Interior 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.

BA (HONS) INTERIOR DESIGN

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

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

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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.