MATTER Catalogue by MATTER

GOLDSMITHS

M AT T E R

2014

DESIGN

Old Truman Brewery Dray Walk 91 Brick Lane London E1 6QL

BA Design BEng Design & Innovation Degree Show 30 May - 2nd June

MAT T E R @mattershow mattershow.co.uk

Matt Ward and Laura Potter

INTRODUC TION VIBRANT MATTER

PEOPLE MATTER

MICROSCOPIC MATTER

SOCIAL MATTER MATERIAL MATTER

ELEGANT MATTER

POLITICAL MATTER

DESIGN MATTERS

DARK MATTER

MATTER – the title of this year’s degree show – may be read in different ways. Depending on what you put with it, the word can be moulded and manipulated towards different meanings. It spans the ideological and material, the conceptual and the practical, the idea and the thing. It acts to join these often (falsely) disjointed entities; highlighting how materials act in the world. Within the humanities there has recently been a ‘material turn’: an acknowledgement that MATTER is not inert, not waiting for humans to activate and act upon it. MATTER has agency. As Jane Bennett describes in her book of the same title, it is Vibrant Matter. This year’s show is full of vibrant MATTER, ready to move out into the world and change it. What these students have experienced, and what we do here at Goldsmiths, MATTERS. This interpretation, which places importance on the process and ultimate aim of education, is especially significant. As a teaching team we are aware that there has been a gradual ‘dematerialisation’ of design across the programme. For years we have been trying to understand how to dematerialise, how to deemphasise the ‘shiny product’ at the end of the process, in order to grant the designer a different kind of power. Initially, we prioritised the abstract. We did a lot of thinking, a lot of talking and the making came at the end as a synthesis of what we were trying to understand. It was an attempt to make the ‘shiny things’ more thoughtful. However, what staff and students have come to understand is that the

DETAILS MATTER

value of design happens in the stuff – in the MATTER – and that it must be part of the process. We believe that ‘design thinking’ should not exist without ‘design making’. In the early years of the course we had students who suffered moral crises. We encouraged a ruthless questioning of what design should be, and some came to the conclusion that designers are responsible for perpetuating levels and patterns of consumption. These students decided they did not want to be designers, because they did not want to make MORE MATTER. What we now know is that the material investigation does not need to come at the end: it is not necessary to move towards a ‘product’. The making of stuff, the realising of ideas in three dimensions, can be part of a process that helps us understand, change and eventually take action. A design outcome might be immaterial, but you can still be a designer in the way you approach the world. Of central importance here is the idea of ‘thinking through doing’ or ‘thinking through making’. These students have attempted to investigate and articulate the complex significance of contemporary MATTER. What they hope to demonstrate is that when design ventures deep into abstract territories, when designers move beyond the goal of the ‘shiny object’, they can generate valuable insights by engaging with all manner of MATTER(S). We are not limited to post-it notes.

MEMORY & TECHNOLOGY: INTERWOVEN FORGETFULNESS HEALING SOVIET TRAUMA THE DISTRIBUTED MUSEUM THE SOCIAL MINING UNION

BA DESIGN

LONGEVITY BRANDALISM 11 Peter Aiello THE HYPERREAL HOTEL 13 Birute Bikelyte WE ARE THE 11.2% 15 Hannah Bould HIJACKING EDUCATION 17 Teàrlach Byford - Flockhart SKIP, PLASTIC AND THE CITY19 Grace Carroll A TEMPORARY URBAN OCCUPATION 21 Victoria Coquet 23 Lauren Holly Crockatt 27 Xandria Carelse-Dutlow 29 Isabell Essien 31 Vicente Esteban (Vinny Montag) 33 Charlie Evans 35 Mariana Fabris 37 Hannah Fasching 39 James Fearon 43 Chloe Fung 45 Emily Gardner 47 Daina Geidmane DISCRETE ACTS OF EMANCIPATION 49 Abigail Green THE UNTRANSLATABLE CITY 51 Mary Anneisabelle Haymaker THE INTERTIDAL CINEMA 53 Grace Henry UNTITLED DE-TOURING 55 Mimi Hu BEING SAFE AND SUPER TRAINING PROGRAMME FOR LIFE 57 Akifumi Iizuka THE MANDELBROT PROJECT AT 4 DEGREES WARMER 61 Marisa Jensen A MOMENT FOR LIGHT STRATEGIC GIFT INVESTMENTS 63 Tomomi Koseki IO ARCHITECTURE COMMERCIAL CANNIBALISM 65 Ayla Landy-Till HAPPY ENDINGS THE BODY TIME MACHINE &UNREALISTIC EXPECTATIONS 67 Tai-li Lee BIODESIGN 69 Yuki Yuk Ki Leung UNCONFUSING PRINT 71 Alexandra Lychagina THE CONSUMERIST PURSUIT OF HAPPINESS 75 Amina Malik OBJECTS OF VIOLENCE 77 Amanda Millard HEEL OUR SOLES 79 Johanna Mott DISCOVERING THE ANTHROPOCENE 81 Rachel Murray CITY SWARMS 83 Amber Newland THE UNPLANNED CITY 85 Amanda Ng MEDICAL OBJECT-IVE 87 Anthony Nolan ANTI SAT-NAV SOLUTION FOR URBAN ADVENTURE 91 Daire O’Herlihy THIS IS NOT SUPPOSED TO BE HERE 93 Jake Paget THE SECRET LANGUAGE OF FOOD ISOPE DENIM

95 Belen Palacios 97 Sophie Palmer 99 Justin Ramsden 101 Snna Rashid 103 Jovhan Roberts 107 Dean Rowland 109 Olivia Rumball 111 Katinka Schaaf 113 Lucy Silverwood 115 Aida Staskeviciute 117 Yael Stern 119 Amanda Tooke 123 Jessica Gibson-Torbell 125 Warwick Turner-Noakes 127 Skyla Avalon van der Pols 129 Iva Veselinovic 131 Joseph Walker 133 Nini Zhou

SUB_TOPIA: DEPLOYABLE WORK SPACES THE CIVIC FOOTBALL LEAGUE ARCHITECTED ANTICIPATION FARE PLAY CTRM INTERSPECIES COLLABORATION: SCENARIOS THAT SPECULATE POTENTIAL FUTURES

MEMORIALISING THE TRUTH OF A FAKE WAR ACTIVATING OBJECTS SILENT DIRECTORS ULTRAPERSONAL MATTER HATCHING NETWORKS “I AM SO WELL TRAVELLED” FACE ME FORM FOLLOWS FICTION FUNERAL THEATRE CUREOMINDIN A BILLION ON BISHOP HOUSEWORK THEATRE

BENG DESIGN & INNOVATION OLD BAGS AND TALL TALES LETTERS FROM MY DIGITAL DOUBLE THE THIRD PLACE FARMING MAXFREE – INNOVATIVE SENSATION TAKING CONTROL THE FOOD ENVIRONMENT THE SYNERGY NOTEBOOK NURTURE INTO NATURE 12 TH MAN

137 Ella-Celeste Chijioke 139 Tom Gayler 141 Lydia Laitung 143 Jubilee Levett 145 Lina Masiulyte 149 Finlay McDonald 151 Ellie Moss 153 Alexa Münch 155 Daisy Wren Reynolds 157 Shameer Subratty

MAT T E R @mattershow mattershow.co.uk

BA DESIGN

LATELY I’VE FELT LIKE

. I’LL FEEL GOOD, AND THEN

A FEW MINUTES LATER I’LL BE

WITH

REALLY HARD TO EXPLAIN THE

IT’S

. EVERYWHERE I AM I WISH

RE-REMEMBER

FALL AWAY

REVERSE

Memories are saved both infinitely and ephemerally, whilst we remain in the dark to the consequences of either.

Peter Aiello

M E M O RY & T E C H N O L O GY: I N T E RW O V E N F O R G E T F U L N E S S

p e t e r a i e l l o d e s i g n.w o r d p r e s s.c o m

p e t e r.a i e l l o 89 @ g m a i l.c o m

Technology has linearly progressed the impoverishment of neurological memory, affecting us both subtly and substantially. From remembering phone numbers to reciting poetry, we have outsourced our memory to the Internet. We are also likely to put trust in extensive forms of digital storage, which whilst proven fragile, have the potential to remember forever. In relation to these theoretical concerns, I have designed digital writing tools. These tools animatedly remove words with different significances in relation to reading, writing and reminiscence: a forgetful typewriter. The typewriter has been developed for personal forms of writing and the falling words deconstruct described events offering a therapeutic sense of entropy. The same process has been applied to removing words of negative sentiment with the empty spaces of lost words providing potential for the reimagining of the described events. Playing with time passing and user control, the forgetful typewriter explores the prevalent themes of expiration and ephemerality of our memories.

SOVIET UNION

BROKEN CAPITALISM

REALITY

ACTION NO.1

FICTION ACTION NO.2

ACTION NO.3

ACTION NO.5

b i r u t e b i.c o m

b i r u t e.b i k e ly t e @ g m a i l.c o m

ACTION NO.4

Birute Bikelyte

HE ALING SOVIE T TR AUMA

The Soviet Union wanted to radically change society. The authorities were creating a ‘New Man’; modernist cities were built to instigate equality among people; propaganda was drawing fictional visions of a Communist country. The Soviet Union was building a world of illusion. People adapted to these new rules of living and lost the characteristics needed to survive in capitalism. After the collapse of the Soviet Union, this illusion was removed, but people are still using the same rules and so creating a new negative illusion.

Through the power of fiction I aim to change the mindset of post-communist societies.

I have escaped this illusion in leaving Lithuania and can see the problems from an external position. I have adopted the role of a ‘thirdtime born’ anthropologist - my first birth being my actual birth and the second moving to a foreign country - identifying a cultural crisis that occurs in the ex-Soviet countries. I have detected that the headlong transition from communism to capitalism has created a defective system, so I act as a strategist of ideology who develops the timeline of a better past. Parts of this fictional master plan become educational tools for changing the Soviet ‘mindset’. My aim in this project is to design the treatment, which could help to heal Soviet traumas while living within them. PERFECT COUNTRY

The cultural heritage we see in museums should not be owned, directed and stage managed by institutions, but should provide a place for everyone to curate, collect and contribute, making a collection thatâ&#x20AC;&#x2122;s unpredictable and fluid. This project attempts to redesign a system where few control many and suggests a way in which institutions of heritage can work better.

The Distributed Museum re-designs the outdated model that institutions of heritage use, and suggests a distributed, more fluid model.

The Distributed Museum members are equipped with the same tools and processes of established museums to curate their own exhibitions from home, which become part of a community. Members can choose to own a curation kit or download a guide, they can display their own exhibitions, collect artefacts and contribute descriptions and photos for others, or simply give footfall to the exhibitions by visiting the online platform and commenting. This system acts as a space for museum members to come together and a tool for archiving the collections. The Distributed Museum is an approach whereby institutions are run by the involvement of individuals, and not by a centralised mechanism. This allows for a more dynamic relationship between the individual and the institution, and empowers a multiplicity to be involved and represent themselves, whilst maintaining autonomy.

