‘Connecting New Centres for Tradeston & Laurieston’

How might hierarchy of urban form introduced into Glasgow’s gridiron diversify pedestrian movement and experience? is the question to the design project in Tradeston & Laurieston located across river Clyde in south-side of Glasgow city centre.

The non-hierarchical system gird has the overall similarity of sizes and visuals on most streets, which makes harder for pedestrians to perceive a sense of hierarchy and difficulties pedestrian movement.

In Consequence, the author believed a city without the sense of hierarchy of urban form reduces the diversified pedestrian experience.

Recognised by the street user, the quality of varied diverse experience of pedestrians because people remembering the image of identity of different places. Glasgow’s gridiron which is essentially a non- hierarchical urban pattern, lack of the hierarchy of urban form. Missing of the secondary and tertiary street, the city loss the opportunity to introduce more diversity in the street network.

The hierarchy allows for the great decision by the pedestrian when travelling from their location to destination. The variety of street types have corresponding building typology that enclosed the space between buildings.

This design project aims to investigate how pedestrian movement between two neighbouring districts of Tradeston and Laurieston in Glasgow has been affected by an existing grid-iron morphology.

The project introduces a hierarchy of urban form including central square with primary public buildings; primary streets, mid-block lanes to plays as shared space and building variety at the scale of the block into the Glasgow grid-iron system.

Reflection on the success of the design project will allow conclusions on the applicability of a similar method to the understanding and transformation of other locations of under-performing gridiron morphologies.

Sushmitha Srihari is a Postgraduate student at Mackintosh School of Architecture. Through the work experience as an architect, she believes the built environment is the key element which shapes the city and its people. At GSA, she has been learning the concepts of Urban design and their applications in today’s world.

The research and design project is focused on urban issues such as i) tension between the future of markets as a city-wide ‘destination’ versus neighbourhood or local amenity ii) Importance of socialising space in the city. The research conducted shows the study of 19th C market building typologies in the UK and Socialising patterns or usage of markets in the daily lives of the people.

This project studied and combined sociological, historic and architectural research to envision one of the most complex spaces in the urban fabric – the market place. Each of these aspects can define and impact the local economy and trade as well as how public open spaces are perceived. The project is aimed to understand how to successfully regenerate the market place as a lively functional and economic community space in the urban setting.

Clutha is one of Glasgow’s first bars and has long witnessed the development of Glasgow. Over the years, the disrepair brought about by history has become an obstacle to the development of Clutha, and many problems have gradually surfaced. The project will start with an in-depth analysis of the historical context of the site from the historical culture of the area where Clutha is located, and find the uniqueness of Clutah. While analyzing the regional conditions, the unique network of Glasgow’s music development was analyzed, making the project have a good internal music network system architecture and become the core of the new Clutha. Next, the project reconstructed the function and form of the building from each floor in turn, incorporating a richer space and Clutha’s unique musical attributes into a limited space, thereby building the new Clutah into an emerging music and cultural center in Glasgow.

The ‘Other’ Playground: An Interactive and Heterotopic Right to the City

This project speculates about the exercise of the public’s right to play in the city through an interactive three-dimensional design proposal. Developed out of a rich understanding of the host space, the project combines the ideas of community gardens and sculptural playgrounds, to convert a previously in-between, overlooked or interstitial space in Glasgow into a site of rich cultural activity.

Through embodied experiences of play, the design aims to engage and stimulate an interaction amongst the local population and the site; improving and enhancing the relationships between the body and the urban fabric, whilst giving the users a voice to celebrate their own imagination and creativity.

Based in Possilpark, the project takes advantage of growth opportunities and embraces innovative ways of working to develop a model for finding sustainable, attractive and economically viable ways to re-engage interest in lost and forgotten civic spaces. Until around 1870 Possilpark was no more than a mansion house and home farm with few residents.

Since the 1950’s Glasgow, as with many cities across Scotland, has seen the demise of its industrial sector. The inter and post-war period was the most traumatic for the industries and although Glasgow clung onto being the “workshop of the Empire”, by the 1990s most of the engine shops were derelict and the shipyards reduced to wasteland. The most rapid deindustrialization took place during the 1970s and 1980s, with many of the traditional industries drastically shrunk or completely closed down. Although many initiatives promised revival, a shift towards a new service-oriented economy emerged to replace traditional heavy industries. This left many Scottish cities peppered with derelict spaces and industrial wastelands.

Possilpark was unable to avoid this pattern of urban decay, and today 100% of residents live within 500m of vacant or derelict land. The district is also one of Scotland’s most deprived areas with 15% undeployed.

The site is located on the intersection of Allander St and Barloch St in Possilpark.

Previously supporting the east corner of a tenement block, demolished in 1970, the stalled space currently functions as a car park.

Along with the scale and derelict condition of the space, which provided a huge canvas for the project, the fundamental reasons for choosing the site was its location in Possilpark and the area’s social demographic context. At the epicentre of one of Glasgow’s poorest neighbourhoods and running parallel to Saracen Highstreet, the site provided the opportunity to benefit an extremely diverse and deprived community.

The site, as with many streets throughout Possilpark, had become an avenue of anonymity, rather than a place of rich culture and activity. After visiting the site and talking to local residents it became apparent the traditional sense of a community had broken down. The increased transience of people in and out of Possilpark had developed a situation of people living in close quarters to each other but operating very isolated and separate lives. This ultimately breeds fear, contempt and frustration, bringing on a sense of alienation and powerlessness within the community.

This observation drove the development of a community based, public spaces project. These spaces are important assets to the urban fabric, providing people with opportunities to come together and engage with the community. When successful they can become a ‘self-organising public service’ for everyone in the society to participate in, learn from and to help create local attachments.

In Topographies of Contemporary Architecture Ignasi de Solà-Morales says architecture has gone silent. However, have we in fact just become deaf to the spaces around us through a lack of interaction and embodied experiences of play?

Relying less on visual stimulation and targeting a wider range of sensory stimuli the proposal shows how adding something new and enhancing the existing can positively change the way we experience and interact with the built environment.

The visuals explore the finer details of the design, whilst showing the inhabited capacity and tactile nature of the space from four different perspectives. To represent the demographic of people in Possilpark the images are populated with a range of figures, of varying heights, body shapes and abilities. These figures animate the design; suggesting how the space could be used and the rich variety of experiential goals the design can yield.

The project did not explore the technical details and specifications of the designed objects; how they would be made and what they would be made from, however, the visuals suggest a pallet of materials and textures which would achieve the goals of the space and design.

