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ERINN SAVAGE – Performance
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Glasgow

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

A Public Pool in London

Studying the Westway

Tracing the changing city below the constant line of the motorway

Collage

Early exploratory studies

Studies

Developing the project

Interacting with the motorway

A new language between motorway and the island beneath

Proposed Location Plan 1:2500

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

RESIDENTIAL RETREAT PERSPECTIVE ELEVATION

The view of the retreat is shielded partially by the untamed trees, to give the building a sense of security from those that use the park. The glass of the building creates a visual connection between the interior of the building and Balloch's landscape.

RELAXATION SPACE

A space at the top floor dedicated to people who want to escape from other social spaces. It gives people time to themselves, whilst overlooking the river and the scenery beyond.

Section Through Practice and Performance Spaces

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

Perspective View of Performance hall and Residential Retreat

Sketched Section Through Residential Building

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

Sketched Section Through Main Formal Performance Space

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

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

SISTEMA

Representation of the residential retriet and concert hall for the SISTEMA charity and the local community in Balloch, Scotland.

The Brief and Site

Site Introduction

Masterplan Floorplan | Pathway | Rooftop

Cross Section

Section Diagramme

3rd Floor Plan

Living space : the cell

Title page

Ground floor plan

Flat type for multigenerational family

Flat type for live/work at home

Flat type for artisans

Section/Elevation 1

Perspective of library

Perspective of courtyard

VENUE FOR PERFORMING ARTS

Perspective Section

VENUE FOR PERFORMING ARTS

Building Programme Diagram

VENUE FOR PERFORMING ARTS

Ground Floor Plan in Context

Design for Natural Systems

Visualisation. A Housing block in the Merchant City, that incorporates natural and mechanical systems to support nature and sustainable life in the city.

Design for Natural Systems

Plan. Adaptable housing units reduce the distance between work, production and the natural.

Design for Natural Systems

Structural Model. The building framework supports nature in the city, which in turn supports human life.

Collaborative Glasgow

Visualisation. A space for collaborative design, production and performance to enable democratic representation of the diverse context it is in.

Collaborative Glasgow

Section. An open experience is arranged around the cycle of idea to production, to performance.

Collaborative Glasgow

Detail Model. The material, spatial, functional experiences are arrived at from a nature-centred approach, lessening the impact and enabling it in the city.

In the project I have chosen for the Degree Show we were given a brief asking to design a public building, consisting of a performance space of a certain spectators' capacity, accompanied by an additional programme of our choice. The site of this project is located on Candleriggs, within the Merchant City district in Glasgow. My proposal is a cultural centre, which consist of an amateur/experimental theatre, exhibition space, flexible workshop spaces which can be adapted for teaching art and small crafts that do not require heavy equippement, library and a top-floor cafe. The overarching idea that connects all the function is the exchange – of experiences, knowledge, skills, memories – through a variety of storytelling devices – performances, art – or act of “creating” in general – formal and informal conversation. Theatre space does not have traditional rows of seats, which are replaced with wide stair-seats, that can become parts of the stage if necessary; voids, present in the exhibition and library parts of the building, as well as mostly open – and if enclosed, then glazed – spaces, allow the different parts of the building to blend one into another. Wide stair-like structure is also used through the library floors, allowing to subtly differenciate between the space of the borrowing collection and places more private, where one can sit and rest, preferably with a book. Use of light and charred wood as external and internal cladding creates a feeling of depth – on the outside, with charred wood - that draws a passer by into itself, together with a frosted glass screen that allows one to see the sillhouetes of the performers preparing for the play; light wood finish used within the interiors provides a warm, welcoming atmosphere and counteracts the large volumes of the building by its organic qualities; big factory-like windows allow a glimpse into the outside world, and vice versa – users of the building can observe the street while feeling safely enclosed. [a fragment of “There's no sea...” mural by Michal 'Sepe' Wrega has been used in the 1:50 section drawing]

Oscillations

The proposal is a town hall which brings together private ‘introverted’ functions with ‘extroverted’ community engagement spaces. Spanning 4 sites across a residential and industrial block, the buildings create a ‘corridor’ of space which bridges the two programmes and allows users to move between introverted and extroverted spaces. This ‘oscillation’ between part and whole is enabled through spatial flexibility, so that users from each programme can experience a balance of environments. Assembly studies have informed the development of specific architectural ‘formats’ for shifting occupation.

