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


I am delighted to welcome you to The Glasgow School of Art Graduate Showcase 2020. We hope you enjoy our creative response to mounting a physical degree show during the current pandemic. Our digital platform enables us to share the work of our hugely talented graduates at this important moment in their careers.

As a creative community we understand and value the significance of the physical public exhibition, and its importance to the individual practitioner and their audience. Once we are able to move beyond social distancing, the GSA is committed to assisting our graduates as they enter their creative careers, supporting them to develop physical exhibitions which showcase their work. Our support will manifest itself in sponsorship and access to exhibition spaces, and our dedicated team are developing a guidance framework for this next stage as I write. Glasgow as a city thrives on the quality and volume of its exhibition and cultural programming, it is essential that the GSA and its graduates continues to contribute to this going forward and we are committed to making this happen.

The work within this exciting digital showcase represents the culmination of a student’s time with us, their unique creative journeys and signals the start of their professional lives.  You will notice as you scroll through the site exploring the work of our students, that a number of them have linked their work to the National Union of Students’ Pause or Pay campaign and a group of PGT students have chosen not to submit work at this time, the reasons for which are detailed within their personal statements.  We hope that these students will in time submit work and the digital platform has been developed to allow this.  All students can add new work as they complete it allowing them to share with you over the next 12 months the development of their practice as they transition from graduate to professional practitioner.

We invite you to join with us as we celebrate our students, view and engage with their work and reflect on the importance of creative people and creative education in complex and challenging times.

Penny Macbeth
Director, The Glasgow School of Art

The Pedestal

Initial schematic drawing and the development work at 1:2 scale.

Site Isometric

Construction Details

Construction Model

Showcasing the relationship between the brick volumes and timber roof.

Site plan at 1:500 scale

Initial arrival section/ elevation to the site at 1:500 scale

Site section at 1:500 scale

Site section at 1:500 scale

Detailed section and elevation


Perspective Site Plan_ relationship between two buildings

Introduction to Residential Retreat_ Concept diagrams

Exterior Render and Plans

Interior Renders

Exploded Isometric_ Technical study and Private void study

Perceptive Section_ layers

Introduction of Performance Hall _ Concept diagrams

Exterior Render and Plans

Interior layout and study & Illustration of Interior spaces

Exterior view and relationship to Retreat & Exploded Isometric_ Construction

Balloch accomodation for music students

3rd year: Upper floor and site plans

Balloch accomodation for music students

3rd year: Ground floor and Detail

Balloch accomodation for music students

2nd year: Rendered section

Library Lounge

2nd year: Render of Library Lounge

Library design

2nd year: Library ground floor book shelf arangement, as well as section of reading pavili

Bath House isometric

1st year hand drawing: View of the bath house on a slope (hand drawn)

Bath house -1

1st year hand drawing: Bath House plan with first bath

Bath house axonometric

1st year hand drawing: -Axo of bath house main floor with showers, bath, massage room and staircase revolving around sunlit tube

Bath House model pictures

1st year hand drawing: Images taken of 3d model. Two baths and sunlit stairwell


The project emphasises a sense of journey. The buildings act both as a destination and as a starting point for adventures beyond. The incorporated walkways connect the different buildings and allow people to explore the boundary where water meets land.


This most recent project as part of Stage 3, is a music retreat fro children and community performance hall in Balloch, for the music charity Sistema. The proposal uses active and passive systems that utilise the environmental nature of the site which include the bank of the River Leven just before it joins Loch Lomond, and an island facing the bank. The retreat is on stilts which straddles the boundary between the island and the water. The island provides seclusion whilst still engaging with the town. It takes precedent from ancient Crannogs once found on the loch often built for defensive purposes.



An island denotes isolation. The water acts as a defensive barrier and gives the retreat a sense of protection, in a location that is open and public. The client expressed that the trip was equally an opportunity for the children to get out of the city and be in nature as it was about learning music. I wanted to foster this. The island allows for the children to have space to explore freely without any interaction with the public.