NEW MODEL OF INSTITUTION

t h e d i s t r i b u t e d m u s e u m.c o m

h a n n a h b o u l d @ g m a i l.c o m

Hannah Bould

THE DISTRIBUTED MUSEUM

INDIVIDUAL SITES CONNECTED THROUGH INVOLVEMENT

INING L M U

Teàrlach Byford - Flockhart

THE SOCIAL MINING UNION

The Social Mining Union (SUM), aims to reposition the role of the ‘labour union’ (and function of positive activism) within a globalized landscape of post-consumer society, examining the industrial mining industry and peripheral territories it is associated with. Through a unique set of critical lenses SUM confronts the seemingly hidden geopolitical and socio-cultural effects globalization has had on the traditional mining communities - the collective awareness of meaning and shared sense of belonging - within these industrial territories. Working with people in Lewisham, London, to generate a hybrid design/ mining discipline to venerate social infrastructures built upon the historical hinges of industrial Britain, whilst shifting the context assimilated to value within a global context.

y e a h t e e.c o m

t e e b y f o r d @ m e.c o m

Reinventing the trade union to lobby, infiltrate and questioning corporate mining industries, to promote positive economic, social and environmental impact.

CONTAINS TELOMERASE

Presently it is almost impossible to read a newspaper or online article without stumbling across instructions and tips on how to live longer and become healthier. Super-centenarians are often asked, “What do you do to stay young?” It seems that the secret to longevity is in the everyday routine; be it eating four donuts for breakfast or smoking two cigarettes everyday. Human beings endlessly cling to the idea of longevity and the fictional goal of immortality to the point of putting these rather mundane activities on a pedestal; convincing ourselves that if we do these things, we too will live to over 110. Transhumanist lifespan expansion is increasingly depending on animals for cures for age-related degenerative diseases. Lobsters contain the enzyme Telomerase, which causes these crustaceans to remain unaffected by age-related diseases. Experiments on how to insert this enzyme into humans are ongoing. Perhaps the lobster could act as a fabled “cure” to ageing. How would society be if lobsters were integrated into the everyday? This project will explore ways in which we can become temporarily “immortal”; be it by changing our everyday routines to mimic those of supercentenarians or lobsters.

INTERACTION W/ LOBSTER

SECRET TO ETERNAL LIFE?

Grace Carroll

LONGEVIT Y

g r a c e c a r r o l l.c o.u k

c o o l k i m i k o @ h o t m a i l.c o m

What can we do to become immortal? Could the secret to longevity be hidden away in the mundane and ordinary?

Victoria Coquet

BR ANDALISM

p u p s c o q u e t.c o.u k

The aim of Brandalism is to make the hidden uses of psychoanalysis visible to the consumerist community so that theyâ&#x20AC;&#x2122;ll be able to make a conscious decision regarding the products that they choose to consume. By hacking common household brands, I explore and adapt packaging and products to show reality from a different perspective as opposed to the ideal circumstances that they advertise.

p u p s c o q u e t @ g m a i l.c o m

Advertising is unavoidable, it is part of our everyday lives and it is constantly developing and becoming more powerful within our society. Not only this but branding is also constantly increasing and so is their use of psychoanalysis to sell false and ideal realities through ordinary products in the hope of standing out amongst many similar competitors. We have also let advertising and branding grow to the point that they now surround our every move and thus, shape and form the consumerist society that we live in. It is the effects of psychoanalysis within branding, advertising and consumerism that I explore as well as how these are constantly influencing each other.

“Advertising has us chasing cars and clothes, working jobs that we hate, buying shit we don’t need.” Brandalism challenges the false ideologies sold by household products in our day-to-day lives.

Lauren Holly Crockatt

THE HYPERRE AL HOTEL

“Boundless, foreign, debaucherous, freshly laundered, exploratory, scantily clad, imaginative, frightening, expensive, and Brand Fucking New” Jacob Tomsky

The hotel is an isolated space of escape, hopelessly aspiring to replicate the home. The hotel is the stage for a piece of theatre. It is a place in which the fictional life can be lived out, escaping reality by presenting its resident with a set for the utopian, fictional life lived rather than the real one. The project explores the physical glitch where reality is suddenly undone.

c a r g o c o l l e c t iv e.c o m / l a u r e n h o l ly c r o c k a t t

p i c k l e c r o c k s @ h o t m a i l.c o m

Objects within our environment that create moments of utopia or moments of drama temporarily heighten our experience of the space. The hyperreal hotel is a space in which the mechanics of cinema remake the architecture. How long somebody stays in shot is how long they stay in the hotel. The space becomes so realistic there is little distinction between the real and a film set, reverse engineering a set into reality. What happens if the hotel room becomes filmic, designed specifically not to be lived in but for the set of a film?

CHARLIE

EVANS

MAT T E R @mattershow mattershow.co.uk

“I call myself an urban mashup … A product of an urban environment but mashed up with lots of different things, from different cultures and places.”

Xandria Carelse-Dutlow

p r o d u c t o f h a c k n e y.c o m

x a n @ p r o d u c t o f h a c k n e y.c o m

W E A R E T H E 11 . 2%

In the words of industry figurehead Trevor Beattie, the advertising world is “too posh, too white, too male”. Currently only 11.2% of those in the industry are of ethnic origin. This is in direct contrast to the fact that the majority of advertising agencies are located in London, which was shown to only be 45% white British in the 2011 National Census. If a much higher proportion of the UK population were not classed as White British, communications design would ultimately adapt to reflect this. What would a different kind of diversity mean for UK advertising? I have used Beattie’s words as a ignition point, and looked at diversity from three perspectives; class, gender and ethnicity. Using socio-cultural experiments to inform my process, I have designed means of starting conversations about the issue of the lack of diversity in the advertising industry. I tread the line between experiential strategy and communications design, forming a ‘discussion accelerant’ that incites people to talk about the issue at hand. My fundamental goal has been to produce a creative project that questions advertisers as the ultimate communicators, and which opens up the opportunity to make them question their own views.

You are curious, it is in your nature. At some point in your life, your spontaneous learning has been framed into a structure called education, which decides what and how you learn.

Isabell Essien

H I J A C K I N G E D U C AT I O N

Todayâ&#x20AC;&#x2122;s education has been curated for different purposes. Economically it makes us ready to enter the system as employees, culturally it gives us social status. Despite the fact that the purpose of education has shifted, I believe that this is one of the most exciting and diverse environments to be in. I am fascinated by what lies between the planned classes and the university community. In this project I am a curious explorer, trying to challenge the structure that I operate in: university. I try to repeat serendipities and be open minded towards what learning and education really means. I identify gaps within the educational system and turn those into opportunities. During this process I have created my own course curriculum based on my everyday discoveries. Through my design I want to investigate how, by being immersed in my university environment and not limiting myself to the formal structure of the institution, I can grasp broader knowledge and master skills in adaptability, communication and interdisciplinarity.

U I N N I S V T E I R T S U I T T I Y O N

STUDENTS FOLLOWING THEIR CURIOSITY

STUDENTS FOLLOWING TRADITIONAL STRUCTURE

i s a b e l l e s s i e n.c o m

i s a b e l l _ e s s i e n @ h o t m a i l.c o.u k

Working with cultures, not structures. Subverting education through the secret learning of Marley Jones.

Vicente Esteban (Vinny Montag)

S K I P, P L A S T I C A N D T H E C I T Y: A T E M P O R A RY U R B A N O C C U PAT I O N

f a c e b o o k.c o m /g o l d s m it h s.h o u s i n g.s c h e m e

v i n n y.m o n t a g @ g m a i l.c o m

My territory is the public space - the city and the ground that we stand upon. Investigations regarding my design territory have taken two directions. The first involves Urban Guerrilla actions; I have been using a specific material (cling film) to make the invisible pockets in the city visible, thus creating a temporary urban occupation. Through using this material I have been able to build many different types of spaces: reading rooms, chill out areas, homeless shelters or plastic walls. By performing these actions I have developed a ‘know-how” system to construct spaces cheaply, in very little time, and with the capacity to be made by anyone.

DESIGN

The other direction of my project investigates the legal loopholes regarding public and private property. I found waste skips the perfect platform to question ownership. A skip has the principles of a dwelling and offers temporary possession of the amount of land where it is placed, whether public or private. In my exploration I have been designing different architectonical spaces using the structure of a skip. The results fuse geometric forms and encourage different uses of the property, affecting the visual and sensorial senses to alter the user’s experience.

dwelling/vessel/house/box/room/space/hole/nest/hut/tent/container/sh

SKIP

HOUSE

PROJECT

helter/condominium/edifice/cave/habitat/roof/quarter/territory/land/chamber/area/shed/retreat/world 31

“Bartleby in a singularly mild, firm voice, replied, ‘I would prefer not to.’” This line he then repeats against every request put to him. In isolation this response is relatively innocuous: absent of both threat and aggression. It promises nothing besides inaction. But for Bartleby, the adoption of this phrase as a mantra symbolises not simply a rejection of duty and control, but the very notion of meaning. Ultimately, Bartleby’s mantra becomes a rejection of life itself. Symbolically is this ‘nothingness’ - this denial of meaning and belief - not one of the most central, most intimidating questions we should be asking of ourselves? What would shape our actions and behaviours if we were to fundamentally reject the overarching systems, architectures and ideologies of society, whilst still choosing to operate within it? Discrete acts of emancipation exist in this framework as a series of repeatable performances that invisibly subvert the social and cultural mechanisms around them. Design opportunities exist not in detaching ourselves from that which we feel we ought to, but by occupying these transactions and exchanges in a way that challenges the internal logic of them. This project began by asking for an inside-out cheeseburger.

Charlie Evans

D I S C R E T E A C T S O F E M A N C I PAT I O N

“Everyone in my book accuses everyone else of being crazy. Frankly, I think the whole society is nuts — and the question is: What does a sane man do in an insane society?”

c h a rl i e d o t e v a n s a t g m a i l.c o m

c h a rl i e d o t e v a n s @ g m a i l.c o m

Joseph Heller

PERFORMANCE: 5-7 ITEMS ACTION: ACCEPT REJECT REPEAT OBJECTIVE: EMPTY SHELVES

Mariana Fabris

T H E U N T R A N S L ATA B L E C I T Y

Installations that play with the choreography of the city, framing people’s view on details we don’t notice in our everyday from an unexpected perspective.

m a r i a n a f a b r i s.c o m

m a r i.f a b r i s @ g m a i l.c o m

CITY CHOREOGRAPHY

UNTRANSLATABLE

Our everyday life is an orchestrated chain of interactions. We merge into the patterns of the city without noticing. Through theseinteractions we create the choreography of the city. Each city has a spontaneous performance generated daily that gives them a certain character, making them different from each other. I am interested in the city as a non-translatable space, which can be explored in many layers but hardly understood as a whole. In our rushed lives we miss elements that are part of this composition. This project explores what lies behind the choreography of the everyday. It evidences the scripts that give place to these urban performances. London became my stage to choreograph new interactions through a series of devices that allow people to experience the city in a different frame. These create singular spaces for people to respond to the environment. They are spaces for interpretation that play with people’s awareness of their surroundings to amplify the choreography of our everyday life.

DESIGN A SPACE FOR INTERPRETATION

“One of the most primary acts of civilised man is the conquest of space (territory): to draw a rectangle in the sand to delimit what’s yours. The inside is defined as cultivated space, while the outside is nature.” Productora & Ruth Estevez

NATURAL FORCE

INFRASTRUCTURE

Hannah Fasching

THE INTERTIDAL CINEMA

Can we continue to exist within an infrastructure that seeks to not only resist, but nullify natural forces? How might we approach increasingly fragile sites in a way that challenges the inherited attitude of conquering nature as though it were an opponent? Can the temporary spaces that occur naturally in the environment provide us with a new way in which design can operate?

