control spaces by the means of evaporation, condensation, thermal mass and so on. Understanding the significance and symbolism of water
in different cultures and religions is of fundamental importance. Expressing that water is something which we all share a relationship with-which manifests in different ways. Reflecting the idea of a journey in the integration of water within the design and incorporating different “components” that form an overall water cycle.

The aspiration of this thesis is to create a connection between Den Dam and the rest of Antwerp thus making this community feel included and not excluded. Not only creating a connection within the local area/district, will reduce the sense of isolation for the people.

The role of the architecture is to create a relationship with the land (market space) and the water (the dock) and examine whether if it is possible to utilise this resource to help generate the produce for this community led and ran market space, thus making it more sustainable for all the factors involved, whilst also reducing the reliance on the citiy’s mains water structure which can be utilised elsewhere within the system.

The scope of this design thesis will be able to benefit the community by connecting them with one another through the creation of this market and urban farm; therefore creating a desire for the public to visit therefore re-establishing a connection to this area and community with the city and re-purposing this once vibrant area, which bands together the community.

It is a place where cultures clash, which can be a valuable resource to act as a seed to foster a vibrant society. In conjunction with the artist could create a cultural hub and space for the north of Antwerp thus connecting to the rest of Antwerp and feel included and not excluded.

Through connecting the community together via a food market/hall which will be community lead and ran providing the people with jobs and therfore a source of income and the ability to share their culinary knowledge between themselves and the rest of Antwerp, thus benefiting all the people, the workers, the businesses and organisations within this community, hence connecting the people together and sharing this gift with Antwerp bring this community closer together with the city.

Project: House of Memories: a feeling of time.
Location: Antwerp, Belgium.
Tutor: Stacey Phillips

Since the beginning, and inspired by Aldo Rossi’s readings, I was interested in the idea of the city, its memory over time, and the combination between the old and the new, the contemporary and the vernacular. When I traveled to Antwerp I discovered a vibrant and diverse city where the architecture reflects the character of the inhabitants and retains the history in its fabric.

This thesis explores the role of Architecture as a socio-ecological device expressive of its time. Using the idea of Architecture of time, the thesis researches the themes of fragments, layers, and contrast, derived from the study of the city and its architecture concerning the political, economic, and social history. These themes develop an architectural language that helps to understand and transform a specific locale which the only aim is to strengthen the social and collective fabric of the place, in other words, to create affections derived of the shared collective experience to reclaim the importance of the cultural and civil space as a place for citizen participation, encounter, and exchange.
The Project is developed in a block, located in the medieval and historical centrum of the city, it was, in origin, occupied by one of the most relevant medieval monasteries that resulted in the construction of Sint-Pauluskerk, one of the most significant Baroque Churches in Antwerp situated in the Sailor Quarter. Over time and history, the city has grown around the monastery leaving behind a series of hidden buildings, ruins, and fragments, most of them appear to be abandoned, redundant, or poorly transformed. The thesis investigates the idea of layers creating several architectural contrasts; the close observation of time progression; and the transformation of an old monastery that was once an important religious and cultural center of collective organization and ecological character.

My design thesis explores condensing the experience of walking in the historical urban quarter into the scale of a building, which accommodates a literature museum in Antwerp.

i. architectural interest
The first part of the project focuses on abstracting and miniaturising some identical spatial configurations found in Antwerp into one building. Aiming to creates a sequential experience works as a leading thread through the entire building three-dimensionally.

ii. experience and literature
Combining the architectural idea with a literature museum program on a chosen site, the second part of the project leads to questioning the relationship between the spatial narrative and the literature exhibits.

Nick Cherry is an architecture student interested primarily in the activation of unused urban spaces, the incorporation of landscape within these, and the importance of a shared public realm.
Nick incorporates life experience into his personal design and professional work. In 2018, while working for a small practice of three in London, Rabble Place, he observed how architecture can have a positive, tangible effect on people’s lives.
His dissertation explored the construction of a DIY skatepark in Glasgow, as an exemplary model of a community identifying, adapting, and re-claiming a derelict urban plot.
In 2019, he attended Civic House’s ‘Test Unit’ programme, collaborating with artists, sculptors, engineers, architects and members of the public. The theme ‘Material Flows’ raised issues surrounding climate change, re-use and recycling in the building industry.