The offsite Brettstaple construction allow for easy and sustainable deconstruction as the panels can be readily reused. All that is left is the recycled aggregate concrete foundation, which creates a platform for new interventions or a simple public space. This was to mimic the man-made islands, which is all that is left behind from the ancient Crannog structures. The temporary nature of the retreat suggests the island is only borrowed and what is left is a space for the community to inhabit.


The community performance hall acts as front door to the music retreat. This is to encourage chance happenings as well as organised engagement between the community, visitors and those on the music retreat.

Exterior Context

Perspective Context

Location Diagram and Site Plan

Floor Plans

Cross Section Progression- 1

Exterior and Performance Hall

Cross Section Progression- 2

Adjoining Courtyard and Accommodation

Interior Renders

Development Model

Exploded Structural Isometric

Development Section

Structural Response to Geometries of Plan - Journey from Urban, through structure, to Natural Environment

Activities Centre Entrance Perspective

Performance Hall Perspective Section

Park Leven & Sistema Music Retreat

The Sistema Music Retreat project, for myself, was about creating two different buildings, in what I found to be a beautiful pastoral setting, that would create a semi private semi courtyard that kids and young adults can enjoy and have a free and diverse experience during their stay. The idea of having activities and places semi privatised for the kids was a leading factor in the design process for the River Side House and Leven Hall. After drawing the two buildings on site and working out the physical relationship they had with one another I wanted to go one step further and solidify the relationship my design had with its surroundings. On this map is not only my design for the Sistema retreat but also a redesign of the area. New pathways, activities and less tar parking lots. Having been inspired by the works of David Chipperfield, Gaudi’s Park Guell and the idea of place this project aims to give back both to the community and nature while not boldly conforming to its surroundings in a contemporary manner.

View into courtyard

The proposed project is a multi-generational live-in workers’ cooperative for those who are most at risk in the current capitalist housing model. Residents act as custodians of the building, allowing them to live there in exchange for the labour required to run the cooperative. The flexible scheme emphasises residents’ growth, which is achieved through gaining diverse skills from a variety of responsibilities. The flats are designed for short-term residency - a few months up to a couple of years - with a simple grid design to keep them cost-effective. Shared social spaces and a diverse community foster a friendly, communal atmosphere.

View along deck

View into flat

Flat typologies

The flats are all variants of the base (cell) layout, with adaptations for different types of inhabitants, intended for short-term occupation. The typologies are assorted across the plan to create a diversity of tenants. The simple gridded layout allows for low cost but high-quality dual-aspect flats.

Occupancy relationships

The variety of activities across the site create interdependencies and a very localised community.

Co-living cell archetypal: two cell types

This project focuses on the relationship between domesticity and labour in the contemporary society. Throughout rising of population in cities, sometimes it is hard to feel a sense of belonging and often feel lonely. Urban loneliness is connected to population mobility, declining community participation and a growth in single-occupant households. After a burnout day it is important to separate work from home, or spaces that can evoke that. Feeling of isolation is connected with high rates of people living alone. I will be studying precedents such as wellness centres and healing environments that architecturally promotes mental health and conclude by incorporating it in the co-living housing typology proposal.

Transitioning from work to home: social space

Decreased attention on personal spaces in living typology and lack on social interaction between others in the community, this contemporary ideology of architecture condition can have physical and mental effects on the individual. An unconnected society. Creating generous spaces for social bonding is the attention necessary in co-living typology and improve mental health.

Transitioning from work to home: cleanse

Architecture is used to create a route where step by step the user travels through the building is being cleansed physically and mentally from work and transitioning into domesticity. It is shown in the clear cohesion of spaces that are to function as physical cleanse or evoke the feeling of mental cleanse.

Spacial distinction section

A design that has additional opportunities to encourage users to lower their stress levels, internal and external qualities of a building that could result in having a positive effect on the user’s wellbeing and applying that in a city context. A sanctuary within the chaotic city life. An oasis.

From Urban to Oasis

Decreased attention on personal spaces in living typology and lack on social interaction between others in the community, this contemporary ideology of architecture condition can have physical and mental effects on the individual. An unconnected society. The design reevaluates the sense of community through a public pathway above ground that connects all buildings within the site. It allows for social bonding in the neighbourhood that feels safe. A place that can relieve the feeling of disorientation in the busy city, sense control when you are able to see everything in a new perspective. The contrast between urban and oasis, seeing buildings looking up in the city, but in the design being able to see them looking down.

