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

I 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.

Pauls studied architecture at the Glasgow School of Art as well as the Academy of Fine Arts Vienna. Parralel to his studies, Pauls works with printmaking and investigates the technical drawing as a communication medium.

Pauls’ third year work at the Mackintosh School of Architecture looked at developing a venue and accomodations for a music education charity.

Project description:

Instead of taking place in sparse acoustic venues, Sistema orchestras have always dwelled in non-specialist settings directly within communities in need, prioritising social action over education tradition. How can a venue custom built for Sistema maintain this notion? To address this, Sistema’s methods were compared to those of Levi Strauss’ bricoleur. Similarly to a bricoleur, who “creates structures by means of events”, Sistema defines a venue by holding orchestra recitals in the available settings. By doing so, Sistema is shaped by the conditions and accessible resources, but at the same time can create new meanings and events within the environment. The response to the brief is not a design of a new building to be placed on the site, but rather an assemblage of the honest and mundane objects of the River Leven. A frame of one of warehouses on the riverbanks is dismantled and moved to a parking lot on the Balloch pier. There, it is furnished with rooms akin to giant bunkbeds and inhabited by the orchestra. A place to celebrate the education program and the unspectacular River Leven.

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.

Part 1 Architectural Assistant

In response to our brief to design a performance space and accommodation for the music charity ‘Sistema Scotland’ in Balloch, I have proposed a linear building which acts as an extension of Balloch Park. This acts to connect the train station and main road with Loch Lomond and ‘The Maid of the Loch’. The positioning allowing for performance to spill out of the hall spaces and into the park, harnessing it as a musical destination.

The overall concept reflects the linear park with the accommodation placed directly behind the performance hall to allow students to have maximum freedom whilst remaining safe within the building. As a result the building provides a deeper feeling of security as you venture further through its layers into the bedroom spaces. A break out space in the form of a raised external courtyard separates the two buildings and provides a stopping point to reflect upon the surroundings. This also provides private access for students from the accommodation into the performance space.

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.

Lily Sinclair, a Stage 3 student of Architecture at MSA, GSA. Born and educated in Newcastle Upon Tyne with a strong allegiance to the city and love of its coast and castles.

This year the Stage 3 Architecture Project brief was to design a residential retreat and music education centre in Balloch. The client was SISTEMA Scotland, a charity which takes young underprivileged children away from the stresses of everyday life on residentials to teach them music. The main theme of the project was ‘How Low Can You Go?’, this meant creating an eco-friendly build within a budget.

I brought to this project my experience in music education, which includes performing in various performance spaces from large venues such as the Royal Albert Hall and The Sage, Gateshead to smaller more intermate spaces, together with the experience of rehearsing in a residential setting. I loved this project as it felt very personal and learnt a lot about my style in architecture and where my strengths lie.

Currently, I am seeking 12 months placement in a RIBA certified practice for my Part I year out.

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

The “Residential Retreat” is a project embedded in the surrounding landscape of the river Leven and the national park. It is a place that allows children and teens to escape the hardships of everyday life, providing a place to practise music, play and, most importantly, build a strong sense of community.

The retreat follows the concept of “designing for wellbeing”, heavily influenced by Charles Jencks’ Maggie’s Centres, and puts emphasis on the relationship with the surrounding landscape and the power of nature with its stress-relieving abilities and positive influence on focus and concentration. The building is blending the line between indoors and outdoors, creating an illusion of living in the trees’ canopies.

It also aims to achieve a zero-carbon goal; carefully selected materials and systems strive to create as self sustaining building as possible.

Kacper Ryske is a Polish artist and prospective architect currently studying architecture at the Glasgow School of Arts. In 2018 he went to Germany to do his exchange semester at the Bauhaus-Universität where he completed a project that challenged conventional working patterns. Based on building flexibility and the optimisation of evolving working dynamics, Kacper explored the impact of rapid technological development on creative industries and data storage. This seminar became a profound influence on his architectural style and approach to building design since. After the semester, Kacper trained as a Part 1 Architectural Assistant at Studio LIN Architects Urbanists in Berlin run by the German architect Finn Geipel. LIN is a laboratory for architecture, urbanism and design that focus on creating flexible and adaptable solutions that continue to intelligently and sensitively respond to the specific needs of their users and environments over time.