Filtering Boundaries

An organisational strategy of vertically and horizontally interlocking spaces has been used to structure the negotiation between programmes. While event spaces allow users of the introverted programme to depart from their familiar environment and connect with resonant extroverted activity, spaces for daily activities reverse this order, allowing members of the community to enter the introverted spaces. Both typologies permit different levels of exposure to support a balanced coexistence between users. These ‘grades’ of connection are enabled through movable screens which filter visual, thermal and acoustic levels.

Interstitial Spaces

Using the constraint of the two edges enclosing the site, the proposal operates on the local scale and that of the broader urban context. Site investigations in Antwerp highlighted the disparity between extroverted new developments and modest residential territories. Situated in a site of particular tension, the building mediates between these scales. This condition is framed to encourage movement between contrasting environments. Rather than removing boundaries and thresholds, the thesis takes the position that proximity and tension between opposites can be utilised to create co-dependency.

Shifting Configurations

A key criteria for the spaces which allow contrasting users to oscillate between introverted and extroverted environments is the practicality to accommodate changing application. The ‘fine tuning’ of divides between spaces is critical in enabling a connected experience, without impacting functionality. In the event and daily activity spaces, moving partitions allow the balance between experiential involvement and detachment to be calibrated. To enable shifts in ownership, these divides can also take on a variety of spatial and environmental configurations.

Spatial Impressions

While the upper level of each building in the proposal are separate from the extroverted ground floor plane, the lower strata can afford varied degrees of openness and connection to the surroundings. The system of movable partitions is configured specifically to each building, and can be raised or lowered to divide or expand spaces. As a device for controlling levels of exposure, the panels operate at a micro level, whereas fold-able doors along the urban corridor work on the macro level. Movements between part and whole are moderated from the scale of an individual space to the scale of each building in order to control the balance between introverted and extroverted environments.

Development Model 1:1000

Decentralising the City

Antwerp's Civic Framework

Antwerp City Plan

Study Models

Urban Repair

Approach

Civic Courtyard

Circulation

Elevation, Section AA

01. The old and new of Kattendijk lock and Rijnkaai of Antwerp

As one of the wealthiest cities in Europe, the city was brimming with people coming for trades, textiles and a state-of-the-art tailoring services since the Middle Ages. Along with the increase in population and industrial development in the city, the urban area was developed into a commercial area and the outskirts of the city as an industrial area for various industries and logistics use. As the role of riverside changes due to urban development, a new architectural program is presented based on research on context in Antwerp.

02. Flood threats by the climate change and Sigma plan as a countermeasure

Sigma Plan presents different contextual measures for each region adjacent to River Sheldt as a flood prevention measure by the Flanders government, and by taking a first look at the project, it has become an important foundation for presenting strategies tailored to the Katendijk lock and Rijankaai region.

03. Sigma Plan : Strategies

I. In general, from the exisiting concrete water barrier, 90 centimetre extra height will be added to block the overflowing water to the city. II & III. The waterfronts in Zuid are treated by putting the dykes along the river and the foundations are reinforced using slurry wall against the water penetrating to the underground. In the urban context, the openness toward the water in some extent is preferred by the public due to the leisure activities for the citizen. IV. Drainage Installation & Anchor-injection

04. Site Analysis

Eilandje District consists of museums and their supporting facilities. Based on Sigma Plan, the site is planned to defended by the flood barrier. In this regard, I chose the architectural program for this site as a fashion archive which preserve the local designer’s masterpieces and also presents the exhibition opportunities with the elevated promenade as a combined flood barrier to the building.