NATURAL FORCE

TEMPORARY SPACE

h a n n a h f a s c h i n g.c o.u k

The Intertidal Cinema addresses this superimposition of human structures over natural forces by transforming the wall into a piece of social infrastructure. It operates in this intertidal zone, between high and low tide, where inhabitants experience the extremes of the environmental conditions. Forming a new relationship with this infrastructure aims to transform architecture into a resistant social platform.

h a n n a h f a s c h i n g @ g m a i l.c o m

Burnham-on-Sea is a coastal community that, over time, has fallen subject to tidal flooding. As a response, a 3m wall now stands along this coastline, returning waves back to the sea.

c a r g o c o l l e c t iv e.c o m /j a m e s f e a r o n

1j a m e s f e a r o n @ g m a i l.c o m

James Fearon

UNTITLED

My project concerns human/ computer interaction, with focus on behaviour, understanding and our relationship with the complex technology we treat as an extension of ourselves. In life we learn through metaphor, in this way computers have become layered abstractions that we don’t think to question, from numerical functions to a representation of the physical and relatable. We needn’t know how a system works in order to use or to design with it. We rely on a standardisation and trust that each fraction works as we would expect. In engineering this is referred to as ‘Black Box Thinking’. 1.

Today we seem to have choice of the technology that we use, but it increasingly feels like something that happens to us, growing in complexity and forcing a loss of agency. This project is an attempt to map the sensorimotor domain of the mind to the the domain of subjective experience. With a limited understanding of what we want to know and when we want to know it, it’s difficult for systems to achieve their potential user experience as a momentary, primarily evaluative feeling (good or bad) while interacting with a product or service. Here the user experience shifts our attention from the product and materials to humans and feelings.

TEÀRLACH

BYFORD-FLOCKHART

MAT T E R @mattershow mattershow.co.uk

Chloe Fung

BEING SAFE AND SUPER

Threats in the city should not be a foreign territory and instead it should be considered, prepared for and fought against.

The city can be a dangerous place. How can we begin to manage or adjust the sense of vulnerability that lies between ourselves and our everyday surroundings? Threats in the city landscape should not be a foreign territory and instead it should be considered, prepared for and acted upon. People living in the built environment can often assume that we are under protection and our safety is continuously ensured. Subsequently, we detach ourselves from engaging to understand how to survive against urban threats independently and we adopt the habit of relegating the responsibility to others. The project explores our lack of ‘Super-ness’ and how a fictional dialogue between myself and super characters begin to suggest a personal empowerment through design. The characters’ attitudes are used to motivate and inspire the preparation process to discover the ‘super hero protection’. Different methods will be addressed to encourage an active participation into understanding selfdefence. The knowledge and awareness can help to build people’s confidence to take control of situations in their own surroundings and avoid becoming victimised. People can then begin to guarantee their own safety and not fall easy prey to aberrant behaviour within the social structure.

s a f e a n d s u p e r.w e e b ly.c o m

c h l o e f u n g d e s i g n s @ h o t m a i l.c o m

Emily Gardner

THE MANDELBROT PRO JEC T

Autism creates an invisible wall of silence between us. The Mandelbrot Project uses natureâ&#x20AC;&#x2122;s mathematical secrets to build bridges between our two worlds, to connect us.

t h e m a n d e l b r o t p r oj e c t.c o.u k

t h e m a n d e l b r o t p r oj e c t @ g m a i l.c o m

The concept behind the Mandelbrot Project is the understanding of natural patterns in conjunction with autistic minds, and using this in design to spark new connections between autistic people and their family, friends and loved-ones. Autism causes different perceptions of reality to the point that people are worlds apart from each other, making families disconnected. In autism, the ability to communicate fully is often replaced with deep scientific, mathematical and philosophical insight about the world that usually includes a heightened perception to naturally occurring patterns in life, like fractals and the Golden Ratio. With autism, design and designers could play a crucial role in developing effective methods of expression, possibly providing the only chance of an emotional connection between individuals. Using this new understanding of pattern thinkers to create common ground between two worlds, the Mandelbrot Project provides an opensource methodology based on the mathematical rules of nature, a range of interactive tools that allow autistic people and their loved-ones to connect in new ways, explorative workshops to determine different kinds of minds, as well as musical workshops and collaborative sensory instruments, designed to be experienced and shared either at home, in care or at school.

FRIENDS SCHOOL

WORK FAMILY

TRAFFIC

CONTINUOUS TIME HEALTH THE AWARENESS OF A MOMENT

MONEY

NEWS POLITICS

b y d a i n a.n e t

b y d a i n a @ g m a i l.c o m

WEATHER

WORK

ECONOMY

Daina Geidmane

A MOMENT FOR LIGHT

Light is the entity that enables primary visual experience and perception of the world. It is due to light that we can observe and recognise things, and put them in order in space and consequently in time. In our fast pace modern day civilisation we live in a perpetual state of tension and stress. We no longer have harmonious inner rhythm – instead we live by an emotionally detached countdown of the numeric clock. As informative and useful as light can be it is also a tool for illusion, wonders and magic. To re-establish the sense of presence that brings us back from our chaotic rhythms to the fully conscious sense of now I am designing a collection of kits that will enable a range of experiences moments of lights. These kits aim to provide a state of mindfulness, a momentary distraction from distress and anxiety. This is in order to mesmerise us back to the state of experiencing the absolute connection to the moment such as when we see fireworks, a falling star or the Northern Lights.

COMPLETE FOCUS ON THE EXPERIENCE AT HAND

It is an exhilarated moment that nature treats us with one of its wonders of light – we are completely absorbed and careless in the experience…

Abigail Green

c a r g o c o l l e c t iv e.c o m /i o - a r c h it e c t u r e

IO ARCHITEC T URE

a b i g a i l.g r e e n @ h o t m a i l.c o.u k

As an aloof force in the world of physics, the more we try to experiment with gravity, the more destructive it becomes. Instead we can think about the alternative characteristics of gravity - its ability to pull, flex and respond. The surface of ‘Io’ is continually being pulled apart by the gravitational pull of Jupiter and its surrounding moons. The active nature of this surface can relate to the human body: pulling, flexing, moving and contorting by changing our ‘surface’ through gravity. Exploration of gravity’s physical effect on our surroundings creates new methods of experiencing the world. By creating the feeling of shifting gravitational pulls using the bodies’ muscle memory, the thrill of intense gravity followed by the drop to ‘weightlessness’ is produced. This creative exploration presents two contexts of use. Firstly, a specific subculture: The Gravity Junkie. This speculative context explores extreme effects of gravity on the human body, finding new ways to experience gravitational shifts. The collection of architectural wearables, or contemporary ‘chainmail’, is worn to satisfy the emerging addictive behaviours of the junkie’s interaction with gravity. The second, more current, context: Pro-Gravity Yoga. Users experience the difference between weight and weightlessness by using the wearables in ways that interact with existing exercises and apparatus of Antigravity Yoga.

GRAVITY

WEIGHTED

OBJECTS

CENTRE

Gravity remains fundamentally very odd, but because we live with it everyday it is judged less worthy of artistic exploration.

F F

= = =

MG 8KG X 78.4N

9.8M2 (NEWTONS)

9.8M2 (GRAVITATIONAL PULL OF EARTH) 8KG (AMOUNT OF MASS ADDED) NEWTONS (MEASUREMENT OF GRAVITATIONAL PULL)

c a r g o c o l l e c t iv e.c o m /m a r y h a y m a k e r

m a r y h a y m a k e r @ h o t m a i l.c o.u k

â&#x20AC;&#x153;In the Hollywood ideal, only the bad guy dies...â&#x20AC;? - How far can our perceptions of reality travel, before they become utterly fantastical?

Mary Anneisabelle Haymaker

H A P P Y E N D I N G S & U N R E A L I S T I C E X P E C TAT I O N S

Are we losing the magic? With Hollywood facades of Happy Endings and Unrealistic Expectations inspiring a yearning for the fantastic, the nostalgia of the once American Dream has leaked into the pragmatism of the ‘Great British’ Reality. Whilst regularly presented with portraits of realities that do not authentically exist, we situate ourselves among blurred thresholds of the real and the hyperreal, aspiring to transcend into fictions for fleeting moments in which to live vicariously. Through the influence of Hollywood Cinema and its portrayal of the American Dream, this project explores the realism of expectation and its potential discontent, with an homage to the cinematic cliché; depicting how the construct of film – mise en scène, script and plot – can affect our behaviour, and realising instances where we seek to facilitate such escapism, within Britain.

HOLLYWOOD’S EMBASSY REALITY ROAD TRIPS

Does striving for ‘Happy Endings’ only promise antiserendipitous results? And do ‘Unrealistic Expectations’ prevent or promote prosperity? Finally, is there an algorithm to project the ideals, such as: “...only the bad guy dies”?

ROMANCE

RAGS TO RICHES

Grace Henry

D E-T O U R I N G

g r a c e h e n r y 92.t u m b l r.c o m

g r a c e _ h e n r y @ h o t m a i l.c o.u k

While homeless people in London are a familiar sight they remain mostly anonymous. De-touring follows and introduces us to street people breaking that anonymity.

ODH

ST.

CER

WAL

ST.

MER

NEA

AM’

De-touring is a group of people each with their own stories and dreams. They have all lived or are living on the street. I worked with these people at The Big Issue for 6 months. My approach at first was to try to understand and offer support to people. However during my time there I discovered an alternative perspective. Society sees homelessness as a group, a type and attaches negative and problematic traits. Homelessness is frowned upon considered an ‘opt out’ or ‘cop out’. As a member of the street team I worked with homeless people on a one to one basis. I learnt that despite a series of things going wrong for these people there is a real consciousness of friendship between them. I want other people to see and understand what I learnt about these people - not to judge.

’S

HOMELESS

PEOPLE

THE

REST

K ARRIC

ST.

I cannot fix the problem of homelessness, nor do I want to. I want to expose it. Homeless people have value. They have become experts on their area. There is a street community. De-touring is an interface that aims to build a positive perspective between these street experts and the rest of us. It offers others the opportunity to engage with street people on a one to one basis.

MOST PEOPLES VIEW/BARRIER TOWARDS HOMELESS PEOPLE

DOOR

BREAK

THAT

BARRIER

Mimi Hu

TR AINING PROGR AMME FOR LIFE AT 4 D E G R E E S WA R M E R

The United Kingdom becomes 4 degrees warmer, the government decides to introduce citizens to a series of training regimes instead of building new city infrastructures for the changing external climate. This project aims to provoke and begin discussion about the way we are preparing for future climate change. Nowadays, when dealing with environmental problems we always tend to rely on adapting our environment (e.g central heating, air conditioning) rather than adapting ourselves. Through this project I aim to challenge this attitude by imagining a future where the UK is 4 degrees warmer. According to the most recent IPCC report, the worst-case scenario projects estimate a 4 degrees celsius increase by 2100. To prepare for this worst projection, I designed a training programme that includes tools and instructions for people to improve their adaptability to the new climate. The Training Programme acts as a link between now and the near future. It aims to prove the potential of our own bodies; that we could actually adapt to the environment better by training our own abilities. I speculate that the training as a service that will be provided by the UK government, proposing five routines based on four key consequences of 4 degrees warmer in UK: sea level rise, storm surges, flooding and heat wave.

