ChelseaCollegeMACatalogue2012

MA & MRES 2012

Chelsea College of Art and Design

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CLASS OF 2012 FROM CHELSEA COLLEGE OF ART AND DESIGN Kupambana was founded by LEWIS PR, a global digital communications agency, to connect the creative arts with communications.

The Foundation spans the worlds of the creative arts and the communications industry by sponsoring the most outstanding creative talent through education and career development. It helps train students and professionals and carries out insightful research into the creative industries globally.

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IN T RODUC T ION FORE WORD M A FINE A R T M A GR A PHIC DE SIGN COMMUNIC AT ION M A IN T ERIOR A ND SPAT I A L DE SIGN M A T E X T IL E DE SIGN MRE S A R T S PR AC T ICE

4 5 7 91 131 171 203

Introduction The MA catalogue, which brings together a rich diversity of art and design practices, is itself a wonderful tribute to the kind of cross course collaboration we promote within Chelsea’s Postgraduate Programme. The catalogue is entirely designed and organised by MA students, and the catalogue committee and designers deserve a huge thanks for the huge time and effort they have put in to creating such an elegant documenting of the MA courses. It is symptomatic of the kind of energy students invest into their time at Chelsea.

This sense of inter-disciplinary collaboration is central to the philosophy of the postgraduate community at Chelsea, without ever compromising the integrity of each course’s distinctive identity. This is manifest in a number of collaborative projects across disciplines. These included

the Prospectus event in the Triangle Space, coordinated

by Professor Neil Cummings. This project seems important to mention here in that it attempted to trace the historic trajectory of experiments in public art education. This spirit of experimentation is firmly embedded within the curriculum of all the MA courses, and I find it particularly refreshing that flicking through the catalogue there are so many crossovers of concerns.

The sense of inter-disciplinarity also informs the General Theor y Forum. The Forum, run by Dave Beech, offers the possibility to engage common critical and cultural ideas.

It provides a shared platform where complex theoretical ideas can engage with actual practice. Indeed, the Forum encourages students to actively engage with such debates from the perspective of their own discipline, and

to create an open environment where we can debate real differences where they arise.

T he cur rent show of pos t g raduate wor k als o demons trate s an at titude of s elf- cr itic alit y, w here s tudents are enc ouraged to re - e valuate their prac tic e and to e vol ve a c ontex tualis ation of their wor k . S uch a philos ophy inf or ms all the c our s e s , w here prac tic e is inf or med b y, and in ter ms inf or ms , re s earch . A s such , prac tice and theor y are f ull y integ rated . T his re s earch emphasis als o under lie s the c onnec tions to the C C W Graduate S chool, w hich suppor ts taug ht pos t g raduate and re s earch s tudents , and r uns a c omprehensi ve prog ramme of talk s and e vents .

F inall y, I hope y ou ge t the chanc e to f ull y ex per ienc e the sheer di ver si t y of wor k on display at C hels ea , w hich is onl y made pos sible b y the ama zing c ommi tment of s taf f, both ac ademic s and the technic al team .

Dr Ken W ilder P os t g raduate Prog ramme Direc tor C hels ea C ollege of A r t and De sig n 4

Foreword for the MA Catalogue

T he c a talog ue tha t y ou ar e holding bo th doc umen t s and c elebr a te s the M A f inal ex hibi tion a t C hels e a C olle ge of A r t and De sig n in 2 0 1 2 . T he M A ex hibi tion (and c a talog ue) demon s tr a te s w ha t our s tuden t s hav e made of the oppor tuni t y of s tud y ing a t C hels e a .

In this s ens e , ther e is no hiding plac e f or them or inde e d f or us .

At C hels ea , we emphasis e the impor tance of re s earch in our creati ve proce s s e s . T he te s t of this f ocus on

our under s tanding of re s earch , is in the qualit y of innovation and the radic al nature of the de sig ns and ar t wor k s y ou are abou t to s ee (or are per using in this c atalog ue).

I t is impor tant to rec og nis e that A r t and De sig n s tudents do not onl y inve s t in their educ ation through the f ee s the y pay. T he y als o inve s t in the mater ials the y choos e to make their ideas real. T his f is c al inve s tment is more than matched in the intensi ve time and ener g y

spent in the c aref ul creation of each of the indi v idual wor k s repre s ented here .

I hope you agree with me that the wor k in this exhibition is a proud tes tament to not onl y these ver y real s acr if ices , but to ex traordinar y levels of facilit y and dar ing .

Our s tudents and the wor k that the y produc e are par ticular, engag ing , and uns toppable . Quite f rank l y, we are ver y proud of them .

G eor ge Black lock Dean of C ollege C hels ea C ollege of A r t and De sig n Uni ver si t y of the A r ts L ondon 5

MA FINE ART 7

Minwook An Korea

+ 44 0 7832 9 73 3 8 0 ars. a r tcom p a ny @ g m a i l .c o m w w w. a rs2 0 0 8.c o m

W H AT I S ‘ar s ’ ?

A R S : ad vanced record s y s tem A r s : Israeli slang ref er r ing to a s tereot y pe of a male of coar s e manner, f lashy jewelr y and t y pic all y wor k ing clas s s ocioeconomic le vel ar s (1175 -1 225 Middle English , Old French): or ig in word of ar t Ter m of ar s us ed to mean ar t and sk ill in the pas t .

Howe ver, e ver y one may consider ‘ar s ’ as a par t of bod y e ven thoug h there is no’E ’ af ter ‘ R ’ More impor tant thing is w hat ar s doing rather than meaning of it .

P HO T O B Y J ean K im 8

Elena Artigas e l e n aar ti g ass@ g m ai l .c o m w w w.e l e n aar ti g as.e s +4 4 0 750 3 3 4 7 70 3

9

Dalia Baassiri Lebanese

d b a a ssiri@ g m a i l .c o m d a l ia b a a ss i r i .c o m + 4 4 7780 4 5 114 5

I am interested in the anatomy of memor y, as I regard it as a microscopic living being that can only exist through the mind. It continuously develops in the pursuit of establishing the identit y of the organism. T hrough the medium of drawing these concerns are translated in my work as graphite, water and mark fuse, compete and interact on a tactile sur face plane creating endless possibilities of space and form.

10

Soo Eun, Baik S. Korea

+4 4 7 7 3 8 15 3 8 21 so o e u n b ai k@ g m ai l .c o m w w w. so o e u n b ai k .c o m

B oth m y prac tic e and re s earch ex plore how the lands c ape has been c ons trained in the pas t , and how i t c an broaden i ts palle t in relation to the nature of painting in a c ontemporar y c ontex t . To me the lands c ape as a painting subjec t is nei ther a read y -made thing to depic t nor a s tationar y, g i ven s c ene . M y painting is not on pur pos e of depic ting the natural shaped pat ter n or mir ror image of nature, bu t more on the aim of ex plor ing the pic tor ial lands c ape in be t ween the real and imag ined, f ig uration and abs trac tion , f latne s s and dep th , intellec t and emotion , idea and mater ial reali t y, lig ht and dar k and r is e and f all.

11

Katriona Beales + 44 78 4 1 8 3 1107 k at rion a _b e a l es @ ho t m a i l .c o.uk w w w. kat rio na b e a l es .c o m

‘ T his isn’t a nor mal S unday ’ (2 01 2) S ingle - channel v ideo s till Duration 6:11 12

Rebecca Byrne

USA

0 79 8 175 1159 r b yr n e b l ack@ g m ai l .c o m w w w. re b e c c ab yr n e.c o m

Mind Map 3 3 Oil on C anvas 27 x 3 5 cm 13

Choi Yuk Kuen, Bouie Hong Kong

ch oi.y u k k u en@ g m a i l .c o m w w w.ch oiy u k k u e n.hk

Light years P er f or mance V ideo 2 01 2 2 minu te s (loop) I am intere s ted in trans f or ming m y bod y phy sic all y and I alway s enter tain a hope to ex tend m y bod y ’s pos sibilit y.

Through the technolog y of video editing , I can transform myself into an immor tal creature by doing exercises. Â As a human being , this body only exists in the vir tual video time.

14

Seeun Cho

Korea

+4 4 (0 )758 4 0 4 0 220 se e u n .ch o 5@ g m ai l .c o m se e u n ch o.tu m b l r.c o m /

Untitled . 2 01 2 .collage 15

Eleanor Cunningham England

el e a n orcu nni ng ha m 8 0 @ ho t mai l.c o m w w w.c u n n i ng a r t .c o.u k 07779598 04 3

T he nature of m y prac tice is bas ed on the applic ation of tradi tional and new technolog ie s in relation to photog raphy, a medium that is endle s sl y chang ing .

Que s tioning the f u ture of photog raphy and w hat has bec ome of the medium’s or ig inal f unc tion , I am concer ned w i th the los s of the phy sic al element in photog raphs due to dig i talization . I am als o intr ig ued in the f reedom and ac c e s sibilit y now pos sible . T he wor k is an ex ploration of how the content of image s de ter mine this los s and ex plore new way s of pre s entation be y ond the pr int .

16

Adam de Boer

United States of America

w w w. ad am d e b o e r.c o m

B aturaden Room S creen (B e t ween the A dored and the A dorer Falls the S hadow) 2 01 2 acr y lic and oil on batik c ot ton tex tile in c ar ved wood ar tis t f rame 137 x 247 x 4 3 cm 17

Rajvi Dedhia Indian

+ 4475680 5 3 3 8 1 + 91 98 2 0 9 2 2 5 5 0 ra j vid_8 8 @ ho t m a i l .c o m

… Jus t one day among many day s had s omehow got c aught in a pic ture, me tre or s ong … …w r i te s one of the mos t br illiant creati ve genius e s produc ed b y Indian Renais s ance, Rabindranath Tagore .

I t is all abou t the realization of perception that happens w hile w itne s sing the ex is ting reali t y.

M y w hole proce s s of creation is a v igorous at tempt to show that trans f or mation and f reedom go hand in hand as f ar as ‘cons tant change’ is concer ned .

I spend mas si ve por tion of m y day spot ting var ious ac tions all around me as s till a par t of me w ill alway s be a dreamer. T his ha z y gateway is altered b y ideas , through the c ons tant ongoing proce s s of thoughts , f eeling s and s ensi ti v i t y of touch . ‘ Touch’ is a way of being inspired b y or tak ing inspiration f rom and alter ing it w ith m y belief s and trans cending the pos sibili tie s f or i ts de velopment .

S pontaneit y being an impor tant element of m y proce s s has been ref lec ted in m y wor k and subcons ciousl y ex pos ed the dar k and br ight side of hidden f eeling s . A pure ex pre s sion of the deepe s t thoughts and belief s .

F or I do belie ve, “A r tis ts are the mos t ex pos ed people of all.”

18

Nicholas Dedics United Kingdom

0 753 0 4 12 8 0 3 n i ckd e d i c s@ h o tm ai l .c o.u k w w w. n i ckd e d i c s.c o m

El Grec o as a Door 2 01 2 , oil on c anvas , door hinge s and door handle, H110 x W 95 Produc ed b y a f ic tional f u ture, dim-w i t ted s ocie t y w ho oc cup y an island c alled ‘Gr 8 Br i tan’, this c ommuni t y are tr y ing to recreate their los t cul tural her i tage b y mak ing ar tef ac ts bas ed on w hat the y s ee as purel y tradi tional Br i tish ar t , bu t in doing s o, their lack of k now ledge, sk ill, misg uided and c or r up ted s earch eng ine / W ik ipedia re sul ts produc e s war ped and dis tor ted old mas ter wor k s and national his tor ie s . Hav ing als o los t the c onc ep t of ar t as precious objec t , the s e new l y created his tor y ar tef ac ts then bec ome nothing more than mundane objec ts of e ver y day us e, f ulf illing the needs and wants of the s e imag inar y people .

19

Thekla (Sotheany Sophie Ek) w w w.t h e k l a ek .c o m T h e kl a .e k@ g m a i l .c o m

T he never ending stor y We are the forgotten ghost, says war widow. Somali pirates captured by Nav y to face cour t in Seychelles. Women boiled chopped body of husband Implant clinic asks women to sign away rights Stroke victim given judges’ blessing to get help to end his life. Migrant posed as bride to stay in UK Secret of happy marriage: a mirror couple. Banker posed as a doctor in campaign against former girlfriend. Robber y gang acted as f iremen to carr y out raids M y gun just feels like an ex tension of my arm now. A pple under f ire over child labour ad unsafe plants.

NO one wants a self-maid man Glue in hair ex tensions could have caused death of clubber. An avalanche has killed three bathers at a hot spring in nor thern Japan, which has suf fered snow storms since late last year. Parents of boy killed by fairground ride vow to f ight for more ‘answers’ Ready to die ? Just kidding 20

Liz Elton

United Kingdom l i ze l to n @ h o tm ai l .c o.u k w w w. l i ze l to n .c o m

S ea , 2 01 2 GiclĂŠe Pr int on Hahnemuhle Photorag P aper 21

Rosie Farrell United Kingdom

w w w. rosiefa r re l l .o rg rosie f a rre l l 8 3 @ ho t m a i l .c o m

Unti tled, 2 01 2 , HD v ideo of t wo s c anner-pr inter s and unique c olour s c ans UN - Heavens G ate, 2 01 2 , HD v ideo of per f or mance b y C ai tlin S m y th , s teel, silk , nike air dunk s , 27 0 x 10 0 cm Inf ini te Play back , 2 01 2 , Record play er, unique v iny l rec ord, table, speaker s w ith reading b y K at y E vans - Bush Dar k Mat ter De tec tor, 2 01 2 , dig ital animation 22

Cristina Figueroa Palau

Colombia

c f i g u e ro ap al au @ g m ai l .c o m +4 4 - 7 7 127 64 3 0 5 / +57-3 15- 628 7 73 6

I cur rentl y wor k mainl y in photog raphy and s culp ture . In m y photog raphic wor k I am intere s ted in the s culp tural quali tie s of the bod y, lands c ape and objec ts . I ex plore the way in w hich the s e mater ial quali tie s c an embod y dif f erent k inds of relation be t ween mater ial and ps y cholog ic al notions of the inside and the ou tside, the intimate and the public . M y s culp tural wor k is mainl y c entered around the manual prac tic e s of k ni t ting , weav ing , croche ting and s ti tching , w here the s e ac tions are per f or med in an aleator y or random way. I am intere s ted in the s e ac tions as proc e s s e s of g row th in time (a basic mater ial is trans f or med into s tr uc ture s that c an potentiall y g row ad inf ini tum), and on how the e ver chang ing re sul ting s tr uc ture s ( g i ven their malleable charac ter) cons tantl y challenge the notions of inside and ou tside, c over ing and re vealing , trapping and le t ting go .

23

Yuan Gao la n ch on g 10 09 @ y a ho o.c o m .cn

24

Raquel Garin Spanish

+4 4 7 74 11754 61 +3 4 678 98 3 3 0 3 raq u e l g ar i n ar @ g m ai l .c o m w w w. raq u e l g ar i n .c o m

25

Sang Baek Han + 447791 9 3 5 74 4 b e ck f l ow @ g m a i l .c o m

T ile: we are all blindne s s w ithou t light .

Medium: dig i tal image .

26

Shiew Eng Hii

Malaysia

+65 90 62297 7 (SG) / +60 198 8 8 70 7 7 (M Y) h i i sh i ewe n g @ yah o o.c o m w w w. h i i sh i ewe n g.c o m

Shiew Eng produces a por trait series of pre-pubescent children. T he ambiguous looks of children painted with a garish light are vaguely unsettling to look at and compel our contemplation. T hese paintings speak eloquently about our culture of passive seeing , the compulsions inscribed by gender and the more insidious per versions that exist.

27

Robert Hitzeman + 44 0 70 78 5 75 2 2 8 8 1 ro b e r t h it ze m a n@ g m a i l .c o m ro b e r t h it ze m a n.c o m

M y wor k of ten f ocus e s on proce s s e s of ex plosi ve g row th and dec ay, decons tr uc ting and rec ons ti tu ting mater ials and ic onog raphy in a contemporar y contex t . More repre s entational wor k s display dec ay or mu tation of a f ig urati ve objec t into s ome thing els e that f us e s traditional ideas abou t the f ig ure w ith more recent ref erence s to the bod y in mater ial bas ed s culpture . O f ten bor row ing ae s the tic s that ref erence militar y indus tr ial his tor ie s that have been c as t into the f oundation f or e ver y day lif e, m y wor k repur pos e s them f or a f ine ar t contex t . I am f as cinated w ith both the concept of biolog ic al c y cle s and anatomic al f unc tions f or building s tr uc ture s c onc ep tuall y and phy sic all y, look ing to abnor malitie s in indi v idual and ec olog ic al bodie s to inf or m m y content .

28

Juhee Hong

Korea

4 4 7 7 13 163 518 h j h e e 10 8 8 @ g m ai l .c o m Ju h e e h o n g.c o m

T here is a philos ophic al s trand at play in the rec ent wor k of Juhee Hong . T he wor k doe s pre s ent us many paradoxe s as s ociated w i th Buddhis t philos ophy “ f or m is emp tine s s ; emp tine s s is f or m”.

In her works Juhee explores the notion of what happens af ter an event, the resonance, the echo, the trace of what is lef t behind and she is attempting in this new series of ambitious and intriguing works is to tempt her audience to get closer to a sor t of abstraction to sug gest a link between time and its demise. To achieve this she use ironic, questioning and play ful methods and forms to fur ther imbue the viewers’ experience of the present, with the past and future, from which the present can never be separated.

29

Rebecca Hooper 0791 2 38706 6 con t a c t @re bec c a ho o per.c o.u k w w w. re b e c c a ho o p e r.c o.u k

‘ I t f eels like a hous e’ 2 01 2 F ound objec t ins tallation w ith li v ing g ras s , s ound and t wo f ilms .

30

Jihee Hwang j i h e e n i m @ g m ai l .c o m w w w.j i h e e hw an g.c o m /

T I T L E : T HE M AT T E R OF MODE R N FA B L E II M AT E R I A L : wa x , oil paint .

31

Charlotte Jonerheim Sweden

078 1 3 14 3 2 8 6 c.j on e rh e im @ b t i nte r ne t .c o m

‘ Precious objec ts I, II ’ 32

Su Jung Korea

0 758 23 3 0 3 68 eve r yd ayo n e ar th @ g m ai l .c o m

Oil on linen (for Blueberries (40 x 50 cm)) and oil on canvas (for Walking & falling (45 x 45 cm)), both are painted this year.

33

Kan Xie xk0 0 492 6 @ m e.c o m

Oil on linen (for Blueberries (40 x 50 cm)) and oil on canvas (for Walking & falling (45 x 45 cm)), both are painted this year.

34

Johanna Keogh United Kingdom

0 7928 161623 ke o g h 7@ yah o o.c o m

Oops! Ou t O f B ounds – – Transg re s sing S ocial B oundar ie s T his bod y of wor k ex plore s the manif e s tations of transg re s sing s ocial boundar ie s , the repercus sions and re ver berations . T he ar tis t ex plore s the subjec t in relation to s ex uali t y, v iolenc e, bull y ing , pr i vac y and v ulnerabili t y – in par ticular, how the s tage is s e t and the af ter math .

T here is usuall y a s e t of circums tanc e s or s er ie s of e vents that lead to a belief or si tuation , w hich then g i ve s r is e to of f enc e . T he imper s onal v iew of t ex pre s s ed of the transg re s s or is that he is wor thle s s bu t w hen the ac tor invol ved is other w is e valued and needed, the pain is deeper. S tepping over the bounds c an c aus e prof ound change s in people’s li ve s and theref ore s ocie t y as a w hole .

35

Jean Kim 0778 60 60 9 5 3 look@j e a nk i m s .c o m w w w.j e a n k i m s .c o m

A r tis t S tatement ‘ To be naked is to be one s elf. To be nude is to be s een naked b y other s and y e t not recog nized f or one s elf ’.

-J ohn B er ger, Way s of S eeing I inter v iew people and am paint them bas ed on their voic e recording s and que s tionnaire the y f illed ou t . B y ar rang ing inter v iew s and lur ing people to imag ine how it w ill be like that the y are naked bef ore me in a hotel room , I tr ied to create a tension be t ween them and me and to c apture i t , and this was w hen I f ound the y bec ame highl y s elf- cons cious .