In his recent projects, Kacper strives to find the balance between the measurable and immeasurable. In the soulless, technologically induced environments full of repetitive forms that we experience today, Kacper seeks to harmonise the human scale and satisfy the complex spiritual needs of humanity in his projects. He believes in order to achieve an atmospheric quality, design based interventions within the built environment should resonate with human action, place and cultural context. The concept of Stimmung by Martin Heidegger has influenced Kacper’s design solutions and has become the atmospheric vehicle of his design intent to “carry the human language” through architecture. Taking his inspiration from phenomenological other figures like Kenneth Frampton, Studio Mumbai and Alvaro Alto, Kacper endeavours to explore if sustainable, efficient and flexible solutions may coexist with the poetic phenomenological architecture in order to achieve a holistically fulfilling environment for its users.

Vivien Wan Ting Neoh has just completed Stage 4 at the Mackintosh School of Architecture. The following images are taken from the Urban Housing project, sited in Merchant City in Glasgow. Often housing is planned with the nuclear family unit in mind: two parents with children. As society evolves to become include new living situations – multigenerational families, single parents, young urban workers, the traditional three-bedroom apartment may no longer be suited to the needs of everyone. This project considers how apartment types for three different groups of people: multigenerational families, live-at-home professionals and artisans whose dedicated workspace is located in proximity to their homes. The project also explores the inclusion of levels in a single living unit, in contrast to typical flats which spaces are spread out on one floor.

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

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

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

Maisie Tudge – Graduated with First Class Hons from Oxford Brookes University in 2017. Worked at Shoreditch based practice, HÛT Architecture, between July 2017 and August 2019. Collaborating on a range of large and small scale residential and commercial projects, lighting installations, internal refurbishments and furniture design.

I have been an architecture student at the Glasgow School of Art since my first year in 2015. This year, I will be graduating my Bachelor of Architecture (Hons)

The two projects presented here are parts of my work from my 4th year. One is a housing project from the first semester, and another one is my thesis project from the second half of the year which, unfortunately has to be cut short.

Despite the halt in the teaching, I have continued to work independently on the project to the most of my ability with the limited facility and resources.

For more information, CV or complete portfolio, please do not hesitate to get in touch.

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

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

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

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

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

For this Urban Housing project, the relationship between domesticity and labour is represented as a social space within the city. By sharing a circulation, and therefore a threshold from the public to the private realm, the domestic shares a space with the labour.

Could the intertwined existence of domesticity and labour in the same built environment form a social connexion? The ritualised entrance through the social enterprise is organised with that purpose in mind. Heading up to the circulation, inherent boundaries are formed through more private social spaces.

As a series of thresholds is increasing the privacy of both the domesticity and labour, every space is intended as another filter from the public realm. The boundary is here intended to by physical and not visual, as the spaces gravitated towards the greater social element that is the courtyard.

Indeed, every layer of private space is polarised by a more social space, such as the shared kitchen is facing the circulation, as well as the shared living space is in direct relationship with the kitchen. And, in an opposite manner, the most private bedroom faces the other way.

Digitalization & Physicalization

Everything is increasingly passive in this modern world of ours, mostly indicate through image instead of touch and body response. People tend to focus on how physical things being digitalized. However, many are forgetting the fact that we are also physicalizing digital things at the same time using 2D and 3D printing. Thus, digitalization and physicalization are both happening in our society and should be treated equally.

The proposal for this project is to explore and experience both the digital and physical world. In order to provide different experiences, elements such as structure, material and lighting are designed carefully to create different environments. The idea for the physical world is representing by something rigid and solid while the digital world is more like something ephemeral and void.

By 2040, most of the world will have a severe supply to demand issue regarding the surface water. The purple represents countries that will face the struggles the most. As 97% of the world’s water is saltwater, 3% is frozen freshwater held in the glaciers and the remaining 1% is liquid water. Though in that 1%, some of it lies underground, making it very expensive to extract, with the only choice but to deplete surface freshwater.