05. Site & Program

06. Site / Floor Plan

Ground FLOOR PLAN 1 LIBRARY (L) 2 LIBRARY (S) 3 ARCHIVE RETAIL 4 ARCHIVE CAFE 5 RECEPTION 6 ARCHIVE (PERMANENT) 7 OFFICE 8 EVENT VENUE 9 PROMENADE CAFE 10 RETAIL 11 PROMENADE RESTAURANT 12 RESTAURANT 13 BICYCLE STORAGE 14 OFFICE / LOCKER 1ST FLOOR PLAN 1 LIBRARY 2 EXHIBITION 3 OFFICE 4 RETAIL 2ND/3RD FLOOR PLAN 1 ARCHIVE 2 EXHIBITION 3 OFFICE

07. Section

08. Promenade – Exterior View

With the tide park located in Droogdokken and cultural activities of surrounding buildings, the elevated promenade makes the riverside more accessible and extends citizen’s walking area.

09. Fashion Archive - Interior View

The importance of collecting past design records has been recognized by many of fashion brands. Since then major fashion houses such as Christian Dior and Balenciaga collects their numerous fashion pieces and designing process as their brand DNA. Now it is essential to archive the city’s potential assets in the future and allow the public to access them. The main building exposes an accessible library to people walking along the promenade and on-site streets, and the space beneath the promenade, which functions as a defensive wall, is the best place to store valuable items.

Statement

Area required to feed a city

Farmers markets & food storage

City strategies

Inner city strategy

Suburban city strategy

Ring park city strategy

Pattern city

The Resilient Agriculture Centre

Deconstruction - reconstruction - deconstruction

Abandoned warehouses viewed as a resource in building a new masterplan, resulting in a circular use of materials.

Industrial and post-industrial areas of Antwerp

As industry has moved areas and buildings have been left behind, in close proximity to the city centre.

District plan: existing and proposed masterplan

33 warehouses have been identified in the district of Den Dam, which lack potential for new uses and for creating public space. These can be deconstructed in order to create a new masterplan made up of the same materials.

Catalogue of elements and materials

Elements and materials from the deconstruction process have been mapped and organised as a database for creating new buildings.

Deconstruction and its potential

Model 1 shows a method of mental deconstruction as a way to study each element of the space and building in relation to its qualities of light, texture, tectonics and spatial qualities. Model 2 shows one way of testing the new uses of structural elements.

A new public building

Through the thesis I have tested the extremes of reuse, in relation to its potential. A new public workshop and market building has been created with a very different expression to the material's original use.

New uses of structural elements

The structure has been taken in use in different ways to allow for large and interesting spaces within.

Combination of brick wall sections

To allow for minimal deconstruction of the original materials, bricks have been deconstructed as larger segments of wall. These have then been combined to create a regular grid form of a variety of brick patterns, allowing for it to be further deconstructed and reused in the future.

New potential of elements

The main workshop space expresses the exposed steel, brick and corrugated metal sheets, keeping an industrial look but used in new ways. The spaces are lit by diffused daylight through large areas of polycarbonate sheets.

Facades

The facades of the storage buildings and the workshops take in use a similar expression, only differenced by the glazing and the roof form.

1. Natural Disasters

A major hurricane devastates at least one country in the Caribbean every year. While earthquakes and volcanic eruptions are not as prevalent, the Caribbean sits on a tectonic plate which could mean danger at a moment’s notice. This simply means that the architecture found in these places either need to be extremely resilient or adaptable. I have decided to take the latter approach.

2. Structural Model

The image shows the framework of a single ‘modular’ unit which has led to the design development of the thesis project. This form was generated through several iterations which were tested on site.

3. Community: Self-build Pavilion

The concept of self-build is complimentary with sustainability and disaster relief. This liberates the user from having to hire an expensive contractor and recognizes the social dimensions of the process, from consideration of the structure through to the lived experience of individuals.