T he s er ie s of ac ti v i tie s , ask ing people to be naked, inter v iew ing and painting them imag ining their naked bodie s is abou t break ing s ocial boundar ie s bu t als o abou t think ing of w hat the boundar ie s are in the f ir s t place and w hy. In order to g rasp this in real ter ms , I am look ing at indi v iduals r ig ht nex t to me .

36

Nakyoung Kim +4 4 7 70 3 6514 25 n akyo u n g ki m 0 114 @ g m ai l .c o m w w w. n akyo u n g ki m .c o m

F loating S pir i t Wr ig g ling De sire S tabile E go Grow ing V ision Realis ed Wor ld

37

Sang-hyun Kim Republic of Korea

+ 44 78 4 55 2 4 3 4 8 t he kshy u n@ g m a i l .c o m / t heks h @h an m ai l.n et

M y wor k s are an ex pre s sion of objec ts bas ed on m y ow n per spec ti ve s , and I bur n incens e on paper to create the f or ms I w ish to depic t . T he reas on f or s elec ting this bur ning me thod was not merel y as a means of ex pre s sing a f or m , bu t als o include s an ac t of c as ting a spell. Bur ning the piec e of paper is an ac t of blind f aith that m y long ing s w ill s omeday be f ulf illed . Re trospec ti vel y, I am r uminating on the reg re t and memor y, look ing back to the e vent . I began to s tar t to wor k in the way of bur ning the paper on inc ens e . From old time s , the incens e in the Or ient is us ed as the medium f or connec ting the human and the being like a god on the above in var ious har ve s t ceremonie s and i t is to link as if there are no border be t ween the ear th and the sk y, or reali t y and unrealit y.

38

Michal Kozlowski

Poland

m i ch al koz l o w ski @ m e.c o m

Nothing is tr ue, e ver y thing is per mi t ted .

39

James Lander

Arbus, D. (1995) UNTITLED. London: Thames & Hudson.

Burland, C. (1969) The exotic white man. London: Weidenfeld.

Feest, C. (1980) The art of war. London: Thames & Hudson.

Galembo, P. (2010) Maske. London: Chris Boot.

Geoffroy-Schneiter, B. (2000) Primal arts. London: Thames & Hudson.

Gordon, L. (2010) Kanaval. Vodou, politics and revolution on the streets of Haiti. London: Soul Jazz Publishing.

Hahne, R. (1993) Black mask and up against the wall motherfucker: incomplete works of Ron Hahne, Ben Morea and the Black Mask Group. London: Unpopular Books & Sabotage Editions.

Lips, J. (1937) The savage hits back: or, the white man through native eyes. London: Lovat Dickson.

Lommel, A. (1970) Masks: their meaning and function. ZĂźrich: Atlantis Verlag.

Loos, A. (1908) Ornament and crime. Riverside: Ariadne Press.

Samachson, D & J. (1973) The first artists. Tadworth: World’s Work.

South Bank Centre. (1991) Exotic Europeans. London: South Bank Centre.

40

William J. C. Lawlor

Republic of Ireland / United Kingdom

(0 75) 3 568 254 9 l aw l o r.w i l l i am @ g m ai l .c o m

Our c onc ep t of humani t y and w hat def ine s human behav ior is nei ther f i xed nor s cientif ic all y ver if iable .

M y wor k ex plore s the oc cul tation of human and animal behav ior and ask s if i t is pos sible draw dis tinc tions?

41

Santiago Leal Colombia / USA

+ 44742 94 9 9 4 4 0 / + 5 73 10 86 701 79 s a n t ia go@ s a nt i a go l ea l .c o m w w w. sa n t ia go l ea l .c o m

S antiago L eal ’s wor k s troke s w ith the imbalance of his imag inar ie s de sire s and the dail y f ac ts that he f ace s in reali t y. S ince his f ir s t wor k s , he invol ve s the f ate and end of his u topian wonder ing s . Dur ing his re s earche s his has been engage w ith dif f erent tr ig ger s such as s ex ual behav ior, power, abundance and pover t y, cros s behav ior s be t ween humans , submis sion , relig ion , de sire, gender and boundar ie s . S ince 2 0 0 4 he has show n his wor k all over his countr y in galler ie s , mus eums and or ganizations such as the mus eum of moder n ar t in B ogota (M A MB O) 2 0 0 4 2 0 0 5 and 2 0 0 9 (B ogotá biennale), F oundation NC ar te (B ogotá) 2 011 among many other s . C ur rentl y he is wor k ing w ith- L A G aler ía –A r te C ontemporáneo, B ogotá . (ht tp: // w.la - galer ia .com .co / ) w here he had a s olo show in 2 01 2 w i th his new re s earch invol v ing maps . In 2 011 he rec ei ved the big ge s t s cholar ship in his C ountr y, C olombia (B ank O f T he Republic).

42

Daechul Lee Korea

+4 4 74 27690 514 d ex u l e e @ g m ai l .c o m

“A R R G H ”, 2 01 2 ins tallation colour on ceramic

43

E [Hyun Joon Lee] Korea

+ 44 758 2 3 2 9 6 7 7 [ U K] + 82 1 0 62 5 4 5 72 2 [ KO R ] e. hy u n j oon @ g m a i l .c o m w w w.e hy unj o o n.c o m w w w.e e tota l a r t .c o m

In m y wor k , I aim to realize the beau t y and ae s the tic al value e ven in a cor r upt alter-moder n s ocie t y. I inter pre t threatening image s f rom m y childhood ex per ience s / memor ie s in Korea and tr y to conver t them into peacef ul ar tif ac ts , the ver y peace we are hoping to achie ve, bu t alway s w i th a ironic s atir ic al nature . T he s e wor k s are realized w i th such thing s as c ollec ted read y -made s , s ound ins tallations and per f or manc e .

“ P eac e w ill ne ver come, at leas t until we died �

44

Hyi Jung Lee South Korea

+4 4 (0 )758 5 70 9927 hyi hyi 7@ h o tm ai l .c o m / ar ti st@ l e e hyi j u n g.c o m w w w. l e e hyi j u n g.c o m

< R ipping , R ipping and R ipping > sing le v ideo channel _ 41min 3 6 s ec _ 2 01 2 T he wor k s that I have been f ocusing on s o f ar c an be di v ided roug hl y into t wo t y pe s . One is f ocusing on the ex pre s sion of obs e s si ve tendenc y of mine . T he other one is c omple ted in the proc e s s of m y tr ial to e s c ape f rom c ompulsi ve obs e s sion of m y bod y.

I r ipped 5 0 0 hundreds of A 4 paper s si t ting on the g round of m y s tudio . Frank l y, in the c as e of this per f or manc e, I got inspiration f rom m y obs e s sional behav ior of r ipping new spaper s or us ele s s paper s . T hroug h the ac tion of tear ing paper s c ontinuousl y over 4 0 minu te s , I c ould more c onsider abou t the relationship be t ween humanâ&#x20AC;&#x2122;s bod y, mind and i ts behav ior s .

45

Se-Jung Lee South Korea

6 1 7l sj @g m a i l .c o m 4 4 74 2 95 4 16 4 3 (U K) 8 2 2 535 9 3 70 ( S o u t h Ko rea) s e j un g l e e.c o m

A Way of think ing A lone ->Bu t not alone -> S ur rounding -> You -> P eople . . . P eople . . .

-> B e C rowded -> B e C onf us ed -> Bu t ge t ting toge ther -> G e t Inf luence s and g i ve inf luence s -> Gi v ing and tak ing -> A gain and again . . .

-> B e c onnec ted -> B e c ommunic ated -> B e mi xed -> Mi x ing- Dipping- P our ing -> B e c oloured and be deepened -> Var ious -> S ome thing new -> M y or ig inal trace s and peopleâ&#x20AC;&#x2122;s trace s in it -> I am s till there bu t I am w ith y ou P as s y ou b y I II, 2 01 2 , mixed media , dimension var iable

46

Yonghyun Lim (Jackie) Korea

0 7 76118 93 8 4 0 8 an aki @ n ave r.c o m h ttp : //b l o g. n ave r.c o m /0 8 an aki

T hroug h reac tions of the v iewer s , I wanted to ex pre s s the double -sided ef f ec ts of ad vanc ements in dig i tal technolog y and media technolog y on humans . T he f ac ele s s s culp ture embodie s the moment of ini tiall y creating an avatar online and b y projec ting the v iewer â&#x20AC;&#x2122;s f ac e onto the s culp ture, i t display s that any one in the real wor ld c an f or m another s elf on the Inter ne t . T he trans f or med image is ac tualized as the c opied v ir tual image as the f ac e of the ac tual audienc e is projec ted onto the cur ved s culp ture .

47

Xiao-yang Li China

078 1 72 99 2 72 x ia oy a n g l i5 8 9 @ g m a i l .c o m w w w. x ia oaro u nd t hewo r l d .c o m

F or f ur ther quer ie s pleas e contac t the ar tis t direc tl y.

48

Lana Locke United Kingdom

+4 4 (0 )7 78 8 4 514 61 i n f o @ l an al o cke.c o m w w w. l an al o cke.c o m

I am a s culp tor wor k ing w i th f ound and natural objec ts , c as t me tal and photog raphy. M y wor k ex plore s theme s of s ex uali t y, biolog y, c onsump tion , and transg re s sion . I am intere s ted in the s o - c alled ‘ f eral ’ nature of human being s , agains t the c ons traints of c ontemporar y s ocie t y.

T he pic tured wor k Hear t and Bramble s (2 011), produc ed in c as t aluminium in C hels ea’s on-si te f oundr y, was f eatured in the Ro yal A c adem y ’s 2 01 2 S ummer E x hibi tion .

I was s elf-taug ht until m y P os t g raduate Diploma at C hels ea in 2 010, ahead of this y ear ’s M A in F ine A r t . M y f ir s t public s culp ture was ins talled at the main entranc e to Haref ield Hospi tal, Middle s ex , in Dec ember 2 010, shar ing g round w i th wor k b y A ntony G or mle y and Gray s on P er r y. M y s culp ture f or the smok ing ter rac e of the I v y C lub in L ondon , was mentioned in the E vening S tandard ’s 2 011 lis t of S ex ie s t plac e s in L ondon . . . f or illici t liais ons .

Pre v ious commis sions include wor k f or Nicolas Roeg ’s f ilm , P uf f ball, in 2 0 0 6 .

49

Alison Lucas

United States of America a l uca 2 4 3@ g m a i l .c o m

T i tle: Wedne s day 8 / 2 / 1 2 15 : 3 4 Oil on C anvas 2 0 â&#x20AC;?x 2 0 â&#x20AC;?

Painting is a ver y personal and revealing process. I believe it is a product of a specif ic time, place and state of mind. I relate to my work as I would a journal entr y ; it is a record of those three hours at a cer tain time of day. In this way, I want to use painting as a way to record time. It is an intimate and intrusive experience to read a journal as well as to view a painting. Of ten I use clothing as a vehicle to convey this.

I believe our clothing is as personal and static within time as an old journal entr y. It can be an uncanny experience to read old journal entries, or to look at my old work . I want to represent this feeling of retrospection by recording events from memor y and using my own journal as a source.

50

Chen-Shih, Lu Taiwan

+8 8 6 912553 0 56 ch r i st_ sh o w i n g @ yah o o.c o m .tw w w w. m i n g ar t.c o m

S ub - objec t , inv isibili t y and ga zing (2 01 2): T he inv isible subjec ts of human being s are similar to their ow n inv isible e y e s and f ac e s (exc ep t the top of nos e). In this wor k , the uns een subjec t is embodied b y the f ac e w i thou t c olor s .

Howe ver, as s oon as people ga ze any objec t in the ex ter nal spac e, their de sire s have f low n throug h their e y e s . Due to the de sire, the objec ti ve charac ter s such as c olor s , tex ture, have been trans f or med . In order to simplif y the unk now n de sire, a name of “ bod y image” w hich bas e s on per s onal k now ledge and ex per ienc e c an be us ed to inter pre t the sig ht of ga ze . P eople alway s projec t their ow n “ bod y image” f rom their e y e s to w hat the y s ee, s o that the ambig uous v ision leads to the changeable wor ld .

51

Alex Marzeta & Vanessa Page United Kingdom

a m a r ze t a @ g m a i l .c o m p a ge.e.va n e s s a @ g m a i l .c o m

Ye s , there is no al ter nati ve to the break of day, and how to f ind the edge s . T he ab y s s , and look at the black hole of endle s s is the s tar in y our head, and now the space behind .

E ach of the s e handpicked . T heir heads in the pas t bu t c an not lead to a g reat f u ture . B e t ween the de v iation and f ill in a plac e in a dif f erent way of think ing . I t is pos sible to add the f loating f orce of the v ibrations and f requencie s .

Remember, lands c ape, y ou c an change the mood, or, if this is the onl y cons tant in y our e y e s? Re spec t and cur iosi t y, bu t f ear not , as the approach is the awakening of c ons ciousne s s , bu t as s o ver y impor tant . I t is pos sible to s ave the day f or the s tate is not to think abou t the ke y, replac e, and make a decision abou t the f u ture .

52

Claire McArdle United Kingdom

0 754 74 2214 8 cl ai re _ m ac u k@ yah o o.c o.u k h ttp : //cl ai re m c ard l e.c o.u k

â&#x20AC;&#x2DC;C ons tr uc tion- De s tr uc tion- C ons tr uc tionâ&#x20AC;&#x2122;, (2 01 2).

Documentation of a c ollaborati ve projec t b y C laire Mc A rdle and Raquel G ar in .

53

Daniel Mera Martinez Spain

074 2 8 8 8 7 12 0 d. m e ra a c@ g m a i l .c o m w w w.da n ie l m e ra m a r t i nez .c o m

In order to ex pre s s m y s elf through contemporar y ar t prac tic e I wor k predominantl y in s culpture, w hils t als o prac ticing in the ex panded f ield of v isual culture s . I am specif ic all y intere s ted in the technic al is sue s w hich ar is e in the de velopment of a projec t w hen dealing w ith mater iali t y, a proce s s through w hich I aim to ex plore m y ideas in any si tuation or env ironment . If obs tacle s c ome up, s o much the be t ter.

54

Ana MarĂ­a MillĂĄn Colombia

stro h b ach 1@ yah o o.c o m w w w. an am ar i am i l l an . i n f o

T hrough f ilm and video my work builds relations between historical and political knowledge, places, exclusion discourses and stor y telling strategies. I work with class strug gles, amateur culture, its mistakes and its possibilities, violence, with local groups, black holes in histor y, fragments of information, dysfunctional structures, social and political claims, and the tense relationship between the of f icial and the marginal, the collective and the individual, the feminine and the masculine. M y projects star t with a documentar y research and generally end with the construction of narrative situations in which the collaboration and negotiations with people are of great impor tance.

55

So Young Moon 078 8 9 92 9 6 19 n ot .t h at .yo u ng.m o o n@ g m a i l .c o m h a p p il y-n eve r.b l o g s p o t .c o.u k w w w. so-yo u ng- m o o n.c o m

I am of ten c aug ht b y the memor y trace s of f ered b y objec ts and s ome atmospher ic e vent of place s . T hen I move to think how the y become a meaning and how it replace s the abs enc e of dis appeared e vents . T his que s tion has dr i ven me to de sire inv iting par ticipants to the wor k . T he wor k s are enc ouraged to be interac ti vel y touched b y people . (wor k title /pic ture) S o Young Moon (2 01 2) â&#x20AC;&#x153; I pu t chops tick s on the palm of m y mother â&#x20AC;&#x2122;s y ou thâ&#x20AC;?

Mi xed media , ceramic s , croche ts 56

Sakura Moris m ai l @ saku ra- m o r i .c o m 0 78 10 53 23 78

57

Mohammad Namazi Iran

+ 44 ( 0 ) 77 17 2 8 3 8 17 m a il @m oha m m a d na m a z i .c o m w w w. m oh am m a d na m a z i .c o m

June 2 01 2 L ondon

Dear Mohammad, W hi te c an be indeed as ter r if y ing as mak ing ar t .

At number 9 F ocus Road y ou s aid there is a place c alled T he A mphigaller y w here any one c an enter, w r ite dow n a word then w ipe i t of f and leave . P eople are f ree to choos e any shade .

Now, as f ar as I c an rec all f rom our las t conver s ation Tue s day f rom 5 to 6 oâ&#x20AC;&#x2122;clock it â&#x20AC;&#x2122;s the onl y time I c an ge t there and open the door w here the note book is kept .

May be y ou c an thus f ind the trace .

Your s f ai thf ull y, Mohammad 58

Hyunhwa Oh Korea

+4 4 78 98 8 3 163 0 hyu n hw a11@ g m ai l .c o m

M y wor k , that is a que s tion of our k now ledge of the ex ter nal wor ld, c ons tantl y s timulate s v iewer â&#x20AC;&#x2122;s c ons ciousne s s .

59

Sarah Pager United Kingdom

+ 44 78 50 74 12 70 i n f o@sa ra h p a ger.c o m w w w. sa ra hp a ger.c o m

“ k nockou t ” plas ter 15 0 cm x 15 0 cm x 10 0 cm 60

Ana Catarina Pereira Por tugal

c atar i n a90 90 @ g m ai l .c o m w w w. an ac atar i n ap e re i ra.c o m

â&#x20AC;&#x2DC; Unspecif ic objec ts â&#x20AC;&#x2122;

61

Jess Piddock 0 771 60 8 9 8 2 2 je ssica . p id d o ck @ g m a i l .c o m w w w.j e sspi d d o ck .c o m

62

Jo Race j o an n e rac e @ h o tm ai l .c o m w w w.j o rac e.c o.u k

I have an intere s t in notions of display and in look ing f or, and ex per iencing ar t in the e ver y day. A lot of m y re s earch invol ve s photog raphic documentation of unsung creati v i t y ; that w hich is not intended as ar t bu t re veals f amiliar ar tis tic quali tie s . T his re s earch f or ms par t of m y prac tic e as well as f eeding back into how I c ons tr uc t m y ow n ar t wor k . T he image in this c atalog ue is f rom a s er ie s of unintended s culp ture s f ound in junk shops and antique s c entre s . I aim to produc e wor k that is ac c e s sible f or all ar t f ans .

63

Tom Railton United Kingdom

077631 774 15 tom ra il ton @ y a ho o.c o.u k w w w.tomra i l to n.c o m

P hy sic al or intellec tual, a mater ial â&#x20AC;&#x2122;s provenance pos s e s s e s an unk nowable exoticism . A w ish to dismantle or inter pre t this is ine v i table, if not the ex plicit aim: to e ven it ou t to share b y an al ter nati ve manif e s tation; a le veling of the onc e - exal ted as a f or m of under s tanding ; the uncommon as the c ommons . â&#x20AC;&#x2DC;K ingmaker â&#x20AC;&#x2122; 2012. (Composite digital web-sourced image).

An ongoing installation work and interpretation of a transformative aromatic vehicle, through formula, fabrication and application.

T he image is prov ided f or illus tration pur pos e s alone .

64

Michael Robinson m i rac al u m @ g m ai l .c o m h ttp : //w w w. m i ke - r i ve r s.c o m 0 4 4 0 78 7923 8 3 26

C omic Ins tallation T his wor k ex plore s the c ondi tions in w hich we produc e and addre s s phy sic al and dis cur si ve spac e; and in par t s er ve s to document the f undamental shif t I s ee in the value s that under lie the s e c ondi tions . T his is a shif t away f rom e s s entialis t and cor re spondenc e -bas ed epis temolog ie s (in other words the s earch f or a redemp ti ve tr u th) towards a mar ke tplac e of over lapping s y s tems that are temporall y, phy sic all y, and cul turall y loc ated w here the y are us ef ul.

65

Alejandro Salcedo Colombia

al e j a n dros a l c e d o b@ g m a i l .c o m

Seeing means associating. No image by itself makes complete sense, it is only when related with previous ones of the same concept, framed by words, that we associate it with and therefore construct an idea of the object obser ved.

Or when we associate it with inmediate former images to tr y and f ind coherence. T he eye is skin: it translates light into shapes for us to keep our body alive, reconstructing inside our senses perception of the outside.