A conscious decision was made to crop the images and shape the field for view. Stepping away from a rectilinear frame not only avoided traditional presentation aesthetics, in line with the motifs of the project but also listened to David Hockney’s criticism of ‘traditional’ photography’s static field of view, revealed during early research into collage. Furthermore, the use of organic shapes to frame the visuals playfully focuses the attention on the designed space, drawing the eye into the centre of the space and reducing the attention given to the surrounding buildings.

After graduating from the Glasgow School of Art in 2019 with a first-class in BA (Hons) Interior Design, I am extremely proud to have completed my masters of Architectural Studies at the Mackintosh School of Architecture.

Having spent the last two summers interning at Interior Visions in Thailand and Waldo Works in London, I’m currently looking to widen my knowledge and experience within the growing discipline of design and architecture.

Creative Urban Practice.

An artistic exploration into urban space.

The production of a series of digital screen prints to create opportunity for speculation on how terrain vague urban spaces are viewed.

The considered urban spaces are ‘terrain vague spaces’. These spaces are often under appreciated, or misunderstood. They are overlooked.

This project consists of a series of images to provoke the viewer to consider these ‘terrain vague spaces’ differently, to contemplate value in otherwise undervalued spaces.

The artistic process allows characteristics of terrain vague spaces to be revealed. Highlighting the spaces value, and prompting these spaces to become part of the city in a way that wasn’t previously considered.

The final output of the project is three series of art practice, digital screen print images, which challenge conventional readings of urban space. Each series draws attention to a key principle of terrain vague spaces evident across three studied sites.

The images use abstraction to allow for the displacing and realigning of knowledge to realign thought. Specifically, this is the realigning of logic from spatial knowledge to re-frame thought on urban space.

Printed editions at A0.

The following study explores a new form of urbanism that can take over the Glasgow city center. The study is based on observations and modeled with reasoning studying theories that back the reasoning. The study looks at modeling an architectural form that amalgamates architecture and play using an array of curated elements, thresholds and functions. The study is developed in 3 stages:

Stage 1: Observations The observations collected have been collected post exhaustive exploration of Glasgow’s city center, especially its history, culture and development over time. The site was analyzed for its land use, junctions, accessibility, density, pedestrian and vehicular traffic, larger city connections as well as the differences in elevations. These observations culminate in raising a series of questions. These questions, in turn help in pointing our certain obvious issues with the urban fabric. The lack of open to sky spaces, the rising levels of density, the lack of breakout spaces and the diminishing centers of public assembly. Conversely, the observation couples with questions helped the analysis of site in terms of identifying its strengths, weaknesses, opportunities and threats. Moreover, the observations, lead to the exploration of play as an architectural element. The observations prove to be an important stage of our study as they are notes to fallback on and model design developments from the perspective of children and adults, in adherence to their movement and activity across the site.

Stage 2: Literature Primary and secondary data collection was all done in adherence to references and citations that have explored similar strategies in similar situations to create new forms. The study of literature culminates in the analysis of site that provides us with a formidable hypothesis – architecture and play can be amalgamated to create an urban form. The urban form itself is developed from experiments around expansion and contraction of spaces that respond to changing vision cones. The composition and organization of architectural elements is curated to efficiently engage user groups and functions. Furthermore, the parameters set for data analysis emerge from the surrounding buildings and site barriers, thrusting the study us to adopt and iterate Stallan Brand’s design proposal.

Stage 3: Modeling parameters The architectural language is developed as a result of user movement, site massing, and composition of the form. Plot divisions, accessibility, and functions give an order to aesthetics and design. The massing itself is a response to the urban fabric. It is an attempt to play with surfaces that integrate seamlessly into one another and the streetscape. The urban form generated as a result of design development addresses the notion of play at varying thresholds. It imbibes the childlike wonder of being in spaces, exaggerated through modeling of masses, portals, and thresholds in accordance with a user experience that looks at users to develop their own navigation system based on the order the form adopts from materiality and color. It is an attempt to curate scales such that it creates a paradigm shift in the way we look at Glasgow’s urban fabric.

Conclusion

The form is majorly modeled to be an open public space that curated movement by instilling a sense of navigation on its elements. The entire form can be collectively viewed as a coming together of the smaller kits of parts and engage with one another at varying scales. Each part has a certain role to play in hosting children and adults and activating multiple functions using materiality and color.

The integration of play through the urban form is rooted within the response the form offers by opening up its ground plane and terraces (both of which are internally connected as well). The permeable nature of the built form, in terms of both structure and the skin, develops from contracting and expanding spaces based on the site parameters and the surrounding built form. Furthermore, distinct circulation blocks double as navigational nodes that engage users and help them develop a sense of wonder through navigation.

The attempt is to create a new sense of urbanism amidst the city center, one that is more inclusive and active in its approach and management of users, that provides breakout spaces at varying scales and forms to develop niches that can best activate the structure in terms of aesthetics and functionality. There is a careful consideration given to threshold treatments and their engagement with the user is particularly curated to create memorable experiences through exaggeration of scale and modeled features such as furniture, walls and openings. Holistically speaking the urban form is an experiment that stemmed from the observations of Merchant city’s urban fabric. It is an attempt at bringing curiosity back into the users by appealing to everyone’s sensibility, vision and movement to narrate a sequence of urban play.

Revealing Peripheral Space: An analysis through drawing of threshold spaces  across the buildings of the Maiden Lane Estate

The goal of this research project was to explore the threshold spaces within housing which are peripheral to the dwelling spaces themselves. The analysis is focused particularly on public housing, or council housing, in London. This analysis was undertaken as a series of drawings which isolate these peripheral spaces across several development stages of the Maiden Lane estate in London. By abstracting these spaces from the housing blocks the aim was to reveal the various types of threshold spaces present and their arrangement across the different development phases.

The estate had originally been planned as one large development, designed by Benson and Forsyth, but was realised in three different phases. Phase one was a reduced version of Benson and Forsyth’s original plans, built by Camden Council and completed in 1979. Phase two was also designed by a team from Camden’s architect department but without Benson and Forsyth. This phase was overseen by Daniel Usiskin and was completed in 1983. The third and final phase of the estate is much more recent, completed in 2017 by PRP architects with Camden Council as the client.

Each phase of the development has been categorised by the house or block typology. The block have then been drawn in plan, isolating only the peripheral spaces and layered across different storeys. These plans have formed the templates to produce a set of axonometric drawings, coloured coded to show the various types of threshold space, along a scale of public to private. These drawing highlight the differences in spatial design across the different phases of the development. The resulting drawings provide a comparative study of the earlier and later phases of the project. Shown here is a selection from the complete set of drawings. The accompanying design report can be found via the link below.

