Brain Waves by Central Saint Martins

London Design Festival 2016 Lethaby Gallery and Window Galleries Central Saint Martins, London

#CSMBrainWaves

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Brain Waves is the final instalment in a trilogy of exhibitions presented by Central Saint Martins as part of the London Design Festival. In 2014 Restless Futures examined the multiple contexts in which designers are now operating. The Intelligent Optimist in 2015 explored the differing characteristics of designers. Now in 2016 Brain Waves surveys the variety of design intelligence that our graduates deploy in their work. Taken together, these three exhibitions and their accompanying catalogues give a fascinating perspective on the obsessions and directions of one of the world’s leading art and design colleges. But the trilogy is about more than the individual pieces of work themselves: it also makes a compelling argument about the role of design in engaging with our uncertain futures. As an art and design school, we reject an era without expertise. The designers you see here are specialists, but crucially, they work with openness because considered design requires both creativity and collaboration. The complexities of contemporary life demand new ways of thinking therefore diversity of approach is essential. Brain Waves maps out four territories: ‘Creative Forensics’, ‘Empathic Invention’, ‘Haptic Thinking’ and ‘Shifting Reality’. The aim is not only to show how different types of design intelligence are applied to process and object, but also their wider potential and application. Design is not the route to more things and new aesthetics, it is a key to making sense of the world. J erem y T ill Head of Central Saint Martins Pro Vice - Chancellor Research, University of the Arts London

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Credits C uratorial

T eam

Tricia Austin, Stephen Beddoe, Caroline Broadhead, Hywel Davies, Paul De’Ath, Melanie Dodd, Simon Fraser, Kieren Jones, Peter Hall, Andreas Lang, Anne Marr, Chris New, Ulrike Oberlack, Anthony Quinn, Nick Rhodes, Rebecca Ross, Anne Smith, Jeremy Till, Willie Walters

Pursuing a ‘no more stuff’ ethos, Brain Waves aims to re-use Central Saint Martins exhibition furniture — Unistrut system Paul Murphy for MA Communication Design / Track lighting MA Design; Ceramics, Furniture or Jewellery / Plinths and pedestals from various CSM sources. C atalogue

C reative

editorial

producer

Ulrike Oberlack – ultra-indigo

Teleri Lloyd-Jones Ulrike Oberlack

E x hibition

C ontributors

design

Jeremy Till and all exhibitors

FranklinTill Studio ultra-indigo

C atalogue E x hibition

design

graphics

FranklinTill Studio Phil Baines P ress C reative G aller y

team

producers ; &

P ublic

and

publicit y

C SM

E vents

Jo Ortmans Colin Buttimer

Laura McNamara Craig Barnes

S ponsorship

S how

Madeleine Buckley

B uild

Andrew Baker Paul Murphy

Unless otherwise stated photography is by the exhibitors.

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Credits S pecial

thanks

to :

Stephen Beddoe, Peter Close, Simon Fraser, Jess King, Jo Plume, Elizabeth Wright, Nehanda Wright, Brian Whiting and the technicians in the 3D large and 3D small workshops, and the AV and Central Store for their generous and good humoured support.

C ATA LO GU E

ISBN 978-0-9956001-0-2 Catalogue supported by GF Smith Printed by Pureprint F ind

Thank you to the volunteers who have supported the setup of the exhibition, to the CSM events, innovation & business, marketing and reception teams, and to Matt Chesney and the estates team who have supported the Brain Waves exhibition and events programme. We would like to thank our sponsors and supporters: Sponsored by The Montcalm Luxury Hotels London Supported by King’s Cross Vinyl Graphics Sponsor : Onward Display Ltd. Fabric Sponsor : Sensitive® Fabrics by Eurojersey Paint Sponsor : Farrow & Ball

out

Brain Waves At London Design Festival 2016 Lethaby Gallery and Windows Galleries Central Saint Martins, London 17 September – 29 October 2016 #CSMBrainWaves arts.ac.uk/csm/whats-on-at-csm/ brain-waves londondesignfestival.com/events/ brain-waves In association with designjunction thedesignjunction.co.uk

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Empathic Invention

Creative Forensics

Sea-Meat Seaweed by Hanan Alkouh

Biocomputer: Future of Health Institute by Joao Gil

Made in China: The production of assumptions and prejudice by Biying Shi

Pure Human by Tina Gorjanc 34

The Stonebridge People Library by Julie Howell 17

Neurogastronomy by Marina Mellado Mendieta 18

Library by Sarah Christie

2026 by Ibrahim Kamara 35

Interspinning by Helga Aradottir 36

Mom Too: e-search for infantile colic by Elif Gengör 37

Independent Labour by Anne Vaandrager

Ante Plate by José Maria Salgado 38

Other Us: Solas by Katy Shand

Emerging Contexts by Tommaso Russo 39

Dementia Simulator by Di Peng

Northdown Network by Helena Jordan 40

Tesco Collection by Stacey Huang

The Contemporary Guild of the Knockers Through by Jonathon R C Howard

Circle by Cheng Chen

Situationist Typography by Emily Schofield

Photosympathise by Freya Morgan

Per Inciso by Giada Giachino

SharkMan by Yang Zhao

In Nomine Matris by Florance Tebbutt

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Haptic Thinking

Shifting Reality

Colour Ceramic City by Maria Gasparian

Nowhere in Particular by Jūratė Gačionytė and Georgia Cranstoun

Social Life of a Material by Irene Infantes 52

The Unpaid Intern by Julius Ingemann Breitenstein 53

Free Tape by Edwin Mohney 54

Collection by Sergiy Grechyshkin 55

O Collection by Po-Wei Chen

Subversive Folly: Re-enactment of Lost Rights by Carla Motola 70

Assimilation by Srabani Ghosh 71

Jewellery Undercover by Lucie Davis 72

Contemporary Fragmented Vision by Nils Braun 73

Illusory Kinetics by Zengke Jin

HumanWare by Joely Clinkard 74

Depth of Light by Orla Lawn

The Lurk Experience by Kezia Kong 75

Metamorphoses by Vilma Luostarinen

The Southmere Collective by Alistair Napier

Digital Daiku by Mark Laban

The Maul by Gareth Wrighton

Absence of Discomfort by Josephine Ortega

Citizenshop by Nele Vos

82 Years of Testing Screens by Felix Steindl

Chinese Dream by Zhiwen Tang

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These designers use emotional intelligence to empower and transform lives. They harness designâ&#x20AC;&#x2122;s intrinsic empathic qualities, placing themselves in the contexts of others. The focus is not on the needs of anonymous individuals within the marketplace but instead the agency of communities. The results amplify the voice and visibility of those who are often hidden, opening up conversations and emphasising the essential nature of social connection.