What the speculative aim is to critique the careless free-flowing faucets which humans leave on; to reflect and to preserve a natural resource that we would die without. From research to realisation, the hypothesis opposes to a utilitarian architecture having so little attention. A promise of childish pleasure – city as a playground. Marrying to a combination of an eco-consciousness of water with the appeal to a desire that people have of their surroundings, to engage and excite them. The really impressive achievement is to respond to that desire with infrastructures that have more than one function.

Antwerp has a lack of designed urban green spaces within the dense urbanised blocks. Finding a way to incorporate a way of green living with natural resources.

A framework and narrative for a heterotopian place that critiques the real value of the natural resources which surround us, the most important natural resource to humankind: water. People who live in cities have access to taps, but the true value of this commodity is lost through it ease of availability, it isn’t valued the same as gold or diamonds.

Heterotopia comes from Greek “Hetero” – other/opposite and “Topos” – place

Utilizing preservation as a driver and bringing the idea of this crisis closer, from global to macro. We begin to reflect, be good to the planet, and have a laugh. Function follows fun. The combination of an environmentally conscious public facility with inhabitable architecture.

To be spectacular, blatant, and memorable, opposing to the idea, and culture which cares so little about aesthetics invests so little indignity in the beauty which supplies and powers our towns and cities.

A counter to the medieval city core, to produce a heterotopian place on the left bank – Linkeroever.

A public facility with the water desalination plant. Bringing a social integration of play and environmental consciousness together. Allowing the interaction of traditionally separate functions to operate and unite as one singular holistic approach.

How can seized goods be reused in a way that fights illegal wildlife trade and it’s effects?

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My research started with a TRAFFIC and WWF report highlighting Belgium as a hub for both legal and illegal wildlife trade. This includes live animals and plants, animal products and also timber.

The Port of Antwerp is the 2nd busiest port in the EU and plays an important role in wildlife trade, importing 58% of the EU’s sawn timber. The port of Antwerp is much larger than the city itself, the scale incomprehendable from the city itself.

The environmental effects of illegal logging include deforestation, the loss of biodiversity and the uncontrolled emission of greenhouse gasses.

Antwerp as a city is particularly susceptible to the effects of climate change, with likely increases in flash flooding due to extreme rainfall.

It is highlighted in the TRAFFIC report, that the amount of seizures at the port is suspiciously low, suggesting greater security measures are required. Seizures of timber shipments have been made from companies that have been trading in the port for years without being noticed. It is for this reason that Antwerp’s role in illegal wildlife trade must be put into the spotlight.

When goods are seized, they are typically sold at auction, the profits of which go back to the state treasury and so some money from this can contribute towards actions against illegal trade. However, this does nothing to fight against the environmental effects of illegal wildlife trade, nor to raise awareness of the issue.

In a WWF survey, ~80% of Europeans were unaware that it was still possible to buy products containing illegally harvested timber. What if there was a way to use these seized goods that fought climate change, raised awareness of the issues, and simultaneously helped to build local community?
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The programme focuses on bringing together the various forms of seized goods in a way that draws attention to the issues surrounding them and also teaching how to fight its effects on the climate, using the materials to teach skills and sustainable practices which can be taken away and applied to people’s daily lives and therefore help local communities.

The programme further aims to provide for local communities by incorporating public green space into the proposal, something much needed for Antwerp.

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The volume of goods handled by the port each year overshadows the city. By using this volume, scaled down and using an equally scaled model of the iconic MAS building opposite, it provides a constant reminder of the scale and hidden nature of the port.

Shipments are delivered off the boat via crane into this mysterious box to be sorted. In the entrance, a model of the MAS, scaled down to the same scale as the box, it provides a visible reference point for people see and comprehend the size of industry at the port. By creating these shocking moments, it will have a lasting impact on people and raise awareness of the issues.

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The public programme on the ground floor includes a workshop, marketplace, gallery, café and permanent exhibition, as well as a botanical glasshouse where seized plants are cultivated and displayed. The main entrance is here, between the delivery dock and the box. From the foyer space is the reception and gallery, the entrance to the exhibition, and the café, which has views across Willemdok as well as being able to sit and watch deliveries being made overhead. This then comes round to the market hall, which is adjacent to the workshop so that work made there can be easily taken out and visitors can also see where the crafts and such have been made. The workshop also connects through to the gallery for invited artists to display their work made in the workshop. It has views into the botanical gardens, grounding what is quite an industrial space with a connection back to nature and the source of the materials.