The cities are looking to reuse their heritage buildings with new factions and purposes in order to give new life to these abandoned spaces. By using an area of the postgraduate diploma thesis that needed development this research aims to find methods and establish a better understanding about the use of interior spaces for the regeneration of heritage factory buildings by analyzing the work of Antony Gormley through his exhibitions Antony Gormley in Royal Academy of Art and Model in White Cube. The diploma thesis was located in the abandoned Can Ricart Factory in Poblenou, an old industrial area of Barcelona full of historic factories.

Using different mediums, this study analyses and determine knowledge from the work of Antony Gormley. Books, journals, lectures, videos, documentaries, research papers, diagrams, plans, and sections assisted this research with the appropriate knowledge. Structured in two sections, this research introduces the two shows of the artist, followed by their evaluation and comparison of the two with Can Ricart which assisted with strategies for the regeneration of the interior spaces of the factory.

Antony Gormley firstly studied archaeology, anthropology, and art history at trinity college, Cambridge. Then, he traveled to India which inspired his artistic theories. Afterward, he returned to England to continue his studies in art. In his studies, he focused on sculpture at the Central School of Art, Goldsmith’s College, and the Slate School of Art.

He is known for his artworks that explore the connection between the human body and its spatial surroundings. He wants to make you think about your position and the room you are in and in relation to his work. He says that ́art is no longer about power and privilege, but about participatioǹ. Most of his artworks are human figures, which he cast from his own body with various materials such as plaster, concrete, and iron. Some of Gormley’s works explore the relationship between old heritage sites or buildings, his contemporary artwork, and the viewers.  Few shows that explore this relationship are; Antony Gormley in Royal Academy of Art, London (2019), Sight in Delos Island, Greece (2019), Model in White Cube Bermondsey, London (2012-2013) and Still Standing at state Hermitage Museum, St Petersburg (2011-2012).

This study investigates the following two shows, Antony Gormley (2019) and Model (2012-2013). His Royal Academy show was the most recent work by the time of the research and was easy to visit and explore. The Royal Academy show was in the Burlington House building which was built in 1868 by Sydney Smirke. The visit to the show took place on the 26th of October where a further understanding, observing, and sensing of his artworks occurred. On the other hand, the white cube show was in an old industrial warehouse which was build in 1970 and transformed by Casper Mueller Kneer in 2011 into a contemporary art gallery. The medium that was used for the understanding of the show was mostly through videos due to the fact that was ended in 2013. The two exhibitions were similar in overall spatial size that I want to explore for Can Ricart and both are placed within buildings.

The Antony Gormley show was held in the Royal Academy of Art and included a non-chronological retrospective artwork from the 45 years of the artist’s work. According to the artist, one of the goals of the show was to exploit the entire volume of the Royal Academy in a way that made the viewer’s journey through it exciting. One of the characteristics of this show is that there is no story behind but only the story of the viewer that brings with him.  According to Martin Caiger Smith, the show binds together Gormley’s most recent and previous work, which emphasizing on his general and continuing concerns on how we experience the elemental natural world, with who we are, as bodies moving through space and time, and how we relate to the man-made environment we have to create in our environment.

The Model show that was held in White Cube, testing the physical possibilities of the gallery space. This ambitious show investigates our experience of the body through architecture, and of architecture through the body. In this show, a dialogue between extension, expansion, and the scale of the body is taken as a variable throughout the installation of objects. Unlikely, the Royal Academy show here the viewer can choose the pathway he wants to take. Additionally, in this show, the artist uses weathering steel and iron for his artworks. The use of these materials unites the various sculptures and gives the impression of one continuous artwork.

The rapid development of the global civil aviation industry has led to a surge in the number of airports. Airport departure hall consumes a lot of energy throughout the year due to their large size, complex function, busy business and long operation time. Among other functions the energy consumption for artificial lighting and air conditioning is one of the main factors leading to high energy consumption in the terminal. Skylight lighting, as a common way of lighting, is also different from ordinary buildings when it is applied to departure halls. At the same time, there is a special relationship between the energy consumption of air conditioning and the energy consumption of daylighting due to environmental conditions in low latitudes, and skylight lighting has a better energy saving potential in low latitudes. In view of this, this paper studies and analyzes options of skylight design for a typical airport departure hall form and layout. Based on the study of the design of departure halls and the theory of natural lighting design, the elements of daylighting design of skylights of the departure hall are summarized, and the natural lighting effect of the three skylights are discussed.

Sa Cheng, also called Selah, is consider fashion is an art. It is a concept that can be interpreted in various ways for each individual, which, for her makes it fascinating – everyone has a different style. For some people, self-expression is difficult, having an individual style gives these people the ability to show their personality and beliefs and this intrigues her. Her interest in fashion has grown year after year through her development of expressing herself with different styles.

She always consider that beauty is not static and it can be displayed with different forms. What our designs convey most is our value. She is aiming to overthrow the traditional definition on fashion and provoke thinking of the real world in others’ mind through her designs. Structure is an important design element in her design, and different silhouettes are created through different permutations and combinations.

Her interest in fashion fuels her creativity and determination and she is excited to improve the technical skills she already has and to combine her love for fashion with knowledge of marketing and merchandising. She wants to delve deeply into the fashion world, increasing her growing curiosity and knowledge. The skills she has built on her own through her profound interest in the area and her skills.

By studying politics, she has a deeper understanding of the economy and its impact on fashion. For example, she found that due to a year of protests and demonstrations that led to a decline in Hong Kong’s economy, the overall profit of the fashion industry declined. This is very insightful because it reveals how the economic uncertainty of Hong Kong affects the fashion industry, and the fashion industry depends on consumer confidence and material demands. In addition, her research on philosophy helps she to understand human nature, so we are naturally eager to create art forms and make our ideas practical.

As a member of a generation who criticizes the indifferent and lack of inspiration, studying fashion is now more important than ever, because her determination to create timeless and influential things has become stronger and stronger. She thrive in a dynamic environment where she can reach her full potential, and she believes that the vision of becoming a major contributor to fashion will be realized by studying at university. Here, she will be able to fully cultivate her creative passion and finally realize herself.

Menswear designer Wentian Song released a mono-material Menswear range for his Master collection at the Glasgow School of Art.

Being inspired by melting ice caps and the effect this is having on the planet, Wentian Song explored different forms of primary research by freezing garments and different objects, such as silicone blocks, few pins and photos, which related to his secondary research where he looked at historical photographs of workwear.

With consideration of maximizing the recycling of garments and making garments more easily degradable, Wentian Song applied mono-materiality into his design, by using straps and knots in his garments instead of traditional buttons and elastic bands.