4. Pavilion Functions

The pavilions themselves have specific functions to address specific needs. They can be used to address social needs such as gathering, community needs such as soup kitchens and market stalls and productive needs such as spaces for isolation and urban farming.

5. Filling the Urban Void

Welcome to Europark, a district located on the left bank of Antwerp city centre. There is an interesting collage of urban typologies and landscape fragments found within the district however, there is a lack of social infrastructure. Ninety-five percent of the land is residential and is otherwise completely isolated and not maximizing its full potential. The aim of the thesis is to solve the problems set forth by this type of modernist landscape such as, the lack of jobs, lack of social infrastructure and numerous urban voids while addressing the needs of the demographic.

6. District Strategy

The thesis proposes the regeneration of Europark by implementing a network of architectural interventions which address social and cultural needs culminating at an urban hub. The interventions seek to improve living conditions in Europark regardless of demographic by using a modern set of design principles which fill urban voids left behind since its completion.

7. Medieval Context

The units are capable of suiting multiple contexts for various needs. This unit solves the need for a social gathering space located in the centre of the medieval city in Antwerp, Belgium.

8. Residential Context

This image also depicts how the social unit can be used in a residential setting to fill cultural voids.

9. Pavilion Adaptability

Bringing people together to build these pavilions will undoubtedly improve the quality of life through a sense of community but also a sense of belonging and ownership. The pavilions are adaptable, multifunctional and self-built. This means that when the units reach the end of their lifecycle the materials can be repurposed to create something entirely new such as housing for residents, an office space or even an urban hub…

10. The Urban Hub

This self-build initiative will be used to train people in construction methodology which then prepares them to handle larger projects such as an urban hub. The following images depict how the interior spaces of an urban hub can be organised to host a variety of functions such as a market, community centre, training facility and more.

01_AXONOMETRIC STUDY_ Existing Site

02_ANTWERP PLAN_ Block ‘Pitting’

03_STUDY MODEL_ Existing Site

04_LOCATION PLAN_ Site//Gentrification Band//Park Spoor Nord

05_CONCEPT MODEL_ Existing Site

06_CONCEPT MODEL_ Cut

07_CONCEPT MODEL_ Carve

08_PLAN_ Ground Floor

09_ELEVATION STUDY_ Repurposed Brick Infill Panel on Timber Frame

10_STUDY MODEL_ Subtract//Add//Reuse

Prologue

Story of the Antwerp's Ark and Apocalypse.

Flood, North Sea, the city and the envisioned apocalypse

The Ark: Conceptual Mapping and the Realization

Antwerp's Artefacts

The Archival Relationship: City, Block, Scale & The Ark and its relevance

Deconstructing the Ark

Constituting components of the Ark

Ark Capsule

The Ark Capsule is a self sustaining piece of capsule, capable to withstand various environmental condition.

The Construction Process & Timeline of the Ark

A timeline of construction on the River Scheldt, across a timeline span of centuries. As a narrated, timeline, necessity based line of construction, according to the needs of time being.

The Ark Anthropology

An in-depth understanding on the societal, progressive & cultural norms of the Ark.

The Blueprint

Ground level: Archive Chamber First Level: Upper Archive Chamber Second Level: The Grand Walkway Third Level: Vault of the Artefacts Fourth Level: Garden of Eden & Vault of Paintings Fifth Level: The Vault of Archives (in the Ark of Capsule)

Future of Ark Capsule ; End of the Ark

Serendipity

Serendipity comes in waves, unplanned and uncontrollable. Yet, it is serendipitous moments that connects mankind to the unknown, developing a certain artistic freedom as man starts to make nature his playground

Price: £100

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

Serendipity

Serendipity comes in waves, unplanned and uncontrollable. Yet, it is serendipitous moments that connects mankind to the unknown, developing a certain artistic freedom as man starts to make nature his playground