Merchant City - Initial Site Analysis

From the initial site analysis, we identified the lack of social infrastructure in the surrounding area of the site. The project chooses diverse vulnerable groups across society and reforms a part of the city to accommodate their fundamental needs, bringing in the density and services needed to sustain a community and support the surrounding vicinity of our district.

Observing Labour through Play

My project focuses on the needs of workless families, aiming to break the cycle of unemployment by making different models of labour observable to children from workless households and providing parents with the facilities to access support finding a job.

Approach from South-West of Proposal

View of the main public entrance to the proposal looking towards Trongate. The proposal is set back from the street to allow for the creation of a public square in front.

Approach from North-East of Proposal

View of the back of the proposal. All domestic circulation is external and exposed to allow for smaller communities to be formed around the shared front gardens that each serve four flats.

Long Section through Proposal

The long section shows the vertical play area that takes place in the core courtyard of the building. This allows children to observe different modes of labour in the public library on the lower floors and the office spaces within the flats that are placed to face into the play area.

Typical Housing Floor Plan

The flats are split over two levels and interlock to create shared outdoor spaces at the front and back. This front and back garden will be shared between a different set of 4 flats to create smaller communities for shared working and childcare.

Axonometric of Units Stacking

This drawing shows the way the flats interlock to create shared outdoor space on two levels. Each colour represents a different 3 or 4 bedroom family home.

Lower Floor Plan of a Unit

This is a typical lower floor plan of a flat. The design comes from my aim to create housing where domestic labour (primarily childcare) and traditional labour (‘work’) can coexist and complement each other by creating working and childcare communities around shared outdoor space.

Typical Upper Floor Plan of a Unit

This is a typical floor plan of an upper floor plan of a flat.

Working Model Photos

These photos are taken of a model made to work out my initial ideas for a unit that deals with the issues of the relationship between labour and domesticity. I wanted to tackle the question of ‘how can you work from home without feeling like you are working from home?’ My solution was an upper floor that can fold up during the day to create a double height work space on the lower floor. Additionally, the walls between units can slide open to allow for collaboration between neighbours to resemble a more traditional office setting.

No Ownership Modes: Internal view of the architype R2++.

Four types of housing units were developed. R2++ is a Co-Housing unit on two levels which allows up to 6 double bedrooms.

No Ownership Modes: Layout of Achitypes R2++ and R1.

No Ownership Modes: Long section through Co-Housing and Co-Working components.

Each adult is allotted a Co-Working share. Renting the workspace may allow users to supplement their income during periods of economic difficulty. The proximity of the home to the workplace may improve the way of life of the users, with whole businesses being born through inhabitants working together.

No Ownership Modes: The scheme acts as a gateway to the new public space.

The thesis’ grow from each other and form part of a new social framework in both the private and public realm.

Vessel for Participatory Democracy: Detailed development of the vessel and associated structure.

The ground plane becomes one with the landscape.

Vessel for Participatory Democracy: Ground plan and landscape.

Vessel for Participatory Democracy: First floor plan.

Vessel for Participatory Democracy: Second floor plan.

The administrative offices to support the running of the participatory democracy.

Vessel for Participatory Democracy: Typical upper floor plan.

Vessel for Participatory Democracy: Imagined within the site.

Both schemes are situated in the heart of Glasgow’s oldest district, the Merchant City.


This proposal is situated in a plot of 51.50 m2. It is designed for a young couple, where one or both can work in the same space. The element that marks the change in the use of space is the difference in floor level and ceiling height. The design separates labour and domesticity, so work and private lives develop in individual spaces. The front elevation has a brick lattice, which permits the entry of light but also creates a sense of privacy.


nterior view of model where the changes of level in both floors and ceilings can be seen to separate activities. The height in the work area gives versatility to the space, to carry out diverse activities in spite of being a reduced space.


This image shows the perception of space from the point of view of the observer. The wall that divides domesticity and labour does not reach the ceiling so as to generate the sensation of continuity of space.