2:00 1:40 1:20 60 40 20 0 30/1

31/1

1/2

2/2

3/2

4/2

5/2

6/2

8/2

9/2

10/2

11/2

13/2

16/2

18/2

1/3

5/3

6/3

8/3

9/3

10/3

c a r g o c o l l e c t iv e.c o m /m i m i h u

h u x i n y i 19 9 30 6 0 8 @ g m a i l.c o m

Akifumi Iizuka

S T R AT E G I C G I F T I N V E S T M E N T S Gifts are strategically invested to build friendships for particular benefits.

c a r g o c o l l e c t iv e.c o m /a k i i i z u k a

a k i.i i z u k a.d e s i g n @ g m a i l.c o m

This project aims to rediscover and investigate the meaning of gift-giving in contemporary society. In general, gifts are often designed to avoid the monetary values. For instance, gifts are given after being beautifully wrapped with their price tags removed. Regardless, the value of gifts is hard to separate from their monetary significance. This project is inspired by this gap of emotional and monetary values in contemporary gift culture. How effectively can gifts work to build friendships with people? In the society where most human needs are supplied by commercial activities, the emotional value has been blurred with monetary value. Through this project I explore the convergence of emotional and monetary value. By offering gifts from the early stage of friendship, gifts are continuously given to try to establish a relationship based on what it might offer and ‘speculating’ on investment through gift giving.

BENEFIT = FAVOUR - INVESTMENT = ? - (BIRTHDAY PRESENT + FAKE SMILE + ...)

BIRUTE

BIKELYTE

MAT T E R @mattershow mattershow.co.uk

Marisa Jensen

C O M M E R C I A3457 L CANNIBALISM

1. SODIUM 2. KERATIN 3. CORTISOL 4. SACCHAROMYCES CEREVISIAE 5. AMYLASE 6. UREA 7. ENAMEL 8. MUCUS 9. CALCIUM 10. PHOSPHORUS

c a r g o c o l l e c t iv e.c o m /m a r i s a n bj e n s e n

m a r i s a.n b.j e n s e n @ g m a i l.c o m

What is the value of the human body? Genetic information banks are cropping up globally, with scientists, governments and businesses in fraught competition to own them. While genetically enhanced crops and livestock are fast becoming the norm, human gene therapy and biological profiling are also very real developments in the landscape of the near-future. But while the business of bodies is booming, the cultural implications remain open ended. There is a distinct tension between a clinical commodification of the genetic human and the cultural and emotional ideas we have about our physical selves. Commercial Cannibalism explores the limits of â&#x20AC;&#x2DC;acceptableâ&#x20AC;&#x2122; consumerism by exploiting bodily materials for commercial purposes. Demonstrated through a series of industrial narratives, these fictional factories take advantage of natural biological processes that occur in the body and sell them back as designed goods. By replacing the matter of our consumer industries with humans, the project sits at the intersection of ethical unlikelihood and commercial viability, forcing us to reconsider our relationship with the products we buy in the advent of biotechnology.

What happens as we begin to close the gap between what we make and what weâ&#x20AC;&#x2122;re made of?

t o m o m i k o s e k i.c o m

t o m o m i k o s e k i @ g m a i l.c o m

When I was a child, you held my hands, I stood on your feet and we walked together like dancing.

Our body acts as our primary interface, or device, to understand the world. However, we have little understanding of what is going on inside our bodies as they grow and age. If we acknowledge the gap between body and mind, how could this change the relationship with our bodies? When we grow up, we often forget about the body we once had. To bridge the gap, we need to look back to our past body image. Throughout this project, I aim to rebuild the memory of our bodies in order to know the self in different ways.

Tomomi Koseki

T H E B O DY T I M E M A C H I N E

GROWN CHILD

ADULT

FULLY

215%

CHILD

ADULT

When we are children, our bodies are small. If we scale up our childhood perspective what will happen? As an investigation into this, I made my parents’ clothes according to my current body size based on a family photograph, aiming to scale the clothes to scale the past body memory. I discovered that changing the scale of our clothes could evoke past body feelings. Thus, my project functions as a device to recall body memory, to journey through our body transitions, whilst also becoming a device to renew the perception of our body: “The Body Time Machine”.

THE

PLANETS

PLASTICS

LIFE

DESIGN’S

CYCLE

LIFE

CYCLE

Plastic is frivolously and unnecessarily used, particularly within the production of disposable products, contributing to global environmental devastation. Its overconsumption corrupts the entire food chain, destroys natural habitats, contaminates water, and is linked to infertility; these examples are just a handful from a long list of negative implications. Despite the fact disposable products are made to be disposed of, the majority are made using plastic, one of the most permanent materials available. To fulfill the functional requirements of a disposable product an impermanent material is needed.

Ayla Landy-Till

BIODESIGN

a yl a l a n d y t i l l @ g m a i l.c o m

Disposable products that work with our ecosystem, not against it.

My project attempts to resolve this problem and those with exiting alternatives like bioplastics, primarily of which being their disposal. I have been growing and exploring a biomaterial generated by using microorganisms, with the design intention to produce temporary products that work alongside the natural life cycle of our planet. Resulting in a material that is 100% biodegradable, home compostable and products which life spans correlate with their design purpose. These products can be disposed of in the garden after their primary use and reused as a fertilizer. Whilst breaking down they add nutrition to the soil and if infused with seeds they can be grown, giving these products a secondary use in their disposal.

Tai-li Lee

UNCONFUSING PRINT

t l e e l o n d o n.b l o g s p o t.c o.u k

t l e e.l o n d o n @ g m a i l.c o m

Comma Magazine, dedicated to the hardworking commuter.

Unconfusing Print Print isn’t dead, nor is it dying; it’s just perhaps a little confused. Given the amount of time spent with the busyness of digital in our lives, I believe there is more reason than ever, now, for the calm stillness of printed paper. What’s most striking to me is the contrast of speed and immediacy found between print and digital; the idea of ‘slow journalism’ and concentrating on the power of storytelling as a main attraction feels most pertinent. Comma Magazine A new publication “dedicated to the hardworking commuter”, Comma situates itself in the commuter’s journey as the gap between home and work, a rest — or pause — from our busy lifestyles. Utilising this time as an optimum space for solitude and personal refreshment, the magazine creates fresh inspiration on the way in to work and provides peace on the way out. By forming a collective system, the content revolves around fellow readers to ensure content that is relatable and interesting with realistic aspirational value of surrounding commuters, whilst carefully enjoying the traditional storyteller’s narrative — avoiding awkward interactions for richer conversation, at just the right pace.

Yuki Yuk Ki Leung

y u k i l e u n g.c a r b o n m a d e.c o m

y u k i.y u k.k i.l e u n g @ g m a i l.c o m

THE CONSUMERIS T PURSUIT OF HAPPINES S We are, and always will be, in the repetitive process to pursue happiness. Neuroscience researches have found that shopping can produce and boost dopamine– a ‘chemical source of happiness’– in our brain, which relates to addictive and impulsive behaviour. The chemical produces the effect of pleasure and satisfaction from experiencing something fresh, exciting or challenging, which in many cases is what shopping is all about. Although the dominant consumerist culture is a huge influence on many unhealthy social issues, such as overconsumption and waste, it is also in our nature to own and seek new possessions that are important for social communication and civil progression. My project is about re-designing our shopping process to create a physical bartering system that allows the consumers to take control. The idea is to build a new shopping culture without losing the enjoyment obtained from shopping, or giving up our natural desires for materialistic satisfaction. The system hopes to awaken our sense of values and community needs in order to make shopping a more environmentally friendly activity. The concept aims to encourage a sustainable alternative to shopping as a challenge to our capitalist society’s emphasis on materialistic happiness.

NOW

SOCIETY OF BUYING - ORIENTED

USERS/ BUYERS

WORK

MONEY

MONEY MONEY

VALUES CHOICES CONTROLS

PRODUCERS/ SELLERS

SEARCHING - PICKING - TRYING - COMPARING

PAYMENT

HAPPINESS

ALTERNATIVE

SOCIETY OF BARTERING - ORIENTED

USERS - BARTERS - PRODUCERS

TRUST + OBJECT

“Happiness is the longing for repetition.” SEARCHING COMMUNITY

Milan Kundera

THINKING UNDERSTANDING NEGOTIATING

AGREEMENT

HAPPINESS

I believe that cinematic violence should be perceived as our reaction to real-life violence, not the other way round. Emerging from the grindhouse venues of the late 70s and early 80s, ‘gore’, ‘splatter’, and ‘slasher’ films have blossomed in reputation, introducing cinematic violence into contemporary pop culture and remaining a prevalent feature of mainstream entertainment up to the cinema of today. Cinema is a major part of our popular culture, and alongside the imagery of violence, the means it uses to portray the ‘objects of violence’ has a direct relevance in changes to our perception of their conventional design and function.

c a r g o c o l l e c t iv e.c o m /a l e x _ l

a l e x.ly c h a g i n a @ g m a i l.c o m

Throughout my project I have examined the properties and qualities of objects of violence represented within films, and how cinematic objects can be re-appropriated into our everyday routines as a ‘sublimation valve’ for our aggression. Cinema changes our perception of designed objects, implying a violent utilisation toward things we see in mundane everyday life. Within my project I have redesigned cinematic props and actions, taken from scenes of violence, towards tools that the user can incorporate into a conventional daily routine, enabling a cinematic release of aggression through physical experiences.

Alexandra Lychagina

OB JECTS OF VIOLENCE

JOHANNA

MOTT

MAT T E R @mattershow mattershow.co.uk

INSERT OWN DREAM / STORY / VOICE / OPINION / ASPIRATION

I have a special pair of walkers, endorsed by empowerment. Theyâ&#x20AC;&#x2122;re made out of cardboard and support more than my feet; they support my voice.

Amina Malik

HEEL OUR SOLES

h e e l o u r s o l e s.c o m

By facilitating an exploration of shoes through designing and running a series of creative workshops, I sought to find ways to empower people through the art of shoemaking. During the workshops, shoes were constructed using two basic materials – cardboard and gaffer tape. By introducing design themes such as ‘Aspirations’ and ‘Politics’ to these workshops, I was able to witness and document insightful and varying dialogues as they developed. These dialogues developed along with interesting comments about an array of cultures and topics such as current issues in the world.

a m i n a t o r - m a l i k @ h o t m a i l.c o m

My project this year is journeying through the wonderful and vast world of shoes to gain insights into the hidden powers that shoes have. I am fascinated by how an ordinary pair of old footwear can transform history and become a voice against injustice, when words no longer suffice. Shoes across different cultures serve differently to enhance our sense of self. Across different cultures they are also used as political tools or tools to humiliate another person, and this is something to be explored.

OIL PRODUCTION

0 CE

500 CE

1000 CE

1500 CE

Anthropocene: (adj) The current geological age, viewed as the epoch during which human activity has been been the dominant influence on the environment and climate.

2000 CE

2500 CE

Amanda Millard

DISCOVERING THE ANTHROP OCENE Fossil fuels have allowed a global infrastructure to emerge for the first time on our planet, assisting the greatest extraction of resources ever experienced. But what if our belief in constant economic growth stops us from making the changes necessary to avoid global collapse? Could our fossil fueled culture be just a temporary civilisation that will self-destruct under its own presuppositions, like many past empires have fallen? If most of our knowledge and technology became lost to history, how might the cultures of the future look back at the remnants of our age and interpret how it declined? What have we created that will survive?

