School of Design Degree Show Catalogue by The Glasgow School of Art

Degree Show Catalogue 2022 School of Design

BA (Hons) Communication Design BA (Hons) Fashion Design BA (Hons) Interaction Design BA (Hons) Interior Design BA (Hons) Silversmithing and Jewellery Design BA (Hons) Textile Design BEng & MEng (Hons) Product Design Engineering MDes Communication Design

Introduction A warm welcome to the 2022 School of Design degree show. This is my first year as the Head of Design and I am delighted to have joined the Glasgow School of Art and to be leading a world class school of talented students and inspiring staff. This year we are delighted to fully return to a public exhibition in the Reid Building for all our graduating students work after a two-year hiatus. We hope you will have the opportunity to experience the work in person and in-situ as you move between rich sensory experiences across our stunning building. Our school is one of design and making, equally committed to what is an affirmative creative process of production and consideration of all media, objects and artefacts across a range of locations and/or scales. The process of designing, discussing, and making work in our studios engages our senses and is a rich tactile material experience for all our disciplines.

Professor Stephen Bottomley Head of the School of Design

The work is a celebration of each student’s individual achievement, the show a reflection of our creative community. Sharing these very human and social dimensions of our practices is a great pleasure, especially after a time of social distancing when many of these types of natural engagement were not possible or simply not permissible. This year, for the first time, the School of Design is creating matching printed handouts for all our departments, that collectively document a snapshot of the class of ’22. Our parallel on-line digital showcase, each has a page individually curated by our students, that contains further opportunities for exploration into the work of each of our graduate’s portfolios. I wish all our graduates every success and congratulate them on the culmination of their studies over what have been such recent challenging times for all.

Design History & Theory As part of their degree, all BA Hons School of Design students submit a substantial piece of written work to the Department of Design History and Theory (DH&T) and a synopsis of every one is included in these pages. Students may opt for either a shorter (5,000 word) or longer (10,000 word) submission, the latter being a third of their overall degree submission. In addition to the two lengths, there are three different modes of submission; essay/dissertation; critical journal (exploring the author’s studio practice in a larger critical and cultural context); or curatorial rationale (an in-depth proposal for an exhibition with its subject and venue the choice of the author). All DH&T staff are involved in the supervision of Honours submissions, which is on a one-to-one basis, and it is always a pleasure to guide what is always a wide range of fascinating and challenging projects. DH&T is independent of studio, with its own external examiner, and upholds a principle of free subject choice. Therefore, while some students write on topics directly concerned with their studio practice, others explore topics that seem to have no bearing on it, often personal interests or socio-cultural issues. This does not mean they are unconnected with studio, however, as the creative process is one of thought and all these submissions are deeply thoughtful, often informing practice in intangible, but significant ways. Nicholas Oddy Head of Department of Design History & Theory

Finally, congratulations to everyone who has submitted this year. As a group you have generated almost a million words, testament to your commitment to DH&T. On behalf of all in the Department, good luck in whatever the future holds. ↘ ↘ D ↘ ECR ↘ ECJ ↘ EE ↘ CR CJ

Curatorial Rationale Critical Journal Dissertation Extended Curatorial Rationale Extended Critical Journal Extended Essay

Communication Design Congratulations to this year’s graduating Communication Designers! This concludes an epic journey for them, set against a dramatic, unpredictable and ever-changing backdrop. In their years with us they have demonstrated tremendous resilience, adaptability and resourcefulness: exactly the kind of attributes employers are looking for! In keeping with the programme ethos, you will find a show brimming with ideas and curiosity, incorporating the traditional skills of drawing, printing, photography and other graphic processes along with video, sound, interaction, animation and moving image. We are excited for them as they move on; proud of their achievements and highly confident that they will make valuable contributions wherever life may take them. And so, well done to all of you, we wish you well and please do keep in touch!

Steve Rigley Programme Leader

“You will find a show brimming with ideas and curiosity”

Abigail Allen I am a multi-disciplinary graphic designer working primarily with identity and editorial design. Integral to my work is a strong consideration for detail, materiality and making across both digital and physical media. I am conceptually driven and often explore themes around gender and domestic life in my work. Collaboration has informed my practice this year; I enjoy working on multi-dimensional projects which recently has spanned across branding, animation, exhibition and packaging design. Throughout my work I have an inquisitive approach to research and an iterative process of crafting a solution to best suit its audience. ↘ Folkhemmet: The Evolution of the Swedish Nation Brand. This essay discusses the role of the Swedish Folkhemmet (literary translated The People’s Home) in the evolution of the Swedish nation brand. It is argued that Folkhemmet initiated a positive trajectory for the Swedish nation brand as being defined as democratic and progressive. Furthermore, Folkhemmet has established a framework for the Swedish collective identity which is being utilised by both the Swedish nation brand and the global company IKEA. In this way, Folkhemmet is being recontextualised to suit the needs of contemporary society. EE

↘ abigail.allendesign@gmail.com ↘ @_abigail.ea

Agnes Boman Much of my work is created in an attempt to convey an emotion. I’m interested in personal stories and the magic that can be found in ordinary life. Topics I’ve worked on include memory, grief, loneliness and addiction. I enjoy the challenge of taking something as abstract as a feeling and turning it into something recognizable. I let my work take on different forms in order to let the story be at the heart of my decision making. Animation is my current favourite medium because I can play with the impact of motion and sound to create an audiovisual experience. ↘ The Shaming of the not Ashamed: A Case of Alexander Bard. In this essay, I use the historical and philosophical lens of shame to examine a significant case of professional dismissal due to public outrage. The Swedish television celebrity Alexander Bard lost his job as a judge for Sweden’s Got Talent due to a controversial tweet posted during the Black Lives Matter protests, and this example is an important topic for examination because it lies right at the intersection of different standpoints on so-called ‘cancel culture’. My methodology is predominantly literature review. Using contemporary media formats, self-publishing platforms and books as well as news articles as well as case studies, I seek to demonstrate how similar scenarios to Bard’s case have played out in the public sphere. I examine the role of free speech and how it is used in current political discourse and I use Bard’s case to test the validity of these points of view. My approach is self-reflexive which is important in trying to examine a sensitive topic such as this. Intending to give a balanced overview, I argue the points of both sides. My intention is not to interrogate right and wrong, but to uphold why such a pursuit is in itself fruitless. EE

↘ agnesxan.com ↘ agnesxboman@gmail.com ↘ @agnesxan

THE GLASGOW SCHOOL OF ART

Amy Ortiz Inspired by the history of alternative, queer print culture and the process of grassroots community building, this final work collates the findings of their research into an examination of belonging. Pairing eclectic lines of research with expressive mark making, “Principles of Belonging” plays with our tendency to group individual things together, both visually and socially. ↘ The Politics of Queer Belonging: Exploring Identity and Community Formation Through NI’s LGBTQ Print Subculture, 1970-90s. This dissertation investigates the social benefits and necessity of alternative material culture in the process of community formation and the consolidation of queer identities. Specifically, it explores how counter culture print has featured in the lives of the LGBTQ population during the fractured conditions of Troubles era Belfast between the 1970s and the 1990s and its key role in the development of a network of self-sustaining queer communities. This research reveals not only the often life-saving work of social networks cultivated by print culture at the time, but also the long-term influence of this era on the current queer community, highlighting the practice of archiving as a mode of regenerating interest and affirming LGBTQ+ belonging both past and present. To analyze this relationship, I use examples from recently collated Northern Irish archives, critically discussing material produced by LGBTQ+ organisations, women’s activist groups and queer individuals. In examining this material, another central aim is to reveal a different narrative within Northern Ireland, whilst still paying particular attention to how conflicting intersectional identities and ethnonationally divisive politics affect LGBTQ+ expression. D

↘ amy_ortiz@hotmail.co.uk ↘ @yam__ortiz

Blair Stobie My practice involves illustrating through model-making. This year, I have been interested in The Puppet, and the way in which a puppet is a coded object of the uncanny. I have explored puppetry as a technique for leaning into discomfort and performing behaviours whilst preserving the self-image. I am moved by transgression and recently have been exploring themes of Queer shame. I have found that there are many ways in which shame can be a powerful tool and how communities can be formed due to collective shame ↘ Fictions of The Self; A Comparative Analysis of Puppets and The Digital Avatar as Extensions of The Self. This essay explores the idea of extensions of the self in relation to puppets and the digital avatar. Seeking to define what value a puppet has in the 21st century, it shows how they can enable self-exploration and experimentation. It also considers examples of puppet theatre from across the last century and identifies how ideas have manifested differently in the 21st century. Referring to Carl Jung’s archetypes of The Persona and The Shadow, it considers the reasons why puppets and personas may be used as extensions of the self and how they allow the puppeteer or user to lean into uncomfortable areas and take risks whilst preserving their own self-image. EE

↘ Blairstobie@me.com ↘ @bstbie

BA (HONS) COMMUNICATION DESIGN

Caleia McKennan My photographic practice is primarily concerned with documenting my immediate environment and through my images and broader research, I try to make sense of this world. Most recently my focus has been exploring the complex situation revolving around the divide between the Catholic and Protestant communities within the Central Belt of Scotland and latterly Northern Ireland. Within this divide I belonged to neither side, but it has been ever-present in my life growing up in Central Scotland and something I have always wanted to explore further. This first part of this ongoing project, entitled ‘Loyal’ primarily explores the Protestant community. ↘ How Central Became the North: A Critical Journal Addressing the Sectarian Influences Scotland has Taken from Northern Ireland. ‘How the Central became the North’ is a critical discussion of sectarianism and historic rivalries in Scotland and the influences from Northern Ireland. I compare and contrast Catholic and Protestant religions and whether their vehement rivalry is really beneficial (or harmful) through the telling and representation of stories from central Scottish communities. I refer to theories and writings of Esther Leslie and Walter Benjamin, specifically their understanding and evaluation of photography and the meanings behind photographs with reference to my process of development in my own practice to allow me to hone my own techniques in photography and understand how I want to achieve influence through communication design. I explore the applications of these skills in storytelling, visual metaphors and communication in hope of conveying insights into the worlds of the Catholics and Protestants through imagery in my final project.

↘ cmckennan@hotmail.co.uk↘

Chloe Keppie My graphic design practice employs a research-led approach to explore my identity, heritage and culture. From referencing my upbringing in Shetland to uncovering family history in private archives and collections, I analyse these narratives to create work that reflects the historical and cultural landscape which has shaped my background. I express these ideas predominantly through typography, publication design and printed matter— this year creating a typeface which reflects the history and sound of the Shetland dialect and designing a catalogue that aims to present and preserve artists and designers from my ancestry. ↘ Once Upon A Time in Shaolin: An analysis of the value of music as art in a world of mechanical reproduction. This essay discusses the value of music as an art form through the example of ‘Once Upon A Time in Shaolin’, a one-of-a-kind record produced by the hip hop group Wu-Tang Clan, who wished to present the argument that mass-replication has changed the way consumers interact with recorded music. To provide the background for Wu-Tang Clan responding to this issue in the music industry, the history of recorded music is first explored, from its origins as a primitive form of communication, to its current digitised state. The next section examines the object of Shaolin, considering its format as a Compact Disc, its intricate casing, and the ephemera with which the album is presented. The work takes on a new meaning in the third chapter, where its new ownership by cryptocurrency collective PleasrDAO is scrutinized. The utilisation of a physical musical art piece by a collective that focuses on digital files provides insight into how the music industry is changing and developing. Finally, the lasting impact of the record is discussed to determine if Shaolin has accomplished its purpose of increasing the inherent value of music as art. EE

↘ eippek.com ↘ @eippek

THE GLASGOW SCHOOL OF ART

Ellen Nacey As an illustrator I’ve always felt drawn to colour, shape and composition and how all these elements integrate and compliment one another. With interests in children’s illustration, book cover design and surface pattern design, I’ve found that these forms of communication lend themselves well to my illustrative style. The meaningful concepts of my work are integral; mental health and wellbeing being a key theme within my practice. Discussing sensitive but important social ideas with a nurturing and thoughtful touch has been a big focus this year. I hope to continue this in the future, helping others and making a difference ↘ Body and clothing as a form of characterisation: a close analysis of the film franchise ‘Bridget Jones’s Diary’. This extended essay investigates and analyses the ways in which Bridget Jones, from the ‘Bridget Jones’s Diary’ movie franchise, is characterised through her body and clothing and how this has been informed by broader societal discourses around women’s bodies. The first chapter discusses specific themes and tropes within the films, particularly focusing on fat phobia, body image and objectification. The second chapter explains the discourse and contextual history at the time when these films were produced and different types of media from the millennium period. The third and final chapter analyses and explores distinct scenes within the films with an aim of exploring characterisation through clothing, styling and the body. EE

↘ naceyellen@gmail.com ↘ @ellustrated

Emma Ralph Initially studying languages and linguistics, I began this course to explore signs and symbols in a more hands on way. This year I have focussed on type design, typesetting, motion and code. My final project involves web scraping, the varying vocabulary of news websites and organising in-formation in alphabetical order as a way of analysing word choice. Other projects this year have looked at: how to typeset the two different voices of an interview; visual identities for exhibition spaces; using type design and archive material to explore the censorship of queer personal ads in the late 60s/early 70s. ↘ Google Earth as Thomas Cook: The rationale and consequence of Google Earth’s touristic brand voice. Beginning with the observation that Google Earth’s brand voice could almost be mistaken for the vocabulary found on Thomas Cook’s website, this essay questions why Google Earth plays into a touristic gaze throughout its branding and interface design. Contextualised with a brief history of theories of the gaze, the rationale behind this design decision is questioned, as well as the possible consequences of using a touristic gaze associated with distance and spectacle. Criticising Google Earth for amplifying a gaze associated with exotification, I question whether Google Earth’s interface allows for anything other than a homogenisation of experience. I conclude that, whether it exoticises or not, Google Earth’s brand voice could be an example of culture accumulating and that, while Google Earth is a new technology, technical innovation cannot separate it from the history of which it is part. EE

↘ emma-ralph.com ↘ ralph-emma@outlook.com ↘ @alsoemmaralph

BA (HONS) COMMUNICATION DESIGN

Grace Carroll My practice is carried by an interest in points in time where natural history, human history, language, and culture intersect. My work involves collecting information, thoughts, and archival material, sifting through, and highlighting subtle connections between people and the landscape. Collaborative practice and finding a harmony between digital and analogue processes has informed my work this year. I often use alternative processes of creating visuals that reflect the concept, for instance, printing with peat; a process that furthers the idea of the usage of landscape and embeds pieces of the land and culture directly in the materiality of the work. ↘ Minecraft as a Microcosm: A cultural analysis of the ways in which games engage with or mirror social, cultural or artistic ideologies. This dissertation aims to highlight games as a unique cultural form of media, exploring the relationship between virtual reality and actuality. The dissertation also aims to analyse culturally the ways in which games engage with, or mirror social, cultural or artistic ideologies. Through readings of Foucault’s theories on heterotopias, this dissertation explores the ways in which game landscapes mould, reflect and distort actuality. Beginning with an analysis of game landscapes and their relationship to artistic concepts, the world building games of Skyrim and Minecraft are analysed in relation to ideas discussed by Edmund Burke and Robert Moore. This analysis will continue over to the next chapter where the gender politics in Minecraft and Bloodborne are explored, comparing their representations of gender with ideas prevalent in the Renaissance period and contemporary popular film. The following chapter explores capitalism, neoliberalism and the Anthropocene through Minecraft and The Last of Us. Finally, there is an analysis of games as a distinct cultural form of media, discussing the works of Wafaa Bilal and Dan Hett. D

↘ gracecarroll.cargo.site ↘ Grace-carroll@outlook.com ↘ @gracecarroll

Greer Lockyear I am a graphic designer driven by the joy I find in people’s personal histories. My work is rooted in uncovering forgotten narratives and overlooked aspects of our everyday lives. Through exploring archives, whether that be rare private collections or deep diving into reddit threads, I aim to find interesting nuggets of information that can then become the linchpin of a project. I enjoy working with typography and printmaking as a means to communicate ideas, often utilising existing visual languages such as motorway road signs or 17th century songbooks- and playfully reframing them in a new context. ↘ Eat the Rich: A Discussion of British Identity and Royal Commemorative Food Packaging. This essay discusses the intersection of the public image of the Royal Family and British national identity through the lens of food memorabilia made for royal commemorative occasions. Looking at the semiotics of packaging and food contents, I examine the extent to which British identity and tastes have changed over the past 150 years. I deploy the approach of Roland Barthes to analyse the objects .I begin by focusing on 1887-1997, Victoria’s Golden Jubilee to Elizabeth II’s Silver Jubilee), the period in which the archetypal modern view of the Royal Family was formed. The second chapter examines the years 1977 to 1997. In this period, products reflect growing consumer culture in Britain and emerging conflicts with traditional aspects of British identity. The final chapter considers 1997 to 2018, when we see Britain adopt a more multi-faceted identity. Overall, I show how the image of the Royal Family is no longer equated with the deep nationalism it once was and has instead become more complex and diluted. EE

↘ greer.lockyear@gmail.com ↘ @greeryear

THE GLASGOW SCHOOL OF ART

Jess Wishart The work I have been creating this year started with a desire to visualise the coming together of the digital self and the real self. The space between these two states grows closer, and so we must question, who does the digital self exist for, and, who does it belong to? Information about most of us online is vast. Using images of myself that are searchable online and across social media, I have been coding to create neural networks that have been trained to replicate and generate alternate versions of these sets of images that don’t exist in reality. This project about machine learning aims to start a dialogue around how much control we have over our personal data, and the potential consequences of not knowing what is and can be done with it. ↘ The Hoax as an Artistic Device. This essay is an investigation into the hoax as an artistic device, where a hoax is an act that purposefully and publicly deceives a target or audience with the intention that the deception will eventually be unveiled. The investigation begins by looking into the artist as the perpetuator of hoaxes, and how their personal motivations and responsibilities can impact upon the overall success of what they are trying to achieve. Specific case studies of artistic hoaxes are used from the early 20th century until the present. Secondly, the essay discusses the importance and role of the audience in relation to artistic hoaxes and how this genre of work relies heavily on a dynamic between artist, artwork, and viewer. Lastly, the essay looks at the societal impact of hoaxes and their place in the art world, as well as our desire to find enjoyment and stimulation in these events. EE

↘ jesswishart.cargo.site ↘ jesswishart@hotmail.co.uk ↘ @jessamiahh

Jiawei Zhao My imagination has always been an incredible driving force in my life, and has done and still does have influence on almost everything I do. I have always been interested in creating graphic designs using computer software, but I am now finding that using traditional means are just as enjoyable. My works have an exploratory attitude towards the Beatles typeface, trying to connect with the Beatles culture and spirit. My works refer to the history of English font design and explore the relationship between popular culture and design. ↘ Research on urban public art design strategy based on emotional experience. Public art refers to an art form existing in urban public space. Its role is to repose the public’s emotional ideas, improve the urban image and improve the quality of urban environment. However, at present, the relationship between the public and public art is mainly in the form of one-way appreciation and there is a lack of communication between people and works of Art. In this extended essay I research urban public art design strategy based on emotional experience asking three key questions: What are the common problems in today’s urban public art? What is the public’s understanding of, satisfaction with and preference for public art? What design strategies based on emotional experience can help improve the quality of urban public art works? Due to COVID-19, I used literature analysis to investigate the public art works of eight European cities, and field investigation to research the public art works of six Chinese cities. I also used a questionnaire to explore the public’s satisfaction with the public art and emotional experience needs of urban dwellers. EE

↘ jiaweizhao888@gamil.com

BA (HONS) COMMUNICATION DESIGN

Joseph Learmonth I am interested in the worlds we create and choose to spend time in. The inside of our heads for instance, or the internet, or the fantasy realm of Dungeons & Dragons. I aim to portray issues of the real world through the lens of these imagined worlds. I try to get to the core of an idea using humour, which is a crucial element of my work. I think art is best when it gets you thinking by making you laugh. ↘ Small Worlds: How Chris Ware Uses the Medium of Comics to Depict Alienation in America. My essay focuses on the comics of Chris Ware, specifically how he uses this medium to depict a sense of alienation in America. I contextualise Ware’s work, exploring its reception and popularity amongst critics and fans, as well as its study by academics. I provide a brief biography of Ware, citing early influences and explain how his body of work has formed over his career. I define the word ‘alienation’, taking into account its Hegelian and Marxist philosophical meanings, as well as how it is used in literary settings. I am primarily interested in a visual and thematic analysis of Ware’s body of work, starting with a focus on his drawing style and his use of line and page composition. I analyse the characters he creates and the themes and emotional tones of his work. For the visual analysis, I consider how his art style enables reader empathy and functions as a ‘readable’ language of images. I discuss his use of page composition as a tool for audience interaction as well as a secondary channel for conveying ideas or meanings. I conclude by considering the broader messages of Ware’s comics, most importantly the idea that they set up a way of seeing the world as a network of hidden relationships and connections, that link everyone in a shared history made up of people and objects, but which remain undetected and undetectable. EE

↘ joelearmonth.com ↘ jlearmonth@protonmail.com ↘ @ideal_joe

Julia Villard As a visual communicator, I seek perfection and control in my designs. However, it is the small gap generated by mistakes that captures my attention. I have a keen enthusiasm for the loss and renewal of meaning between languages, spaces and boundaries. My practice draws on identity, editorial and exhibition design to produce compelling visual and textual narratives with a strong attention to material and digital detail. This year I have explored these interests through an editorial publication dissecting the link between the renaissance idea of mnemonics and our computerized memory today. ↘ Entre Fenêtre et Ecrans: Can the painted surface be virtual? Entre Fenêtre et Ecrans reflects on our contemporary understanding of the concept of the virtual through historical and philosophical acceptations of the term. It has been created in response to the Biennale of Digital Art: Beyond Reality (2021) at the Cent-Quatre Paris and is influenced by Les Immateriaux (1985) and Dreamlands: Immersive Cinema and Art 1905-2016 (2016). My research is supplemented by contemporary writings such as The Virtual by Robb Shields and The Virtual Window by Anne Friedberg and by philosophical essays by Baudrillard and Deleuze. The first part of this essay examines my exhibition’s choices of name, location, spatial layout and curatorial strategy and the second part looks at the chosen artworks thematically and in relation to one another. The first two rooms will show The Greeting (1995) by Bill Viola and a reproduction of the Sala delle Prospettive (1508-11) by Baldassare Peruzzi. Room three displays Caspar David Friedrich’s Monk by the Sea (1808-1810) alongside Wave (2009) by Peter Campus. Room four displays Still Life (1611) by Clara Peeters and Georges Braque’s Glass on a Table (1909-10) alongside Interface (1972) by Peter Campus. EE

↘ Julia.villard99@gmail.com ↘ @jvlld

THE GLASGOW SCHOOL OF ART

Katherine Wallace In my work I tend to draw on themes of social history and the relationship between place and identity, but my process is always firmly based around exploring and playing with narrative. I am inspired by hearing the stories of others, and appreciate finding ways to visualise them through a variety of different media. I work to turn them into something tangible in a way that reflects their truth. I aim to build landscapes within my images to convey a sense of atmosphere that speaks to elements of the familiar. ↘ Who is the city for?: With reference to Glasgow and Copenhagen, how do urban design decisions influence our relationship with the city? For this essay, I analyse texts from the 20th century which highlight the issues of community, poverty, and the effects of power-holding groups on how our cities are designed. To see how cities have evolved since the mid-twentieth century, I use modern day Glasgow and Copenhagen, two cities which are similar in terms of characteristics such as population size and relationship to water, as case studies. To evaluate how each reacted to modernist approaches to urbanity, I analyse their relative successes in the context of city planning ideals and subsequent theories of urban design, in particular with reference to use of public space, housing, and implementation of roads and highways. EE

↘ katherinewallace.design ↘ katheriineew@gmail.com ↘ @katheriine_w

Katie Simm I am a process-led designer. I enjoy learning new software and experimenting with its technicalities, to produce work that is both contemporary and innovative. I am interested in the process of designing generative systems - particularly how they can subvert their original purpose. My influences often lie within written media, I spend time investigating this subject area with plenty of breadth, from news articles to poetry. Subsequently, my work often explores narrative and how to show an alternative perspective. Currently, my practice focuses on type, motion graphics and creative coding. ↘ Prediction vs. Practice: The consequences of influencing 3–10-year-olds through the use of Artificial Intelligence. This dissertation questions if the use of artificial intelligence will become an essential tool for cognitive development of the future population? It analyses the way in which the toy market has embraced the introduction of interactive electronic features, partly due to the demand for devices supporting automated, unsupervised machine learning. Beginning with the speculations of psychologist Jean Piaget and neurologist Duchenne de Boulogne, the dissertation explores how the understanding of child psychology has changed to date. It goes on to consider the differences between artificial intelligence and analogue toys, and the considerations designers have made to adapt to their toys to appeal to different learning strategies, alongside how the personalisation of online games raises ethical issues of data tracking. The dissertation questions the effects of technology on children, the correlation between the rise of artificial intelligence within the toy market and the decline of physical interaction within the young population.

↘ katiesimm.com ↘ katiesimm29@hotmail.com ↘ @ksimmdesign

BA (HONS) COMMUNICATION DESIGN

Leonie Hiller Within my current practice as a designer, I value the materiality and tactility of outcomes and I like to consider using all the senses, which enables me to create playful, yet mature end products. For me, the concept is at the heart of my design process and influences the decision making in every step. I am interested in the themes of culture and society, which go further into the themes of nostalgia and heritage/ identity. These have influenced my past projects and I tried to incorporate them in the visual exploration of typography, moving image and design within the environment ↘ Living Room-An Exhibition About Domestic Design and its Influence on the Development of Society. This curatorial rationale is for an exhibition which will deal with domestic design and its influence on the development of contemporary urban society. Situated in Trellick Tower, which is a brutalist building in North Kensington, West London, the exhibition is accompanied by an experientially curated flat, masquerading as an ordinary example of modernist utopian domestic living with extraordinary artworks and objects. The location plays an important part in providing meaning and context for the exhibition and also highlighting the gentrification of a building that was built to ease the post-war housing crisis. The exhibition serves as a critique of gentrification and tries to bring the focus back to the working class and its influence on society. The chosen objects within the exhibition elaborate on this through the themes of gender, identity and subculture, as well as modernist ideas and what influenced them – themes which ultimately influenced some of my choices of objects.

↘ leoniejhiller@gmail.com ↘ @leonie_edited

Luca Hallam I am a communication designer interested in printed matter, book design and typography. I see design as an opportunity to be curious, and draw inspiration from systems, archives, and pattern to solve problems and develop meaning. My work is motivated by concept-led briefs and acute research, which evolve through playful making and material processes. I obsess over fine details, which translate into my work through meticulous processes such as perforating 25,300+ holes into paper by hand. ↘ Sustainable Design by Any Other Name: An Investigation into Pre-existing Methods of Responsible Design. Sustainable design seeks to reduce negative environmental impact by minimising waste and reducing consumption, specifically of non-renewable resources. Much of the design of the past two centuries has contributed to huge environmental suffering, and can be traced back to the consumer culture of post-war industrialisation led by capitalism. The research employed in this essay explores countercultural designers dating from early modernists who combined ethics and aesthetical ideals, providing possible ‘sustainable’ solutions long before they became as clear as they are today. Firstly, the work of William Morris in the Arts and Crafts movement is examined, which presents the importance of craft-based and durable approaches in commodity design to combat waste. Continuing an object-focused approach, Papanek’s views within the Humanitarian design period reveal that his strong opinions on social design contributed to an ecological standpoint denouncing obsolescence resulting from overproduction. Despite a plethora of systems emerging within the last two decades aiming to challenge ever-changing aesthetic trends and the search for novelty, it is clear that these initiatives echo pre-existing solutions. Both Morris and Papanek’s work predate mainstream discussion of sustainable design; the field of socially committed design would benefit from considering historical as well as contemporary perspectives. EE

↘ lucahallam.com ↘ lucahallam@gmail.com ↘ @luca.making

THE GLASGOW SCHOOL OF ART

Mark Burgoyne My current focus is to establish the relationship between my graphic design and photographic practise(s), sometimes distinct, often not - to develop an understanding of the thresholds and commonalities thereof. My work is developed through practice-led research driven by an intricate concept based methodology. I am interested in the exploration of memory, and through observation of both natural and built environments, the interrogation of meaning. Practically, my final year work is focussed on typography, in particular the development of a custom typeface, and an expansive photographic project exploring ‘place’. My practise embraces the tactility of analogue processes, synthesised with the immediacy of digital - forming a workflow that allows my varied outputs to form a cohesive body of work. ↘ Detail of the Dérive Reflections on Place, Memory & Photography. This critical journal focuses on a photography project which I developed over the course of my honour’s year at Glasgow School of Art. Picking up threads from an earlier project exploring place, history and stories written into the landscape, which I undertook as my first project at GSA and which informed a new perspective on reading and deciphering the world, it seeks to enable new approaches to making work while searching for an authentic voice and visual language. Beginning with practice-led enquiry, the research encompasses and engages with a broad-range of existing practices and theories, representing a broad range of works by other photographers, thinkers and graphic design practitioners from throughout the 20th century and more recently.