The permanent exhibition winds around the box, with displays that highlights statistics about international wildlife trade, the box constantly bringing Antwerp’s role into question. It culminates in an anechoic chamber, a completely sound-absorbent silent room, which represents the effects of wildlife trade. It then continues up a ramp which snakes around the box, emphasising the scale of it and allowing a closer inspection of the cladding of it, which is made up of various seized hardwoods, and then this leads to a rooftop walkway which allows visitors to peek down into the otherwise private first floor programme. The narrative of this is an understanding of the issue, its ultimate effects, and then getting to look at what goes on within this building to combat it and encourage visitors to get involved.

On the upper floor is the delivery and sorting area within the box, from where goods are moved to a processing plant where large timbers are cut down, reptile leathers are shredded and reconstituted into larger sheets which are no longer recognisable as reptile leathers, ivory is crushed and burnt to be reused as pigments and fertilisers. There is also research office for charitable organisations, and an animal rehabilitation centre for caring for seized live animals before they are reintroduced into the wild in their country of origin.

After processing, the output of this is brought down into the workshop, used there and then goes out to the market or gallery. The public interact with this process at several intervals, with views from the café, in the exhibition, and up at roof level.

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The site of the proposal is on Entrepotkaai, by Willemdok. The location bridges between the historic city centre and the docklands, with good connections to the north by both land and water.

As a key aim of the project is to raise awareness, the building should sit in a prominent location. At the end of Italiëlei, the wide boulevard circumnavigating the city centre, and opposite the MAS at the head of Willem dock, it is certainly a prominent site.

It was formerly the site of 2 customs houses, the first of which was built in 1830 and the second of which was demolished in 1990. As the proposal is related to customs and seized goods, it comes at a third iteration of customs buildings on the site.

The key feature of the previous customs house was its solid boundary wall, making the series of warehouses within private and inaccessible.

This typology doesn’t fit with a programme of accessibility, transparency and awareness. By flipping this typology on its head, it creates an open public ground floor level with a permeable boundary, with private elements of the programme on the upper levels.

The customs house would have been a point of delivery into the city. By reactivating Willemdok to bring deliveries to the site via ship into newly dug out inlets, it reconnects the city with the industry of the port and makes the delivery of these seized goods a public and visible spectacle.

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The wider site strategy examines Willemdok as a ‘room’, the surrounding buildings forming a clear boundary. The office blocks which replaced the old customs house breaks this morphology. I have used nearby blocks as rough guidelines to complete the room, in which the building sits. The new dock is at the north side of the site, the building mostly centred so that the green space and the botanical glasshouse can be on the south side of the site, as this part of the site is the natural end point of the walkway past the MAS. By providing green space at this point in the city, it helps to bridge the gap between the old city centre and the new developments to the north.

Since graduating from University College Dublin in 2017, I have gained a wide range of experience working as an architectural assistant for Hoban Design in London and John Halligan Architects in Ireland, both award winning practices with international profiles.

Project experience to date has involved work at a variety of scales and functions, both nationally and internationally, from residential complexes, civic infrastructure and cultural centers to individual house design and interior fit outs. Passionate about designing places where materiality, detail design and sustainability are intimately connected.

I believe that architecture presents the opportunity for transformation – materially, conceptually and sociologically. The
work I create is driven by the desire to enrich and improve daily life by designing places that aspire to meet the diverse needs of the communities they serve. Inspiration is drawn from many local and global influences, and the work clearly articulates this enthusiasm for issues of place and identity.

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

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

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

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

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

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

Ao Tang wa born in Jiangsu, China in 1995.

He studied architecture at University of Liverpool and achieved his BA(Hons) in Architecture at 2017. Before joining Mackintosh School of Architecture for DipArch course, He had year-out experience of working on a wide range of projects including social housing for Hackney London Borough Council and University of Liverpool Masterplan Competition at Lynch Architects, London. He also worked as intern for Gen (亘) Architects and NaturalBuild (直造) in Shanghai, two leading emerging architecture practice in China.

From 2019-20, He gained opportunity to study as exchange student in MArch course at KTH Royal Institute of Architecture, Stockholm where he explored ornament and representation in space which helps him develop his final design thesis at GSA.