The Merchant City is a centre for trade, (goods, services, culture and experiences). My thesis proposal is to create space for both culture and housing. Houses will be for two demographic groups, ones in need of healing from overworking, and those that are looking healing by working, following on from our first proposal for the district. Taking the cell’s concept as a start point, different levels will still separate uses, but on a larger scale. My thesis is that people from different sociodemographic groups can interreact in the same area over a variety public, private and semi-private spaces allocated across different levels within the same architectural proposal. Living - working dwellings (flats) are allocated on lower floors of the building. Microflats are a response for people who can not afford housing or need short term use. These will be allocated in the upper part of the building. The cultural are will be a multi-purpose space where its main use is a concert hall. It is connected to a plaza which is an open space that can hold different activities during day and night and even seasonal events.


The section along Hutchenson street allows us to observe the scale of the proposal in relation to the existing architectural context, as well as the proposed change in use of the surrounding streets; In this case it is proposed to pedestrianize Wilson St. Also, in Trongate St. wide pavements are proposed to prioritise pedestrians and leaving a street for the transit of public transport and delivery vehicles for the businesses in the area.


View of the internal pedestrian precinct, where diverse activities can happen during different seasons. It shows proposed materials, that contextually match their surroundings, and human scales.

Site Information

Thesis Investigation

Spatial Development

Ground Floor Plan

Long Section

Earlier Stage 4 Work

Development Model 1:1000

Decentralising the City

Antwerp's Civic Framework

Antwerp City Plan

Study Models

Urban Repair


Civic Courtyard


Elevation, Section AA

Thesis Synopsis_

Industrial Typologies

Catalogue: Components

Catalogue: Parts

Construction Diagrams




The Plastic Cycle / The Program

Most plastics on this planet end up in the ocean. Whilst recycling schemes in Europe claim to recycle waste produce, vast quantities of plastcs are actually sold overseas and dumped into landfills or into the ocean. Therefore there is a large requirement to close this system off and ensure that the plastic waste is reclaimed and re-purposed. The program of the thesis aims to provide this service for the waterways of Antwerp, in a way that allows teh public to understand what exactly is happening within their own city.

The Site

The location for the thesis was chosen because of the relation of the existing buildings to the city and the port. The Loodswezen building once was the base of operation for the city's port pilots and stands as physical connection between these two. The site was also significant due to the fact that it is in a promising part of the city, but has never been connected. Throughout its development it as always been separated by canals, trainlines, tramways and roads. As such this was an oppertunity to provide the City with some active waterfront space which could be enjoyed, instead of being hidden away.

Site Location PLan

The location of this site is on the outskirts of the historical city, and the old port. As such this area of antwerp is largely developed and the oppertunity to provide local residents with open living space is small. As can be seen from the location plan, this site provides a large area with access to green infastrcture and is one of very few sites along the entire east side of the river to utilise the riverbank for indiviudal recreation.

Project Plan

East Elevation

Material Study | Detail Section

The project program revovled around the re-purposing of plastics and reducing the waste of the city. As such it seemed like an oppertune moment to explore how construction could also occur with reduced wastage. As such it was the intention of this thesis to explore how architecture could be built at large scales using natural materials and materials from the local area. As such much of the construction is proposed through reclaimed bricks, timber, and rammed earth.

Site Cross Section

Key Spaces & Visuals

The City

An anthropocentric view of Antwerp

The Intention

The remnants of industry and and ideas for re-use

The Site

Understanding the sites context, existing infrastructure and history

The Masterplan

Designing around four main contaminants: mineral oil, poly-aromatic hydrocarbons, heavy metals and benzene. This is also while setting out public and private clusters of buildings throughout the existing infrastructure.

The Mycological process

Outlining the principles of mycoremediation and carbon store through the use of mycelium and phytoremediative planting.


Utilising specific biological structures of mycelium in order to design facade panels.

1:20 Sectional Model

Exploring the impact of the facade on internal spaces.

Mycelium as a Texture

Exploring the use of mycelium patterns as a relief texture for internal plaster panels.