Recently, Nick has taught at the Manchester School of Art, delivering tutorials to second year architecture students. This has deepened his understanding of the relationship between people, landscape and the built environment.

I am a graduating architecture student from Sweden. After receiving a Bachelors Degree in Architecture from University of Dundee I returned to Stockholm for a year internship before coming to Glasgow to complete my architectural education. During my diploma at Glasgow School of Art I have developed an interest in architecture’s potential role as a mediator between people and nature.

A Landscape Palimpsest At Antwerp’s Green Ring

The concept of landscape palimpsest is to consider a successive episode of landscape change as a blanket being laid across the site. In the end, several blankets will be on top of each other, some more present and some almost completely invisible. (From: Time perspectives, palimpsests and the archaeology of time by Bailey, G.)

The proposal celebrates an intangible presence of the past within new landscapes for recreation and reflection, an escape from the bustling city, and a bath house at its heart. Antwerp’s ring road corresponds to the line of the 19th century Brialmont wall fortification and today only a few remaining traces from the wall are visible. The ring road is a vast space dominated by road and rail infrastructure, disconnecting the inner and outer city. However, the City of Antwerp recognises the potential of this becoming a strategic area in the future city structure by turning the ring road into the ‘Green Ring’. The thesis is seeking a potential language for the landscape of the strategic area and proposes one of the locations along the Green Ring to explore how a bridging landscape might reconnect to the wider city.

The thesis includes an in-depth study focusing on the element of water initially in relation to issues of urban runoff. Through sustainable urban drainage systems the landscape forms elements to collect and filter rainwater and finally recharge the groundwater. The program of the building is a bath house where visitors can experience natural pools and the filtration process becomes a visual part of the building experience and tectonics.

Karina is a recent RIBA Part 2 Architecture graduate, also a holder of a degree in Architectural Technology.

Karina worked in Vietnam and the United Kingdom. Studied in Denmark, Scotland and Japan.

Her interest is in community architecture and art projects, build for and with local communities using recycled and eco-materials. She also is passionate about illustrations and graphic design, which helps her to present the ideas in a clear and attractive manner.

In 2020 Karina was nominated for RIBA Norman Foster Travelling Scholarship with the research topic in Craft Revival.

The final year thesis question stated: ‘How can the participatory architecture in underused sites of Kyoto, bring new notion to the oriental street and its’ communities in a contemporary context?’

It also sought to investigate the relationships between the professional and the user; unintentional and undefined design processes.

My work is centred around activating spaces that allow for existing cultural life to develop, and new culture to emerge and grow. It is concerned with the intersections between program, social and local architecture and architectural gestures. I’m particularly inspired by how spaces for music, performance, events and creativity bring people together within the city, and interested in the manifestation of community projects and DIY culture in design.

a (counter) cultural edge and island, Antwerp :

How can an architecture for informal performance activate parts of the city which are bypassed, and provide significant platforms for an existing grassroots scene within the city, which is currently physically dispersed and politically ignored? Through contributing to – whilst questioning- the use of public space, how is the ‘island’ and the ‘edge’’s potential realised, and the spaces activated ?

My work throughout 4th year derives from my interest in social action.

The displayed project is my newly-developed typeface, inspired by ancient scripture and designed to be powerful and sacred in appearance.

It also is elegant but has intentionally sharp, lethal-looking features. Altogether, the typeface emphasise the strength and dignity in the chosen texts.

The texts themselves reference cultural appropriation, with the contemporary phrase ‘culture vulture’ and a quotation from black feminist writer, bell hooks.

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.

In my final year at Glasgow School of Art studying Communication Design specialising in Graphics where I have immersed myself in a wide range of subjects, undertaking independent research projects, answering design briefs and finding creative solutions to problems within tight deadlines.

For most of this year I have been working on a short film on the improvement on mental health and well-being through football — with the focus on physical and emotional well-being and how they are interconnected.

Through mental well-being, I have tackled underlying topics such as anxiety, depression, addictions and how football (particularly the football community) can play a vital role of support for coping with such problems for some individuals. Emphasising that team spirit, and being part of something bigger than yourself, can help people gain confidence and self-worth through community support and the camaraderie of the game itself.