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

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

Lauren has been studying at the Mackintosh School of Architecture since 2014, and during that time has attained her Bachelors with Honors and Diploma in Architecture. She has worked on a variety of projects from housing, community buildings, educational institutions and city master plans. Her most recent work is a study of community, culture and politics within the city of Antwerp, Belgium.

‘Scaffolding the City’ is a project which inhabits underutilized land across Antwerp. The spaces are filled with an unorthodox architectural language which speaks of informality, community engagement and adaptability. As an inhabitable scaffolding form, the proposal takes on a series of incisions into the urban landscape where normality is fragmented and boundaries, physically and politically, can be breached. The scaffolding incisions will inhabit gap sites across the city for the duration that the site is vacant or until thegrowth of a permanent sub-district community infrastructure. In its lifespan the structure will facilitate a socially stimulating landscape for the sub-districts of Antwerp City. The programme for this is based on key strategies which encourage the growth of a politically and culturally stimulated programme: Exchange, Peoples Forum, Knowledge, Cultivate and Play.

Laurens work encompasses an interest in the social aspects of architecture. For her dissertation she studied Glasgow tower blocks and the social aspects of vertical living. Employing the concepts of community and shared spaces researched during this, she has built from these themes to lead all of her projects since. By documenting social aspects which could benefit architectural design, her work aims to address the larger social issues in the industry such as discrimination and design equality.

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

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

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

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

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

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

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

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

Hailing from the tropical island of Jamaica, Ryan is an architectural designer who earned a Bachelor of Art in Architectural Studies from the University of Technology, Jamaica with first class honours in 2015. Since then he has worked in two of the countries’ leading architectural practices and gone on to attain his postgraduate degree in architecture from the Glasgow School of Art. His architectural interests include biomimicry, sustainability and disaster relief design. While he’s not working on his next proposal, Ryan can be found outside surfing, hiking or playing sports. His love for sports developed from early childhood and led to him being awarded a sports scholarship at his alma mater. Ryan is obsessed with travelling and learning about different cultures and the architecture born out of those environments. His love for travel has helped him develop a keen eye for good design and discovering the underlying issues they seek to resolve.

He is deeply interested in self-build, semi-permanent adaptable structures. These structures have the potential to be revolutionary in the Caribbean where natural disasters such as hurricanes, earthquakes and volcanic activity destroy millions of dollars of property every year. For his final year developing the idea of creating inexpensive, durable and adaptable structures was his intention, however the project location chosen (Antwerp, Belgium) is not affected by any of the previously mentioned factors. Though the thesis has less to do with the ‘disaster relief’ associated with this type of architecture, the structures have proven to solve many of the social and cultural issues facing a residential community. Through multiple iterations and testing of this project, he have uncovered another way in which these structures will impact the Caribbean Society as well as maintaining the original idea of self-assembly and adaptability.

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

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

Mairi Louise Caldwell is a Glasgow based illustrator, and recent graduate of the Glasgow School of Art.

Characterising the main themes of her practice as ‘Hidden’ Histories, Memory and the Mythological (that is, concerned with untold stories, folk knowledge, superstition, personal recollection and the unwritten history) her work typically combines analogue drawing, writing, collage and photography.

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

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

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

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.

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.

I am an illustration student graduating from the Glasgow School of Art. Primarily my practice
involves the creation and relaying of narratives through multidisciplinary techniques, focused particularly on social issues surrounding class and hierarchies within society.

In my final year studying at the Glasgow School of Art, I aimed to explore the topic of social hierarchies within society, particularly the experiences of those from different backgrounds within educational environments. I explored these topics within two ongoing projects. My first project is a children’s book project, inspired by previous research, exploring poverty proofing within primary schools. The purpose of this is to educate children on different experiences, and represent social classes within schools, therefore providing a voice.

I also explored this idea within ‘The Pecking Order.’ The aim was to investigate my own experiences and the experiences of others, focusing in particular on students from working class backgrounds entering higher education. Through this, I wanted to create 3 animations or ‘episodes,’ that portray relatable narratives whilst also informing the audience.