4000 CE

b e h a n c e.n e t /a m a n d a m

3500 CE

a m c.m i l l a r d @ g m a i l.c o m

3000 CE

This project presents a speculative future collection of the archeological artefacts of the anthropocene. Through the distant gaze of a future post-global culture living in a low-energy world, users can consider an outside view of what it means to be living at the peak of cheap energy, and what could be the repercussions of our civilisation’s current direction. Through ‘unearthed’ artefacts alongside models and illustrations of their interpretations, users can piece together how currently ubiquitous objects and information could become obsolete, repurposed, or distorted over time, in response to changes in climate, infrastructure, and resource availability.

aj m o t t d e s i g n.w o r d p r e s s.c o m

aj m o t t 0 4 @ h o t m a i l.c o m

‘To swarm’, is to move on mass; increased human swarming and finite land resources present a real challenge in contemporary times. Navigating between the territories of our online and offline movement in order to identify how one might enrich the other. Online, we access micro- and macroscopic perspectives via a simple click whilst escaping our physical location. We traverse the Internet in first class, whilst offline we usually journey for necessity disregarding any chance of serendipity in favour of efficiency. During this type of journeying, it is not uncommon to reject ones physical location by tapping away at screens or resting one’s eyes. Infrastructure steadily evolves around us, predicted ahead of demand before being rolled out (faster transport, more direct routes). Through personal and/or environmental engagement, “City Swarm” proposes to transform routine “journeying” into a more enjoyable kind of travel, one possessed of its own intrinsic value - one that is more than a means to an end. In the context of routine, physical objects and experiences can be as pleasurable and immersive as the digital applications so widely seen on public transport. Central to the project is the idea that cities can be explored and enjoyed without sacrificing productivity.

Johanna Mott

C I T Y S WA R M S

ONLINE

OFFLINE

The M25 cuts through the landscape, a road to nowhere that continuously circles around London, resembling the boundary of an island for swarms of city dwellers.

Rachel Murray

r a c h e l m u r r a y d e s i g n e r.w o r d p r e s s.c o m

rl m u r r a y @ l iv e.c o.u k

THE UNPL ANNED CIT Y

“It’s just a really long house with doors along the facade, if you can imagine that” Anisha Menon describing a Malaysian longhouse she wished to construct in Parsons Green.

The areas within cities which attract me most are spaces which demonstrate the natural ingenuity of urban residents. My project arose from a desire to design a city which embraced many such spaces whilst resisting urban designs which only reflect planning policies of the government. I have come to the view that every single urban resident possesses valuable perspective, skills, knowledge and ideas that can be turned into proposals for urban change. It is my job as a designer to extract and interpret this rich information. I have designed a mobile space (a tea trolley) which can be taken on journeys around urban areas gathering information from a wide range of people, some of whom would not typically engage with design or management of the area in which they live. The trolley is a space to stimulate a relaxed and honest conversation, over a cup of tea, about ideas and opinions of the area and to contribute to a collective map. Every contribution triggers an idea for urban change which becomes part of a fascinating bank of ideas which itself travels with the space and gradually produces a map for a new city built from conversations with urban residents.

Every patient is different and every user administers differently.

Self-administration is an ever-growing culture in personal healthcare. Generic, clinical tools such as inhalers, pills, syringes, and monitors are prescribed to treat symptoms and pre-existing conditions. These medical devices are relied upon by a large proportion of society, for a multitude of health issues. Currently, the function of the recognisable designs is to maximise efficacy alone. However, they do not take into account the existence of ‘human factors’ i.e. a patient’s perception, ability to error, or real world use.

c a r g o c o l l e c t iv e.c o m /n e w l a n d d e s i g n

n e w l a n d.a.b @ g m a i l.c o m

Every patient is different. And every user administers differently. This project investigates individual cases by asking: What device? Where? When? And by whom? ‘Medical Object-ive’, is therefore a collection of tailored designs that combine the reality of medication with a personalised interventional approach. By looking at the everyday lives of specific users, it intends to highlight the individual relationships that exist within the physical, communicative, and environmental factors of people and their devices. These objects situate themselves in a critical space. They attempt to alter our interaction with medication systems and question what role they play in our daily lives.

Amber Newland

COMMUNICATION

M E D I C A L O B J E C T- I V E

KNOWLEDGE

PHYSICAL

FACTORS

ENVIRONMENT

ABILITY

EXPERIENCE

PSYCHOLOGICAL

HUMAN

c a r g o c o l l e c t iv e.c o m /m a n d y_ w u

a m a n d a.l o k m a n.n g @ g m a i l.c o m

Amanda Ng

A N T I S AT- N AV S O L U T I O N F O R U R B A N A D V E N T U R E

With the booming use of smartphones, the convenience of accessing information any-time, anywhere stops us from embracing uncertainty and discovering the unknown independently. As a result, we live in an environment in which “there is nothing to learn”. In other words, to change how we search, access and retrieve information in a physical en-vironment might effectively recall our curiosity towards surroundings and bring back the freshness of mundane experience.

This project uses ‘Anti Sat-Nav’ as an example to investigate the new approach of infor-mation searching in urban environments. Current digital map services provide a close-end experience with emphasis of productivity and accuracy. This approach not only limits the user’s imagination, but also undermines their ability of searching for information. This project aims to design an alternate approach of information seeking in urban navigation, which highlights “curiosity, reflection and imagination”. The outcomes of this project will be able to engage users to participate in an open-end urban exploration, whilst at the same time provide them with a chance to improve skills of way finding and maintain the sense of orientation in complex urban environments without SatNav. Pedestrians, tourists and orienteering lovers could benefit from these outcomes in their urban adventure.

See the world by yourselves, because you are better than Google maps.

This project questions how we interact within public spaces and how to make them more communal by questioning, ‘who’s space is it anyway?’

FIG 1. CURRENT SITUATION, ENVIRONMENT ENFORCES ITSELF UPON PEOPLE.

Anthony Nolan

t h i s i s n o t s u p p o s e d t o b e h e r e.c o.u k

FIG 2. PROPOSED SOLUTION WHEREBY PEOPLE CAN ALTER AND PLAY WITH THEIR ENVIRONMENT.

a n t h o n y j n o l a n @ o u t l o o k.c o m

THIS IS NOT SUPPOSED TO BE HERE

My project explores the notion of the ‘everyday’ and its role within modern society. By investigating the various mediums the everyday operates through in our day-to-day existence, I’ve become aware of the forms of language used in order to impose its authority. It seeks to communicate via a uniform, unquestionable signage, in the form of social prompts and instructions from official signs or advertising. It dictates how we behave and interact, whilst seeking to silence and stop unauthorized actions. I believe this is turning our public spaces into anti-social places. By coordinating a series of interventions that allow the public to manipulate and play with the space around them, I aim to subvert the authority of the everyday, in order to provoke more thought into how we behave in public spaces. In creating editable versions of everyday official signs, I allow people to alter their environment, giving the public the power to edit their surroundings as opposed to being controlled by them. By asking ‘what is supposed to be here?’, I hope to encourage people to interact more within public spaces through questioning the actual space they exist in, in hope of creating a more enlightened existence within society.

KATINKA

SCHAAF

MAT T E R @mattershow mattershow.co.uk

“…so that is why I chose to meet somehow my Grandmother again…and every time I touch or smell this…she’s around me.”

Daire O’Herlihy

THE SECRE T L ANGUAGE OF FOOD

I explore memory through the intimate and resonant qualities of food.

O EC

Food is a paradox. It is banal and necessary for survival. Yet food is also desirable, powerful and resonant. Our relationship with food is at the same time simple and complex and permeates the whole of our life from birth to death.

RE OD

I designed a methodology to re-create a memory. I asked individuals about a food that had a special place in their past. Then we prepared that food together and explored their memory through the intimate and sensual qualities of taste and smell. This re-construction offered a further perspective on the memory and its emotional resonance through time.

d a i r e c a t h e r i n e.t u m b l r.c o m

d a i r e.o h @ m e.c o m

I designed workshops to make bread. This was inspired by conversations with a group of elderly people which revealed that the traditional white loaf had a place in their shared memories. I made a loaf and returned to the group for a taste test. They approved and asked me to show them how to make the loaf. Hence the development of my bread workshops. The activity of making bread together creates a sense of fulfilment, pleasure and wellbeing through the shared experience of a group.

S ER

Good blue jeans. A simple little thing. If designed well, they can last many years. In fashion, an aged wash has become a desired aesthetic, with thousands of washes to choose from. The narrative behind the wear of these new â&#x20AC;&#x2DC;agedâ&#x20AC;&#x2122; jeans is lost. Today we live in a celebrity driven culture, where even intelligent people run out and buy celebrity endorsed products in hope of attaining a piece of their lifestyle. Realistically, the endorsement is simply a famous face attached to a product, resulting in consumers investing in a faux-narrative. What if your jeans could reflect the authentic, worn narrative of your icon? My project aims to change the current process of mass production to create jeans with the worn narrative of a celebrity, an icon. The narrative is formed by the the wear and tear from repeated movement whilst performing a task the icon would regularly partake in. For example, the aging of a jean worn by Steve McQueen when motorcycling. The result is a collection of jeans, branded as Isope Denim, which offer authentic aging based on wear by an array of iconic celebrities.

L R

L R MOVE RIGHT FOOT FIRST

Jake Paget

ISOPE DENIM

j a k e p a g e t.c o m

t a l k t oj a k e p a g e t @ h o t m a i l.c o m

Isope was an ancient greek story teller also known as Aesop and Esope. This project is about the narrative denim can tell.

‘SUBORDINATE, SITUATED BENEATH’

‘PLACE’ ‘U’

Belen Palacios

S U B _T O P I A : D E P L OYA B L E W O R K S PA C E S

These sub_topian offices reconfigure the use of the public realm to question and reimagine its forgotten potential.

UTOPIA BENEATH AN EXISTING UTOPIA

BARBICAN, LONDON

The Barbican, a fortification to protect the citizens against the city, rises amongst the glass in the City of London. This modernist utopia is a machine with obscured functions, detached from its surrounding. Pedestrians find an elevated maze of barriers between the flats, the offices and the art centre. The unfulfilled aim of this concrete outpost was to populate the city centre. Nowadays, itâ&#x20AC;&#x2122;s a pedestrian village where Londoners wander along deserted walkways in the air. The Barbican waits anchored in oblivion for someone to dream about its new utopia.

b e l e n p a l a c i o s.c o.u k

b e l e n p a l a @ g m a i l.c o m

DEPLOYABLE STREET FURNITURE TO POPULATE THE PUBLIC REALM

Determined to reactivate these forgotten walkways, I see these voids as an ideal experimental ground to test how we can influence public spaces in the city. To awaken the frustrated potential of the Barbican, I have designed a system of deployable street furniture. These work desks provide opportunities for freelance workers to use defective spaces in the highwalks. They are a reconfiguration of the existing architecture to open a wider conversation between residents, passers-by, institutions and authorities about the use of the public realm.