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‘Design intelligence is using the tools of design wisely: just enough, and not for their own sake… Our jobs as artists and designers are to make sense of the world and find ways of improving it. Design is an essential part of the process of realising new concepts and ideas, and making them physical, tangible, legible and comprehensible.’ Sarah Christie 12

‘Designers help shape a sustainable future. That means consideration for the environment but also for people and society. Sometimes the most important design is quiet design - not the most sexy or most beautiful but the small things that impact normal lives… You have to get inside the user, whether you’re designing for refugees, for policy makers or for the luxury sector.’ Katy Shand

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‘The responsibility of designer is to create more possibility for the world. They have to break the rules and cross borders, transforming the impossible into the possible.’ Yang Zhao

‘Design is important because the world would be rather dull without it.’ Stacey Huang 13

‘As a designer, I want to show the workers’ perspective. Their individual experiences lead towards an interesting dialogue about consumption and production. I want my audience to feel the conflicting perspectives of various characters in the story of manufacturing which came together as a chorus rather than my own personal monologue.’ Biying Shi

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Sea-Meat Seaweed by Hanan Alkouh M A

Materials: Seaweed, mixed media Photography: Tom Mannion Collaborators: Andre Pereira, Lou Blackshaw, Hung-Chun Wang, Phebe Wu, Sara Abusaleh, Niloufar Esfandiary, Johnathan Shillingford

www.hananalkouh.com

M aterial

F utures

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Eating meat is neither sustainable nor healthy, however there is a whole culture behind rearing, processing, and cooking meat that would be lost if we stopped eating it. Sea-Meat Seaweed looks at the industry behind pork production and consumption, and aims to replicate it with seaweed. The project began with Dulse seaweed, grown along the Pacific and Atlantic coastlines, which tastes like bacon when fried. Sea-Meat

Seaweed presents a narrative that follows the seaweed from farming to butcher keeping the rich culture behind meat production alive, preserving the theatrics of the trades. Alkouh designed the infrastructure of a transitional culture for a post-meat world, engaging in the social sustainability of meat production. There is already a system in place for the way we consume meat, and Sea-Meat Seaweed exploits that language but with an ethical and sustainable compass. â&#x20AC;¨

mamaterialfutures.tumblr.com

info@hananalkouh.com

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Made in China: The production of assumptions and prejudice by Biying Shi M A

C ommunication

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Materials: Film

The label ‘Made in China’ doesn’t just present information of an object’s country of origin, it is a metaphor for the diverse and complex relationships between consumers, commodities and the workforce in a globalised context. Many assume that products are made in China to cut costs resulting in cheap and low quality work. However, this is only part of the story.

www.cargocollective.com/biyingshi

This project uses film to chronicle the multiple dialogues behind the story of ‘Made in China’. Documenting workshops and factories – and the people that work in them – this short film explores the assumptions and barriers filling the space between producer and consumer.

berylshi9@gmail.com

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The Stonebridge People Library by Julie Howell M A

N arrative

E nvironments

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Materials: Mixed media Collaborators: Sarah Thurman, Tom Gardiner, Mrs Ann Butler, Jeremy Keenan, Lea Nagano, Mamiko Yamasaki, Ekta Raheja,  Citra Otoktaviana, Tom Butler, Hyde Housing, HALO lighting, ABC Printing

As Greater London has 23,000 people per square mile, it is difficult to imagine how anyone could become lonely or disconnected in such a crowded city. Yet social isolation is increasing, as are its social and financial costs. The Stonebridge People Library aims to reconnect the invisible and isolated residents of London’s Stonebridge Estate back with their community. Through a series of interventions, the whole estate became aware and moved to engage with its lonely residents, especially its elders. One such intervention connected the

lighting of residents’ homes to their breathing, giving a visible and visceral reminder of those living within the estate. The culmination of the project is The Stonebridge People Library, a community facility containing the collected images and stories of local people. Users can access their neighbours’ contributions and connect with them. The aim is to place residents’ collective wealth of life experience back into the community and to inspire and change the memory of the area for every resident.

juliehowelldesign@gmail.com

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Neurogastronomy by Marina Mellado Mendieta M A

I ndustrial

D esign

Materials: Ceramic, silver, aluminium Collaborator: Stella Stathi Awards: Lexus Design Award 2015

www.marinamellado.com

Narratives about healthy or ‘clean’ eating have become de rigeur on social media, fuelling increasing anxiety about ‘good’ and ‘bad’ food. Overthinking the properties of every ingredient can crowd out a balanced view of what we eat. Neurogastronomy is a set of tools to support the cognitive behavioural therapy for othorexia nervosa, a seemingly paradoxical eating disorder in which sufferers restrict their diet based not on quantity of food but on quality. The intentions may be for good health but the fixation can lead to malnutrition.

Working alongside the guidance of a psychotherapist, this set of cutlery and tableware encourages users to manage feelings of anxiety. The collection comprises cutlery that intensifies flavours through retronasal olfaction, a dish that allows the user to manage visibility and drinking cups that activate orthonasal smell. The language of each object, though consistent with the universal forms of tableware, is subtlety modified to avoid alarm, increase agency and sensory experience.

marinamellado1@gmail.com

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Library by Sarah Christie BA

C eramic

D esign

Materials: Ceramic Photography: James Barnett Awards: Mead Scholarship

www.sarahchristie.net

‘Libraries gave us power’ – Manic Street Preachers, Design For Life, 1996 Library holds a collection of words that break boundaries. Libraries are endangered holders of knowledge, agents of curiosity. They enable anyone to acquire the knowledge and wherewithal to overcome boundaries, whether real, imagined or those that we are persuaded of. At a time of relentless preoccupation with borders, cuts, closures and austerity, access to knowledge, culture and public spaces feels

@saraheachristie

increasingly curtailed. How do we overcome what keeps us out? Visitors are invited to ‘cross’ a boundary made from ostraca (potsherds), invoking ancient Greece’s method of voting by writing on an ostracon, and adding their own words to the Library’s collection. The boundary will gradually be eroded as visitors are asked to actively consider their real and perceived boundaries – anything from international borders to our own quiet fears.

saraheachristie@gmail.com

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Independent Labour by Anne Vaandrager M A

M aterial

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Materials: Mixed media

How might privatisation of the National Health Service affect childbirth?

