Catalogue
In Media Res
Sponsored by:
SNOOK
TM
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01 Introduction by Dr Hush
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02 Honorary Professors
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03 Alumni Testimonials
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04 Graduates 2013
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05 Acknowledgements
Foreword 6
In Media Res is a publication to coincide with 2013 Product Design Degree Show at Glasgow School of Art. The Latin phrase “in media res” refers to a narrative method in which the story opens at its midpoint rather than its chronological beginning. Translated into English, “in media res” means “in the midst of things”, which is one way of understanding our approach to design at the GSA. Our Product Design course places itself in the midst of contemporary social issues and trends, and generates design solutions in response. With such an approach, the course encompasses a huge diversity of design specialisms and interests. In Media Res expresses this diversity with guest articles from honorary professors, past alumni and sponsors, discussing how they position themselves in the midst of the design world. The pieces written by graduates each introduce one of their exhibited projects from the 2013 Product Design Degree Show, as a way to discuss their design interests and how they see their work in the midst of things. Accompanying photographs taken by Ross Mclean, StudioRoRo, capture graduates in the context of the work in discussion and on display.
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Dr Gordon Hush Gordon is Head of Product Design at Glasgow School of Art. Previously he studied Sociology at The University of Glasgow. His focus is the study of consumption and the intersection of social science research and design practice.
To be, in media res, “in the midst of things” is both
are intertwined. Of course, contemporary capitalist
a temporal and a spatial condition and to describe
society is consumerist and rooted in the experience
ourselves as such has consequences, important ones,
of novelty, fashion and the innovation of existing
for how we live, desire to live and express these
objects, services and experiences. As a consequence,
desires in tangible form. This phrase has the virtue
the work of the B.Des and MEDes graduating
of locating us in space and time, and implies the
students exhibited often seeks to explore future
material context within which our daily experience
possibilities or proposes a re-negotiation of existing
unfolds. When we are in the midst of things it is
forms of experience and behaviour. In this they
because “things” both spatial and temporal are all
highlight the capacity of designers, especially those
around us; we are in the midst of things because the
from this programme, to engage in speculative
world existed for us yesterday, we live in it today and
design practice, to future-cast as a means of engaging
we anticipate our future participation, tomorrow and
critically with the present and to open up a discursive
beyond. Indeed, our prehistoric ancestors went to
space that is navigated by making possible futures
all the trouble of building huge megalithic calendars
tangible and open to debate. The B.Des thematic
in the shape of stone circles to demonstrate this
project, The Internet of Us, begins to formulate
spatio-temporal materialisation of our capacity to
possible experiences offered by the data-driven and
imagine our relationship to the passing of time. Such
tech’ fuelled “internet of things” and to speculate
structures make material the temporal dimension of
upon where the value of such future opportunities
lived experience and our capacity to narrate our lives
lies for everyday interaction.
to ourselves and to share this with others. The navigation of possible futures requires tools and In this sense, in media res, reflects the manner in
exploration must be rooted in research and evidence,
which subjective experience, the shared nature of
or else it is merely whimsy. Product Designers are
human existence and the capacity of the artefacts
neither engineers nor computer programmers;
with which we populate our lives to mediate this,
rather their territory is the emotional, physical
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and intellectual interactions that constitute the
space and its relationship to urban experience, how
everyday and this requires an appreciation of context, we engage with animals); and of the individual to culture and custom. Therefore, the students whose
the systems, services and organisational frameworks
work you are viewing have lived in other cultures
that constitute our everyday (the NHS, living with
(academic exchanges from Tokyo to Melbourne
disability, organ donation, how we consume music).
and New York), studied languages and acquired ethnographic research methods borrowed from the
So, design, as an activity, as a discipline, is a way of
social sciences (and a few they invented along the
thinking through making, it is a way of proposing
way). Such a design practice makes demands upon
or prototyping future interactions, behaviours and
its practitioners – a terminology that is adequate to
experiences: it allows us to imagine the future we
the task of representation and communication; a
might wish to inhabit. It is both a political and
flexibility of intellect that allows design as a means
philosophical discourse, rather than merely being
of thinking through making to be applied in new
a practical and problem-solving discipline rooted
or emerging fields; a capacity for and a willingness
in results. Designers then are mediators of diverse,
to work collaboratively with other disciplines,
multiple and often contradictory discourses, they
professions and knowledge bases.
exist and are employed at the nexus of past, present
In Media Res: the Power of Things It is in this sense that sociologist Bruno Latour’s
and future and the confluence of money, technology
assertion that subjectivity is not an intrinsic property
and power. As the graduates of the Bachelor in
of humanity, but something that is a ‘circulating
Design in Product Design (B.Des) and the Master
capacity, something that is partially gained or lost
of European Design (MEDes) prepare for life and
by hooking up to certain bodies of practice,’ appears
work beyond the walls of The Glasgow School of Art
pertinent. For if designers have the task of adding to
they will do so in a world driven by technological
the realm of things then in their materialisation of
transformation, the profit imperative, ecological
our beliefs, aspirations or desires they are also tasked
concern, political instability, financial austerity
with formulating the relationships that shape our
and a future that is there for the shaping. Their
subjective experience. Designed artefacts, as well as
task is to engage in the formation of the world, to
appropriated objects, become media in a different
offer a contribution to the debate about how we
sense, they become media of communication and
will or might live, to provide a contribution based
form part of a discourse between humans beings,
upon their capacity to think through making when
and between human beings and the world around
producing the ‘things’ of this world. As designers
them. Designers contribute to a form of dialogue
they are uniquely equipped to understand that to be
and decision-making, of formulating preferable
human is to live in media res.
futures: of a relationship between citizen and State or societal custom (assisted suicide, meal-time behaviours); between the human organism and its environment (the definition of a “negative” urban 9
Honorary Professors
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To express the diversity of our course we have invited a selection of honorary professors to talk about their position in the midst of the design world and how they got there.
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Jessica Charlesworth After studying Design Interactions at the Royal College of Art, Jessica has developed a firm voice within the speculative design field. Her work provokes one to think about rich interactions between people, technology, products and services. Currently Jessica is based in Chicago. www.jessicacharlesworth.com www.parsonscharlesworth.com
I am a speculative designer with experience working
mortality, my work addresses fundamental questions
for both public and private sector organisations
about society’s institutions, ambitions and behaviors.
to explore the future implications of their field. A speculative designer explores new possibilities and
Early days
alternative futures through the use of design. In
Growing up I was always interested in making
contrast to commercial industrial design where new
things. I particularly remember my GALT toy kits,
products are developed for immediate consumption,
demonstrating how to make German towns from
I approach design as a tool for discussion and
plaster or how to sew a cuddly toy from fuzzy fur.
provocation bringing big issues, and their impacts on
However, I was never really good at reading the
our messy everyday lives, into focus.
instructions and always found a way to turn whatever was in the kits into something completely different.