Commissioned by the SFA I have been working with Stenhousemuir Warriors which is part of Stenhousemuir Football Club one of the most community-active professional football clubs in the UK.  Warriors in the Community is the community arm of the football club which aims to have a positive impact on every household in Stenhousemuir and the surrounding areas; either directly through club activity or through the Tryst Community Sports Club partnership. They strive to encourage more boys, girls, men and women to participate in regular physical activity and to be an active part of their local football club and community; regardless of their level of ability.

Due to the current situation I have been unable to finish this project. I plan to upload the finished film in due course.

If you would like to reach out please feel free to get in contact.

Thanks

Mark

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

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

I’m a graphic designer and image maker based between London and Glasgow with a focus on art direction and process led design.

My design style falls between graphics and illustration as my practice often includes some kind of image making element. This even translates into my lettering and typography with my interest in decorative and bespoke type design, which is best illustrated through my work with FATHER. This stems from my love of process, whether that be the carving of Lino or the sketching of letterforms, I really enjoy the journey from the initial spark of an idea through all it’s iterations until it’s final form as well as the constant learning that comes with the discovery of new techniques relevant to my projects.

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

TEMPLETON
Type Design

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

TYPOGRAFI
Editorial Design

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

COMMUNICATION DESIGN WORK IN PROGRESS SHOW 2020
Exhibition Identity
Group Project

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

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.

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.

My name is Eimear Coyle and I am an artist from Derry City, based in Glasgow.

I love my hometown, but I named this piece Why I Left because growing up in Northern Ireland, being gay wasn’t really something that was talked about. I didn’t know anyone that was openly gay and the education I got in school completely denied the existence of queer lives. It took me a really long time to realise that it was okay that I didn’t want to kiss boys and that I was normal. Fresh Air is a song I wrote about the freedom I have felt since moving to Glasgow. I can finally be myself, I have a partner who loves me, and it turns out kissing girls is way more than okay.

To create the film I made a series of phonotropes, which is a method of animation consisting of a collection of images on a record which only become animated when the record player is set to a certain speed and it is viewed through a particular camera lens. Without these specific conditions, the images are just a blur while the record is spinning. I felt that this process of ‘hidden’ animation drew certain parallels with my personal experience of growing up in a place where I felt that I needed to hide who I was, while the unveiling of myself and my girlfriend throughout the film shows how far I’ve come since moving to Glasgow.

Music has always been the best way for me to express myself and my feelings, and I enjoy the crossover of art and music in this project. It felt important to me to use a happy song about love in conjunction with a project about LGBTQ+ rights in Northern Ireland because although I have found it tough, I want the overall message to be hopeful – same sex marriage has finally been made legal in Northern Ireland which is truly class! It is a video for lesbian representation and it is a love song for my fiancée.

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

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

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.

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

I am a visual communicator from Latvia with an innate socio-anthropological interest. My work strives to explore relationships between and to others within an integrated design practice.

Through a trans-disciplinary format I like to provide visibility to people, objects, settings and narratives which would otherwise not be told.

Currently I am working on a collaborative project with Latvian weavers, jewellery makers and craftswomen to understand the relationship between historical trauma, craft and design now. It is a research of human displacement in the history of Latvia, the formation of memory and possible ways of preserving the ancient craft skills.

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

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.

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.

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

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.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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.

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.

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.

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

I 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.

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.

This project revolves around people from different fields working in one building and occupying shared spaces. The aim was to create a workspace tailored to the needs of a specific profession while simultaneously allowing them to use shared spaces with other workers. This in turn would encourage them to learn, discover and inspire others.
My inspiration came from my personal experience while studying at GSA where I had students from other fields around me. I would also share facilities with them such as various workshops where I got the opportunity to discuss my work.
The biggest challenge I faced while designing was to find the right combination of professionals to occupy the space together and to create small interrupting points where people could take a break from their work and discuss it with others.
The main focus point in my design was the void, which allows light and sound to travel through it as well as providing a subtle peak into the workspaces of other people.
The void allowed me to explore different planning possibilities; on top of that it created an opportunity for me to explore different CAD softwares and Addobe packages to create a visual language for my project.

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’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.

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.