↘ maburgoyne@hotmail.co.uk ↘ @maburgoyneghost

Mark Faulkner My graphic novella about the Isle of Rùm is the main output of my studio practice this year. The narrative framework is based on a research expedition I undertook in winter, incorporating fantastical and historical elements from Rùm’s written, oral and visual heritage. I was further inspired by Bansho shashin zufu by Sadahide (1864) in the GSA special collections. The volume – drawn in sumi ink and risograph printed also incorporates collagraphy, typeface design, and utilises recycled waterproof fabrics in the binding. I hope I do my native Lochaber justice, and convey the engulfing wilds of the biggest Small Isle. ↘ Drawn Lines of Conflict: An analysis of political cartoons produced-in both anticipation and in reaction-to the Israel and Palestine crisis of mid-2021. The political cartoon has one of the richest heritages of any discipline within illustration. Since the first presses rolled, political cartoons have sought to express opinions and inform the public. The geopolitical focus is Israel and Palestine where cartoon journalism has played a fundamental role in forming the two nations’ respective identities and has helped people understand the conflict and how the present situation developed. A variety of cartoons have been selected for analysis, both domestic print examples, and ones by diaspora digital-media cartoonists. These raise issues of censorship and engagement, which will be analysed. I assess the extent to which the cartoons reflect or inform public sentiment, I analyse the conditions under which they were published, any ethnic or cultural prejudice they may be evident and its potential to fuel violence or, alternately, evidence of cartoonists seeking to bridge divides between communities in what is a diverse, tumultuous region. EE

↘ markhf.org ↘ mhf.png@gmail.com ↘ @mhf.png

BA (HONS) COMMUNICATION DESIGN

Mia Campbell Graphic designer with a love for layout and editorial design. My work is primarily digital, but I try to utilise analogue ways of making whenever possible. I enjoy working with socially relevant topics that are research focused. This year I have explored contemporary femininity and girlhood through my work, using my own interests and experiences to shape my process. ↘ To what extent is the appropriation of working class culture in social media damaging? This essay poses the question: is it trendy to appear working class? It explores stereotypes of the Skiver and the Chav that were perpetuated twenty years ago. Such stereotypes have now been culturally appropriated by a new audience. The ‘chav’ caricature is no longer confined to a comedy on the BBC, but is a viral sensation on video sharing app TikTok – But, just how much of an impact is this having? Appropriating popular elements of working class culture allows those from dominant classes to distance themselves from the socioeconomic implications. Clothing, one of the biggest signifiers of class, forms a large part of the discussion in this essay. I aim to unpack the political and sociological reasons as to why the middle and upper classes are the arbiters of good and bad taste. EE

↘ campbellmia1@yahoo.com ↘ @miacrumble

Mourad Kourbaj As an artist I enjoy interacting with the environment that surrounds me in various ways, observing movements, textures and compositions that would otherwise be overlooked. I would define my practice as expanding the field of illustration to become a broader way of looking at the world, using the mediums of moving image, photography and sound, amongst other things, to communicate my thoughts. My interest in the encounters I have with the textures and movements of the city have come to define my recent work, however I aim to maintain a curiosity that allows me to explore a wide range of subjects. ↘ The Alternative Eyes of The City. This curatorial rationale describes an imaginary, two-part exhibition ‘The Alternative Eyes of The City’. Using Baudelaire’s essay ‘The Painter of Modern Life’ and his description of the flâneur as reference point, I unpick how the ideas of this urban stroller can be brought into the world of today, addressing a shifting environment in which to explore preconceptions of the flâneur. I critique Baudelaire’s flâneur, highlighting the differences between how men and women access urban environments safely. The proposed performances in Part One: The City use the ideas of artists to consider alternative ways of exploring the streets. Part Two: And The City continues in the same vein, using the medium of a publication to showcase other artists whose work focusses upon walking. Part Two also considers the Situationists and their concept of the dérive. By showing the exhibition in nine global cities, I hope to encourage those who visit to participate, telling their stories and hearing those of other people. The Alternative Eyes of The City is a reference to the ‘eyes’ we never hear and see, the ones marginalised and hidden from view, and so I hope to open eyes to the unseen that makes the city move.

↘ mourad.ink@protonmail.com ↘ @mourad.ink

THE GLASGOW SCHOOL OF ART

Natalie Dawson Although also interested in documentary photography, this project, ‘As Far As Half The Time Left’, predominantly explores the symbiotic relationship between journeys, landscape and our emotions. Inspired by my late fathers love of the Yorkshire Dales, I undertook a series of walks to try and reconnect with both him and the place where he grew up. Sadly, I never had the opportunity to visit these places with him. Through this pilgrimage of sorts, I hope to collect fragments that start to piece together the experiences that lay on the threshold of reality and memory. I aim to communicate my projects through narrative and editorial design. ↘ Phenomenological Journeys: A critical analysis of my photographic exploration of the connection between physical landscapes and the landscapes of the mind. This critical journal analyses my creative process within landscape photography in conjunction with Jungian Theory and the process of walking as an act of research. Breaking down Jungian Theory into the three main components of the psyche, I examine how it relates to my photographic process and analyse my own work through a Jungian lens as well as examining the work of two other contemporary landscape photographers, Alan Huck and Frances Scott. I investigate what the experience and structure of walking does to effect the outcome of the individual photograph or body of work. Drawing from the writings of Liz Wells, Rebecca Solnit and Frederic Gros, I analyse their theories about walking alongside works by contemporary photographers Joel Sternfeld, Alan Huck and the artist Richard Long, referencing also my own work and experience of walking. Throughout, I focus on my current landscape project ‘Absent’ but also make reference to my previous landscape project ‘Liminal’ to compare and contrast my working process throughout these projects. ECJ

↘ nataliedawson.cargo.site ↘ natalie.a.dawson@gmail.com ↘ @natalieamydawson

Nathan Sheridan Through my practise, I try to marry both the historical and contemporary via combining the analogue process of letterpress printing with digital methods such as moving image, laser cutting and photopolymer plates. This allows me to explore both the former, historical limitations of the medium whilst also investigating modern-day, current possibilities. My work is typographic, allowing me to research the heritage of movable type whilst bringing it into the 21st century. Through this combination, I hope to show both the historical importance of letterpress printing and its relevance to modern design. ↘ Setting the World on Fire: To What Extent Does Bethesda’s use of Nostalgia in Fallout 3 Succeed as Satire? This essay examines whether the satire delivered via the 2008 game Fallout 3 is successful. I explore Guy Debord’s idea of spectacular time and Svetlana Boym’s concept of reflective nostalgia and how these relates to Fallout 3 with its use of Atomic Age and Cold War era advertising as a means of satirising America’s attempts at softening nuclear power in an era of paranoia and fear over the bomb. I examine Mark Fisher’s theory of pre-corporation and compare it with Boym’s concepts of nostalgia to examine the game’s anti-capitalist message. In the third chapter, I analyse the Tranquillity Lane – an in-game simulation of a 1950’s cul-de-sac – using Jean Baudrillard’s paradigm of hyperreality and Boym’s restorative nostalgia to examine whether the satire of American nostalgia and hegemony is a success. I also examine the Cold War paranoia shown in Tranquillity Lane due to a Chinese invasion using Fisher’s analysis of capitalist realism. I deduce that satire is used most successfully in this part of the game as it reflects our current political climate. EE

↘ @nathansheridanprints

BA (HONS) COMMUNICATION DESIGN

Niamh Campbell My graphic design practice consists of interests in identity, typography and publication design, working with both digital and physical outputs. This year in particular I’ve combined archival research with primary work to give context and narrative to my projects, pulling on research driven concepts. One of my recent projects has been creating a publication called ‘Mother / Father’ in which I curate personally selected books, chosen by my parents, to show the contrasts in interests through their personal bookcases. ↘ The Future of the Home. This exhibition proposal showcases pieces of work, both historical and contemporary, that explore the varying possibilities and methodologies of how habitation may look in the future, specifically within the space that is considered ‘home’. It covers a range of themes like prototyping, science fiction and futurology that all sit within a wider context of speculative design. The proposal includes a range of works that is encouraged to be viewed in a certain sequence for optimal clarity. Showcased works include short documentary-style films, science fiction clips, product design, interior spaces and architecture, all to be situated within ‘Gallery 2’ in the Gallery of Modern Art (GoMA) in Glasgow. The curatorial rationale is explained with relevant references to historical and contemporary designers and practices as well as curators and exhibitions. It explores how design for the future needs to both look into the past as well as the future and how this will be beneficial to individuals to help formulate their own thoughts.

↘ niamhocampbell@gmail.com ↘ @niamhcampbelldesign

Nicola Williamson With a passion for highlighting environmental issues, I have utilised my skills as a photographer and filmmaker to develop an effective visual language that explores the damage we humans have caused to the Earth. With a particular focus on how plastic waste and debris has affected marine ecosystems and the plants and animals that inhabit them, I hope that I can bring greater awareness to these pressing issues and encourage a change to the way we treat our planet ↘ The Power of the Screen. In this essay I explore the powerful messages that can be conveyed through filmh. I will highlight the connection made between the filmmaker and the audience and illustrate cinematic techniques that can be utilised to direct and influence the audience. I further explore the development of film cults and their associated behaviours. Beyond their entertainment value, the messages from films can be misconstrued within society for varying and often violent purposes. I question whether this is solely down to films’ influence or whether innate human nature is a significant factor. EE

↘ nicolawilliamson.org ↘ nicola9664@outlook.com ↘ @nicolawilliamson_art

THE GLASGOW SCHOOL OF ART

Nicole Junkin I am a graphic designer primarily working across book design, typography and identity. My practice draws from the digital and analogue, traditional processes providing an opportunity for tactility and a new perspective. My interest in historical and social issues has informed a publication, ‘The Other Side’- a collection of research focusing on the identity of the ceasefire generation in Northern Ireland. I enjoy delving into research and working on concept-driven identity projects, which allow me to playfully communicate themes and values through typography, colour and form. ↘ ‘Woke Washing’: to what extent can brands practise ‘authenticity’ in their activist messaging? In a changing consumer culture, brands seek to stand out by taking a stance on socio-political issues. ‘Woke-washing’ is the term used to define practises in business that give the appearance of social consciousness without action to support the social cause. Enacting inauthentic brand activism through the practice of ‘woke-washing’ can damage a brand’s reputation, mislead consumers, and in certain cases damage the efforts of activists working to take a movement forward. This essay explores the extent to which large brands claim authenticity in their activist messaging, firstly by looking at McLuhan’s ‘global village’ media theory and how this may shape identity. The essay considers how individuals have increasingly used social media as a platform to raise awareness of global issues and how brands increasingly echo the visual language of activists online. It also explores how in history similar methods have been used in advertising and media campaigns, such as the ‘Torches of Freedom’ campaign by Edward Bernays in 1929. The second chapter focuses on three brand case studies - Gillette, Nike and Ben & Jerry’s, exploring their authenticity and asking the question, to what extent can brands truly practise authenticity in their activist messaging? EE

↘ nicolejunkin.cargo.site ↘ nicolejunkin1@gmail.com ↘ @nicolejunkin_

Olivia Juett I am a multidisciplinary illustrator and maker working primarily with analogue processes. Much of my work draws attention to fleeting atmospheres; driven by observation, I explore how unexpected events are experienced, understood and remembered. Colour, texture and materiality form the basis of my practice as I work across 2- and 3dimensions to create immersive narrative experiences. I am interested in exploring how the tactility of print can be combined with other sensory stimuli and conduct my research through seeing and making; gathering and combining. ↘ I Get By: An exploration of objects as vessels for memory in public displays of friendship. This extended curatorial rationale explores how memories can be held within objects used in public displays of friendship. The hypothetical exhibition would take place at Somerset House in London. The exhibits are split into three thematic sections: David Hockney portraits and panda souvenirs from Edinburgh Zoo demonstrate how friendship can lead to self-improvement; ‘I May Destroy You’ and braided bracelets explore joy; and a beaded Seminole bracelet illustrates how emotional connections can aid in understanding. The overarching intention of the exhibition is to demonstrate how objects contribute to an additional, external permutation of our friendships, and to show how a mixed curatorial approach can weave memories into exhibition items. I also explore how the exhibition itself can be a social space, and how creative communities in the wider Somerset House network could be nurtured to encourage collaboration, support and (possible) friendships within the show’s framework.

ECR

↘ oliviajuett.cargo.site ↘ o.juett1@gmail.com ↘ @oliviajuett

BA (HONS) COMMUNICATION DESIGN

Oscar Wharton My practice uses digital methods of visual communication mainly animation and 3D rendering. For my degree show I created an immersive digital experience exploring issues of surveillance capitalism. I drew on the work of Dr Shoshana Zuboff, who argues that capitalism has always functioned in the same way: Taking things that are not part of the marketplace and commodifying them. Whether this be a forest, the side of a mountain or in the case of ‘surveillance capitalism’ the private experience. My work visualises what it could look like if we were able to see the tools used to monitor us. ↘ Subculture in the Postmodern World. I explore the changing form of subculture within postmodern society, the causes of these changes and their subsequent effects on wider culture and discourse. Drawing on Neil Postman, Marshall Mcluhan and Freidrich Kittler, I show how changes have primarily resulted from significant developments in how we communicate and interact with media. Through comparisons with previous media technologies and their cultural consequences, I explore the effects that contemporary communications technology have had. I hypothesise that many of the people who previously found solace in subcultural groups now find it online. Young people especially are often more inclined to create social structures that revolve around the increasingly corrupt online world, sometimes with very negative side effects. Through the lens of subculture I, explore issues of populism, radicalisation, exploitation of the consumer, psychology, interpersonal interaction and algorithmic oppression.

↘ oscarwharton@gmail.com ↘ @hidetheart

Rhian Lloyd I am interested in the theatre, hairstyles, poems and buildings. The ‘Star of the Show’ is a story about not getting what you want, which is something that has never happened to me. Some influences on the book were medieval manuscripts, my kitchen and feeling embarrassed. The best thing about this project was being able to draw all the time. ↘ Secular Scripture: Romance and religion in the legend of Tristan and Isolde. From the eleventh to the fifteenth century Europe was in a state of rapid change, with the possibility of international travel and the breakdown of the feudal system causing great social, religious and cultural shifts. The emergence of the courtly love tradition in eleventh century France was representative of these changes but also may have shaped them, and it continues to have influence over aspects of Western culture, media and literature to this day. The legend of Tristan and Isolde was one of the most popular courtly love stories of the Middle Ages, and images of it are found in both religious and secular contexts. Using examples of depictions of the story’s ‘love potion’ scene from England, Germany and France, I trace its representation through three centuries in order to ask how elements of the sacred and the profane meet in the legend and others like it. Courtly love narratives provided a necessary fantasy of individualism and heroism that aligned with the economic interests of the Church and the court, and I conclude that the spiritualisation of women is the most significant and persistent effect of the mutability between sacred and profane in courtly love literature.

↘ rhianlloyd1@gmail.com ↘ @rhianloyd

THE GLASGOW SCHOOL OF ART

Rosie Patterson My work primarily centres around editorial illustration and animation, focusing on condensing complex subject matter into accessible visuals. Through exploring dynamic compositions with vibrant colours, I seek to connect people to the important topics impacting our world today, by creating visually engaging and informative channels to introduce complicated ideas. My practice this year has taken inspiration from topics such as new media culture, the workplace environment, and our biological makeup. Though my work addresses heavy topics, I balance this with a playful approach, creating humorous visuals which are complimented by emotional depth. ↘ You Are the Commodity: The Effect of Surveillance Capitalism on Liberal Democracy. The system of surveillance capitalism encapsulates the commodification of our personal data, and how it is subsequently used to predict and influence human behaviour. This dissertation examines the various ways in which surveillance capitalists acquire predictive sources of our behaviours online, and how this can be used as a tool in political campaigns. This dissertation’s approach to surveillance capitalism analyses how the system is utilised by many of Silicon Valley’s big tech companies and how this has led to an intervention in global democratic processes, arguably negatively affecting free and fair elections. By examining the accounts and theories of the leaders in analysis of the system, such as Shoshana Zuboff, Tim Wu, Christopher Wyllie, and Cass Sunstein, I investigate whether there is a direct link between the utilisation of surveillance capitalism, and a decline in liberal democratic values. The dissertation shows how surveillance capitalism has polarised society, ensuring our preconceived ideas and opinions are strengthened as we are only fed one sided information, forcing us into echo chambers online. D

↘ rosieellendesign.co.uk ↘ info@rosieellendesign.co.uk ↘ @rosieeldesign

Sadie Brookes Multi-disciplinary communication designer working across physical and digital platforms with a specific interest in space, abstraction and systems. My work this year has been focused on combining researchdriven concepts with creative coding, web, editorial and exhibition design. I have been exploring the boundary between two-dimensional design and the three-dimensionality of lived space, through photographic and sonic approaches to abstraction. I enjoy working through process and iterating on ideas to create work that asks questions of what role communication design plays in the wider context of society. ↘ Towards Spatial Neutrality. This extended essay considers how western spatial practice is inherently gendered and reductive due to being based on historical norms that are repeated and reinforced through architectural design. The investigation commences by considering spatial theories in history, referring to ideas posed by philosophers and geographers and questioning whether these discourses are relevant in our contemporary sphere. The text discusses how the concept of gendered spaces has affected our built and lived environments and critically examines how works by Eileen Gray and Tadao Ando offer a non-conformist approach to architectural practice, looking forward to user experiences regardless of gender or other cultural factors. I am conscious of the heteronormative matrix that surrounds architecture and space-making, which is why I want to focus on how spatial designers have created ‘spatial neutrality’, a term I propose to describe environments that are performative and designed with a focus on more engaging aspects of spatial design such as sensibility, adaptability, and fluidity. EE

↘ sadiebrookes.com ↘ sadie.brookes@outlook.com ↘ @sadierbr

BA (HONS) COMMUNICATION DESIGN

Shannon Best As a photographer and videographer, my practice combines still and moving image making. Drawing on the natural world, mythology, iconography, psychoanalytic discourse, and gender politics, my work reframes and replaces familiar and conventional concepts or narratives, in order to reveal their qualities and their limits. Using the parameters of the constructed image, I hope to convey the contrivances embedded in our social realities. An environmental approach is essential to my work, and has become a large component of my degree show collection: centralising Gaia, the death process, and the life cycles of the Earth. ↘ Sleeping Beauties : Bare Life, Disease and the Romance Genre. Driven by historic and theoretic frameworks, this dissertation assigns the bio-political notion of ‘bare life’ to the female form as death’s hostage: held in between living and dying by her own image. It will argue that the trope’s visual architecture stems from the different forms of death prevalent within each time period: ranging from artefacts, paintings, literature, sculpture and social media, their differing forms and chronological ranges expose the trope’s adaptability, whilst simultaneously identifying its unvarying motifs. The Psychoanalytic theories of Freud and Lacan and their consequent feminist readings link the points of observation: paired with the mechanisms of semiotics underlined by Saussure, the interstice between the process of subjectification, signification and control is discerned. This interplay uncovers the bare-life-representation as a maintaining device for the western, phallogocentric system facilitating in its creation and circulation; proposes the reasoning for its influence over cultural discourses surrounding feminine and fashionable modes of dying, and speculates the intergenerational legacy of the bare-life-spectacle over modern states of disease and death.

↘ shannonbest.co.uk ↘ shannon42best@gmail.com ↘ @shannonbestart

Simone England My creative practice is research-based driven by a curiosity for uncovering untold stories, with conceptual thinking and idea generation being the foundation. My work is driven by discovering the visual language within unconventional themes and includes a wide range of mediums and techniques which are rooted and informed by my research. I am currently most excited by working with the design possibilities within archival material, film, and typographic solutions. Currently exploring themes of belief systems, historical storytelling, and niche points of interests. ↘ The Curious History of Celebrity Auctions. This curatorial rationale is a proposal for an exhibition about celebrity auctions. It documents their development from private collections to the present day and how society’s relationship with celebrity has affected how we assign value in material culture. Showcasing different iterations of collecting, I analyse the motivations behind the act of collecting, as well as the act of viewing these collections and what they say about our relationship with material culture. I will also reflect on how the human experience and need for curiosity has been an integral motivator underpinning why we collect. The inclusion of a variety of material culture artefacts also helps validate and highlight alternative curatorial methods within exhibition contexts.

↘ simone.england@outlook.com ↘ @simone.england

THE GLASGOW SCHOOL OF ART

Sophie Ammann Process driven Designer. My main interests lie in analogue processes such as print, bookbinding and sign painting, with a focus on typography and lettering. Humour is an integral part of my work. Some of my recent work has been finding and digitally preserving letterings from ghost signs around Glasgow and re-introducing them into a new context. If I could be any letter of the alphabet, I would be an S. ↘ Contextual Stickers and the Public Space Discourse. This essay examines the role stickers have in the discourse of public urban space. I define a sub-category of stickers which I term ‘contextual stickers’. Focusing on the placement of stickers, I look at why they seem to proliferate in certain areas with examples from a case study I conducted around the Basel Riverport and a case study conducted in Birmingham. My research methods examine the works of sticker artists and focus on why and where the stickers are placed. I talk about the integrative function of contextual stickers reclaiming space through intervention. From analysing the case studies and the interviews, I conclude that contextual stickers reflect people’s insistence on being included in the discourse of public space as an alternative or complementary discourse. EE

↘ sophieammann.com ↘ sophie-ammann@hotmail.com ↘ @sophieammanndesign

Tintin Lindkvist-Nielsen With colours and characters, I like to create worlds that look like ours whilst also being different. A lot of my work is connected to feelings and mental health. In my children’s book, ‘Lollipop Tuesday’, the main character deals with feelings such as not feeling good enough. The book concludes with the protagonist realising that it is okay to ask for help and to remember to be kind to yourself. I work cross-disciplinary within the field of visual communication and storytelling. I spend my time creating short animations, bright gouache paintings, inky and loose drawings in blue, and sets and props for stop motion films. ↘ The importance of queer representations in narratives. This essay discusses the importance of having LGBTQ+ representation in media. It focuses on popular entertainment created by Hollywood studios. I also look at queer writers’ thoughts on the topic. I compare different children’s television shows and analyse how they have handled LGBTQ+ themes differently. In the conclusion I draw connections from what I have discussed in the two chapters and debate the importance of having accurate representations of marginalised groups, while at the same time acknowledge the complexity of the topic. The conclusion provides examples how we can move forward to a more inclusive media environment. EE

↘ tintinart95@gmail.com ↘ @tintinart

BA (HONS) COMMUNICATION DESIGN

Vivienne Logan I am a multi-disciplinary designer currently based in Edinburgh. Coming from an industry-focused course in Perth, Western Australia, GSA has allowed me to explore more conceptual ways of thinking, and how to apply this to my work. I have developed a passion for layout design and typography throughout the course and have also developed my skills in typesetting. This has encouraged me to be more dynamic and bold in my approach to design. ↘ To what extent are contemporary editing filters online negatively impacting individuals’ identity? This essay discusses the extent to which the use of editing and filters in imagery in the media and on social media platforms is negatively impacting individuals’ senses of identity. Chapter one explores past uses of photographic editing and techniques and compares these to popular contemporary techniques or filters. Chapter two looks further into the effects of image editing in the beauty and advertising industries. Finally, chapter three explores the wider effects these filters are having on individuals’ mental health and wellbeing. The conclusion reflects upon the suggestion that the use of editing and filters is having a negative effect on individuals’ identity. EE

↘ @dsgn.vee

Yu Liu I am an illustrator interested in printmaking and children’s picturebooks. Non-fiction books and interactive books are my favourite genres. I like observing the surroundings and most of my works are based on life sketching around the city. I also enjoy experimenting visuals through various methods, especially in exploring subtle and lyrical images using collagraph. I am currently working on a picturebook about time and I would like to continue to develop touching and playful picturebooks in the future. ↘ Play with Picturebooks: how the materiality of picture books interacts with children. This essay explores how the materiality of picture books acts as a narrative language and interacts with children in multiple ways. Drawing on theoretical studies and investigating various interactive books, it considers the interactivity and narrativity of materials used in picture books. It is divided into four themes: sound, feeling, space, and the reader as a creator. The first chapter investigates how materiality brings in auditory experiences by studying ‘The Speaking Picture Book’ by Theodore Brand, ‘Jungle’ by Maurice Pledger, and ‘Dear Zoo Noisy Book’ by Rod Campbell. In the second chapter, I focus on how materiality stimulates and enriches cognitive feelings and generates abstract concepts by studying ‘Who’s There?: Open the Door’ by Bruno Munari and ‘What Color is the Wind’ by Anne Herbauts. Chapter three builds an understanding of how materiality creates spatial interactions by analysing ‘Maison de Poupée’ by Dambuyant & Guignard, ‘Little Tree’ by Katsumi Komagata and ‘Midi Pile’ by Rébecca Dautremer. Chapter four focuses on how the picture book lets children become co-creators, looking at ‘The Paignion’ by F.C. Westley and ‘Little Mouse’s Big Book of Fears’ by Emily Gravett. Thereafter, I discuss how the materiality in picture books impacts children’s reading and development. EE

↘ lyufzm@gmail.com ↘ @yudedoodle

THE GLASGOW SCHOOL OF ART

Zoi Kravvariti My practice draws inspiration from examining the complex physical and emotional behaviours of people, including myself. Memory and the female body appear in many of my projects as continuing themes, and are used as means of communication alongside with movement, in a never-ending exploration of the intricate state of being a woman. My choice of media varies, depending on the project I take upon, aiming to explore different ways I can communicate ideas. By exposing and expressing myself in my work, i intend to provoke feelings which people suppress. ↘ Raging Bodies, Silent Women. Chapter I ‘on women’ examines the roots of the assumed feminine nature. It begins by analysing how dichotomies tend to be hierarchical, and always consist of positive and negative poles. I focus on the gender binary, and how it has historically viewed and represented woman as the ‘other’, considering the dichotomy of good and bad woman. I move on to looking into stereotypes and counter-stereotypes and the ways their influences have set the standards of good/bad womanhood. I then expand on how the idealisation of the ‘good’ woman based on these standards has been the foundation for shaping her denigrated version. I compare two contrasting figures of religion and myth that have been seen as sacred and monstrous. I analyse how anger in women has been pathologised in order to be seen as ‘un-natural’ and I show how women’s anger threatens the patriarchal system through two subchapters entitled ‘Hystero’ and ‘Madness - the disguised power’. EE

↘ zoe.kravv@gmail.com ↘ @kravv_

BA (HONS) COMMUNICATION DESIGN

Cover image: Shannon Best Studio Photography: Alan McAteer Staff Portrait photography: Shannon Tofts Design: Kat Loudon and Phoebe Willison Headline is Triptych by The Pyte Foundry. Printed by The Newspaper Club on 55gsm improved newsprint. All work shown remains the property of the designers and may not be reproduced in print or any other media without written permissions. Contact details for all work is provided on each page for any enquiries.

Degree Show Catalogue 2022 School of Design

Professor Stephen Bottomley Head of the School of Design

Curatorial Rationale Critical Journal Dissertation Extended Curatorial Rationale Extended Critical Journal Extended Essay

Fashion Design Final year students in the Department of Fashion and Textiles have made it to the end! The academic experience of the Class of 2022 has been like no other we have ever known. I wholeheartedly congratulate each graduating student on their extraordinary achievements, for their perseverance and resilience. The way they adapted to unheard of ways of learning and the support-through-adversity they showed each other has been an inspiration. They have proven that there is nothing they cannot accomplish in the future. When life inevitably confronts them with challenges, I hope they will draw confidence from this very real lived experience. They’re going to be amazing.