Awards: Prins Bernhard Cultuurfonds, VSB Fonds

By offering external private companies the opportunity to take contracts and manage key healthcare services, we are slowly seeing the NHS turn from an entirely publicly funded institution to a more privatised model. Reducing and undermining the NHS means that basic healthcare services in the UK face an uncertain future. If the NHS is to become fully privatised, people will be denied free healthcare and will have to pay for services at the point of use.

www.annevaandrager.nl

Each year around 700,000 babies are born in the UK. An uncomplicated birth costs the NHS £3,000. If the NHS collapsed, and there was no state support to help cover these expenses – as is the case in many other countries – what would this mean for people who have no other alternative but to give birth completely independently at home? Independent Labour explores this future scenario, providing the provocative Birth Box with all the instruments and instructions you need to fully prepare and give birth unaided at home. info@annevaandrager.nl

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Other Us: Solas by Katy Shand M A

M aterial

F utures

Materials: Mixed Media

The UN estimates that more than 250 million people could be displaced as a result of climate change by 2050. In the context of increased migration and â&#x20AC;&#x2DC;statelessnessâ&#x20AC;&#x2122; Other Us is an exploration of the formation and survival of a future independent nation. â&#x20AC;¨ In the second half of the 21st century humans have ventured onto the oceans to live in floating island habitations. Solas is a raft state located in the North Atlantic. The project explores the process of building a state and gaining the recognition required for long-

www.katyshand.com

term survival from an established criteria for statehood: defined territory, permanent population, government and capacity to enter into relations with other states is used as a framework to create tangible future artefacts. Rather than the practical survival aspects of life on an artificial island the project instead looks at the long-term priorities and financial incentives. It is a critical exploration of the implications of marginalising and isolating displaced people.

katy@katyshand.com

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Dementia Simulator by Di Peng M A

I ndustrial

D esign

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Materials: Mixed media Photography: Daniel Letter

Dementia is a difficult disease to understand. Those caring for dementia sufferers, be they family members or healthcare professionals, may struggle to appreciate how the disease can affect everyday experiences. The Dementia Simulator provides a way to experience a variety of the diseaseâ&#x20AC;&#x2122;s symptoms, not only engaging empathy but also offering the user a route to reflect practically on future care. While no one can truly step into the mind of another, the virtual reality headset creates an immersive environment that affects the senses. Users encounter distorted sights and sounds londonpengdi@gmail.com

as well as experience difficulty speaking. The Dementia Simulator is a provocation to move the dialogue about dementia forward.

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Tesco Collection by Stacey Huang BA

J eweller y

D esign

Materials: Gold-plated brass, pearls, cubic zirconium

Contrasting the precious with the everyday, this collection is inspired by the international language of packaging and sales promotions. On a visit to a supermarket – part of a student’s daily routine – Huang was struck how the graphic design used on packaging has become a global vocabulary that crosses language barriers. The collection

www.staceyhuangdesign.com

@stacey_huangg

echoes the many signs of promotion found in supermarkets from a ‘Buy one get one free’ earring in which the free item is in fact a reflection or the ‘bundle set’ comprising a necklace, ring and pair of earrings. The collection invites wearers to rethink the value of fast-moving consumption by transforming these signs of commerce into fine jewellery.

contact@staceyhuangdesign.com

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Circle by Cheng Chen BA

P roduct

D esign

Designed in response to a client brief by Hitch Mylius to resolve the differing needs of private and public space

xiaomicci@gmail.com

Personal space, the region surrounding a person that he/she psychologically regards as his/her own, is a notion than keeps people at a comfortable distance from each other. Circle makes personal space physically manifest, as standing sets designed for a short stay in a public place.

The user stands on the circle base representing their domain. It serves as a boundary and implies that the space within the circle is private. This collection consists of standing stools, standing tables and standing backs; according to each specific need, users can choose between them and enjoy a short rest or do some urgent work in a space that is temporarily their own. chencheng-an@hotmail.com

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Photosympathise by Freya Morgan BA

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D esign

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Materials: Screenprints

www.freya-morgan.com

What if people were more like plants? Puncturing mankind’s self-importance, Morgan creates an absurdist world in which houseplants and their owners swap lives. Human limbs sit in pots on the windowsill as plants watch television and luxuriate in bed. Morgan’s series stems from her belief that a plant’s existence on this planet is just as @freya_is_gr8

important as a human’s. By swapping the role of the houseplant and the human, she evokes a sense of equality between the two entities in that, in some alternative world, the plants might be keeping us on their shelves.

freyacmorgan@gmail.com

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SharkMan by Yang Zhao BA

P roduct

D esign

Materials: Cotton, sponge, metal, felt Photography: James Barnett Designed in response to a client brief by Hitch Mylius to resolve the differing needs of private and public space

SharkMan is hybrid wearable furniture, an innovative and experimental design which explores the possibilities of deformable “soft furniture” to suit different situations. Responding to the need for flexible private space in the contemporary world, SharkMan creates an environment around the user whether they’re sitting, lying down or standing. The design works not only as a flexible space

www.cargocollective.com/like-design-y-zhao

but also to carry personal belongings with two interior zips so the user can transform SharkMan easily and without help. The design can be altered to create total privacy or be open to the world depending on whether the user is on a laptop, reading a book, or even having a nap.

yangyangzhaozhao195@gmail.com

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These designers hunt down inspiration, sometimes in the strangest places, gathering facts and figures and using their imagination to convert data-rich information into innovative, unexpected proposals. Their thinking has connections with scientific enquiry, dissecting and analysing their subjectsâ&#x20AC;&#x2122; components but with results that roam from problem-solving products to speculative fictions.

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‘Design at its best can achieve so many wonderful and important things, but at its worst it can contribute to a world filled with greed, exploitation, intolerance and alienation. Any job that operates on such a division requires a political approach.’ Emily Schofield

‘Design intelligence is not only understanding what culture is, but also what it could be and reflecting that back.’ Ibrahim Kamara

‘Design is an act of understanding a problem and searching for an answer to it. Even though it may be considered a tool for problem solving, creating an artefact as a solution, it is all part of the process with a continuous loop.’ Elif Gengör

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‘Design is a methodology that projects future answers onto present questions. The word ‘design’ can be traced back etymologically to ‘projection’ echoing the links the process forges from a present condition to future scenarios. It is a developing strategy.’ Giada Giachino

‘Objects can reach and resonate with people of all ages and cultures in a way that text on paper or a screen may not.’ Florance Tebbutt

‘There are no solutions, no ultimate truth, definition of beauty, utility or function. Our role as designers is to iteratively negotiate the upcoming changes in society.’ Joao Gil

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Biocomputer: Future of Health Institute by Joao Gil M A

I ndustrial

D esign

32 P L AY

Materials: Digital, mixed media Collaborators: Federica Lucivero, Cat Drew, Giulia Tomasello

www.joao-gil.com

Welcome to the internet of bodies. Biocomputer goes beyond speculative design, offering the public an immersive experience of the future digitisation of healthcare. Humans are transformed into biocomputers connected to the internet in order to monitor and track the working realities of their bodies. Such consultation provides the haptic basis for an ethical discussion that moves from public to expert and from patient to scientist to policy-maker.

