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.

I am Jules Régis, student of architecture. I did my Bachelor degree at the Mackintosh school of Architecture. Currently in the 3rd year, I am finishing my study cycle this semester as part of an ERASMUS exchange in Spain at the Escuela Técnica Superior de Arquitectura in Madrid.

I am now back in Paris working at distance because of the current situation.

Concerning my design, I’m inspired by architecture that brings dreams into everyday life. I also enjoy attention to places and materials as well as the freedom in design.

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

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

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

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

My childhood unleashed a desire to know how things work, this soon developed into a more specific interest in Design, Technology and later Architecture. While looking for inspiration I discovered how architecture can enhance people’s everyday experiences as they move through and interact with a building. The right building can be both functional and beautiful, so that people feel engaged with it instead of being restricted.This strengthened my desire to be an architect, observing your hard work turning into a reality and having someone to not just admire it but use every day, I believe, is surely one of the best feelings in the world.

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

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

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

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.

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.

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

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

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.

Ana is a 4th Year Student of the Bachelor of Architecture with Honours. She is of English and Guatemalan descent and has worked for architecture practices in both countries, as well as volunteering in Guatemala City for the ‘Fundamental’ initiative and taking part in architecture and design community engagement at the Lighthouse in Glasgow.

Following taking Urban Design courses during her ERASMUS Semester in the Escuela Tecnica Superior de Arquitectura in Madrid, she developed an interest for multi-scale master planning in social and historically complex urban contexts. Her first experience of working with these conditions was with the multi-disciplinary firm ‘Taller Ken’ in Guatemala City, where she was involved with a project to build upon and improve informal housing occupied by climate change refugees. From the inception, the design was community led and the engagement of the residents was paramount in order to seamlessly weave the proposal into the complex pre-existing social and urban fabric. This led to Ana working on the regeneration project of a historically important post-modernist bank building, into the Cultural Centre ‘Mil y Una’ located in the commercial centre of the City. The creation of public space and community engagement was at the heart of both projects and where invaluable examples of how bottom-up design can work to alleviate problems in socially complex regions of the developing world and megacities.

Working for Donald Insall Associates, a practice specializing in historic conservation and urban regeneration: Ana was able to continue working on community led projects in historically complex urban sites, such as the conservation of Lincoln College in Oxford and Master planning for Bournemouth Council. These projects have all served to inform the design decisions in her academic portfolio, as she has learnt to use historic research, cultural trends in society and social discourse as tools for designing at different scales.

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

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

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

Designing small-scale domestic spaces for everyday use in connection to wider public areas has been a primary interest of mine. I feel this typology offers the greatest opportunity to consider modern human needs in detail, whilst still relating to the larger picture of citizen-oriented necessities and allowing opportunity for architectural expression. I find it important to relate my designs to the current urban demands and reflect the deeply-rooted historical traditions from which they stem. I enjoy giving attention to concept, detail, and aesthetics in every project. I aim to produce purpose-orientated, adaptable, and sustainable designs, and am always imagining how these might evolve in the near future. My experience working on corporate projects in China, Belarus, and the UK exposed me to the industry’s unfortunate gravitation towards fast-production and human-neglected builds; my aim coming back to eduction was to avoid these approaches, focusing on how one well-derived, concise project can be multiplied to produce satisfactory urban building.

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.

I am an Architectural student currently finishing the 1st year of my Diploma in architecture at GSA. I have a keen interest in the environmental field of architecture, having a goal to specialise in within this upon moving into the professional world.

For this project I decided to do something close to my heart and look at a more sociological subject by means of defining what makes a queer space. It was an opportunity to investigate something that does not have a wealth of research currently available, challenging myself to look deeper into the subject and make my own conclusions from what I found.

I also used the opportunity to try and define what a queer space is architecturally within a building and how to physically design such a space. Again, something that has not been studied much to date.

This was indeed challenging, but I am more than happy I decided on this thesis and have learnt a vase amount about my community and its history while doing so.

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

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

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

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

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

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

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

Cultural and technological shifts in the recent years have contributed to the increasingly blurred distinction between living and working, where we are no longer organised by the traditional 9 to 5 workday. Contemporary forms of labour involve entire life of workers and their spectrum of social relationships- relationships reliant on technology to mediate real-life interactions to a degree to which social isolation and loneliness are now considered a serious epidemic in the UK. These shifts are, to lesser and greater degrees interconnected with forms of living closer together.

The proximity of the site to the City Centre and transport links provide an opportunity where it is able to accommodate various commercial and residential uses where they are able to flourish. With housing shortages, inflated prices and increasing levels of loneliness mean that shared living models are becoming more relevant.

At the basis of this thesis lies the ambition to rethink the idea of housing as an apparatus where form, economy and dwelling converge. The project implies a new social contract in which housing is driven no longer by traditional forms of ownership, but by a cooperative contract among inhabitants that allows them to live together by sharing spaces and facilities that would not be possible within the confined orthodox typology of a “house”.

I, as a graduating student at the Glasgow School of Art, would like to express that I won’t be using this platform to present and promote my practice as an act of solidarity with the Pause or Pay Campaign.