Professor Jimmy Stephen-Cran Head of Department, Fashion and Textiles

“There is nothing they cannot accomplish in the future”

Anna Rowland This Project explores interruptions in the environment; natural and manmade. The research for the collection is derived from a walk up “The Cobbler”, Arrochar, Scottish Highlands. Supported by research into photographer Jungjin Lee. These interruptions are explored through print, allowing the textile to inform the design process and lead the silhouette. Employing the use of negative space and reflections to explore the fluidity and breaks between the body and the space it is a part of.

↘ The Revenge Dress: An Uncomfortable Legacy in the Early 21st Century: How much power was ever in the woman’s hands? This essay explores what makes a successful “Revenge Dress”. In doing so, it tests where the act of revenge dressing benefits and fails women. Examples of revenge dressing is highly visible in the media and is discussed in the essay with reference to specific writings (Turner, Graeme 2014). Using princess Diana as a key example, the research for this essay explains the importance and significance of conventional of attractiveness for women across multiple aspects of their lives. The conclusion suggested in the essay is that Revenge Dressing is a result of internalised self - objectification, and therefore women are unable to escape the perimeters of the male gaze. EE

Annabelle Banner Analysing the state of the world as it is today, it’s possible to perceive ourselves as existing in a post-utopian era. Theoretical and artistic responses are tasked with reimagining the human substance and its position in this world. Visions of the future are heavily loaded with irreversible ecological changes, unjustifiable conflict, and consequence. Despite this, a connection with the world around us starts from within. Porcelain Dolls, not only a personal reflection of my childhood, are also societal expression of beauty installed at a young age. The way I’ve worked with these dolls is not only an expression of myself, it’s also an expression of the history of many other women. Where the dolls have broken, I have fixed them with golden glue. This is a statement of potential better global futures, and also a commentary on the self. Our connection with the world starts from within. ↘ To what extent can Iron Age Artefacts give us an accurate depiction of Artistic Material Culture? My dissertation provides an artistic and anthropological perspective on Iron Age Scotland. Looking at artefacts in terms of material culture, I consider whether these artefacts hold their own agency or have agency projected upon them? There is a beauty and intrigue to complicated questions and the potential to discover more about human nature is what draws me to pre- historical material culture. Looking at Iron Age material culture from the perspective that stems from a design background allows me to evaluate artefacts in an alternative light to highly experienced archaeologists and academics. D

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Hannah Scorah Hannah Scorah is a Fashion Designer, specialising in Menswear. Her work focuses on the performative aspects of design, whilst remaining true to traditional tailoring techniques. This material contrast makes way for a narrative of theatre and inclusivity. Hannah visually distorts and rebuilds archetypes through disproportionate ratios and drape. Taking much of her inspiration from the imagery of the Ballet Russes and the Bright Young Things, Hannah is interested in the idea of ‘dress-up’ as a means of self-expression. She explores, through her collections, how this notion can be applied to everyday garment-wearers: “the theatrics of contemporary life”. D ↘ The Bride and her Wedding Dress : A Feminist critique on the role of The Bride and her Wedding Dress in relation to the identity of the female in western culture. This essay investigates the role of ‘The Bride and her Wedding Dress’ in western culture amongst feminist discourse. In offering a feminist critique, I evaluate to what extent the figure of the bride acts as an oppressor of the true female identity. This is explored particularly in reference to the second wave movement of feminism, which saw a shift of mass-momentum in the changing of attitudes towards gender roles. It is through this lens that I examine the fluctuating significance of ‘The Bride and her Wedding Dress’; in its origins, its role in protest, and its presence in the contemporary.

↘ hannah.scorah@hotmail.co.uk ↘ @drawingscorah

Julia Knie At the airport. Rhythmic dissonances and anachronisms: – that’s when I feel the most calm and concentrated. In one hand a laptop - currently running a statistical data analysis program with another tap open for an ongoing video rendering project. A television screen in the background showing Covid infection rates and a European bin full of discarded smartphones from Middle Eastern refugees. ‘Why Fashion design now?’ An environment that reeks in sacrality from overload and mishaps. Heavy and charged with overlapping energies, smells, voices, lights and movements. I seek after these situations to calm a beating heart. ↘ Fashioning Cinematic Plastic Poems – A critical contemplation of fashion design practise today. A television screen in the background showing Covid infection rates and a European bin full of discarded smartphones from Middle Eastern refugees. ‘Why Fashion design now?’. An environment that reeks in sacrality from overload and mishaps. Heavy and charged with overlapping energies, smells, voices, lights and movements. What safeguards us when everything escalates? What are the mostunexpected synergies to create newly cohesive bonds and a visual language thatis finally trustworthy again? ‘Crash 4th year BA Collection’ and the accompanying extended critical journal uses a fashion-based language to construct new physically stimulating hopes for a dystopian tale. This journal takes me on a journey to revisit the major paradigm shifts in Fashion design from the 1980s to the 2020s – from interdisciplinarity, and a critique on resource-conscious modes of production over to 2D reduction in form – and to respond to them with my own voice and design processes. Can the crisis that Fashion design finds itself in today be overcome by new approaches to design processes that honour the very strength and core of the subject area? ECJ

BA (HONS) IN FASHION DESIGN

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BA (HONS) IN FASHION DESIGN

Laura Porter My project for 2022 has been ‘Symbols vs Symbolism’. It has been purely experimentation between these two words and is in answer to ‘What possible outcomes exist in the space in-between?’ I have found this project relevant at a time of purely divisional thinking and a need to balance growing total extremes and opposites. Grounding this concept with traditional menswear cutting and inverted traditional aspects of fashion design has provided a new dynamic of construction that challenges and diversifies the possibilities of clothing and its social meaning to the world. ↘ The Beginnings of Fashion Shows: An investigation of how fashion shows came to be performed as part of an ongoing ‘spectacle’ in Paris. This essay explores the circulating themes of Paris as a European capital city and its relevance to the emergence of the fashion, development, display and presentation. The first chapter describes the history of Paris and its emerging art and culture, before 1925, specifically around the ideas of the expositions, international exhibitions and politics of spectacles. Subheadings are included in decoding each relevant subject I have found related to the title. The second chapter discusses the themes pertaining to the 1925 international exhibition with concluding evidence of theories mentioned in Chapter one. EE

Leeka Ndure My project looks at how the three-piece suit has been worn in black communities over the past decades, and the reinterpretation of how it should be worn, when and where. There was an obvious preference for more exaggerated silhouettes like wide/bell-bottom trousers and sleeves and very broad lapels. The 70’s pimp culture is another that took dressing up the suit to another level with the influence of West African Royalty attire, draping style and jewellery. They wore heavily detailed fabrics/patterns and motifs worn on top of a suit as an overcoat and throw. This is because, in some West African cultures, fabrics are used to tell stories about the owner and their family through the use of symbols and motifs, and should be always worn on top of everything else and celebrated. ↘ The Importance of Representation and Inclusion in the Fashion Industry. My extended essay looks at why creating as much inclusion and diversity in the fashion industry is crucial to the eradication of beauty standards, which can be very damaging. It dives into how fashion companies are handling this new demand for change and what today’s generation is asking of them. It also looks at how some of these brands use political issues to make sales. The essay is in three parts, the first looks at the changes in the industry and how far it has come. Then we talk about brands “woke-washing” to attract customers. Finally, why inclusion matters and how it can be beneficial to society and companies. EE

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Lisa Manastireanu In a society powered by consumerist culture - focused on celebrating the new and moving on from the old - we often forget to appraise the value of the many things we already have. This was the main takeaway from the re-exploration of my Romanian heritage and the rediscovery of my ancestral traditions. For my final collection, revisiting the lessons I subconsciously learned from my Romanian family’s approaches to fashion allowed me to find a deeper context to my interest in the fashion industry - a realisation reinforcing the “why” in my approaches and construction processes. ↘ Fashion Sustainable Practice. This extended essay identifies the reasons why we must be more sustainable, with relation to the fashion industry in particular. Importantly, the essay explains the consequences of not challenging unsustainable practices in fashion. The essay highlights some innovative approaches that are currently being practiced. Comprised of two chapters, the first suggests a definition of sustainability as a broad term, uncovering the reasons why we have not progressed further, and the ways in which fast fashion plays a role in this. In the second chapter solutions to these problems, social, environmental, and economic are described, and the ways that a number of sustainable fashion companies are implementing changes to their standard practices explained, in order to promote and support the sustainability movement going forward. EE

Andrea Xinjing My graduation work is inspired by a wedding attended by my mother. I try to discuss the constraints of career and marriage on women from my cultural perspective. Through the combination of the wedding dress and the power suit, I will explore women’s contradictory psychology in the face of marriage and career choice, and oppose the revival of traditional gender roles. I want to encourage women not to give up their careers and to be independent. From my perspective, the differences between my mother as a working woman before and after marriage reflects the different identities and voices of Asian women. ↘ Firstly, what is the deconstructive garment? “Deconstruction” is a word from postmodern philosophy and architecture, introduced to the fashion industry. The deconstruction of traditional-style clothing and costumes are different styles, and this kind of fashion brings different fun to consumers. This critical journal comprehensively explores the development and practice of deconstruction in the field of garment modeling based on my understanding of deconstruction. It is not a fixed way of thinking. According to the designer’s understanding of design, different designers will produce different formal languages for clothing deconstruction design.For example, Comme des Garçons, Maison Margiela, and Alexander McQueen are deconstructionists in the stereotype of practitioners. Their design enriches the language and methods of clothing design; gives it more artistry and serious significance. I deliberate my experience of design from these three designers as case studies of ideas and methods of deconstruction. This guides the development of my collection on graduation. Finally, I define my practice and its reliance on deconstruction, to study the methods and attitude of reversed thinking that allows me to deduce the aesthetics and meanings of garments. CJ

↘ andrealiu1939@gmail.com ↘ @andrea_liu1939

BA (HONS) IN FASHION DESIGN

Luukas Nuotio In Finland men have to undertake mandatory military service from when they turn 18. I am against the military service I am required to do which is why this collection has personal meaning to me. Taking inspiration from military clothing, this collection will contain the sense of the timelessness and longevity that military clothing has. In contrast, the collection’s colour pallet will include a lot of whites which represent peace, surrendering and vulnerability. This collection is a representation of the fight against the society and a sophisticated way of giving the finger to the Finnish government. ↘ This critical journal focuses on the development of my unisex clothing collection consisting of six looks. The collection takes inspiration especially from Finnish military clothing among other historic military uniforms. There is a focus on the Finnish military, as it is mandatory for me personally to take part in military training in Finland, as it is for all men over 18, which I find to be an unjust system. This is why the collection is called Rauha (peace in Finnish). The connotations of uniforms are explored especially through key texts such as Uniform: Order and Disorder and The Cultural Politics of the Uniform. The collection is not in praise of the military, but criticises the norms in that culture. As sustainability is a key issue, military uniforms are explored with a focus on their timelessness and longevity. There is a juxtaposition between taking inspiration from traditional military clothing whilst critiquing the violent nature of the military. A way in which the collection tries to implement this aspect is by using the colour white as the main colour of the collection, as white represents vulnerability, surrendering and peace. CJ

↘ @luukas.nuotio

Lydia Gough My collection explores the relationship between fashion, the body and medicine. Displaying the history between art and medicine, the Italian polymath da Vinci claimed to have dissected more than thirty corpses for anatomical studies and artistic offerings. Viewed through a medical lens, fashion offers theories of how one dresses, and how cognitive behaviours create trends and fabrics with physical and psychological benefits. For example, compression clothing improves athletic performance, decreases injury, assists varicose veins, leg ulcers, DVT etc. Using the ideas of compression clothing, I have created a combination of tight and warped knitted fabrics that mirror the body. ↘ Pretty or Painful? The Medical Implications of Fashion on the Body. This extended essay dissects the ways in which the fashion industry has affected the human form. The paper investigates how three key areas of the industry may have been the catalyst for medical implications on the body. It compares past examples of medical discourse to the modern solution, or ongoing issue, of this past problem. I first reflect on both previous and current influences of fashion trends on society. The popularity of contracting consumption in the nineteenth century is then compared to how modern-day media has affected the consumer’s perception and relationship with one’s body image. I then investigate how garments and fabrics have been used to physically alter and distort the body. In comparison I look at the subversive, and how compression has been utilised in industry to improve one’s health. Finally, I give a historical overview of the development within textile production for the fashion industry, exposing the use of chemical dyes over the centuries, and how this effects the physical body and our environment. EE

↘ lydiagough99@gmail.com ↘ @lydia_lg_design

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Millie Gladwin To Make Amends for the traditional male gaze, I have put women’s wants and needs at the forefront of my decision making, and to Make Amends for the environmental impact of fast fashion, I have used a variety of different crafts to repurpose second-hand fabric. My collection is inspired by kitsch imagery and the ‘make do and mend’ movement, to create clothing which empowers the wearer and is a source of sheer entertainment and joy. ↘ Exploring Feminist Theory in Relation to the Beauty Industry and Women’s Mental Health. This dissertation explores the relationship between education, feminism, mental health and the pressures the patriarchy and beauty industry control women with. Research included in-depth, qualitative interviews with eight feminists. I explore and realise this dissertation using the six hours of transcribed interviews backed up with theories from published feminist theorists and cultural context. I compare the education that was given to these women to the current PSHE (Personal, social, health and economic education) syllabus using the national curriculum and speaking to a PSHE teacher. Exploring these various avenues has given me a picture of what my generation’s PSHE education was and what it was lacking. I discover what should be educational priorities and the benefits this would have given to the lives of women. D

↘ marthamgladwin@gmail.com ↘ @millie_martha_gladwin

Rosie Ridley ‘When you seek out elemental nature, make sure to shield yourself from the elements; do some forest bathing, but only when the rain can’t get in.’ There is a symbiosis between clothing and the natural world. The fibres from the earth, spun into cloth, are worn to protect us from the very elements used to grow the materials we adorn ourselves with. My graduate collection illustrates acts of meditation in natural surroundings, stimulating our senses and producing positive effects on our mind and body. By provoking the effects of forest bathing through the way we dress can achieve total euphoria? ↘ Fashion and Nature in the Pursuit of Happiness. Is nature the key to happiness and can this be executed through the way we dress? This Critical Journal reflects on my studio practice and how my previous work has informed my approach to creating my final year collection. First, I establish the primary influences on my design practice. Designers such as Alexander McQueen and Rei Kawakubo have been a source of inspiration. I intend to question the ways I resonate with these designers and how my work differs from theirs. Key theories that motivate my work include sustainability and conscious design; I investigate how these inform my studio practice. I then analyse key projects from my time at GSA. Pivotal studio projects are examined to discover what has stayed consistent throughout my work and what has changed. From there I report on how the questions I proposed in previous projects currently inform my graduate collection. I try to find the harmony between form and function that have previously been conflicting themes with my work. In conclusion I evaluate why I believe a postgraduate course in tailoring would assist future development. CJ

↘ rosieridley.co.uk ↘ rosiejridley@gmail.com ↘ @rosemary.ridley

BA (HONS) IN FASHION DESIGN

Sophie Jenkin My work as a fashion designer blooms at the intersection of narrative worldbuilding and a celebration of traditional craftsmanship. My graduate collection traces my ancestry to Brittany, France and dips beneath the generational layers, exploring spiritual archetypes of the collective unconscious as proposed by the psychologist Carl Jung. As the oyster scars into pearl, so the alchemy of memory becomes spirit and through tailored layering I convey an amalgamation of both past present and imagined future. My interest in forging a relationship with my materials propelled me to develop my own textiles and this process has been profoundly therapeutic.

↘ This critical journal is an exploration into the intentions behind my creative practise, with the goal of discovering my authentic self. Based upon the experience of using creative practices as a reflection of one’s emotional state as well as providing a traceable narrative. For me, creativity is the truest form of human expression. Pure and honest, I see each piece of work as a window into the artist’s soul. I define authenticity, then, taking a phenomenological approach, I seek to explore the different methods of various designers and artists who I believe share a profound emotive quality within their work, and those whose body of work creates a coherent personal narrative as opposed to being informed exogenously by trends. I am inspired by truthfulness in sustainability and look to the pioneers who I believe are making aspirational strides in serving humanity towards a sustainable future. Discussing the contrasting philosophies of authenticity of Jean-Paul Sartre and Jean-Jacques Rousseau, I examine the concept of authenticity from many angles, before discovering that it perhaps is not as definable as I first proposed. CJ

Wan Ziqang ‘The Knot’ is a project about the decade of civil unrest that lasted under Mao’s leadership after the founding of New China - the Cultural Revolution. My research begins with written and pictorial accounts of this period, using design narratives to express totalitarianism and the pervasive suffocation under the spreading redness by rearranging the meanings carried by the basic elements of clothing: buttons and pockets in a characteristically bureaucratic context. In the ‘knot’, the garment wears the body, fates are tightly intertwined. ↘ Knots of Home. Fashion is a way of restoring a shattered identity. In today’s China, the expression of individuality is highly liberalised, compared to the scenes of people hoping to hide in the crowd in Mao uniforms like ‘blue ants’ at the time of the Cultural Revolution. The class contradiction between the ‘proletariat’ and the ‘bourgeoisie’ in the Chinese context and the new energy and life which burst out from a new political regime is the subject of this Critical Journal. Using clothing narrative stories, particularly the thematic ideas and conclusions relating to my undergraduate practice, my critical journal combines textual analysis on postcolonial theory, semiotics, sociology, and the history of the Cultural Revolution to position my work. In the same year, an internship in a local niche clothing brand, helped to contextualise my practice further. Finally, I record the background and theoretical support behind my current graduation design series, and re-examine the meaning of clothing in the process of developing individual identity. CJ

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Cover image: Rosie Ridley Studio Photography: Alan McAteer Staff Portrait photography: Shannon Tofts Design: Kat Loudon and Phoebe Willison Headline is Triptych by The Pyte Foundry. Printed by The Newspaper Club on 55gsm improved newsprint. All work shown remains the property of the designers and may not be reproduced in print or any other media without written permissions. Contact details for all work is provided on each page for any enquiries.

Degree Show Catalogue 2022 School of Design

Professor Stephen Bottomley Head of the School of Design

Curatorial Rationale Critical Journal Dissertation Extended Curatorial Rationale Extended Critical Journal Extended Essay

Interaction Design This relatively new programme within the School of Design at Glasgow School of Art explores the notion of ‘digital as material’ – as clay is to sculpture or paint is to painting. We craft experimental digital artefacts using a broad palette of software and hardware. In parallel we engage deeply in the wider debate around digital culture – the new and complex ethical considerations afforded by accelerating technological change such as privacy, freedom of expression, responsibility, connectedness, and identity. The notion of sharing is key to the programme – students are encouraged to engage in the methods and best practices of the Open Source movement, generating an effective collective learning experience. Graduates leave as well-rounded creative technologists, fluent in new ways of thinking about the use of technology in an art and design context. This generalist approach is highly valued beyond education – agility and mutability are vital to survival amid the incessant flux of our technological media age. This academic year has been both challenging and rewarding in equal measure. As may be expected, the re-introduction of in-person Studio has proved hugely compelling and inspired students to re-engage with fresh enthusiasm. The Interaction Design 2022 Honours students have developed a range of diverse projects using a wide array of technologically-augmented workflows – body and hand tracking, Machine Learning tools, code-driven motion graphics, real-time 3D game engines, Virtual Reality experiences, spatial sound installations, data-driven ceramics, and more. Themes vary from enquiries into artificial versus natural processes, material resonances, identity and mark-making, temporal data mapping, gender analysis in cinema, and the social engagement of design. We hope you enjoy this long-awaited return to the physical sharing of our work.

“The notion of sharing is key to the programme”

Paul Maguire Programme Leader

Cynthia Millar Considering the past, present, and future, I thought about technology changing our lives. Digital systems improved efficiency. Global societies sharing solutions. Systems created to improve life. I wonder where does this lead? Do the created networks lead us away from organic growth? Using various digital technologies, I captured images of water; then using the outcomes I reproduced the experience, asking the question, is this progress?

↘ Seattle 1970 to Present: A Case Study on Innovation. This Extended Essay draws on my personal observations and analysis of the city of Seattle and a few of its global contributions. Using three designed objects created in Seattle – a Boeing 747 Jet, Starbucks Tall Latte Cup, and the Museum of Pop Culture – I describe the local culture’s impact on these objects and their impact globally. I also note the influence of ideologies that are changing the city and that may hinder its progress. EE

↘ cyan2222@icloud.com

Dahye Kim My work explores the communicational relationship of people with the city and results of communications which is sensory experience. I focused on visualizing the way people have communication with the city and collecting diverse sensory experiences like people do their ordinary day in the real world. To visualize communicational activity and collective sensory experience that reflect people’s actions, I am working with screen-based 3D environment and augmented reality. With my work, people will have visualized sensory experiences and be able to collect each sensory experience within one sight. This will evoke narrative sensory experience that people received from the city. ↘ Augmented Materiality: How Augmented Reality can change the spatial concept of Art and Design. In this essay I discuss how augmented reality (AR) can change spatial concepts in art and design through the Ikea Place app (Apple’s ARKit) and Mirages and Miracles (Adrien M & Claire B). Both cause significant change to traditional concepts of space through the conversion of visual information from physical to digital spaces. As well as conceptual changes to physical and digital spaces, AR also presents extensive spatial experiences to users, regardless of physical boundaries. I demonstrate these changes by comparing operating methods and new experiences presented to the user. How has AR changed the spatial idea of art and design works and what are its advantages and disadvantages? In the essay I first introduce the art and design works given as sources of comparison and contrast. I then examine methods of triggering visual information in digital space and how it differs from physical space. I go on to explore the new spatial concepts and changes caused in art and design. Finally, I evaluate the experiences of expanded space and the pros and cons arising from the application of augmented reality. EE

↘ d.kim1649@gmail.com

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Dayna Lamb Biophilia is the idea that humans possess an innate tendency to seek connections with nature and other forms of life. Bi-hyp touch is a series of interactive works that explore the unbreakable and ever changing loop between nature, humans and technology, using the interdimensional communication of touch, and its many meanings, as a tool for connection and language. Interactions include thermotropic screen prints, an AI quiz and a Leap sensor activated audiovisual experience; along with projection mapped graphics and a book to aid and further understand the intents of each experience. ↘ Judgmental Narratives of Design. This Critical Journal aims to place my work in an argument for the cogency of post-human and ecological thought in technology and design, evaluating the conditions of applied ethics in Interaction Design. I have a real interest in human experiences and how these can be translated through the computer. Within this Critical Journal, I question the integral role of humanity within the world of design and how human values have been incorporated from the early stages. My journey to the world of interaction design explored fine art, art history and theatre design, before becoming fixated on the control that the computer allows, manipulating it to create compelling pieces. This balance that is needed when working side by side with machines has become at the forefront of my work and investigations.

↘ gamadesigncom.wordpress.com ↘ dayna.design@gmail.com ↘ @gama.desday

Hannah Johnston Fascinated by the evolution of mark-making, I spent this year dissecting and reimagining primitive art, studying what it would look like if I applied the same techniques to our modern world of blue light and user interfaces. Cave painting demonstrates craftsmanship, each work is a process; from making their own materials from scratch, to drawing designs from memory, to then embedding these into the wall multiple times for maximum pigmentation, all just to ‘leave their mark’. Each step requires patience and skill. This year I explored these themes and incorporated them with more technical mark-making techniques, using the computer as a collaboration tool. By crashing the two worlds of design together, I aimed to highlight, that in my opinion, the act of making marks is an art form in itself. ↘ The relationship between feminism and gender with art between the 1970s and 1990s. Inspired by the Guerrilla Girls’ poster: ‘Do Women Have To Be Naked To Get Into The Met Museum?’, this essay will look at the relationship between feminism and gender in art from 1970s -1990s. I begin by studying feminism in the late 1960s and the impact it had in the following years. I use arguments discussed in Betty Friedan’s ‘The Feminine Mystique’, going on to discuss how these theories were being mirrored in the world of art in the 1970s. I refer to ‘Why Have There Been No Great Women Artists?’ by Linda Nochlin and ‘Visual Pleasure and Narrative Cinema’ by Laura Mulvey. I then focus on developments in the following decades for women trying to gain gender equality and recognition in the art world, studying John Berger’s ‘Ways of Seeing’; the artwork of Judy Chicago, Sarah Lucas, Hannah Wilke and Carolee Schneemann will also be examined. In the conclusion, I look at my research as a whole and reflect on the evolution of feminist art’s recognition and importance and how it may shape my future as a young female artist. EE

↘ @hrmjo.studio

BA (HONS) INTERACTION DESIGN

Helen Ochoa Originally from Venezuela, my practice responds to my own experience of migration. I am interested in the representation of movement and displacement through interactive and digital art, and the development of socially engaged projects. Further, my work also explores socially responsible design practices, the relation between the user and interface, and the translation of complex information into functional design outcomes. I have worked with multiple artists, developing digital and physical pieces of work, and collaborating in community engaged art projects. Similarly, I have collaborated with multiple collectives, social practitioners and social initiatives, producing publications, websites, animations and virtual environments. ↘ Analysing Interactive Art through Ernest Edmonds’ classification and Tate Modern’s Turbine Hall Commissions. This Extended Essay will look at the problematics of defining and classifying interactive art; aiming to answer questions around the role of new technologies in art making and gallery spaces, and whether or not art can be classified in the binary terms of interactive and non-interactive. The first chapter examines Ernest Edmonds’ definition of interactive art and his classification of it according to its ‘dynamism’. In the second chapter, broader questions around art making, cultural production and the shifting role of technology are considered; engaging with the work of scholars like Ranciere (2005), Burnham (1968) and Berger (1972). In the third and final chapter, Ernest Edmonds’ classification is critically applied to 17 artworks exhibited at the Tate Modern’s Turbine Hall between the years 2000 and 2021; challenging the static classifications of his theoretical analysis. This investigation demonstrates the problematics of assigning static roles and definitions to art making, and challenges contemporary assumptions around the use of digital technologies as essential in the production of engaging exhibitions and artworks. EE

↘ helenochoa.com ↘ helenochoadesign@gmail.com

Katie Seivwright I am an Interactive Designer that has been creating work driven by recognising patterns within cinema. Within this work, I have been exploring narratives behind film through analysis of dialogue and analysing visuals such as fight based choreography to see how it can impact how we view characters within a scene. Additionally, I have been using code, machine learning, video editing and graphics-based software to achieve this. The outputs of this work are both physical and digital. ↘ Pokémon Go: A Case Study into the Augmentation of Reality. My Extended Essay investigates Augmented Reality technology and the interactions between technology and humans within digital and physical space, aiming to explore how this has evolved and merged over recent years. The AR mobile game Pokémon Go provides a focus as a case study into this topic as it is the most universalised use of AR technology. I investigate the digital side of Pokémon Go, discussing how it became popularised, how it has attracted players and how it manages these numbers. Further, I explore how the game affects the physical world through its in-game locations and covers the outrage that followed. I analyse Lev Manovich’s The Poetics of Augmented Space, which explores the dynamics of using AR technology within locations as well as Adam Greenfield’s, Radical Technologies: The Design of Everyday Life, as this text can comment on the rapid growth and effect that Pokémon Go has had on society. Finally, I look at how the physical and digital merge of AR has affected the navigation of cities, our interaction with cities, interactions with each other, and how Pokémon Go has paved the way for the acceptance of future AR technology. EE

↘ seivwrightdesign.com ↘ ktseivwright@gmail.com ↘ @katieseivwright

THE GLASGOW SCHOOL OF ART

Lene de Montaigu The resonant body of the instrument is the accidental space around it. Its sound-architecture is its modularity. This space is equivalent to empty space – accommodated to any physical properties and dimensions. The instrument is a hybrid object made of found material and new material, hand-crafted elements and digitally modelled elements. This instrument equivalently marries both spatial and temporal dimensions – that of the physical and that of the digital. This instrument is an interface to explore the space around us. ↘ The World as a Green Screen. This critical journal aims to explore the mechanisms and effects of contemporary digital technologies on human sensorial relation to ‘reality’. The paper comprises three main chapters. The first establishes the existence and analyses the experience of Networked Space as the new space within which reality is constructed via the ubiquitous presence of the internet. The second describes the mechanisms of interactive interface technologies as the tools which mesh virtual reality with physical reality, and analyses the ways in which they design containment. The third is a personal response, in the form of a proposition, of an alternative way of seeing, whereby I use the term ‘anarchitecture’ as an artistic approach of intervention to disrupt and reimagine the architecture of networked space.