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

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

Marrying tradition with tale, ‘Cleansing Rituals’ explores customs with fable aspects.
The work investigates premarital ceremonial ‘cleansing’ with natural elements; soot, salt and feathers, all thought to possess holistic virtue with purifying properties carrying protective and fertilising powers.

Scottish writer Margaret Bennett’s Customs: From the Cradle to the Grave yielded the body of work with biographical narrative. Bennett’s interview material and manuscripts notes describes archival recounts involving soot being rubbed onto the skin prior to ‘feet washing’ in order to cleanse and bring luck. Other occurrences describe finding the ring of a woman who has been in an enduring marriage in a chamber pot filled with salt. The events have been adapted with a lyrical approach, telling an unknown past by using natural elements.

The body of work began with large format nude self-portraits, exhibited in ‘Pt.2 – Com Des WIP Show’. The images were created through photo etching, which is a highly precise corrosion process used by chemical etching. The intaglio printmaking method was originated as Photogravure. The pairing images were printed with handmade ink from soot and linseed oil.
Following this was an exploration of Salt Printing, a photographic process involving wetting paper with a solution of table salt then brushing it with light-sensitive chemical, silver nitrate.
The reoccurring trope of the soot, salt and feathers throughout ‘Cleansing Rituals’ is integral to both the subject matter and the making of the images.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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.

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.

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.

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.

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

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

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

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

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

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

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

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

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

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

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

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.

I joined the GSA Interior Design programme in 2016, having received my Foundation Diploma in Art and Design at Newcastle College.

In my time at Glasgow School of Art I have worked on a range of conceptual and live interior design projects. In this time I have developed my studio skills including sketching and model making, with a view to exploring spaces . I have developed digital skills that allow me to convey my designs, using Vectorworks and Adobe programmes including Photoshop, Illustrator and InDesign.

In June 2019 I was a Student Ambassador for the GSA Overseas Immersion Project, which involved working in collaboration with interior design students from GSA Singapore.

In July 2019 I worked as an intern with ICA Architects in Glasgow, assisting the interior design team with a number of hotel projects. Working with ICA provided valuable experience of working in the industry.

My final year project is a proposal for a new Hotel and Cook School in Glasgow. The concept occupies The Wheatsheaf building at Speirs Wharf, which was once a part of the Port Dundas Whiskey Distillery. A structural void throughout the building plays with verticality, allowing light to travel throughout and create a visual connection to the cook school from the floors above. The ethos of the cook school is founded in the seasonality of Scottish ingredients. This is expressed throughout the project in the materiality, aesthetic and atmosphere of each key space.

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.

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

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

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.

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.

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

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

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

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

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

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

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

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

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

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

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.

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.

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.

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.

Leda Bartolucci is a visual designer and storyteller. In her practice, the narrative comes first, allowing her to work with a variety of medium depending on which is more suitable for the message to come across. Her projects include the use of photography, graphic design, illustration, moving image or a combination of the above.

During her studies at The Glasgow School of Art, she researched and consolidated the relationship between activism and her professional practice. Believing in the role of Citizen Designer, she is interested in applying intersectional work ethics to the fields of photography and design.

In 2019, she spent a year documenting climate strikes in Glasgow, Edinburgh, London and Italy, producing a reportage where pictures are paired with the narration of her intimate take on the events they portray. At the same time, she volunteered as a graphic designer and teamed up with youth strikers to develop environmental campaigns such as the global strikes for climate, both at local and international level.

She was the European winner of the 2019 Wunderman Thompson ‘Helen Lansdowne Resor’ scholarship for female creative students. She is currently working with themes such as the climate crisis, migrants and refugees, human rights and the interdependence of these issues.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Having developed a deep artistic and academic understanding of design and engineering, I feel at home occupying the fertile space in_between. As well as engaging with the design process from an artistic and technical perspective, it has become more and more necessary to also engage with the social, political, and psychological components embodied within the product and production process.

In an increasingly politicised environment it is impossible to escape the socio_political weight of the product. As a designer, it feels necessary to examine how design practice can be used to disrupt the rigid cultural structures that have allowed large scale issues, such as the current ecological_crisis, to form and develop.