I think of design as a way of describing and
Teddy bears would transform into obscure hybrid
materializing potential ideas with a designed object
monsters playing fictional protagonists in elaborate
or service – these formed ideas help to speculate,
meta-worlds. Historic neighborhoods became mini
reflect and imagine other kinds of worlds and
Tatooine diorama settings for my brother’s Luke
experiences.
Skywalker and C3PO figures. Blue Peter was only good when they used sticky back plastic and Tony
Whether critiquing science-related themes or
Hart and Neil Buchanan were my favourite art
exploring how new developments in science and
teachers on TV.
technology affect our attitudes towards death and 12
A pivotal moment in my early students days
society and stay ahead of developments in science,
began during my second year studying design in
technology and design. Subjects were varied and
Manchester. I was able to go on a three-month
esoteric, such as in-vitro cultured meat growing in
ceramic study exchange to Norway at a small design
Petri dishes, carbon nanotubes, web 2.0, placebos,
school out in the countryside. Being so isolated
phobias and designing vehicles for transvestites
during that time dramatically changed my ideas
for BMW Mini. Being critical was encouraged and
about craft and design and my future role as a
at the same time we were expected to be able to
designer.
communicate our opinions with our own design
“I approach design as a tool for discussion and provocation bringing big issues, and their impacts on our messy everyday lives, into focus” My lack of Norwegian meant I learnt studio ceramics
skills. I was amongst a close group of fellow
by watching the students and instructors as they
classmates challenged to redefine what it meant to be
demonstrated various techniques. I soon became
a designer or artist. We learnt to deal with chaos and
interested in product semantics and how objects
confusion on a daily basis and constantly being put
communicate and provoke use. At around this time
out of our conform zones.
I began to question what I wanted to pursue for my thesis year back in England. I no longer wanted to
Anthony Dunne was a huge influence and a great
make a bar stool for a young professional (one of
tutor. He always gave good advice and I particular
the projects in Norway) without having a real good
remember him saying ‘you can never read absolutely
reason to do so.
everything, just enough to get making.’ Reminding me that being a designer is also about working within
Enlightenment Period
the context of material and visual culture.
Getting into the RCA was a dream come true and a
During a US roadtrip we made a visit to the Museum
time during my design education that I like to call
of Jurassic Technology in Los Angeles - a place
my ‘enlightenment period’. My first day at the RCA
of bizarre folk tales and obscure histories. This
in the MA Design Interactions class was also Tony
pseudoscientific repository of totemic objects and
Dunne and Fiona Raby’s first day running the course
crafted models evoked some of the more obscure and
and from that day onward we were all in it together.
poetic aspects of natural history and science. Being exposed to this type of thinking we learnt to question
From the very beginning of our teaching, we were
what was real or artificial helping us understand the
immersed in exploring big issues and the role of
role artifacts play in imagining alternative futures
design for debate. We were encouraged to have an
and constructing what-if scenarios?
opinion, be culturally aware of emerging issues in 13
An internship with Foresight, a government think
Freedom USA
tank based in London, was an opportunity to
After working with SeymourPowell, Sense Worldwide
apply what I had been learning at the RCA to a real
and Engine I moved to Chicago with my husband
situation that the government was tackling; the
Tim Parsons to pursue our own American dream
future implications of obesity in the UK. Working
in 2010. This design sabbatical is what I like to call
alongside a genetics expert, we met with civil servants my ‘Freedom USA’ period where I have been able to who had never worked with designers before let alone pursue various projects as an independent designer speculative designers from an art school.
and collaboratively with my husband as Parsons & Charlesworth. I have explored new modes of working
With fellow course-mate, Michael Burton, we
and investigated novel subject areas for speculative
responded to a number of Foresight commissioned
design from happiness to death. In particular ‘The
reports each analyzing various causes of the obesity
MeMo Organisation’, a series of objects that explore
epidemic in the UK. We created fictional scenarios
the potential for future memento mori and ways we
using images and objects to depict alternative ways
can redefine rituals of mourning and loss in a secular
life might be like 40 years ahead in an obesogenic
society dominated by new technologies and scientific
environment. Our experiments then contributed to
developments.
their horizon scanning research report later released in 2008.
Stay weird Your peers will provide support and keep you on
As a result of my internship I designed a personal
your toes as well as helping you to perform at your
futures think tank for my thesis project in my final
best and continue to avoid conformity. So my advice
year exploring how various methods of speculation
to you all is strive to be the most weird! Strike out
can influence the way we make decisions about our
into new territory and be prepared to be the anomaly
future selves.
amongst the rest. Stay curious and good luck.
Post It Note Period Upon graduating from the Royal College of Art in 2007, a mixture of financial necessity and interest meant I found myself doing an internship as a design researcher at SeymourPowellForesight, learning about ethnography and other design research methodologies. Along the way I collaborated with fellow RCA course mates and said yes to as many jobs along the way. Most notably entering a design competition and winning the opportunity to exhibit at the MAK Vienna with a project entitled Citizen Evolution with Marei Wollersberger, now in their permanent collection.
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Selected works from ‘The MeMo Organisation’ Jessica Charlesworth
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Nicholas Oddy Lecturer in the History of Design at Glasgow School of Art. His research interests focus in the late 19th and 20th century mass manufactures, particularly the cycle and toy industries.