↘ omedenel.cargo.site ↘ Lene.tdm1@gmail.com ↘ @omedenel

Lorna Feggans Over the year my work has centred around the space between science and art. Using a combination of both computational and traditional forms of exploration to create data driven organic structures inspired by fungi. Throughout the year I have collected data through a series of attempts at growing mushrooms and have used that to inform my work. My work also explores tangible and durable outcomes where there is no human interference similarly to the systematic nature of living organisms. ↘ Disconnected Connection: Communication through Social Media. We are currently living between two worlds: the physical and the digital. One seen as mundane, the other seemingly without limitations. Our communications are currently leaning more toward digital spaces, in particular social media which is becoming an increasingly more addictive space, allowing those in power to further marginalise certain groups within society. Whether or not conscious prejudice exists, users become increasingly selfish with little acceptance of anything deemed ‘other’. We can now pick and choose what information we access with the swipe of a finger. With continued use these spaces cause great distress to users, endangering their physical and mental health. For older people, still the majority, accessing such technologies has been a choice to learn, but for the youth there is no escaping, their lives are intertwined with technology. Over-emphasis on digital learning is now causing young people severe issues with basic interaction and communication skills. This essay explores communication through social media. EE

↘ l.feggans@yahoo.co.uk ↘ @l.feg.design

BA (HONS) INTERACTION DESIGN

Morven Walker My work explores the passage of time through visualisations driven by tidal data. The cyclical nature of tides maps out a timescale which, when explored can be used to create an abstract representation of time that is still true to the data and based in fact. I am interested in using data to make complex concepts, such as time, tangible and visual in a way that is both appealing and informative to the viewer. I have focused specifically on tidal levels in accordance with moon cycles which highlight and explore the connection between the movement of tide and time. ↘ A Discussion of Ownership and Its Impact on Modern Art. This essay discusses the role of ownership in modern art. I examine the impact it has on digital art and how it affects the artists that specialise in this discipline. First I consider what ownership is and how this concept has been changed by a new wave of creative thinking and techniques. I use the theories and arguments from Roland Barthes’ The Death of the Author as a starting point for the essay, to explain clearly what is meant by ownership. Part one considers the work of Banksy and his success as a street artist despite not taking credit for the work, exploring the pros and cons of lack of ownership, not only for the artist but for the community, using contrasting opinions of other artists/critics to inform my own viewpoint. The second part focuses on how ownership is changing the way the public views and interacts with art, with ideas taken from Museums in a Digital Culture – How Art and Heritage Become Meaningful, which explores the notion that ownership is moved from the artist to the viewer during a gallery/museum visit. EE

↘ morven7w@gmail.com ↘ @morven_design

Yuqing Wang In this project, I explored the relationship between digital and handmade craftsmanship, with a focus on ceramics. Besides using a throwing wheel or other hand-based techniques, different parts and motions of the body can be involved in the crafting process. Through digital technology, the creation process can be taken beyond the workbench. By wearing sensors, motion data is collected and imported into the software, within which it is transformed into visual representations of the movement, and finally, 3D printed in clay. This produces a series of works that incorporate the patterns to represent the diversity and strength of the movement. ↘ Material Awareness: The intersection between craft and digital technology. My Critical Journal explores the intersection of craft and digital technology, focusing on the juxtaposition and integration of physical and digital materials in the context of the digital era; to gain a deeper understanding of the relationship between medium and concept, and the role of experimentation and practice with various materials. Chapter 1 introduces ‘digital materiality’ and explores different forms of materials through my first work ‘The Simulation of Douban Print’: the foundation for my enquiry into the relationship between craft and technology. Chapter 2 examines my work ‘The Screen Boundary’, the relationship between craft practice and technological progress; and critically analyses how digital tools contributed to its creation process. Chapter 3 evaluates the progress of my current project: how the choice of tools and mediums influences the construction and positioning of artwork and the difference between technology-dominated tools and traditional tools. I refine my knowledge of the relationship between digital technology and craft with the idea of ‘hybrid craft’.

↘ yuqing2096@gmail.com

THE GLASGOW SCHOOL OF ART

Zhixi Wang Signs of Perseverance. This is a self-exploration project which revolves around feminist topics and attempts to answer questions such as whether gender is acquired, how capitalism and media objectify women, whether monolithic beauty standards devalued individual characteristics, where appearance become measurable under mathematics and rulers, and how does the title ‘women’ change a woman’s social roles. For each question, I choose a representative object, and augment reality as a way of projecting my own consciousness and interpretation. The objects are arranged in chronological order, from the first beginnings of a girl’s life to the transformation of her role as a mother. ↘ How Do Inﬂuencers and Filters Apply New Beauty Standards to Young Women? The essay examines the role of influencers and filters in social media in order to understand how they have affected people’s beauty standards, especially those of young women. I begin by discussing the history of influencers and how their role has been changing. I then analyze the capital behind those influencers, corporate bodies like YouTube and Bilibili, and how beauty companies have tailored their marketing strategies to social media channels. I go on to examine the influencers’ behaviour patterns that raised unrealistic beauty standards through Photoshop and face toning apps. I continue this discussion by analyzing the role of influencers and filters, how do they affect each other and make filter becomes an essential role on social media. Finally, I consider two influencers who have been devoted to promoting body-positivity, and have helped many users with their drive to support better mental health. EE

↘ @zwwwwang_19

BA (HONS) INTERACTION DESIGN

Cover image: Lene de Montaigu Studio Photography: Alan McAteer Staff Portrait photography: Shannon Tofts Design: Kat Loudon and Phoebe Willison Headline is Triptych by The Pyte Foundry. Printed by The Newspaper Club on 55gsm improved newsprint. All work shown remains the property of the designers and may not be reproduced in print or any other media without written permissions. Contact details for all work is provided on each page for any enquiries.

Degree Show Catalogue 2022 School of Design

Professor Stephen Bottomley Head of the School of Design

BA (HONS) INTERIOR DESIGN

Curatorial Rationale Critical Journal Dissertation Extended Curatorial Rationale Extended Critical Journal Extended Essay

Interior Design The Interior Design graduating projects from session 21/22 draw upon the resonant cultural and social landscape of the City of Glasgow and offer re-imaginings of that cities interiors. From Industrial landmarks to elegant Victorian creations and Brutalist structures each project seeks to propose new ways of seeing the interior as paramount to all. Together the projects celebrate social spaces, enabling us to be together again and galvanise communities through music, film, nature and food. Themes of social responsibility illuminate themes of independence, inclusion, education, sanctuary, care, wellbeing, and sustainability. These propositions respond to the challenges we face in a precarious world within which the collectively experienced Interior offers a vantage point from which to speculate on and inform future ways of living, both global and local.

Patrick Macklin Deputy Head of the School of Design (interim), Head of Department and Reader in Interior Design

Pamela Flanagan Acting Programme Leader and Interior Design Lecturer

“These propositions respond to the challenges we face in a precarious world”

Adèle Leroy The St Andrew’s market project is my answer to the current state of the food industry. I want to reshape the way people buy food and the impact that it has on their life. The aim of this project is to give people the opportunity to create a link between them and the suppliers of the food they buy. To only purchase seasonal and local produces. This market will not only sell food but will also be a place for the community to come together and think more about these ideals.

↘ Our World of Consumerism: How Does the Consumer Society Dictate the Way We Produce, Sell and Eat Food? In this dissertation, I discuss the impact of the development of the consumer society on the evolution of eating behaviour. We will see, first of all, how humans have become consumers. Industrialisation, which now allows us to produce more in less time, has taken over our food, producing a lot, often too much. The prices are low, but the quality is often poor, and we buy excessively; a model that has become harmful to the environment and our bodies. Mass consumption is organised by powerful companies that want to guarantee their prosperity at all costs. Consumers are not always in control of their choices. Indeed, through the media, advertising creates artificial needs that encourages overconsumption by offering easy, attractive, but unsustainable options. However, there are alternative, sometimes activist, solutions to reduce over-consumption in industrialised countries, particularly in the UK. This dissertation aims to demonstrate the urgency required to change our food behaviour to limit the waste and mass production that destroy the environment and compromise our future. D

↘ adle.leroy@gmail.com ↘ @adele_workspace

Agata Ostrowska I am an interior designer, but I am also interested in graphic design. In my practice, I try to combine these two elements. In designing I am inspired by nature, travel, and people, which I often combine the need for communing with nature and social problems, from various perspectives and factors. I enjoy the challenges of designing space and experimenting with aesthetics with a particular focus on natural materials, ecological solutions and neutral colours. ↘ Women in the profession: from architecture, urban planning and design to feminism. This extended essay will discuss feminist assumptions and practices in the field of architecture and design. 2020 statistics show that most European countries have a female population larger than males. Why are women’s needs in relation to the construction and design of cities neglected on account of biological differences? Can the actions of women working in the profession have sufficient impact? Are women as successful as men? Why are there fewer women than men designing the spaces around us, or why do they don’t get that far in their careers? Zaha Hadid, a feminist and the first woman winner of the Pritzker Architecture Prize (2004) has shared her vision of feminist architecture. Through feminist aesthetics I explore the active work of women architects like Anna Keichline and Charlotte Perriand. I am aware that for experts on the subject, they are a banal example, but for me, they introduce a new perspective on feminist architecture. I also explore the main assumptions in feminist architecture and design theory through various academic works such as: Making Space: Women and the ManMade Environment; Feminist City: Claiming Space in a Man-Made World; Gender, Space, Architecture, and The Right to the Gendered City. EE

↘ ostrovska.agata@gmail.com ↘ @ovska_design

THE GLASGOW SCHOOL OF ART

Aidan Rabbitt I am a Manchester based Interior Designer with a conscientious approach to ensure every element of design is valued equally. Working with morals and ethics, it has always been important for me to ensure my interiors tell a story to the user, informing, educating, and serving the community of which the space is designed for. I have chosen a personal approach for my final project, focusing on the LGBTQIA+ Community. Using my own experience with discrimination and suppression, I have designed an environment that my former self and many other people in a similar place would benefit from. ↘ An Exploration into what acceptance means for LGBTQIA+ people within urban environments This essay examines the progressive nature of LGBTQIA+ acceptance and inclusion within our current societal system. It explores how certain spaces, events and institutions stand in relation to the LGBTQIA+ community. Using my own experiences as a cisgender homosexual man, I document different environments to which LGBTQIA+ individuals may be exposed. I highlight the intrinsic part these environments play in the development of self-expression and LGBTQIA+ visibility, emphasising what more can be done to help all people within the community. Over the last few decades, a great deal of progress has been made, however, liberation and the state of oppression looks different to all of us, as we must continue to acknowledge. Ten years ago, the LGBTQIA+ acronym had just four letters (LGBT), and over this short space of time, the acknowledgment and acceptance for all members of the community has grown. Considering the rights of everyone has often been a challenge, and there is now so much more to consider. As a growing community, we must ask ourselves what optimum liberation looks like? Are these so-called ‘progressive’ environments fulfilling their prerequisite purpose, and if not, what more can be done? EE

↘ aidanrabbitt.myportfolio.com ↘ aidanrabbitt.id@gmail.com ↘ @aidanrabbitt.id

Annu Antony I am an Interior Designer with a keen interest in experiential spaces that also exist as a functional space. In my work this year I decided to take the concept of a personal project to the extreme and base my project on my mother who passed away and her origins, ideals and values in life. This translated into a concept rooted in the values of educating, caring and healing others. I have found this experience to be extremely valuable for myself as it was an opportunity for me to commemorate my mother in a way that could potentially help others in need as she would have wished. ↘ The Effect of Crises on the Development of Design; Focusing on Interventions and Trends during the COVID-19 Pandemic; Is it Correlation, Causation, or Acceleration? This Dissertation is an investigation into interventions and trends in Interior Design during the COVID-19 pandemic. It explores how people reacted and then adapted to a virus that quickly spread to become a worldwide pandemic by designing various interventions to both protect themselves and to cope with the newfound limitations that they were faced with. It discusses responses by the Interior Design industry to COVID-19. These interventions can be physical barriers, signage or ones to accommodate changes in the way people inhabit public spaces to ensure ‘physical distancing’. I also examine other factors during the pandemic, such as environmental sustainability, work from home, the great resignation and the COP. My aim is to find out the extent to which the development of design is affected by crises. D

↘ annuantony26@gmail.com ↘ @annu_design

BA (HONS) INTERIOR DESIGN

Asal Ahmadi Interior design is the art of identifying problems in our surroundings and creating spaces that both solve the problems and improve our daily life experiences through the use of interior spaces. As an interior designer, I aim to produce solutions that are a balanced combination of imagination, creativity, and functionality that can have a positive impact on the users of a space. ↘ Gendered Spaces: An investigation of the limitations of binary categorisation. This extended essay aims to investigate the limitations of gendered spaces and how binary categorisation can be exclusionary. Chapter 1 is an analysis of the definition of gender based on Judith Butler’s Gender Trouble. This book provides an analytical and detailed theory of gender that sheds light on why debates around gender-neutral spaces are controversial and divisive. Chapter 2 explores the role of culture on gender, using Pierre Bourdieu’s theory of ‘Habitus’. The debates around gender-neutral toilets been addressed in this chapter in order to show the limitations of binary categorisation particularly in public spaces. It also investigates the concerns raised around gender-neutral bathrooms, such as safety and hygiene, I use my insights as an interior designer to propose innovative solutions to these problems in order to make spaces more inclusive. Chapter 3 discusses how neoliberalism could be a factor in the slow progress of gender-neutral public restrooms, informed by Yasminah Beebeejaun’s critical article ‘Gender, Urban Space, and the Right to Everyday Life’, that argues policymakers and urban planners should focus on urban dwellers rather than prioritising infrastructures. EE

↘ asalahmadi737@gmail.com ↘ @asal.a_id

Ciara Barclay I am an interior designer working mainly in educational and recreational spaces. I like working primarily with structures and materials of a building to improve the users experience and productivity whilst in the space. I have a keen interest in the psychology behind how materials and volumes of space can affect the users experience, mainly in relation to Biophilic Designs. I enjoy renovating spaces and repurposing older buildings, bringing them a new life whilst highlighting their potential. My work this year has had a major focus on incapsulating that and exploring the possibilities of restoration. ↘ Branching Out: Reflections Upon the History and Growth of Biophilic Design within Office Interiors. Biophilic design, as a movement, involves the incorporation of nature into manmade environments. The term biophilic design was originally coined by Stephen Kellert and refers to the deliberate relationship between human occupants and nature using indirect and direct contact with nature within the interior space to promote health and well-being. Although the movement found its title through Kellert, early notions of biophilic design were formulated by the psychoanalyst Eric Fromm in his seminal text The Anatomy of Human Destructiveness (1973). The essay explores a variety of biophilic interiors. Three main office interiors were chosen as a focus for investigation; The Great Workroom, Mountbatten House, and the Apple HQ. Utilising these, alongside a range of professional literature, this essay seeks to reflect upon how biophilic design elements may impact the user and, in some cases, how the employment of biophilia may act as an inconspicuous symbol of affluence or as an outward expression of an individual’s – or corporation’s – virtuosity.

↘ ciarabarx@gmail.com ↘ @cbarclay_design_

THE GLASGOW SCHOOL OF ART

Eden-Gabriela Uta My interior design practice is very much user-centric. With my interest in cognitive psychology, I am creating an intergenerational healthcare facility for autism and dementia, a space that stimulates the senses and works with the user, not the other way around. By careful consideration of the journey and activities, the interiors are aiding the user in navigating space. My design view is for the interior to feel safe and healing, while also using a range of different textures, colours and lighting in unexpected combinations. I often design bespoke elements to enhance the character of the historical site and to create moments of interest in each area of the building. CJ ↘ Introducing well-being through the interior environment: spatial cognitive awareness through sensorial stimulation and the aid of it in care homes for autism and dementia. This Critical Journal shows how I navigate different stages of designing while being mindful of the users and the typology of my major studio project. Ethics play an important role in my practice, which is illustrated through reflection on spatial awareness and effective spatial navigation, terminology, barrier free design and restorative calming interiors. First, I present an overview of my project covering the following topics: space layout/location; people (including the intergenerational aspect); specific challenges regarding designing for particular residents. Second, l go through my past projects and interests and explain how they informed this project. Finally, I introduce and expand on the main interests and driving forces for my work: sensory stimulation (cognitive psychology) leading to the study of colour and texture and the psychological reactions at the level of the brain; healthcare design, its influence on the patients and ways to reinvent its ‘norms’; sustainable and mindful design influenced by biophilic design theories, bettering the everyday life of the people using the space.

↘ eden.u.studios@gmail.com ↘ @eden.u.interiors

Elin Peters Elin is a functional interior designer and enjoys the problem solving aspect of projects to create beautiful solutions. Through the use of various crafts and mediums she approaches each brief with a curious mind and an interest in the narrative and user experience of a space. In her final project, ‘Warped studios’ she explores the fashion and textiles realm to create a space which tackles the issue of waste. This project champions local designers and their ethical practices. ↘ Creating an accessible space for the fashion and textiles designers of the future: The peaks and troughs of being a sustainable designer Within my critical journal I explore my studio topic of how to ‘Create a space which encourages, celebrates and educates the public on sustainable textile production’. I examine my own work outside of my studies and how this brought key issues such as; waste, sustainability and slow fashion to my attention. I interview several sustainable small business owners to gather primary research. To begin with, I discuss my own textile work and previous projects in which I have considered and researched sustainable options and materiality and how my fourth year title emerged. Then I consider other similar makers and explore multiple questions I have asked these designers and reflect upon each of these interviews and how they may shape my project and raise important questions in the fashion and textiles world. Finally, I conclude and reflect upon how my previous work has guided me and allowed me to explore the sustainable design world and as a result is helping me to develop and design a space to continue and celebrate these sustainable design processes. CJ

↘ elinpeters99@icloud.com ↘ @by.elindesign

BA (HONS) INTERIOR DESIGN

Elisa Xavier Does punishment on criminal offenders help an offender healthily reintegrate into society? This is a question I have long wondered about. In my final year, I set myself the goal to investigate the topic and find solutions to some of the problems in criminal facilities in the UK. My interest in penology and the effects of physical space on human behaviour motivated me to do this project, a rehabilitation facility for female offenders. The idea behind it is to propose new ways of looking at custodial institutions and raise conversations on the topic of punishment and rehabilitation. ↘ Secure Rehabilitation Centre for Female Offenders - An Alternative to Traditional UK Prisons. For my final year at Glasgow School of Art, I will be designing a secure rehabilitation centre for female offenders. I will investigate existing rehabilitation institutions and prisons and how successfully they serve their purpose. How do I design a confined environment that helps female offenders get back into society? How will my design choices affect the offenders, staff and visitors? Moreover, what are the social and biological needs that must be met in such an environment? These are the questions that I consider in this critical journal. The design considerations are key, they are what every designer should consider when designing for people in prison and rehabilitation. CJ

↘ elisaaxaavier@gmail.com ↘ @elisaxavierinteriors

Emilia Kenyon As an interior designer I am drawn to commercial design and striking the right balance between Form and Function. I believe that great design can reinforce brand values, and it should complement and inspire connection. I’m passionately committed to sustainability and the opportunity to reinvent existing spaces, giving them new purpose, and breathing new life. I always seek to find the underlying story that links a space’s past to its future. I see digital solutions as being a great way to share ideas recognising that they must come from a thorough understanding of the client’s needs and expectations. ↘ Branding and the Interior: An analysis of the role of branding through interiors within the hotel industry and its impact on customer experience and relations. Reinforcing brand identity through the interior design in hotels has become increasingly common. Three hotels are selected for case studies – ‘The Royal SAS Hotel’, ‘CitizenM’ and ‘Hotel Indigo’; chosen because they have a distinct cohesive interior design. The importance of brand identity in hotel interiors has been explored through mixed-method research and two semi-structured interviews with industry experts, Uri Yeger, Design Director for CitizenM, and Ross Hunter, Co-founder of Graven Images. The hotel industry is a landscape where design is influenced by guests and followers – just as brands are designed to resonate with followers. Guests expect increasingly more for their money beyond a bed for the night (Hunter 2022). Continuous design evolution is essential: ‘If you are not evolving, then you will be left behind’ (Yeger 2022). EE

↘ emiliakenyon.com ↘ Emilia.kenyon@icloud.com ↘ @emiliakenyon.id

THE GLASGOW SCHOOL OF ART

Emma Robertson I am an Interior Designer from Scotland with an ardent interest in the concept of adaptability within interior spaces. Through the exploration into the forms and shapes of spaces, physically and theoretically, I am able to discover the nature of designs regarding practicality and theatricality. This year I have been focused on the preservation of my site with a keen attention on honouring the original blueprint whilst also modernising and developing the space to function as needed. This concept is something I hope follows me into professional practice and any other future endeavors. ↘ What is ‘Kitsch’? In this extended essay I examine the history and influence ‘Kitsch’ design with regards to taste and class and how it is received by audiences. Using diverse, sources and key texts, I will open a discussion into the role these judgements have and how they influence many art and design disciplines. The chapters in this essay present different examples of ‘Kitsch’ design, analyse the significance of the sources and the varying opinions surrounding the works that fall under this category. Through examining iconic works of art and design and evaluating more “contemporary” examples that look into “True Kitsch”, I observe how perceptions of design may have changed and how it is now understood by an audience. Lastly, I review how taste and class can leave a lasting impression on the presentation of art and design practices and deliberate the meaning and representation, using selected visual and textual examples. EE

↘ emmarobertson.design@gmail.com ↘ @emmarobertson.id

Fruzsina Goczan I am an interior designer utilizing design as a language to imagine and create interior spaces which explore the interactivity of form, functionality, and aesthetics. I enjoy working on concept-driven projects as they allow me to passionately communicate my ideas and explore the fusion of space, technology, and typology. My work this year has been centered around our sensory awareness of space, particularly how materials and tactility play a crucial role in the perception of our environment ↘ Spatial Poetry: Symbolic Meaning of Materials within Interior Spaces. This critical journal sets out the questions of how materials are being used as a depiction of meaning in interiors and how the poetic aspect of materials connects to the material’s tactile experience and serves the purpose of documenting my journey of answering these questions. In this critical journal, I explore what materials are, their properties, and how they express meaning. I also reflect on my relevant previous projects and document how I have used materials to convey meaning in interiors. Then I look at two architectural case studies to investigate how materiality has been used as a symbol and how this symbolism has been communicated. Finally, I reflect on my fourth-year project progress to date and indicate how I believe I will proceed with my studio work. CJ

↘ byfru.co.uk ↘ fru.goczan@icloud.com ↘ @by.fru

BA (HONS) INTERIOR DESIGN

THE GLASGOW SCHOOL OF ART

BA (HONS) INTERIOR DESIGN

Gloria Rizzardi I am an interior designer focused mainly on the connection between interiors and users. People are always the key to and the heart of a place. My personal goal is to create interiors based on social and cultural issues in different places; to explore and find solutions throughout the design. My interiors cannot be fulfilled only by pretty objects and materials, but the needs of the users must be taken into consideration to create spaces to support and engage within society. Learning about places’ issues to create sustainable interiors for society and community is the key to design for me. ↘ The Glasgow Effect: Can a city be blamed for low life expectancy? This dissertation presents research on the Glasgow Effect, whether the city of Glasgow is affecting the low life expectancy or are the people affecting the reputation of Glasgow with their choices and behaviours. It explores relevant aspects of Glasgow’s modern history and present-day factors such as issues of intersectionality. Starting with the industrialisation and fast growth of the city and its rapid contraction in the 1960s and 70s, the layout of the city explains the connection between individual mental health, drug and alcohol abuse and poor lifestyle. I will address topics such as comparison with other places in Europe and the different approaches to life and perception of living. Research, data, and statistics from Government and public services are objective, however, my point of view as a foreign person and that of Darren McGarvey, a Glaswegian writer and rapper, are included in this research to explain the perception of the Glasgow Effect on different people. D

↘ sites.google.com/view/gloriarizzardinterior ↘ gloria.rizzardi.interior@outlook.com ↘ @g.r.interior

Hanya Kamel I am an interior designer driven by creating playful and interactive environments. I enjoy exploring the possibilities that arise from integrating the theatrics of entertainment into a range of spaces, to inspire memorable experiences. I also enjoy designing branding identities and strategies. This year, my project ‘Dear Fiction House’ is a Cancer Recovery House that challenges boundaries of healthcare, through the primary use of entertainment as a means for healing. With an uplifting hopeful energy, the space allows each individual to be in control of their own unique recovery journey, encouraging playful and meaningful interaction that simultaneously aid their restoration. ↘ Analysis of the Use of Media Entertainment to Promote Wellbeing as an Integral Element of the Interior Design of a Recovery Space. This critical journal supports my project intention to design a recovery house based on entertainment, for people recovering from cancer. The journal considers how media entertainment can be used in recovery. It analyses the impact of the positive use of media entertainment on wellbeing, within theory and within the interior space. It builds an understanding of suitable design implementation of entertainment for healing in the interior space, through simultaneous analysis of research, project progress, and ongoing reflection. First, I address the context of my studio project, through a critical overview of past work, followed by the analysis of media entertainment theory models. This allows me to proceed to synthesizing ideas from media-induced recovery into two main methods: ‘Positive Distraction’, and ‘Constructive Entertainment’, advancing on to examine interior examples of these methods alongside my studio progress. Finally, I explore the development of the design solution, evaluating decisions and unresolved themes.

↘ hanyakamel.myportfolio.com ↘ hanyakkamel@gmail.com ↘ @hanya.kamel

THE GLASGOW SCHOOL OF ART

Jekaterina Tysiacnaja I am designing a New Community Centre for senior citizens who ended up alone in their life for assorted reasons. The center focuses on connecting people with similar interests and hobbies, creating a new journey for people in need. The location of this community centre is in Pollok Park, Glasgow. In this project I decided to focus on residents’ well-being and have chosen biophilia as the main feature in design, that is why the location of this project is in Pollok Park, the site is surrounded by wild nature. All the activities run in the centre will improve people’s well-being. ↘ Biophilia and the use of Biophilic design in Hospitals. This extended essay investigates the meaning, purpose, benefits and influences of using biophilia in specific interior spaces such as hospitals. I conduct extensive research in order to explain the principles of Biophilic design, how it can be applied and the benefits of it for hospital patients. I also look into relevant theories and methods that were applied in design of hospitals and care homes in order to deliver the most beneficial outcome for patients and research the principles and strategies of Biophilia in these particular spaces. I discuss case studies where the use of biophilic design gained success and was beneficial for users and consider how the use of this particular style reflected on people’s mental health and overall well-being. In this essay I will look at books such as Places of the soul, Nature inside: biophilic design guide, Healing spaces: the science of place and well-being. I explore and analyse how different authors approach their understanding of the biophilic principles, its use and benefits in environmental design and human’s well-being. EE

↘ tkaterina91@icloud.com

Keela McLay I am a Scottish Interior Designer with a keen interest in the versatility of installation and theatrical design, in both realms of fiction and nonfiction, hypothetical and real. I enjoy examining the exploration a user can undertake when occupying an interior space and how different experiences can be had and shared by users through different modes of movement, interaction, and investigation within a space. ARCHIVE 118 explores the solid and permanent nature of cast concrete forms whilst considering their use as film-based research, viewing, seating and transitional spaces. ↘ Visions of Future Past. This curatorial rationale proposes an exhibition that explores the impact of ideas and innovative technologies created during the post-war labour-saving boom. Influenced by the exhibition, Home Futures: Living in Yesterday’s Tomorrow and its accompanying exhibition text I consider how the themes of my proposal fit within the context and history of the proposed site, discuss the spatial benefits of the proposed space, highlight the importance of accessibility and consideration for/of visitors, and emphasize the significance of interactive spaces within exhibitions. The proposed title for my exhibition is Visions of Future Past, a reference to past ideas and expectations of the future. Located within the Exhibition Galleries of V&A Dundee the curated group of artefacts will convey/demonstrate the futuristic aesthetics and design development of historic and current domestic technologies. As well as demonstrating the impact of impractical domestic design proposals, I also consider the influence of technologies in science fiction. I discuss my reasoning for installation methods, spatial layout and structure within the proposed site.