Nearly half of the British population are feeling alienated from UK politics – losing faith in politicians and their own political potency. It is time to explore new ways of engaging the public with matters which effect them and their region. By focusing in on the football stadium –a central feature of the lives of many British people– I want to make a non-governmental space political. To explore ideas of locality, collectivity, activism, mass culture and the public sphere, this project aims to forge a union between football fans and regional activists through a series of endeavours. By redirecting the focus of the football fans –who are experts in regional pride, defense and conflict– towards local issues, such as fracking or council cuts, I will attempt to form a new collective of stalwart protestors. Through the re-appropriation of the experiential practice of the football chant and the tactical uniform seen within protest materiality, it will play with modes of group expression and activism, and hopefully win allies for regional movements.

Sophie Palmer

THE CIVIC FOOTBALL LE AGUE

‘I watch what’s happening at the House of Commons, how they abuse the other side. It seems like they’re playing games.’ Arsenal, 25.03.14

LOCATIONS TARGETED FOR FRACKING

HIBERNIAN FC MIDLOTHIAN FC EDINBURGH CITY FC BLACKPOOL FC MORECAMBE FC LEEDS UNITED FC LEEDS CITY FC FARSLEY AFC GUISELEY AFC BRADFORD AFC MANCHESTER UNITED FC MANCHESTER CITY FC GRIMSBY FC HULL FC

MILTON KEYNES DONS FC OXFORD UNITED FC SOUTHAMPTON FC

s o p h i e r o s e p a l m e r @ h o t m a i l.c o m

ALDERSHOT TOWN FC

c a r g o c o l l e c t iv e.c o m /s o p h i e r o s e p a l m e r

SWANSEA CITY AFC

ju s t i n r a m s d e n.c o m

ju s t i n r a m s d e n @ m e.c o m

Pleasure is generated through anticipation, similar to the act of fishing. Yet it is not fish, but disaster that they are watching and waiting for.

Justin Ramsden

A R C H I T E C T E D A N T I C I PAT I O N

UPPER OBSERVATION DECK

LOWER OBSERVATION DECK FLOORS ONE - TEN ARE VACANT TO ALLOW FOR SOCIAL DWELLING

Human beings are drawn to the spectacle of disaster and destruction. Whether watching a Formula One race in which a life-threatening accident is always a distinct possibility, to the global media-spectacle that emerged in the wake of the terrorist attacks on the World Trade Centre in New York, we are fascinated by the visual and sensory consumption of disastrous events via mass media channels. Through architectural models and short films, this project explores our relationship with the thrilling desire for destruction. The work imagines the notion that ‘disaster anticipation’ is a recognised and legitimate (normalised) behaviour, and aims towards dissipating these compulsions through the simple acts of watching and waiting. Viewing platforms at three of the world’s most dangerous airports aim to relieve our most tabooed desires, by providing the spectator with the best possible chance of witnessing a disaster. The thrill in this context is enabled through imagination and anticipation - the possibility of a terrible event - rather than the actual event itself.

STRUCTURE IS SITUATED IN COLONIA LA PRADERA, TEGUCIGALPA, HONDURAS ENTRANCE & CAR PARKING FACILITIES TWO LIFTS ALLOW ACCESS TO THE OBSERVATION DECKS

PLAYING CHILDREN

Snna Rashid

FA R E P L AY

s n n r s h d @ g m a i l.c o m

Fare play discusses the ideas around work, song and play. A toy by definition is an object for a person to play with, and most likely for a child audience. This sewing machine is a toy that has been designed to play to a rhyme I have created, once the foot pedal is applied. This acts upon how this is a childrenâ&#x20AC;&#x2122;s toy by definition but in a wider context a reflection of how children across the world use this as a training work tool as part of their job. These rhymes use the traditional method of having hidden meanings with their origins acting as a euphemisms to teach morality, politics and difficult issues, whilst observing the work methods around labour and slavery, where singing connects to perform work more productivity, referring to current and specific events today across the world.

We create our tools to help us and they in turn become us, create us. There is something mechanical in everything whether organic or inorganic this impacts our society and ideals whether consciously or subconsciously.

101

j o v h a n 1 @ g m a i l.c o m

We need to put an end to the old-fashioned curriculums currently in place. The systematical approach to learning has held young people back from unlocking their true potential. Education has become standardised, which to young people simply translates as boring… we need to ensure that practical, creative, technical education is integrated within academic learning to make both more compelling for young people, we simply need to start thinking about the young people themselves. Education is personal and by understanding young people – what they like, the trends being created, what decisions they’re making and why - we can not only enhance learning for young people, but also make it more enjoyable for them too, CTRM (‘Channel through Role Model’) is a concept that draws upon harnessing the power of the decision makers of today’s society, asking questions such as, what can we channel through role models to help others? Can curriculum design help in representing the positives of todays Role Models in way that’s educational for others? If these people (decision makers) have such a large influence on our young people and yet there mostly portrayed negatively what happens if there’s a platform that allows them to be portrayed positively? Do we make a generation of better decision makers? These are the questions this curriculum aims to answer.

NATIONAL

Jovhan Roberts

CTRM

CURRICULUM

CTRM

Everything we do and every decision we make has consulted the values of the people we look to or respect.

TEXTBOOKS

LESSON

PLANS

ACTIVITIES

103

THE DISPLAY TABLES HAVE BEEN DEVELOPED FREELY AVAILABLE ON OPENDESK.CC

FROM

OPEN

SOURCE

DESIGN

TABLE

PLANS

MAT T E R @mattershow mattershow.co.uk

It is reported that the average woman spends over ÂŁ100,000 on cosmetics over their lifetime, whilst Britons spend ÂŁ2.3 billion on cosmetic surgery per year. But what is the value of our youth?

Dean Rowland

I N T E R S P E C I E S C O L L A B O R AT I O N : S C E N A R I O S T H AT S P E C U L AT E P O T E N T I A L F U T U R E S

Interspecies collaboration is the direct interaction between two different groups categorised by certain traits. The evolutionary expertise of other species can exceed the intelligence of the human brain, therefore a subject we should explore more. Speculating the future of healthcare and cosmetics, using techniques from futures studies, this project explores our desire to remain youthful. Using design as a dialogue between the professionals and the public, the work aims to question ‘how far are we willing to go to stay young.’

c a r g o c o l l e c t iv e.c o m / D e a n R o w l a n d

d e a n _ r o w l a n d @ h o t m a i l.c o.u k

In 2012 there were over 6.1 million botulinum toxin injections medicated to smooth out our wrinkles and imperfections, more commonly known as botox. What most people don’t realise is that botulinum toxin is the most deadly substance on earth. Priced at £100 trillion per kilogram; just two tablespoons would be enough to wipe out the UK and a couple of kilograms would be enough to wipe out the entire population of earth. If people willingly have the most deadly substance on earth injected into their body how far are they willing to go? Creating a series of speculative selfmedicated procedures, the project demonstrates how interspecies collaboration in healthcare and cosmetics could be the norm in the future. Using examples from individuals in today’s society I have explored how snake venom could be used as an anti-aging product, if used in the right dosage. The designed artefacts aim to create awareness of potential futures, as well as healthy discussion in regards to whether interspecies collaboration could be widely accepted in a future not too far away.

107

Olivia Rumball

M E M O R I A L I S I N G T H E T R U T H O F A FA K E WA R

c a r g o c o l l e c t iv e.c o m /o l iv i a r u m b a l l

o l iv i a r u m b a l l @ i c l o u d.c o m

Is authenticity modelled and measured solely through imagination?

Everyday we are perpetually bombarded with news of war; old wars we should commemorate, ongoing wars we should relate to and new wars we should fear. Unless we ourselves have experienced war, or know someone who has, our level of understanding relies solely on media representation. Since forms of media have become so expansive and we are exposed to scenes of ‘war’ not just in news coverage, but also in lifelike film and games, we are often left with a feeling of disorientation and confusion as it becomes increasingly difficult to distinguish one war from another and truth from stereotype.

POPULAR MEMORY

N TA IS AN GH R 9/

IN R

Although physically distanced from the practicalities of war, we all tend to bare strong, perceptive opinions about this complex topic and largely believe in the importance of being educated about it, but without first hand experience and with the unavoidable influence from media, what do we honestly imagine it is like to experience war? Resulting from a series of interviews, the project translates each individual’s understanding of the Iraq War through maps, scale models, objects and recordings. What has become engrained as popular memory? What is authentic? What is personal perception? What is stereotype? Could we even tell the difference?

MEDIA FILTER

(TIME)

SIGNIFICANT CULTURAL EVENT

109

Katinka Schaaf

A C T I VAT I N G O B J E C T S

What would happen if our domestic objects started to challenge us during our daily interactions? This work subverts the implicit trust we have in domestically restricted objects by replicating our own behaviour towards them; projecting our actions back on to us.

MODIFIED OBJECT

I have created a set of devices that initiate different levels of disruption within the domestic space; constructing a new awareness of the users actions through reflecting their habitual behaviour patterns. The devices are triggered through physical outputs of the users mental state, such as stress or anger. One level of disruption includes parasitical devices, that interfere with existing objects through manipulating their performance according to the frequency and decibel of the users voice. Another disruption includes a door slamming device that echoes the users input by reexerting the same force as is applied. Each device disrupts the users role of dominance, creating a new interaction between the user and their trusted everyday objects.

SENSOR ACTIVATES OBJECT

SOUND OF OBJECT INTERRUPTS SITUATION

OFF SOUND OF FIGHTING

DOMESTIC SPACE

k a t i n k a s c h a a f.c o m

k a t i n k a.s c h a a f @ g m a i l.c o m

Creating a feedback mechanism that echoes and disrupts the users behaviour within a domestic space.

111

Who draws the corporate veil and who will pierce it?

Lucy Silverwood

SILENT DIREC TORS

The entrance, the ticket office, the foyer are all significant thresholds which are crucial transitional symbols. Yet, we are unaware of the motives of the accompanying gatekeeper; from subliminal manipulation to social engineering their undisclosed motives raises the debate of who is in control.

l u c y s i lv e r w o o d @ l iv e.c o.u k

Zooming in on a pivotal transitional moment sees the creation of a multidimensional landscape. This becomes the film set; perceived, directed and operated using cinematic techniques, questioning the real purpose of ‘gatekeepers’ and the role of silent director. What form do they take in operating and dictating how we cross or abandon a threshold?

c a r g o c o l l e c t iv e.c o m / l u c y s i lv e r w o o d

The design of such transitional moments, ostensibly in film, is metaphor to the complex sets of political, economic and social motives in our everyday lives. Design shapes ‘reality’ and a seemingly functional door leads to more profound multidimensional portals. Our perception of what we must provide, offer or adopt in order to gain access to these portals determines our approach and entry.

113

Aida Staskeviciute

U LT R A P E R S O N A L M AT T E R

Large corporations use branding and media to influence the perception of everyday items. As consumers, we are manipulated into the belief that products are ‘ideal’ – that they look and work perfectly – and these beliefs form a convenient and effortless way to construct our self-image. However, when we subscribe to the clichéd product concepts offered to us via branding, we lose the opportunity to see what a product could be. We allow corporations to shape the way we perceive the world. We buy (into) the conveniently manufactured product story, and the brand ideology becomes a part of us. This project aims to challenge this process by finding ways to personalise things, rather than using mass produced commodities that serve the standard cliché of what an item should look like and do. Adding personal physical characteristics to an item changes the typical form and function of the product, and creates a personal and emotional relationship with the object, which hopefully makes us more responsible consumers. The aim of the project is to create a new item based on certain physical qualities of the owner; qualities which are individual and therefore unique to the owner’s own “product story”.