Asked to write 750 words on my practice and its
wallow around in the morass of the present, when
place in product design is an interesting challenge.
the past comes with convenient layers of hindsight to
I’m not a product designer for a start and though
aid interpretation?
trained as a maker (of ceramics) I’ve not done that in a long time; counter-jumping into design history
Of course, GSA product design has moved away from
in the early 1980s. My studio practice, such as it
the nice certainty of ‘Product Design’ as I would have
is, is largely about faking up (or ‘restoring’) old toy
understood it back in the 1980s, when I began my
trains. In fact, I was drawn into product design quite
lecturing career teaching design history to ‘Industrial
simply, I liked, and still like the surviving artefacts,
Design (Engineering)’ students at Teesside Poly.
enough to spend much of my life trying to locate
As a collector-historian, I could see what they did
and acquire them. Most of the things I liked were
(usually ‘products’ slickly rendered in magic marker
the products of industrial manufacture and in those
and realised in more-or-less skilful models) as in
days that meant that I liked product design. When
a direct lineage from older ‘products’ of the sort I
I was an undergraduate, I found out about the then
might collect, more bricks in the ever-lengthening
young discipline of design history and was instantly
wall. My job, in those days, was to point out what
attracted to it; why bother trying to make the stuff,
the ever-lengthening wall was built on. There was a
when there is so much out there, most of which is
lot of product-worship, and designer-worship, stuff
more interesting than anything I could do, waiting
that serves collectors, auction-rooms and journalism
to be found, appreciated and decoded? Moreover
well and an essential part of my activities, of course;
old things come with patina, new things don’t. Why
but design history, as an academic discipline tried
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to ignore these. Instead, it attempted to enclose
collecting sense. Drool-inducing? I don’t think so, but
design in a compound of Marxism where too much
oh-so-ethically responsible instead; a bit like William
attention to any one designer or object smacked
Morris without the stuff - the sustainably-sourced,
of commodity fetishism. It was an interesting task
paperback News From Nowhere, (or, worse, the
trying to convince a bunch of entrepreneurial, would-
Kindle version) as appose to the Kelmscott edition.
be product designers, at the height of Thatcher’s
One might think that this current style of product
Britain, that they should be engaging with theories of
design should be like Baby Bio to the Marxist roots
surplus value to understand their practice as a tool of
of design history and the two will now grow together
capitalist exploitation, but for those who took up the
in harmony and mutual right-on-ness. But no;
challenge it had real value.
quite apart from the dodgy, Blairite principles that
“GSA product design has moved away from the nice certainty of ‘Product Design’ as I would have understood it back in the 1980s.” The issue for me was, and it still is, that I like hard
underlie so much of the new forms of product design
objects. Discussing government instrumentalism in
(let’s have a focus group to ensure inclusivity in the
design education is all very well (indeed essential,
design process), at last, design history is beginning
given present policy) but, when looking for the
to find the concepts of object appreciation and
visuals to illustrate the lecture, those chromolithos
connoisseurship much more palatable. Bring them
in The Grammar of Ornament (particularly the folio
on... maybe it is inevitable that design history takes a
edition) are knock-out, each one more delicious than
contrary position? Its role in design education being
the last. It’s not hard for the object-orientated to
to challenge and question current practice, rather
shelve the theories of surplus value and replace them
than unthinkingly agree with it.
with the delights of subjective values instead. For me there is a constant struggle going on in my mind between the drool-inducing quality of the stuff and the usually questionable ethics of its production that I hope comes over to students. Here I am at GSA, twenty five years on from Teesside Poly, and I’m still teaching product designers design history; but the concept of product design has moved away from ‘industrial’ and ‘engineering’ to various terms such as ‘systems’ and ‘service’. It’s far more difficult to see the ‘product’ of these as objects in the 17
Iain Aitchison Company Director at Plan, London based strategy design consultancy. Iain is a graduate from Glasgow School of Art and has continued to maintain his connection to the school through being a visiting lecture on the Masters of European Design programme.
The students used to produce a lot more products
was that a crash course in spatial visualisation from
like this you know, but we don’t see them in the
Architecture, an induction in slip casting from
workshop as much nowadays.’
Ceramics, or a refresher in vacuum forming from Product Design were not typical requests from a
This off-the-cuff remark from a workshop technician
textile design student!
still lingers today, even all these years on from my own pre-degree show maelstrom at GSA. ‘How
Initial cries for technical help were met with the
strange’, I thought. ‘If product designers aren’t down
same guarded response, ‘we don’t get many visits
here figuring out what to do with all this great kit,
from students of other departments you know. Come
what are they doing all day?’ As a designer, I wanted
back next week and I might be able to squeeze you
nothing more than to be in the midst of things,
in’. Choosing my time carefully, I’d arrive eagerly
working through the tangible details to make the
during a quiet Friday morning and begin the process
dream of having my own designs in production a
of infiltration: getting to know how machines or
step closer.
software worked and picking brains about the best way forward. Over a month or two, I saw how the
At the time, I had been working for months to
interplay between an idea conceived in the studio
resolve my final year project. But in order to finalise
and its implementation in different areas of technical
the intricacies of my furniture, lighting and interior
development helped to resolve designs through
designs knew that the help of workshop technicians
successive iterations.
across GSA departments were needed. The problem 18
Although working across departments helped my
For Plan, being there (almost) from the start has meant
project, the whole experience left me confused, but
having a key role in envisaging the type of company
excited. If the product designers weren’t making
we want to be and embarking on a plan to get there:
products anymore and me, a textile designer, was
over the past seven years moving from ‘four guys with
working with half the departments in GSA to produce laptops’, to a flourishing international studio that aims products, surely my own mental model of design
to attract the top clients and talent in the business.
practice needed re-booting? Rather than clocking up my 10,000 hours as a discipline expert, could I not
In design education, being at the start of things has
just be ‘a designer’ instead? Or maybe were there new
meant writing briefs and helping successive cohorts
disciplines I hadn’t even heard of yet that I could be
of students frame what to do at the start of complex
expert in?’
projects. As well as an opportunity to contribute to the development of the next generation, the
From in the midst of things... to the start of things.
process of creating and refining a series of lectures and workshops on strategic design has provided a productive space for reflection and experimentation away from the frying pan of client work. In any of these contexts – corporate, consultancy, or educational – interrogating existing categories of knowledge or activity, developing new conceptual
Its ten years on and rather than the multi-
models to describe potential opportunities, and
disciplinary design guru of my student mind’s eye,
developing plans for success are all part of the ‘design
who I imagined would be firmly ‘in the midst of
process’ I now know.
things’ by now, I have found myself, rooted at ‘the start of things’. And what a great place to be it is!
While these days my final ‘product’ may not be a crafted object made in the workshop, there is still
Through three strands of practice – consulting for
technical nous to bringing conceptual clarity to a
multi-national corporations, growing a consultancy,
complex issue with analytical rigour; there’s still craft
and contributing to educational programmes –
in codifying and communicating a new process; and
‘helping work out what to do next’ has somehow
there’s whole other disciplines to contend with when
become my speciality.
developing an internal education programme for 300 designers.