@j.bragancagil

Drawn from current advancements in synthetic biology, body hacking and transhumanism, this project gathers insights for future worlds by engaging with the public in an experiential consultation process.

j.bragancagil@gmail.com

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Pure Human by Tina Gorjanc M A

M aterial

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P L AY

Materials: Patent application, extracted genetic information, mixed media Awards: Silver A’ Design Award 2016

How will advances in tissue engineering technology redefine today’s concept of luxury? The biotechnology industry has become firmly established over the past twenty years and biological patents have played an important part in this phenomenon. However, concerns have been raised globally regarding the patentability of human genetic materials. Tissue engineering technologies grow more sophisticated each day, and the lack of protection regarding biological patent law allows bioengineering companies to obtain

www.tinagorjanc.com

@tina.gorjanc

‘raw’ materials from surgical patients without their consent. These materials are then processed into products, copyrighted by the manufacturing company and sold worldwide. Pure Human explores the ethics and legality of ownership of human genetic material. The project addresses shortcomings concerning the protection of biological information and aims to provoke debates about the future implementation of bioengineered products in our commercial market.

gorjanc.tina@gmail.com

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2026 by Ibrahim Kamara BA

F ashion

C ommunication

and

P romotion

Materials: Print on paper Collaborator: Kristin-Le Moolman

www.ibkamara.com

A collaboration between London-based stylist Ibrahim Kamara and Johannesburg-based photographer Kristin-Lee Moolman, 2026 challenges heteronormative attitudes to selfexpression through fashion. Imagining how men might clothe their bodies in ten years, the photographs present Johannesburg locals styled in garments sourced from landfill sites, customised by Kamara into future ‘looks’. In this cross-cultural exchange Kamara – who was born and raised in Sierra Leone – looks to Africa, using Lee-Moolman’s home city as the backdrop. @ibkamara

2026 suggests a utopian future with no policing of masculinity, where the individual is free to choose how best to express their identity. The project is dedicated to the late stylist and artist Barry Kamen.

ibrahim_oyah1@yahoo.com

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Interspinning by Helga Aradottir BA

T e x tile

D esign

Materials: Wool, natural dyes Collaborators: Mira Marjaana Liimatainen, Emma Cleveland Sponsors: Palmi Jonsson’s Nature Conservation Fund, Iceland, Loro Piana Italy, Istex Iceland Awards: Gilda Barron Landscape Award

www.helgaaradottir.com

Interspinning is based on the natural world and the conversation between man, craft and time. Aradottir documented and collected Stonemoss lichen from around her home in Thura, Iceland. These fragile plants, which take decades to grow, are the project’s inspiration. They have been used as natural dyes for centuries, there are many folk stories about their healing and preservation powers and they can be used for documentation in geology. The yarns of Interspinning are inspired by microscopic photography of the Stonemoss as

well as research into how the economic crisis and tourism in Iceland has affected the making of the famous hand-knitted jumpers. Aradottir explored the qualities of Icelandic and British wool, spinning them separately and then twisting and carding them together. Finally, the knit and embroidery was developed as a response to Aradottir’s grandmother’s textile collection. She is blind but recognised each textile by touch, emphasising the evocative relationship between material, people and place.

helgaar@gmail.com

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Mom Too: e-search for infantile colic by Elif Gengรถr M A

I ndustrial

D esign

P L AY

Materials: Digital, mixed media

www.elifgengor.com

The causes of infantile colic are still unknown and though the condition is short-lived, parents often struggle to deal with the frequent and loud outbursts of crying from their babies. Mom Too is a research service solution intended to find the cause of infantile colic through design interventions that explore various theories. Tools like an air-pressurised tummy massager, a back massager, an automated swaddle and an infant carrier can

be programmed to perform soothing actions. They are activated automatically and the data is recorded through a smartphone app. Mom Too is a service that helps researchers discover the unknown, relieve parental distress and change the perspective of the medical community by proposing novel research methods.

elif.gengor@gmail.com

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Ante Plate by José Maria Salgado BA

C eramic

D esign

Materials: Ceramic, plaster

A fictional line is drawn where a plate sits on a shop shelf. Ahead of the line is its aftermath, its functionality and daily use (food-safe, dishwasher and microwave proof, etc) and before the line is its ‘beforemath’ the making process behind the plate. Ante Plate is an object that speaks of its making, its ‘beforemath’; a journey that combines digital technology in the CNC

www.jmsalgado.co.uk

milling of the mould with the traditional industrial process of jiggering. Ante Plate is a coded object, where the surface design stems from conventional patterns denoting ceramics in technical engineering drawings. The infographics on the plate’s reverse, reminiscent of backstamps, detail the processes that have brought it into being, from the temperature it was fired to the glaze applied. jmlsalgado@gmail.com

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Emerging Contexts by Tommaso Russo M A

C ommunication

D esign

Materials: Sound, mixed media Collaborators: Jake Charles Rees, Elliot Burns, Håkon Lillegraven, Calli Leyton, Špela Pipan

www.tommasorusso.com

Emerging Contexts is an experimental podcast that functions as a representation of Central Saint Martins through 5-minute weekly episodes.

for a radio broadcast. Thus, Emerging Contexts is born as a podcast about creative processes; a neutral container for experimentations of sound, dialogue and music.

The underused nature of music in design is a missed opportunity for delivering complex, multifaceted experiences exploiting the medium’s non-passive nature. Inspired by David Byrne’s method of impulsive singing of unplanned words on music, the format applies automatic writing principles to create content

As the stories of the College live on through this sonic casing, the question remains: ‘How to have nothing to say, but saying it anyway?’

tommasorusso.tmr@gmail.com

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Northdown Network by Helena Jordan BA

A rchitecture

Materials: Print, paper, mixed media

Northdown Network is designed to create a cohesive community within an area of social polarity. Focused on social regeneration through education and exchange, the Northdown Network – in Margate’s Cliftonville – provides the potential for interaction and subsequent relationship-building.

The Hub contains everyday social spaces such as nurseries, kitchen and dining spaces, play zones, and a skills-swap; these are run with local support and act as a platform for social exchange. The housing complex comprises user-defined homes that are both multi-use and multi-tenure.

Split into a community ‘hub’, a transformable housing scheme and a masterplan network, the design aims to foster a new sense of communal belonging, trust and ownership.