↘ keelamclay@yahoo.com ↘ @keela.interiors

BA (HONS) INTERIOR DESIGN

Kike Karolina Pawlik Glasgow-based Interior Designer and Interiors Editor at Mill Magazine. My work this year has been focused on defining modern childhood and picture my finding by exploration of a derelict building entitled the Lion Chambers. The mysterious abandoned reinforced concrete ‘skyscraper’ is a symbol of children disconnected from the environment and nature. The design utilizes historical aspects, sustainable materials and innovative design to spark revitalization of the surrounding. This design offers a wide range of spaces and activities that will attract children and their parents, as well as promote a sense of community from within the development. ↘ Modern Childhood: The impact of interior and product design in child development. In this essay I will be discussing how interior and product design influence children’s development and personality. My aim is to produce a persuasive discussion by using strategy of comparison and contrast to distinguish and contextualise my subjects, to start a conversation to view issues from multiple perspectives. I consider psychology and use of colours looking at the effects of various colours on children’s mood. I investigate kindergarten and nurseries to explore the purpose of space, activities, philosophy and how all these aspects deliver psychological support to children. I look at what kind of toys are on the market and how they shape a young generation. I analyse parents’ points of view and how they affect their children. I argue why play matters and what kind of play benefits children the most. My essay aims to investigate and analyse modern way of raising children and what kind of childhood a contemporary world offers to a child. EE

↘ kike.pavlik@hmail.com ↘ @kike_karolina_pawlik

Lani Campbell Interior and spatial designer whose practice draws from interests in compact modular living and sustainability; the mass waste created in daily life and the subsequent need for action concerning climate change. Her current work explores solutions to this within the circular economy - primarily how to communicate the importance of engaging the community through designing bridging concepts including bio-design residencies and maker spaces. ↘ Going Around in Circles: Living organism waste and its role in closing the circular deisign gap. In this critical journal, I expand upon the role of plants and waste in the future of interiors within the broader expanse of the circular economy. I study how products considered as waste from manufacturing processes can fill gaps in the world of environmentally conscious design, exploring this subject also within my studio research. Section one examines circular design, plants, natural wastes and their role in the fields of recycling, reusing and reducing, analysing their use in selected design concepts. Section two discusses the roots of my interest in this subject and how I have developed my thoughts and ideas. I question to what extent the world is adopting true sustainability and how design can play a significant role in promoting this. Through my research I explore the possibilities of expanding a library of reusable materials. The final part reflects on the impact my area of study could have if put into action, discussing whether everything we design should be able to be reborn to feed or seed something else. CJ

↘ 14lani@gmail.com ↘ @id.lani

THE GLASGOW SCHOOL OF ART

Lynne-Marie Grier I am a Scottish Interior Designer interested in how the narrative we lend to spaces and objects transcends. I am particularly influenced by Japanese culture and design and my work this year has focused on creating a commercial museum space which considers Japanese design alongside my own Kokeshi doll making practice. I enjoy creating a strong aesthetic in my work through colour and materiality and I like to work in hand drawn sketches and Procreate. ↘ To What Extent can the Maker Control the Narrative? As a maker of souvenir or keepsake objects (wooden dolls), I consider my own practice as a maker in this extended essay, with a focus on discovering what extent a maker can control the narrative of an object? I explore this question through the deep reflection of my own practice alongside various academic texts such as Susan Stewart’s On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection, I look at the meaning I have in mind when I create an object and compare it to the meaning the object is given by the user or recipient of the object. I also examine online collectors’ communities and conduct interviews with other makers and other souvenir objects such as Kokeshi dolls. EE

↘ Lynnegrierdesign@gmail.com ↘ @lynne_interior

Mhairi Sinclair Interior design student with a keen interest in the way design can improve an individual’s experience of their built environment, shaping their quality of life. My graduate project ‘Collective Pathways,’ proposes an alternative pathway for care-leavers which seeks to avoid the ‘care cliff drop’ often experienced by young people when leaving care, easing the transition to independence. The concept of home, its true meaning, and the way the home environment shapes, and is in turn shaped, by an individual’s identity has been the central focus explored throughout. ↘ Preserving the Past at the Detriment of the Future: An exploration of historic preservation and national identity in Brasilia. This essay explores the relationship between historic preservation and national identity in Brasilia, questioning the ways preservation has been used to shape a mythologised nostalgic image of the modernist city. Section One discusses how historic preservation was used to establish national identity, and the ‘right kind’ of image for remembrance. Section Two examines the image of Brasilia as a Modernist Utopia, using Rene Burri’s iconic photographs as the key source as representing the desired image of the heritage site, in contrast to the concealed reality. Section Three explores how ‘hygienisation’ is used to preserve a ‘pristine’ modernist image. Section Four discusses the tourist gaze and staging of the heritage site to continue the city’s mythologised image to its international audience through Instagram, using various images reminiscent of those taken by Burri in the 1960s. The essay closes with a discussion of the documentary Brasilia: Life after Design and the film’s effectiveness in highlighting the nostalgia which underpins this mythologised image and the reality concealed within. EE

↘ M.Sinclair2@student.gsa.ac.uk

BA (HONS) INTERIOR DESIGN

Mirain Dafydd Curating spaces influenced by movement and light, bifurcating structures, and pattern. As a Welsh spatial designer, I am curious to integrate sensory experiences through malleable environments and emotional narratives. Baddondy is a Performing Arts Centre and a creative sanctum in Glasgow’s West End. A compassionate space for relaxation, work, and socialising, enveloped by organic structures, live performances and installations from local to international artists. The neoteric Arts Centre harmonises functions and explores the hierarchy system of immersive social design. Baddondy commemorates my late grandfather, Lynne Davies. His ceramic sculptures have inspired my project. D ↘ Blueprint: On Reclaiming Urban Spaces for Young Women Through Inclusive and Immersive Design. This dissertation pursues the topic of women’s safety and sense of ownership in urban spaces, focusing specifically on how women’s voices have been excluded in the process of designing them. Without realisation, we have normalised a ‘man-made world’. Many are raising their voices, concerns and frustrations, but it appears that no action is taken; women’s safety in urban spaces is therefore never fully addressed. Blueprint is an academically informed manifesto that uses personal observation through the lens of a young female designer to see how change can be implemented. It uses simple, accessible English for future designers, architects, engineers, urban planners, politicians and activists to create an inclusive, happier and thriving city for women. Researched examples of prosperous cities and their development highlight a sense of safety and comfort in urban spaces in the 21st century.

↘ @miraindesign

Mollie Forsyth An Interior Designer whose interests are centered around translating utopian ideals into the physical. Mollie senses interiors with a poetic approach, designing through concepts in phenomenology, storytelling, anthropology, ethics, and memory. Providing immersive interiors which contain the ability to transport users into the pocket of a tiny new universe. Her project this year, Wanderlust proposes a multifunctional dreamscape for the imagination of the public, where the interior sings in tune with the earth and those who choose to venture inside it. ↘ The Aura of the Domestic Space. Within this writing I investigate the subjectivity of interiority in relation to the domestic space, depicting how interiority is exercised through the physicality of the home and the interior’s influence upon consciousness. I intend firstly to depict the term ‘interiority’ in relation to the interior and self. Secondly, I explore an Auto- ethnographic study which aims to provide insight into the deeply personal nature of one’s interiority. This level of self-questioning will serve as a window into my own soul, providing insight into how interiority can be researched and depicted. I then aim to analyse The Value of Objects and Emptiness in manifesting interiority, questioning the research methods and techniques of key anthropologists and academics, such as: by Daniel Miller, Junichrõ Tanizaki and Gaston Bachelard, integrating external sources to support or argue with the line of thinking. I conclude on how interiority manifests through the domestic space, and what techniques and methodologies successfully illustrate the aura of the domestic space. EE

↘ mollie.forsyth@gmail.com ↘ @mollieinteriors ↘ mollieforsyth.com

THE GLASGOW SCHOOL OF ART

Quella Jiang An interesting soul from China, I create for the simple purpose of doing what I like in the space I like. In short, it is to design different elements of space while planning different activities in space. Most of the spaces I create are based on the needs of independent users, but recently I have been focusing more on the needs of disadvantaged people in difficult times. For example, the underprivileged community I am designing is focused on helping people learn skills, build confidence, and plan for the future. ↘ How community activities interact with residents in building a community atmosphere. This Critical Journal is not only used to record and reflect on my final year project, but also, my journey of thinking and doing about how community activities interact with residents to build a community atmosphere. I use words and images to explore the themes I have learnt and reflect on previous projects and how they have influenced my current project work. I will answer the various questions I have encountered in my project by analysing user needs for interactive activities and how the community responds, analyse the global humanitarian team Mercy Corps, and analyse the shared social activities and the same social purpose of the living community in the virtual game as the real resident community. In the end, I will document and research every important decision made at each step of the project process and use this research to show the influences and conceptualise and suggest what my final design might look like. CJ

↘ quellajiang7049@gmail.com ↘ @Jiang_quella

Rachel Moore I’m a Glasgow-based interior designer, focused on creating experiential spaces for humans to interact and connect with. I enjoy the process of working from the initial concept to completion, with a particular passion for digital graphics and playful collage conveying concept narratives. Much of my year has been spent designing ‘One One Nine’, an Apart-Hotel in Glasgow, that aims to not only reinvent the city break experience, but, in tandem, create a home away from home guest experience, allowing visitors to better connect with the city. ↘ Critically Examining the 1960s Regeneration of the Gorbals. This extended essay explores the 1960s regeneration of the Gorbals. It critically examines the successes and failures of the scheme, paying particular attention to the consequences for local communities and to what extent this then altered the future of urban regeneration within the area. Looking through the lens of Post-war modernism in Britain, I focus on Sir Basil Spence’s design for the Queen Elizabeth Square Flats, highlighting the divide between his design intentions and the harsh realities that it would prove to have. The essay looks at the Gorbals before, during and after the regeneration. Interweaved throughout are a variety of sources that were called upon and analysed. The original drawing of the ‘South-west elevation of Hutchesontown Area C, Gorbals, Glasgow’ (1958) by Sir Basil Spence, is used alongside Stamo Papadaki’s book, ‘Le Corbusier: Architect, Painter, Writer’ (1948) to encapsulate Spence’s optimistic vision for the Gorbals. As the essay progresses to look at the realities of the 1960s regeneration, the factors that led to its ultimate failure are explored and dissected. It concludes by looking at the latest regeneration, the ‘New Gorbals’. EE

↘ rachelevedesigns@outlook.com ↘ @rachel_eve_design

BA (HONS) INTERIOR DESIGN

Rebecca Quinn Glasgow-based interior designer, where storytelling and branding is the foundation of her designs bringing it to life through shapes, colours, and textiles. She looks at how the user will feel when they walk in space and how the design concept will bring them together as a community. Rebecca’s work this year focused on creating a space with personality through playful and unique style, her concept ‘Move’ is a visitors’ center allowing the user to explore Glasgow with tours. Each area has its own atmosphere with a mix of different designs, allowing a narrative through the space. ↘ Technological Nature in New Art. In this curatorial rationale I examine our connection to the natural world while living in a technology-driven world. Nature is one of the most important relationships we will have in our lifetime, but that relationship has been broken, exacerbated by Covid-19. This estrangement impacts our health, causes anxiety and decline in creativity. Living in Glasgow city centre, walking through a park, I flick through social media on my phone rather than looking around me. Children aged 3-8 play on iPads, not outdoors, adults glued to their laptops sitting in a café. Are we able to build a new relationship with nature, or will technology have to assist? Technological Nature in New Art is an exhibition that considers how technology is changing our relationship with nature. My intention is to start a discussion with the audience: “is there a relationship between technology growing and nature destructing”. The exhibition will be in a completely white room with eight Virtual Reality (VR) headset stops, each stop a design that helps reconnect people to nature, debating our real- world relationship with nature and our technology-built relationship.

↘ rebeccainteriors.net ↘ rebeccainteriors12@gmail.com ↘ @rebecca_interiors

Shangyi Zhou ‘Perhaps it is impossible to generalize intelligently about human life. Because in order to do so we would have to step outside it.’ We all experience a variety of aches and failures in life, which can make it difficult to be positive and even cause illness. A sanatorium for people suffering from mental illness can allow us to escape from our daily life, adjust our state, refresh our spirits, and rethink life from a bystander’s perspective. As an interior designer, I’m particularly interested in interior design for healthcare and how I can contribute to improving the quality of life of people who are ill. ↘ This critical journal records my research on the influence of diversified applications of wood on human emotions. I propose and answer three questions based on this central theme. What types of spaces are possible to use timber? What are the application methods of timber? How do these applications affect human emotions? During my study at GSA, my use of wood was involved in every project. I will start by analysing the work I did from the first year to third year, summarize the good parts and reflect shortcomings. I then explore the specific types of spaces where timber is possible to be used, the application of wood and the way it affects human emotions and lead to the projects I am currently working on. At the end, I summarise what I have learned in the previous two sections, reflecting on new questions raised along the way, and clarifying the object of further research and future development direction of my final project. CJ

↘ zhaoshangyigjb@163.com

THE GLASGOW SCHOOL OF ART

Simona Giordano I am an interior designer with an interest in place-making and a background in social studies and local development. My practice consists in combining my interest towards arts and design with phenomenology and human behaviour, while prioritising territory and heritage. I am currently exploring the concept of liminoid and how thresholds, shapes and materiality can stimulate our senses and help trigger transformation within ourselves. My proposal is to reconvert an ex-Victorian foundry to a heritage and design center. Conceptually, I drew inspiration from the journey of iron ore to its refined stages. ↘ Liminal Dreamscapes: A sense of place along the Glasgow Canal. In this critical journal I reflect upon sources and methodologies in my 4th year final project. COVID-19 fuelled my interest in human behaviour and anthropology, and how it relates to interior design, with observations in the Rationale that informed the conceptual stage of my project. Chapter 1 introduces my site of choice and two key aspects of my initial proposal: walking, as an active experience to help us escape from reality; and Computer-Generated Imagery (CGI.) that boomed during lockdown with similar liminal qualities to walking. Chapter 2 investigates why, as humans, we need to escape from reality. Here I will conduct a rhizomatic investigation on ontological security, habitus, coping mechanisms and rituals, and why this knowledge is relevant in designing post COVID-19. CJ

↘ behance.net/simonagiordano1 ↘ sgiordanodesign@gmail.com ↘ @simona.ag

Sophie Brown The most important consideration for me as an interior designer is to understand the needs of the people and groups that will inhabit the spaces I create. Also, how interior spaces - especially atmosphere within space - can influence us emotionally. My interest lies in peoplecentered projects and how I as the designer can effectively create appropriate design solutions and achieve the correct feeling in the space through careful consideration of materiality, form and layout. My final project has allowed me to explore this through the creation of a welcoming and optimistic Mental Health and Wellbeing Centre. ↘ An Analysis of Healing Spaces. This extended essay investigates and uncovers how healing and wellbeing can manifest into physical environments. It first analyses the history of hospital and healthcare spaces including Alvar Aalto’s Sanatorium. I then look at existing healing spaces, exploring how successful they are in providing suitable healing environments for their intended users, with Maggie’s Cancer Centre in Leeds as the main case study. I then consider people-centred design in relation to healing, discussing the concept of ‘Trauma Informed Design’, a designing approach centred around six different needs that the user of the space requires in order to feel safe, comfortable and empowered. Finally, I discuss empathy in architecture, analysing the work of architect Juhani Pallasmaa. Supporting sources include Healing Spaces by Esther M Sternberg and Healing Spaces, Modern Architecture and The Body edited by Sarah Schrank and Didem Ekichi. EE

↘ sophiembrown.id@gmail.com

BA (HONS) INTERIOR DESIGN

THE GLASGOW SCHOOL OF ART

Cover image: Fruzsina Goczan Studio Photography: Alan McAteer Staff Portrait photography: Shannon Tofts Design: Kat Loudon and Phoebe Willison Headline is Triptych by The Pyte Foundry. Printed by The Newspaper Club on 55gsm improved newsprint. All work shown remains the property of the designers and may not be reproduced in print or any other media without written permissions. Contact details for all work is provided on each page for any enquiries.

Degree Show Catalogue 2022 School of Design

Professor Stephen Bottomley Head of the School of Design

“The impact that they have on life, ecology and economies is incredibly important.”

Product Design Engineering Hello and welcome to the Product Design Engineering 2022 Degree Show projects. A core attribute of PDE is exploring and applying technology to improve the quality of life. The diversity of projects on display in the following pages are evidence that the students embrace this philosophy and look at how product can make a positive difference. As a department with a focus on physical products and experiences, we are also conscious of the marks that we make and how these can be replicated in the millions. The impact that these marks make on life, ecology and economies are incredibly important. Therefore, the challenges for the Design Engineer in the 21st Century are considerable, but so are the opportunities. Thankfully, the PDE process of developing concepts to marketable products has an embedded level of responsibility. PDE benefits from an excellent track record of employability and a Global Community of Product Design Engineers. As the 2022 cohort embark upon future careers ranging from Global brands to start-ups, our future experiences will no doubt benefit from them. The PDE Department wishes the students all the very best, and as we say every year – Keep in touch! Craig Whittet Head of Department

Aidan Gray I am a product design engineer from Scotland who likes to focus on simplistic but effective solutions for real life problems. Human centred design has been the focus for any project I have carried out, where feedback and insights are paramount throughout the process. Linking function and aesthetics is a key interest of mine, creating products that not only work for the user but also the intended environment. My final year project focussed on combatting lower back pain that came from the immobility of a working lifestyle, a problem experienced by many. A working lifestyle can be extremely varied. However, a common problem experienced by many is being tied to a desk for hours of the day. This reduces the individual’s level of mobility, resulting in lower back pain due to limited muscle utilisation. Agile is an accessible active seating retrofit that incentives mobility to combat lower back pain in the workplace. Through constant passive interaction of balancing, core muscles are stimulated without the user feeling drained. Agile also accommodates active movements designed to combat lower back pain, which are sensed and stored on an app for a competitive incentive and awareness. ↘ aidan.gray06@hotmail.co.uk

Andrew Lunardi I’m a product design engineer from Glasgow with an eclectic range of influences and focuses for my design outputs, from classic household product design to the cutting edge of engineering and technology. While I have enjoyed producing designs for an everyday consumer in the form of ornaments and furnishings, latterly I have focussed on seamlessly blending technical solutions into complex environments. With a passion for the world of motorsport design, I took forwards a project in enhancing the quality of driver data and entertainment outlets through the application of wearable eye tracking technology to motorsport helmets. In motorsports, massive gains can be made by understanding the visual data of a driver. Talent can be found and refined, and viewer engagement can be enhanced. Oculo is a dual-layered, retrofit visor which embeds eye tracking technology. Two small cameras and infrared illumination enable accurate gaze tracking of the driver and can be used to determine cognitive loads and visual responses while on track, with driver gaze being visualised on a world view feed. Retrofitting the technology ensures seamless, low-cost implementation into motorsports, enabling everyone from young drivers to world champions to see the benefits of eye tracking. ↘ andrewlunardi218@gmail.com ↘

THE GLASGOW SCHOOL OF ART

Benjamin Noar I am a London born product design engineer interested in spanning the gap between function and form. I am an innovative and creative thinker that enjoys future-facing design and developing new technologies to better everyday life. I am keen to tackle some of the largest problems we have to face in any way I am able to, including our impact on the environment. This was the inspiration for my final year project, creating a product to help reduce global greenhouse gas emissions. My product aims to address the huge, underappreciated issue of food waste. ⅓ of all food produced is wasted, generating 10% of global emissions with 60% of this waste happening in the home! Aura is a retrofit, smart fridge device that actively makes food last longer by cleaning and monitoring the air inside the fridge. Aura also links to an app with a range of features to track expiry dates, make shopping lists, recommend setting changes for your fridge and let you know of food about to go off. ↘ bennoar@gmail.com

Carmen Tran I am a product design engineer driven by curiosity and challenge. So far, this has led me to tackle a wide range of problems which is part of the reason I find this field so rewarding. I am a big believer in process. When faced with a brief, I like to consider the big picture: the context and the systems within which products operate. From there, robust and practical solutions can be found that can make a real difference to users. Canopy is a retractable rain shelter designed for use in outdoor public sports facilities. Its purpose is to increase accessibility to outdoor sports in Glasgow, where it rains for an average of 170 days per year. It was designed with inclusivity in mind so that users of all ages and backgrounds will be able to operate it. To facilitate this goal of inclusivity, a system of gears was designed that can deploy and retract the foldable tensile membrane with minimal input force from the user. ↘ carmentran8@gmail.com

BENG & MENG (HONS) PRODUCT DESIGN ENGINEERING

Charlie Cumming As a designer I love to explore and experiment with new technologies, novel materials, and advanced manufacture. I strive to create humancentred products that are pleasing to the eye, without compromising on performance. I believe that looking to the future is the best way to solve the problems of today. This year, I looked at redesigning a common household product - the bookshelf speaker, bringing cutting edge material science to an industry more commonly associated with Victorian carpentry than 21st century manufacturing techniques. Traditionally made speakers tend to be labour intensive to manufacture and treat sound quality is more of an art than a science. My project, Rune Audio, is a re-imagination of the transmission line speaker, dragging traditional speaker manufacture kicking and screaming into the 21st century. Designed as an avant garde rebellion against traditional wooden, box-shaped speaker design, Rune combines inspiration from the blobism design movement with state-of-the art Multi-Jet Fusion manufacture. Excellent sound quality is achieved using internal dynamic micro-lattice damping, tuned to the customer’s specifications. Targeted at the affluent discerning lover of style, Rune will be available with customisable surface finish, engraving and bespoke features. ↘ linkedin.com/in/chaza ↘ charliec145@gmail.com ↘ @charlie

Charlotte Clarke An expressive and innovative product design engineer from London, currently based in Scotland, with a passion for sustainability. My enthusiasm for delivering ecologically-balanced solutions and discontent with the fast-fashion industry led me to my final year project, a better bra. With comfort, functionality, and sustainability at the core of my project, my bra is designed for and inspired by the eco-conscious individual, who is looking for a sustainable alternative to the products available today. The bra is an every-day essential for a huge proportion of the population and there is a large percentage of this population that is currently being underserved by mass-market retailers. Current bras are often preoccupied with the aesthetic and fail to comprehensively account for functionality, comfort, and sustainability in their design. My bra stands apart from its predecessors by incorporating sustainably-sourced, biodegradable materials and 3D technology into its design. The result is an environmentally-friendly, bespoke, supportive garment, that does not harm the planet at the end of its life. ↘ charlotterclarke@gmail.com ↘ @charlotteclarke_art

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Chelsea Atkinson An aspiring Product Design Engineer from the Lake District with a passion for combining the problematic approach of engineering design with visual design aesthetics. Looking to delve into the automotive industry following graduation with the goal of becoming a chartered engineer. My final year project focused on optimising and ergonomically designing a steering wheel for a Formula Student race car. The steering wheel will be used on the UGRacing Formula Student race car this July at the Formula Student UK Competition in Silverstone. The aim of this project was to redesign the existing Formula Student steering wheel, used by UGRacing Formula Student team, to create an inclusive wheel that could be used by any driver of any shape or size. The main purpose of the steering wheel was to allow the driver to have full control of the car therefore, the redesign looked to maximise driving efficiency, increase drivability and offer the opportunity for alterations for example flappy paddles, programmable buttons, ergonomic handles, and an integrated display unit. ↘ chelseaart.co.uk

Clara Ghattas An ambitious design engineer from Egypt, with a desire to innovate in life changing ways. I have a desire in knowing how things work, and developing products that are well engineered, but still have great form and aesthetic. With a life motto of seeking discomfort and actively working to challenge myself in the name of growth, my final year project has done all of that and more. It focuses on the design and manufacture of a formula student race car body, inspired by my passion for Formula 1, and the challenge of designing with new materials. The steel space frame(SSF) is the chassis of choice for many formula student teams due to it being cheaper and easier to manufacture. What it doesn’t provide however is the performance gains that the CFRP monocoque has. By looking at the composite sandwich layups, and the geometric design of the chassis, moving from a SSF to the new Monocoque will mean a 43% reduction in weight for the same stiffness benefits, and also up to an 8 second per lap decrease in competitions. Considering that the best teams are usually within a few seconds of each other, this is a massive performance gain for Formula Student teams with a SSF. ↘ cghattas98@gmail.com

BENG & MENG (HONS) PRODUCT DESIGN ENGINEERING

Davids Mekss An aspiring student who seeks to unite the preciseness of mathematics and the abstract nature of art into product design engineering. My favourite part about product design engineering is the broad range of topics it includes, from research and planning, to sketching, prototyping and creating difficult computer simulations. I have applied these skills in my final year project to develop a bike light that is suitable for tough and extreme cycling such as BMX freestyle. The problem I chose to tackle in my project is the lack of bike light use in extreme cycling which threatens the rider safety. I designed a BMX specific bike light which uses two standard AA batteries and allows cyclists to be seen for months. It differs from other available products by its sturdy and reliable design, which is made to fit BMX frame geometry and withstand higher stresses. It is also theftproof as it was found that bike light theft is another reason why users choose not to use lights. ↘ linkedin.com/in/davids-mekss ↘ davids.mekss@gmail.com

Eoghan Condie A creative and user focused product design engineer from Scotland, with a desire and strategic approach to develop practical, innovative solutions to genuine issues. I have a passion for the pioneering use of scientific principles across disciplines and believe it is a synthesis of approaches which allows for the formulation of holistic design solutions. My final year project aimed to increase the use of outdoor spaces in late primary and high school education in Scotland – a project inspired and guided by Scottish teachers and their pupils. It was found that the main barriers to outdoor teaching were time, moving resources and unfamiliarity with outdoor learning. Expressive art lessons were deemed to be the most challenging to resource and had the most potential to gain from being outdoors. Tio is a system that integrates with the indoor classroom, efficiently stores expressive art resources, quickly and easily transports them safely from the classroom to the outdoor learning space. The teacher can then demonstrate the lesson using the built-in whiteboard and demonstration surface, before Tio is opened up, allowing the students to conveniently collect their resources. ↘ Eoghan.condie@gmail.com

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Euan Gibson-Smith A hands-on, sports orientated product design engineer from Scotland. I have a real passion for helping others through innovation and creativity, bringing together the best of technology, design, and engineering to deliver real-world solutions. My final year project focused on revolutionising visualisation in tennis, helping a player improve without depending on a tennis coach. This project was inspired from my observations as a qualified tennis coach, as well as my experiences as a national tennis player. To improve in tennis, a player must be able to view and analyse their weaknesses from multiple angles. This has conventionally been undertaken by a coach. Coaching is difficult to acquire and costly; a player cannot feasibly access their expertise at every training session to improve. Advantage is a motion capture system that tracks and coaches a player during a session with the aid of artificial intelligence. The portable system helps a player improve without the need for a coach, with the dual stereoscopic camera modules capturing a 3D video of the player that can be analysed from any angle. ↘ euangibsonsmith.wordpress.com ↘ @euan.gibsonsmith

Finlay McEwan A diligent and highly motivated product design engineer interested in solving everyday problems with engineered solutions. I value the process of talking to real users and learning about their behaviours to give a clear understanding of the problems they face. I’m also excited by applying technical knowledge to create highly optimised solutions which address the problem with a minimal amount of material and environmental impact. My recent projects have been in the outdoor consumer product space, owing to my personal love of the outdoors and desire to improve its accessibility for everyone. Mountain bothies are basic shelters situated in inaccessible places, and the Mountain Bothy Association works hard to maintain them. Transporting building material along the rough footpaths to the bothies is a tiring and thankless task. Carron is an all-terrain cart designed specifically for transporting material over rough terrain. Its two large wheels, comfortable handles, and retracting leg allow it to conquer tough trails, while its folding design lets it fit in a car for easy transport to site. It is highly versatile, with a range of configurations to suit the specific needs of the day. ↘ mcewan.design