In my consulting role, being at the start of things means pioneering a field of design that we call
I’m still knocking on doors and asking questions.
‘Product Strategy’. By working with multi-national product and service producers we help companies frame their long term innovation and design plans – and importantly – nurture the organisation and culture in which ideas are conceived and implemented. 19
Alumni Testimonials 20
In this section we hear from a handful of Product Design alumni, each discussing how they have forged their way in the design field since graduating from the Glasgow School of Art. Rounding this is off is a contribution from Sarah Drummond: GSA graduate and co-founder of Snook, an established service design consultancy based here in Glasgow.
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Fi Scott Design Entrepreneur at Make Works. BDes (Hons) Graduate 2012.
A year ago after graduation, I set up an independent
design, as well as a digital and theoretical one.
design-led organisation called Make Works; which
Eventually these ideas surrounding the value of
looks to better connect design with materials,
craftsmanship worked their way into my dissertation
manufacturing processes and local industry in
and took over the majority of my final year practice.
Scotland. We are about to travel the entire country in
Not quite ticking those diamond shaped boxes, but
a VW campervan, to find, visit and film 180 makers
then, autonomy and creative direction is what we do
and manufacturers in 90 days. When we get back
best.
we are developing a curated digital directory of skilled individuals, machines, material suppliers
While the last year has been something of an
and factories for artists and designers to work
uphill struggle, running a start up still feels like an
with locally. We’re taking 8 artists and designers
extension of the project I began in final year. If you
in residence with us, a film crew to document the
like, the course was a microcosm of what I now do.
journey and collaborating with much of the wider
Probably one of the best things about Product Design
design community. The idea was developed as a final
at GSA, is that it teaches you how to figure things
year design project, and twelve months later, I am
out for yourself, and something of perseverance
still very much surrounded by it and in no doubt that
and passion to see your ideas through. Over the
the origins were firmly rooted in the Product Design
four years, you gain a confidence to take on board
studio at GSA.
criticism, which makes you stronger in the middle of things too. So, though Rhubarb, the Make Works
Make Works really though, began while I was in
locomotive hasn’t even left Glasgow yet; I wouldn’t
Brooklyn, working in furniture design and exploring
have had the impetus to begin to map this journey
the material, cork. Here, I was inspired by the way in
without the ways of thinking and doing things that I
which an understanding of manufacturing improved
discovered at the Glasgow School of Art.
the quality of what was being made; combined with a frustration at how I had experienced the practicalities of making work in Scotland. Here, I engaged an interest in exploring the physical tangibility of 22
Ben Pawle Designer at Designit, London. BDes (Hons) Graduate 2011.
Having graduated from a non-traditional product
combined with the schooling I received from my
design course I was presented with the challenge
peers, was extremely valuable in giving me an
of communicating what commercial value I could
ability to think and design across disciplines, at
bring to a design consultancy; quoting my boss,
least enough to present a strong commercial value to
‘how are you going to make me money?’ Tangible
potential employers as a product/service/interaction
skills are quantifiable and are easily attributed
hybrid. After graduating I was offered a job working
with a clear monetary value be it in hourly rate or
for Designit, a global multi-disciplinary design
general productivity, without traditional design for
consultancy with a capacity to conceive and deliver
manufacturing skills usually obtained from studying
powerful experiences for a breadth of clients and
product design I had to work to define what type of
sectors spanning healthcare, consumer products,
animal I was.
financial, digital, automotive, retail and more.
As more and more designers hail ‘design thinking’
Outside of Designit I have experienced some success
as the pathway to innovation there is (and the
as a designer of a one-handed condom wrapper - a
economic state of the country will likely testify to
GSA final year project that has gone on to receive an
this) not enough design doing. Through my time at
extended degree of press and support, most notably
GSA I was lucky to live and work with some of the
being exhibited at the Victoria and Albert museum
finest emerging design talent. This was extremely
for London Design Festival, as well as articles in
valuable as I was challenged on many fronts,
Core77, Wired, Cosmopolitan, Fast Company, Dezeen,
working collaboratively with graphic designers,
ITV, BBC, The Metro and further afield. I have been
photographers, web designers and architects. On-
lucky enough to have my projects displayed in some
going (constructive) criticism honed my skills and
of Europe’s most prestigious exhibitions and in
after four years, I had a very broad understanding of a publications worldwide. I continue to collaborate range of core disciplines.
with friends and colleagues in and out of the design industry, exploring both speculative and commercial
Product Design at GSA was very successful in
spaces between the virtual and physical worlds with
producing a legacy of design thinkers and this,
particular focus on cultural invention. 23
Sam Dunne Design Strategist at Plan writer for core77 MDes Graduated 2012
In my final year at GSA, I was critiqued (quite rightly)
It turns out the tutors weren’t bullshiting us.
for stopping short of really designing anything.
Curiosity for complexity, comfort in uncertainty,
During a crit in my second year, one tutor kindly
empathy, communication, user centeredness
likened me to a ‘eunuch in a gangbang’ for a similar
and experience-led holistic thinking – there is
offense. Looking back, not designing may well have
an important role in design for the softer and
been the defining feature of much of my five year
thinly spread skills bred into many GSA product
stint in design education.
design students (even if to the exclusion of more technical savvy). However much this know-how
Fortunately, I’m now managing to make a career
may pallor in comparison to the shiny renderings
of it. In the course of an average week these days I
or full functioning prototypes of other schools’
research, I interview, track trends, write, facilitate,
alumni, be safe in the knowledge that an inquiring
photograph, synthesise, visualise, document. Rarely
interdisciplinarity and preoccupation for the bigger
do I design as such. Of the two halves of the double
picture can be put to very good use somewhere up the
diamond, most of what I do now sits squarely in the
fuzzy front-end.
first. Thoroughly ‘in the midst of things’ – somewhere between people, technology and business – I’m a dot joiner and path layer for those further along the design process. The mental wrangling I’m a part of clarifies (or ‘frames’) the design problems to be tackled and identifies (or ‘scopes’) the opportunities to be explored. Rather than answering briefs, I’m often helping clients write them.
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Snook: Sarah Drummond Snook are a Service Design and Social Innovation company based in Glasgow, Scotland and work worldwide.
I remember my first day in Product Design at
As young graduates, the opportunities north of
Glasgow School of Art. I was a 19 year old pretend art
the border for social designers seemed few and
schooler with a dream of designing mobile phones
far between. There weren’t job adverts for Service
for Nokia.
Designers, and certainly no design posts that met our expectations of what we were capable of.