Northdown Network is focused on transforming the lives of culturally diverse social groups and forging a united, resilient community.

helenajordan94@gmail.com

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The Contemporary Guild of the Knockers Through by Jonathon R C Howard BA

A rchitecture

Materials: Print, paper, mixed media Awards: Dean’s Award for Excellence, Central Saint Martins

Can an alternative model of self-build restoration also be a communal and celebratory act? This project follows a group of individuals called the ‘Knockers Through’. Known to literally ‘knock through’ walls, this tribe of people renovate properties perceived to be low in value. The narrative follows the ‘Knockers Throughs’ as they alight on Margate, a town in dire need of help, with

www.jonathonrchoward.com

a derelict and abandoned urban fabric. They seek to celebrate the process of renovation by resurrecting the old Fort Road Hotel, offering the building back to the community in an attempt to revitalise its future. The knowledge acquired from construction is shared with like-minded ‘Knockers Throughs’ and eventually this particular re-build of the Fort Road Hotel is used as a precedent for future developments, consequently rehabilitating Margate’s broken built environment. jonh94@ntlworld.com

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Situationist Typography by Emily Schofield BA

G raphic

D esign

Materials: Screenprint, digital Awards: Deanâ&#x20AC;&#x2122;s Award for Excellence, Central Saint Martins

www.emilyschofield.de

Can a typeface protest? This set of typographic experiments explore the possibility of a typeface breaking out of its system and taking control over its content. Experiments range from the micro to the macro: beginning with the smallest form of protest expressed through the letterform itself and ending on the largest in which the typeface takes on a will of its own subverting and disrupting the words it is supposed to

form. Inspired by the Situationist International movement, here Schofield uses typography as a metaphor for the role of the individual within society during the Information Age.

www.situationisttypography.co.uk

emily_schofield@hotmail.de

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Per Inciso by Giada Giachino M A

D esign :

J eweller y

Materials: Shellfish byproducts, silver, resin Photography: Vicente Mateu Collaborators: University of Maine and Cameo Italiano www.giadagiachino.com

In response to traditional cameo and coral jewellery production, this collection presents innovative processes to create a sustainable industry for the future. Re-contextualising materials both from the food and jewellery industry, such as lobster, mussels and shelllips, Per Inciso transforms byproducts into something precious. Though a new flexible material forms the projectâ&#x20AC;&#x2122;s basis, Giachino also explores engraving mussel shells as well @giadagiachino

as integrating the shell-lip waste from cameo production into jewellery. A provocation about preciousness and material value, Per Inciso celebrates its origins, highlighting the future possibilities of these previously discarded materials when applied to traditional jewellery techniques.

giachino.g@gmail.com

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In Nomine Matris by Florance Tebbutt BA

J eweller y

D esign

Materials: Textiles, goldwork embroidery, etched brass, enamel Photography: Yannick Hausler

In Nomine Matris combines domestic objects such as baptism dresses and aprons with embroidered emblems of the Catholic Church to memorialise the tragedy of the Magdalene laundries in Ireland. The church-funded institutions, open from the 18th century to the late 20th century, housed women and children abandoned and ostracised by family and society. Since the 1990s, the institutions have been exposed as places of systematic

www.florancetebbutt.co.uk

@florancetebbutt

physical, sexual and emotional abuse â&#x20AC;&#x201C; it is this conflict between personal and institutional histories that In Nomine Matris explores. This series of textiles, embroidered using traditional goldwork techniques, subverts the rich visual language of Pontifical marks of honour and distinction while simultaneously undoing the Magdalene women and childrenâ&#x20AC;&#x2122;s removal from history.

florancetebbutt@hotmail.co.uk

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These designers connect head with hand, grounding their actions in tacit intelligence, employing both the sensual and practical aspects of making to support their thinking. Some are alchemists, transforming base materials into something magical while others coax humanity from digital technologies. Innovation in both process and material are central here with these designers push, and even challenge, the relationship between man, material and machine.

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‘Hand-making is the fundamental part of my design process. A lot is learnt when you begin experimenting and manifesting your ideas physically. There is room for spontaneity and fluidity. Mistakes happen, but also happy accidents and successful outcomes... it’s all part of the process.’ Josephine Ortega

‘Design must help people to find the balance between material and immaterial life.’ Zengke Jin

‘Design intelligence is saying as much as possible with only the essentials… As designers we have a responsibility to enjoy our process, frustrate ourselves in seeking answers, and above all be brave.’ Edwin Mohney

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‘Through experimental processes in-between perception, thinking and making, places beyond language and rationality can open up. This is where novel ideas and alternative forms of knowledge can emerge.’ Vilma Luostarinen

‘Designers have a responsibility to not create boring useless things.’ Sergiy Grechyshkin

‘CNC software and machinery is itself a designed tool, much like a traditional carving chisel engineered to be used in a specific way. The difference being that this digital technology is more complex, which in turn offers opportunity for more complex interpretation in use.’ Mark Laban

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Colour Ceramic City by Maria Gasparian M A

D esign :

C eramics

Materials: Clay, earthenware glaze Awards: Unilever Sustain-Ability Award, Winston Churchill Travelling Fellowship, Runner Up MullenLowe Nova Awards With special thanks to Alexis Harrison and Peter Webb of Arup Associates

At present there is a real need for public urban spaces that offer engaging and sensory experiences. Through use of dynamic colour, texture and form, Colour Ceramic City aims to break the routine of everyday city life and choreograph the space around it.

and ever-changing movement of urban life. Pieces are scalable and can adapt to local contexts offering endless opportunities for site-specific interventions creating vibrant spaces within the city.

These self-supporting sculptural volumes and surfaces are formed by extruding clay coils with the fluidity of lines recalling the complexity

www.mariagasparian.co.uk

mggasparian@yahoo.com

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Social Life of a Material by Irene Infantes BA

T e x tile

D esign

Materials: Wool Sponsors: Comercial Ovinos

www.ireneinfantes.com

Merino sheep, highly prized for their fine wool, have their origins in Spain. Today, due to production costs and water regulations three quarters of the Merino wool produced in Spain is sold to China for processing and from there is sold back to Spanish companies. Itâ&#x20AC;&#x2122;s an illogical and energy-heavy process that also reduces Spanish companiesâ&#x20AC;&#x2122; creative control over one of their traditional materials.

Created in collaboration with a Merino wool producer in Spain, Infantes uses artisanal techniques including silk-screen printing and needle-punch felting to create large scale textiles. The bold accented colour palette references the inspiration behind the designs, the photographs of forgotten treasures left on London streets, reinforcing the idea of the hidden values of things.

irenerinfantes@gmail.com

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The Unpaid Intern by Julius Ingemann Breitenstein BA

PRODU C T

D esign

Materials: Digital, mixed media

www.juliusingemann.com

Currently, when generative algorithms are incorporated into the contemporary design process, they can eclipse rather than compliment the process. The Unpaid Intern reframes these algorithms as tools within the process. It enables designers to reflect on, and then iterate and refine their designs.

collaboratively, rather than crowding around a laptop. The Unpaid Intern offers broader, more interesting ideation opening the designerâ&#x20AC;&#x2122;s eyes to new paths and possibilities. It also allows better communication between designer and client, for example helping both parties visualise future design directions.