66

Lene Shepherd

Nor way

0 7 759566569 l e n e kss@ h o tm ai l .c o m w w w. l e n e sh e p h e rd .c o.u k

67

Junghee Shin South Korea

s h in j u n g h ee7 10@ g m a i l .c o m + 44 74 2 75 4 3 12 4

“ I t ’s 10, 39 8 dollar s (3 4 6 4. 9 9 mile s) ” media- c -pr int size - 59 4x 8 41(mm) 68

Jarrod Sim Singapore

Jar ro d si m @ g m ai l .c o m Jar ro d si m .c o m +4 4 0 7 78 8 4 3 724 9

J ar rod S im is a L ondon-bas ed, S ingaporean ar tis t . His prac tic e play s w i th ideas of romanticism w i thin f ic tion , his tor y and memor ie s . S im is intr ig ued b y romanticismâ&#x20AC;&#x2122;s abili t y to adap t i ts charac ter is tic s throug hou t his tor y and i t â&#x20AC;&#x2122;s cur rent sig nif ic anc e in our moder n day s ocie t y.

Wor k ing w i th a var ie t y of mediums , he f inds hims elf s traddling be t ween the mov ing image and s ound .

Rec entl y, S im has been ex plor ing the meaning of romanticism w i thin popular cul ture, more specif ic all y, aspec ts of popular music . W i th an emphasis on s ong l y r ic s , he is look ing to cr i tique and challenge how we c onsume meaning f rom the s e l y r ic s , and c omment on i ts almos t super f luous ex is tenc e in s ocie t y. B eing a trained musician , S im create s his ow n music that bor row s trending elements f rom popular music , and approache s them in a way that would s onic all y and tex tuall y displac e the entire music al ex per ience .

If intere s ted in a c op y of his album , pleas e f eel f ree to e -mail him .

69

Aram Sim South Korea

ara ma ra ms i m @ go o g l em a i l .c o m w w w.aram s i m .c o m 074 2 950 6 5 2 7 / + 8 2 ( 0) 10 8 81 7036 1

70

Yu Hwa Son

Korea

+4 4 753 0 20 2275 +8 2 10 67 13 0 114 yu hw a. so n @ g m ai l .c o m

T he wor k is mainl y to paint objec ts that c ould be f ound in dail y li ve s to look ef f ec ti vel y more similar as an each objec t and the mater ial is onl y oil paints w i th s ome br ushe s and tur pentine on a c anvas , i t s ounds a painting bu t i t look s als o a s culp ture . T he s culp tural painting is ver y clos e to the painting bu t i t is not f ar f rom the s culp ture . T he wor k c ould be def ined as a three dimensional painting , and the lif e -size painting c ould be on a boundar y be t ween reali t y and illusion . In the his tor y of ar t , mos t of painting s have been painted on a f lat sur f ac e as a three dimensional spac e or por trai t e ven trompe -l â&#x20AC;&#x2122;oei is als o painted on a t wo dimensional sur f ac e . Howe ver, the lif e size painting pre tends as an objec t . Indeed, the y c an make a shadow i ts elf. E ven thoug h the y are painted, the y are touchable and dec ei v ing e y e s .

71

Nicky Teegan Ireland

0771 2 6514 4 3 nick y j e a n te e g a n@ g m a i l .c o m w w w. n ick y te e g a n.c o m

72

Yuma Tomiyasu

Japan

+4 4 7910 7513 95 (UK) +8 1 90 8 567 10 56 (Jap an ) yu m a- to m i yasu @ h o tm ai l .c o.j p w w w.yu m ato m i yasu .c o m

Gir l w i th Rainbow Tr iang le s (rooted), 2 01 2 , Oil, charc oal, and pencil on board, 15 x 10 x 0 . 5 cm 73

Maarten van den Bos The Netherlands

00 44 ( 0 ) 7 73 8 8 3 6 9 4 3 m a a r te n .va nd e nb os @ g m a i l .c o m w w w. m a a r tenv a nd enbos .nl

U sing f ound imager y and obs er vations f rom lif e m y wor k of f er s a v iew of the bod y through draw ing , painting and s culpture .

74

Lucy Whitford

England

luc y.w hitf ord@g mail.c om w w w.luc y w hitf ord .com

75

Alex Whittaker United Kingdom

a l ex a n de r _ whi t t a k e r @ ho t mai l.c o m 0 78 0 0 65 0 15 1

76

Won, Jaeyoun

Korean

+4 4 7 7 15 90 54 0 7 +8 2 10 623 1 60 0 3 i d e n ti ty7 15@ g m ai l .c o m i d e n ti ty7 15@ n ave r.c o m w w w.wo n j aeyo u n .c o m

‘Silence’ has its own area. Even though there are various aspects of the silence, I focus on the inner inconvenient empathy. Inconvenient silence involves complex sense, including dif f icult to f igure out clear interpretation, but the silence indirectly appears the uncomfor table feeling.

Fur thermore, the inconvenient silence could be an uncomfor table break time (but no one can actually have a BRE A K ) in a conversation. T he work named of ‘C UBE’ is continued in spite of in the midst of stopped and stucked conversation. T he works represent the unbearable situation that people have to keep our mouth close ( to shut).

77

Ashley YK Yeo Singaporean

ya kka . a sh ley @ g m a i l .c o m w w w.ye oa s hl ey.ne t

A shle y â&#x20AC;&#x2122;s draw ing s touch on ref lec tions of the nature of being and ex is ting .

T here had been an ex ploration on lightne s s and f rag ilit y, w hich e ventuall y led to s ome ex is tential ang s t and ref lec tions on the lang uage and limitations of draw ing .

Rec ent wor k s ex plore the idea of slow ne s s and wor k ing w i thin a cons tr uc t of creating depth and cur iosit y.

B or n in 19 9 0, A shle y â&#x20AC;&#x2122;s wor k s spans f rom draw ing , s culpture and paper cu t . S he has par ticipated in numerous ex hibitions and is the receipient of the L as alle Award of A c ademic E xcellence (2 011), W ins ton Oh Travel Award(2 010) and N A C s cholar ship (L oc al) in 2 010 .

78

Hyesoo You

Korea

Ch e m i sm 20 11@ yah o o.c o m h ttp : //hye so o yo u . b l o g sp o t.c o m 0 78 91 8 69 657

S oo was bor n in a small tow n c alled C heonan , w here in her childhood memor y had vas t f ield and r ich f ore s t . A s she g rew up she w i tne s s ed new building s and tube line s claiming lands c ape w hich c aus ed rapid change of the env ironment . T his sur real ex per ienc e later inf luenced her cur iosi t y and drew her at tention to var ious ur ban lands c ape s in ci tie s and s tor ie s behind of i t . H y e s oo began her re s earch on C ons tr uc ti v is t architec ture in Rus sia be t ween the 2 0 ’s and 5 0 ’s and bec ame ver y intere s ted in this ambi tious ur ban lands c ape, ‘u topian dream’, that e s tablished the bir th of C ommunism . S he s eek s the prac tic al impac t on ur ban env ironment b y s ocial movement , this is cr ucial in inf or ming her wor k .

E ach ti tle of her wor k s repre s ents s tatus of her mind and f ai th in G od . S he has bec ome a C hr is tian and ac c ep ted J e sus C hr is t as her s av iour in 2 0 0 9, w hich helped her to f ind hope and value in her lif e w i th J e sus .

79

Joel Yuen Singapore

jo e l y ue n 8 3 @ g m a i l .c o m jo e l y ue n .c o m

I recreate Holl y wood s ci-f i /f antas y f ilm s tills throug h the e y e s of a C hine s e f an boy. M y wor k ing me thods draw similar i tie s to ear l y 2 0 th centur y special ef f ec ts produc tion . P u t toge ther, m y wor k s addre s s is sue s of the male identit y, nos talg ia , pirac y and the inf luence of popular cul ture today.

80

Xiaofei Yue 0 74 0 28 0 113 3 m e rc yu e @ h o tm ai l .c o m

M y work is in response to the cultural diversit y that I experienced in London. B y rereading fables,I am tr ying to question the education and propaganda I received in China.

I was bor n in 19 8 6 in a generation ref er red to as the “C hine s e pos t 8 0 ’s ”; the f ir s t generation to be rais ed under the “one child polic y ” and tremendous s ocial change s of “ref or m and opening ” in the 19 8 0 s . At s chool, the educ ation we rec ei ved had been inf luenc ed b y lef tis t ideolog ie s inher i ted f rom the C ul tural Re volu tion , meanw hile as the pre valenc e of the Inter ne t , s cholar s introduc ed human r ig hts is sue s and democrac y were ex pos ed to us as well. S o per haps we all had a s omew hat skep tic al spir i t deep in our hear ts .W hen I c ame to L ondon , this skep tic al spir i t was s omehow ac ti vated and exag gerated . T he wor k was painted on t wo dif f erent lay er s of g las s w hich s y mbolized t wo dif f erent ref lec tions of the wor ld in m y mind .

81

Saba Zavarei S a b a . zava re i @ g m a i l .c o m w w w. sa b a z av a re i .c o m

82

Xingyue Zhang China

0 7513 0 28 8 4 5 x i n g yu e ar t@ g m ai l .c o m x i n g yu ez h an g.c o m

Fantas y L ands c ape 2 0 0cm x 15 0cm oil on linen 83

MA GRAPHIC DESIGN COMMUNICATION 85

85

André Arruda Brazil

m e @a n dre- a r r u d a .c o m an dre -a rru d a .c o m

A ndré A r r uda is a Brazilian g raphic de sig ner wor k ing w ith v ideo since 2 0 0 0 . A f ter 2 0 0 4 he began ex plor ing v ideo projec tion on clos ed and c ontrolled env ironments such as clubs , c oncer ts and e vents in general.

In his Mas ter ’s projec t , A ndré is intere s ted in mer g ing public lig hting , mov ing lights , v ideo -projec tion w ith mo tion s ensing inpu t de v ice s in the cit y env ironment .

86

Yue Bi (Leila)

China

+4 4 793 8 564 90 6 l e i l a922@ 126.c o m h ttp : //l e i l a- b i .tu m b l r.c o m /

Yueâ&#x20AC;&#x2122;s re s earch f ocus e s upon how people w i th d y slex ia s tore and re tr ie ve inf or mation af ter enc oding in their shor t- ter m memor y. T he idea in re spons e is to create a f lex ible v isual s tr uc ture to c ontain the memor y that is eas y to s tore and rapid to re tr ie ve . P eople w i th d y slex ia al thoug h have problems w ith shor t-ter m memor y, bu t the y do have ver y good v isual s ens e s . T he projec t idea w ill us e v isual s tr uc ture s and g raphic think ing to s ol ve this problem .

87

Emmanuelle Boulet France

+ 33 665 6 5 05 8 7 emm a n ue l l e.b o u l et @ ho t m a i l .fr

S elf- e s teem of independent women : W hat are the common s treng ths and weak ne s s e s of s elfe s teem f or women w ho w ish to be independent ?

88

Zhenjie Cai

China

+4 4 7 7 154 3 50 95 to b i as.c ai . sh @ g m ai l .c o m h ttp : //to b i as- c ai . b l o g sp o t.c o.u k

C i t y R hy thm and Mental S pac e: P eople as main us er s of the ci t y, bec ome an impor tant par t of the spac e .T heref ore, w hen talk ing abou t the de velopment of the ci t y, people c annot be neg lec ted, e speciall y their mental spac e . A s Mile s s tate s , the ci t y is the ref lec tion and ex per ienc e of all the people w i thin i t .

T he ps y cholog ic al c ondi tions of ur ban people are bas ed upon the impac ts f rom the ci t y. A s a re sul t , the ci t y r hy thm and mental spac e needs at tention . S immel als o ask s , how c an the indi v idual adap t to the de velopment of the ci t y w i thin s ocial s y s tems . From this , i would like to addre s s how to re spond to peopleâ&#x20AC;&#x2122;s an x ie t y and tension f rom the ci t y spac e using the f ield of v ision . A re there any ci tie s that g i ve us the f eeling w hich c onve y s a non - s ens e of belong ing? How doe s the relationship to the ci t y change w hen the v ision doe s not include landmar k s?

89

Kai Chen China

+ 44 74 1479 4 5 2 0 ck vde sig n @ g m a i l .c o m ht t p : // w w w.beha nc e.net / k a i ch en

T his wor k is abou t los t identit y. How dif f erent points of v iew change our under s tanding . Keeping C ur iosit y.

A nal y sis of sing le i tems b y touch , sight , tas te c an br ing new per spec ti ve and perc ep tions and under s tanding s .

C onsideration of bias and s tereot y pe w ithin this .

90

Andreea Dumuta

Romania

+4 4 75653 9690 0 d u m u ta_ an d re e a@ yah o o.c o m w w w.c argo c o l l e c ti ve.c o m /an d re e ad u m u ta

I like to draw m y inspiration f rom human behav ior and wor k in the area of s ocial de sig n . W hile using dif f erent technique s and media to c ommunic ate m y ideas , I am tr y ing to show how g raphic de sig n c an c ontr ibu te towards improv ing our e ver y day lif e .

F or m y f inal projec t , I chos e to ex plore way s w i th w hich g raphic de sig n c an f acilitate s ens or y ex per imentation in a child â&#x20AC;&#x2122;s ins ti tu tionalized env ironment . M y ou tc ome s aim to show how rede sig ning c omponent f or ms in this env ironment c an prov ide the children w i th meaning f ul le s s ons and als o help them to adap t to this plac e be t ter.

C r i tic al to this de sig n proc e s s is f inding way s to embed the dif f erent s tage s of child de velopment into the s olu tions .

91

Melisa DuprĂŠ Spain

+ 44 75356 7 13 6 9 m e l isa dupre @ g m a i l .c o m

T hroughou t the Mas ter s I have ex plored the role of the de sig ner and the de velopment of the creati ve proce s s f ocusing on the f ields of Human B ehav iour and Interac ti ve De sig n . T he main concer n of m y projec t is to an encourage empathe tic at titude among people f ocusing on the dif f erence s of r hy thm and speed that citizens ex per ience in public space s in the me tropolis of L ondon .

92

Jenna Edgar Nor thern Ireland

+4 4 7 725 8 78 4 65 tal k@ j e n n ae d e si g n .c o.u k w w w.j e n n ae d e si g n .c o.u k

Ur ban interac tion projec t f or y oung people in Br i x ton to de sig n and create bird boxe s .

T he Bird B ox Projec t has been created in as s ociation w i th Transi tion Tow n Br i x ton wor k ing along side their goals towards a more env ironmentall y aware and sus tainable Br i x ton . Young people are inv i ted to at tend wor k shops to create their ow n bird boxe s using rec y cled mater ials f rom their home s . E ver y child â&#x20AC;&#x2122;s creation is as unique as the y are and c an be us ed not onl y to enc ourage an intere s t in rec y cling and the natural wor ld around them , bu t als o as a tool f or shar ing and interac tion . www.birdboxbuild.co.uk 93

Jingxian Gao China

jave n g a o@ g m a i l .c o m

We li ve in an env ironment f ull of machine s and s y s tems w hich c ontains a mas s of v isible or inv isible s cientif ic lang uage .

M y projec t is inspired b y me trolog y and ex plore s w hat data is and how to document it f rom dif f erent per spec ti ve s using var ious v isual me thods .

94

Clara Gotelli Argentina

cl ar i go te l l i @ h o tm ai l .c o m cl ar i i n l o n d o n . b l o g sp o t.c o m

I am a g raphic de sig ner w ho love s thing s that move m y emotions . I have alway s been intere s ted in the c omplex i t y of the human mind . L i v ing in moder n s ocie t y and being in c ons tant interac tion w i th other s make s me cur ious , this is w hy I am ex plor ing ; how and w hy we ac t the way we do .

In m y wor k I c ombine f ig uration and abs trac tion . I like imper f ec t illus tration , c ollage, wor k ing over many lay er s . I ack now ledge this is the (a) way to show how dif f erent k ind of thing s , w he ther the y are nic e or not , create uniquene s s .

T hroug h m y nar rati ve s I tr y to de s cr ibe m y ex per ienc e s of human interac tions and create a dialog ue w i th people w ho share similar que s tions .

95

Ana-Maria Grigoriu Romania

+ 44 7 933 9 9 4 0 4 9 an a ma ria . g r i go r i u l @ g m a i l .c om b e h a n c e. ne t / a na m a r i a g r i go ri u

I have always been fascinated by the universe of childhood; its immense energ y and limitless imagination. M y project addresses the concept of consumerism for children, par ticularly the relation between them and objects, in terms of forming and evolving the Ego. Objects have been seen as E x tended Selves, playing an impor tant role in a child’s life.

Objects considered in this way are ‘transactional’ tr ying to substitute the deprivation from the mother protection, also known as the securit y blanket. Freud stated that play is the royal road to the understanding of the infantile ego’s ef for ts and synthesis. M y project consists of an interactive installation using illustration and graphic elements where children can play, create, destroy and master objects as a way of letting go of frustrations while pushing the limits of the pleasure principle.

96

Sarah Halls

United Kingdom

+4 4 78 0 5727 14 2 sarah h al l s8 2@ h o tm ai l .c o m h e l l o - sarah h .tu m b l r.c o m

Sarah Halls is an illustrator and graphic designer currently living in London.

Sarah has been researching the abstract and illusive notion of identity. She is interested in the way identity is formed including the different personas we adopt. Par t of this is a fascination with the way we identif y others and interact.

Sarah has been using illustration and for the moment, pattern making, as her main tool to explore her complex and abstract concept. Her work is forever changing and evolving, she loves to research and develop concepts and is interested in ar t direction and visual communication.

Sarah is predominantly a print based designer, but her diverse applied ar ts background allows her to draw on a broad range of skills and she enjoys the inter disciplinar y nature of creativity, engaging with ideas and developing outcomes.

97

Yuntao Huang China

+ 44 7 42 9 3 5 3 5 9 8 12 4 752 8 8 0@ q q .c o m w w w.y un t ao hu a ng.c o m

I believe ‘ Ever y thing is Graphic’. I am alway s interes ted in the relationship bet ween s tatic things in the real wor ld and man made produc ts in t wo-dimensional space. T herefore, to explore this v iewpoint my wor k aims to manipulate these elements within their or iginal and real objec t in creati ve and new way s . To achieve that , I use graphic elements in 3 -dimensional for ms to expres s 2-dimensional languages .

T hus , the ter m ‘graphic’ is not onl y the literal meaning , but could be ever y where in our dail y life.

98

Chuan Jia (Trajan) China

+4 4 74 13 60 7 78 4 Traj an .j i a@ m e.c o m h ttp : //j i a113 4 54 74.wo rd p re ss.c o m

At las t we c an’t pre s er ve s ome aspec ts of c ommuni t y in the wor ld, b y building a v i v id ‘monument ’ to repre s ent the indi v idual and c ollec ti ve memor y of people’s cul ture . I am f ocusing upon the c ommuni t y of C hine s e f ac tor y wor ker s .

T he phy sic al par t of the f ac tor y c ommuni t y has been trans f or med into a collec ti ve memor y through dif f erent v isual s y mbols and lang uage .

B ec aus e the C hine s e f ac tor y c ommuni t y c ontinue s to be de s tro y ed phy sic all y, we c an’t c omple tel y protec t all of i ts elements , howe ver, we c ould per s e vere the intang ible aspec ts of c ollec ti ve memor y throug h dif f erent de sig n me thods . In this wor k I us e draw ing to tell y ou the s tor y of c ommunit y member s ’ memor y and sug ge s t a s y s tem f or pre s er v ing collec ti ve memor y f or the f u ture .

99

Han-Yin Lee Taiwan

k at h e rin e 75 18 @ y a ho o.c o m .tw

Dental plas ter is usuall y us ed as a way of cor rec ting def ec ts and imper f ec tion . We c an take this and consider i t more abs trac t way s . W hat happens if an objec t is be t ter def ined b y w hat is lef t behind rather than w hat is w ithin .

100

Hanna Lee South-Korea

+4 4 7 5572610 0 2 h an l u n e @ h o tm ai l .c o m c argo c o l l e c ti ve.c o m /h an n al e e

His tor ic al places exis t as an ev idence of the time beyond its use and aes thetic s . T hese his tor ic al places preser ve and over lap endles s layer s of time therefore create a mix ture of time that has been there and time at present T his is the value of the his tor ic al buildings which dis tinguishes them f rom moder n architec ture. People are of ten able to trace the time back through the signs of his tor ic al buildings . In fac t , his tor ic al buildings f inall y achieve an â&#x20AC;&#x2DC;auraâ&#x20AC;&#x2122; as an ar t wor k with aes thetic as well as exhibitionis t values no mat ter what its or iginal value, use and f unc tion. It becomes impor tant to under s tand how the intangible, even spir itual values and s tor ies of the his tor ic al building and their preser ved layer s and traces of time could be v isualised and the meaning they would have.