Exploring how the spaces can open up and close down to invite people to the site

Site Narrative

Exploring the proposed narrative of the public experience of space

Oslo Trienale Live Build - Degrowth

The Plant Power! project looks at applications for nature based solutions to generating heat within an urban setting. As part of the Oslo Triennale. Being Tectonic with Public Works hosted a School for Civic Action masterclass to build a compost heater. This will act as a test bed to generate knowlegde which will then be implemented within the projects of the partners involved. The compostor will be in the garden of the museum creating a heated public space for visitors to embrace plant power! as a natural alternative to fossil based space heating.

Plant Power - A Compost Bioreactor

Our team designed a cylinder shaped container to maximise the efficiency of the compost process. The concept was to encourage engagement with members of the public and tease out curiosity with steps leading you ontop of the compost pile to a public space and viewing platform. The design was adjusted during construction, this was a team decision influenced by time, resources and skillsets.

An Enduring Architecture

The Patchwork City

The Journey of Migration

The Water Cycle

Ground Floor Plan

First and Second Floor Plan

Library Elevation Study

Short Section

Short Section Continued

Antwerp Fashion Revival

Fashion design urban design

Antwerp Fashion School

Fashion school design

Antwerp Fashion School

Physical model

Fashion School Structure

Fashion school grid shell canopy structure analysis

Bending Active Grid Shell

Physical model study of structural core

Grid Shell Structural Dome

Antwerp fashion school structural core

Grid Shell Canopy

Grid shell structural canopy

Antwerp Fashion Revival

Urban Plan of Antwerp Fashion District

Antwerp Fashion Revival

Section of Antwerp Fashion District

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Whilst you're here, the recycling is by the door.

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Lady and the Pig

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How long is a piece of string?

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24 Hour Body

A written piece inspired from the backs of shampoo bottles.

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FATHER is a book containing works by photographer Harley Weir exploring the complexities and beauty of masculinity. The cover uses bespoke lettering I created for the project highlighted in a pale pink foil, I chose to explore this kind of lettering to evoke the feelings of childishness that resonates with the title along with the rich, sumptuous forms within the content. May 2019


Polluted is a photo-series that attempts to portray water pollution through the use of chemicals from around the home on film negatives to represent possible contaminants our waterways are exposed to. April 2019.


The charitable organisation Girls Against held a competition to design the cover art of their first fundraiser compilation vinyl. I designed the winning entry that consisted of a lino cut design depicting a powerful woman surrounded by grabbing hands. I felt this design was appropriate as the organisation aims to raise awareness and fight against sexual harassment and assault at gigs. August 2018.


Lost was the penultimate project from my foundation year at Arts University Bournemouth. It focuses on my Granddad’s time in Vietnam and attempts to embody how his alzheimers may have effected the memories of his time there. I chose this particular time period after discovering a scrap book he had made that ducumented his time away with the Army supplying a rich variety of source material pertaining to one particular period in his life. The book utilises blank space along with damaged pages to enhance the curated and edited images to try and immerse the viewer in the disintegrating memories of a person with dementia. May 2016.



Persephone was a self directed print making project that resulted in the creation and sale of t-shirts on Everpress. This lino cut attempts to portray the Greek myth of Persephone’s descent into the underworld and her transformation into a queen. August 2019


Garden of Chaos is a new magazine that aims to showcase Middle-Eastern countries, fashion, art, history and culture to a worldwide audience. This project is still in its infancy with final outcomes still in the process of being refined and developed. The desired logo is intended to be a modern play on Hieronymus Bosch style illustration and medieval Arabic manuscripts creating an intricate sigil for the reader to decipher. Ongoing


This project portrays the human mind as a delicate fabric prone to fraying creating a metaphor for cognitive disorders such as Alzheimers and dementia. I created a series of woven images from family photos of loved ones with dementia that aim to give the viewer an insight into the issues that come with loss of memory and the subsequent loss of self. September 2019


DAD is a font that has been taken directly out of the notebook my father keeps to aid his memory and transferred onto the digital plain. It was born out of the observed deterioration of his handwriting as his condition progressed, creating a visual embodiment of the often unnoticed early stages of Benson’s syndrome. March 2020

Atlanta Bonus Features Site

User interface design for a conceptual site that works like a DVD bonus features towards online streaming site for the television show Atlanta by Donald Glover. Pulling out references from the television show to create content.