In order to maximize the application of mono-materiality, Wentian Song deconstructed a pair of second hand suspender trousers and removed the original trouser legs to the armholes and sewed them into an oversize jacket. Then he sewed the pocket linings as a high collar along the neckline of the jacket. Similarly, after he got a first idea, he continued to do the second one and the third one until he got the oversize silhouette and the street look balance that he want.

Where it was necessary to use multiple fabrics, removable elements were designed by using buttons and zippers on the hem to connect the linings instead of sewing them together directly, this is so the components could be removed so the jacket could be recycled more easily.

Manwei Ou is a womenswear designer who graduated from MDes Fashion and Textile of Glasgow School of Art. Inspired by the curtains blowing in the wind of Gabriel Lester’s installation , the designer decided to research the concept of frozen in time and space and experiment with capturing old clothing in the mid-air through photography.

These images selected from the impressive shape of thousands of pictures lead to a sensitive collection of twisted, flexible silhouettes dresses and hats. The shadow cast by the clothes on the wall in the photo also contributed a lot to this collection.

The work refers to revoke the warm memory and the unforgettable moment of urban people, as well as the concretization of personal abstract emotions, second-hand garments’ rebirth. Time is unstoppable, but we had this moment.

Inspired by the shape and structure of architecture and influenced by the Bauhaus Movement, Carolina De Jesus designs and produces intriguing, colourful garments that are environmentally conscious.

Her work stems from the simple method of hand wrapping fine threads to create abstract layered shapes. She is fascinated by challenging the boundaries that arise when producing art formed from the winding of vertical and horizontal threads. The choice of threads and colour influences each shape to respond uniquely to the surrounding light, creating compositions with innovative shapes and three-dimensional effect.

Carolina continued developing resources and techniques to perfect this craft and also constructs commissioned wall art in a range of colours and sizes.

With the purpose to produce sustainable clothing in the forefront of her mind, she carefully mirrors this technique onto fabric by decisively cutting, folding and directing squares three-dimensionally.

These patched designs have traditional suggestions that emphasise its classical and timeless element. The patchwork technique clearly articulates Carolina’s personal design aesthetic, whilst creating opportunities to revive discarded fabric, in order to produce vibrant long-lasting clothing.

The designer graduated from Master of fashion and textile in Glasgow school of art. With the main direction of silhouette design, her design is focusing on the relationship between human body and clothings and balancing traditional tailoring elements with dramatic design ideas to achieve the purpose of both wearable and conceptual design.

The name of the project is “Body in desire”, which came from the story of lustful people transformed into monsters in the anime “Devilman Crybaby”. Therefore, the designer used the change of human bodies in desire to combine with the elements from traditional tailoring jackets to present the influence from desire to human bodies by the hyperbole and abnormal silhouettes of the design work.

The designer thinks that everyone is equal in front of desire, there is no difference of gender, age, nationality and body shape, thus, she wanted to do gender less design with not only oversized clothings, but the garments structure that independent from human body, so the visual effect won’t be influenced by human body shapes. Therefore, all the datas came from different body shapes with various sized, height and genders, so the prototypes were also tried on various bodies to achieve the most balanced result.

Yufei Cai is a high-end womenswear designer specialising in clothing with a romantic style, aiming to offer a different analysis and concept of beauty. She explores the silhouette by utilizing flowers as a research object, breaking through conventional clothing construction by using sculpture to show the effect of blooming. The entire series of work is visual and powerful, and she prefers traditional handcraft sewing methods to make clothes. Though the use of textured fabric and fabrication techniques, she explores sensory interaction with three- dimensional garments. This is enhanced by responsible design through designing innovative womenswear that considers functionality and aesthetic so that the designs can be worn by people with impaired sight.

Gaultier asked a famous question: “What is masculinity and what is feminization? Why shouldn’t men show their vulnerability and sensitivity, and women shouldn’t show their own intelligence and strength?”

This is a fashion series about gender fluidity, the designer hopes to finds a balance between the hard characteristics of masculinity and the soft characteristics of femininity, combining the two and displaying them in clothing.

In her development process, she used the basic suits bought from charity shops to transform the human body, combining two different color suits to produce deformation, to create new silhouettes and structure. She added to these suits by creating some extra features such as historical sleeves, ruff collars draped sections to the front, side, back, to combine with other structures and enhance the sense of design. She explored the characteristics of masculinity and femininity on a body through dress up exercises to investigate the blending of these two characteristics, from this she extracted the most successful elements to generate collage work and initial design ideas about cut, shape, color, fabric and silhouette.

Her design allows people in the current society who are afraid to express their true selves to express their bravery in the public with more confidence through dressing.This designer hope she can break through the public’s traditional solidified thinking about gender, through rejecting gender labels, and moving towards a wardrobe of gender freedom.

Currently, the fashion industry is one of the most wasteful industries in terms of resources. Most brands launch new products at least twice a year or more. Garments are losing their value through time because popular trends are always changing. Chao’s designs are inspired by the traditional Japanese patchworking techniques, such as “Boro” and “Sashiko”. Those techniques link to the traditional Japanese aesthetic “Wabi-Sabi”, which embraces imperfection, incompleteness, and impermanent beauty. Chao uses “Boro” and “Sashiko” techniques and the concept of “Wabi-Sabi” to repurpose textiles, deconstructing and reconstructing garments to give new lives to old pieces of clothing. This practice can produce numerous designs, giving a new life and purpose to otherwise disregarded clothing.

Compared with the undergraduate study of visual communication in a comprehensive university, the postgraduate study of graphics in Glasgow School of Art has brought Renyu Tian a greater space to explore and professional perspective.

The exit of graphics is not limited. Renyu believes that the information conveyed by graphics is diversified and can be very personal. When expressing views on some social phenomena, such as the infodemic and the conceptual change of marriage to modern people, she is more inclined to start from her senses and feelings.

I have a deep passion for trying to tackle the climate crisis. I consider it my way of contributing to that, by acting as a communicator and advocate for the greatness of change and alternatives that lie ahead of us. As an Illustrator, I want to utilise the ability of art to tap into people’s emotions and reach their guts – to influence a decision-making process and to motivate people to fight apathy and to find perspective. What I personally like so much about art, as a tool, is that it can easily be used to show a way of growing out of, instead of fighting against, whatever has to be changed. This follows the principle that whatever you give your attention to will expand. It is the perfect possibility to generate a new reality by feeding people‘s imagination – making something that might be yet invisible visible. “Homo sapiens rules the world because it is the only animal that can believe in things that exist purely in its own imagination, such as gods, states, money, and human rights.”, says Noah Yuval Harari in his book “Sapiens: A Brief History of Humankind”; hence, all systems on our planet earth (except for the ecosystem) once were just ideas in someone‘s mind who then acted upon them, convinced others of the ideas‘ strength, and therefore created a new reality. With all of my projects, I aim to contribute to creating such a new reality; one that is not based on exploiting people and planet, but one that is built on social, sustainable, and equitable values.