101

Cheng-Hao Lee Taiwan

+ 44 78 2 1 8 3 7 72 4 ch e n g h a o2 17@ g m a i l .c o m ch e n g h a ol e e.c o m

W hat if dig i tal inf or mation has the charac ter is tic of phy sic al mater ial that w ill dec ay b y time? How w ill it change our way s of consuming dail y inf or mation?

T he inspiration of this projec t is the tor n up pos ter on the s tree t ; to consider i t not jus t as a broken image bu t as a f rag ment of ou tdated inf or mation .

102

Yi Te Lin (Eddie) Taiwan

+4 4 74 3 5120 115/ +8 8 6 93 8 0 0 23 12 e d d i e u kl i n @ g m ai l .c o m h ttp : //e d d i e u k .wo rd p re ss.c o m

T he projec t â&#x20AC;&#x153; Illusion and Reali t y â&#x20AC;? repre s ents how f ashion photog raphy af f ec ts the behav iour of c onsumer s . Fashion photog raphy speak s abou t both the reali t y and illusion of gar ments and of bodie s , and in dec ons tr uc ting how the s e elements are or ganized and pre s ented; a new lang uage and s y s tem emer ge s f rom the photog raphic wor k .

G ar ments as de s cr ibed b y f ashion photog raphy has c ome to mean s ome thing more than jus t their f unc tion . Fashion photog raphy ex pre s s e s the me s s age of the illusion image, value, s tatus , not the real gar ment . C onsumer s are at trac ted phy sic all y and emotionall y to the s e beau tif ul pic ture s to create their ow n reali t y wor ld .

103

Hai Yi Li China

+ 44 78 765 3 3 3 9 0 h t t p : // l a u ra l i 4 17.wo rd pre s s .c o m /

Hai Y i L i was g raduated f rom L oughborough Uni ver sit y on B S c Er gonomic s in 2 011 and cur rentl y s tud y ing M A Graphic De sig n C ommunic ation in C hels ea C ollege of A r ts and De sig n , Uni ver si t y of the A r ts L ondon . S he has been s elec ted as a volunteer f or 2 0 0 8 B eijing Ol y mpic G ame s and as sis ted w ith G e t in L ouder A r t ex hibition in B eijing .

104

Jingya Lu China

+4 4 0 758 4 0 4 753 3 j i n g yal u . l d @ g m ai l .c o m h ttp : //c argo c o l l e c ti ve.c o m /j i n g yal u

Jinny is an illus trator, g raphic de sig ner and exc ellent chef.

S he has a bab y f ac e w hich is a big haras sment in her lif e .

S he like s draw ing and tak ing photos , inve s tigating mi x media to ex pre s s her s elf.

105

Daniel Orlando Martinez United States of America d m a r t in e @ r i s d .ed u

Image s have become a major component of public communic ation . A s our culture transitions f rom pr int to s creen , we c an s ee how much s ens or y inf or mation has bec ome imbedded in the way we make and decode meaning . M y projec t is abou t ex plor ing politic al image s and their relationship to new s headline s . T his branch of new s has created its ow n genre of imager y and I am cur ious to ex plore how that af f ec ts the way we read and under s tand poli tic al s tor ie s .

106

Xiaojun Ouyang China

+4 4 74 2910 74 4 8 l o n g 8 8 912@ q q .c o m sh aw n l o o n g.c o m

â&#x20AC;&#x153; E ver y objec t tells a s tor y, if y ou k now how to read i t â&#x20AC;&#x153; Henr y F ord . A s humans the c ommunic ation be t ween people relie s on the ex ter nal wor ld and theref ore is alway s a point of cur iosi t y and change . We reg ular l y f ac e limi tations in c ommunic ations and as a c ons equenc e, i t is eas y to rec ei ve dif f erent ideas or misunder s tand the inf or mation f rom other s . To ge t a be t ter under s tanding of how people c ommunic ate is m y pur pos e of this projec t .

I am intere s ted in how humans c ommunic ate as s ocie t y e vol ve s . How c an the ex ploration of limi ts w i thin peopleâ&#x20AC;&#x2122;s abili t y to ex pre s s and rec ei ve inf or mation bec ome the basis f or lang uage de velopment .

107

Chen Yu Pan Taiwan

+ 44 78 663 0 4 8 13 s h owe r@gm a i l .c o m ca rgoc ol l e c t i ve.c o m / che ny u pan

Subculture can look like an organic form of cultural hybridity, and can reflect more of regional and historical information. This can provide critical viewpoints for the graphic designer today.

I have taken garment â&#x20AC;&#x2DC;patchesâ&#x20AC;&#x2122; as a medium for representing the visual style of subculture groups. Each patch shown in this work represents a fictional subcultural group originated by the interflowing of different regional cultures.

108

Lorraine PastrĂŠ France

+4 4 753 0 1578 18 l o r rai n e p astre @ g m ai l .c o m w w w. l o r rai n e p astre.c o m

Title: How the Jasmine blossoms Shaping political awareness on the Arab Spring through the interpretation of a Tunisian blog.

Beyond an idealistic perspective, how do I understand the Tunisianâ&#x20AC;&#x2122;s search for democracy via new uses of the Internet and by interacting with the blog of a young Tunisian woman, Lina Ben Mhenni.

109

Despo Cypriot

00 357965 8 9 8 6 5 got h a sa s6 @ ho t m a i l .c o m ap orce l a in hea r t .wo rd pre s s .c o m / v i m eo.c o m /des p o i n ap ro ko p i o u

Ar t of noises Our listening is limited to what we want to hear. Most of ten we ignore hearing the outside worldâ&#x20AC;&#x2122;s nature of music.

Maybe our ears adjust to the technicality of a sound, to a cer tain melody that pleases our ears. If sound pleases our ears, noise can too with exercise and deep listening. How then can we learn to appreciate all sounds? My journey of Graphic Design and Communications began by introducing personal processes such as craf t based manual tools that map sound. The journey then grew to introducing silence as an unstable pattern, where sounds are ver y minimal and can directly break a pattern. These ideas were explored by using animation shor ts as a better communication for audiences.

110

Samia Rajar sam i araj ar @ h o tm ai l .c o m sam i araj ar.tu m b l r.c o m

“ E ver y road c an s y mbolize the road of lif e and any walk a pilg r image” Mirc ea Eliade T he spir i tual lif e and wor ldl y ex is tenc e are perc ei ved as t wo s eparate s tate s of being w hich usuall y do not coale s ce . T his projec t realis ation create s space f or que s tioning the f unc tion of a s acred thre shold in w idening or br idg ing the gap be t ween wor ldl y and spir i tual realms .

T he de sig n proc e s s make s us e of s ound and spac e as pr imar y technique s f or inve s tigating the inter play be t ween s acred and prof ane . A s er ie s of maps ti tled, “01 Mile Pilg r image” prov ide s documentation of a per s onal jour ne y under taken as an ac t of c ontemplation .

111

Cong Sang China

0758 8 70 5 3 5 0 s a n g sa n g 10 5 @ ho t m a i l .c o m ht t p : // cong s a ng b l o g.wo rd p res s .c o m /

C ong S ang is a g raphic de sig ner w ho is ex plor ing if contemporar y de sig n me thodolog ie s c an re v i ve tradi tional C hine s e ink painting in order to f ill the gap be t ween C hine s e traditional v isual lang uage and the contemporar y ar t /de sig n prac tic e s . Her projec t ex per iments w ith equi valent ideas and technique s of chine s e ink painting in dig ital f or ms . In her f inal wor k , she w ill us e the s e technique s to tr y to repre s ent a specif ic cr itic al env ironmental is sue w hich rec entl y happened in C hina , in order to br ing rele vant connec tions be t ween f or m and cul tural content .

112

Gaelle Sapaly

France

+4 4 7518 514 4 3 1 g ae l l e. sap al y@ g m ai l .c o m h ttp : //g ae l l e - sap al y.c o m

At i ts hig he s t le vel, m y re s earch is abou t intercul tural c ommunic ation that c an be achie ved throug h de sig n , in re spons e to the g row ing ex per ienc e of displacing the meaning of f amiliar objec ts b y the chang ing cul tural c ontex ts . B as ed on the J apane s e s ocial c onc ep ts of uchi (inside) and s oto (ou tside) w hich denote s a deeper meaning of ‘s elf ’ and ‘s ocie t y ’, w hereb y the lat ter is alway s paramount , the projec t anal y s e s i ts af f ec t on de sig ns agains t moder n de sig n theor y. T his is ex plored in the unique f or ms of J apane s e pack ag ing and tradi tional archi tec ture and the parallel be t ween the s e prac tic e s in the us e of lay er s as a f or m of cul tural c ommunic ation to w rap objec ts , spac e and s ocie t y.

113

Rachel Sham Hong Kong

+ 44 7768 9 9 2 2 2 6 ra c sh a m @ g m a i l .c o m ht t p : // ra c s ha m .bl o g s po t .c o.uk/

Rachel S ham belie ve s that e ver y thing happens in lif e is all abou t a jour ne y not de s tination . We are aware of that if we travel on the Under g round e ver y day at diz z y ing speeds , we are increasingl y unaware of w hat is happening above the g round be t ween t wo s tations . W here exac tl y have we been - w hich space s? Rachel u tilize s her ow n f oots tep(5 6cm) as a measurement of the s c ale of map. B y using walk ing as a medium , she inv ite s the v iewer s to s ee a dif f erent lands c ape w hich sur rounds them . I t inspire s a per s onal reading of movements and ex plorations of the env ironment . T he s e aim to increas e the awarene s s to the sur rounding s and encourage people appreciate e ver y tiny li t tle thing around us .

114

Yi Ju Tsai Taiwan

n u m b e r 0 74 268 15292 al ai n 28 27@ g m ai l .c o m h ttp : //c argo c o l l e c ti ve.c o m /Yi Ju Tsai

T hroug h the de velopment of technolog y, human bodie s are g raduall y replac ed in s ome par ts of our dail y lif e . A s a g raphic de sig n s tudent , I s tar ted to f ocus on the role of the bod y in the proc e s s of reading . W i th the exc ep tion of tur ning the page, click ing the mous e, how c an the reader â&#x20AC;&#x2122;s bod y ex is t in the reading proc e s s? W hat are the other op tions? T his re s earch aims to ex plore way s of inv i ting the reader â&#x20AC;&#x2122;s bod y to join the reading proc e s s , and to de velop new and dif f erent reading ex per ienc e s .

115

Sofiya Urumova Bulgaria

+ 44 7762 6 8 5 10 8 u rumova so ph@ g m a i l .c o m u rsof sp ot .c o.c c

Nar rati ve, S pace & T ime are the main dr i ver s f or m y prac tic e . In m y wor k I aim to def ine the relationship be t ween pr i vate & public space s and their interac tion w i th each other. T he ke y is sue s rais ed concer n the breach of boundar ie s be t ween the s e space s , their blending toge ther and the repercus sions of such ac tions . T he idea of pr i vate & public space s becoming one – a ‘ transparent ’ spac e – g i ve s room f or many ex per imentations , w ithin w hich the nar rati ve s tr uc ture ac ts as the glue, keeping all the elements toge ther.

116

Xi Wang China

+4 4 0 7 74 21573 0 1 i r i s y. f.w an g @ g m ai l .c o m h ttp : //w w w. b e h an c e. n e t/i r i s y

In the wave of a ne t wor ked s ocie t y and the hig h technolog ic al trans f or mations of the pas t dec ade, s ocial c ommunic ations and human behav iour are being challenged to adap t to new models of mul tidimensional interac ti v it y.

T he way we perc ei ve our env ironments and the way we make our decisions are now ver y dif f erent , s trong l y shaped b y s y s tems of new media and par ticipation w i th online s ocial ne t wor k s . A s humans , our per s onali tie s and emotions are c ons tantl y s tr ug g ling be t ween new s ocial at tr ibu te s and more natural proper tie s . New media is chang ing e ver y par t of c og ni tion and human interac tions .

T he s e ef f ec ts are long las ting and are now redef ining our per s onalitie s and identitie s .

117

Xiaofei Wang China

+ 0 74 2 74 2 9 4 2 9 i a mm iss viv i a n@ ho t m a i l .c o m w w w. ia m m i s s v i v i a n.wi x .c o m / w an 1 1 326 1 34

M y work is about packaging. It cer tainly seems that packaging design makes an appearance in ever y aspect of our modern daily lives. From the products we can purchase from supermarket to representing ourselves, we need â&#x20AC;&#x153;packaging designâ&#x20AC;? to protect products and glorif y their values. But we must also consider the environment. How can packaging design waste less, without driving all design solutions into a ver y minimal form of aesthetic and form?

118

Yingping Wu

China

0 74 27 4 4 0 8 10 e l l e ki d 20 0 3 @ g m ai l .c o m h ttp : //vi vi d w u .wo rd p re ss.c o m

T he aim of m y projec t is to help people under s tand how simplici t y and minimalism in de sig n c an hig hlig ht our ex per ienc e of the natural wor ld around us .

T he shape w i thou t dec oration (Naked-shape) has a s trong re s onanc e that relate s w i th w hi te and emp tine s s .

W hi te paper as a f or m , c an be a re spons e to the emp tine s s and c an s timulate human creati v i t y and c ommunic ation throug h the notion of abs enc e . I have tr ied to ex plore the dif f erent pos sibili tie s of w hi te in paper as a f or m and at temp t to c onve y the chang ing perc ep tions and relationships be t ween w hi te and paper.

119

Cheng-Han Wu Taiwan

+ 44 74 2 8 2 0 2 72 3 u sa g i0 0 4@ g m a i l .c o m ch e n g h a nw u .c o m

W hat doe s time look like? S ome may ans wer that time is the number s show n on a w r is t watch . Bu t per haps it isnâ&#x20AC;&#x2122;t jus t this . I t is s ome thing s trongl y connec ted to emotions and ex per ience; s ome thing we c annot s ee; s ome thing we want to c atch bu t we are unable to. S o, w hat is time? How c an we de s cr ibe this be y ond s cientif ic ter ms? In C hengHan Wu â&#x20AC;&#x2122;s recent projec t , he que s tions the conventional way s people under s tand time and aims to v isualize more per s onal perceptions of time e speciall y w hen at the moment w hen we are under pre s sure s of time .

120

Ying Zhang

China

+4 4 (0 ) 74 14 8 15158 evaz h an g 1217@ g m ai l .c o m h ttp : //yi n g z h an g 1217. b l o g sp o t.c o.u k/

Britain was once a colonial empire of the past, China was an old feudal ancient civilization. Now one is a Western countr y, highly civilized and democratic; the other is the biggest Eastern countr y with rapid economic development and a communist dictatorship. Both countries have changing similarities and differences and now need to have a better perception each other.

As a Chinese student studying visual communication in London, I am ver y interested in the cultural differences between these two countries and how cultural identity can be signified. In my project, I use different cultural visual elements to describe how people can communicate their own identity in relation to histor y and culture.

Based on the Western theories of â&#x20AC;&#x2DC;Orientalismâ&#x20AC;&#x2122; I ex tracted and arranged different aspects of restaurant /shop architecture and signs from Chinatown, and combined these with different drawing techniques and collage forms as a way to talk about the changing identity of modern China.

121

Zhan Zhang China

+ 447741 78 75 00 z h a n g z h a n m u m u hu g @ g m a i l .c o m w w w. z h a n g z ha n.o rg

T i tle: the pos sibilitie s of time A wor k talk ing abou t the connec tion be t ween time and the mater iali t y of objec ts .

122

Yi Zou China

+4 4 74 274 4 973 4 ti an ti an 198 963 @ h o tm ai l .c o m

T i tle: the beau t y of loneline s s A projec t wor k w hich tr ie s to dis c over w hich par ts of objec ts are eas y to ig nore . E x plor ing the relationship be t ween s olitude and beau t y.

123

MA INTERIOR SPATIAL DESIGN 125

Sirintra Aursirisub (Kat) Thailand

+ 4 4 791 774 78 5 3 au r. sirin t ra@ y a ho o.c o.u k ht t p : / /sirin t ra m a i s d .b l o g s p ot.c o.uk

M y interest in the relationship between sound and space has led me to research into the notion of ‘seeing sound and hearing space’. I chose the upright piano as my architectural site. In my research, I will explore the interrelationship between music and interior architectural design by using sound and space as mediums, developing ‘the duet of sound and space’. B y this I mean, spaces as tools to sculpt sounds when the ref lection, refraction and absorption of sounds take place, allowing us to hear the spaces, creating acoustic territories, and thus seeing sound.

126

Heymi An

South Korea

+4 4 74 273 4 98 70 h eym i . an 1@ g m ai l .c o m

A ma zing l y, the ancient L ondon Wall is s till sur v i v ing in the middle of moder n ci t y e ven thoug h i t ex is ts as an is olated and onl y a s er ie s of f rag mented wall. W hen y ou v isi t C ooper ’s Row s tree t , y ou w ill realize that f rag menting r uined wall w hich is enclos ed b y sur rounding building s has been f ound inad ver tentl y. T he wall was buil t b y the Roman and s tre tched f or 2 mile s .

T his projec t f ocus e s on how to open up a new relationship be t ween the undere s timated wall and i ts neig hbor ing area to rec over and v i talize i ts value . In order to do that , I have approached w i th the notion of ‘crack ’ as a ambi tious s trateg y in ter ms of ‘pr ising open’ w hich allowed to make inv isible wall slig htl y more v isible . Fur ther more, I propos ed the de sig n manual to the plac e w here is related to the L ondon Wall trail. T he s c at tered wall c ould be c onnec ted toge ther w i thin c ommon de sig n theme and succe s s f ul s cheme .

127

Irene Artemi

United Kingdom/Cypriot + 44 771 61 8 8 6 4 9 i rin ia r te mi @ ho t m a i l .c o m

C an architec ture be concei ved as a per f or mati ve space?

Is each space bas ed on a nar rati veâ&#x20AC;&#x2122;s s tor y?

T he c oncept of m y projec t is T heatr ic alit y. T he idea of being able to pas s emotions through a theatr ic al space and peopleâ&#x20AC;&#x2122;s reac tions .

W i th ref erence to P alimpe s t P ublic Hous e ex per iment in the B ar bic an , I obs er ved how a space c an be per f or mati ve and ex per ienced dif f erentl y, w hen s een in dif f erent bod y posi tions . T hroug h the s tud y of bod y positions and the emotions it br ing s , I want to create small inter ventions that w ill g i ve dif f erent emotional f eeling s .

T he inter ventions I de sig ned are inf luenced b y A lice in Wonder land, a s tor y bas ed on emotions .

W hat I am seeking to design is a continuous f low of inter ventions which br ing a sense of theatr ic alit y to the per son exper iencing them, a new meaning to per for mance; one where the v isitor is tak ing an ac ti ve par t (not an ac tor) and an inter vention /per for mance where a pas ser by per for ms (by speaking) or exper ience (by lis tening).

128

Itohan Barlow Nigeria

+4 4 754 54 4 8 292 i to h an . b ar l o w @ g m ai l .c o m l agosu m b re l l ac i ty. b l o g sp o t.c o m

I tohan holds an under g raduate deg ree in A rchi tec ture .

S he is intere s ted in the inf or mal ec onom y in Niger ia and the de sig n prov isions and archi tec tural inc enti ve s being us ed to c ater f or roadside trader s . Her M A projec t is f ocus ed on the de sig n of f ur ni ture and umbrella points f or trader s w ho s ell their goods under neath umbrellas on the roadside s in L agos . T he projec t is bas ed on creating mul ti-pur pos e s elf-as s embled f ur ni ture w hich is eas y to transpor t and s e t up.

129

Laura Jane Blenkinsop United Kingdom

+ 44 759526 0 9 2 9 la ura j a n e b l e nk i ns o p @ g m a i l .c o m w w w. l a uraj a neb l enk i ns o p.c o m

M y wor k take s the f or m of a s er ie s of s tudie s in w hich I adjus t , re s tore and document dif f erent space s w ithin the college .

T his wor k is recorded using tex t , f ilm and photog raphy.