Life After GSA 2019 Graphic Graduate Replies

A publication made up of a compilation of uniformed question and answer email from GSA Communication Design graduates. Answers were aim to provide helpful advices to graduating students. The brief requires the usage of 2 tones of colour and to pair the black text I selected blue to evoke reli- ability and authority . Other things to consider was the density, font pair- ing, layout system and restriction as well as the potential mass production of the booklet hence the spiral bound.

Call Me Maybe Oh Canada

An experimental perfect bounded book containing riso printed geomet- ric illustration of popular songs using a program called songsim. Songs varies from pop star Carly Rae Jepsen's hit Call Me Maybe to the Canadian national anthem Oh Canada hence the title of the book. The cover is typeset and printed in the letterpress.


With a number of e-scent products being produced over the last few decades ultimately failing to do our olfactory systems justice, and some products such as iSmell joining the list of ’25 Worst Tech Products of All Time’, Balsyn aims to rebrand the digital scent industry into something we could imagine using in our daily lives in the future. The concept for this project comes from the discovery of a Japanese company that controversially uses the theory of vibration of olfaction, which argues that a molecule’s smell character is due to its vibrational frequency. By using this unproven theory, the design and aesthetic of a fictional product could be imagined in more creative and speculative ways. The product’s design consists of a flexible nose strip which is to be worn externally on the nose to interrupt the olfactory receptors inside the nose and brain and to replace any physical, real world scent with one that has been transmitted using either a phone or computer. The dot, a small circular sticker, is placed on the speaker of the phone or computer in order to pick up the vibrational frequency to then send to the nose strip. Both devices are made from TechnoGel, which is a breathable, flexible, waterproof and non-irritable, bio-degradable material. The name of the company and its logo were designed with the intent to feel like a global, large business and familiar like the big tech brands we know and use. The advert uses a template that the tech industry provides, to create the feeling of authority, innovation and the future.

BFK Rebrand

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

Perfect Citizen

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

In Moleca

Immersed in canal water, a tourist arriving in the city hesitantly stares into the path ahead of them. It is unclear where the path ends and the canal begins as boats wash up on the sidewalk.

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In Moleca

High-tide levels, painted on a wall by locals. These ambiguous DIY markings can be found around the city, documenting the increasing tides of the Acqua Alta. Like children’s measurements on a wall, it is uncertain as to what height these markings may be in the future.

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In Moleca

A member of ‘Comitato No Grandi Navi’ holding a banner representing their local initiative and the issue it opposes: cruise ships. Around 600 enter the lagoon annually. It’s estimated that 1 cruise ship pumps out the equivalent to 1 million cars worth of emissions in a single day.

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In Moleca

A tourist in fancy dress stares into the water whilst travelling on a vapareiso water-bus during the ‘Carnevale’, the famous Venetian festival. This is the busiest time of year in Venice and attracts thousands of tourists who come to experience the old traditions of the ancient city.

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In Moleca

A cruise ship docked in the industrial area of Marghera. The scale of these ships in comparison to the fragile island that they are docking in is absurd. These have a devastating impact on the lagoon’s ecosystem and the city’s underpinnings. An old utopian ideal of travel that should be forgotten.

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In Moleca

A sculpture by Mario Irarrázabal for the 1995 Venice Biennale, initially installed in the centre of Venice. I found it in a relocated in the Marghera on the mainland, crumbling and held together by scaffolding. A portrait of humanity; this resonates a strong depiction of our current climate.

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In Moleca

A hose siphons water from a flooded home back into the flooded street. Many residences are adapted to withstand the high-tides with raised doorways and flood barriers. In more severe cases however, these become ineffective.

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In Moleca

Tables and chairs huddled and chained together to prevent them from floating away. Taken in Piazza San Marco where tides reach the highest in Venice during the Acqua Alta. Also an area most often flooded by crowds due to mass-tourism.

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In Moleca

Staring into a vast landscape of nothingness, two tourists stand in Piazza San Marco up to their legs in water, one of the lowest areas of the city and most affected by the high-tide.