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.

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

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

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

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

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

To be continued.

Fluid/ Terra:

A climatic architectural response to place within the extreme environment of the Arctic archipelago of Svalbard; which addresses concerns of economy, geographic insularity, energy dependency and the physical sufficiency of place together with the historic relationship between land, ocean and human interaction.

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.

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

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

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

The Library of Babel

[BRIEF] The mythical Antwerp of the ‘golden age’ and the archetype of the library are examined as platforms for the exchange, exploration and intersection of different ideas and cultures to guide the proposal for Antwerp’s central library – a catalyst within the diverse local community of learning and a vehicle for reimaging the city and its myth.

[CONCEPT] The title encompasses the two main objectives of the project: re-exploring the typology of the library in the era of information overload, reviving the ‘myth’ of Antwerp to focus the direction of the positive change currently going on in the city after a period of decline.

“Library of Babel” is a short story by Louis Borges about an infinite fractal library containing all the possible variants of information. The contemporary library becomes an interface for the search of relevant information, rather than the source of otherwise limited access to knowledge and culture. Simultaneously, ‘Tower of Babel’ is a local masterpiece painted by Peter Breughel as an allegory of the 16th century Antwerp and the issues faced by the rapidly expanding and globalized city, which mirror the challenges of the present day.

The project explores the idea of urban mining – as Antwerp expands into the outskirts of the industrial port, the dismantled warehouses and cranes can provide steel in the form of standardized building elements. The port – a historic platform for exchange of knowledge and ideas becomes the framework of the new city library.

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

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

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

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.

The theme of my thesis project and broader architectural interest is the capacity for buildings to support ‘mutualisms’, or co-dependency between inhabitants. This has driven my explorations of architectural mechanisms for generating mutual relationships. Throughout the project, abstracted physical modelling and close contextual observation are two approaches which have overlapped with one another to act as a tool for the development and testing of this design idea.

An underlining influence to the thesis is the notion of a paradox, or dualism. This has raised the question of how such a condition could be framed architecturally. Studies of architectural components and their assembly initiated the thesis enquiry into the idea of mutual space, where contrasting user groups can benefit from moderated exposure to each other’s environments. Iterative processes of modelling architectural ‘formats’ for spatial connection and separation have been carried out to generate a set of rules, defining how a mutualism can be articulated between contrasting users.

Also underpinning the thesis is a methodology of framing relationships across a hierarchy of scales and varying formats. Distinguishing spaces by environmental ‘type’ has played a key role in this regard. With two definitions of space – those which are ‘introverted’ and ‘extroverted’, the project is concerned with opposites of character rather than strictly functional differences. The interconnection and friction between these two spatial types is articulated as the primary tool for establishing mutual relationships.

Prior to attending GSA my interests in architecture were primarily focussed on the realness of the discipline, how materials came together to form buildings, spaces or objects. My process always began with developing an understanding of context and place, that being the complex mixture of physical, social, economic, historic and environmental influences.

Having formed this approach to architecture, I spent a year working in Copenhagen for the firm, Tredje Natur (Third Nature), who have a strong sustainable agenda and a portfolio that spans a broad range of scales and programmes. Here, I spent my time working on competition entries, public projects and also speculative research projects. This helped me to broaden my interests within the discipline.

Over the last two years during my time at GSA, I have found myself drawn to urban issues that are prompted by societal change. Therefore my approach has often been to begin with current societal issues, using them to develop a response that addresses a problem across all scales – from macro to micro. This is done through the process of researching and developing a theoretical position that can inform design decisions on every level.

I find that in many ways my interests in architecture are spread across all scale. On a theoretical level, I am driven by understanding our ever changing world and responding to that through design. However, I will never lose my passion for the realness of architecture, the bricks and mortar of the discipline.

In 1943, Sigfried Giedion, in his essay on “Nine points of Monumentality” described a monument as a link between the past and the future. Monuments as civic structures, are symbols for collective ideals and actions, monumentality can be seen as an architectural language that emphasizes and materializes those ideals.
This thesis aims to redefine and explore the physical and metaphysical (program, space, symbolism) manifestations of monumentality.
In Antwerp, this exploration takes place at the oldest architectural artefact of the city, the Het Steen (the Stone Castle) which contains within its ensemble of components, the fortification wall of the original settlement. Now standing context-less, the “Castle” has been the subject of decades of gimmick face lifts, that evidently do not pass the test of time.
This project seeks to rehabilitate the existing architectural fragment, recontextualize it to the new city, and add a contemporary monument, reflecting the collective ideals of todays society.
The new building, acting as an Athenaeum for the city and the Academic institutions of Antwerp, will focus on environmental research and development, with facilities to connect, showcase and engage with the people of Antwerp and Belgium as a whole, whom the monument is intended for.

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

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

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

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

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

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

Thanks

Mark

I am a multi-disciplinary designer and I love working with type with a passion for editorial design and branding.
I am a believer in an insightful strategic approach and putting audience engagement upfront in my evidence-and-context based design practice but I believe these traits should be a given. It’s truly my will and ability to innovate pushes me to find a fresh solution towards experiences that impacts peoples daily life positively.