T he s e documents f or m the basis of an ongoing archi val projec t that include s the c ollec tion and ar rangement of objec ts f ound w i thin the space . T he archi ve is then pre s ented in a speciall y cons tr uc ted display c as e s .

T hrough this proce s s of alter ing , recording , mapping and display I aim to ex plore the over laps and tensions be t ween curation , documentation and ex hibi tion de sig n .

130

Sirine Chaker +4 4 7 769517 18 0 si r i n e.ch ake r @ g m ai l .c o m

For a place to exist, it must be retained by edges. When this edge is shared by two places, it becomes an in-between space. My research is focused on that area that separates/ connects two distinct realms. What is the impor tance of that transitional space? And how does it influence the onlooker â&#x20AC;&#x2122;s perception of the perceived space?

The device shown in the picture explores that in-between space, and expands it. It jux taposes several par ts of one space in a controlled manner. The different possible combinations respectively create a series of new spaces within the device. This combination of spaces then creates several options of narratives for the existing surrounding.

Correspondingly, my practice consists of analyzing an existing in-between space, a long and narrow alley which cuts through a block of buildings to connect two streets, St. Johnâ&#x20AC;&#x2122;s Lane and St. John Street. The aim is emphasize the connective quality on that space, amplif ying the experience of the person passing through.

131

Yi-Wei Chen Taiwan

+ 44 8 64 6 18 3 6 6 p at rick we i 6 9 @ g m a i l .c o m

T he projec t is bas ed on the relationship be t ween plants , book s , and space . T he or ig inal concepts are f rom t wo book s , “ Too L oud A S olitude” and “ Ten B ook s on A rchi tec ture .” T he pur pos e of this s tud y is tr y ing to re veal dif f erent connec tions be t ween the s e three elements in order to create a s er ie s of de velopment wor k . T he f inal ex per imental wor k us e s g raf ts to c ombine dif f erent specie s of plants in order to de sig n a natural s tr uc ture w i thin the C hels ea P hy sic G arden .

132

Douzeni Eleni Dimitra

Greece

+4 4 7 74 217 1116 d o u ze n i m i l e n a@ g m ai l .c o m

T he pr imar y s chool is the f ir s t wor k ing env ironment children w ill e ver ex per ienc e and is the plac e w here the y create their f ir s t s chool lif e memor ie s . T heref ore I decided to s tud y in dep th the ‘C hildren’s L ear ning Env ironment ’ on m y mis sion to de sig n the per f ec t spac e f or children .

T he prac tic al par t of m y projec t is the rede sig n of an ex is ting public librar y building , trans f or ming i t into a pr imar y s chool w i th a children’s librar y. W hat is reall y impor tant f or me is to keep a c onnec tion be t ween the building ’s old and new us e, and to create a unique env ironment w hich w ill be remembered b y all; s tudents , teacher s and v isi tor s . I t is als o impor tant that children w ill interac t w i th the spac e and gain the ex tra sk ills that w ill speed up their de velopment . C hildren are usuall y f ull of cur iosi t y and the y love to ex per iment w i th their sur rounding s ; if the de sig n suppor ts the s e ac tions , the children’s f ir s t memor ie s w ill be posi ti ve and enjo yable .

133

Jennifer May Evans

United Kingdom

+ 4 4 794 64 3 178 9 jen n if e rm ayev a ns @ g m a i l .c o m w w w. ma isd j e nni ferev a ns .b l o gs p o t.c o m

M y wor k this y ear has ex plored the parame ter s of public and pr i vate space - of ten using mir ror s as a f or m of ref lec ti ve sur veillance . Wor k ing w ithin the f ield of inter ior de sig n and coming f rom a f ine ar ts back g round has g i ven me an al ter nati ve approach to de sig n and w hat it means to be a de sig ner. I s tr i ve to create both us ef ul and thought provok ing objec ts .

134

Lianzhong Fu

China

+4 4 7 74 0 8 73 93 7 f o r f u d e si g n @ g m ai l .c o m / i n f o @ f u l i anz h o n g.c o m w w w. f u l i anz h o n g.c o m

M y projec t is abou t the “ beau t y ” of projec tion w hich is bas ed on movement and v isual perc ep tion . U sing lig hting projec tion to dis tor t the perc ep tion of both the archi tec ture sur f ac e and inter ior spac e, in other words is to create v isual illusion in spac e . T his lig hting projec tion is not onl y a lig ht s ourc e and als o an image of a per spec ti ve draw ing of an inter ior spac e . Projec ting the per spec ti ve projec tion onto sur rounding s ’ sur f ac e s in a motion way, this c an c onsider as “painting w i th lig ht ” on the sur rounding s ’ sk ins .

I am intere s ting in the relationship be t ween the indi v idual, the v iewer, and the sur rounding s in inter ior and spatial de sig n . I have create a spac e ins tallation w hich is intended to g i ve e v idenc e of proc e s s e s of v iewer s c an ex per iment their ow n perc ep tion dur ing the y walk ing in m y spac e .

135

Cristina Gandolfo

Italy

+ 39 3482 6 0 9 03 1 ga n dol f o.c r i s t i na @ g m a i l .c o m

OIL S C A P E S . T he re s earch beg un w ith the inve s tigation of the relationship space / lands c ape and brought me to the idea that ac tuall y the y are both the s ame thing , the y are both oils c ape s .

Oil bec ome s both the idea and the intere s ting v isual component . A s a re s ource, allow ing prog re s s and produc ti v it y, i t has indirec tl y shaped the lands c ape as well as our idea of space, being f undamental component of proc e s s e s and mater ials . A s a phy sic al mat ter it shape s image s of space, incor porating , mir ror ing and e ven dis tor ting it . In both c as e s w hat it doe s is af f ec ting our imag inar y of lands c ape and space likew is e .

T heref ore, inve s tigating v is c osi t y, ref lec ti v i t y and dar k ne s s w i thin the re s earch I aim to create unc anny image s of imag inar y lands c ape s w ith model mak ing and / or photog raphy. I tr y to create a s ens e of sublime jus t using mir rored, ex panded, dis tor ted spac e . Image s w here f latne s s become s deep and space become s lands c ape . â&#x20AC;&#x153; Have y ou e ver realized that w hat y ou look at is ac tuall y oils c ape s? â&#x20AC;?

136

Roland Joseph Helou Canada/Lebanon

+4 4 78 57590 3 20 ro l an d h e l o u @ g m ai l .c o m

T he B eir u t ci t y c entre is a his tor ic building that is threatened w i th demoli tion . I t is loc ated in the hear t of dow ntow n B eir u t ; i t has a valuable his tor y and li ve s in the memor y of the pas t generations as being a li vel y cinema c omplex . Wor k ing on i t suppor ts m y idea of br idg ing the generations â&#x20AC;&#x2122; f ocus on cinema . T he main f eature of the si te is an eg g shaped s tr uc ture made of c oncre te; i t re s ts on a par k ing area of 6 bas ements w hich were par tiall y demolished dur ing the rec ent war in L ebanon . T he de sig n f ocus e s on using temporar y s tr uc ture s to g raduall y create a f ilm bas ed landmar k f or f u ture generations of talented L ebane s e f ilmmaker s . C ontainer s , s tre tched s creens , s c af f olding s tairc as e s , projec tion equipment , circulation volume s , a re v i val of the L ebane s e old s ouk ; all are prog re s si vel y cons tr uc ted as an e volu tionar y proce s s to create the f inal ou tc ome w hich is a cinema c entre .

T he g radual proc e s s of c ons tr uc tion w ill allow B eir u t f ilmmaker s and audienc e s to bec ome invol ved in the new c entre as us er s and produc er s .

137

Natalia Heredia Rodriguez Colombia

+ 44 7530 6 9 10 04 nat a l ia . h e red i a @ y a ho o.c o m w w w. n at a li a here d i a MA I S D.blo gs p o t.c o.uk

“Ever yday life is what we are given ever y day, what presses us, even oppresses us .”… “Ever y morning, what we take up again, on awakening, is the weight of life, the dif f iculty of living in a cer tain condition, with a par ticular weakness or desire. Ever yday life is what holds us immediately, from the inside.”… “ We should not forget this “memor y world ”… “ We have our hear ts set in such a world of old factor y memor y, memor y of childhood places, of childhood gestures, of pleasures .” (Michael de Cer teau 1998, The Practice of Ever yday Life) M y projec t deals w i th per s onal ex per ience s , in re spons e to the e ver yday lif e conf lic t in C olombia . T he f inal ins tallation is f ocusing in a par ticular e vent commonl y c alled, T he Miraculous F ishing , aiming to ref lec t how v iolenc e bec ame par t of our quotidianit y and how the s e e vents have been f or got ten , as the y are becoming par t of our ordinar ine s s and way of lif e .

138

Mamo (Juelin He)

China

+4 4 74 112650 92 m am o. sai @ h o tm ai l .c o m

T his Projec t is a temporar y theatre bas e on the novel “ T he Tr ial ” b y Franz K af k a and is s e t up on a c ons tr uc tion si te w i th a temporar y si tuation .

T he idea of “ac ti ve audienc e”allow s the audienc e s to take the ini tiati ve to read the per f or manc e . In m y projec t the audienc e s not onl y have the ini tiati ve to take their ow n v iew of the per f or manc e bu t the y als o are of f ered the ini tiati ve of c ontrolling time throug h the rou te and pac e the y choos e to take in this theatre I see s tage per for mance is an event rather than the telling a s tor y. In this projec t I explore the exper ience of audiences and tr y to set up a new tension in the relationship bet ween the audiences , the ac tor and the s tage.

139

Miwa Izawa Japan

m i-za -w a @ j c o m .ho m e.ne.j p

S patial movement prov ide s us w ith the c apacit y to re f eel s tr uc tural time and dimension . W hen y ou take a s tep f or ward, y our per spec ti ve is changed be t ween the t wo posi tions and time; recons titu tion f or a new position oc cupie s perception . In other words , w hen y ou walk s traig ht in the cor r idor, y ou percei ve dif f erent f eeling b y updated per spec ti ve, w hich c an be s een dur ing mov ing be t ween t wo posi tions and is quite dis tinc t f rom s tatic per spec ti ve . T hroughou t re s earch , the que s tion has ar is en as how we ex per ience this space w here we f eel unc anny. M y wor k ex plore s the relationship be t ween spatiali t y and movement , w hich g i ve us a s ens e of f ear.

140

Napat Jesadapatrakul

Thailand

+4 4 7 7923 0 4 293 n o _ o n 72@ h o tm ai l .c o m

S tree t f ood is an e s s ential par t of T hai lif e s t y le . You c an f ind a huge var ie t y of f ood on the s tree t , of ten w i th a f ull s e t of ing redients and bizar re c ook ing de v ic e s . T he s e inventi ve machine s have become par t of the env ironment and unnotic eabl y trans f or m an ordinar y f ood s tall into a per f or mance s tage .

S tree t f ood vendor s are ex traordinar y public ar tis ts . Not onl y do the y make k ine tic and v ibrant the ae s the tic s of a plac e, the y als o blur the boundar y of public -pr i vate spac e b y br ing ing the intimate spac e of the k i tchen to the s tree t and intere s ting l y e s tablishing immediate phy sic al c ontac t be t ween f ood and the c onsumer (as the audienc e), throug h the ex pos ed proc e s s of s tree t f ood c ook ing . C an the f ood boug ht f rom the vendor s tas te more delicious if we c an tas te a bi t of i ts nar ration?

141

Mo Jia China

+ 44 78 8 1 9 6 5 3 6 5 Ji a mo841 109 @ ho t m a i l .c o m

I g raduated B A in Inter ior A rchitec ture . S o, bec aus e of m y back g round, I am intere s ted in c ombining architec tural prac tic e toge ther w ith the F ine A r t and De sig n prac tice to de velop archi tec tural s culpture, w here lig ht is c onsidered as mater ial and f or m .

In my study, the â&#x20AC;&#x2DC;Solid L ightâ&#x20AC;&#x2122; refers to the natural light. When considering natural light as a material, it is then considered par t of the architectural structure. I want to research how natural light af fects our perception of space over time. At dif ferent times of a day during seasons, the natural light creates dif ferent atmospheres in the space. A s we move through the space and as the light constantly alters, so our understanding and perception of space is in f lux .

142

Minkyung Kang +4 4 794 0 4 14 910 traj u i i @ n ave r.c o m

I t is paradox ic al that a manâ&#x20AC;&#x2122;s quie te s t moments re veal the mos t to him , and be s tow the be s t upon him- P aul Br unton

M y wor k f ocus e s on a spac e w i th medi tati ve quali tie s in relation w i th us er â&#x20AC;&#x2122;s spir i tual and poe tic ex per ienc e s rather than phy sic al and f unc tional one s . F or this , the spac e lie s on c omposi te s tr uc ture be t ween t wo is sue s : r ituals as meditati ve at titude s der i ved f rom meditation and cleansing , and spatial quali tie s as a de v ic e to arous e the at ti tude s . T he spac e is in m y mind like a quie t oasis g i v ing a break f rom the pre s sure s of moder n lif e . T houg h i t is a c alm haven away f rom rou tine, i t is f or c oming back to lif e . I t is s atis f ied w i th a s ens e of s ereni t y and wellbeing . I t allow s i ts s ojour ner s to mus e and ref lec t .

143

Olga Ktena Greece

+ 44 7531 5 6 2 74 9 + 30 69422 6 8 2 5 8 o l g a _k te n a @ ho t m a i l .c o m

T his projec t at tempts to anal y s e the relations be t ween the oc cupation and appropr iation of ur ban public spac e s and the notions of ephemeral and mobile, w ithin the c ontex t of unof f icial prac tice s tak ing place in the ur ban env ironment . More specif ic all y, the projec t is conc entrated on the black mar ke t , par ticular l y on illegal s tree t vending ; a subjec t w hich is clos el y related to the f ac t that the black econom y in Greece is â&#x20AC;&#x2DC; blooming â&#x20AC;&#x2122;, in contras t w i th the f ac t that the countr y â&#x20AC;&#x2122;s econom y is on the ver ge of collaps e . T he aim of the projec t is to re s earch spatial s y s tems and wearable f or ms that c an encourage an al ter nati ve approach to proce s s e s of trade through speculati ve and proposi tional wearable de sig n s olu tions .

144

Yi-Zhen Lai-Tremewan

New Zealand

yi z h e n . l t@ g m ai l .c o m w w w.yi z h e n m ai sd . b l o g sp o t.c o m

Hav ing li ved in thir teen home s in nine ci tie s around the wor ld, m y projec t aros e f rom m y at temp t to c ome to ter ms w i th m y newe s t home in L ondon . I inve s tigate ideas of home, and the c ontras ts and c ontradic tions that ar is e . I c ompare m y dif f erent ex per ience s of home and consider the phy sic al elements of the hous e s I have li ved in , in ter ms of size, mater ial, neig hbour hood and the tension be t ween inter ior and ex ter ior.

In this time w hen travel and mobili t y is an integ ral par t of lif e f or many people, I want to k now w hat i t means to f eel â&#x20AC;&#x2DC;at homeâ&#x20AC;&#x2122; and have a s ens e of plac e .

145

Keun Hye Lee Seoul, Korea/ Korean

+ 44 78 41 8 6 6 8 0 7 na r y k h . l e e @ g m a i l .c o m ht t p : // n a r yl e e.bl o g s po t .c o.u k /

‘ To li ve is to leave trace s .’ –Walter B enjamin I am deepl y intere s ted in leav ing trace s . A s B enjamin s aid, we have lef t numerous trace s behind on e ver y day objec ts and in spaces in our wake. In other words, ever yday objects and spac e c an c apture all our trace s w hich e v idence our identity, habit, experience, emotion and behaviour. However, traces are los t in his tor y or in the moment . I t has become dif f icul t to keep trace s in this s ocie t y. In B enjamin’s words , i t s eems to be dif f icult to li ve as well.

In terms of spatiality, this subject, ‘ Trace’, has great potential for design. In addition, the traces are an impor tant medium in the relationship bet ween space and people. T herefore, I aim to uncover and re veal the value in the trace s we leave behind, rather than s eeing them as a sig n that s ome thing is wor n ou t or no longer is new or us ef ul. I want to g i ve a new meaning to the trace w ithin ar t and de sig n .

146

Stamatina Liagki

Greece

l i ag ki stam ati n a@ w i n d o w sl i ve.c o m h ttp : //p u b l i c p h an to m s. b l o g sp o t.c o.u k/

This MA project is driven by the current socio-political turmoil in Athens, investigating the design of an interactive public ins tallation on the spac e of S y ntag ma s quare, in f r on t of the Hous e of the Hellenic P ar liamen t . T he ‘ 7 publicphan toms ’ pr oje c t , is an under g r ound ne t wor k of 7 elevating pedestals, as the new age public speaking machines, which are controlled by an online social p l a t f o r m . T h e 7 ‘robust’ phantoms attempt to challenge the optical p o w e r o f t h e P a r l i a m e n t ’s b u i l d i n g , a s w e l l a s t o readdress the concept of public speech in the digital era of networked communication.

147

Men Sun Lim + 44 78 79 6 4 75 3 5 lim n l l y @y aho o.c o.u k

T he timele s s , temporar y and changeable nature of ref lec tions has alway s intere s ted me . T he ref lec ti ve sur f ac e is transparent and inv isible b y its elf. Ref lec tions in m ir r o r, g l a s s o r w a te r a c t a s a di s g ui s e : r e f l e c t in g , c h a n g in g and continuing the sur rounding spac e . T he f lat ter and smoother a sur f ace is , the more dis tinc tl y ray s of incidental lig ht are ref lec ted f rom it .

Ref lec tions become a connec tion be t ween inside and ou tside space, br ing ing ou tside space into the inter ior env ironment and ex tending ou tside space . T he y allow us to s ee w hat usuall y c annot be s een , g i v ing us the oppor tuni t y to have a ex per ience s in e ver y day space s .

148

Joonhwan Lim_JIMI

Korea

+8 2 10 64 8 8 4 8 62 i n te r i o r 0 1@ g m ai l .c o m

I bec ame intere s ted in the interac tion be t ween people af ter mak ing a spac e bas ed on the c ommunic ation be t ween the f e tus and the mother sinc e the time w hen I was a B A s tudent in KOR E A , and s o I spatiall y made wor k s w i th the us e of c as tof f s as mater ials re s earching on the communic ation be t ween the ar tis t and the v iewer. W hen I was B A s tudent in L ONDON , I had s tudied the us e of emp t y spac e ( T he ac ti vation of dis tr ic t b y s elec ting an emp t y building near G oodge S tree t in L ondon and the propos al on Korean company S amsung â&#x20AC;&#x2122;s entrance into the European mar ke t). T heref ore, this projec t conduc ted re s earche s w i th the f ocus on the pur pos e of the u tilization of ex is ting vac ant spac e, and the ac ti vation of interac tions be t ween people and building bas ed on the ex per imental s tudie s .

149

Sam LO mingshum + 44 0 798 3 72 3 8 5 8 s a m1 2 5@g m a i l .c o m w w w. l om ing s hu m .c o m

T he f ollow ing tex t are ex trac ted f rom an inter v iew to S hao F eng on 2 0 th F ebr uar y, 2 01 2 : S am: Que s tion number f our, c an y ou tell me a s tor y abou t y ou and a piece of f ur niture?

S hao F eng : Okay, hmmm . . .do y ou k now w hen y ou ’re using a s of a at home, and s ome time s y ou ’re losing s ome s tuf f in the gaps , s o w hen I was like . . .

Sam [interrupted]: It’s so disgusting when you clean the gap!

S hao F eng : Nooo! this wasn’t disg us ting .

S am: You f ound a diamond r ing?

S hao F eng : I f ound mone y, a C OIN!!! I t was m y s econd y ear of pr imar y s chool, I was reall y y oung , and the f ir s t time I f ound a coin in the gap of the s of a , I was s o excited!! I spent the w hole af ter noon tr y ing to f ind more!

S am: May be I should make a chair w ith multiple gaps to hide coins!

150

Isabelle Ohm Germany

+4 9 151- 22 763 110 o h m . i sab e l l e @ go o g l e m ai l .c o m

T he idea of wai ting M y intere s t in ‘ wai ting ’, e speciall y in hospi tals , has led me to re s earch ideas of wai ting in dif f erent circums tanc e s and sur rounding s .