Adding some unique physical qualities of a person to an object, changes the interaction with it.

a i d e s t a.w i x.c o m /a i d e

a i d e.s t a s k @ g m a i l.c o m

OBJECT

HUMAN

OUTCOME

115

The current global food system is “a ‘black box’ that no longer reveals where food was made or what values, possibilities, limitations, and meanings were put inside it in the process”(Huub Dijstelbloem).

Yael Stern

H AT C H I N G N E T W O R K S

Through ‘blackboxing’, we have been losing the power of food in connecting us to nature and to each other, resulting in a food system that is anything but sustainable. Hatching Networks is a proposal for a decentralised system, seeking to expose the content of the black box by changing the way we relate to food and to each other. Through social collaboration, Hatching Networks enables people to actively participate in food production processes, while strengthening local communities. An element of this system is provided through the ‘Co-Coop’, a shared chicken keeping and food production network. This offers participants the opportunity to physically and cognitively engage with food production in urban settings.

“Blackboxing, a process that makes the joint productions of actors and artifacts entirely opaque.” Bruno Latour

y a e l s t e r n @ h o t m a i l.c o m

From passive consumption to responsible citizenship, this deeper apprehension of food production will shift urban life styles towards a more sustainable culture.

w w w.h a t c h i n g n e t w o r k s.c o m

By giving urban populations the control over the production process, Hatching Networks aids a better understanding of what it takes for food to appear on the table.

HIDDEN

PROCESS

117

Society honours the well-travelled individual. Through the exposure of unknown cultures and exotic experiences, we favour the well travelled and stereotype them to be more interesting, mature and open-minded. These supposed social benefits are emphasized within advertising and the media. Expedia’s ‘Travel Yourself Interesting’ campaign makes evident a social hierarchy gained through travel to unfamiliar territory. Furthermore, online social media platforms make it ever easier to exhibit our experiences from all over the world, and ultimately boost our cultural capital. However, does the actual experience of travel live up to these assumed ‘life changing’ stereotypes?

Amanda Tooke

“ I A M S O W E L L T R AV E L L E D ”

CULTURAL CAPITAL

PROJECT

COUNTRIES VISITED

Driven by my personal ill-travelled anxiety I have designed travelling experiences to become immersed within the practices of foreign culture. Compressing culture through the use of video, performance and programming removes the issues of time, money and movement that the authentic traveller ensues. This also questions the social and personal value we place on experience. How do these ‘false’ travelling immersions affect our status as ‘well travelled’ individuals, increase our cultural capital and alter our perceptions of a place without actually going there? Can we ‘find ourselves’ from our armchairs?

“People think that by living on some mountainside in a tent and being frozen to death by freezing rain they’re somehow discovering reality, but of course that’s just another fiction dreamed up by a T.V producer.”

a m a n d a -t o o k e.c o.u k

a m a n d a a s h l e y 91 @ g m a i l.c o m

J.G. Ballard

119

JUSTIN

RAMSDEN

MAT T E R @mattershow mattershow.co.uk

FACIAL MUSCLE DEGREDATION

LACK OF SOCIAL SKILLS

PROPOSED FUTURE

FACIAL YOGA

TRAINING

EFFECT ON SOCIETY

c a r g o c o l l e c t iv e.c o m /jt o r b e l l d e s i g n

j e s s i c a t o r b e l l @ h o t m a i l.c o m

FEAR AND ANXIETY

VIRTUAL RELATIONSHIPS

DATA COLLECTION

“You were never taught how to talk with your face like you speak with words” Paul Ekman

Face me is an exploration into our understanding of modern communication. With an increase in digital platforms and systems, tonality of the voice, physical responses and visual cues are lost in characters and symbols. Increased access to the virtual lives of friends and family and the growing capacity of immediate communication methods, makes using digital devices enticing. However with this development we are subject to miscommunication that can lead to offline issues. The intimacy and understanding we gain from face-to-face communication builds empathy and encourages relationships based firmly in reality rather than in the virtual ones we build. My project speculates on how the digitalisation of society will affect future human interaction, and aims to combat the degradation of human communicative capabilities. Drawing on Paul Ekmanâ&#x20AC;&#x2122;s research in interpreting facial expressions I have designed a systematic training regime along with tools and exercises, which teach users to interpret and respond to various social cues. Creating my own definition of what it is to be a good communicator, the project provides a solution for people who may be unaware or anxious about expressing themselves correctly, corresponding to the socio-cultural contexts which surround them.

Jessica Gibson-Torbell

FA C E M E

123

Many have proven that bibles do not stop bullets, so maybe there could be something behind this materialisation of faith?

This project began from an exploration of the iterative cycle of technological one-upmanship in the military race for arms and the subsequent armour or protective cladding worn to nullify a weapon’s lethality. This iterative process of cat and mouse oneupmanship is part of a form follows function recipe that has existed for thousands of years in a militarized context.

c a r g o c o l l e c t iv e.c o m / w a r w i c k t u r n e r n o a k e s

w t u r n e r n o a k e s @ g m a i l.c o m

My research explores the complexity within this process acknowledging notions of: context, threat, economy, comfort and psychological elements of trust and faith in the protective layer and how this complex ‘economy’ results in a balance between protection, agility and material trust. This project explores armour outside it’s usual specific iterative militarised cycle, allowing fictional threats and context based materials to create new forms of protection and to create new forms that reveal how the materiality of the everyday might be deployed as armament from a fictional threat.

HOLY BIBLE

WEAPONS OF MAN

Warwick Turner-Noakes

FORM FOLLOWS FIC TION

125

FAITH OF MAN

LIFE OF MAN

s k yl a v a n d e r p o l s.c o m

s k yl a.a v a l o n @ h o t m a i l.c o m

CEREMONY

THEALITY

THEATRE

REALITY

The institution seduces us with spectacle, the spectacle of ceremony. Ceremonies mark the defining events of our lives. When we take part in a ceremony, like our graduation or wedding, we take part in a non-fictional performance and transcend our previous social status. I believe that the institution, whether religious or organisational, has identified our intrinsic desire for performance and uses ceremony to encourage subscription to its ideals. Our participation in ceremonies enables the sustenance of these ideals, ensuring that the institution remains relevant. Theality is a term I have created to describe the experience of ceremony. Theality merges theatre with reality, by bringing theatrical elements to a non-fictional context. It is clearly apparent in the nature of Roman Catholic and Freemason ceremonies.

Skyla Avalon van der Pols

F U N E R A L T H E AT R E

Funeral Theatre amplifies theality and redesigns the funeral as a secular, noninstitutional event taking place on stage. Immersive ceremony is created from the narrative of the deceasedâ&#x20AC;&#x2122;s life, by matching theatrical designers with the bereaved to reflect the character of the deceased through sound, scent, installation, and visuals. It is a sensory experience, a personal ceremony. Could the theatre auditorium be the secular equivalent of a church?

â&#x20AC;&#x153;Ceremony - just as in the cinema or a play, we want to be taken out of ourselves and lifted up, to escape.â&#x20AC;? Father Rupert

127

Pills have an incredible grasp on our society and are embodied in our culture. Some medications have saved many lives, but they can also be very dangerous. In the busy world that we live in, we want a quick fix; instant recovery and pills are perfectly designed for that. We believe in pills and this belief is evident in the psychological impact of the placebo effect. This phenomena works as a catalyst for awakening our body’s natural ability to heal itself. It has also been proven that the placebo effect even works when we know that the pill is not real.

ju s t- b e c a u s e @ l iv e.c o m

My idea is to respond to the placebo phenomena, and the fact that up to 90% of every single medication consist of fillers, coatings, and other external ingredients used to make pills easy to hold and ingest. ‘Cureomindin’, the title of my project, is a play on words: ‘cure’ and ‘mind’. Cure is related to pills, as medication is the most common way to cure ourselves. However, the mind plays a big part in the curing process. I have designed a special kit that allows you to make your own placebo pills at home using natural ingredients.

WHAT DO WE BELIEVE IN?

Iva Veselinovic

CUREOMINDIN

When we were kids, we believed in magic. As adults we believe in pills. This belief is evident in the placebo effect.

129

The Bishops Avenue, otherwise known as Billionaires Row, is a mile long street of mansions in Hampstead, North London. Whilst London experiences great housing shortages, two thirds of the palatial houses on The Avenue lay vacant and deteriorating.

Excessive disposable consumerism relates not only to commodities such as food, clothing and furniture but also the built environment. Globally examples of disposable architecture, especially that of housing, have been adopted to satisfy consumer demand. Poorly planned developments of questionable design and build quality often brandish otherwise untouched terrain, changing landscapes forever. Constructed quickly, these over ambitious sites can cause a long-term housing surplus, meaning that a high proportion of properties lay vacant, deteriorating over time. This has detrimental affects on the environment, the economy and humankind.  A Billion on Bishop is an interactive, living model based on The Bishops Avenue in Hampstead, North London. Possibly the UK’s and one of the world’s most expensive residential streets, the houses that go for millions often sit ailing and unoccupied for decades, whilst London faces a sharp housing shortage. The model aims to communicate the urgency surrounding vacancy within the parameters stated above as well as encouraging the user to take ownership of the idle sites, transforming them to address Londoner’s needs. This interactivity then has the potential to be collected and translated in order to assist planners and designers with any future proposals for the area. A tool that could also be reiterated elsewhere.

Joseph Walker

VACANCY

r a r r i n.c o m

j t k w a l k e r @ m e.c o m

A BILLION ON BISHOP

THE

BISHOPS

AVENUE

131

Home, as the place under our autonomy, is actually restricting us by providing a comfortable and heedless way of living. Within domestic life our imagination is bounded by habits and routines, formed by a prearranged structure. We easily tire of our household routines that are taken for granted, especially in the constant urban domestic environment. I would like to create new narratives in daily routines through the use of our bodies, in order to give the home a new role â&#x20AC;&#x201C; a domestic theatre â&#x20AC;&#x201C; thus enabling us to see the art in everyday actions and the beauty of every moment. The interactions between spaces, objects and people are examined. Domestic routine, especially housework, is reformed as an escape from mundane domesticity through imaginative routine performance. The work involves activities such as building a stage-like domestic space, redesigning tools to refine physical movements, following a script, and using sound and visual patterns as both instruction and feedback mechanisms. Presenting these theatrical domestic routines through film, allows us to engage as both performer and spectator.

HOUSEWORK

C PE

R DA

E N OU

R PE

ERTAEHT

Nini Zhou

c a r g o c o l l e c t iv e.c o m /n i n i z h o u d e s i g n

n i n i z h o u z h o u @ g m a i l.c o m

H O U S E W O R K T H E AT R E

You escape when you observe. â&#x20AC;&#x2039; Observe while you move, to act on the given and create out of the given.

133

BENG DESIGN & I N N O VAT I O N

This project extends the life of an item so inherently understood as practical that we keep it without certain reason. I propose that our connection with the plastic bag be a conscious engagement. It has sustained a desperate lifestyle of accumulation. Like Anansi, might we spin a better story to get ourselves out of trouble? Single use carrier bags are not going away. This project makes the recycling of HDPE carrier bags more efficient, more fun and more do-able, simultaneously raising awareness of the damage caused by billions of discarded plastic bags. They never decay... but here they are transformed by stripping and stressing, twisting and spinning, plying and knotting into textiles strong enough to support us.

w w w.c a r g o c o l l e c t iv e.c o m /e l l a c e l e s t e

e l l a c e l e s t e @ g m a i l.c o m

I have put into practice the science of stress-strain behaviour and developed this mechanical process in order to re-engineer the properties of the polymer. By exploiting the increased strength and durability, the finished product becomes worthy of many exciting, diverse applications. The source material is freely available worldwide and the technology has been made simple, easily built from found objects for shared use. This project revives and repurposes waste using a structure influenced by Gandhi’s charka and the Jugaad model to improve collective welfare and sustain the natural ecology.