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

Having studied the Interior Design Honours programme at the Glasgow School of Art over the past four years I have been able to explore my continued passion of the way that spaces make us feel.
During my final year, I found a way to express this interest. My project focusses on providing a space for people to disconnect from the stress of daily life and reconnect with themselves both mentally and physically.
The Graving Docks in Govan are a rich piece of Glasgow’s ship building history and currently lay abandoned. The site is an oasis sitting directly on the edge of the River Clyde where one building still stands, Pump House Number One. To create a sense of unity between past and future, connection to water was vital. I therefore shaped this site into a Thermal Reconnection Centre- exploring the varying properties of water in the form of sauna, steam and temperature pools. Ensuring the legacy of this site lives on, I have ensured that it’s past leaks into every bone of my design process. This project injects life into the local area as well as widening this community to create a larger sense of unity throughout the city. This enables the purpose of reconnection to be; personal, communal and historical.
My main interest within my discipline has always been the ways in which users interact with space and the impact this can have not only on their experience but on their wellbeing within these spaces and beyond them. This project allowed a perfect form through which to express this thinking and I look forward to further investigating this marriage of psychology and space throughout my professional practice.

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

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

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

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

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

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

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

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

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

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

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.

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

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.

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.

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.

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.

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.

My final year project at GSA involved designing an augmented reality app paired with a 3D printed wristband that facilitates independent shaving in men with Down’s syndrome. In the future I hope to be able to apply knowledge and experience gained throughout my time at GSA and UofG in the product design/mechanical engineering sectors.

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

Through my Meng degree I have developed both engineering knowledge and design experience, giving me the tools to improve real world problems with future forward thinking.

Striving for sustainability is a big part of my work. Most recently, my masters project focussed on trying to reduce the terrible environmental impact of the livestock agriculture industry by encouraging future generations to eat insects, a much more sustainable form of protein. The result is a unit for primary schools which facilitates the farming and consumption of mealworms in the hopes of destigmatising the consumption of bugs. I like the ‘cradle to cradle’ approach to design and believe that creating circular economies of resources is the best way to reduce our strain on the environment. This approach is most clearly seen in a project where I chose to develop a concept for menstrual cup packaging which was made from recycled plastic tampon applicators.

Other notable projects in my university career include; the design and manufacture of felt hanging plant pots for the GSA shop in which I developed some experience with hand felting and natural dyeing techniques. I was also involved with a live project run by Glasgow City Council aiming to bring Telecare into the 21st century. My team and I were able to design a system of products and sensors allowing adults with profound learning disabilities to be given more independence safely during the night, as well as reducing the cost of their care to the council.

Having completed internships at Jaguar Land Rover and COHESION Medical during my time at university I have been able to gain valuable experience with transferring my knowledge and design process into the professional environment.

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

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

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!

Competing in ‘The Greener Glasgow’ design competition when I was younger sparked my interest in sustainability. Winning 3rd place, it has ignited my passion for incorporating sustainability with design. Furthermore, by being part of a volunteer group working as a Neighbourhood Improvement Volunteer (NIV) for my local area allows me to see the current environmental problems. This has always been the push for my packaging box design in hopes to change waste consumption in the packaging industry.

As a student of design and engineering and an amateur musician, learning has been a large part of my life. Learning is a powerful tool, not only for developing our skills and understanding on a topic, but because it comes with a sense of fulfilment, of self-improvement and of joy.

Particularly with musical learning, I often find myself distracted from the recommended learning routes, instead preferring to experiment and play. It took me at least a year of learning guitar before I attempted to tackle a song from start to finish, instead preferring to improvise within simple scales and chords I had attained in bits and pieces. I find that this method is beneficial, as it allows me to express myself more immediately, and ultimately it builds skills, confidence and familiarity with the instrument and theory. This all contributes towards playing more proficiently, in a round-about way, but in the end my personal goal for learning music is not to replicate any particular piece of music but to enjoy myself and express my creativity. In this way I treat learning as a sort of meditation, where the purpose is to lose myself in experimentation and exploration.