I have chos en a t y pic al G er man hospi tal (‘J ohanni terKrankenhaus Geesthacht’ near Hamburg) as my architectural si te . I t is loc ated in a f ore s ted lands c ape on a hillside .

In m y re s earch , I w ill inve s tigate the dialog ue be t ween the inter ior and ex ter ior. W hat I mean b y this is a blur r ing of the line s be t ween the inside and the ou tside b y using nature not as a s eparated element , bu t rather as a par t of the building i ts elf. I w ill f ocus on G er man f ore s ts and the meaning of the f ore s ts in loc al his tor y, using heraldr y, poe tr y and li terature to create a unique and s y mbolic de sig n , w hich w ill ul timatel y prov ide a c omf or table atmosphere f or patients and v isi tor s in a wai ting area .

151

Antoana Petkova

Bulgaria

+ 44 7531 6 07 5 5 9 an toa n a p et ko v a @ g m a i l .c o m http://antoana.wix.com/portfolioâ&#x20AC;? http://antoana.wix.com/portfolio

M y prac tice s tar ted b y look ing into paradox ic al and anachronis tic space s . B eg inning w ith water tower s , m y projec t moved to a s er ie s of abandoned je t tie s on the Greenw ich peninsular, and us e s them to create a new t y polog y of water tower s . T he s e space s are meant to br ing the at tention to the r i ver T hame s . T he y addre s s the ec olog ic al is sue s b y f il ter ing and monitor ing the water.

A ddi tionall y, the y g i ve a voice to the r i ver b y creating si tuations w hen the v isitor engage s w ith the r i ver f rom a new per spec ti ve . T he nature of this ex per ience encourage s e valuation , and inv i te s dis cus sion . T he water tower s are cu t away f rom time and realit y. W hen inside, the per spec ti ve is al tered and the s ens e s are f ree to jus t ex per ience the space, and the r i ver through it . T his encourage s e valuation and dis cus sion .

152

Vicky Philippou Cyprus

+4 4 759593 70 3 3 vp h i l i p p o u @ h o tm ai l .c o m

My research is related to objects, how humans act in relation to them, and how human emotions are provoked by them.

M y rec ent ex per iments relate to this idea b y show ing how the t wo emotions of f ear and play f ulne s s c an be provoked b y an objec t . I n t h e s e e x p e r i m e n t s I t r y t o s h o w h o w imagination can be direc tly related to play ful objec ts such as toys, and the ways that toys are perceived by p e o p l e . To y s usuall y have an aim , s ome thing that needs to be c onsidered w hen creating ex per iments that allow suc c e s s f ul and unsuc c e s s f ul ac tions as par t of an at temp t to f ind the â&#x20AC;&#x2DC;r ig ht way â&#x20AC;&#x2122; of ge t ting the c or rec t re sul t .

153

Feng (Recy) Shao Shanghai, China + 44 74 1 1 73 16 3 0 re cy sh a o@ g m a i l .c o m

T his projec t is f ocus ed on space and nar ration . I belie ve that e ver y space contains nar rati ve through the f or m , mater ial, time and the jour ne y w ithin it . â&#x20AC;&#x2DC; Nar rati ve s tr uc ture s have the s tatus of spatial s y nta xe s .â&#x20AC;&#x2122; (De C ar teau, 19 8 4). M y inve s tigation is how to create the spac e and the spatial s equence according to the contained objec t in a mus eum contex t . A s a re sult , m y decisions abou t the spatial de sig ns are inf or med b y the nar rati ve of the objec t . T he space and the objec t should alway s be linked bec aus e both of them play the role of telling the s tor y to the v isi tor s . W hat I am at tempting to achie ve in this projec t is the composition de sig n of a complex spatial s equenc e w hich is inf or med b y the nar rati ve s of f i ve objec ts c aref ull y chos en f rom the Wellc ome C ollec tion .

Image: S t Jerome in his S tud y b y A ntonello Da Me s sina , 14 6 0 . Modif ied b y F eng S hao, 2 01 2 .

154

Soo ji Shin

South Korea

+4 4 79 124 3 78 3 3 tnw l l o ve _ 3 @ h o tm ai l .c o m w w w. so o j i l e e h e.wo rd p re ss.c o m

W hen the tide r is e s , many of the s ecre ts under the r i ver T hame s are hidden , bu t w hen the tide ebbs the y are re vealed and such s ecre ts as the remains of s ea creature s bec ome v isible . B ec aus e of the natural si tuation , i t is pos sible to re veal the hidden inside .

B y changeable tide s , the hidden spac e s w hich are si tuated under the s tree t are going to be moved up and dow n . I t w ill show us how the tide s are dif f erent , and i t w ill make more c onsiderable the impor tanc e . A ls o, at low tide s the public ac c e s s to the f ore shore w ill be opened, and us e of the r i ver w ill be enc ouraged f or archeolog ic al and educ ational pur pos e s . T he ac c e s s to the T hame s w ill be c onc ealed b y the hig h tide s bu t af ter a f ew hour s the s ecre t spac e s w ill emer ge . W i th the tidal movements , I â&#x20AC;&#x2122; ve buil t the tidal mus eum w hich c annot be imag ined above the under wor ld .

155

Zoe Socratous Cyprus

+ 44772 47 119 07 , + 0 03 5 79 91 1 06 36 zoe _id@h o t m a i l .c o m zoe _id.c om

M y wor k ex plore s the phy sic al and ps y cholog ic al connec tions be t ween the human bod y, small space s , and their sur rounding s . Ini tiall y, I was intere s ted in the subjec t of claus trophobia and, specif ic all y, on inve s tigating the perc eption of small-trapped space s . Howe ver, this projec t now ex tends pre v ious wor k and at tempts more to def ine the per f or mance of the bod y in ‘ trapped space s ’.

F or si x y ear s and f or 2 0 hour s per day I had to wear a bod y brace f or m y s coliosis . I t c aus ed me s e vere problems both phy sic al and ps y cholog ic al. T his is w hy I am dr i ven to anal y s e and dis cus s the relationship be t ween bod y and per f or mance in ‘ trapped space s ’, w hich f or me was inf or med b y m y ex per ience of the bod y brace and the claus trophobic f ear.

156

Eleni Sophocleous

Cypriot

+3 57998 90 264 +4 4 7 7910 8 0 261 e l e n i so p h o cl e o u s12@ h o tm ai l .c o m

S H A DO W S PA C E S How impor tant time is in order to def ine and re - create a space?

T he under taken proc e s s c onsis ts the creation of new f or ms inspired b y archi tec tural shape s . T he re - creation of a new shadow spac e is c ompos ed throug h the projec tion of the lig ht , both natural and ar tif icial. T he impor tanc e is the documentation of the ref lec ted shadow s on the sur f ac e s that are c ons tantl y chang ing . A n impos ed c ons tellation of shadow s is f or ming the propos ed new spac e . T he c onf ig uration of the shadow pat ter ns is c omple ted b y the def or mation of a c ap tured dancing movement . T he danc e notation is introduc ed in order to re - create a new spac e .

157

Alina Valeeva Russia

+ 440 754 0 3 6 9 3 0 4 a. a .va l e eva@ g m a i l .c o m w w w. a l in a - m a r t .b l o g s p o t .c o.uk

M y major projec t is abou t Mental S pace, its perception and i ts repre s entation . A s a par t of m y re s earch I have been ex plor ing notions of mental space in and f or f ilm .

T he mental space s I s eek ex is t in dreams , tr y ing to c apture the f eeling of being dis embodied . I have s e t up a s er ie s of ex per iments w ith dif f erent f ilming technique s , w here I have been look ing at the relationship be t ween the dis embodied c amera and the f ilmed space, w here the spac e is not onl y the main ac tor, bu t als o the â&#x20AC;&#x2DC;decision maker â&#x20AC;&#x2122; in the edi ting proce s s . T he choice of the f ilmed spac e s has been dic tated b y the s ens e of a s trong direc tionali t y, s o the space s have to be either purel y ver tic al or hor izontal. T he aim of m y projec t is to then s eek to recreate the space f rom the f ilm â&#x20AC;&#x201C; this become s the mental space as f or med in the ar tif icial e y e of the c amera .

158

Camille ViĂŠrin

Belgium

+4 4 7552 8 70 4 68 c am i l l evi e r i n @ g m ai l .c o m h ttp : //c am i l l e m ai sd .wo rd p re ss.c o m

P IEC E S OF S PA C E How c an I mater ialize an emp t y spac e?

B eing emp t y c an als o mean being f ull of nothing .

A c c ording to the J apane s e notion of Ma , the spac e be t ween t wo objec ts is a d y namic , ex is ting spac e .

T he notion of Ma has a posi ti ve and d y namic v ision of the emp t y spac e . T his is how I decided to approach gaps in archi tec tural ins tallations . T he Ma is f unc tional w he ther the negati ve spac e has a much more abs trac t meaning .

T he negati ve spac e is s tatic , w hile the Ma is s tre tchable .

In order to emphasize the c onsis tenc y of gaps , I ex plored the paralla x ef f ec t throug h the de velopment of a range of de v ic e s . T he s e de v ic e s are de sig ned to emphasis e the lay er ing and cu t ting in spac e .

T he hor izontal movement of the c amera has a f lat tening ef f ec t on gaps f ilmed throug h the s e de v ic e s .

T he notions of s ound, c olour and r hy thm were als o impor tant elements to c omple te m y ex per iments .

A s silenc e is nec e s s ar y to music , gaps are nec e s s ar y to architec ture . S pace s be t ween objec ts are hollow and s olid, nothing and e ver y thing , that is w hy the y are ama zing objec ts of s tud y.

159

Jing Xue 079838 1 9 2 12 4 E ma il : j in g x u e9 8 @ g m a i l .c o m

What does sounds do to us, how does it af fect us? In antiquit y, apar t from natural sounds, life was nothing but silence. Back ground man-made noise was not really born before the nineteenth centur y with the advent of machiner y.

Today noise reigns supreme over human sensibilit y. For several centuries, life went on silently all we could hear was the sounds of nature around us; because we were not saturated with sound it was easier to appreciate all we heard around us. In the modern days, because we hear so much sound, it is hard to concentrate on the beautiful and subtle sounds which play at ever y moment.

In ter ms of space and architec ture, I s ome time s think and ask m y s elf w hat did this his tor ic al building s ound like in the pas t and in our time doe s it s ounds the s ame? Today the spac e s in w hich we eat , dr ink , s tud y, wor k and sleep me f ind i t intere s ting to think abou t how the y s ounded like in the pas t 5 y ear s , 10 y ear s or 10 0 y ear s?

A f ter the indus tr ial re volu tion , technolog y g rew dramatic all y. Do we hear too much now? A re we s o s aturated w i th s ound that we have f ailed to appreciate the subtle tie s of nois e around us? Have we f or got ten w hat silence is? I t is the s e que s tions of silence and s ound I want to tr y and under s tand in the projec t .

A re we in control of how s ound change s us? Or doe s s ound have a control over us?

160

Tomo Yamane +4 4 (0 )758 720 9726 f i re 0 0 0 e sse n n ti al @ m sn .c o m h ttp : //to m o m ai sd . b l o g sp o t.c o.u k/

L ig ht and Projec tion: T he spec tr um of the s ad r uin of the church .

M y projec t is going to take plac e in a roof le s s ou tdoor spac e of a dis tinc ti ve r uin , w hich has been pre s er ved as a w reck f or over half a c entur y sinc e i t was de s tro y ed b y a V.1 . f l y ing bomb in the S ec ond Wor ld War, in the S ou th E as t L ondon . A n ou tdoor per f or manc e w ill engage lig ht and projec tion and re - enac t s ome thing of i ts ex traordinar y his tor y. Imag ine -the lig ht was gentl y f il tered and c oming into the inner spac e throug h s tained g las s , that f or ms a f ig ure of the lig ht on a f loor. â&#x20AC;&#x201C; I aim to embod y the mis sing par t of the building as a theatr ic al per f or manc e in order that audienc e s c an ex per ienc e the g hos t of s tr uc ture, such as the ray s of lig ht of mis sing w indow s draw n as a shape on the f loor w i th shadow s of w hat has been los t and mapping of the shif ting s tr uc ture s .

161

Wenhao Yang China

ro b b y ye ung @ 12 6.c o m

T he E x is tence and E x tinc tion of S pac e using Ref lec tion T his projec t is abou t ref lec tion and mir ror s in his tor ic al building s . At f ir s t , I anal y zed and s y nthe sized all of the charac ter is tic s of mir ror s and ref lec tion . I then s elec ted s ome of the s e f or f ur ther s tud y. F or example I ex plored illusions w hich re sul t f rom ref lec tion through the de sig n of ex ter nall y sited f ur niture . T his site f or m y cur rent re s earch and prac tice is the L ondon Wall w here I w ill us e ref lec tion to repre s ent the relation be t ween the wall and the sur rounding env ironment .

162

Minjung Yeom

Korea

+4 4 74 10 222654 1125ye o m @ g m ai l .c o m h ttp : //r u kat.d o th o m e.c o. kr /

L ots of disus ed spac e s are neg lec ted in L ondon .

E speciall y, Deep -le vel air-raid shel ter is ver y intere s ting si te w hich has been ex is ted f or more than one hundred y ear s . M y pur pos e is to show up the was te si tuation and arous e peopleâ&#x20AC;&#x2122;s at tention through space rec y cling as a rec y cling s tore . T he entranc e plac ed at the par k w ill include nic e c af e w i th a rela x ing spac e, and s tore f or s elling rec y cle produc ts and vege table s . Inside of the shel ter w ill be us ed f or a paper rec y cling f ac tor y and a f ar m f or raising special vege table s w hich are g row ing in the dar k . T his projec t w ill sug ge s t new pos sibili t y of the disus ed plac e, and f re sh lay ou t of the rec y cling s tore .

163

Jacqueline Fuk Yu Yeung Hong Kong

+ 44 778 9 8 6 7 13 6 + 852 91 56 5 8 9 6 jac que l in e 8 2 0@ ho t m a i l .c o m

I am interested in exploring space through material and in visualizing the movement of objects through space.

This interest emerged from my practice, and in turn continues to inspire it.

I began to investigate how fluid moves in space and how to capture the movement of fluid by experimenting with different techniques for influencing and making visible the fluid dynamics.

I became interested in different types of projection devices and the way they work. I was particularly fascinated by the results of shining multiple sources of light through transparencies; their disorienting reduplicated projections remind me of the sorts of double-vision we see when our eyes are tr ying to come into focus â&#x20AC;&#x201D; a kind of incipient 3-dimensionality.

Meanwhile, I wanted to use natural sunlight as a light source to see how the experimental prints might react.

The sunlight gives depth to the reflection of the images and created the sense of volume and space that can be seen in the accompanying photograph. This projection result gives a strikingly different spatial quality compared to using a digital projector; in a way it seems to materialize the space.

164

MA TEXTILE DESIGN 165

165

Sana Aziz Pakistan

+44 78 8 575 6 5 5 2 sa n atde sig ns @ g m a i l .c o m

In m y projec t I am inve s tigating the us e of s econd hand clothing and was te tex tile s f rom the f ashion indus tr y.

Fur ther more the s e mater ials have been hand pr inted and then wor ked on b y var ious highl y sk illed craf ts people in P ak is tan , w here the s e sk ills are in much need of sus tenance . T he s e intr ic ate craf ts are all done b y hand and include embroider y, â&#x20AC;&#x2DC; k amdani â&#x20AC;&#x2122; and applique . T his Fashion collec tion is inspired b y nos talg ia f or m y home tow n K arachi and memor ie s of a traf f ic jam near m y old s chool w hich br ing back to mind a bur s t of v ibrant colour and pat ter n f ound in the area . T his collec tion tar ge ts both the P ak is tani and inter national lu x ur y f ashion mar ke ts . Not onl y would this prov ide an oppor tunit y f or employ ment bu t als o allow the craf ts people to be aware of the env ironmental impac t .

166

Marilyn Bastien Barrette Canada

+4 4 7 7561797 15 m ar i l yn b asti e n @ h o tm ai l .c o m h ttp : //i ssu u .c o m /j d p e ti t/d o c s/m ar yl i n _ b asti e n _ ap p l i c ati o n

I belie ve that a c ombination of s cienc e and de sig n is the way f or ward to ma x imis e the potential of both per spec ti ve s! De sig ner s have the power in their prac tic e to create or reinvent f or the be t ter. T heref ore, w hy not change the way c olour s are being created ? W hich led me to look into bio -pig ments as a potential avenue to change the f ac e of pr int and d y e technique s .

We are aware that s ome microor ganisms naturall y produc e c olour s . S trep tom y c e s w i th i ts dis tinc ti ve aquamar ine blue, c er tain s trains of e - c oli that produc e a mul ti tude of c olour s throug h simple gene tic eng ineer ing and e ven y eas t throug h i ts f er menting proc e s s of f er s ourc e s of v ibrant pig ments . We als o k now that bac ter ia have a lang uage that helps them c ommunic ate w i thin f amilie s .

M y intere s t si ts in joining f orc e s w i th biochemis ts to pu t bio -pig ments to the te s t in a tex tile c ontex t and moni tor the re sul ts .

167

Patrizia Loretta Bosisio Italy

079831 1 3 12 0 b osisiop l @ ho t m a i l .c o m

In m y prac tice as a Tex tile De sig ner I f ind inspiration in the natural wor ld around me, f ocusing on shape s , colour s and tex ture s .

M y pr inted wor k reg ular l y invol ve s hand- draw n f lower s and leave s w ith v ibrant us e of colour. I am cons tantl y s tr i v ing to push the boundar ie s to create new and innovati ve pr ints . T he ex ploration and inve s tigation into dif f erent technique s and media are f undamental in m y prac tice .

M y cur rent projec t has or ig inated f rom the f oundation of v isual and ac ademic re s earch into the wor ld of nature and ar t . I am using ar t as ambas s ador f or promoting cons er vation .

M y c onc ept of the â&#x20AC;&#x2DC; New F os sils â&#x20AC;&#x2122; is a means to pre s er ve the endangered specimens f or the f u ture . I have employ ed the us e of clay to create f ur ther dimension and intere s t to m y wor k . I have enjo y ed using ceramic proce s s and have embrac ed the unex pec ted ou tcome .

168

Susana Botero Santos Colombia

b o te rosu san a@ g m ai l .c o m w w w. su san ab o te ro.c o m

C osme tic S titch ------------------------------------------------------------------------------------------------- - - - - - - - - - - - - - - - - - - - - - - - - - - - T he bod y is beau tif ied w i th plas tic sur ger ie s and shock ing image s of plas tic sur ger ie s are embellished throug h dig i tal pr inting and hand embroider y on tex tile s sur f ace s - - - - - - - - - - - - - - - ----------------------------------------------------------------------------------------------------- - - - - - - -.

Photo b y Ros ar io Montero .

169

YehLam Chan China

+ 4 4 7568 0 9 9 6 5 1 cy l 70 0 0 @gm a i l .c o m w w w. n ot j u s t a l a bel .c o m / j a s m i n e_yeh lam _ch an

M y P rac tice is concer ned w ith our throwaway at titude and que s tion how we c an s ol ve this situation b y mak ing long las ting produc ts f or consumer needs . Re think ing mar ke ting b y increas e produc t lif e -spans in sus tainable consump tion .

Under s tanding c onsumer behav iour, such as f ramewor k of consumption to be ex plored f rom consumer â&#x20AC;&#x2122;s prospec t . T his is the concept to encourage consumer to slow dow n consumption behav ior and replace cheap f as t f ashion produc ts to multi - f unc tional valuable produc ts . A ppl y ing w ith his tor ic al k now ledge bas ed on collar s ocie t y and tailored be spoke, bor row ing the idea of de tachable collar s and cuf f s and combined w ith our moder n t w is ted of f as t chang ing f ashion . T he de tachable neck piece and cuf f s could be f or med as f unc tional items as well as piece s of decoration . A collec tion box of eas y removed, long-ter m needs gar ment bas ed ac c e s s ar ie s , w hich als o include s c ar ing , replacing and repair ing k it .

170

Chien-yu Chen

Taiwan

+4 4 92723 10 54 ch i e nyu 0 513 @ g m ai l .c o m

A hous e is a plac e that allow s me to f eel war m and rela xed .