Ella-Celeste Chijioke

O L D B A G S A N D TA L L TA L E S

It doesn’t sound like an old bag, it doesn’t look like an old bag, it doesn’t feel like an old bag. It is new.

137

Hello, Maybe I should introduce myself, I am your Digital Double, my name is yoursâ&#x20AC;&#x201C; pleased to meet you...

Tom Gayler

c a r g o c o l l e c t iv e.c o m /o i ly c a n

t d g a yl e r @ g m a i l.c o m

L E T T E R S F R O M M Y D I G I TA L D O U B L E

Users don’t value their personal data enough. Every action we carry out on a connected device is building a picture of our identity in cyberspace. This is called your ‘digital double’. To corporations this is a valuable asset to manipulate, but to many individuals it has little value. I am telling stories to make the data meaningful. To make a user’s ‘digital double’ valuable, they need to have a relationship with it. The digital double sends a handwritten letter to the user. The letter is constructed from the online behaviour of the user. It is written in a way that reflects how we, as humans, use information to make assumptions into real life similes for the algorithmic formulation of identity that makes up our online identity. The letter exposes the creepy nature of profiling happening behind the scenes. IDENTITY

IDENTITY

ONLINE

OFFLINE

I am enabling users to take control of their online identity. Once the user has decided they want to take control of their online identity, they need the tools to 10 do so. Tools that help 10 translate the users 1sense 11 1010of 11 0101 001 identity from the physical 1 0 0 10 0110 100 0 to the digital world.

0 1 1 10 1000 101 0 01 01 00 01 01 00 00 10 11 1

139

ly d i a l a it u n g.c o.u k

ly d i a l a it u n g @ h o t m a i l.c o m

THE THIRD PLACE

LOCAL RESOURCE

SHARE THE NEED

NEED

Lydia Laitung

THE THIRD PL ACE

CO-OWNERSHIP

Sharing creates excuses for conversation.

The High Street is a shared space, it’s both a hub for consumption and the heart of the community. Although consumption has remained a prominent part of people’s lives, the term ‘community’ is often portrayed as a missing or missed component of urban life - we no longer need to rely on each other. This in turn creates a lack of common ground amongst us. This project aims to seek out an alternative function to the High Street, replacing the emphasis back on the local community. The project questions modes of consumerism in physical space and aims to create opportunities for serendipitous interaction. Can the High Street become the platform on which we fuse collaboration with consumption? The Third Place is a system that encourages co-owning amongst co-inhabitants. Integrated within a High Street setting, the project recalls the philosophy of Placemaking and refers to social surroundings as separate from the home and the workplace. At the Third Place individuals with shared needs can find like minded people to split, share, swap and lend products and skills. Although this project will naturally engage those struggling economically, it’s the creation of social interactions that has the potential for a meaningful and positive impact on the greater community.

141

â&#x20AC;&#x153;If you do not supply nourishment equal to the nourishment departed, life will fail in vigor.â&#x20AC;?

ju b i l e e _ l e v e t t @ h o t m a i l.c o m

Leonardo Da Vinci

Jubilee Levett

FA R M I N G

When looking at the predominant farming methods being exercised around the world, the global scene of agriculture seems to be heading towards a difficult future. The practice of industrial farming, involving heavy machinery, chemical fertilisers and mono-crop fields, is doing exactly this. Whether it affects us now, food will become an increasingly important commodity in this world, where the gap between rich and poor is constantly expanding. The world already produces enough food for nine billion people, yet the number of malnourished is still extreme. Attention must turn from increasing food production for the sake of it, and onto improving our global food system more fundamentally. While policies and global distribution are largely in the hands of governments and CEOs, food connotations and production easily fall into the realms of a designerâ&#x20AC;&#x2122;s responsibility. This project wants to return to the point where labour intensive farming was discarded for quick-fix solutions, to find alternate ways of subduing the intensity through the design of tools. Without disabling the farmer in production scale, this project hopes to encourage more sustainable farming practices.

14 3

The project started with specific problem: Federation international of gymnastics requires athletes to wear visible white aerobic shoes, where market offers narrow range of products. Maxfree was inspired by feedback of athletes with the consideration to be future Olympic sports. Through numerous analyses, biomechanical and orthopedic views, tests and iterations, I created Maxfree as a simple design that will prevent athletes from injuries and foot deformation.

Lina Masiulyte

M A X F R E E â&#x20AC;&#x201C; I N N O VAT I V E S E N S AT I O N

1 l i n a m a s i u ly t e @ g m a i l.c o m

Maxfree â&#x20AC;&#x201C; gets sportsmen closer to natural motion for a revolutionary feel of freedom without scarifying comfort. The highly flexible drop-in the middle part of the shoe offers extreme flex of the arch within soft breathable fabric design. It allows keeping feet in the position and holding sole structure, while still providing plush. From biomechanical view, ultra - thin sole is split into two parts for balance and lightweight relaxation within angle sliding features applied. It uses less rubber than traditional outsoles for greater multisurface traction. The compressive upper features highly elastic comfort to the foot for a sock-like fit. It seamlessly deforms around foot rather than foot deforming upper with integrated stretch, support and forming functions where athlete needs it. Maxfree are applicable for other activities: cheerleading; aerobics; zumba; yoga; jazz, step and aero dance.

Pair of sneakers designed for aerobic gymnastic athletes to reach maximum allowable performance within specific requirements.

FORMATIVE

MEMORY

STRUCTURE

CUSHIONING

SLIDING

ANGLES

SLIDING ANGLES BREATHABLE FLEX

GRIP SHOCK

AREA ABSORPTION

BALANCE

AREA

STRUCTURAL

POSITIONER

145

WE A L L H AVE DRE A M S....

WARWICK

TURNER-NOAKES

MAT T E R @mattershow mattershow.co.uk

f i n l a y m c d o n a l d.c o.u k

f 1 n l a y m c d o n a l d @ h o t m a i l.c o.u k

Current methods of computer game control are restricting and often unfair. This project aims to grant more freedom and choice to the player.

CONTROL IS TRANSFERED

Finlay McDonald

TA K I N G C O N T R O L Computer gaming, in all forms, is growing more and more popular; it is no longer the niche subculture it used to be. People of all demographics are participating in some way, shape or form. I was initially concerned with making gaming more accessible to people with disabilities, who are often isolated because they struggle with conventional controllers. However, whilst seeking to make gaming more inclusive for disabled players, I found a way to make it more accessible and exciting for all. Using a selection of easy to grasp sensors, I want to be able to give people the tools necessary to enable them to take control of the way games are played, and turn anything or anyone into the controller. Hardcore gamers can tweak it to maximize their performance, while people with disabilities can use it to control the game the way in which they feel most comfortable. Furthermore, I found that those who dislike gaming find it repetitive and mundane; this project also provides a means of attracting them to gaming by enabling them to make gaming more interesting and personal to them.

149

Food [fOOd]: (n) any nutritious substance that people or animals eat or drink in order to maintain life and growth. Oxford Dictionary

Ellie Moss

THE FOOD ENVIRONMENT

EXPOSURE

NUTRIENT POOR

MARKETING

ENERGY DENSE

CONVENIENCE

ABUNDANCE

e l l i e _ m o s s @ y m a i l.c o m

INEXPENSIVE

With nearly 60% of the adults in the UK overweight or obese, costing the NHS ÂŁ5 billion a year, it is clear that what we eat is no longer a matter of individual responsibility, but a societal one. We have created a landscape where high calorie, nutrient poor foods and sugary drinks are easily available, inexpensive and powerfully marketed and as a result, making healthy choices is a struggle for many. This project aims to investigate how the created food environment affects our eating habits and how it can be designed to have a positive affect on our behaviour.

151

SKETCH

DISPLAY

Alexa M端nch

T H E S Y N E R GY N O T E B O O K

SKETCH

a l e x a @ d i e m u e n c h s.d e

The whole is greater than the sum of its parts. The Synergy Notebook is therefore an interaction tool, which supports the creative workflow in collaborative design.

DISPLAY

The effective collaboration, and therefore fruitful cross-pollination of ideas between multidisciplinary designers is essential to a successful project outcome. Despite its importance this communication is often hindered due to the lack of an appropriate interface tool. The Synergy Notebook enables the use of both desk and wall space to analogously share, discuss and present ideas. The statically adhesive system creates a quick assembling notebook with a fine balance between required organisation and convenient utilisation. It can be used as a simple sketchbook and additionally functions as an inspiration hive by storing various drawings, samples and brainstorming notes, which usually get lost. The Synergy Notebook encourages group identity. Various types of projects can be tackled using the notebook due to the flexible, versatile and customisable properties. It overcomes the restrictive boundaries of normally used sketchbooks without losing the essential familiarity and simplicity. The sketchbook allows good ideas to grow beyond the edge of an individualsâ&#x20AC;&#x2122; page. Through first hand exploration of group work and communication the sketchbook has developed into an optimal tool for designers in collaborative design situations.

153

“Never in human history have we spent so little time in physical contact with animals and plants.” We’re rapidly losing our connection to nature; children spend as little as 4% of their time outdoors but regularly 4-5 hours a day looking at screens. This lack of experiencing nature is predicted to have huge mental and physical health implications. In the UK we are moving over 30% less than we did two generations ago. This physical inactivity epidemic has lead to our children being the first in human history to have a lower life expectancy than their parents, by 5 years!

Daisy Wren Reynolds

g d w r e n @ g m a i l.c o m

N U R T U R E I N T O N AT U R E

85% of the population live in the city and have the least access to natural space. City parks are underused in the winter, partly as in London, it rains 145/365 days, almost half of the year. This is an easy excuse not to get outside. The project aims to give fun motivations for children to get out into nature in the rain. Using new technology in waterproofing I’ll create games which only appear and function in the rain and act as an incentive to still go out and play when it’s pouring!

The problem is that weâ&#x20AC;&#x2122;re losing our connection to nature. Rain games will help us to get children out and connecting with nature again.

155

s h a m e e r s u b r a t t y.c o m

s h a m e e r.s u b r a t t y @ g m a i l.c o m

Breaking down boundaries of the norm can be a risky affair… and to that I say: “Bring the ‘keeper up for the corner!”

Shameer Subratty

12 T H M A N

Most football coaches at the highest level donâ&#x20AC;&#x2122;t know British Sign Language; therefore football clubs are immediately excluding a large number of players based on non-footballing factors. I am trying to eradicate this disparity in communication between the two demographics, to give deaf and hard of hearing footballers equal opportunity to train with the best coaches and players possible. â&#x20AC;&#x2DC;12th Manâ&#x20AC;&#x2122; achieves this by improving training and performance through instantaneous feedback. It was specifically designed alongside deaf and hard of hearing footballers, but its implementation is intended to be universal to generate a more inclusive and enhanced training experience for all.

157

www.graffitidesign.co.uk

www.hopstuffbrewery.com Info@hopstuffbrewery.com