I remember my last day in Product Design at Glasgow School of Art, I was a 22 year old typical art schooler
Our vision was to transform the way people thought
who had opened their mind to what the craft of
about the products and services they deliver, and to
design could achieve. I was switched on to thinking
touch every single person that has a role in making
past products as a solo object, and onto eco-systems
these a reality from chief executives to front line
and services.
staff, and the public who consume them. We wanted to change the world, and we wanted to do it from
The discipline of Service Design had come to my
Scotland.
attention. What we started Snook with was the ability to 6 months out of the course, I set up a company
think critically about the world around us, and take
with the mind-blowing Lauren Currie, who had
comfort in ambiguous futures. Design equipped us
graduated from another leading art college, Duncan
with the skills to do this. What makes us different
of Jordanstone in Dundee.
is the audacity to just do things and not be afraid of failure. In fact embrace mistakes and grow as
Lauren had similarly switched onto Service Design,
individuals and as a company.
and the meeting of two aspirational minds formed Snook, deciding to Cock a Snook to the traditional route of moving to London or further afield and root ourselves firmly in Scotland.
25
Art school had taught us how to think with our
into the heart of Australian government to find our
hands. We had learned the craft of design, a process
faces on screen savers, and seen us up there with our
we realised that could be applied to solve some of
own heroes in the heart of Phoenix at the renowned
society’s most complex issues. We wanted to take
AIGA conference.
design and place it in the hands of everyone who makes up a service system, from chief executives
We’ve been awarded a Young Scot Award for
to front line staff, and the public. We believed, and
Enterprise, taught design in places as far away as
practice today, that co-creation between government
Taiwan, worked with an array of clients from the
and citizens must take place for a better Scotland to
Police to STV, and held a debate with 200 young
exist.
people in the Scottish parliament chambers on the very spot our First Minister guides government in
4 years have passed since our graduations, and design
shaping the future of Scotland.
has stood us in good stead to sculpt the company we always wanted to run. We have a seriously talented
But past the jet-setting, our journeys have given us
team of ten designers and strategists who work across
the opportunity to listen to the everyday stories of
Scotland, and the world, to delight our clients and
the public. With all our clients, we maintain that
transform their business.
without involving the people who will use and
Snook: Design for Social Innovation in Scotland We set out with the notion that we wanted to change
consume their products and services, a re-design or
the world. Some said impossible, but I believe we are
newly shipped offer will be futile. We’ve worked with
doing that one project (or three) at a time.
problem drinkers, people caring for relatives with dementia, unemployed young people, drug addicts,
The last 4 years has taken us on some wild, and
entrepreneurial minds, older people giving up their
often unexpected journeys. What both of us seem
cars, civil servants in government, chief executives,
to have acquired from our design degrees is the skill
young adult carers, social workers, the list goes on.
to adapt and forage into the unknown. Design, as a process and skillset, has allowed us to manage
We’ve taken these stories and turned them into
experimentation for companies, to test out new
opportunities, developing improved and new
ideas with their customers and deliver solutions
offerings for our clients to change Scotland for
that wouldn’t of become a reality without us. We
the better. Whether that’s redesigning the Care
are different, because we don’t just design what our
Information landscape in Scotland, co-producing
clients ask for, we challenge them and support their
a route map in Muirhouse to improve the future
journey into new and foreign territories.
for children and families with Edinburgh Council, developing our own venture with Young Scot, The
This experimentation and journey into new fields has
Matter which gives young people the opportunity
won us a Google fellowship, flown us to China to talk
to learn employability skills or piloting MyPolice,
to the government about design innovation, taken us
a digital platform allowing the public to feedback
26
to the police, we’re challenging the status quo, and
Snook’s clients include STV, Edinburgh
making sure, people are at the centre of this.
University, NHS 24, Scottish Government, IRISS, NHS, Tayside Police, Edinburgh Council,
We’ve always believed Scotland needs design,
ACOSVO, Macmillan.
and with a new cohort of talented designers from Scotland’s art schools leaving the world of education and entering the unknown we’d give them one piece of advice. Go into places you’ve never been before and take design with you, dare to be different. Adapting to the unknown and rolling up your sleeves, in that Scottish way, will take you far. Be fearless. In just a few months we’ll be opening up our new studio on the very street where I started. The next chapter of Snook is beginning. Except this time, we have even bigger plans and we want each and every one of you to be part of it. 27
Graduates of 2013 28
Now the graduating students introduce one of their exhibited projects from the 2013 Product Design Degree Show, as a way to discuss their design interests and how they see their work in the midst of things. Accompanying photographs by Ross Fraser McLean from studio RoRo capture graduates in the context of the work on discussion and on display.
29
BDes (Hons)
Frøya Emer Io Crabtree Booker
froyacrabtree.com
My final project at GSA is a
way we deal with it and approach
with since design touches every
response to the increased attention
it has changed dramatically
aspect of life.
being brought to the issue of the
through history, especially in the
right to die.
last 100 years.
The debate over legalizing assisted
As a designer I am interested
suicide is frequently in the news
in how technology, science and
and stories of people fighting for
design change our approach to
their right to die continues to
facts of life like death, especially
capture the public’s imagination.
as technology becomes more
This speculative design project
integrated with daily life. Studying
visualizes what assisted suicide
at GSA has allowed me the
could look like in a world where
freedom to carry out projects on a
it was not only legal but also
wide range of topics and explore
widely accepted, the aim being
what I find interesting about
to encourage people to think
design as well as promoting an
about their own deaths and how
ambitious approach to design. I
they might like to die. Death is
truly believe that design should be
inevitable and constant, but the
ambitious about the topics it deals
30
To be human is to inhabit time and space. Our lives revolve and unfold within them. They contextualise the experiences we have within this world and define how and when we can connect and communicate with others. They are the basis upon which our social behaviours, interactions and experiences can happen, and this is where my work at GSA has been focused. For my thematic project I explored the lives of prisoners and the disconnection that they experience with their families and the pains and pressures that this can bring for both parties. The project explored ways to form needed contact and create tangible interactions between people who are removed from each other because of, often reprehensible and iniquitous behaviour, or decisions made by one individual, that has torn apart traditional emotional family contact. Personally, social behaviours are the
Oliver Dykes BDes (Hons)
driving force behind why I find design olliedykes@live.com
interesting. Design is about improving the lives of people in the best possible way; whether that be through a tangible product or intangible service, or both. The width and breadth of my education at GSA has provided me with the skills to answer problems and issues with the best possible answers. I am neither a product designer, a service designer or an experience designer. I believe my time at GSA has made me all of these. 31
BDes (Hons)
Alexandra Humphry-Baker
hbalexdesign.com
Performance enhancing and
fictional office wares brand that
and into the real world, where they
mood altering drugs, once only
offers products to accompany
may be used in ways undreamt of
available to a few under strict
and help people moderate and
by their inventors.
surveillance are now trickling
compensate for the side effects of a
down into mainstream society.
medicalised workplace.