Price: £100

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

Serendipity

Serendipity comes in waves, unplanned and uncontrollable. Yet, it is serendipitous moments that connects mankind to the unknown, developing a certain artistic freedom as man starts to make nature his playground

Price: £100

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

Serendipity

Serendipity comes in waves, unplanned and uncontrollable. Yet, it is serendipitous moments that connects mankind to the unknown, developing a certain artistic freedom as man starts to make nature his playground

Price: £100

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

Land

An ongoing exploration of the environments that surround us

Price: £120

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

Land

An ongoing exploration of the environments that surround us

Price: £120

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

Limits

Capturing and documenting stories of those who push the limits of the human body

Price: £50

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

Limits

Capturing and documenting stories of those who push the limits of the human body

Price: £50

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

Limits

Capturing and documenting stories of those who push the limits of the human body

Price: £50

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

Figure I

Drypoint, 2019

Figure II

Woodcut, 2020

Black curve

Drypoint, 2020

Black line I

Drypoint, 2020

Black line II

Drypoint, 2020

Three greys I

Monoprint and drypoint, 2020

Three greys II

Drypoint, 2020

Two greens

Monoprint and drypoint, 2020

Manifesto

Collage, 2019

FATHER

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

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.

GIRLS AGAINST

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

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.

upload_11

PERSEPHONE

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

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

WARP AND WEFT

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

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

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’.

Mark-Burnett-Film-Stand

A Type of Sound

A Type of Sound Creating a relationship between type and sound. Using the typeface Futura the geometric sans serif typeface which was based on visual elements of the Bauhaus design style of 1919 to 1933. Futura’s simple geometric circles, triangles and squares represent function over form, taking away the nonessential and decorative elements. Working with a local musician Pefkin https://pefkin.bandcamp.com/music to match sound to type and create a sonic typeface, I immediately thought of how soundwaves are graphically represented by triangle, sine, square and sawtooth waveforms. We assigned a waveform to fourteen letters, matching the shape of the letter to a waveform, and created 2 octaves worth of tuned sonic type. With the remaining 12 letters we created more percussive tones, using found sounds. Instruments used include Korg Volca FM, Korg Volca Modular, Doepfer Dark Energy, Korg Kaossilator, Arturia Brute, acoustic guitar, Aeolian Chimes found object sound sculpture, zither, ebow, chimes, hydrophone.. The sounds were treated using reverse reverb, pitch-shifting, backwards loops. Using After Effects the new typeface was animated and combined with the individual sounds to create an interactive typeface that was ever evolving into a new sound or shape with simple overlays, pitch speed and rhythm. Through a significant period of exploration and experimentation the project has evolved from a simple circle, to a sonic, visual and interactive typeface which can be applied in work, play or identity. Mark Burnett Year 4 Com Des – Graphics M.Burnett1@student.gsa.ac.uk

A Type of Sound

Creating a relationship between type and sound

A Type of Sound

Creating a relationship between type and sound

An interactive typeface.

BIKE FRAME BAG

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.

BIKE FRAME BAG-

BIKE FRAME BAG

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

Glasgow 1980

Videos I put together for 'Work in Progress' exhibition

Research

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.

HISTORICAL TRAUMA / 15 400 PIECES

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PAUSE OR PAY

Hand Sketches

Valentine

From 'Conversation' series

Ankita

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.

LeftLeft

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?”.-

Rust

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.

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Machine learning/trained print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

Print

Beyond Flatpack Culture: Towards a New Ecology of Modularity

3D printed models

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

Experimentation Documentation

Development Sketch

(t)ether work in progress

Mockups

Mockups of Final Outcome

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.

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.

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.

Medication

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

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.