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Pause or Pay UK

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 go to

An Unintentional Community

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

Part of the Furniture'

Part of the Furniture' is an investigation into the objectification of the female body and how best to challenge this when photographing a nude. The series aims to playfully criticise the way in which the female body is often treated as an object in popular culture imagery, as well as within art. The photographs, staged in the models’ home, depict nude female figures amongst objects typically found in a domestic setting. Sometimes the body connects with the objects to suggest a useable function. Other times the body mirrors the shapes or lines seen within the space. The arrangements suggest parity between the objects and the body, while the surreal sets poke fun at the notion that they could be in any way the same. It was important to use a home setting to consider broader issues, such as the expectations of women in the home, that still exist for some today. The final image depicts the women confronting the camera and, in turn, the viewer. Although the images are playful, the core message, that the way in which the female figure is objectified is fundamentally ridiculous, remains. After creating the photo series, I felt my ideas would have further impact if the photos themselves were literally objectified. I did this through making a set that would symbolise a domestic setting, but wouldn’t directly mimic one. I chose two photos from the series and mounted them onto furniture to reinforce the notion of objectification. The furniture itself has been altered and the carpet stretches from the floor all the way up the walls. The picture frame remains empty. The uncanny set highlights the absurd nature of objectifying the female body while reflecting something not dissimilar to what one sees in popular imagery today.

The In Between

Covid-19 has had a global impact, the effects of which most individuals have in common. It has caused everyone to have to pause and reflect. Some have also had to re-evaluate how they can continue to function as best as possible during national and international lockdowns. My peers and I have found our final year at art school cut short. We have been left in between student-hood and the ‘real world’, forced to graduate prematurely yet not able to throw ourselves into the next stage of our lives. Although this is difficult, it is important to remember that we are not the only ones being affected, every individual is stuck in their own kind of in between. This ongoing photo series, depicts quiet observations of my surroundings during lockdown. Taken at twilight, the time in between day and night, the stillness and emptiness is amplified. The photos aim to echo the current climate we all find ourselves in. I hope my project resonates with everyone as we all figure out this common place of ‘The In Between’.

Glasgow 1980

Videos I put together for 'Work in Progress' exhibition


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

Look 1

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

Look 2

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

Look 3

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

Look 4

Ruched sleeve rain jacket with scarf detail inspired by a Glaswegian football player and the fans scarves.

Look 5

Tracksuit with 70s collar and exposed print detail and distorted flare trousers.

Look 6

Pinstripe shirt with 70s collar and ruched waistband inspired by photographs of my parents in the 70s and 80s.

Line Up

Final Line-up featuring Raymond Depardon's photographs of Glasgow in 1980

Accessories Research

Accessories project inspired by the headscarves and shopping bags seen in photographs of old women in the 80s.


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



Fashion Collection: Sherpa and the Altidude

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

Fashion Collection: Sherpa and the Altidude

Fashion Collection: Sherpa and the Altidude

The Sherpa and the Altidude

The Sherpa and the Altidude

The Sherpa and the Altidude










Experimentation Documentation

Development Sketch

(t)ether work in progress


Mockups of Final Outcome

Hosting Focus Groups

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


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

Barriers to Accessing Support

For this study I have been working with one young person to develop an augmented reality application that communicates some of the barriers they have encountered when accessing support for their mental health. The main challenge this young person faced was consistently relying on telephone communication to access such services – something they found impossible due to the nature of their anxiety. Using the AR application, audio and animations are activated when visual triggers are detected. These visual triggers are fictional correspondence inspired by the real correspondence the young person received - one of the most significant being a self-referral card. While a self-referral system might seem practical for service delivery, and can even seem insignificant to others, it can be a huge barrier to some users who need to access the service. In this work I hope to communicate the emotional implications of such systems and how they can be counter-productive for young people in the treatment of mental ill-health.


Stigma is still a significant barrier when it comes to young people talking openly about their mental health. When a young person experiences stigma they can begin to feel their mental health condition defines who they are. Using the Tobii eye-tracker and Processing I have been developing an interactive installation that features video interviews of three young people talking about their experiences of mental ill-health and associated stigma. These video interviews are initially distorted with stigmatising phrases the young person has experienced. When the eye-tracker detects that someone is gazing at the display the video becomes less distorted – and the user begins to ‘see’ the person beneath the stigma and hear their story.