The algorithm takes a form, and then creates countless variations on that form. The controller allows design teams to interact haptically with the algorithm simply and

Looking beyond its tongue-in-cheek title, at its heart The Unpaid Internâ&#x20AC;&#x2122;s aim is to enable designers, not replace them.

@juliusingemann

julius.ingemann@gmail.com

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Free Tape by Edwin Mohney BA

F ashion

( W omenswear )

Materials: Tape, mixed media Photography: catwalking.com Awards: AB4BA Scholarship

www.edwinmohney.com

Free Tape is the manifestation of personal fear. Mohney created the collection as a practical catharsis by casting himself, and his loved ones, in tape with the intention of ridding himself of his fears. The process of ‘taping’ is an integral aspect of the work representing an instantaneous construction of a fashion ‘look’.

performance choreographed in likeness to a traditional fashion show.

Each piece is assigned a specific fear, ranging from the fear of failure to the fear of never being forgotten, in order to inform the piece’s aesthetic. Free Tape culminates with a ‘fashion’ mohneyedwin@gmail.com

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Collection by Sergiy Grechyshkin BA

F ashion

( W omenswear )

Materials: Mesh, lace, vinyl, wire, mixed media Collaborators: Ting Ye Awards: LVMH Grand Prix Scholarship Sophie Hallette Award

Inspired by incarnations of the Bacchanalia ritual throughout history, Grechyshkin explores the flapper girl style of the 1920s in his graduate collection. Using a combination of mesh, lace, vinyl and wire structures, and a palette of shocking pinks, yellow and violet, he juxtaposes transparent and opaque elements, danger and fragility, feminine and masculine. Unassuming objects of everyday life such as

www.sergiy-grechyshkin.com

@sergey.grechka

hairnets, tights and laundry baskets also make an appearance. The collection comprises light yet graphic silhouettes, and the designer describes his approach as spontaneous, heavily influenced by Cy Twombly’s chaotic painting technique. In Grechyshkin’s own words, these are not dresses but ‘objects that suit the body’. georgesergeyy@gmail.com

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O Collection by Po-Wei Chen M A

D esign :

F urniture

Materials: Bamboo, linen

The O collection showcases a contemporary re-envisaging of the traditional Taiwanese furniture aesthetic, notable for its elegant, low level, and generous seating, suitable for Asian or Western sitting positions. Constructed from three bonded layers of bamboo filaments with hidden bamboo pins, the O Collection celebrates the material for

www.poweichendesign.com

its strength, lightness and environmental credentials. Chen collaborated with craftsmen to explore the production processes but also challenge the boundaries of traditional methods of working with bamboo. Exploiting Taiwanese forming techniques, the designer transformed a traditional craft into a contemporary furniture design.

chen1025@gmail.com

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Illusory Kinetics by Zengke Jin BA

T e x tile

D esign

Materials: Perspex, Rayon Photography: James Barnett

www.jinzengke.com

Inspired by Newtonâ&#x20AC;&#x2122;s law of universal gravitation and surreal levitation photography, Illusory Kinetics is a collection of objects that play with perceptions of weight and light. Having experimented with the various material, Jin alighted on the combination of Rayon Floss and Perspex to create intricate patterns of gravitational movement. Perspex rods in different shapes and sizes are arranged and trapped in delicately woven textiles

transforming ordinary materials into threedimensional sculptures able to interact with the body in otherworldly ways.

contact@jinzengke.com

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Depth of Light by Orla Lawn BA

T e x tile

D esign

Materials: Silk, wool, plaster, concrete Photography: James Barnett

www.orlalawn.com

How could a wall dissolve into a textile? For Depth of Light, casting and weaving are combined to create a hybrid manufacturing method that results in three-dimensional textiles with an architectural feel. These pieces showcase the strength and versatility of silk fibres as well as the unique, unpredictable forms of poured materials. Contrasting the hard, cast elements with the soft, textured yarns produces a surface that is at once @orlalawn

familiar and welcoming, yet cold and austere. Each piece is designed to cast beautiful shadows, under tension from their own weight they sway and quiver in unexpected ways. The pieces in this collection act as partition screens, inviting you not only to look closely at them but also to gaze through to the views beyond that they frame. orlalawn@gmail.com

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Metamorphoses by Vilma Luostarinen M A

N arrative

E nvironments

Materials: Latex, plastic, wood, plaster, metal, pumice stone, silicone, stoneware, digital, mixed media Photography: Sanna Lindholm Collaborators: Ninna Berger, Mathilda Frykberg, Sanna Lindholm, Laurance Liu, Sara Möller, Jessica Rayner, Natasha Rosling, Barbara Amalie Skovmand Thomsen, Eiko Soga, Matilda Söderberg, Louise Waite, Alois Yang, Hanna Bergman, Thibault Brevet, Astrid Linnéa Andersson, Rebecca Merrill, Secret Pyramid/Amir Abbey, Sonia Bensouda, Chang Liu Sponsor: OnSpotStory

Metamorphoses is a digital exhibition exploring the relationship between human and nonhuman bodies. Balancing on the boundary between physical and virtual space, it opens up diverse landscapes of works all bearing traces of transformations. Assembled together, they form a reflection on what the concept of metamorphosis can signify in the 21st century.

of metamorphosis to reveal new perspectives on the world’s vibrant vocabulary of everchanging shapes. Metamorphoses has been developed in dialogue with a group of international artists and designers, incorporating workshops and installations in London, Gothenburg, Copenhagen, Brighton and Bristol.