If this made you curious about more: Chrysopoeia is my recently launched caboodle of work where I will showcase all of my future projects.

Nina Klaff is a photographer, filmmaker, and writer currently based in London. Drawing from her background in digital anthropology and cultural analysis, her work addresses social issues in an experimental and evocative manner, with an ethereal aesthetic grounded in digital art. Her most recent Masters projects have revolved around the question of human connectivity in the age of social distancing. Her professional work includes portraiture, production photography for theatre and music, events, and creative writing and image-making for print and digital publications internationally.

Yingjie is a graphic designer. He usually uses illustrations and typography to reflect the concept of his work. Sometimes he will use almost crazy methods to achieve his goals. Some of the concepts of his works may seem naughty or even lazy, but he hopes that the audience can find something deeper behind these.

After coming to GSA, he focused on exploring more interesting things and concepts that people usually don’t notice easily, and try to use crazy ways to transform these concepts into his works. ‘Films in 1994 ’ is a good example.

As a Chinese, he understand the environment and current situation of Chinese art. He especially admire the artists from the 1970s to the 1990s. They worked hard to find their own artistic value and dared to fight for their purpose under the circumstances that the social environment changed very quickly. The spirit of confrontation is very worthy of the current artists to learn. Yingjie is also attracted by this spirit and hopes to make a work to commemorate it.

email: yingjiezhou1220@gmail.com

Xiaoxin Wang is an illustrator and visual designer from China. She is currently working as a freelance illustrator. She explores the use of comics to tell stories about what happens around her. She uses irony and humor to take us into a surreal space. Her work aims to give the reader an emotional identity. She was shuttling back and forth between reality and the surreal.

Xiaoxin graduated from Hubei Institution of Fine Arts with a degree in Visual Communication Design before completing her GSA master’s degree.
“My works focus on the study of all kinds of emotions brought by the society. Through the observation of the people around me, I find that some of the pressures brought by the community are very subtle by looking at these stories and adding some emotional content. It is the most exciting thing to let the work wander between the real and the surreal. “

I am a multidisciplinary artist utilising skills in Film Making, Photography and Visual language as my primary method of storytelling. Adhering to an underlying ethical code within my practise is a required part of acting responsibly as an artist, designer and a consumer, something I needed to be keenly aware of, given the sensitive nature of my work. This is no longer a choice or privilege, but a commitment everyone carries with their actions and Communication Design challenges me to ensure these values are upheld.

For the film “Mektub” I followed the animal welfare organisation “Ims’one Project” based in Morocco who seek to vaccinate, sterilize, tag and release street dogs as well as house the most vulnerable in the region. The documentary highlights the general situation facing street dogs in Imsouane, Morocco, and the attempts by local animal welfare organisations to introduce legislation combating the inhumane mass culling by authorities as an attempt to control their population. Woven alongside the issues facing dogs is also the personal portrait of Fran Belle, founder of “Ims’one Project”. Fran has to care for them as humanely as possible with limited resources, relying often on little more than her own relentless determination and immense self sacrifice.

Pauline Levy is a French multidisciplinary Graphic Designer, currently based in Paris. Keen on experimentation, she explores different mediums such as sculpture, drawing, and photography, and plays with materials and colours, as part of the research process. Publications are often the outcome of her projects, because of her high interest in Editorial and Type design, discovered during her bachelor degree in Art Direction at Penninghen (Paris). Meanwhile, her passion for Dance, and more widely performing arts, led her to focus on movements, space, and body. Feet were her main interest of studies during this year, bringing her to a developed and various reflection presented through two different supports: a publication and a dance performance. At the moment, the dance performance is presented as a score, and will evolve into a video, in collaboration with some dancers. Next steps for her are to increase collaborative and interactive projects, in the dance field in particular, and to discover more in Type and Set Design.

Jiayi Cai was born in Guangdong Province, China. She studied fashion design and garment engineering in China before completing the Master of Design in Photography from Communication Design at the Glasgow School of Art.

After graduating from university, she decided to come to the UK to study fashion photography. In stage 1 and stage 2, she devoted herself to finding her visual language and working hard to learn to create narrative fashion photography works.

She works across disciplines, her practice is process-led, trying various methods and techniques to develop ideas. She likes to dig out the relationship between fashion and humanities and create emotional works on this basis.

Concept of exploring and interest in interior design materiality was evolving over my practice. As an interior design student and practitioner working with materials in one of the key parts in the process. Over years of studies, I was working live with materials such as wood, clay, metal with various methods and technologies.

I was aiming to explore what is interior design atmosphere and what is materiality in that. I investigate this topic in terms of colour, lighting, texture but also the ability to express emotions and influence the mood of people by the interior with the ability to change.

„Like the weather, atmospheres change all the time and that’s what makes the concept so important. An atmosphere cannot be an autonomous state; it cannot be in standstill, frozen. Atmospheres are productive, they are active agents.When you introduce atmosphere into a space, it becomes a reality machine.” Olafur Elison

Designing interiors is always connected with choosing specific materials – it can happen live with existing with them, or choosing some from catalogues what happens online.Those experiences made me become interested in this subject.Awareness about fundamental different processes of making materials made me thinking critically about that and compering made materials to the natural environment which we, as hu- mans, got around us.

Our ability of perceiving materials and surfaces evolved with the digitalization and industrial development of producing materials.To read seen material correctly it is required to go back to the original material – not the imitation, not processed ones. Adaptation of finishing materials in interiors makes us feel the interior atmosphere and get used to them as finishing without analysing where are those from. As the research of that aspect I am making moodboards and photographs of the materials and interiors, verifying understanding of them as separate as artefacts: in context of interior but also in the surrounding of water and forest as a place where those are from. Following that experiments I propose the design of the exhibition which can illustrate the researched subject.

Within the framework of these criteria, in the materiality research I started to divide them as: digital, physical, natural and artificial. Questions regarding positive sides of digitalisation and technology led my research to the predicting of future materiality.

“The Monster At Our Door”: Space as Medical Instrument Against Infectious Diseases

Mike Davis points out in his book The Monster At Our Door that, one of the reasons why infection has become a “global threat” to people is space. We are too close to the sources of infection. Modern infectious diseases have become a spatial problem. If a kind of infectious disease can be regarded as a kind of space, space becomes a strategy for controlling pandemic as a general prescription or a functioning medical instrument. Based on it, this project aims to highlight the spatial duty of keeping down the virus spread and preventing infectious diseases.