Often referred to as “Academic
The design process I have taken from my time at GSA is valuable,
Doping”, this happens in a
This speculative project touches
because it gives me the freedom
context where knowledge workers,
on a recurring theme in my work:
but also the structure to approach
such as researchers, journalists,
when technology enters the body
any topic, from future fiction
entrepreneurs, etc., are taking
and affects how we live. As a
to corporate branding. This
unprescribed medication, not for
designer I make a point of staying
framework grounds my work in
recreational reasons, but to boost
updated on new technologies
real use and allows me to develop
their productivity. As awareness
which are being developed,
engaging products and services
and access to such drugs grows,
not so much for the technical
with the overall aim of making a
there is an opportunity to explore
advancements or products they
more habitable future.
the kind of lifestyle products
bring in their wake, but for the
which would emerge in a
new interactions they will create
workplace “fuelled” by nootropics.
between humans, once out of the
My outcome, “Sherpa”, was a
controlled environment of the lab
32
My self-initiated project picks up on the trend of the rise in single occupancy, and the according rise of casts as the choice of animal companion. It picks up on the wide misperception of cats that they don’t require attention from their owners, as well as the reality of how little devotion single occupant owners display towards their cats, and attempts to find a realistic, usable solution for this particular relationship. Although there are various design approaches out there, I find that I enjoy design most when it responds to a problem in a way that is practical - without any design fairies or magical moments. For me, design must solve a problem in a way that is entirely feasible. Whereas I was perhaps more experimental in my early years at university, it has gradually come to settle at a practical level. This tendency is most likely to have developed through internships I was lucky enough to have had in the design
Slaa Hwang BDes (Hons)
industry since my school years, and slaahwang@gmail.com
I am very much looking forward to working back in my home country, South Korea, following graduation. As discussed in my dissertation, I enjoy the way which the borderless-seeming practice of service design must still be shaped to befit the particular culture of the country. Having travelled extensively throughout my life, I aim to integrate the diverse cultures I have been in touch with into my practice. 33
Lets just say, when I applied to study product design, this is not what I had in mind. I was expecting a course ruled by aesthetics and ergonomics. Instead the course pleasantly surprised me. Often when I tell other creative professionals I study Product Design they expect me to design chairs, chairs and more chairs. The reality could not be further from the truth. By working with users to gain a deep understanding of the often, complex issues involved. I can identify the opportunities for design. Often a little remark holds the deepest insight and the key opportunity for projects. The solution, often a combination of a service and a product. My personal interest is the impact design can have by creating solutions that can be self-sustainable as a business and creating a greatly improved experience. If a solution is not self-sustainable then it cannot be funded. The aim of the negative spaces project is to repopulate the area of Eglinton toll with a space that acts a social hub and heart of the community, engaging each element of Eglinton Toll and the wider Southside community to repopulate the area, while remaining a self-sustainable business to ensure the longevity of the solution. The Self-initiated project aims to improve the experience of flying. The solution mixes the tangible with the intangible. To improve flying the solution needs to work as a viable business otherwise airlines, often struggling financially would not even entertain the idea.
34
Martin Johnsson BDes (Hons)
mapj88@googlemail.com
BDes (Hons)
Grant William Graeme Jamieson
grant.91@hotmail.co.uk
My self-initiated project looks at
together to share food in social
the current trend of TV dining and
situations. My project is based on
how it affects the relationships
the knowledge that what we learn
within a domestic environment.
from a young age we will naturally
I am interested in how food and
continue in later life. Therefore
drink as a dining experience
I have investigated how to spark
traditionally built relationships
early interest in social dining with
within the home.
children of a young age.
My project is about looking into
As a designer I enjoy creating
how sharing food and drink can
playful products and services
recreate the lost relationships
that can bring people together
that have occurred through the
socially and aid new forms of
constant use of technology and
communication. This self-initiated
general pace of modern life. With
project shows how I see playful
people becoming more cautious
interactions being the future of
with their spending, it is predicted
communication between people
that in order to save money more
outside of our technological world.
and more people will be getting 35
BDes (Hons)
kathcollins.com
Kathleen Collins
kathleen.kerrie@gmail.com
My self-initiated project involves
are now trained to incorporate
looking at an ethical issue about
ethnographic research into their
the way we live, and the role of
practices, and therefore are
the designer within these ethical
taught to respond to people’s
debates. This project in particular
behaviours in more complex and
is about the utilisation of animals
sensitive ways. Throughout this
and their by-products. If new
year there has been a recurring
scientific advancements are
question for me: ‘If design is
complicating our relationship (or
aware of its ability to influence
lack thereof) with these animals,
people’s behaviours, then how
what are the new ethical dilemmas
should designers respond to these
that we must discuss?
observed behaviours?’ Is it the responsibility of the designer to
I felt that it was my role as a
discourage society’s undesirable
designer within this project to
behaviours or to cater to these
present the complexities of these
behaviours regardless of his or her
topics, rather than to directly
own opinions?
influence people’s behaviours and the way they live. Designers 36
BDes (Hons)
Benjamin Edward Rodgers
benerodgers@aol.co.uk
In a world becoming evermore
advice, guidance and tools needed
keeps my mind fresh and fuels my
connected how will we use the
to deal with risk responsibly in
thoughts. In recent work I have
vast amounts of data created?
the real world. Conversations all
begun to explore various media
In response to an ‘Internet of
triggered by data collected in a fun
and means of expression.
Things’ brief came a child’s toy
and engaging way.