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

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

Nithsdale Mission Hall

My community project utilises the former Nithsdale Mission Hall in the Strathbungo/Govanhill area of Glasgow’s Southside. Designed by Alexander Skirving and built for the Queen's Park United Presbyterian Church in 1887-88, it felt like an appropriate choice of site given its history as a supportive community space. However, I also fell in love with the Greek Thomson style architectural details on the building’s exterior façade, as well as the site materiality, which provided lots of exciting inspiration throughout my design development process and ultimately greatly influenced my final design concept. As a result of a fire, the roof and interior were completely destroyed, however this worked to my creative advantage providing me with an empty shell to design within.

Cross section A-A

Sòlas, meaning comfort and happiness in Scots Gaelic, is a space bringing new Scots and the local community together to support one another and celebrate multiculturalism through food, learning and social exchange. The space offers a range of services including English lessons, counselling, a crèche, a multilingual library, book group, study areas, a contemplation space, and a cafe with pop-up multicultural dinners. The structural layout has been deliberately kept open to allow visitors to see the range of activities happening, and navigate around the space with ease. In doing so, I wanted to create a “buzz” within the space in order to create a comfortable, convivial atmosphere.

The Cafe and Welcome Area

Entering the space from street level, you will arrive in the cafe and welcome area. The cafe servery acts as an informal welcome desk to help visitors navigate the space and is therefore strategically placed close to the entrance. The familiar cafe scene should aim to reduce anxieties for new visitors. I have designed several different seating areas to adapt to different user needs and requirements. The curved wooden balustrade aims to soften the space, while the natural tones give a welcoming warmth to the interior, along with the addition of plants and flowers. There are subtle references to the site materiality through the servery design and the wooden balustrade.

The Vertical Multilingual Library

The vertical multilingual library is a central feature in my design, as it is seen from every space in the building. This helps ease navigation through the building, acting as a familiar reference point. I wanted to create an innovative and exciting space to stimulate learning and encourage cultural exchange, with a space designed on the upper level for the book group to meet. The curved stepped seating acts as an informal reading space as well as a pop up event space for talks or meetings. The circular apertures in the library structure are inspired by Skirving’s original trusses (destroyed in 2005 fire), which I have reinstated in my design.

The Contemplation Nook

I designed this contemplation nook where visitors can escape for a moment of quiet contemplation, if feeling overwhelmed. This is a particularly important space in the design for the more vulnerable users of the space who may have just arrived in Glasgow and be feeling anxious. The natural, muted colour palette aims to create a calming, tranquil environment, as does the natural light flooding into the space on either side from the apertures above (see floor plan). Cushions and blankets are also provided for an added layer of comfort.

Cross Section B-B

This section illustrates the various level changes in my design, which subtly differentiate between different zones and activities. Here you can see the ‘floating’ upper floor supported on either side by steel beams, which allowed me to create unique apertures and achieve an interesting relationship between both floors (see floorplans for further clarity). This design feature enables light and sound to flow more naturally through the building, as well as enriching user experience. The wooden wall panelling directly references Skirving’s original drawings as does the ramp which responds to the original sloped floor of the gospel hall.

The Rooftop Dining Space

The rooftop dining space is intended for pop-up community dinners where multiculturalism is celebrated over food and social exchange. It can also act as a private meeting space or extension to the cafe when not in use. This space is an upper extension to the outbuilding on site, which I have connected to the main building via a glazed corridor. The glass roof, with velux windows, allows light to flood in. A variety of plants and flowers have been added to create a colourful, welcoming space.

The Crèche

The crèche is located in the outbuilding, which I converted for this use as a means of noise separation from the main building, as well as for direct access to the outdoor space where the children can play. The design is playful, colourful and inviting with two large bookshelves for story books, games and toys. Not only is this visually pleasing for the young children but it is great for storage. The cut-outs in the bookcase take inspiration from the circular pattern formations found in the roof trusses, and are intended as fun additions to the space for the children to climb through or sit in.

Brickwork Pattern Studies

The analysis of the exterior building’s brickwork formations formed an integral part of my project, informing the development of a series of patterns based on the shapes, colours and textures. These patterns went on to inform elements of my final design including the cafe servery tiling design, the wooden balustrade, aspects of the colour scheme as well as textile designs for curtains and cushions.