I would als o ex pec t i t to be able to perc ei ve the ec o c onc ep t f rom m y wor k and how to make old f abr ic look at trac ti ve b y rede sig n . A miniature doll ’s hous e is not unf amiliar f or mos t people . P eople bor row objec ts f rom the human wor ld and change the f unc tion to adap t i t f or the doll ’s hous e . Mos t of the time, an or ig inal f unc tion doe s not ex is t . I aspire to create a plac e that c an pre s ent m y prac tic e s in a c omf or table and reliable spac e . T heref ore, I intend to create a room , w hich is a doll ’s hous e in human size, and make any dec orations in the s ame way I would f reel y dec orate m y doll ’s hous e .

171

Bree Croon

United Kingdom /New Zealand 0790 343072 0 b re e croon.s t y l i s t @ y a ho o.c o.uk ht t p : // ca b i ne tof wo nd er- eve r y th i n gs ec o n dh an d.b lo gs p o t.c o.uk w w w. b re e c ro o n.c o m

S ec ond hand cul ture s : thr if t , re -us e, craf t and emotional connec tion .

Fas cinated w i th collec ting and using items f rom eras pas t , I create hig hl y decorati ve, colour-r ich , multimedia tex tile wor k .

U sing draw ing , s titch and pr int to de sig n and make piece s w i th per s onal meaning , s econd hand mater ials , such as c oloured antique thread on wooden spools , f eature heav il y in m y de sig n wor k .

I draw on the ‘6 0 s / ‘ 70 s ‘ B ack to the E ar th’ s t y le and value s , w here embroider y embellishment was u tilized as a means of s elf- ex pre s sion .

M y cur rent de sig ns look at the s y mbolic value and meaning of f lower s . E x plor ing the us e of the ‘ lang uage of f lower s ’ as a means of communic ation , I am creating tex tile gar lands w hich take f or m as collar s and c ape s .

172

Charlotte Day United Kingdom

+4 4 78 0 58 50 78 2 ch ar l o tte @ ch ar l o tte d ayd e si g n .c o m ch ar l o tte d ayd e si g n .c o m

Plants pos s e s s inherent quali tie s , w hich c an s oothe or s timulate our s ens e s . T he weal th of f or m and s tr uc ture f ound in f lora , w hen g rouped har moniousl y c an generate a power f ul v isual lang uage and atmosphere . B y ac c ompany ing this lang uage w i th quali t y craf t and f inish i t is pos sible to tr ig ger an emotional re spons e as s ociated w i th memor ie s and nos talg ia .

U sing simple template s bas ed on his tor ic al i tems , I have created dome s tic piece s w hich are us ed f requentl y, kept longer than mos t and may be adap ted to sui t dif f erent requirements . T he timele s s beau t y of plants that inspire s m y pr int de sig ns should enc ourage las ting de sirabili t y.

S tr ik ing or delic ate de tails of f er insig ht into a wor ld f rom w hich we bec ome e ver more removed . Mos t of us f ind tak ing time to appreciate nature a g reat tonic and I hope that the v isual c ontent of m y wor k w ill s timulate a similar re spons e, creating s ome thing of emotional and f unc tional value .

173

Thea Haines Canada

t he a .e. f. h ai nes @ g m a i l .c o m t he a . h a in es .c a d om e st iqu e - s c i ent i f i q u e.b l o gs p o t.c o.uk

M y pr int and s titch bas ed tex tile s ref lec t the f ore s ts , gardens and f ields of C anada . C olour and imager y are y ielded f rom black walnu t , bu t ter nu t , birch and oak , madder, weld and woad, goldenrod, sumac and w ild c ar rot .

E ach c olour c ar r ie s i ts ow n r ich nar rati ve, and toge ther the y w r i te the s tor y of the land . Natural d y e s are tang ibl y linked to geog raphic al or g ins , hue s being changeable w ith s eas on , rainf all, s oil and sun .

Inspired b y the re s ourcef ulne s s of m y ance s tor s and the abundance of the C anadian lands c ape, I de sig n tex tile s f or a wor ld suf f us ed b y the ingenuit y of the pas t and the s cienc e of the pre s ent , w here we ex is t in concer t w ith the w ilder ne s s that sur rounds us .

174

Penny Hayhurst

United Kingdom

0 750 4 4 15228 p e n nyh ayh u r st@ l o n d o n .c o m j i g saw- h o u se.c o m

M y prac tic e ex plore s the us e of modular de sig n as a means of creating f lex ible spac e . T he de sig n model has the abili t y to shif t and trans f or m , thus adap ting to s ocie t y â&#x20AC;&#x2122;s e verchang ing needs . M y prac tic e ex plore s interac ti ve de sig n v ia eng raved, s creen-pr inted geome tr ic â&#x20AC;&#x2DC; building block s â&#x20AC;&#x2122; and inter-lock ing s y s tems . T he idea that module s c an be transpor ted easil y f rom spac e to spac e inv i te s the idea of a long-lif e and durable produc t de sig n . W he ther the uni ts are us ed to create moveable wall s tr uc ture s , shel v ing , or f ur ni ture s tands f or table and s eating ar rangements , m y de sig n c onc ep t sug ge s ts mul ti-f unc tionali t y v ia c ountle s s s tr uc tural c onf ig urations . T he c onsumer has creati ve inpu t into the de sig n proc e s s throug h choic e s over, not onl y produc t f unc tionalit y, bu t component shape, sur f ac e and c olour c ombination . I t is , theref ore, not onl y the longe v i t y and mul ti-f unc tional aspec t of m y de sig n that is ke y in tack ling the is sue of g row ing c onsumer consump tion , bu t als o the per s onalization of m y de sig n concep t .

175

Chia-Hsing Ho Taiwan

ch ia h o2 @ g m a i l .c o m

M y main concer n is to f ine the new way to wor k ou t yar ns and c ombine the re sul t w ith old f ur niture .

T he natural draw to the vintage element led me toward the research of vintage things and how can they be reuse again; the most impor tant thing is to add value to them. B y visiting markets, car-boot and jumble sales, I slowly accumulated vintage items for both researching and building the colour palette. When I take a closer look into things I have, I discover that there seems to have a pattern of singularit y within; they are all winding around circle. It echoes my main theor y â&#x20AC;&#x201C; the retreats of vintage objects, and takes unwanted things back to the consumption loop again.

176

Jie Huang 0 78 5268 197 7 c e c i l i a.j . h u an g @ g m ai l .c o m

In modern societ y, we all live in an environment which is a mix ture of natural element and synthetic products. We use plastic bags while we can have a back yard full of fresh f lowers growing. We enjoy a night out in the big cit y surrounded by neon lights while we still want to spend a long holiday just relax in an old and small countr yside town.

T his projec t is s tep up to dis c over the relationship be t ween the s e t wo elements w hich are totall y opposi te bu t both nec e s s ar y in our lif e . B amboo f iber and Glowin-the - dar k yar ns are chos en as t wo main mater ials to repre s ent the t wo elements , natural and s y nthe tic s . T he gar ments w ill have t wo dif f erent appearanc e s dur ing day time and nig ht .

177

Hiromi Itoga Japan

+ 44 0 7554 15 9 3 0 8 i tog a h irom i @ g m a i l .c o m

Imper f ec t c an be per f ec t 178

Huimin Liu

China

+4 4 0 78 3 4 7 7 78 64 L h m 113 118 @ yah o o.c o m .c n

T he aim of m y projec t : De sig n to minimize was te and replac e the need to c onsume were t wo main aspec ts that invol ved in m y s tudio prac tic e . I am re s earching f abr ic and mater ials w hich w i th long-lif e span and ae s the tic s f unc tion in order to reduc e the tex tile was te in ter ms of the c onsump tion . M y aim was to c ombine reall y tradi tional tex tile technique s , such as c anvas wor k technique s and f ree s t y le embroider y technique s w i th f unc tional mater ials - g las s f iber and c eramic s to de sig n tex tile produc ts w i th longer lif e span .

B e side s , I w ill als o br ing other technique s , f or example, f olding and or igami into m y de sig n , in order to ex plore way s to add value onto cheap mater ials f or minimize tex tile was te and reach the ae s the tic longe v i t y. M y s tudio prac tic e is clos el y bound up w i th T E D â&#x20AC;&#x2122;s T E N s trateg ie s .

I ex plore the way s f or sus tainable de sig n and minimal env ironmental impac t to tex tile de sig n , as well as s tre s s a posi ti ve role f or f inding s olu tions to alle v iate cur rent tex tile unsus tainabili t y.

179

Alexandra Kiki Lo United Kingdom + 447958 3 3 2 19 4 k l @k ik il a l a .c o.u k k ik il otex t il e.c o m

T he patina of objec ts speak s of his tor y, nar rati ve and memor y.

I t c are s s e s ’ objec ts w ith time and imbue s them w ith beau t y we treasure .

E ach ow ner leave s trace s of thems el ve s behind to compos e a s tor y of ow ner ship and ‘ wear ’. W ithin tex tile s the idea of patina doe s not ex is t . T here is onl y the wor n , s tained, f aded and f ray ed . W ith m y wor k I hope to tell a tale of the unex pec ted and f ind the patina in tex tile s and through i t its beau t y.

180

Ashita Nawalkha

India

an aw al kh a@ h o tm ai l .c o m

Born and raised in the historical cit y of Jaipur in Rajasthan, I am deeply rooted and attached to the rich culture and heritage of my countr y. I want to develop a st yle which ref lects the ancient traditions of Indian craf tsmanship in a contemporar y vocabular y. I believe in understanding the ancient designs and employing innovative use of the traditional craf ts to create a new st yle for the modern India.

S us tainabili t y is an impor tant c onc er n f or me; theref ore I am wor k ing w i th dis c arded block pr int back ing cloth f or m y M A projec t . T he f abr ic show s the s tr ug g le, pas sion and c are of the block pr inter s I belie ve that I under s tand their obs e s sion in their wor k w hich enc ourage s me to make the mos t of the f abr ic ; trans f or ming was te to an objec t of de sire and g i ve a tr ibu te the craf tsmanship behind i t . Upc y cling was te mater ials is the trend that I want to introduc e in India .

181

Mintaek Oh South Korea

+ 44 74 1 2 5 6 8 3 04 m ir yo2 1 2 5 @ g m a i l .c o m m ir yo2 1 2 5 @ naver.c o m ht t p : // min t a eko h.c o m /

Emotional / Emotionle s s To ex pre s s the f eeling s and s tor ie s hidden in nature, tree s are s elec ted as the ke y element of this projec t . T hrough the c ommunion be t ween humans and tree s , this projec t dis c over s how the shared f eeling s of humans and tree s are hidden and ex pre s s ed .

182

Alexandra Paganopoulou Loulou

Greece

0 78 4 8 93 0 567 san d rap ag 90 @ h o tm ai l .c o m h ttp : //c argo c o l l e c ti ve.c o m /san d ral o u l o u

T he aim of this projec t is to de sig n a c ollec tion of sk ir ts using s ec ond hand mater ials w hich have been re shaped into a more c ontemporar y de sig n . Pr ints w ill be applied to m y de sig ns using dig i tall y de sig ned pat ter ns w hich have a minimal impac t on the env ironment . S imilar l y, there w ill be no was te c onc er ning the f abr ic s as I w ill be upc y cling i tems of clothing .

I w ill us e nude s w ho w ill be ordinar y people w i th phy sic al imper f ec tions , thus enabling me to ex plore the pos sibili tie s of the bod y ou tside the f rame w i th que s tionable s ex uali t y, the nudi t y w i th i ts s ex ual neu trali t y opening up a dialog ue of meaning w i th the pos sibili t y of ex tending the bar r ier s of s ociall y ac c ep table s ex uali t y. Photog raphs of the nude s w ill be taken w i th projec ted f or ms and shape s using image s of jeweller y on their bodie s . I w ill create pat ter ns w hich w ill ac c entuate aspec ts of f eminini t y b y excluding the bod y f rom the back g round .

183

Ji-hye Park South Korea

+ 44 78 4 33 8 8 9 9 0 ji . h . p a rk @ho t m a i l .c o m

Green inter ior de sig n is an obligation and an oppor tuni t y to sus tainabl y de sig n space s that minimize har m to the env ironment and people . O f cour s e f ashion and trend is a big par t of any de sig n bu t it is not the mos t impor tant mat ter. T he mos t impor tant mat ter s are ‘sus tainable’ ‘rec y cled ’ ‘non-tox ic ’ and ‘or ganic ’. T his is a point that c annot be s tre s s ed too much .

Mos t people belie ve that eating well and exercising w ill reduc e the chance of illne s s . Howe ver re s earch show s that , the number s of people suf f er ing f rom env ironmental related illne s s e s are cons tantl y increasing . A nd theref ore, intere s ts in eco -inter ior de sig n are als o increasing .

T he pr ior i t y of this projec t is to produce f abr ic s that c an be us ed f or var ie t y pur pos e s such as f ur nishing and wallpaper s , bu t s till ref lec ting s ens e of s t y le, spatial needs and helps y ou li ve in a healthier env ironment .

184

Alizée Perrin

France

0 7 7 74 2620 64 al i ze e p e r r i n @ g m ai l .c o m

Human beings have a multitude of senses; in my project, I attach impor tance to the sense of touch. I believe that tex ture is ver y impor tant, more than the visual appearance.

We are bombarded dail y b y image s . We as sume that ‘s eeing is belie v ing ’, bu t are we pas si vel y look ing , rather than reall y s eeing?

Touch ac ti vel y engage s us , i t create s a phy sic al c onnec tion be t ween the wor ld around us .

I decided to make mater ials that create illusions . I f ocus ed on three dif f erent perc ep tion illusions : - how to make a tex tile w hich look s we t bu t is ac tuall y dr y.

- a tex tile w hich s eems threatening , w hich c an hur t y ou, bu t is s of t .

- a hard metal, which peels like gold leaf when you touch it .

I would like to create dif ferent installations for each illusion.

T he aim is to produc e s ens or ial and illusion spac e s , w hich enc ourage people to touch , in order to arous e the public ’s cur iosi t y and s timulate intere s t .

185

Serap Pollard

Turk y/ United Kingdom 00 44 7791 3 2 16 2 3 i n f o@se ra pp o l l a rd .c o m w w w. se ra p po l l a rd .c o m

Mak ing sus tainable gar ments s tar ts with creati v it y in the design . M y projec t as ses ses whether it is pos sible to create reduced was te gar ments through a par ticular weav ing technique and mix with traditional f rom K as tamonu / T UR K E Y which is c alled S elalmaz fabr ic . T he sooner we are able to s tar t s av ing mater ial was te f rom the design, the sooner we c an commence creating a greener env ironment .

Of par ticular interes t was uncover ing the cur rent situation around the S elalmaz fabr ic , which was approaching ex tinc tion due to its low demand. T he projec t aimed to add greater value to the S elalmaz fabr ic and rev i ve it within the tex tile indus tr y. T his could be achieved by weav ing it with bamboo, colour ing the fabr ic and creating a zero was te pat ter n cut ting for more sus tainable and desirable gar ments . A s opposed to utilising it in its cur rent limited remit as table cloth or sc ar f.

186

Qing Shen China

+4 4 0 74 273 3 2792 sh e r r ysh e n 3 3 3 @ h o tm ai l .c o m

W hile I am being taug ht that we should de sig n f or sus tainabili t y and ec olog ic all y in C hels ea , w hich make me as s ociate w i th the cur rent si tuation of pollu tion , e speciall y air-pollu tion in m y home c ountr y - C hina . T hen I had the idea to do s ome de sig n w hich inspired b y airpollu tion . I v isi ted the mos t air-pollu ted ci t y, L inf en , C hina , and photog raphed s ome pic ture s there . In order to g i ve a v i v id and s trong impre s sion , I choos e dig i tal pr int to display the image s of air pollu tion . A nd I w ill make f ashion gar ments b y using the s e pr inted f abr ic s . T hroug h m y s tudio prac tic e, I want to aware people that the air c ondi tion in s omew here of C hina remains at a dangerous deg ree as to the li v ing env ironment there is badl y af f ec ted, and then to appeal people all over the wor ld to c ontinue mak ing ef f or ts into the sus tainabili t y bat tle f or our li v ing env ironment .

187

Wiriya Techapaitoon Thailand

+ 44 79398 4 5 8 10 b a sk e t ize r @ g m a i l .c o m

‘G ar ment B aske tr y ’ T he under valued common sk ill has been trans f or med through the simple Diagonal Plait and Tw ill Weav ing P at ter n into s elf-tex ture c ontemporar y f ashion c ollec tion .

C ontinuous line s that r un acros s the gar ment pat ter n piec e create the s traig htf or ward y e t s ophis tic ated ou tf its that mold over the wearer ’s bod y.

Rather than jus t being a par t of f ashion s tr uc ture, this projec t is aiming to contr ibu te the hir ing , to top up the wor ker s ’ sk ill value and to re v i ve the cultural her itage .

Model wear s an A pron Tunic Dre s s w ith f ront pocke ts ; C ot ton Webs , P leated C ur tain Tape to demons trate the Tex ture, S of t Ve s t and S k ir t ; C ot ton Tape s , C ot ton Webs .

188

Louise Tucker United Kingdom

0 7 7 1258 73 70 l o u i se _ tu cke r 8 4 @ h o tm ai l .c o.u k l o u i se tu cke r. n e t

Fas cinated b y woven de sig n and three dimensional s tr uc ture, this projec t ex plore s mater ial and proc e s s led de sig n .

De sig n ideas and a hig hl y de veloped under s tanding of mater ials and technique s are broug ht abou t b y continued hand ex per imentation .

T his projec t aims to gain an under s tanding of the rele vanc e of the hand w i thin the de sig n proc e s s , look ing at the us e of the hand both as a tool f or de sig n de velopment and f or f inal produc tion .

189

Saba Vafai Rahbar Canada

+ 44 7530 5 4 0 4 3 4 s a b a ra h b a r @ g m a i l .c o m s a b a ra h b a r.b l o g s p o t .c o m

I have been explor ing the meaning behind design ethic s , when applied to a tex tile design prac tise, bec ause I wish to s tar t my own sus tainable tex tile busines s . I wish to prov ide sus tainable tex tiles by the meter and help spread the awarenes s by launching a design platfor m for young designer s to create limited edition pieces using the tex tiles available in the shop. M y wor k is an illus tration of the proces s a young designer would go through to create a commis sioned collec tion . T he theme of my wor k explores my identit y in ter ms of culture and inf luence. Hav ing been bor n in C anada, brought up in Dubai and educ ated in France and the UK , I have picked up pieces of dif ferent cultures and used this projec t as a for m of self exploration .

190

Saskia van Nieuwenhuyse

United Kingdom/Belgium +4 4 7 70 23 29268 saski n a67@ h o tm ai l .c o m

Repellent At trac tion: F inding B eau t y in the Unusual f or a S us tainable A pproach to De sig n I am conducting my research through the creation of a line of â&#x20AC;&#x2DC;Body Objects: â&#x20AC;&#x2122; pieces that lie somewhere between fashion and costume jeweller y, made from various natural and ever yday materials. I am interested in the transformation of simple materials into functional decorative jeweller y pieces; embracing the ordinar y to create something unique and beautiful with them. Each piece will be made to achieve an ef fect of per formance when worn, with a strong graphic impact against skin or clothing and imbuing the wearer with a sense of power and individualit y.

I will explore the ques tion of at trac tion and repulsion; what makes something wor thy of keeping forever? I have drawn par t of my inspiration f rom the Mayans , specif ic all y f rom their r itual clothing , jeweller y and headdres ses . T hey had a fascinating way of using the natural mater ials around them, along with shape and colour, to create pieces that had a power f ul impac t when wor n . Each piece made a s tatement and was wor n as a means of self-expres sion, which is what I aim to achieve through my collec tion .

191

Diti Vora India

+ 44 770 70 8 6 9 79 d it ivora 2 000@ y a ho o.c o m

â&#x20AC;&#x153; Reg ular itie s w ith Ir reg ular i tie s â&#x20AC;?

Nature has been a lif elong inspiration f or me . I t pos s e s s e s drama and innocence at the s ame time along w ith endle s s color s and tex ture s . Her peculiar beau t y is hard to ig nore .

M y s tudio prac tice re vol ve s around using au tumn f or ms w i th spr ing color s show ing optimism and rebir th . C ar r y ing m y c amera at all time s s o that I c an c apture nature at its be s t is w hat I â&#x20AC;&#x2122; ve made sure of. Using a ver y intere s ting me thodolog y of pr int and d y e image s over laid, I have tr ied to gain reg ular i tie s w ith ir reg ular itie s .