BENG & MENG (HONS) PRODUCT DESIGN ENGINEERING

THE GLASGOW SCHOOL OF ART

BENG & MENG (HONS) PRODUCT DESIGN ENGINEERING

Gabriella Hussey Bahamian-Scottish product design engineer interested in all aspects of design from concept through to implementation. I am inspired by the idea of influencing behavioural practices through the specific design of innovative products. I am passionate about designing with a key emphasis on sustainability and protecting nature and the environment. This interest lead to the theme of my final year project which looked into designing a more efficient method of outplanting microfragmented coral during coral reef restoration. Current methods employed to outplant coral microfragments during reef restoration are crude, time consuming, labour intensive, expensive and unable to be deployed at scale. Reefscaper is a hand-held device to streamline the outplanting process for divers through easier coral transport, deployment and cement application - limiting the number of stages carried out underwater. The design includes a deployment gun device, replaceable coral cartridges, a specialised growth substrate puck, a spacer design to ensure coral safety in the cartridges, a reusable silicone pouch for easy cleaning of the cement adhesive and a transport box able to carry up to 320 corals. ↘ gabriellahussey@gmail.com

Hiu Wai Law As a product design engineer, I have a keen interest in the aesthetics, functionality, and user experience of products. I enjoy designing products that will help to solve existing problems in the current world with consideration of the material used to provide a more sustainable solution. My final year project aims to encourage change in user behaviour through product design to tackle the issues of plastic waste from the overuse of plastic sachets in fast food takeaways. Plastic waste is one of the most severe environmental problems in the current world. An example of plastic waste is the plastic condiment sachets that we often receive when purchasing takeaways, with about 855 billion pieces of plastic waste being produced each year by the plastic sachets. The takeaway carrier helps prevent customers from using plastic condiment sachets when purchasing takeaway from fast-food restaurants by encouraging a behaviour change through product design. The product is easy to carry, and provides slots for drink and paper condiment cups as well as space for food items. ↘ lawi1214@gmail.com

THE GLASGOW SCHOOL OF ART

Jack Stewart I am a passionate and creative product design engineer from Glasgow. I strive to find interesting solutions to technical and aesthetic challenges. I can draw from a well-rounded technical background to create functional and grounded solutions accompanied by refined and distinctive aesthetic detailing. My final year project was inspired by the creativity and excitement of cooking combined with the ambition and joy of being a kid and the independence-focused philosophy of Montessori. Weigh-to-GO! is a smart digital scale helping to reduce barriers for young children in cooking. The smart scale features a goal-oriented measuring system removing the guess work out of using a scale. Simply enter your desired amount, in the unit of your choice and start weighing. The scale utilises its user-friendly visual and audio feedback system to guide the user to their end goal, reducing the need for external input from parents giving young cooks a greater sense of achievement and independence in the kitchen. ↘ jackstewartdesign.myportfolio.com

Jacob Bleakley My philosophy is that user-centred design can, and should, exist in harmony with environmentally conscious design. My approach to problem-solving is hands-on; inspired by conversation-lead learning and through the process of iterative prototyping, I deliver innovative, relevant, and sustainable solutions. Combining my interests in sustainable design, prototyping and user-centred design, my final year project focused on creating insulation made from fungus-based biomaterials. To create an ambitious product design specification, I used insights gained from conversations with insulation industry experts and system designers. Designed for the Scottish private retrofit sector, MycoTherm is a biomaterial composite insulation panel that provides a breathable solution for pre1930s stone buildings. MycoTherm is a foam board produced by growing the mycelium of Trametes versicolor fungus on hemp shivs. The result is a thermally insulating material that is flame-retardant, dust-free, and non-toxic. The panel requires little energy to produce and can be composted at the end its life. In accordance with user needs, MycoTherm can be installed with greater efficiency of labour than synthetic foam boards and avoids the skin and lung irritation caused by mineral wool insulation. ↘ @bleakley_design

BENG & MENG (HONS) PRODUCT DESIGN ENGINEERING

Jiani Zhou I am just trying to make my life concrete. Finding and solving small problems in life makes me live more concretely and simply. It really makes me feel like life can get better. I have designed a home dumpling skin making machine for use at home by the whole family. Dumplings are as important in China as pasta is in Italy, according to a survey, most people in China eat dumplings at least once every three days on average, Hand-made dumplings are far superior to shop bought ones. The aim of my project is to allow the elderly to make their own handmade dumplings and enjoy them at home. ↘ 986820442@qq.com

Keyu Chen In my designs, I like to capture unique and creative objects and ideas, pursuing the perfect balance between reality and imagination. Feasible is the foundation of my work, a practical product that everyone loves. Innovation is the goal of the development and pursuit of my works, and innovative design is appreciated by all. Product design is my passion. Strive to prove myself and challenge the limits. The unprecedented COVID19 Pandemic situation had challenged the supply chain & logistics efficiency. There is a absence of a proper medium through which the co-ordination between postman and the consumer. Parcel Manager is a product that can resolve disputes between users and couriers, and can also make the process of express delivery completed smoothly. Parcel Manager is a portable product that can resolve disputes between users and couriers, and also make the process of express delivery smoothly completed. Parcel Manager is a combination of portable folding mechanism, simple installation method, and safe structure. A parcel collection helper that both renters and house owners can have, the light weight and compact size make Parcel Manager easy to store in the room. ↘ 2022.gsashowcase.net/keyu-chen

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Kieran Larssen Motivated product design engineer who has a passion for design and a keen eye for detail. Experienced in performing critical analysis of complex engineering problems and producing valued solutions with the final user in mind. My final year project focused on improving cyclist safety, motivated by my fondness for cycling and desire to develop a potentially life-saving product. Side visibility is a massively neglected area of cyclist safety. A staggering 49.9% of all cyclists killed or seriously injured in 2020 were at a junction or roundabout, highlighting the need for better visibility. Luminate is a 360° bike light system designed for maximum visibility even in chaotic urban environments. Compact yet powerful sidelights can be removed from the main light and clipped onto the spokes effortlessly. After use, the sidelights are returned to the main light for charging, ready for the next journey. A compact design in partnership with a quick attach/detach mounting system eliminates the chance of theft. ↘ klarssen389d.myportfolio.com ↘ k.larssen@hotmail.co.uk

Kirsty Thompson As a product design engineer, I have a passion for simplicity, form and user experience. I enjoy developing solutions that make a difference and have a positive impact on users. I have a keen interest in the interaction between users and technology as I believe technology can make our lives easier, however without good design, technology can have the opposite effect. My final year project focused on enhancing physiotherapy exercise programs by making the process more engaging for patients. Physiotherapy exercise programs are not clear enough for patients to follow at home without guidance. This leads to exercises being performed incorrectly which can hinder a patient’s recovery or even cause further injury. Flexio is a wearable rehab and prehab device with a partner app, designed to guide patients through their ankle exercises at home and ensures that the correct form is adopted. Patients and physiotherapists can view their progress and make any required changes. Flexio has different attachment methods for the patient, to cater for different needs. The attachments included a strap, an adhesive and a clip for shoes. ↘ linkedin.com/in/kirsty-thompson-957206194 ↘ kirstyt1999@gmail.com ↘ @kirstythompsondesign

BENG & MENG (HONS) PRODUCT DESIGN ENGINEERING

Lois Jones An innovative and results oriented product design engineer from Scotland, I have a passion for all things design with a drive to deliver real solutions. I have a keen interest in the aesthetics and graphic presentation of my products, as well as a desire to marry the form and function to create well rounded solutions. My final year project focused on improving the delivery and storage of at-home medication, inspired by friends and family members who have to keep track of multiple medications. Reducing the burden of organising medication and simplifying the process for taking pills can improve the chances of people sticking with a prescribed course of treatment and reduce the risks of errors in the management of medicines. The Pill-in is the all-in-one storage, sorting and delivery unit for people with complex medication requirements. It is aimed at people who are prescribed multiple medications, often for chronic conditions, and need to easily organise the appropriate doses accurately. The unit provides a storage box for medications, a dispensing layer for accurate sorting, and individual, compartmentalised daily pill boxes for the safe delivery of pills throughout the day.

↘ avitalspark.co.uk ↘ lois.dj@icloud.com ↘ @loisjones-avitalspark

Lucy McGregor Female safety is unfortunately an issue which is never too far from your mind as a young woman living in an active city. I was very passionate about this project and driven to find a solution that women could truly put their trust into and feel confident carrying without having to neglect an aspect of design in order to do so. As a product design engineer, I love building and working with my hands which has allowed me to enjoy taking a hands-on approach to design. I am excited to go into a field which allows me to continue creating. CINGO is a wearable safety device that pairs a GPS tracker with a siren panic alarm to give women confidence when walking and running. Designed with key focus on reducing the risk of accidental activation, the device requires 2 movements to be carried out before the alarm can be activated. Each motion is designed to be instinctive and easy to carry out without looking and when in a panicked state. Each action will also automatically update the users chosen contacts with a preset notification that will inform them of how the user is feeling along their journey. ↘ linkedin.com/in/lucymcgregor ↘ lucymcgregor99@gmail.com

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Mari Ferguson I am a product design engineer with a zest for designing innovative and effective products. I love talking to people and observing the world around me to come up with new ways to solve problems. By merging my engineering and design skills, I am able to create solutions tailored to a users’ needs and realise them through technology. This year I have been focusing on designing a way to make rehabilitation through physiotherapy easier for stroke victims. Watching people around me, I was able to see where there were shortcomings in current solutions, and designed something to help overcome them. Through my observations, I found that there was nothing to help stroke victims go through exercises on their own and having to wait for a carer to help them did not always work out, so exercises were missed. This slows down the recovery process. I designed Limba to help overcome this. The solution is a small device, which sits under and attaches to a dining chair. A user can secure their foot to the device, and be taken through an exercise routine on an app. This routine is put onto the app by the users’ physiotherapist. Limba allows a patient to go through approved exercises, add small amounts of resistance to them, and be confident that they are doing everything correctly, on their own. ↘ linkedin.com/in/mari-ferguson-0051b71844

Matthew Szafranek As product design engineers we have the potential through innovation to make real change in people’s lives and create solutions which address major issues across society. Problem solving has always driven me, and I strive to deliver solutions which put the user at the centre of the design process. One of my strengths is attention to detail, and I take pride in my final products not only being functionally impressive, but visually appealing too. For this project I wanted to tackle something topical and found inspiration in the recent growing concern that repeated heading of a football may be linked to future risk of dementia. Headr has been designed to discreetly record and store the linear and angular accelerations of a footballer’s head during training and match play. The product acts as a tool for quantifying heading exposure - in turn helping advance the medical studies into traumatic brain injury in football, and also forming a clearer picture of the player’s overall health. It is hoped that gathering each player’s impact data over the span of their career would reveal trends which link to future brain disease diagnoses - in turn making the sport safer for future generations of athletes. ↘ linkedin.com/in/matthewszafranek ↘ matthewszafranek99@gmail.com

BENG & MENG (HONS) PRODUCT DESIGN ENGINEERING

Morgan Rodgers Glasgow based product design engineer with a passion for innovative design within the health care sector. I strive to create unique, user focused solutions, implementing my knowledge of both the design process and engineering theory. As a designer, I enjoy immersing myself in the user journey, with a focus on first hand research and interactive prototyping. My final year project focuses on reducing the stress and anxiety experienced by pediatric patients undergoing radiotherapy treatment and is a reflection of my interest in creating more user orientation healthcare experiences. In the UK, over 1,600 young people under the age of 16 are diagnosed with cancer each year. Little Linac is designed to help reduce stress during the patient experience for all children undergoing external beam radiotherapy treatment. Modelled off the Varain, truebeam Linear accelerator, Little Linac allows patients to take control of the treatment process on their own scale. By capturing the movement, light and sound of the real machine, the teddy scale model is designed for patients to treat a range of compatible soft toys, education the patient on the treatment process through play. Designed for use in the hospital environment, Little Linac has been developed with the support of radiotherapy staff and play specialists. ↘ linkedin.com/in/morgan-rodgerss ↘ morodgers30@gmail.com ↘ @gennao.studio

Oliver Williams Originally from Shropshire, England, I am a practical and hard-working Product Design Engineer with an eye for detail. Now in Glasgow, I’m a musician in my spare time and have a passion for the outdoors. As a designer, I like to consider user experience and use design as a tool to make peoples lives more practical, efficient and joyful. I also have a zest for sustainability projects that help the environment and help us move towards a more circular economy where people value and reuse products and materials. My final year project was designing sustainable sheltered seating structure and potential layouts for a community park on the Southside of Glasgow, in association with community and environmental groups. I designed a shelter including tables and seating to allow a space for members of the community to congregate and take refuge from the weather. The design also features a vertical garden to encourage local growing and teach that a locally sourced plant-based diet is both healthy for people and the planet. The structure uses locally sources sustainable materials to mitigate its climate impact. ↘ oliverthwilliams.wixsite.com/site ↘ oliverthwilliams@gmail.com

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Rebecca Esson I am a Scottish product design engineering student who enjoys the challenge of designing innovative product focused solutions to complex socioeconomic problems. My work involves careful consideration of aesthetics, product usability and accessibility to develop products which aim to make a difference to people’s everyday lives. My final year project is a continuation of my interest in future food production, urban agriculture and the role in which technology can play in developing environmentally conscious food networks around the world. The development of local, resilient and sustainable food systems is one approach to addressing the problem of global food security and accessibility. Floreo is a multi-use sheltered growing dome designed for urban community gardens, which can transform in response to the changeable Scottish weather and needs of the community, encouraging connections to nature and food growing throughout the year. Floreo’s folding canopies can be opened creating an indoor-outdoor space to be enjoyed by all within the community, and becoming a hub for food growing, education and socialisation to inspire interest in sustainable food production. ↘ linkedin.com/in/rebecca-essonn ↘ rebecca.esson@btinternet.com

Sean Phelan Irish, Glasgow based product design engineer with a passion for sustainable consumer products and user centred design. I believe placing the user at the centre of the design process results in the best quality of product and allows design to be utilised and showcased in a way that benefits everyone involved. Sustainability is important to me and remains at the forefront of all my work. My final year project focuses on reducing the carbon footprint of footwear packaging. With over 20 billion pairs of shoes shipped each year footwear packaging holds a large share in the packaging waste problem. Most shoes are shipped in two boxes which are then discarded or recycled after a single use. ReBox is a reusable footwear packaging product which improves the user experience while reducing the environmental impact of shipping footwear. Once customers receive and unbox their shoes, they can fold the ReBox flat and return it for free for the next pair of shoes to be shipped in, which could save upwards of 900 million kg of CO2e per year. ↘ sean.phelan@hotmail.co.uk ↘ @phelan_creative

BENG & MENG (HONS) PRODUCT DESIGN ENGINEERING

William Johnston I love to use creativity combined with technical knowledge to solve complex problems. By thinking outside of the box, I can ground simple ideas whilst keeping a keen eye on aesthetics and user centred design. As a design engineer, I am also interested in mechanism design, primary research and hands on prototyping. My final year project focused on reinventing the common step stool to increase accessibility in space-restricted environments and for those of lesser mobility. Over 6000 die every year from preventable home accidents in the UK making safety at home a significant issue. Of these, falling whilst accessing objects at height is one of the most common -particularly for people with lesser mobility. Most step stools on the market are not safe nor suitable as they offer no support and become a tripping hazard when not in use. Quick Step is a self-deploying and easy to fold step stool. It makes the most of underused space by stowing away below kitchen cabinets. Sturdy steps and a telescopic handrail make it a safer step stool for people with limited mobility. ↘ linkedin.com/in/william-johnston-1aa1391655

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Cover image: Kieran Larssen Studio Photography: Alan McAteer Staff Portrait photography: Shannon Tofts Design: Kat Loudon and Phoebe Willison Headline is Triptych by The Pyte Foundry. Printed by The Newspaper Club on 55gsm improved newsprint. All work shown remains the property of the designers and may not be reproduced in print or any other media without written permissions. Contact details for all work is provided on each page for any enquiries.

Degree Show Catalogue 2022 School of Design

Professor Stephen Bottomley Head of the School of Design

Curatorial Rationale Critical Journal Dissertation Extended Curatorial Rationale Extended Critical Journal Extended Essay

Silversmithing and Jewellery Design Contemporary studio jewellery and silversmithing continues to challenge perceived boundaries, using the artefact as a way of evoking a response to social and cultural issues such as gender, relationships politics, and the environment. Each of this year’s graduates has developed their own personal voice, interrogating the subject specialism and developing new and engaging pieces to be enjoyed, handled and worn.

Anna Gordon Programme Leader

“The capacity for renewal and reinvention through human touch is the hallmark of craft” Debika Ray – Crafts 2022

Amy Findlay Ambiguity and humor are the focus of this practice. The work brings together these elements to create realistic and lifelike slugs that crawl over the body, translating the grotesque appearance of the creatures through colorful and precious stones, to play with the wearer’s perception of beauty. Traditional techniques, such as hand carving and lost wax casting, are used to make the slugs which are then cast into bronze and silver. Hand carving each of the designs adds a personal touch to the finished pieces. Ultimately, this collection considers the possibilities of body adornment in a playful approach and setting.

↘ An Exploration of Decision Making Throughout Design Stages, with Consideration of Precious and Non-precious Materials. This critical journal is a documentation of my practice as a contemporary jeweler. Reflecting on my studio-based projects throughout my time at GSA, it explores the different paths I have taken that have led me to my 4th year studies of precious metals and gemstones. Precious gemstones hold value through their identity, a tradition spanning millennia that implies that some gemstones have a greater worth than others. I am interested in the properties of unexpected materials used in luxury settings, such as concrete, plaster and sugary sweets. Through having the same jewel-like textures and elements, these artificial substances create the illusion of expensive gemstones.Throughout my journey as a designer, I have come to the realisation that I am a maker of 3D objects created by my hands, and I let this making process guide me through the stages of designing. I would even say I am consumed by this process, arguing it has both positive and negative outcomes. CJ

↘ a.findlay1@student.gsa.ac.uk ↘ @a.findlayjewellery

Andrew Riverston McCulloch Humble fungi enable the plant kingdom to function and thrive within root networks. This collection, Psychedelic: Fungills, centres on the gills that make up the mushroom, or toadstools’, undersides. These delicate structures enable the fungi to propagate, ensuring that it continues its work. Using form and texture to decorate these shapes, I encourage viewers to handle and enjoy the objects, and their natural appeal. The choice of titanium imitates colour dimensions in nature, and plays with an illusion of ‘weightiness’. These gem-coloured jewels in titanium and silver, however, have a light and wearable touch, celebrating mushrooms that connect the world. ↘ Pot-Bellied Cauldrons in Britain: Changing Cultural Perceptions, Uses and Material Culture Influencing Design Aesthetic from 300 AD to the Present Day. This dissertation explores the changing perceptions of the purpose of the cauldron, in Britain, beginning with pre-Christian Pictish through to the 21st century.I look at the carved standing stones that the Picts left behind and consider the changes and uses through the Bronze, Iron and Middle Ages. This includes the ascension of the witch trials, and the waning use of the cauldron within the home; through to the Victorian Industrial Age and the rapidly expanding souvenir trade.The cultural and socio-religious cauldron phenomena will follow the historical research; looking at the myths surrounding the cauldron in British lore and the New Age beliefs that have embraced the cauldron as a celestial avatar. After analysing the cauldron in popular media, I will examine my own cauldron collection and creations; discussing how what has gone before has affected my own considerations when it comes to cauldron design. D

↘ stormdancer-creations@hotmail.com ↘ @stormdancercreations

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Caitlin Murphy Situated in the first octant of 3D space, XYZ is a collection of forms derived through a three-dimensional coordinate system. Point, line, plane allows the forms to grow and manifest. Using these boundaries as parameters for formula and equations, the work materialises through steel structures. Through a meditative process of weaving, the surface area comes to life in a variety of patterns and illusions. XYZ is an ongoing collection of works that challenge conventional ideas of traditional silversmithing; the axis gives them a 3D space to visualise and interact with, and allows new observations to form. ↘ Making, Materials, Meaning. Making, Materials and Meaning are all interrelated aspects of a maker’s practice. This essay explores how makers navigate the pathways between all three elements in order to gain a broader understanding of the crafted object. Each element - Making, Materials and Meaning - forms a chapter of this essay. Making can be seen as simply producing something; however, I explore how making can be used to display the power of transformation from material to object. In essence, demonstrating the power of making.Making would not be possible without materials. Materials influence the making process through their nature, selection and shaping. Materials can also influence the viewer’s perception of an object depending on the perceived value of the materials it is made of. Finally, meaning takes many forms: from the maker applying it within their design process, to the viewer applying it within their experience of the object. EE

↘ caitlinmurphymaker@gmail.com ↘ @caitlinmurphymaker

Holly Loire Cunningham My craft is influenced by the Victorian era, including jewellery, fashion, architecture and modes of communication, particularly mourning jewellery and the attention to detail it displays. My designs are often in the form of brooches, where the reverse is as important as the front. The brooches are ambiguous, wearable art, to adorn the wearer’s clothing. I encourage owners of these pieces to engage with them in ways personal to each individual; to find their own narrative. My work is created using silver, gold and, sometimes, copper. I also use gemstones to accentuate designs, animated through etching, enamelling and varied stone settings. ↘ Paying Homage to the Victorian Era. My focus for this critical journal is to research and pay homage to the Victorian era through my craft. The attention to detail in Victorian design is the inspiration behind my theme in my final year: jewellery, fashion, architecture. I’ve found an era that speaks my language and intend to revisit this aesthetic. The macabre style jewellery did more than pique my interest, it is the first step I took in my quest to marry the past and the present without the use of modern technology. Throughout my critical journal, I discuss my journey with jewellery and why I have chosen to study the Victorian Era in my final year. It plots my progress through research, techniques, and samples. Artists who have inspired me are also included in the discussion. To conclude, I touch upon where this journey has taken me and where I plan to go next. CJ

↘ hollyloire@hotmail.com ↘ @hollyloire

BA (HONS) SILVERSMITHING AND JEWELLERY DESIGN

Holly Heron-Chambers My practice explores the way in which fashion is an extension of the self. By re-examining subcultures through the lens of reflective nostalgia and melding the aesthetic signifiers inherent in the subcultures together, identifying elements of queerness present within them all, this collection expresses my own unique queer identity through objects in a meaningful and universal way. Juxtaposing elements and materials such as silver, leather, and nylon, the collection transforms the semiotics of existing subcultures into speculative design. This is a collection of my own neowestern artefacts, influenced by styles from my past and present; objects to subvert capitalist ideology. CJ ↘ JUST re-DO IT: Creating Artifacts Through the Lens of Nostalgia. This critical journal supports the development of my coursework by grounding my interests alongside theorists and other artists. It explores how nostalgia, queer identity and consumerism play a crucial role within my studio practice. I begin by contextualising my work through the lens of reflective nostalgia, identifying key subcultures that have nostalgic importance to me, I explore the way in which fashion is an extension of the self. I then discuss other inspirational artists who tackle the theme of consumerism and branding, while exploring my own queer identity and personal journey. I aim to demonstrate how all these themes come together in my own speculative design concept of ‘Brand FCUKing’. I examine the connections between Ned, Goth and Cowboy aesthetics, establishing how each exhibits aspects of queer identity. I highlight the significance of leather in my current practice, concluding with concepts for my degree show. My critical journal provides valuable insight into future directions that draw from my own personal journey to date.

↘ hollyhchambers@gmail.com ↘ @ercassiel

Isla Gracie My final year collection Contrasting Connection explores my personal family connection to Scottish engineer Thomas Telford (1757-1834). My approach to design is organic, free-hand, and collage based. In this sense, my work is in sharp contrast to that of Telford’s architectural structures, but my practice themes and materials creates connections. My collection, in the form of wearables, are created using silver structured shapes contrasted with organic silver casted drawings, to bring two ways of working together. My decision to use three-dimensional drawings cast in silver, highlights the significance of my practice and its imperfections, rather than the engineer’s precise ingenuity. ↘ To what extent can personal connection become a tangible object? My practice consists of both conventional and my own “go to” methodologies. In this critical journal I highlight how these methodologies influence and structure my narrative and how these processes allow me to consider the conceptuality of my ideas. I consider how my ideas within my practice have always derived from a personal connection within my life. Utilising the idea of connection being tangible, I explain how I have used my practise to come to grips with challenging periods of my life. My work highlights the vulnerability of my personal identity, exhibiting my truest self and/or my own self-reflection towards a personal connection. My critical journal explores how my finished or developed objects become tangible keepsakes that allow me to look back on these ideas forever, almost allowing a physical accountability or closure. CJ

↘ islagraciejewellery@gmail.com ↘ @_islagraciejewelleryv

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Jiamin Lao Combining embroidery with contemporary jewellery design is the focus of this collection. These embroidery works express the theme of conveying blessings in a social environment, through colours, patterns, wearing methods, and different materials. My research considers the idea of blessing in traditional cultures applied to modern high-pressure environments. My work challenges the possibility of recreating textures by mixing grains with embroidery, e.g., rice, red beans, and peanuts, which have sincere meanings in Chinese culture. In addition, bright colours extracted from cloth tigers (traditional Chinese toys, given as gifts to newborn babies) unify the design style of this series of works. CJ ↘ Be Blessed, Re-create Blessings, Inherit Blessings. My critical journal explores how jewellery reflects the relationship between people. For example, how the good wishes in ancient times are presented in the contemporary environment. I analyse how the meaning of blessing changes with the change of social environment, whether there is something unchanging passed down? These problems are discussed within my 30 Objects project in my fourth year. At the beginning of this project, I collected some things that represent blessings. For example, a cloth tiger exhibited at the National Art Museum of China. People used to give these toys to babies in ancient times to represent health and wealth. And, while thinking about the blessings these toys represented, do they mean the same in another cultural background? This critical journal also describes the process of my collection, re-creation, and transmission of blessing items. It reflects the importance of the interconnection and development of these three aspects to my studio practice.

↘ j.lao1@student.gsa.ac.uk ↘ @jiamin.lao

Katrina Rowell This collection, Skin of the Earth, originates from my interest in Scottish coastal rock from the Scottish Highlands. Motivated by an expressive attitude, my work explores varying material choices, from mixed metals such as aluminium and silver, to found materials such as wood. Skin of the Earth explores themes of connection to place and sustainability. The work I have created addresses these themes in a subtle way, as I like to work in an open and objective way, inviting viewers to interpret these pieces from their own experience. Bold organic shape meets rough rugged rock, are characteristic features of my work. ↘ The Journey to a More Sustainable Practice. My critical journal focuses on environmentalism, in particular how to improve my own studio practice to be sustainable. I also look at the healing qualities of nature, supported by other authors’ texts and I ponder how I can emulate these very attributes in my own work. I consider how my upbringing has influenced my Wabi-Sabi style, as have my mental health struggles. My work ethic has been shaped heavily by a visit from a representative from Fairgold prompting my learning the steps to become a Fairtrade silversmith and Jewellery. I look at the three different metal sourcing options available through Fairtrade – the goldsmiths scheme, the licensee scheme and the gold sourcing programme. I then compare these to the Fairmined silver sourcing scheme. Currently I’m working on a group of sacred objects and experimenting with possibilities of how I can emulate the healing qualities of the natural world throughout my work. CJ

↘ katrinaabbierowell@hotmail.com ↘ @karo.maker

BA (HONS) SILVERSMITHING AND JEWELLERY DESIGN

Kristina Merchant Conceptual and narrative-led artworks that engage the viewer in playful perceptions on material preciousness, is the focus of this series of works. The collection Vision of Beauty is a narrative jewellery-mise-en-scènethemed scour of the street. These pieces are imbued with realism and materiality. The objects and jewellery pieces highlight a message on societal norms of littering single-use plastic and disregarded objects found along the cracks of the concrete pavement. From the most littered item on earth, the cigarette filter, to pavement pennies, these pieces aim to spark a conversation about what is considered precious material, but with a humorous intention. CJ ↘ Speculative Design: How new is the idea of anticipating future needs in design? My critical journal considers the concept of speculative design. It might be argued that we all use speculation as part of designing new ideas. Like every other form of design, speculative design involves a design process. To what extent is ‘speculative’ design any more speculative than innovative, cutting edge design of the past? The use of speculation in design methods described by Anthony Dunne and Fiona Raby in their book Speculative Everything (2007) is intended to raise questions and provoke action. My understanding is that ‘speculative’ designers explore present issues and aim to predict future needs. Then they design questions to encourage designers of every type to consider what might need to be designed to answer these questions about the future. Section one in this study aims to examine an example of innovative industrial design the famous AEG Electric Kettle (1909) by Peter Behrens, considering how it compares to Dunne and Raby’s speculative design methods. Section two considers the idea of privilege and responsibility as it relates to Behrens’ Electric Kettle and Dunne and Raby’s project Foragers (2010).