I am interested in how small
and parenting tool, tackling trust
interventions can start
and tracking issues. The toy allows
There is no single theme that runs
conversations, provoke thought
children to collect their own data,
through all my work; I am the
and create entirely new ideas.
encouraging them to share this
thread that ties it all together.
data with their parents. Creating
Experience is a key driver for me,
the basis of a conversation in
everyone experiences things in
which issues can be discussed
their own way and I enjoy trying
and praise can be given for
to pick apart what creates these
honesty. Building healthy trusting
differences, using this knowledge
relationships is the best way
to then influence my own design
to eliminate these sometimes
work.
irrational parental fears that have lead to the tagging and tracking of
Travelling and exploring are
some children. Give your child the
extremely important to me, it 37
BDes (Hons)
Doris Tydeman
doris.tydeman@gmail.com
“Why shouldn’t people with
and transform it into a desirable
of the issues around disability with
disabilities have choice, just like
object that would go further than
the products currently issued and
everyone else?�
to just allow the user to get from
provided.
A to B. It would take into account Exploring the world of disability
more than just the necessary
Engagement with people is a
in relation to design has been a
function it needed to provide. In
crucial part of my design process,
consistent practice for me during
order for me to feel this project
and in all honesty the bit I enjoy
my final year. Starting the year by
could be a success it was essential
the most. Starting from an
examining the social environment
to me that I involved those on the
interesting or motivating research
in which people with disabilities
receiving end of disability aids,
point and taking that further into
live for my dissertation allowed
those who use them on a daily
the lives of those who it surrounds
me to engage with the topic at an
basis and others closest to them.
drives my design practice and
early stage and led me to conclude
influences the decisions I make
the year with it as my theme for
My work has been directed under
the self-initiated project.
the notion that disability aids are an extension of many stigmas
My final project aimed to redesign
that still exist around those with
a standardised disability product,
disabilities, and through my
in this case, the Zimmer frame,
project I aimed to raise awareness
38
and the outcomes I produce.
BDes (Hons)
Zane Gray
zag.gray@gmail.com
My self-initiated and final project
film adequate for this? How can
in the amorphous and expanding
best represents my position as
an individual witness or partake
region that was once correctly and
a designer. Our work at GSA is
in an experience in a sterile
concisely described by its title
always relevant to a specific user,
environment? These are questions
‘product design’.
often in a specific space and time.
that this project addresses by
Communication of these ideas
attempting to explore fairly
away from their context, in an
complex ideas through experiences
exhibition for example, is difficult.
that are accessible and self-
This is particularly the case
explanatory.
when work deals with concepts, experiences and critiques where
One of the aspects of this project
user, space and time might not
that I particularly enjoyed was the
even exist yet.
application of established cultural critique to the final outcome.
Can designed experiences be used
In future work I would like to
to describe complex material -
expand on this approach through
concepts that would otherwise
writing as well as practice-led
be intangible? Are traditional
projects. I feel that design needs a
media such as text, image and
reinvigorated discourse, especially 39
BDes (Hons)
kaitlynd.co.uk
Kaitlyn Debiasse
kaitlyndebiasse@gmail.com
When Josephine died, she took
unfolded in a very different, and
I do not appreciate all things about
a lot of me away with her. The
more peaceful, way. And so, for
the design world, but I feel that
sixteen years of my childhood
my self-initiated project, I wanted
this stance largely stems out of the
growing up with her could now
to extend to other compassionate
course’s encouragement for critical
only be pieced together in kitsch
pet owners the ability to
thought. It is a self-fulfilling
photo albums our mother had
provide a “good” death for their
prophecy of sorts. I have come
filled. The bedroom we had
dogs by exploring the topic of
to find however that what I do
shared was dauntingly empty. The
pet euthanasia. I considered
appreciate about being trained as a
quiet moments of understanding
the unique set of difficult
designer are the options it affords
between us were now silenced.
circumstances this situation
me, specifically, the opportunity
Some say sixteen years is a ripe
presents owners with, and
to creatively tackle anything worth
old age for a dog to live, but that
ultimately, the opportunities for
thinking deeply about. I intend to
doesn’t dull my pain.
enriching this often emotionally
continue in this vein, at least until
harrowing experience. Could
all my student debt is paid off.
I have come to realise that there is
canine euthanasia become less of
no universal way of determining
a veterinary procedure and more
what constitutes a “good” death,
of a personal ritual for pet owners
but I do realize that I will always
and the dogs they care deeply
wish Josephine’s death had
about?
40
BDes (Hons)
Nicola Dunlop
nicoladunlop25@gmail.com
The digital revolution has given
face of in-store interaction and
birth to a new generation of
experience?
customer type. In order to speak to this generation it is now time;
The project feeds my interest of
more than ever to become playful
customer and user experience,
with customer experience. A
especially within retail
new world of communication
environments. I am interested
has been unleashed and needs to
in how brands communicate
be effectively harnessed within
their identity to customers in a
the physical environment. This
transparent manner via in-store
project poses a suggestive and
and online platforms. My work
playful solution for the customer
ethic is strong in design research
experience within the high-street
and customer ethnography as
record stores.
a successful insight leads to a successful outcome. As a people
How could the in-store experience
person I am interested in how the
provide the customer with more
brand communication can affect
than just the CD cover? How could
user behaviour within a social
the in-store staff become the
context. 41
BDes (Hons)
Heather Mackay Young
hmydesignjournal.wordpress.com heather-m-young@hotmail.com
Creativity is all-inclusive; however,
When engaging with people living
As I emerge as a designer from
we live in a Western society
with dementia, tapping into
Glasgow School of Art, I am proud
that has a bias towards intellect,
creativity and imagination reaches
to be thought of as fearless in
rationale and cognition. In our
deep into their soul, touches
my approach; I relish challenges;
education systems, we are not
their spirit and celebrates their
I inspire solutions; I research
taught about phenomenology and
capabilities.
thoughtfully, deeply, and creatively – and wear my research
individual meaning making. Our intellect and ego needs to be right,
The world is in the midst of a
on my sleeve. I aim to challenge
so our imagination, creativity,
transition to a new age - a shift
my thinking and your thinking,
and ability to deeply connect with
in paradigm - with a person-
then society’s thinking, so that we
others are often stifled.
centred focus. I am a designer
can all stop settling for what we
who is passionate about enriching
have and strive for the potential
I have used my self-initiated
people’s lives, in influencing how
that exists.
project as a route to design in the
we connect, how we love, how we
context of playful dementia care,
think, how we live, how we choose
looking into the relationships
to behave and how we can support
that are touched by dementia and
one another, to transform the
how meaningful engagements can
world we live in.
take place in the present moment. 42
Museums are the custodians of our cultural, natural and industrial histories and futures. When going to a museum there are always a few pieces that catch the eye, but for the rest there is always that sense of obligatory forced appreciation in order to show proper reverence to the work on display. Many people find it difficult to relate to the pieces, and while art experts and documentaries on television unlock something of how these works relate to our culture, and to the viewer, not much of this content makes it to the placard next to the painting on the museum wall. My concept proposes a new type of exhibition that harnesses advances in technology to generate a customised exhibition based on social data. By learning a bit about the viewer, pieces of the museum’s collection can be curated in order to create a narrative that directly relates to the viewer’s experiences.