I w ish to br ing the beau t y of natural word in our home s w here i t c an be appreciated at all time s .

192

Bo Ra Wee

Republic of Korea

+4 4 75525160 55 +8 2 10 950 8 3 0 3 8 th e b l ackan d b ro w ny@ g m ai l .c o m w w w.th e b l ackan d b ro w ny.c o m

S ur rounding env ironments inf luenc ed us w hen we g row up and build up our s el ve s as an independent per s on . A s more than half of the wor ld ’s population li ve s in tow ns and ci tie s now in 2 01 2 , we s ee the achromatic g re y, black and neu tral c olour s f rom the building s and asphal ts as comf or table, protec table colour, a c amouf lage .

We now c onsume 3 0 perc ent more clothing than e ven f our y ear s ago, f ashion being bas ed on de sire rather than needs . I t is time f or an e volu tion if ‘ f as t f ashion’ is ine v i table; the de velopment of f ashion indus tr y is required to f ind a har monic way f or f as t f ashion and ec olog ic al me thods , the c o - ex is tenc e . A s a f ashion de sig ner, I am s earching f or the beau tif ul tone s of g re y and black in natural d y e s as ‘moder n c amouf lage c olour shade s ’ to de sig n w i th other s y nthe tic f abr ic s f or the def ini ti ve f ir s t c ollec tion of clas sic f as t f ashion label ‘ theblack andbrow ny.c om’.

193

Seung Keol Woo Korea

+ 44 751426 18 15 + 82 1 0 31 2 2 7 75 8 k e ol woo@ho t m a i l .c o m

194

Soin Yoon so i n 910 4 @ g m ai l .c o m 0 78 1 0 161 23 2

M y main area of inve s tigation is the c onnec tion be t ween per s onal his tor ie s and k ni t ting /s ti tching /pr inting . I am re s earching the way s that c ombined m y dair y and per s onal his tor ie s w i th rec y cled mater ials .

M y projec t is abou t memor y. T he wor k aims to rec ord unrec og nizable precious moments of e ver y day lif e . I have at temp ted to show dair is tic wor k ; documentation of the quotidian . I want to redis c over the trac e s of m y lif e throug h memor ie s and make v iewer s to remind their valuable thing s that c annot be broug ht back .

I am play ing the opposing meanings by using dispos able mater ials to depic t cher ished memor y in ter ms of being unaware of the present . People nor mall y feel no emotion but that of boredom in their f ixed routine of dail y life rather than feeling gratef ul. But the tedious moments piled up as time goes by and the cumulated moments become peopleâ&#x20AC;&#x2122;s memor y, which we c an remember af ter wards over time, and then we onl y thank to our pas t time.

195

MRES ARTS PRACTICE 197

Sophia Demetriou United Kingdom

d e me t riou s o phi a @ y a ho o.c o m s op h ia de m et r i o u .c o m

M y s culp ture s and draw ing s are bas ed on the proce s s of g i v ing shape to the mater ials f ollow ing an intuiti ve way of wor k ing . I am intere s ted in the relationship be t ween the mater ials , f or ms and space . Fur ther more the s culp ture s are s culpted independentl y in the s tudio, and I examine way s of how the y are coming toge ther to create a coherent w hole at the ins tallation site through display. T he ins tallation site has the role of connec ting the s culp ture s to each other, rather than being par t of the s culpture s .

198

Katie Elliott

United Kingdom

0 7 7914 158 52 k .e l l i o tt7@ w i m b l e d o n . ar ts. ac.u k h ttp : //kati e e l i z ab e th e l l i o tt.wo rd p re ss.c o m /

How do we enc ounter the c omplex i t y of sig ns ex pre s s ed on and be t ween c os tumed bodie s in per f or manc e? C an draw ing inv i te a new engagement into rec orded danc e that c an aid our under s tanding of the s e meaning s?

K atie Elliot t is a w r i ter, ar tis t and s c enog rapher. Her cur rent prac tice -led re s earch inve s tigate s sig nif ic ation of c os tumed bodie s in Pina B aus ch’s Or pheus and Eur y dike . T his wor k include s a shar ing of her indi v idual ex per ience s eeing c os tumed dancer s , and enc ompas s e s ex per imental draw ing , projec tions , and a dialog ue w i th Julia K r is te va’s ps y choling uis tic theor ie s . T he role of ar tis tic prac tic e in her enquir ie s ac ts as a k aleidos c ope, a ‘s eeing into c omplic ation’. Draw ing allow s a translation of her ephemeral and unc ons cious reading s of s c enog raphy into v isual clar if ic ations .

‘Processes of drawing unfolded the immersion felt while viewing per formance, and revealed a desire to follow the dancer. I realised this empathy had emerged out of individual thought and a seductive dialectic emanating from the costumed bodies .’

199

Jinah Lee South Korea

+ 44 771 2 6 3 4 8 19 ji n a l e e 0 518 @ g m a i l .c o m w w w.j in a l ee- a r t .c o m

Jinah L ee, a Korean ar tis t , holds an MFA in P ainting , and a B FA w i th honour s in P ainting & Pr intmak ing and A r t his tor y f rom the Ew ha Womans Uni ver sit y in S eoul.

Her si te -specif ic ins tallations , v ideos , public ar t wor k s have been mainl y pre s ented in S eoul. A f ter f inishing her Mas ter the sis in 2 010, she par ticipated in A E A F ( A us tralia E x per imental A r t F oundation) s tudio in A delaide bef ore coming to L ondon .

Her ar t wor k and re s earch are mainl y concer ned w ith the c ollaps e of ter r itor ial boundar ie s be t ween s ocial, poli tic al and geog raphic al space; elements , w hich she belie ve s are, in the age of globalization , in per pe tual movement and simul taneous emig ration . Bu t exac tl y how do people ex per ience this movement? How c an this inv isible collapsing boundar y be v isualized ? To ans wer this que s tion , L eeâ&#x20AC;&#x2122;s c aref ul obs er vations and f inding s through draw ing s s eek to open the pos sibilit y f or unsuspec ted interac tions of ex per ience and k now ledge in relation to geopolitic al and cul tural boundar y is sue s .

200

Emily Ludolf United Kingdom

e. l u d o l f 1@ ar ts. ac.u k

T his is par ticipator y mul tis ens or y ar t . M y ar t prac tic e s eek s to as s er t the pr imac y of the bod y in perc ep tion , and ask s y ou to par ticipate throug h all the s ens e s s o of ten excluded f rom ar t ; touch , smell, and tas te . In the plac e of an ‘objec t ’ m y ar t wor k create s an ‘embodied ’ ex per ienc e, throug h a ‘ bloc ’ of s ens ation and the supras ens or ial, w hich “doe s not ac tualis e the v ir tual e vent bu t inc or porate s or embodie s i t : i t g i ve s i t a bod y, a lif e, a uni ver s e [. . .]

T he s e uni ver s e s are nei ther v ir tual nor ac tual; the y are pos sible s , ‘ the pos sible as ae s the tic c ategor y ’ ” (Deleuze W hat is Philos ophy?).

Pleas e touch , smell, eat the ar t wor k , be prepared f or an ae s the tic ex per ienc e that taps into emotion , memor y and intimac y, w here the meaning of the ar t onl y c ome s into being in relation to y our being , y our as s ociations and under s tanding of the wor ld broug ht f rom pas t ex per ienc e .

T he f lat ‘c onc ep t ’ is replac ed b y a created s ens or y reali t y, w i th i ts ne t wor k of subjec ti ve meaning …

Emil y L udolf is a g raduate of O x f ord Uni ver si t y, w here she specialized in A e s the tic theor y, and pas t F inalis t on the B B C ’s Mas terchef in 2 0 0 8 .

201

Lydia Parusol Germany

lydia p a rus o l @ g m a i l .c o m

C oordinate s of contemporar y C ambodian womenâ&#x20AC;&#x2122;s ar t : Reflection and documentation through an experimental book T he pur pos e of this prac tice -led re s earch is to br ing at tention to the prac tice of contemporar y C ambodian women ar tis ts . I t include s m y subjec ti ve position as re s earcher as well as pas t and contemporar y ar t his tor ic al notions throug h an innovati ve f or m , here c alled an ex per imental book .

I intend to re veal perceptions and inter pre tations of their ar t prac tice s . I w ill do this through image s of ar t wor k s , new spaper cu t ting s , email c onver s ations , and exc er p ts f rom ar ticle s ; als o ar tis t s tatements and tex ts w r it ten b y ar t jour nalis ts and curator s abou t C ambodian ar t s elec ted f rom m y ow n archi ve . M y main pur pos e being to highlight the womenâ&#x20AC;&#x2122;s ar t wor k s . T he haptic approach aims to engage the v iewer and to create intimac y w ith the ar tis ts â&#x20AC;&#x2122; (hi)s tor ie s .

202

Sharon Phelps

United Kingdom

sh aro n p h e l psar ti st@ yah o o.c o.u k w w w. ax i s we b.o rg /ar ti st/sh aro n p h e l ps w w w.e n c o u n te r s w i th p ai n ti n g.wo rd p re ss.c o m

S haron Phelps is using both prac tic e and w r i ting to ex plore me thods in w hich nuanc e may oc cur w i thin painting . W i th the wor k ing ti tle A g ne s Mar tin: P ainting as Mak ing , she is re s earching the way in w hich c er tain t y pe s of painting inv i te a phenomenolog ic al enc ounter. T he y draw a v iewer in clos e to s tud y the sub tle de tails w i thin the mater iali t y of a wor k bef ore dis appear ing into a ha ze at a dis tanc e . S he is ex plor ing innovati ve way s in w hich to w r i te abou t painting throug h per s onal enc ounter s , and in the c our s e of her re s earch is f inding new me thods in w hich f rag ili t y and trans f or mation bec ome a par t of her painting prac tic e .

203

Loredana Todor Romania

lore da n ato d o r @ ho t m a i l .c o m

Loredana Todor has worked as an Interior Designer for seven years. She has a BA in Psycholog y from Babes-Bolyai University in Cluj-Napoca, Romania and a BA in Interior Design from Istituto Europeo di Design in Milan, Italy. She now specialises in Environmental Psycholog y.

An analysis of Environmental Psycholog y and its approaches to Institutions for Young Offenders This research investigates the effects of the environment on the moods, feelings and behaviours in Youth Detention Centers, in par ticular the factors that can help with the rehabilitation process, or can prevent violent behaviour.

This study argues for research that establishes scientifically grounded guidelines to help interior designers plan these environments better. The focus will be on Biophilic Design.

This helps inmates have a psycho-physiological experience with a more natural environment especially including plants, natural light, and furniture designed in organic shapes.

204

Helen Turner

United Kingdom

+4 4 7 722964 195 h ap p y tu r n e r @ h o tm ai l .c o m c o p yc atg al l e r y.c o m tu r n e r sg al l e r y.c o m

F ollow ing Womanhous e, I have applied a gender-re ver s al technique to the ic onic image of C ameronâ&#x20AC;&#x2122;s Bullingdon C lub photog raph . T his hig hlig hts the re tur n of a r uling eli te and que s tions w hy there are s o f ew women in top jobs . I als o us ed a var ie t y of media in the painting , as member s of Womanhous e did, in this c as e to create their breas ts . I emplo y ed s tock ing s s tuf f ed w i th c ot ton (af ter S arah L uc as), f r ied eg g s (af ter V ick i Hodge t ts â&#x20AC;&#x2122; K i tchen Room in Womanhous e), milk bot tle s and other mater ials . I have trans f or med their breas ts f rom being pr ime s ourc e s of f ood to f ishing rods impl y ing oc cupational ac ti v i t y de sig ned to prov ide f ood f rom ex ter nal s ourc e s .

T i tle: B or n to r ule? T hen f eed the nation! (par tial image) Dimensions : 15 0 x 15 0 x 10 0 cm Mul ti-media ins tallation 205

Student Index M A F i n e A r t

K im , J e an - 3 6

R ail ton , Tom - 6 4

M A G r a p h i c D e s i g n C o m m u n i c a ti o n

S h am , R ac h el - 1 14

A n , M in w o ok - 8

K im , N ak y o un g - 37

R obin s on , M ic h a el - 6 5

A r r ud a , A n dr e - 8 6

Ts ai , Y i -J u - 1 1 5

A r ti g a s , E len a - 9

K im , S an g - h y un - 3 8

S alc e do , A lejan dr o - 6 6

B i , Yue - 87

U r um o v a , S o f i y a - 1 16

B a a s s ir i , D ali a - 10

K oz lo w s k i , M ic h al - 3 9

S h eph er d , L en e - 67

B o ule t , E mm anuelle - 8 8

Wan g , X i - 1 17

B aik , S o o E un - 1 1

L an der, J am e s - 4 0

S hin , J un g h e e - 6 8

C ai , Z h enjie - 8 9

Wan g , X iao f ei - 1 1 8

B e ale s , K a tr ion a - 1 2

L aw lor, W illi am J . C . - 41

S im , J ar r o d - 6 9

C h en , K ai - 9 0

W u , Y in g p in g - 1 1 9

B y r n e , R eb e c c a - 1 3

L e al , S an ti a g o - 4 2

S im , - A r am - 7 0

D umu t a , A n dr e e a - 9 1

W u , C h en g - H an - 1 2 0

B o ule , C h oi Yuk K uen - 14

L e e , D ae c hul - 4 3

S on , Yu H w a - 7 1

D upr e , M eli s a - 9 2

Z h an g , Y in g - 1 2 1

C h o , S e e un - 1 5

L e e , E ( H y un J o on) - 4 4

Te e g an , Nic k y - 7 2

E d g ar, J enn a - 9 3

Z h an g , Z h an - 1 2 2

C unnin g h am , E le an or - 16

L e e , H y i J un g - 4 5

Tomi y a s u , Yum a - 7 3

G a o , J in g x ian - 9 4

Zou, Yi - 123

D e B o er, A d am - 17

L e e , S e -J un g - 4 6

Van D en B o s , M a ar ten - 74

G o telli , C lar a - 9 5

D e dhia , R aj v i - 1 8

L im , Yon g h y un ( J ac k ie) - 47

W hi t f or d , L uc y - 7 5

G r i g or iu , A n a - M ar ia - 9 6

D e dic s , N ic h ol a s - 1 9

L i , X i ao - y an g - 4 8

W hi t t aker, A lex - 7 6

H all s , S ar ah - 97

E k , T h ek la (S o th e an y S o p hie) - 2 0

L o c ke , L an a - 49

Won , J a e y o un - 7 7

H u an g , Yun t a o - 9 8

E l ton , L i z - 2 1

L uc a s , A li s on - 5 0

Ye o , A s hle y Y K - 7 8

J ia , C hu an ( Tr ajan) - 9 9

Far r ell , R o s ie - 2 2

L u , C h en - S hih - 51

Yo u , H y e s o o - 7 9

L e e , H an -Y in - 10 0

F i g uer o a P al au , C r i s tin a - 2 3

M ar ze t a , A lex - 5 2

Yuen , J o el - 8 0

L e e , H ann a - 10 1

G ao , Yu an - 24

M c A r dle , C l air e - 5 3

Yue , X ia o f ei - 81

L e e , C h en g - H a o - 10 2

G ar in , R a quel - 25

M er a M ar tin e z , D aniel - 5 4

Z a v ar ei , S ab a - 8 2

L in , Y i -Te ( E ddie) - 10 3

H an , S an g B a ek - 2 6

M ill an , A n a M ar i a - 5 5

Z h an g , X in g y ue - 8 3

L i , H ai Y i - 10 4

H ii , S hie w E n g - 2 7

M o on , S o Yo un g - 5 6

L u , J in g y a - 10 5

H i t zem an , R ob er t - 28

M or i s , S ak ur a - 57

M ar tin e z , D aniel O r lan do - 10 6

H on g , J uh e e - 2 9

N am a z i , M oh amm ad - 5 8

O u y an g , X ia ojun - 107

H o o p er, R eb e c c a - 3 0

O h , H y unh w a - 5 9

P an , C h en -Yu - 10 8

H w an g , J ih e e - 3 1

P a g e , Van e s s a - 5 2

P a s tr e , L or r ain e - 10 9

P a g er, S ar ah - 6 0

D e s p o - 1 10

J un g , S u - 3 3

P er eir a , A n a C a t ar in a - 6 1

R ajar, S amia - 1 1 1

X ie , K an - 3 4

P iddo c k , J e s s - 6 2

S an g , C on g - 1 1 2

K e o g h , J oh ann a - 3 5

R ac e , J o - 6 3

S ap al y, G a elle - 1 1 3

J on er h eim , C h ar lo t te

206

- 32

M A In te r i o r a n d S p a ti a l D e s i g n

S h ao , F en g ( R e c y) - 1 5 4

M A Tex ti l e D e s i g n

We e , B o R a - 1 9 3

M R E S A r t s P r ac ti c e

A n , H e y mi - 1 2 7

S hin , S o o J i - 1 5 5

A z i z , S an a - 16 6

Wo o , S e un g K e ol - 1 9 4

D em e tr io u , S op hia - 1 9 8

A r temi , Ir en e - 1 28

S o c r a to u s , Z o e - 1 5 6

B a s tien B ar r e t te , M ar il y n - 167

Yo on , S oin - 1 9 5

E llio t t , K a t ie - 1 9 9

A ur s ir i s ub, S ir in tr a - 1 2 6

S op h o c le o u s , E leni - 1 57

B o s i s io , P a tr i z ia L or e t t a - 16 8

L e e , J in ah - 2 0 0

B ar lo w, I toh an - 1 2 9

Vale e v a , A lin a - 1 5 8

B o ter o S an to s , S u s an a - 16 9

L udol f, E mil y - 2 0 1

B lenk in s o p , L aur a J an e - 1 3 0

V ier in , C amille - 1 5 9

C h an , Yeh L am - 17 0

P ar u s ol , Ly dia - 2 0 2

C h aker, S ir in e - 1 3 1

X ue , J in g - 16 0

C h en , C hien -Yu - 17 1

P h elp s , S h ar on - 2 0 3

C h en , Y i -Wei - 1 3 2

Yam an e , Tom o - 16 1

C r o on , A nnie B r e e - 17 2

To dor, L or e d an a - 2 0 4

D imi tr a , D o u zeni E lenie - 1 3 3

Yan g , Wenh ao - 16 2

D a y, C h ar lo t te - 17 3

Tur n er, H elen - 2 0 5

E v an s , J enni f er M a y - 1 3 4

Ye om , M injun g - 16 3

H ain e s , T h e a - 174

F u , L i an z h on g - 1 3 5

Ye un g , J ac quelin e F uk Yu - 16 4

H a y hur s t , P enn y - 17 5

G an dol f o , C r i s tin a - 1 3 6

H o , C hia - H s in g - 17 6

H elo u , R ol an d J o s ep h - 1 37

H u an g , J ie - 17 7

H er e di a R o dr i g ue z , N a t ali a - 1 3 8

I to g a , H ir omi - 17 8

H e , M am o ( J uelin) - 1 3 9

L iu , H uimin - 17 9

I z a w a , M i w a - 14 0

L o , A lex an dr a K ik i - 1 8 0

J e s ad ap a tr ak ul , N ap a t - 141

N a w alk h a , A s hi t a - 1 81

J ia , M o - 14 2

O h , M in t a ek - 1 8 2

K an g , M ink y un g - 14 3

P a g an o p o ulo u L o ulo u ,

Kten a , O l g a - 14 4

A lex an dr a - 1 8 3

L ai -Tr em e w an , Y i -Z h en - 14 5

P ar k , J i - H y e - 1 8 4

L e e , K e un H y e - 14 6

P er r in , A li ze e - 1 8 5

L ia g k i , S t am a tin a - 147

P ollar d , S er ap - 1 8 6

L im , M en S un - 14 8

S h en , Q in g - 1 87

L im , J o onh w an - 149

Te c h ap ai to on , W ir i y a - 1 8 8

L o , M in g S hum - 1 5 0

Tuc ker, L o ui s e - 1 8 9

O hm , I s ab elle - 1 51

Vaf ai R ahb ar, S ab a - 1 9 0

P e tko v a , A n to an a - 1 5 2

Van Nie u w enhu y s e , S a s k ia - 1 9 1

P hilip p o u , V ic k y - 1 5 3

Vor a , D i ti - 1 9 2 207