The project examines and re-imagines how we, as human beings, relate to matter inside and outside our bodies. It explores the potential

www.vilmaluostarinen.co.uk

www.metamorphoses-exhibition.com

vilma@luostarinen.co.uk

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Digital Daiku by Mark Laban M A

D esign :

F urniture

Materials: Maple wood

www.marklaban.com

Obsessive precision and accuracy, attention to detail, a profound knowledge of material and anonymity are some of the key hallmarks of traditional Japanese craft surprisingly now mirrored in digitally-aided manufacture. Digital Daiku interprets traditional Japanese aesthetic principals, exploring their possibilities to create furniture crafted using contemporary digital manufacturing processes. The furniture is characterised on one hand by sleek minimalism and subtle detail inspired by traditional temple architecture, and on the @_mark_laban_

other a refined rusticity informed by the Japanese tea house. Digital Daiku developed through a processdriven approach to design and draws inspiration from the manufacturing technique itself: a 3-axis CNC machine. The resulting objects are simultaneously a tribute and a challenge to traditional ways of making and our perceptions of craft, tools and the maker in the digital age.

mark.laban@hotmail.com

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Absence of Discomfort by Josephine Ortega BA

T e x tile

D esign

Materials: Wool, polyester, cotton Photography: Aleksander Bucko Awards: Worshipful Company of Weavers Scholarship 2015

www.josephineortega.com

Absence of Discomfort investigates the perception of ‘comfort’ through textile proposals for transport seating. In order to define this abstract notion, Ortega collected people’s testaments on where and when they feel at their most comfortable. Compiling responses and accompanying photography of the individuals’ homes, the designer created a visualisation of comfort, ultimately offering her a palette of colour, pattern and yarn choice with which to work.

Wanting to challenge the usual transport seating designs, Ortega approached her subject with an alternative construction method, exploring traditional rug-making techniques. The resulting designs push the boundaries of weight, density and scale, yet remain practical.

josephine.ortega.m@gmail.com

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82 Years of Testing Screens by Felix Steindl BA

G raphic

D esign

Materials: Digital, mixed media Photography: James Barnett

In the early years of television, sets were tested using static signals that were broadcast when the transmitter was active but no program was being shown. They incorporated several graphic elements to test a range of different parameters such as colour, brightness, ratio, alignment, etc. depending on the device used. It is this rather technical approach, using graphic design to serve a very distinct purpose, which interests Steindl. Such distinct purposespecific design provides a functional, utilitarian

www.felixsteindl.com

@felixsteindl

basis to the concept of graphic design while leaving possibilities to push at its boundaries. 82 Years of Testing Screens is an intuitive and interactive installation using these static test signals. With a simple remote control, the audience can actively adjust all of the visuals and parameters, reversing the usual experience of passive viewing, helping them to understand the basics of electronic screens and communication in a playful way.

info@felixsteindl.com

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These designers generate moments of meaning in a contemporary world that can seem chaotic and arbitrary. They reframe their subjects, offering their audience new perspectives. From making the digital manifest to transforming the everyday into the extraordinary, these designers refocus our attention, demanding we reconsider that which surrounds us. They may range over disparate territories and communities, but each uses design to reconfigure and reform.

COLLECTIVE LIVING IS NOT UTOPIAN IDEALISM

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‘Fashion is communicated digitally more so than ever before, but dressing oneself remains a theatrical, yet intimate and thoroughly tangible act wherever you go, for as long as we are present in our bodies. Only when we are plugged into a matrix, will we live in a world where fashion is actually consumed digitally.’ Gareth Wrighton 66

‘Design intelligence is the brainpower of coming up with a question and finding the answer to it.’ Zhiwen Tang

‘Design intelligence is the semiotic between content, form and influence. To create work that not only treats the audience in an intelligent way, but also promotes its intelligence.’ Nele Vos

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‘Design is always a combination of fact and fiction. It draws from reality – something that already exists – and through imagination results in a new creation, a new reality.’ Jūratė Gačionytė ‘Design intelligence is positively pushing boundaries, tapping into things that are often overlooked and finding surprising approaches to solutions.’ Lucie Davis ‘In today’s world, where spheres of interest become ever more complex yet interrelated, solutions increasingly lie at the cusp of technology and humanity. Design intelligence is becoming ever more relevant as it is able to combine analytical thinking with a deep and creative understanding of the evolving consumer perception.’ Srabani Ghosh

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Nowhere in Particular by Jūratė Gačionytė and Georgia Cranstoun BA

G raphic

D esign

Materials: MDF, paint, photography, mixed media

Nowhere in Particular is a fictional place based on the characteristics and structure of Google Street View and Google Maps. This project grew out of a performative lecture during which the designers showed slides from Google Street View collected via a random generator and passed them off as the documentation of a real road trip.

Nowhere in Particular poses a series of questions: What if a physical place had the features imposed by the current digital navigation tools? What would it feel and look like? How does digital influence the analogue? The result is a collection of speculative artefacts from this imagined place.

www.jurategacionyte.com

www.georgecranstoun.com

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Subversive Folly: Re-enactment of Lost Rights by Carla Motola M

ARC H

A rchitecture

P L AY

Materials: Mixed media With thanks to Alberto Duman, LS Leisure, Canary Wharf Group Estate Control Centre

Subversive Folly re-claims Canary Wharf through a temporary occupation disguised as a series of public realm follies. Addressing rights which are denied in the area, it focuses on the right to protest and even the right to gather above a certain number without arousing suspicion by providing a series of bespoke ‘scenographic’ settings. The idea of protesting in the traditional sense is transformed into a hybrid performance, which uses the historical legacy of re-enactment to speak about contemporary struggles.

www.facebook.com/CallForActionG

In some cases the narrative refers to the intrusive form of control within Canary Wharf’s boundaries, in others to contemporary struggles of insecure employment or housing. The project draws on the local history of the London Dockers’ Strike of 1889, in which thousands of Dockers protested for their work rights, marching in front of their workspaces. It proposes a curated live performance or re-enactment of this strike, in Canary Wharf, where part of the strike took place, to reclaim the right to protest. carla.motola@gmail.com

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Assimilation by Srabani Ghosh BA

C eramic

D esign

Materials: Ceramic, aluminium Photography: John Sturrock Sponsor: HG Matthews

www.srabanighosh.com

As a response to Central Saint Martins’ home at Granary Square in King’s Cross, Ghosh’s work explores creative provenance and place. Constructed from 910 handmade bricks, Assimilation is a large scale architectural sculpture made in collaboration with sponsors HG Matthews, a specialist brickworks in the Chilterns. Its surface is embellished with reinterpreted imagery from the College’s history while the structure echoes a leftover

Victorian detail from the original Granary Square site. Assimilation celebrates Central Saint Martins’ history – from inception in 1854 to the current day – and makes a physical connection to its present while also paying tribute to the brick makers as material manufacturers of the city.

srabani_ghosh@hotmail.com

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Jewellery Undercover by Lucie Davis BA

J eweller y

D esign

P L AY

Materials: Acrylic nails, RFID chip, nail varnish, sponge, crystal, copper, enamel, mixed media Awards: Your Nova, MullenLowe Nova Awards, Swarovski Design Project

@luciedavis

Challenging the conventions of jewellery, Davis brings a bit of magic to daily routines. Her pieces create entertaining collisions between the precious and the mundane, from nail art that aids a commute on the underground to a ring made of ‘magic sponge’ that sets its stone during the process of washing up.