↘ kristinamerchantdesign@gmail.com ↘ @kristinamerchant_

Liz Willoughby The ‘Na Mara’ collection focuses on place as a lived-in landscape. Drawing from my experiences working at sea, I reference rural life on the West Coast of Scotland. I am interested in the passing of time and the process of transition that objects go through: constructed, used, lost at sea, reclaimed by the tide, found, repurposed and appreciated anew. My work explores the potential of discarded materials and tensions between humans and the natural world. The objects in this collection deal with complex matters, telling stories of sustainability, human impact on a landscape, the mindfulness of beachcombing and of desire to be in an unspoiled landscape. ↘ Is Narrative Important? : Examining the intersection and divergence of concept and making and the relevance of the outcomes to the viewer. This Critical Journal questions the importance of narrative within my practice. Discussing themes of Place and Topophilia, I seek to anchor my practice alongside contemporary interpretations of place. A change in geographical location altered the way I engage with Place, no longer able to produce a direct response to the environment, I relied heavily on photographs to inform my work. I discuss the material culture of the photograph as themes of nostalgia came into play. I consider the souvenir and ask if in making work related to Place while I am not physically present, I am in fact creating souvenirs. Through examination of my design process, I seek to discover what leads my practice, acknowledging that often my designs come from a subconscious level. While Narrative is often a crucial personal aspect of my work, I acknowledge that the makers narrative is likely of little importance to the market yet it can only be a positive addition should the possessor wish to seek it out. CJ

↘ hello@lizwilloughby.com ↘ @lizwilloughbymaker

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Lucy Pearl Petts This work intends to be a playful expression in times of crises and uncertainty, but poses the serious question: How long do we have left? Using thermo-imaging and thermochromic materials, the pieces exhibited here are directly influenced by heat, touch and view. As the Earth goes through climate crisis and temperatures rise drastically across the equator, could these pieces form an alarm system for global warming? The works are intended to be a playful juxtaposition in these times of crisis and uncertain futures resulting in a form of amulets for modern day society. ↘ Looking Through the Lens of the Glastonbury Festival, Does Restorative Nostalgia Perpetuate Misogyny, Racism and Classism within Society? In this extended essay I investigate elements of misogyny, racism and classism in relation to Glastonbury Festival and whether restorative nostalgia is a catalyst. The essay is formed of three main chapters. The first chapter delves into the festival’s history, through analysis of Nicolas Roeg’s 1972 film Glastonbury Fayre, Julien Temple’s 2006 documentary Glastonbury, and Temple’s 2012 documentary Glastopia - Glastonbury After Hours. The second chapter explores the festival during recent years with a focus on female voices such as Daisy Jones in Glastonbury 50 – The Official Story of Glastonbury Festival and Emily Eavis interviewed on podcast Table Manners with Jessie Ware. The final chapter focuses on what place Glastonbury Festival has within popular culture in the future and post Covid-19. EE

↘ lucypearlpetts@gmail.com ↘ @lpp.design

Nina Letts This collection comprises a range of sculptural, hand-crafted pieces of jewellery, created with different plated and coloured meshes. The work explores hidden shapes and patterns, originating from everyday experience of my childhood home, and recalled memories. The work also explores repetitive and meticulous methods; geometric patterns are handcut and drawn onto metal mesh. This process allows me to understand the material textures, especially those of the mesh, as this material is very tactile and mouldable to the touch. The collection uses mouldable flexibility to full advantage, creating playful sculptures with detailed surface patterns, layered with memories of home and sentimentality. ↘ Hilma Af Klint - An Unheard Voice. In this essay I discuss the unconventional and pioneering work of the artist Hilma Af Klint (1862-1944). I explore the influences of spirituality, Christianity, theosophy and botany on her work and how her originally unrecognised output fits in a recently revised narrative about her contribution to the beginnings of abstract art, one which historically has always centred around male pioneers. The essay makes a case that she was an artist whose work went beyond naturalism to examine the nature of the soul by using a new language of colour and form that was, in part, due to her interest in spiritualism. I examine her personal history and artistic output to understand why she was overlooked by her contemporaries, why she remained something of an outsider to the art establishment in her lifetime and why her work remained largely unknown until recent years. EE

↘ ninaletts@gmail.com ↘ @nina_letts

BA (HONS) SILVERSMITHING AND JEWELLERY DESIGN

Runtian Zhang The concepts of nostalgia and memory as an emotion-releasing catharsis is the subject of these works. According to psychological theory, nostalgia may help people to alleviate the negative emotions, to a certain extent. Taking traditional herbs, I created jewelry pieces with herbal smells that can evoke childhood memories, based on the physiological mechanism of smell triggering memory. A series of animal and natural figures were created based on herbs, childhood doodles on the wall of an old house and a stuffed bear. In addition, I made wax strings using traditional methods, to create a poetic, shady, fragmental and wabi-sabi sensation. ↘ Nostalgia and Cure: To what extent do sustainable materials influence my expression of Nostalgia, Memory and Cure? From my perspective, jewellery is a free expression of art, which can be leveraged as a medium to assist me in narrating stories to resonate with audiences. As a maker, I strive to exhibit my identity and subvert outdated stereotypes by innovating based on traditions. I wish to convey the concept of nostalgia and memory to audiences, using my work as an emotion-releasing catharsis. In my critical journal, I analyse and explore the challenges associated with sustainability, such as over-consumption and environmental protection, with regard to making, purchasing and collecting jewellery. I then explore the impact of sustainable development on my studio work. Eventually, by means of the analysis and research on nostalgic psychology, I outline the way I apply the concept of sustainability to my expression of memory, nostalgia and cure. CJ

↘ runtianzhang0101@gmail.com ↘ @sendingmeaspartame

Sam Bennett This collection includes pieces primarily realised in silver and freshwater pearl; the materials are used to explore themes of fragility and its connections with historical ideals of beauty. Chased and press-formed metals suggest pearl, with connotations of sentimentality and purity, alluding to melancholic fascination. My work references historical understandings of themes commonly related to death or illness, which, in the nineteenth century, became associated with a form of delicate beauty. In particular the effects of tuberculosis, which evoked visions of frailty as purity, and a beauty vulnerable to harsh industrial society. Here, pearls suggest virtue, alongside revelation of historic mythologies. ↘ Hip Hop and Loss: The Role of Mourning Jewellery in Contemporary Rap Music. This extended essay explores jewellery’s role within contemporary rap music; something I feel is seldom explored within jewellery academia. Where adornment and rap music are discussed, there is a tendency to focus on the monetary value of said adornment - reducing jewellery to simple gasconade or conspicuous consumption, however, I argue that much like celebrated jewellery of antiquity, Hip Hop jewellery offers an abundance of sentiment and meaning. No form of jewellery holds more sentimental value than that of mourning jewellery; I maintain that many contemporary pieces of rap jewellery fall under this category, share many characteristics with antique mourning jewellery, and offer a valuable insight into processes of modern mourning. Historical studies on objects of mourning, modern understandings of grief theory as well an analysis of digital memorial spaces and modern sentimental jewellery are all explored and applied to jewellery associated with the artist Lil Durk; to conclude that jewellery within contemporary rap music holds a great deal more sentiment and meaning then it is often credited for. EE

↘ sambennettjewellery@gmail.com ↘ @sambennettjewellery

THE GLASGOW SCHOOL OF ART

Sam Galloway My practice reflects deeply personal experiences with coastal landscapes, the meditative process of walking along shorelines and foraging for materials. My work recalls growing up on the West Coast of Scotland, and experiments with sustainably manufactured materials, which I use to cast and sculpt three-dimensional, tactile objects. As a material researcher, I explore themes of nostalgia, memory and the senses, ethically. Terra Incognita means unexplored terrain. The title represents the concept of this collection, as my jewellery plays with perception, it resembles rocks and other natural forms, using precious and non-precious stones to question value in jewellery and its materials. CJ ↘ Alternative Realities: Translating the tactile and sensuous experience of the landscape through new materials and physical objects. In this critical journal I closely reflect on how growing up on the west coast of Scotland has influenced me as a designer and maker. I start by reflecting on my own history of interacting with the landscape as a child. With reference to ‘Sensuous Geographies: Body, Sense and Place’ 1994 by Paul Rodaway, I explain how physically immersing myself within that environment resulted in many early experiences exploring tactility. I go on to examine the pivotal moments, such as when I read ‘The Lure of The Local’ 1997 by Lucy Lippard, as well as Michel Serres’ book ‘The Five Senses’ 1985. I then explore my approach to recording the landscape, supported by ‘Wanderlust’ 2001 by Rebecca Solnit, and ‘Topophilia’ 1974 by Yi-Fu Tuan. This reveals the process of how I translate my attachment to the landscape in new, physical forms. Finally, I look at developing my own naturally sourced bio-material, which I am determined to use in order to create an intriguing and unique collection for my degree show.

↘ s.galloway2@student.gsa.ac.uk ↘ samantha_sloane_design

Sarah Louise McQuarrie During the COVID-19 pandemic, memories were cast in a fading light. In The Future of Nostalgia, Svetlana Boym observes that: ‘Nostalgia inevitably reappears as a defence mechanism in a time of accelerated rhythms of life and historical upheavals.’ My work connects to nostalgia through all forms of light. With a focus on transparent materials, I recreate memories of light using layers of bio-resin. The making process turns daydreaming into productivity, as repetitive drilling and piercing helps reflect as much light as possible. Domed surfaces and polished spheres bounce light through the resin, reflecting colour onto the wearer and environment. ↘ A Light in Dark Places: Narrative, Nostalgia and the Night Sky. In my critical journal I explore the use of light as a narrative tool to communicate and engage with the wearer/viewer. In my third year at GSA I began to work with microelectronic materials and components. These offered accessible materials to investigate within the terms of my studio discipline. The processes of manipulation such as soldering, or cutting at a miniature level also echo the techniques of my design specialism. I realised that my fascination with electronics lay in the ability to create components that add light to my work. I discuss the origins of my interest in light and memory, presenting a survey of influences on my work and creative ideas; the narrative jewellery movement; electronics within contemporary craft; nostalgia; and the role of memory and repetition in maintaining mental health. This is followed by the final chapter which follows my progress in studio work. The critical journal is formed in the style of storytelling, with a prologue and epilogue, to reflect the narrative elements of my practice. CJ

↘ sarahlouisemcquarrie@outlook.com ↘ @sarahlouisemcquarrie

BA (HONS) SILVERSMITHING AND JEWELLERY DESIGN

Seoha Park Through the intimate experience of breathing, this collection investigates the relationship between the body and art. Creative jewellery, by testing medical equipment with materials that show the balance between medicine and art, is the aim of this work. Breathing embedded in the lungs is represented visually by the respiratory tract and breath that is sometimes overlooked. The collection visualizes breath and recognizes these organs’ operations to show the movement and function of lungs in the body as an air container. Each piece is designed to inform patients with respiratory diseases, and to experience and understand their bodies intimately and sensitively. ↘ Anatomy and Art. This curatorial rationale is for an exhibition set in the National Museum of Modern and Contemporary Art in Seoul (MMCA Seoul). It invites people to explore the body through anatomy and art. I discuss how each of my chosen artefacts uniquely contributes to the exhibition’s themes and interlinks with others. My proposed exhibition brings stories about art and anatomy from displays and galleries, highlights from the collection, discussion of past projects that delve into some key moments when the arts and anatomy have shaped each other. This exhibition suggests how anatomy, classified into visual sciences, interacts with artists, medical professionals, and the general public.

↘ sohapark94@gmail.com ↘ @so_ha_park

Starla Fernandes My work echoes my relationship with aural landscapes, embodying and encompassing a fascination I have, triggered by personal experience, a desire to document ambience as a grounding technique. Using foam clay, everyday soundscapes are transformed into monochromatic 3-D drawings, translating momentary sounds into visuospatial forms. I work in public spaces - their varied soundscapes provide instances of discovery, each sound a chance to capture its essence, solidifying the transient. These become ‘mementos’, collated in a perspex acrylic base, as wearable objects. The collection Full Circle presents work with a monochromatic palette, the mementos in their purest form. ↘ Expressing Sound: A Journey of Discovery of My Relationship with Atmospheric Sound - Bringing to Existence the Unseen, Through Visualisation. This critical journal explores how I use atmospheric sound to create drawings to inspire 3D designs, jewellery and other objects, describing and explaining the process of my artistic expression. Chapter one explores the context of my studio work; why I choose to work with sound as inspiration. I explain how the painter, Wassily Kandinsky’s practice influences mine, exploring similarities and differences. Chapter two explains how I create my drawings and develop my drawing method to represent these sounds accurately. Chapter three presents how these drawings are used to convert them into three-dimensional pieces, making jewellery and other objects. In addition to this, I explain the different metal techniques explored to create my work. Chapter four is a discussion of my future ideas and directions for studio practice. I reflect on how the research and writing the critical journal improved my practice and understanding. CJ

↘ starla.perpetua@gmail.com ↘ @starla_____

THE GLASGOW SCHOOL OF ART

Xiaoshan Huang My practice revolves around the concept of the wish, and a motivation to think about how to convey goodwill and a sense of healing to the wearer through jewellery. Capturing the customs and traditions related to wishing in life, such as wishing trees and birthday candles, I combine jewellery with objects that retain their original function to convey positive emotions to the wearer and the audience. Materials, such as paper, wood chips, acrylic sheets, pearls, found objects and many other mixed-media are incorporated into these designs, giving people a more intuitive experience to accept the emotions expressed by the work. ↘ The Application of Interaction to Contemporary Jewellery. Nowadays, people’s inner emotions are affected when facing the pressure in life, the cumbersome and trivial things in daily life, or sudden uncertainty. More and more people feel emptiness and loneliness in their hearts, while the feeling of alienation between people becomes more apparent. Negative inner emotions are not conducive to our physical and mental health; so, thinking about how to use jewellery to promote good interpersonal relationships and convey love and happiness to others is the premise of my studio practice in this final year. In this critical journal I focus on analysing interactive contemporary Jewellery, explore the different ways of presenting it and explore how it could bring people new experiences and feelings. I critically discuss how I incorporate the concept of interactivity into my creation. In addition, I combine some topics related to psychotherapy to further analyse the potential of interactive contemporary jewellery as healing objects. Finally, I evaluate the future development direction of my studio practice. CJ

↘ carissahuangxs@outlook.com ↘ @carissahuang_sjd

Yilin Li I seek answers to life; why do we exist? What is the meaning of life, and earthly matters that surround us? Why do we love and hate and endure all these emotions? I try to answer those questions by creating artefacts that can be carried around, exchanged, and worn and are somewhat sturdy enough to not break apart easily. Jewellery-making, to me, is taking my dreams and thoughts, objectifying, and transforming them into tangible objects. My collection consists of metal pieces from intuitive wax carving, 3D printed models derived from my oil paintings, resin and wires for colours and lightness. ↘ From Intuition to Creation. This journal discusses the process of understanding my intuition, questioning why it is the source of my creativity and bringing it to the tangible world. It starts from a simple obsession with eyes, expressed through making eye-related objects and comparing other artists’ works. By researching mythology and neuropsychology, I delve deeper into my fascination with eyes, and how it leads to a bigger perspective that acts as a foundation of the thinking process for my final year’s project. I begin by reviewing works I have done, reflecting on other artists’ works. I noticed that what I made was not received as what I intended to express. I then delve into the neuropsychological aspect of perception. I look at the Babylonian myth of Marduk, a god with four eyes around his head. The notion of his story, bringing order out of chaos, is parallel to the neuropsychology theory of perception, dreaming and learning. Finally, I examine my current practice with the realisation that brining my intuition into creation is a process of making the unknown known. And that creating is a learning process. CJ

↘ richterite@icloud.com ↘ @yilinbby

BA (HONS) SILVERSMITHING AND JEWELLERY DESIGN

Yufei Chen Anxiety caused by pressure to find employment after graduation is the focus of this collection. How can tactile expressions offer emotional support through different materials, incorporated into designs, lead to a solution that offers positive energy? Specifically, materials such as clay, paper, silicone rubber, polyurethane foam, acrylic, PVC, 3D print and metals are used to encourage relaxation. The collection is realized using digital manipulation, with models worked in Rhino and casting into metal, shaped into finished pieces, including silver, copper, and silicone rubber. Ultimately, this collection provides the wearer with jewellery that can be deconstructed, while adding interest when worn. CJ ↘ Exploration of Functional Jewellery. The functionality of jewellery and the relationship between people, jewellery and materials, is the subject of this critical journal. It describes what I am inspired by and what I have learned from five artists’ works; what kind of functional jewellery I would like to design by interconnecting my previous experience and technique in the future. Jewellery is not as simple as body accessories that are called ring, bracelet and earring any more. With the improvement of our living standards and the development of technology, people’s requirements for jewellery are becoming more diversified. This critical journal analyses materials and technology of studio Jewellery. It also looks at ways of wearing to explore the deeper intentions of jewellery design. The Critical Journal helps me understand and criticise my ideas and explore what directions I could explore further.

↘ c1044668374@gmail.com ↘ @phoebe_y.chen

Zixinyu Zhou These designs are concerned with expressing human emotions. Therefore, the focus of this jewellery collection is on expressiveness and how best to convey human feelings. Using tactile and visual comparisons to distinguish between the opposite emotions of joy and anger, and through studying the correlation between colour and emotion, these ideas are integrated into the jewellery series. Colourful false stamens and resin were chosen as the primary materials for this collection. This jewellery collection allows wearers to express their emotions more intuitively and effectively. To defend their personal space and repair the boundaries between people. ↘ The Development and Integration of Installation Art in China. Have you ever wondered what a genre of art has to go through before it can be known and recognised? This essay will focus on the development of installation art in China from 1980 to 2020. It argues that the rise of installation art in China is closely related to the development of modern urban Chinese culture and society and the change of people’s thoughts. Installation art did not emerge from China but was slowly introduced to China through cultural export and exchange from other countries, enabling Chinese artists to learn new modes of expression. Through the integration of local Chinese culture, materials and ideas, Chinese artists have developed their own versions of installation art. By learning from different cultures, artworks include national characteristics but based on a wider cultural knowledge. The primary purpose of this paper is to analyze how and why installation art has developed in China and the obstacles it has faced in the process of development. EE

↘ zhouxueyi9712@gmail.com ↘ @zhouzixy

THE GLASGOW SCHOOL OF ART

Cover image: Lucy Petts Studio Photography: Alan McAteer Staff Portrait photography: Shannon Tofts Design: Kat Loudon and Phoebe Willison Headline is Triptych by The Pyte Foundry. Printed by The Newspaper Club on 55gsm improved newsprint. All work shown remains the property of the designers and may not be reproduced in print or any other media without written permissions. Contact details for all work is provided on each page for any enquiries.

Degree Show Catalogue 2022 School of Design

Professor Stephen Bottomley Head of the School of Design

Curatorial Rationale Critical Journal Dissertation Extended Curatorial Rationale Extended Critical Journal Extended Essay

Textile Design Final year students in the Department of Fashion and Textiles have made it to the end! The academic experience of the Class of 2022 has been like no other we have ever known. I wholeheartedly congratulate each graduating student on their extraordinary achievements, for their perseverance and resilience. The way they adapted to unheard of ways of learning and the support-through-adversity they showed each other has been an inspiration. They have proven that there is nothing they cannot accomplish in the future. When life inevitably confronts them with challenges, I hope they will draw confidence from this very real lived experience. They’re going to be amazing.

Professor Jimmy Stephen-Cran Head of Department, Fashion and Textiles

“They adapted to unheard of ways of learning”

Abbey Campbell Specialising in woven textiles, my project this year ‘Illusions of Colour’ explores illusions created using contrasting colour combinations and altered structures within woven cloth. Looking at vividly coloured photographs I’ve taken from around Glasgow, I extract the colour palettes and bold shapes to create a wide range of vibrant fabrics. My designs are made for the purpose of interior spaces in mind, creating fabrics that can brighten up a space with playful colours. I have also explored wood as a material this year, designing a range of dining set pieces, such as placemats and coasters. ↘ Textiles in Different Spaces. This extended essay considers different ways in which fashion and textiles are displayed within exhibitions and installations, and the importance of public interaction with these exhibits. The essay includes research on the topics of exhibition environment/spaces and their importance, interactive exhibitions, digital exhibitions, and online archives. The essay compares the work of fashion and textile exhibits to the display of fine art exhibits and the differences that they hold in terms of appearance and importance within the creative community. An analysis of the work of Sheelagh Boyce and Annabelle Harty, specifically, their project Arrange Whatever Pieces Come Your Way, 2016, is included in the essay, investigating their traditional process of quilt-making and how they use this to create pieces inspired by architecture, using recycled family clothing. Jessica Hemming’s article, ‘Floppy Cloth: Textile Exhibition Strategies Inside the White Cube’, is referenced in the essay, as an effective means of interpreting imagery and examples of ‘Textile Display’, alongside other significant writings discovered during research for this project. EE

↘@abbeyelizabeth.design

Adele McCulley I am a Scottish textile designer specialising in woven fabrics. A lover of all things bright, bold, and colourful. For my collection I drew inspiration from the art of light and illusion. My practice combines both digital and physical drawing methods capturing bold shapes and texture found within everyday shadows. Which I have translated through using structure and yarn qualities. My intent was to create a multifunctional series of fabrics that can take any entertainment space from day to night using ultraviolet lighting. As well as making installations that could be used for pop-up events. ↘ The Social and Environment Impact of Fast Fashion and Ways of Resolving These Issues. This extended essay investigates the social and environmental impact of fast fashion and analyses ways of mitigating its negative consequences. The essay demonstrates how the fashion industry has developed a throwaway culture. The sources chosen in the essay provide insight into the operation of fast fashion, giving a basis for the ensuing discussion. Chapter one examines the making of yarn. Chapter two investigates the making of the cloth and the garment factories. Chapter three describes the selling process of the garment. Chapter four analyses the wearing process and the disposal. This essay concludes that the speeding up of fashion is causing detrimental damage to the environment and society. EE

↘ adelemccully@icloud.com ↘ @adelemcc_textiles

THE GLASGOW SCHOOL OF ART

Arouge Salim This project has been inspired by atmospheric lighting and geometric forms, interpreted into tactile, interactive textiles using mixed media materials and moving components. Following my interdisciplinary design ethos, textiles have been designed for multiple contexts, including fashion, interiors, and installation. Thread and laser-cut acrylic elements compose the bulk of my technical development, and work in unison to build up shifting gradients of colour. ↘ How the Use of Music and Art Can Improve Our Physical and Mental Well-Being. This essay investigates why we turn to creative outlooks in times of hardship, and the benefits of engaging in creative activities for our physical and mental well-being. In the first chapter I start by analysing why we as humans are creative and what it scientifically does to us. I investigate experiments on patients that note signals in our brains. I then then move on to discuss the benefits of music therapy in the second chapter, as it is the best way I can measure if using creative methods can have an overall impact on our mental and physical well-being. The essay includes an interview with Peru Eizzaguirre, a musician from the Royal Conservatoire of Scotland, that discusses the impact music had on his mental health, followed by an experiment I put together with his students. This is followed by a discussion of studies on art therapy, including the techniques and benefits it can have. I have also conducted an interview with Kirsten Brown, an art therapist in who specialises in working with children, providing in-depth research of this practice. EE

↘ @arouges_textiles

Aya Fetah I am a Weave designer working with a minimalistic style to create a simple luxurious prayer mat that works for everyone. This was designed by producing weave samples with the purpose of being used in interior spaces such as a living room or bedroom. I enjoyed working with classic patterns (e.g., houndstooth) and calming colours to focus on simplicity and minimal living. My inspiration came from my religion ‘Islam’. Islamic calligraphy was incorporated into my work to create sample pieces by using textured/fancy yarns producing a pattern of repeated Arabic text. ↘ This Essay surveys Vogue magazine covers from the US and UK from the beginning of 2010 to 2021. How, when, and who introduced Modest Wear into the magazine? By comparing and contrasting the approach of Editors and Editors-in-Chief of Vogue United Kingdom and United States, the essay explores their editorial lifestyles, attitudes and methods to assess their impact on Vogue’s readership over this period. Some discussion of the fashion industry in more general terms is included, arguing that the business of fashion does not often cater towards Muslim models or plus-sized readers. In particular, the essay considers the word ‘modesty’ and how this is interpreted differently in Muslim, Christian, and Jewish religions, and suggests that the fashion industry has used these varied meanings to exploit religious markets, with clothing that appeals to each religion, alongside selling and marketing of the usual luxury brands. In effect, the essay argues that the fashion media has successfully combined the definition of culture and religion into one. EE

↘ fetahaya99@gmail.com ↘ @ayafetah_designs

BA (HONS) TEXTILE DESIGN

Bethany Pringle This collection of contemporary prints for textiles and materials has been designed for interior and exterior applications. Inspired by form, shape, colour and texture found in brutalist architecture, aspects of concrete surface details and urban environments have been captured through collage, colour work and digital exploration. The collection uses combinations of digital and screen printing, dye sublimation and laser etching. Material exploration has been undertaken onto various substrates including linen, cotton, leather, plywood, cork, paper and ceramic tiles. This has resulted in an exciting collection of alternative surface concepts for interior/exterior products. EE ↘ Design vs Sustainability- Highlighting key sustainability issues within the Fashion and Textiles industry through insight into my own design practice as well as understanding cultural attitudes towards consumption and sustainability. In this extended essay, the difficult sustainability issues that pertain to the Fashion and Textiles industries are described. The essay includes five main chapters and two key points of discussion. Initially, the essay investigates the chemistry and characteristics behind textiles including research involving the sustainability of various dyes and print techniques, alongside explanations of what fabrics are the most ecofriendly and ethical, and why. Next, I investigate the aesthetics of design and consumerism. This will consist of looking at colour and design, through analysing our buying habits, fashion cultures and trends.

↘ bethanypringle.textiles@gmail.com ↘ @bethanypringle_textiles

Catherine Tinney Influenced by design history studies, I’ve been researching relationships between clothing, identity, and language, and wanted to continue this exploration visually. I held conversations with three Glasgow-based Gaelic speakers who shared their favourite clothes, items, photos, and discussed what they mean to them personally. Conversations brought up recurring themes, and chosen items represented connections to memory, community, and language away from home. Using shapes and colours drawn from landscapes, photos, objects, and clothing provided by each of the participants, I’ve created prints intended to be unique and individual to the wearer, communicating their own story in a visual textile format. EE ↘ An Exploration of the Role of Highland Dress and Tartan in Gaelic Identity. The purpose of this extended essay is to explore and evaluate the importance of tartan and Highland dress in Gaelic identity. The essay consists of four chapters. The first looks at Highland dress before the battle of Culloden in 1746, analysing references to dress in Gaelic praise poetry and the emergence of the ‘Highland warrior’ image. The second chapter analyses Gaelic poetry in response to the Disarming Act of 1746. The third chapter presents the popularisation of tartan amongst the elite and monarchy in the 19th century, particularly in military contexts, in contrast to the later use of tartan as a symbol of rebellion and language revival. The final chapter presents conversations on clothing and identity, conducted with four Gaelic speakers in their 20s.

↘ catherinertinney@gmail.com ↘ @cattinneydesign

THE GLASGOW SCHOOL OF ART

Elise Prentice In the years since my father passed away, I have felt an increasing urge to revisit old memories and an intense yet unachievable desire to cherish our time together. This project revolves around family nostalgia and the pursuit of capturing an irrecoverable moment by creating something tangible from it, using analogue techniques and secondhand fabrics to create textiles that are both nostalgic and sustainable. My stitched drawings explore familial joy, homely spaces and nineties and early-noughties fabrics through form, line and pattern to create soft home furnishings of quilts and wall-hangings that can also be viewed as one-off textile pieces. ↘ An investigation of textile-based political statements through a feminist lens. This dissertation investigates the application of textiles in political and particularly feminist protests throughout history. The chapters in this paper initially work chronologically to explore historical feminist textiles, before turning to focus more on contemporary needlework and fashion. The dissertation continuously investigates the effectiveness of various textile pieces and the aims and purposes of both their creation and their display to attempt to place them within a broader context of protest itself and textile art as a whole. The final chapter and conclusion aim to solidify the status of protest textiles in current events and predict what the application of fiber art may look like for feminist campaigners in the future.