Aaron Bolton BDes (Hons)
aaronbolton.com aaron@aaronbolton.com
This relates to a wider context in my projects, which have tended to look at how the overwhelming amount of information available can be curated and delivered in a way that feels interesting and meaningful.
43
BDes (Hons)
Jamie Sunderland
email@jamiesunderland.com
The new digital age continues to
in a post-industrial Britain and our the built environment.
change our relationships with
perception of local ‘third places’
people, places and organisations.
(a place outside of the work and
Over the past four years, as part of
With a shift from a top down
home) for cultural production and
the bachelors exchange program
approach of the industrial era
consumption.
and through internships, I have
to the distributed, shared and
been fortunate to travel and work
networked ecosystems of the
What is the most affordable and
in various locations across the
information economy, design
desirable system that can make
world. This journey has been
can help to create new kinds of
a place work for anyone who
about learning from different
systems.
has an idea? ‘Venue Scout’ is a
cultures, the people I met and their
digital service that allows artists
perspectives. My future practice
From connected football pitches
to connect with local places for
centres around the importance of
to self-driving cars for the visually
use as venues to engage with a
learning and aims to open up and
impaired, my projects at the
wider audience through organised
connect opportunities with the
Glasgow School of Art seek design
events. By democratising these
design industry.
opportunities in systems of
places and lowering the barriers
services and interactions.
of entry to organise events, it
Specifically, my self-initiated
is intended to re-imagine the
project questions the role of towns
interaction between citizens and
44
MEDes
Kate Ivey Williams
kateiveywilliams@gmail.com
We are all familiar with the sneaky
makes a game of sneakiness that
that people actually want and that
thrill – the feeling of excitement
picks its players at random, and
bring joy to their lives.
when we’re doing something
engages them in a mission of
These are not necessarily things
we’re not supposed to… There are
sneaking that takes place within
that are safe, tidy, practical,
unambiguously positive aspects
their own context and on their
efficient and family-friendly.
to sneaky experiences. They are
own terms. This project aims
sensual, as our perceptions of our
to capture the four layers of the
As a designer I want to conjure
environment are heightened by
sneaky thrill experience and to
up the conditions for new and
sneaky activity. They are playful,
lower the barriers to sneakiness,
delightful experiences, not forcing
as we dice with the risk of getting
making it a bigger part of everyday
people to conform but allowing
caught projecting a playfully
life.
them to discover and play.
deceitful self into the world. They
There seems to be a rather
are liberating, as we escape the
impoverished view of behaviours
traps of routine, roles and rules.
such as sneakiness, so where our
And they are creative, as we plot
profession claims to follow a “user-
and ingeniously make use of what
centred” ethos, I want to question
is available to us.
what it really means to design in a user-centred way.
The Alliance of Thrill Sneakers
This means engaging with things 45
MEDes
Varut Gap Rintanalert
varut.net varut.rintanalert@gmail.com
What’s the most effective way
promising, not only is it able
the context is missing and without
to understand interaction? -
to help students create clearer
context your interactions may
performing it yourself. What’s
interactions, but it also allows
seem out of place. Let’s put in a
the most effective way to
them to realise what is ‘missing’
storyboard.
communicate interaction? Talking
from their interactions, thinking
about it? Maybe, but how?
much more specifically about
What I have designed is a system
them as well as coming up with
that allows designers to put down
different variations.
their ideas, identify interactions,
This project started off as helping the designer to communicate
make specific interactions real and
interaction by using the concept,
But what’s next? It seems that
create a context, all in one single
‘conditionally’, borrowed from
with these tools I can go one step
place. It is more than just a system
computer science. It is as simple
further, I can help the students
that allows designers to sketch
as ‘if this happens, then that
realise their interactions through
things, it is a system that stores
happens’. This concept was tested
the use of an embedded computing user ideas and keeps a record of
with 21 students at the Glasgow
platform without the need to code.
School of Art and resulted in three
This allows them to sketch out
developed versions.
their interactions in an interactive way and understand their
The benefits of the tool are very 46
interactions more fully. However,
them, together in one place. This is Interacti.
MEDes
mikewalkerdesign@gmail.com
Mike Walker
cargocollective.com/mikewalker
People are more than the sum of
the procedures of organ donation,
nostalgic about this apparent shift
their parts. Although the altruistic
identifying new opportunities
away from the material artefact to
donation of vital organs after
for design in an area of medical
websites, services and experiences,
death can miraculously save and
practice where product designers
because it is the social behaviour
enhance the lives of numerous
do not normally venture.
of people that really fascinates
individuals, the procedure of
My design project addresses
me. Increasingly my projects are
donation affects people in many
inexpressible moments of grief
about the intangible emotional
profound ways, more than bio-
and gratitude, and explores new
experiences of people, but I think
mechanical repair of the body
ways in which to communicate the
it is my challenge as a designer
alone. My self-initiated design-
incommunicable.
to create meaningful products
research project, Vital, investigates
and interactions that make these
the human dimension of organ
After five years of my own journey
donation, a complex medical and
through three different schools
emotional process that occurs at
across Europe, I’m graduating at
the crossroads of life and death.
a time when the design industry
experiences tangible again.
is putting a great emphasis on Vital unfolds the emotive journeys
the design of the immaterial,
and real human experiences of
such as user experiences and
people who have been touched by
interactions. I tend not to be too 47
Acknowledgements In Medias Res has been produced by the graduating students of Product Design 2013 to coincide with our degree show. As a cohort we would like to thank all those who have contributed in order to make this show possible.
Special thanks to: Dr Gordon Hush, Stuart Bailey, Elio Caccavale, Mil Stricevic and Ian Grout for your help, guidance and continuous support throughout the course. Valerie Nicolson for being so organised. The Glasgow School of Art Student Association Our guest writers Jessica Charlesworth, Nicolas Oddy, Iain Aitchison, Fi Scott, Ben Pawle and Sam Dunne. Ross Fraser McLean and Rory Wemyss / StudioRoRo. Sarah Drummond and Lauren Currie of Snook Kay Young David Duncan
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