The whole research focuses on the medical effect space can provide to explore a kind of disease-free and heterotopias space through investigating the relationships between medicine and architecture, and disinfection measures space can provide. Combined with scientific and social issues, space demonstrates its medical potential to be speculated as a post-pandemic experiment.

During the lockdown period, supermarket delivery is the main way to get food and daily necessities in quarantine, however, it shows an insufficiency in transportation resources and concerns about food safety management. So, medical space is narrowed to a supermarket to be redefined and promoted as an essential example. The space, as a medical instrument, is constructed based on the healthy features to approach the medical effect, and filled with disinfection surveillance and examination. The aerial view of this construction is like an X-ray film to show body fragments.

In order to balance minimized human contact and shopping experience, a variety of mechanical devices preserving visual, olfactory, and tactile channels for the customers are designed to realize automation. Modular construction is applied because of its convenience and ease of promotion. A material language of white concrete, antiviral copper alloy and glass became standard issue in order to create hygienic, antiviral, and easy-to-clean surfaces.

Bio

Interior Design is the study of the interaction between people and space, which is easier to be combined with social, environmental, and human activities. A product, a performance, and an event are all included in it, which gives me a lot of room to play. As a designer, I wish to improve the traditional indoor environment with the development of modern technology, provide artistic resonance through interaction with space, and find undiscovered stories in urban space.

Key skills: Photoshop, Illustrator, SketchUp, AutoCad, Rhinoceros

TIK TOK: AN EXPLORATION OF DREAM SPACE

portfolio available here

Do you hear the sound of your life clock?

There are several age stages in our lives, and each is unique with its own charm and fantasy. I once floated in a dream, standing on stairs and seeing a boy’s life cycle from when he is a baby, to when he is a grizzled old man. From my perspective, life is a journey where we exploring the world in our own way.
The scene in the dream makes me wonder if there was a connection between space and time. I hope to explore the relationship between space and time in the process of gradually materializing the abstract world in dreams.

In this project, you may see some very different spatial relationships from the real world. As far as I am concerned, these mysterious and uncanny spatial relationships are more able to reflect the feeling of dreams and the abstraction of life. When stepping into the stories, you may find something similar to yours, and when you look back, what does your story look like?

I’d like to continue the fantasy and mystery in the dream. Through the bookThe Architectural Uncanny (Vidler, 1992), I find what makes a space different is not what actually it is, but what we attach on it such as stories, memories, and imagination.

As I mentioned previously, to make the dream space differ from the reality, I referred to some films like Doctor Strange(2016), Inception (Nolan, 2010), and Escher’s painting, and I found there are three patterns to help me achieve it: reverse, distortion and mirror effect.

During the process of finding out how to create a closely connected story, I find something useful. In a music video called Cheers by Mayday, a Chinese band, I noticed that the changes of time can be reflected in the items that we hold at different ages, for example, comic books and yogurt turn into briefcase and champagne over time. What remains is we always have something in our hands, what changes are the thing that we hold at different ages, this makes a story logical and strongly bonded. I would like to create a life story and try to extract elements from life cycle, draw a sketch according to 12 age stages, and transform them into a digital model. My idea is that people only have access to this space once in their life, and they can’t go back after entering it, implying that life can only be once and we cannot start over.

Life clock is one-way, it cannot be stopped or reversed.

Glenda Annokye is an Italian/African designer. She began her academic career studying product design at Brera Academy in Milan.
Following a few years living in Scotland, she decided to pursue MDes in Interior Design at Glasgow School of Art. Glenda drew inspiration for her design from her everyday life with the aim of enhancing people’s lives. During her master’s degree, Glenda continued to inspire the interface between product and interior design with a design of a tile that was able to capture vibrations from steps. The idea behind this project was to create a space where people could see what is usually not possible to see. In her latest project, she created a pod for enabling people to spend time isolated with their thought, for a few minutes or hours per day. The idea was to tackle the negative association with solitude and integrate this state of complete isolation into our lives in a positive way.
This project was created, mostly due to the Covid-19 pandemic, which has changed our lives and encouraged us to consider how people can cope with being isolated and how isolation can be beneficial creatively and spiritually.

In the future she sees herself living in the UK pursued her career as a designer
Another area that she hopes to explore in future projects is incorporating elements of her African heritage into her design.

glenda.annokye@gmail.com

‘No man is an island.’

This saying comes from a sermon by the seventeenth-century English author  John Donne. No one is self-sufficient, everyone relies on others.

After COVID-19, the city became a lonely place . Once we recognize this, we will understand that it is not physical loneliness that triggers loneliness, but the scarcity or lack of contact and intimacy: for various reasons, people’s needs for intimacy are not met. Not only as an independent individual, but also as a citizen living in our century and era, I feel that something is burning in my heart. What does it mean to be alone? If we are not closely entangled with another person, how can we live? If we can’t talk easily, how can we connect with others? We have  to review our way of living, communicating and mostly connecting to other people. In this vortex of change, the way in which people are used to live our spaces has also been put into crisis.

Rather than rushing to victory in building the tallest and most majestic building, is it possible that we can re-connect interior design to humans, to once again appreciate the harmony between landscape, human, interior design and time. Instead of cold and unforgiving concrete, can we use glass, wood, bamboo, or even water?

Can we abandon our desire?

When it comes to this special time, we find ourselves living a new reality out of control made by strong changes. Suddenly many of our certainties have collapsed and in a short time we have been forced to change habits and lifestyle. The quarantine has forced us to rethink deeply the domestic space that has found itself simultaneously performing multiple functions including not only the residential one but also space for social relationship.

The purpose of the project is to return  to the process of collective experience and explore a sense of collective participation with a rural tribal style. On the one hand, the project emphasizes that people of different ages visit, experience, and interact in the space; on the other hand, people can go from passive seeing to active participation. This process is the most important meaning of interior design. Only by actively participating can the work accommodate more variants, and each variant produces its own ideas and value.

Lost cube

“Everyone is unusual ” When you find your way, you will no longer be lost.

During the isolation time of the new coronavirus epidemic, I watched many movies. What impressed me more is the movies about autism, such as “TEMPLE GRADIAN”. Why is the feeling deep? Because this film tells a story about a person with autism who was never understood until the final success on the growth path, it also reminds me that wearing a mask during the new coronavirus epidemic is not understood by some people. This is also me. There are many different views on autism in today’s society. Some people think that it is a disease, while others think that it is nerve diversity, not a disease. I think people don’t know enough about autism, and they don’t let everyone really understand autism. In my next design, I hope people can understand autism, no matter what point of view. So I started to study autism, so as to reduce social discrimination against them.