By drawing from a wide range of both theoretical and practical understanding, vast problems, such as the climate crisis, can be deconstructed into its technological, social and political roots. In this way, effective solutions can be systematically built and implemented.

post_fossil_production_labs:

We are a collective dedicated to the development of solutions for a post_fossil future. By embracing emerging renewable technologies, new modes of production, distribution and empowerment are generated. Working within a broad theoretical framework, centred around eco_futurism, our work ranges from sculptural projects to material experimentation to practical design solutions. Most recently, we have turned our attention to the energy sector, focusing on the future of renewable, urban energy generation and the much needed socio-political reform made possible by disruptive solutions.

post_fossil_toolkit:

As the world accelerates towards carbon neutrality, the future opens up.
A future beyond fossil_fuel consumption and the failing structures of late capitalism.
Twenty years from now, we will be entering a new era.

The post_fossil_age.

Where the act of energy generation extends beyond the purely functional and into the worlds of expression, activism and empowerment. With this new world comes the opportunity to reform and rebuild the systems of energy generation and distribution to fit a new model.

To do this, the right tools are needed.

The post_fossil_toolkit provides a flexible, means of sustainable energy production to urban community centres and autonomous spaces, without reliance on ridged infrastructure or profit driven industry.

Fully de_constructible, modular generation_units use emerging renewable energy technologies to equip the public to work against the broken modes of capital_driven production and the ecological_damage done by fossil_capitalism. Portable tools to power temporary spaces, community projects and autonomous activity.

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.

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

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

Precision Contact

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

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

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

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.

Product Design Engineering has opened up the world of design to me and in 2018 I set up my website for my freelance design business. I have worked with clients ever since on web design, graphic design, branding, packaging design and type design. I love learning more about design and learning new mediums to broaden my skills!

My love for climbing and sports made my final year project very enjoyable, as I was able to collaborate with climbers and design a product that would suit them. I created a product which protects climbers’ hands while bouldering. The glove protects their skin from ripping while providing full range of motion, comfort and sweat absorption.

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

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

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

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

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

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

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

Finley McNamara is a 21-year-old free range artist. Raised in Burlington, Vermont and studying Silversmithing and Jewelry design in Scotland at Glasgow School of Art. Their work is influenced by the things they love, bright colors, walks in nature and listening to music, they are rarely seen without a pair of headphones on their ears or around their neck and a pocket full of interesting things they found on the ground. Their pieces are abstract interpretations of everyday life, focusing on intuition, and growth over time. These pieces are created using paint, canvas, textiles, thread, and beads, as well as precious metals.
All are one off pieces but commissions are welcome for new pieces with similar appearances as well as dreaming up fun new things.

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.

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

I would be delighted to accept commissions.

My practice is informed by the natural world. I am particularly interested in the ways in which nature persists in city environments, despite the overwhelming destructive power of pollution, toxic atmospheres and micro-climates. I have established a making practice that focuses on the relationships between materials and sustainability.

For my final year collection, I designed and made jewellery that relates to a classical idea: res in urbe. This describes an environment where nature is as important a feature of urban design as monumental architecture. The phrase seems particularly relevant today as some city planners and architects have realised the health benefits of green spaces in cities. My jewellery in Finding Nature reflects the textures of leaves, grasses, vegetables and other natural produce. The pieces are intended to evoke sensory experiences when worn or touched; to perhaps act as de-stressors in hostile environments.

Since 2013, I have attempted merge the world of jewellery with the craft of aerogami. Having refined my folding skills in paper, I was ready to take the folds to metal. My work this year is made with the intention of deeper expression for the passion in my own designs of paper planes. With the algorithmic patterns of thought during the process of making and flying them to the flight paths they took through the air I intended to explore. Designs drafted incorporated the fusion of my paper plane designs with their real-life counterparts that inspired them. combining the two halves of the symmetrical airplane wings with the asymmetry of paper folds gives way to a line of abstract aircraft forms. With the initial scoring and folding of brass and copper proving too time consuming, aluminium proved itself a lightweight and malleable metal to work with. Tail fin portions of the models allowed for a multiplicity of aluminium piece to friction fit together.

As my ‘Aluminiwings’ developed and their versatility became realised, I aspired to lock them together permanently via riveting to allow for a small degree of movement and pave the way to make them functional brooches and necklaces.