Although light-hearted, Davis’ work asks the wearer to reconsider value in both material and function, offering wearers an active role in the interaction and interpretation of contemporary jewellery.

luciedavis7@hotmail.co.uk

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Contemporary Fragmented Vision by Nils Braun M A

C ommunication

D esign

Materials: Mixed media Sponsor: UAL Futures

Through technological change, our environment has in many ways been transformed into a simulated, artificial and increasingly virtual world. We live in a time where image making is constantly available and this changes how we document our world leading us to perceive, consume and interpret our environment on screens and in fragments. Recreation of David is a 3D printed generative sculpture made from stitching

www.nilsbraun.ch

together shared online images of Michelangelo’s statue in Florence. What quickly became evident from this palimpsest of viewpoints is David’s missing backside – a direct result of people not photographing the rear of a statue. Whereas the Piccadilly Circus animation presents a 360° collage of 3 days’ worth of shared images on social media platforms, underlining how we construct a detailed reproduction of our environment with images as our components. braunschewerke@gmail.com

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HumanWare by Joely Clinkard BA

C eramic

D esign

Materials: Ceramic, steel Photography: James Barnett

HumanWare is a community of ceramic vessels who stand together as a metaphor for a diverse people-scape. Some with vivid colour, some with humanlike features and others holding wild and alive foliage, each piece is unique, an expressive celebration of the diversity of individuals and wild spaces in the city. Central Saint Martins’ position within the new development of King’s Cross inspired Clinkard

www.joelyclinkard.com

@joelyclinkard

to create work which reacts to people and place. Using a raw material such as clay and creating every aspect of the work by hand, her work celebrates the imperfections of the handmade, a contrast to the clean and geometric environment of King’s Cross. HumanWare echoes the vibrancy offered when fashion, culture and personality inhabit an environment as well as the uncultivated, raw gifts that green spaces bring to the city. joely@joelyclinkard.com

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The Lurk Experience by Kezia Kong BA

G raphic

D esign

Materials: Timber, MDF, fabric, digital

Lurk is a manifestation of the 1% rule of internet culture, which states that only 1% of the users of a website actively create new content, while the other 99% only lurk. The installation playfully reflects content proportions of the internet by reducing it to gifs of cats and porn. Mimicking user-based content generation, The Lurk Experience reacts and responds to user interaction by generating more cat content if one gravitates towards the section with more cat gifs, similarly with porn.

www.keziakong.com

The phenomenon of participation inequality breaks down further in The Lurk Experience into 1-9-90 distinctions, whereby 1% has built the content, 9% enter the space, while the other 90% exist as lurkers, viewing the experience from the outside.

keziakong@gmail.com

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The Southmere Collective by Alistair Napier BA

A rchitecture

COLLECTIVE LIVING IS NOT UTOPIAN IDEALISM

Materials: Mixed media

Built in the 1960s by the Greater London Council, the Thamesmead Estate was made notorious as the setting for the 1971 film A Clockwork Orange. With prospective changes planned by current housing association Peabody and a lack of public amenity, The Southmere Collective provides a framework for the residents of the estate to work with Peabody to gain agency over their public spaces. Peabody have plans to demolish large portions of the estate, with the existing community groups â&#x20AC;&#x201C; namely the Elderly, the White Working Class, and the Nigerian Community â&#x20AC;&#x201C; feeling

www.alistairnapier.com

left without agency. Following consultation with both Peabody and the community, this project proposes a new urban axis within the estate, Hinksey Path, an act of selective demolition to save many family homes and their existing neighbourhood culture. The Southmere Collective brings community groups together through architectural intervention as well as an annual Thamesmead Film Festival, organised by the local Urban Pioneers film club who make films about living in Thamesmead today, to generate debate across communities about their hugely changing landscape. alistairnapier@hotmail.com

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The Maul by Gareth Wrighton BA

F ashion

C ommunication

and

P romotion

Materials: Wool, digital, mixed media

www.garethwrighton.com

The Maul is an experimental online shop and video game platform that embraces interactive media to explore fashion communication in a non-linear format. A grotty approach to garment construction, The Maulâ&#x20AC;&#x2122;s design challenges the utopian paradise often associated with digital art, in turn questioning the complex relationship between ethics and environmentalism in the fashion industry. The Maul places handmade clothing in a computer-generated environment that is fully interactive for the player as their character runs around the abandoned shopping mall, @_abattoir

littered with bodies wearing the collection. All this is situated on a desert island, the sky heavy with a storm. The game is a digital collage of royalty-free meshes sourced from the web, architectural modelling sites, and game engines, all mixed in with Wrightonâ&#x20AC;&#x2122;s own handmade meshes and textures. What better tool to expose the intangible artifice of luxury e-commerce than computergenerated imagery? garethwrighton@hotmail.co.uk

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Citizenshop by Nele Vos M A

N arrative

E nvironments

Materials: Mixed media Collaborators: Tommaso Catalucci, Cristina Salvi, Luca Ponticelli, Lily Cheng

www.vos-org.com

Citizenshop is an interactive travelling installation interrogating current dialogues around citizenship. The installation opposes the neoliberal concept of the acquisition of citizenship by investment, essentially the purchasing of nationality, as offered by an increasing number of governments around the globe. It explores the emerging questions about the economic privatisation of the nation state, the worldwide increase in migration, cross-border interlinked technologies, and the disadvantages faced @nelevos

by the majority of people under these new international circumstances. Citizenshop asserts peopleâ&#x20AC;&#x2122;s multi-dimensional needs of citizenship and instigates a radical humanistic inquiry in order to stimulate new questions.

info@vos-org.com

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Chinese Dream by Zhiwen Tang M A

C ommunication

D esign

Materials: Pencil drawings, printed media Collaborator: Ling Gao Awards: Cecil Collins Award 2016

Chinese Dream is a graphic novel based on the experience of Zhiwen Tang’s father. Having contributed to the construction industry for more than 40 years, his father witnessed China’s transition from the post-Maoist era to ‘Socialism with Chinese Characteristics’. His father, like the rest of the Chinese people, became both the beneficiary and victim of this transformation. In this graphic novel,

www.cargocollective.com/zhiwentang

Tang presents two overarching narratives to detail his father’s story: his personal memory of his father’s career and the slogans of national policies in China’s urbanisation process. Chinese Dream examines China’s complex evolution and its impact on individual autonomy through the personal story of one man and his family.

tangzhiwen215@gmail.com

Catalogue supported by GF Smith Colorplan Mist 135 gsm / 270gsm Munken Polar Smooth Crisp White 150gsm Transclear Natural 180gsm