Laser Cut MDF

After carrying out pattern studies based on site materiality, I experimented by laser cutting these patterns on MDF to see how they might translate as physical space dividers, while also analysing their relationship with light and shadow. The cafe’s wooden balustrade is directly inspired by these patterns and references the stepped brick detailing on the building’s facade.

Title Page

Floor Plan

Ground Floor Plan

I. DISCOVER

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.

II. DEVELOP

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.

This exploded isometric illustrates the scale of the building with its layered interior, rooftop garden bar and natural surroundings within Glasgow’s vibrant city centre.

An illustrative map shows The River Hotel and Clyde Gin Bar in relation to the surrounding city centre along with main connection routes to North, South, East and West of Glasgow.

The River Hotel’s façade boasts natural stonework shown in this 2D visual seen alongside The Clyde Gin Bar, the only public space throughout the hotel accessed from its exclusive riverside frontage.

The entrance foyer makes use of natural light which floods this stylish yet functional space. With self-check in screens, 24/7 lobby desk and grand staircase, The River Hotel is bound to make a great first impression.

This section cuts through the Clyde Gin Bar showcasing booth seating to outward facing windows for views of the clyde, feature copper horseshoe bar and atmospheric private booth seating area towards the rear.

The Clyde Gin Bar is all about immersing yourself in local Scottish gins and how they are made. With 1:1 gin tasting experience you will learn about the botanicals used in each gin to their accompanying perfect serve. A smaller bar makes for a more intimate learning experience, creating a personal relationship between customers and staff.

The River Hotel has been designed to create an experience for every customer while being aesthetically focused, generating a range of atmospheres throughout. As they journey through the building, the interior will encourage visitors to reflect in its quirky corridors before they cross the boundary to their own private space.

These sections showcase the Main Suite and all it has to offer. Section A displays the spacious sleeping area and its connection to the luxurious en-suite, although not completely closed off the use of materials creates a balanced divide between these two areas. Section B shows the lavished dressing area with bespoke archways housing wardrobe, shelving and vanity unit featured in all rooms. These arches are a reference the buildings architecture which is a key inspiration throughout the hotels design.

A section of the guest only lounge on the third floor, accompanied by a roof top bar area. Creating an exclusive space for only guests. The space is multi-functional, a lounge area during the day to the exclusive booths to be used for private use at night. The roof top bar offers amazing views of the city and a vital connection with the river.

The Waverley Studios

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

Section into the Studios

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

Studio 1 - Single Desk

Studio 3 - Collab

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

Studio 6 - Textiles

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

Entrance Hallway

The Entrance Hallway mixes traditional Victorian Interior elements with modern finishes such as the Black MDF skirting that connects the space. There is soft reception as well as a waiting area, informal meeting room and retail space.

Waiting Area

The Waiting Area combines traditional wall panelling with modern colour finishes and furnishing.

Retail Space

Meeting Room Section

The Meeting Room is disguised from the hallway through the application of a Dichroic Film over the glass entranceway. This adds another layer of theatricality to the buildings experience as only distorted views and shadows are visible from inside and outside the meeting room.

Meeting Room Interior

The Interior of the Meeting Room makes use of the building’s Red Sandstone exterior as a feature wall, in addition to leaving the original windows clear from obstruction. An old Waverley leaflet advertising both the Cinema & Local Businesses is framed on the wall. A tribute to the building’s past & current occupation.

COUNSELLING ROOM VISUAL

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.

COUNSELLING ROOMS SECTION

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.”

MANIFESTO

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.

JOURNAL WORK

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.

MATERIALITY

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.

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

Message

visual

Contract

video

Concept Video

video

Longitudinal Section

visual

Floor Plans

visual

Elevations 2D

visual

Sauchiehall Street

visual

Renfrew Street

visual