I love working under pressure with tight deadlines as well as collaborating with other creative, playing the role of a team player and strive to not just better myself but those around me.

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

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

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

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

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

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

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.

Abby Bayani is graphic designer working and living in Glasgow. With an interest in underlying structures, she utilises graphic design as a way to explore and visualise them in new ways.

Working across disciplines, her practice is process-led, experimenting with various methods and materials to develop ideas. She makes use of printmaking, bookbinding, and animation to aid her creative process; and is inherently driven by the possibilities of playful exploration and meticulous making.

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.

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

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

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

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

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

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.

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.

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

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

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

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

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

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

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

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.

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.

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.

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.

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.

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.

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

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

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

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

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

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

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.

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.

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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.

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

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

Hi there 👋

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Having been born and raised in Hong Kong for the best part of my life, I have been able to appreciate technological marvels all around me; from the behemoth skyscrapers and the array of luxury vehicles roaming the streets, to the smaller gadgetry in home devices and telecommunications. I have always had a passion for knowing how things work, learning about the inner processes behind products and taking them apart to better understand them. From as early as I can remember, I have used creativity as an outlet for self-expression, whether that be through sketching, painting or designing weird and wonderful products as a child.

Product Design Engineering was an incredibly well balanced course for me as it enabled me to combine my love of using artistic methods and fascination with technical engineering challenges to produce a fully realised product, working from conceptualisation and concept generation to prototyping and creating a final item to solve real-world problems.This balance in design and engineering coupled with the broad array of skills learned and honed throughout this degree has enabled me to feel confident in the future to tackle design challenges in different disciplines, with the goal of creating innovative solutions to dealing with real-world issues and make a meaningful impact in people’s lives.

The “Helping Hand” is designed to be a portable
solution to emergency medical scanning using
ultrasound at the scene of an accident. Emergency
services will utilise this in a last case scenario
where the life of the patient is in imminent
threat. The device uses ultrasound imaging to
diagnose any internal injury due to either blunt or
penetrative trauma that resulted in severe internal
haemorrhaging. It then uses high intensity focused
ultrasound to cauterise and seal the wound non-invasively. The two forms of ultrasound transducer will be led autonomously by an onboard AI software which utilises a reference library of images of both healthy and unhealthy scans of key points in the human body. These will then determine the injury and provide the diagnosis, then serving as a guide for the HIFU beam to cauterise the damaged tissue within one cell thickness.

I have recently completed my MEng undergraduate degree in Product Design Engineering at the University of Glasgow and the Glasgow School of Art. Within my coursework, I have been able to address, and design solutions for, a range of problems in several industries.

With my final year project, I addressed the effect that a drop in incidents attended by firefighters has had on their operational experience through designing an augmented reality system which displays real-time situational and environmental data.

In my fourth year, using geographical information captured by NASA from the surface of Mars, I designed and manufactured a small batch of jesmonite coasters which were sold at a retail level through the GSA shop. In the same year, within a group of students, I also helped to design a range of smart telecare products which granted the elderly and vulnerable more autonomy and independence within their own home.

During my third year, within a group of my peers, I looked at the potentials of ultrasonic technology from which we developed a product for students that stimulated the brain to induce a relaxing, de-stressing effect. On my own, I continued developing the product by designing it for manufacture. Some of my work from this project was shown in the “Ultrasonic Glasgow” exhibition in the Glasgow School of Art in late 2019.

Alongside my studies I have also completed two internships; as a graphic design intern at CCL Design, and as a product design engineering intern at Cohesion Medical. I continued working for Cohesion Medical throughout my fifth year where I have mostly worked on UI/UX projects.

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

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

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

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

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

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.

Designs for this collection derive from my engagement with photography and its particular handling of perspective. Over the course of development in this collection, the different ways in which photographic processes can distort, skew and determine perspective has provided models and sketches that can be transposed into contemporary geometric tableware. For example, the concentration on line and scale is especially useful when working with materials such as Perspex, which is included in many of these objects. Perspex, combined with metal form a highly polished aesthetic, well-suited to designs for dining. The precision with which Perspex can be cut with a laser enables a good deal of artistic and creative freedom, as demonstrated in the presentation of this collection.

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

Paige Baitey, BA(Hons) Silversmithing & Jewellery, The Glasgow School of Art, 2020

Positivity of materiality in objects of design is the focus of this collection of wearables. How emotional support, through tactility, functionality, wearability and manipulation, might be offered to users, is explored in these artefacts. Specifically, materials such as cork, balsa wood, paper, card and other palpable features are incorporated within the base of the designs to achieve the desired illusionary experience. The final results are realised by means of digital manipulation, with each pattern worked up in adobe illustrator, creating a networked, pre-prepared plan that translates into finished pieces with maximum movement and connectivity with each component, including acrylic, leather and laser rubber. Ultimately, the collection presents the user/wearer with a multidimensional experience, pieces of jewellery that can be deconstructed, to act as autonomous objects that exist alone comfortably, while remaining supportive, physical and substantial when worn or handled.