Olivia Lu is a junior interior designer who is creative and passionate about spatial design. She received a dual degree in agronomy and painting from Shanghai Normal University. She then entered the Glasgow School of Art to study MDES interior design. With cross-professional knowledge, Olivia developed a strong sense of art and design. She perceives that each space is alive, and different space is telling different stories. Her design discusses the relationship between human and the environment. She hopes her design can give the audience an immersive experience and become a media of different perspective thinking.

Consumerism first appeared in the 1600s, and it has spread across most countries in the world in the 21st century. Alongside the modernisation of consumerism, it has produced more waste of resources and damages to the ecological system. At present, human beings have approached a tipping point that all our choices will lead to a future which has ‘no return’.

2050 represents the goal of zero-carbon for human societies, but according to the nature of consumerism, this is almost impossible to achieve. The author has researched the topics in diverse materials, including case studies, readings, and questionnaires, and speculated how will we live in a sustainable new order. Ecological changes as the background, the author had created a New Amphibious nomadic space can adapt to the land and sea life. The research has tried to explore the possibility of living differently from the endless cycle of consumerism in a primitive way.

In this research, the project wants to explore the future position of human beings in the ecological system, and examined whether there is an alternative way to live, which can achieve a balance between human and nature.

Home as stage

Experience live arts in living space

The epidemic has caused people to spend a lot of time indoors. Faced with creating a different environment in a limited space, virtual space makes up for people’s desire to create a different environment. Technology is giving great possibilities to realize this idea. Therefore, this project wants to express that technology is an important part of interior design. It can be combined with interior design to make the interior space have more functions. The research of sensory technology has stimulated the potential of space creation, adapts, and rethinks architectural language in limited design conditions. The physical museums and theaters will definitely open again, but people can also have more choices for art visits. At the same time, people can get rid of the solitude of living alone through the way of experiencing museums and concerts designed by this project. Therefore, the home can be regarded as a platform for displaying various arts.

Importantly, it is an invitation to experience live art in new ways, to feel the value of the art together no matter where we are.

Ciara Davin McLaughlin designs reflect her interest and ideas on social inclusion, environmental issues and sustainability. Aware of the impact living and working environments have on our health, her designs strive to improve not only the functionality but the aesthetic quality of indoor and outdoor spaces and present an alternative solution for people living in towns and cities. Good design and beautiful environments are important for health and wellbeing and should be accessible to everyone.

The place where you live can change the way you behave and whilst architects strive for the utopia of modern high rise living, the reality for many of the inhabitants is a dystopia of poverty and social division. The topic of this investigation focuses on the inequalities of social housing and in particular the architectural designs of high-rise builds in inner cities and how this has the potential for contributing to wealth inequality, social segregation, violence and discord.

An initial research report preludes the problem on how to socially level the high-rise through examining case studies of post war architecture in inner cities and the effect on society’s well-being and behaviour when there are restrictions and barriers to social connectivity. The research and studio practice relate to theoretical studies on the inequalities of social housing. In particular, Jane Jacobs book ‘The Death and Life of Great American Cities’ which examines the flaws in urban renewal and the deconstruction of potentially healthy cities through urban planning.

The study then focuses on the fictional ‘High Rise’ by J.G. Ballard. Using literary interpretations of this novel and the floor plans and set designs in the subsequent film, a graphic analysis of this fictional building was undertaken to establish how the Architect’s vision and design of utopian living descended into a nightmare of chaos and social division.

The High Rise was then redesigned, removing the barriers, both physical and psychological to negate the oppression for the people inside and create a new way of living that connects not only the physical floor levels but also the human diversity of our society. This is established through sketches, sketch book work, experimentation and a portfolio of CAD developments and final design.

Making our digital communication more human.
Beyond words, our prosidy, intonation and dozens of other cues serve to derive meaning and empathize during a conversation. Video-calls make it difficult to pick-up on these cues, which can alienate and fatigue the participants.
This product uses ultrasound and optical sensors to capture non-verbal cues and respresents them using vibration, heat and light. It is designed to be centered around a mutual remote activity, which creates a sense of being in the same space. I tested the prototype with multiple users to prove this concept and they reported an enhanced sense of connection and see the potential for this product as a new way to interact online.

Andrés is a Venezuelan Italian product designer. He has experience with medical devices, rapid prototyping, art, and most recently came from the United States where he worked as an engineer in the development of commercial jet engines. He now focuses on human-centered design, with emphasis on a creating a healthy relationship between nature and technology. He is actively seeking positions as a product designer in the UK and Europe.

To see more details on this project and the rest of my work, please follow the link below (GitHub) to see my portfolio

The product is a building game product that helps children with physical isolation contact their peers or friends. Using the combination of physical toys and virtual experience, the remote interaction is achieved by building different building blocks in a cooperative mode. The combination of entity and virtual makes children meet the needs of remote interaction while increasing the sense of participation. When a certain goal is reached, the entity module will give users feedback with different lights, which will increase the fun of physical toys and the interaction between products and children. At the same time, combined with the use of intelligent devices, children can integrate their own toys into the built city and share them with friends, which increases the fun of products and deepens the communication between users.

PROTECTOR

A pair of smart rings could remind you to do not touch your face and wash your hands for 20s

About my design: These smart rings mainly have a fluid sensor and a Three-axis accelerometer and gyroscope sensor. It can detect the tendency of face-touch behavior and also the handwash case. when you have the tendency to touch your face it would vibrate 0.5s to remind you that you have the unconscious face-touching behavior. when it detects that you are washing hands it starts to count and vibrate for two seconds at the twentieth second to tell you that you can finish washing your hands.

Background: People are worried about back to work as the epidemic is not over yet. I also found that people would quickly adapt to the work environment and their awareness of self-cleaning protection may decrease although they said that they are worried about back to work at the beginning. During the observation, I found that what we really need attention is the potential danger of our unconscious face-touching behavior, besides wash hands for 20 seconds is also needed to reduce the risk of unconscious face- touching behavior but most people can’t accurately account to 20s for hands washing. So what if people could be reminded to do not touch their face and also could know whether they have washed hands to 20s.

How to use: As for how to use it, if we start it for the first time it will automatically go into setting mode, and what we need to do is to follow the instruction to record two positions, and the red led would flash to lead you. once you complete set you can start to use it and next time you can click it three times to reset the positions again if you want. Now we can start to use it, we don’t need to do anything in this stage, just wear them on our hands, once you have the tendency to touch your face, it would vibrate 0.5 seconds to remind you, of course, you can choose to continue touch and put your hands down, if you choose to touch your face it would not vibrate, cuz at this time you already realize that you are doing the unconscious face-touching action. And it would only vibrate again the next time you have the tendency to touch your face. And for the wash hand vibrate remind, once it detects that there is handwash liquid and starts to count, and once you use it wash for the 20s it starts to vibrate 2s to remind you that you can finish washing.