Sound & Colour is a project aimed at the casual learner. Music is traditionally taught with some degree of intensity, and while this is unarguably a route to successful musical proficiency, plenty of joy can be gained from simply exploring sound and developing one’s “musicality”. Taking inspiration from childish play, I wanted to design a product that would allow the user to really play around and mess with music without requiring prior knowledge. I put particular focus on how the user interfaces with the device, I wanted to stray away from traditional layouts and daunting “cryptic” musical notation, providing instead a fresh and intuitive interface and feedback system. I placed importance on musical interval relations, using a regular isomorphic layout to provide logical navigation to allow the user to drift around the “keyboard” discovering these interval relations as they relate to each other geometrically.

This project has allowed me to explore this concept of experimental learning within music through my design and engineering skill set, from user interaction and research to digital and physical prototyping, electronics and coding.

I am a Product Design Engineering MEng student from Glasgow graduating this year. I’ve played football all my life (with my career hampered by injuries) and I was keen to combine my two interests of sport and design. By designing a sports recovery product for my final year masters project, I hope to go into this industry when I graduate. The project began as an exploration into the inefficiencies of ice bath use within the world of football, however evolved into an investigation of all recovery methods used and how technology could improve these procedures. Due to my own experience of poor recovery between matches and training sessions, looking for ways to improve the recovery process became a real passion of mine.The resulting product is one which portable and convenient, optimising the recovery process, saving time and effort.

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

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

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

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

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

Alice is a multi-award-winning jeweller and silversmith who celebrates the chaotic beauty of crystal and mineral formations through the medium of metal. Trained in both traditional and contemporary fields of metalwork and design, Alice’s work re-imagines rare mineral specimens as functional jewellery and objects, without depleting precious resources.
To create these rock-like textures and forms, Alice uses ancient techniques of chasing and repoussé. Alongside developing this technique, she has spent much time studying the effects of incredible metals, titanium and niobium, that provide bursts of colour to her jewellery designs, using the modern technique of anodising. Now acknowledged as her specialism, she is one of only a handful of metalworkers in the UK working with niobium. From 2020-2021, Alice will be studying at Bishopsland Educational Trust, a prestigious residential course specialising in ancient crafts of jewellery and silversmithing.
If you would like to discuss a commission, please use the links below to contact me.

The use of ephemeral materials for recording sound registers internally within us as they are signifiers of its impermanence. My project aims to provide a new way of preserving a memory on a precious metal. My work focuses on music and sound’s ability to provoke memories. To create a piece of jewellery that can effectively engage one in an audible way as well as in a visual way. I wanted to create a series of objects which elevates the audio and visual experience and which has the capacity to preserve a memory in precious metal. In order to do this I created a musical box where two detachable wearable rings replace the main tumbler in the mechanism.
For a series of ring boxes that could represent sound I looked at experimental forms of musical notation, specifically the work of Raoul Auger Feuillet. I then designed a three dimensional notation system through the form of finial tops.

My theme is about a childhood fantasy of skies, with an idea of reproducing childhood naivety. The fantasy symbolizes my curiosity about nature, the universe, as a child, while providing a beautiful sky unique to myself in the complex world of adults. My exploration revolves around clouds in their fluffy and plump shape, playing with clouds in a series of movements. For example, when I was a child, I often wanted to get hold of it, close in it, and go through it, so I will perform visual movements like enclosing, piercing, and wrapping in my design process. The design turns childhood fantasies into real-contact experiences.

Christine Milroy, BA(Hons) Silversmithing & Jewellery, The Glasgow School of Art, 2020
Goldsmith’s Precious Metal Grant Winner, 2020
Goldsmith’s Precious Metal Grant Skills Swap 2020

Creating the effects of cobbled streets, miniature harbours, sheltered by cliffs, and historic fishing villages in the form of jewellery pieces, may seem ambitious. However, the processes involved in the practice of jewellery designing and making compress such impressions, allowing for the representation of natural aesthetics, of subtle shapes and colour palettes in small details. This collection evolved from my travels through some of Scotland’s historic coastal villages; unique places that combine traditional domestic architecture with a timeless, almost ‘Wabi Sabi’, attitude to seafront imagery, where lobster creels, fishing nets and tiny boats, lie alongside startlingly white-washed walls, below crow-stepped gables. Photographs, sketches and digital drawings were made from these appearances, in an intuitive response to each environment, to form the basis of a series of jewellery objects evocative of time and place, with the structures, colours and shapes of a distinctive Scottish landscape, captured on an intimate scale.