↘ elisepprentice@gmail.com ↘ @eliseprntice

Emily Dickson Reading ‘Fractals’; patterns we observe in both art and nature, leads an exploration into where landscapes follow perfect regularity, yet celebrate beauty in its imperfections. My final collection of work has taken inspiration from the layering system of outdoor clothing alongside the scales and shapes of textures and colours we touch while travelling through the landscape. Translating these qualities into a men’s fashion collection I have focused on using different yarn types, gauges and finishes to create contrast and texture yet balancing subtlety. ↘ To what extent can the Scottish woollen industry contribute towards a more sustainable circular economy? This extended essay investigates the ways in which the Scottish woollen industry, both in the past and present, acts as a positive example of a localised, sustainable circular economy, predominantly focusing on social equity. The first chapter defines key terms used in the essay, such as: circular economy, sustainable development and sustainability, using the United Nations definition of this, and research taken from Murray, Skene, and Haynes, The Circular Economy: An Interdisciplinary Exploration of the Concept and Application in a Global Context. The second chapter investigates past examples of local circular economies within Scotland centred around manufacturing. The final chapter refers to research published by Zero Waste Scotland and the Ellen McArthur Foundation to propose what initiatives are needed for the future to produce successful circular economies in the country, specifically using three current case studies of manufacturing in Scotland; New Lanark Spinning Company, Jamieson & Smith & Harris Tweed. EE

BA (HONS) TEXTILE DESIGN

Emma Campbell Slowing down and embracing curiosity, my work explores the inconspicuous and eclectic beauty hidden in everyday environments. Inspired by the juxtaposing surfaces found in my photography of such places, materiality and tactility became inherent to my process, experimenting with the density and structural nature of leather to the transparent lightness of beads, deconstructed jewellery, and sheer smocked surfaces. My collection is a treasure trove of movement, touch, material, and colour, intended to embellish the body. Considering responsible design, I’ve made a conscious effort to source materials second-hand, hoping to instil value and desirability into items that would normally go unnoticed. ↘ Slow Space. There lies true beauty within the process of making - a sense of being alive through doing. A connection between our hands and minds is established, guiding us to new ideas and knowledge which stem from the practice of crafting. Embedded in this idea is a ‘slow approach’ to making; influenced partly by the ideas of the Arts and Crafts Movement in the nineteenth century. This critical journal explores concepts of making through studio practice as a final-year embroidery student, challenging some traditional narratives of that craft. Reference is made throughout to designers using such methods and techniques, and those working with similar conceptual aims, to provide critical perspectives of my work and reinforce the pleasure and skill of making and doing.

↘ studioemmie@outlook.com ↘ @ecampbelldesign

Flora Bruce-Gardyne I’m a textile designer specialising in knit, with particular interest in the use of colour and how knit can be applied within sports & highperformance wear. My final year project has various strands of interest; initially led by material exploration linked to parachutes. This was further developed through sampling where I looked to recreate their billowy and light appearances. Another major strand was the use of ‘waste’ & found objects to develop colour and shape placement within my samples. To bring these two concepts together my final samples consist of layers of bonded knit exploring colour, shape and structure. ↘ “Material Waste” - An Exploration into Methods of Repurposing and Reducing Waste within the Textile and Fashion Industry. This curatorial rationale proposes an exhibition: “Material Waste” to explore how repurposing can make design more sustainable. The exhibition opens with a display that highlights the scale of the global waste problem, specifically in relation to textiles. It then leads the audience through a variety of work by designers who are using waste as their main source material in a number of imaginative ways. It will seek to show how products can be more easily and efficiently repurposed if the concept of repurposing is embedded in the design process right from the start. The exhibition concludes by looking at some of the new technologies available and how these can be applied to the design process to make garments more sustainable. Finally, the curatorial rationale explains the impact this exhibition might have on both designers and consumers, and asks whether it could succeed in helping to change attitudes about waste as a source material.

↘ brucegardyne.flora@gmail.com ↘ @gb_f__

THE GLASGOW SCHOOL OF ART

Florence Pollen This collection has come through an interest in passed places. Taking visual inspiration from ruined and decrepit sites. A fascination with the narratives and history of these sites fuelled an interest in fabric for a costume. For my graduate collection, places and costumes come together to provide visual research that led me to explore fabric for performance, with clean colour palettes and structured yet flexible knitted fabrics through the pairing of unconventional yarns and manipulation techniques. ↘ A Comparative Analysis of the Significance of Costume in Folk Horror Films: The Wicker Man, The Blood on Satan’s Claw, and Midsommar. This Dissertation discusses the costumes in the Folk Horror films: The Blood on Satan’s Claw (1971) by Piers Haggard, The Wicker Man (1973) by Robin Hardy, and Midsommar (2019) by Ari Aster. It is written in the form of linear trajectory, with Adam Scovell’s folk horror Chain as a structure. The dissertation introduces the intrinsic ties of the landscape with plot and character, closely analysing the dialogue created between the costumes and the landscape. It then explores themes of identity, community, and isolation, found through a remoteness created by the landscape and considers the ways traditional materiality and dress successfully reflect them. Through isolation, skewed beliefs are born, the lines blurred between insanity and idealised pleasures, predominantly translated through overtly sexualised leading females’ costumes. Through the development of this skewed thought, we reach the finale of each film’s narrative - a happening or summoning. The dissertation then breaks down the role of ceremonial dress as a transportive device into a supernatural reality. It concludes on the critical relevance and impact of costume to Folk Horror and its role in creating depictions of unsettling alternative characters, narratives, and societies.

Freya Walsh Inspired by the ephemeral nature of floras and the shadows they cast, my graduate collection explores how multiflorous forms can distorted, in turn taking on new appearances. Handcrafted techniques are complimented by digital processes, layering considered colour with subtle textures and diaphanous forms. Delicate designs are juxtaposed with tactile layers, creating intricate three-dimensional effects. Designed for a gender-neutral fashion context, the collection reconsiders floral and traditionally feminine aesthetics, exploring the fleeting delicacy of nature in a contemporary environment. ↘ The Kimono in the West: Fashioning Feminism. This Extended Essay aims to investigate the kimono as a central catalyst to female emancipation in the West between 1890 and 1920, and the motive behind it. The essay compromises four main chapters. The first chapter provides historical context to the origins of the kimono and the reception of material goods in the West. The second chapter examines how the kimono was first adopted into Western fashion and to what effect in the 1890s, using theory presented in Orientalism by Edward Saïd in a Japanese context. The third chapter discusses the central role the theatre played in the popularisation of feminist ideas and kimono inspired dress with reference to ideas given in Christopher Breward’s Ambiguous Role Models: Fashion, Modernity, and the Victorian Actress. The final chapter uses gender theory offered by Valerie Steele in Fashion and Eroticism to understand how fashion was used to create an attractive marketable image of feminism that helped popularise female emancipation. EE

↘ freyacelestewalsh.com ↘ freya.walsh@gmail.com ↘ @freyacwdesign

BA (HONS) TEXTILE DESIGN

Holley Sweet I specialise in woven textiles, that are primarily driven by colour and texture. I find inspiration in all things around me and for this project I directed my focus on weaving fabrics that generate feelings of comfort and happiness when touching, handling and wearing. This concept was inspired by feelings of touch starvation due to Covid 19 restrictions over the past few years. My process allows me to experiment with different combinations and textured yarns to create engaging materials that are interactive and highly tactile. ↘ Physical Touch. This extended essay explores the ongoing “Touch Starvation” worldwide phenomena, prominent throughout the Covid-19 pandemic, that resulted in a detrimental impact on our mental and physical health. The essay describes alternatives to physical touch, to consider the possibilities for a germ-cautious future. For example, weighted blankets have been compared to a physical hug in some circumstances, and bizarrely, the ‘Squeeze Machine’ of 1965, built by Temple Grandin and then later in a more contemporary sense by Lucy Mcrae, as the ‘Compression Carpet,’ in 2019, are similarly described. Their inventions are designed to produce deep pressure therapy by physically squeezing the person in order to substitute intimacy. Finally, the essay explains advancements into smart fabric technologies, and how the company Cute Circuit has created a shirt that can send and receive haptic sensors that mimic a hug sensation on the body of the wearer. For this alternative to physical touch, the essay describes experiments conducted in the 1960s by Harry Harlow, a well know behavioral psychologist. Harlow studied rhesus monkeys in order to carry out research and get a better understanding of human behaviours. EE

↘@holleytextiles

Honor Anderson My work focuses on a series of objects found through metal detection by a man named Jim. The textiles reflect how the environment has affected these objects while considering the impact humans have on the environment. I created designs using solely using scrap fabrics, remnants, and second-hand clothing. Using natural dyes, experimenting with the impact of rust-staining on materials and digital printing techniques. The pieces are designed to hang, alongside Jim’s objects, in a gallery-based context. Viewing the gallery as a map, pieces would be placed in relation to where they were discovered, allowing the viewer to discover them, too. ↘ Digital Fashion: The Coalescence of Physical and Digital Identity. This extended essay explores whether digital fashion is a symbol for the fusion of the physical self and the digital self and what technology could mean for the future of humankind and human relationships. The first chapter explores the generational shift in relationships with technology and how individuals interact with it, citing Michikyan and Suárez-Orozco’s Adolescent media and social media use. The second chapter considers and discusses the complications that could potentially arise because of this shift in the way individuals interact with technology. Berryman, Ferguson and Negy, Social Media Use and Mental Health among Young Adults and Caroline Miller’s Does Social Media Cause. How individuals present on social media, and the potential effects on their mental health is also considered. The third chapter highlights the COVID-19 pandemic and the accelerated shift in interaction with technology, merging online and offline identities. The final chapter asks what might digital fashion contribute now and in the future? EE

↘ honoranderson.cargo.site ↘ anderson.e.honor@gmail.com ↘ @ae.honor

THE GLASGOW SCHOOL OF ART

Jordan Orr I am a textile designer specialising in weave. The theme surrounding this project is focused on taking inspiration from my runs through my local countryside/farmland area. Through this I have discovered many interesting textures, shapes and colours from old, abandoned tractors and other industrial machinery that I have found interesting. Key words: Speckled, rusty, textures, colourful. I focussed on the textures and colours from primary research. I used textured yarns to create these samples ranging from wools, cashmere, cottons, recycled plastic yarns, twisted shiny yarns and merino sport. ↘ The Future of Running Shoes: Vaporfly Next % 2 and Other Enhancements. This essay describes how the Design of the Vaporfly Next % 2 racing shoe impacts performance enhancement and what implications this has on the future of the sport. I have a real passion for this subject as a keen runner and textiles student. It is key to get the best out of a running shoe through the right materials, although there must be a balance as these shoes are now giving people an unfair advantage. How far do we need to go before it damages our sport, having these shoes and caffeinated stimulants? The essay includes a brief history of running shoe performance. Overall, the essay asks: which shoes could impact the future of design and how might this happen? I evaluate and make suggestions on whether or not these shoes should be banned in competitions. Some regulations have already been changed due to sporting ‘doping incidents’ such as the use of caffeine stimulants that have huge side effects on our health. How can we accommodate fair advantages in sport if some people are assisted with these shoes and caffeine gums, for example? EE

↘ jgiffnocknorth@gmail.com ↘ @jrdntextiles

Lucie Peslova My project explores the theme of trauma and mindfulness as a way forward from creative anxiety where the emphasis is placed on the process of making as a restorative practice and material exploration. Repurposing discarded materials and end of yarns, and using traditional craft methods, the designs reveal themselves through repetition where simple colour combinations, dominated by availability of materials, accentuate the geometric structure and pattern. In piecing segments together I explore resemblance to the healing process, where a new structure is being formed while the fragility and signs of trauma remain visible within. ↘ In this critical journal I reflect on and explore my textile design practice as it has developed over the course of the past two years. I consider it alongside other contemporary artists and designers whose work has been relevant, as well as alongside academic theory. The journal is split into four chapters that relate to themes that surround my practice. In the first chapter I explore the theme of trauma and mindfulness as a way forward from creative anxiety and symptoms of complex post-traumatic stress disorder, and how this has been part of my journey as a creative practitioner. In the second chapter I discuss sustainability, upcycling and other approaches to environmental issues. In the third chapter I reflect on the aesthetic element of my work discussing sculptural knitted textiles. Finally, I consider possible future directions of my practice.

↘ luciepeslova@gmail.com ↘ @laurea_design_studio

BA (HONS) TEXTILE DESIGN

Marcus Carr This project takes inspiration from photographic qualities, looking at different image capturing styles, lighting techniques and use of colour for inspiration. Primary research has been captured from street textures, architectural structures and gallery visits which feature these similar properties.Working with technical fabrics has been my primary focus throughout my design development stage, seeking to produce textiles suitable for hard-wearing, weatherproof streetwear. I have chosen which print processes to work with accordingly, using bonding, vinyl, foils, laminates and dye sublimation. ↘ The Intervention of Digital Technology Within Contemporary Fashion Presentations. This extended essay outlines the atmospherics and visual elements demonstrated in both current day and historical examples of fashion shows. The essay investigates how these have been reconsidered or reinforced with the aid of digital technology. The purpose of the essay is to explore exciting and innovative possibilities presented by digital technologies, artificial intelligence and virtual reality. The aim is to propose ways in which fashion shows can evolve to incorporate such technologies, and create inclusive and contemporary alternatives to the traditional format of fashion shows that tend to be hierarchical, exclusive and exclusionary. Imagining new forms of fashion shows and presentations within the fields of digital, AI and VR, might lead to endless, incredible, and creative possibilities, as this essay explains. EE

↘ marcusacarr@outlook.com ↘ @marcuscarrdesign

Millie Collins Textiles offer a sense of place – they live lives and tell stories. Exploring the movement of materials – the way they migrate, adapt and reflect their surroundings – my work embodies textiles’ capacity to ground. Using meditative and tactile embroidery techniques, I investigate how a textile can hold you within a place, relating to the senses and engaging with the body’s emotional states. Concerned with material histories, this collection is comprised of textile fragments. I have adopted forgotten, found and donated fabrics to instil new narratives within cloth and create pieces that shift with the environments they are placed within. ↘ Resettling Textiles: Fragmenting Forms and Material Movement. Resettling Textiles is a material-based exhibition featuring textile pieces that follow the fragmentation and migratory movement of materials whilst offering new insights into their historical narratives. Housed at a once functioning mill, textile pieces from nine different origins are curated together in a visual and tactile conversation. The artworks share the common thread of capturing place through process. They each offering a narrative that extends beyond the functionalities of cloth. Resettling Textiles encourages a return to and recognition of material journeys. Existing artworks, which place materiality and storytelling at their centre, are exhibited alongside objects, artefacts and interactive processes connecting the viewer to the intricate lives of materials. Giving materials a context in which their journeys can be understood provides a path into empathetic understanding of the systems textiles operate within. Textiles are so often in use – the exhibition gives material works space to rest in observation. The exhibition draws parallels between textiles and the body. From the physical capacities of crossing borders to deep emotive connections.

ECR

↘ milliekcollins@gmail.com ↘ @mil.kc

THE GLASGOW SCHOOL OF ART

Paul Williams I am a textile designer combining traditional and experimental knitting techniques to create bold, fun and tactile knitted textiles for both fashion and interiors. My work is influenced by unconventional sources of inspiration which I use to develop an overarching theme to guide my work, with this year focusing on a sense of play and childhood nostalgia. I enjoy exploring and adapting different approaches to my design process to inform the development of my work, which is then translated into knitted structures to produce interesting and unique textiles that challenge the traditional notions of knitted fabrics. ↘ Does transmedia storytelling theory influence the creative practice in the development of the narrative world in Kenzo’s fashion film, The Everything? This essay analyses the influence of transmedia storytelling theory in the creative development of Kenzo’s Autumn/Winter 2018 fashion collection and the launch of the campaign fashion film, The Everything, alongside its advertising and runway show. The research for this essay explores this creative project, and asks if the film and wider campaign created a narrative world for the brand that reflected its brand identity and values through its use of intertextuality? EE

↘ pw_27@hotmail.co.uk ↘ @textiles_by_p

Roseanna Dyke I am a surface pattern designer with a versatile skill set, merging hand painting and illustration with digital design to create dynamic, trendfocused prints. My collection ‘Configure’ takes inspiration from the unity of organic texture and shape from the landscape of my hometown in the Scottish Highlands, combined with lively colour and architectural compositions within the Glasgow cityscape. The collection explores configurations of shape and colour through a range of design and print processes. Playful, large-scale designs for wallpaper, wall hangings and soft furnishings are paired with coordinating repeat prints for interior and lifestyle products. ↘ Predicting the Future of Trend Prediction: An Exploration into the Evolution, Digitisation, and Environmental Responsibility of the Trend Forecasting Industry. This essay discusses the past, present, and future of trend prediction in the fashion industry, analysing how trend forecasting has evolved through digitisation, examining the environmental responsibility of trend forecasting agencies, and looking to the future of trend forecasting. Part one establishes the evolution of this activity historically, from trend reporting to trend forecasting, investigating IM International and the introduction of Pantone systems to illustrate the subsequent globalisation and professionalisation of the industry. Part two explores the digitisation of trend forecasting, focusing on leading online agency WGSN, comparing key agencies, publications, and trade shows, considering their environmental responsibility in advocating for sustainable practices in the fashion industry. The conclusion ties together this research, anticipating the direction of the trend forecasting industry in terms of digitisation, tactility, and sustainability. EE

↘ rosannadyke@gmail.com ↘ @rosanna.print

BA (HONS) TEXTILE DESIGN

Rosie MacDougall My collection focuses on translating the asymmetric and irregular qualities of shells into knitted textiles. I am particularly interested in exploring unusual ways of manipulating and linking knitted fabric, and visualising my ideas in a fashion context has dictated the development of many of my samples. With sustainability and quality in mind, my collection is knitted from natural fibres such as viscose, cotton and wool. ↘ Peter Greenaway: The Beautiful and the Grotesque. By analysing the visual image in British director Peter Greenaway’s films, and how this communicates a message, it can be seen that his work often requires some work on behalf of the audience to appreciate and understand his films. Films are often recognised as separate from other art forms because of their commerciality and accessibility to the masses, who Greenaway says are “visually illiterate” so it is often the case that films like his are dismissed because they lack universal appeal. In this essay, I show the value in taking the time to analyse and engage with a film as one would with a painting, using some of Greenaway’s films as examples. I concentrate mostly on his films The Cook, the Thief, His Wife and Her Lover (1989) and The Pillow Book (1996), and discuss sources relating to the visual aspects of his films and those which detail themes relevant to Greenaway’s work. To gain a stronger understanding of Greenaway’s own ideas and intentions within his work, I also reference an interview with the director in the book Being Naked, Playing Dead by Alan Woods. EE

↘ rmacd10@gmail.com ↘ @rosie_macdougall

Ruby-Rose McGann I have utilised digital, domestic and hand embroidery techniques to produce a colourful, textural, and kitsch embroidered textile collection, sourcing a range of materials responsibly, including vinyl, satin, and canvas. My collection explores text, pattern, colour and texture, my embroidered, manipulated, and beaded outcomes are an encapsulation of the kitsch nature of the seaside holiday, evoking tongue in cheek nostalgia through bright and bold designs. My project is an exploration of place and place symbolism. The working-class seaside is memorialised as a portable ‘story cloth’ rather than left behind at the destination, much like a souvenir. ↘ Stitched Storytelling: Personal, cultural, and social experience as a vehicle for textile narrative. Stitched Storytelling is an exploration of embroidered textiles as tools to communicate personal and collective narrative voice. As an investigation of personal, cultural, and social experience, embroidered objects, relevant academia and portfolio work, this Critical Journal analyses the effectiveness of textiles as instruments for storytelling in both a contemporary and historic context and, therefore, the authenticity of my own practice. The journal explores how embroidered textiles have been used to communicate and historically to tell stories. By looking into emblematic traditional hand technique, contemporary embroidery practice and symbolic methods used by artists, the essay explores different ways to sew meaning into cloth, instilling microcosmic consciousness into modern society. Textile design transcends the function of dressing us and our homes; This powerful propensity for storytelling historically and presently, disseminates critical personal and collective societal narratives, as explored in this Critical Journal. By reflecting on my own practice, I demonstrate how the textiles around us function as objects that tell our stories. CJ

↘@rubyrose.design

THE GLASGOW SCHOOL OF ART

Sandra McWilliams I am a Glasgow-based designer specialising in weaving, working across traditional and electronic equipment with a keen interest in texture and colour. My projects this year have focused on being as sustainable as possible, and to this end, I have sourced materials from my projects from manufacturers and made use of otherwise discarded run ends of manufacturing yarns and carpet waste. I have visualised my designs in high-end ladies’ fashion, with the manipulated felt weaving reutilised for its sound-absorbing qualities. ↘ The Rights of Weavers: A comparison between New Lanark Mechanised Mill and The Calton Weavers Cottage Industry. This extended essay investigates the legacy of David Dale’s and Robert Owen’s New Lanark experiment on workers’ lives by comparing the industrialised factory at New Lanark Mill with the cottage weavers in the burgh of Calton in Glasgow in the Georgian and early Victorian age. The essay comprises three chapters that examine the cultural conditions of each of these textile productions. The first considers the role of David Dale and Robert Owen in establishing a model village and Mill at New Lanark, as an experiment in enlightenment ‘improvement’. The second chapter centres on the working conditions in the cottage weaving industry in the burgh of Calton, in the East end of Glasgow, a traditionally poor and deprived area of the city. In the final chapter, a comparison of these two distinctive workforces is made, suggesting how each form of industrial production was overseen, regulated and monitored by individual employers; Dale and Owen who are historically considered as benevolent contrasting with the foremen overseeing production in an urban context. EE

↘ sandra.design.weave@gmail.com ↘ @s.mcwilliamstextiles

Sarah Rhodes Within this collection, the relationship between colour and emotion is explored through themes of shape, texture, and organised placements. Through a collaboration of both traditional and CAD technical processes, this collection accumulates in both paper-based and fabricbased prints. With no discrimination on age or gender, this series is proposed as a fun and versatile lifestyle collection, with emphasis on wallpapers, gift wrap and casual androgynous clothing. Intended on inspiring joy and play, by uplifting and engaging the consumer through colour and shape, a conscious effort is made to provide consideration and responsibility for contributing to the improvement of mental health and wellbeing. D ↘ Exploring Contemporary Artistic Representations of the Feminine through the lens of Inter-Sectional Feminism, using Venus as a compass. This dissertation navigates a modern Venus seeking to understand the iconic figure’s effect on twenty-first century inclusive feminism. It situates itself amongst the rise of exploratory twenty-first-century feminist findings and puts forward the suggestion of the successes and fails the mythos of Venus can perpetuate when discussing feminist themes within an artistic context. It begins by introducing a visual language used to communicate a Venus succinct to Botticelli’s, considering the manipulation of the Venus trope to fit a representation of the modern woman. It then explores visual semantics further in various representations of a sexualised Venus and through the lens of Laura Mulvey’s male and female gaze. It explores Judith Butler’s theory of gender performance when challenging gender norms to present an inclusive and diverse representation of intersectional femininity. Supported by theories developed by David Hume, Laura Mulvey, Judith Butler, bell hooks and Susan Brownmiller it explores the lack of discussion regarding intersectional feminism within contemporary art.

↘@sorohrhades

BA (HONS) TEXTILE DESIGN

Sophie Allardyce An embroidered textile designer with a passion for colour and material exploration. My graduate collection combines my fascination for structural shape and layered form. Inspired by the elaborate miscellany and intricate tactility of salvage yards in and around Glasgow, this collection has been driven by material curiosity. With a focus on predominantly hand-embroidered processes, I have created an extensive collection of multi-layered designs featuring a juxtaposition of bold form interlaced with intricate colour and material detail. The use of recycled material was imperative to my design process, which celebrates the beauty of discarded objects through restoration. EE ↘ Quilting: Out of the Home and Into the Gallery. This extended essay discusses and challenges the contextualisation of modern-day and historical modes of quilt-making, with a focus on the work of the women of Gee’s Bend and the collaborative duo Arrange Whatever Pieces Come Your Way. To examine this work critically, the essay begins by identifying and analysing traditional intricacies of quilting methods. The essay includes an investigation into the Quilts of Gee’s Bend and the controversy surrounding The Quilts of Gee’s Bend exhibition in 2002, exploring the role of textile and material politics. Academic theories that consider textile objects as communicative material to be read by the viewer and how stories are stitched through these quilted designs, is also discussed. Finally, I will refer to contemporary modes of quilt-making through the work of Arrange Whatever Pieces Come Your Way and their use of textile quilts as an alternative medium to create artwork, focusing on the hierarchy which surrounds the status of textile objects like these. To conclude, the essay combines these discussions of historical and contemporary modes of quilt-making to interpret the most successful context for this textile art.

↘ artsthread.com/profile/sophieallardyce ↘ sophieallardyce@icloud.com ↘ @s.allardyce_textiles

Thomas Kinghorn My project centres on collaging images of rural Inverness-shire (my home) and Glasgow, where I now live, to bring together natural and textured elements contrasted with man-made surfaces and structured qualities found in the city. I have sourced second hand and found waste fabrics, garments and accessories which have been deconstructed, cut up and used to explore combinations of digital dye sublimation, bonding, dyeing and reconstruction. The outcome is a series of unique printed textiles for fashion, of varying dimensions, which could be used as garment details or layered and collaged to cover the body, for both menswear and womenswear. With a focus on reusing old fabrics, I have re-cycled most of my materials to cut down on waste and to show the potential of upcycling textiles and clothing to give unique results. ↘ Masculinity, Social Class, and Power. I investigate how traditional and more progressive concepts of masculinity and gender relate to and interact with class, and how they connect to broader power structures. In doing so I will highlight the connection between the system of patriarchy, differing expressions of masculinity, and class prejudice, as well as how the perpetuation of traditional understandings of masculinity and gender benefit the most powerful men over other groups. I show that, regardless of different interpretations of the meaning of gender, culturally acceptable expressions of masculinity change over time. Consequently, this demonstrates how systems of patriarchy and class privilege are disrupted by LGBT identities. EE

THE GLASGOW SCHOOL OF ART

BA (HONS) TEXTILE DESIGN

Cover image: Millie Collins Studio Photography: Alan McAteer Staff Portrait photography: Shannon Tofts Design: Kat Loudon and Phoebe Willison Headline is Triptych by The Pyte Foundry. Printed by The Newspaper Club on 55gsm improved newsprint. All work shown remains the property of the designers and may not be reproduced in print or any other media without written permissions. Contact details for all work is provided on each page for any enquiries.

Degree Show Catalogue 2022 School of Design

Professor Stephen Bottomley Head of the School of Design

Curatorial Rationale Critical Journal Dissertation Extended Curatorial Rationale Extended Critical Journal Extended Essay

“The notion of sharing is key to the programme”

Paul Maguire Programme Leader

↘ cyan2222@icloud.com

↘ d.kim1649@gmail.com

THE GLASGOW SCHOOL OF ART

↘ gamadesigncom.wordpress.com ↘ dayna.design@gmail.com ↘ @gama.desday

↘ @hrmjo.studio

BA (HONS) INTERACTION DESIGN

↘ helenochoa.com ↘ helenochoadesign@gmail.com

↘ seivwrightdesign.com ↘ ktseivwright@gmail.com ↘ @katieseivwright

THE GLASGOW SCHOOL OF ART

↘ omedenel.cargo.site ↘ Lene.tdm1@gmail.com ↘ @omedenel

↘ l.feggans@yahoo.co.uk ↘ @l.feg.design

BA (HONS) INTERACTION DESIGN

↘ morven7w@gmail.com ↘ @morven_design

↘ yuqing2096@gmail.com

THE GLASGOW SCHOOL OF ART

↘ @zwwwwang_19

BA (HONS) INTERACTION DESIGN