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
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
THE GLASGOW SCHOOL OF ART
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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.
CJ
↘ 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
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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
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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.
CJ
↘ 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
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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’.
CJ
↘ yuqing2096@gmail.com
THE GLASGOW SCHOOL OF ART
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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
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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.