Patterns of Play-

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

Patterns of Play Documentation video

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

Patterns of Play

Still image of the prints on display

Patterns of Play

Image of how the prints compare to live tennis matches

Motion Capture Tennis

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

Age of Experience

EEG-VR wearing concept / Illustrator

Age of Experience

Virtual garden illustration / Illustrator

Age of Experience

Virtual garden illustration / pencil, colour pencil

Age of Experience

Virtual garden / Unity

Age of Experience

Brainwaves / Muse lab


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

Jamais Vu

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

Wire Experiment

Wire Experiment

Proposed Sculpture (untitled)

Genesis, Neuromancer, Gamer Theory - framed prints

Genesis - detail

Sixty Minutes in Minecraft - detail

Sixty Minutes in Minecraft - framed drawings

Hand Sketches


From 'Conversation' series


From 'Conversation' series

'Conversation' series

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

Hand Held

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


A cast of a left hand which has been 3D modelled and then laser cut

“What do you think about ghosts?”- 1

series is the study of people's hand movements when responding to the question “What do you think about ghosts?”.

“What do you think about ghosts?”- 2

This series is the study of people's hand movements when responding to the question “What do you think about ghosts?”.-

Objects in Liminal Space

Documentation of design research in liminal space.

Sculpture of the Machine

Digital computer aided design model of 3D printed sculpture.

Portrait of the Machine 1

Machine learning algorithm image output from self-portrait sequence.

Portrait of the Machine 2

Machine learning algorithm image output from self-portrait sequence.

Uncanny Artifact

Digital computer aided design model of 3D printed sculpture.

Teapot Head

Digital computer aided design model of 3D printed sculpture.

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

Screenshot of the same extension replacing words on a webpage.

Sample of the extension's code done in Atom.

Screenshot of extension working on webpage.

Processing sketch that causes a popup to appear on screen whenever there is an attempt to close the window.

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Machine learning/trained print

Beyond Flatpack Culture: Towards a New Ecology of Modularity


Beyond Flatpack Culture: Towards a New Ecology of Modularity


Beyond Flatpack Culture: Towards a New Ecology of Modularity


Beyond Flatpack Culture: Towards a New Ecology of Modularity


Beyond Flatpack Culture: Towards a New Ecology of Modularity

3D render

Beyond Flatpack Culture: Towards a New Ecology of Modularity, Beyond Flatpack Culture: Towards a New Ecology of Modularity

3D render

Beyond Flatpack Culture: Towards a New Ecology of Modularity

3D render

Beyond Flatpack Culture: Towards a New Ecology of Modularity

3D printed models

Footage of live renderings as a real scene.

Sunrise Over the Bridge

Morning sun with a haze over the lights.

Spire Overlooking

Through the glass onlooking the spire.

Wide Angle Join

Kelvinbridge wide angle.

Marble Interior

Design interior with a white marble finish.

Neon Glow

Reflections of the neon lights.

Structural Underside

Kelvinbridge underside modelled.

Piano Player

Pedestrian underside of Kelvinbridge with crowd.

Misty Rain Entrance

Late evening stormy weather with a busy street peering into structure.

Luke J J White - white-luke-10


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


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


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


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


Designers and artists create videos or pictures, hyper realistic rendering of a fake reality. They push the boundaries between our world and its constraints through software that has no boundaries. Personally I have always thought that such videos and images are created to challenge people's perceptions of reality, to catch people off guard when their subconcious is predicting how the materials will interact and they unexpectedly react in a way that seems impossible.


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


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

Hotel Concept

A collage of the key design elements of the hotel

Ground Floor Plan

Scale 1:150 technical drawing

Initial Reception Sketches

Initial reception sketches and concept


A visual of the reception

Reception Niche

A detailed visual of a reception niche

Reception Desk / Welcome Area

A visual of what the guest encounters upon arrival

Initial Bar Sketches

Initial bar and restaurant sketches and concept


A visual of the bar

Bar Niches

A visual of bar seating inside the niches

Bar Through to Restaurant

A visual of the stained glass depictions of scenes from Scottish authors' works, assembled as a bar structure, looking through to the restaurant beyond.