My portfolio:

Portfolio of my final project, more details information about my design process and also the product

Hi everyone! I am Adarsh Vijay and I am a Product Design Engineer with a background in Biotechnology engineering. My ambition is to work in the medical devices and in-vitro diagnostics sector. Design for the medical industry is my aspiration. Designing equipment and devices interlaced with biological processes and human anatomy and morphology makes up for my redefinition of User-Centred design. If you would like to know more about how my services can help your company, please send me an email at adarshvijaykl@gmail.com

About the project:

Sharps are medical devices that are used to puncture or lacerate the skin. They include hypodermic needles, scalpels, contaminated glass, guidewires and other medical devices. The World Health Organization estimates that 16 billion injections are administered world wide every year.

The major problem with sharps waste is sharps injuries which causes transmission of Blood Borne Viruses such as HIV, Hepatitis, Epstein Barr virus among many others. Sharps injuries are responsible for 16,000 HBV; 6,600 HCV and 5,000 HIV infections worldwide annually.

From 2012 to 2017, NHS had 1,833 injury claims which cost the NHS £4,077,441. NHS estimates that 40,000 needle stick injuries occur within the workplace per year and recognizes that the true figure may be twice this due to under reporting of injuries.

The main causes of sharps injuries as listed by the NHS are:

Non-compliance with standard infection control precautions
Inadequate disposal of clinical waste
Overfull sharps bins
Not using safer sharps and
Not using Personal Protective Equipment.

My design is that of a sharps bin that uses a needle remover to immediately isolate the needle to prevent further injuries to Health care workers and sanitation workers. It also helps to segregate the wastes. The product itself can undergo steam sterilization for disinfection thereby making it reusable. At the end of life, the DSharps bin is recyclable.

This product can help the NHS to eliminate sharps injuries through a sharps bin and create a safer environment for the Health care workers. With the ever increasing mountain of plastic waste, this immediate segregation of wastes will provide more options for recycling thereby help saving the environment as well.

Many people have mentioned that sleeping on a plane can be a painful experience, leading to the need for a deep rest when you arrive at your destination, which is bad for jet lag.This product promotes the secretion of melatonin by regulating human body temperature, so that passengers can have a good quality sleep during the long-haul flight.

Technology: Add an air pockets layer in the middle of the aircraft blanket, and control the insulation of the blanket through intelligent breathing:  introduce and outlet air from the blanket.This process is completed by intelligent air pump, which is connected with user smartphone and sensor. Also, the light belt on the pump can tell flight attendants whether to wake you up for meal. Controlling air content in the blanket can control human body temperature, promote the secretion of melatonin, thus promote deep sleep, and adjust human biological clock during the flight.

Yujie Zhang is a product designer who is trying to solve real-life problems through design to improve people’s lives. She has always believed that design makes our life more perfect, and with a little inspiration, designers can create a whole new world by continually analyzing and improving products.
Many students have more procrastination at home due to the impact of the epidemic. This phenomenon has inspired Yujie to complete this product design project. The right side of the page is detailed information about the product.
Looking forward to communicating with you, please feel free to contact me

There is a need to adjust the physical layout of a standard video game controller for users with accessibility issues. I designed a controller that users can take apart and rearrange components so that they fit the user’s desired layout.

Additional faceplates can be purchased (or 3D printed) which would offer a wide range of input layouts for users. To accommodate all ranges of ability, the entire controller can be taken apart and re-assembled with one hand.

The idea behind this product is that it would become a new standard for video game controllers. New consoles would be bundled with the controller, and able-bodied gamers would be able to use it without any problems, as it features a regular layout and shape.

My Design Process Journal documents my journey from concept generation to the final product. The Technical Report provides an analysis on the feasibility of this project.

I am a MSc Product Design Engineering student originally from Toronto, Canada. I have a bachelor’s degree in Systems Design Engineering at the University of Waterloo and over 3 years of work experience as a Software Developer and Systems Engineer. Before starting my master’s degree at the Glasgow School of Art, I spent the past year and a half leading a cross disciplinary design team – specializing in designing websites, mobile and desktop applications. It was during this employment that I found myself more interested in design and user experience.

For my MSc Major Project, I worked in collaboration with the Hunterian Museum and Art Gallery to develop a museum display case to tackle the issue of displaying light-sensitive objects in the presence of natural light. Through stakeholder discussions and a user centered design approach, the Setaka Smart Display was created. The final product uses two types of smart glass technology as well as an integrated IoT system to protect artifacts from both natural and UV exposure.

More examples of my past project can be found at: https://www.thanuree-pathiranawasam.net/

If you are looking for full time hires for September 2020, be sure to email me at: tppathir@gmail.com

In solidarity with those embroiled in complaints against GSA we present a collaborative piece of writing that came about as part of a conversation responding to Fred Moten and Stefano Harney’s text ‘The university: Last words’ and our own experiences of the institution.

This text is available to listen to as a special edition of the Art Writing Soft Shell podcast here.

hang on can’t hear back in a sec
Radically detach
Rejecting the gowns the dress
I think just stop paying
the feedback is the grades / collective feedback takes its place
If we accept
experience economy
Access to your peers
in a pragmatic way
undermine value of credential
What is required
Using the university as a hermit crab shell
university as hermit crab shell
university as a hermit crab shell
occupy
carapace
Any kind of shell
something useful that can be carried off
steal from the university
Access to each other
beep
you’ve all been expelled
refusing
refusing to end
Refusing the discipline
sticky question
extracted as currency
extracted from you as the university’s currency
Submit awful work
Do your best work in secret amongst each other
do your best work in secret
then you lick it
the university as guard of resource
University as guard to be undermined
break down barriers of access
Disperse them outwards
I can let anyone into a zoom
physical barriers
Robin Hood it
What they hold
authorship
people on the inside giving away for free
Intellectual property
how are those entangled
Property ownership authorship
property ownership authorship
Collective authorship
complicity
Talked out of it by submission
voices that join in with each other
hierarchy of work
Work rises
hierarchy of work
What it means to have an art practice
arts ed capitalises on “my work”
the privilege of being paid to work/research
academics rise
Individuality of submissions
Read by a higher reader
even if working as a collaboration
the individuality of submissions
can’t submit as one
Property–>value
the labour isn’t equivalent
From the beginning we are learnt to say ‘my practice’ ‘my work’
You go in holding this thing
disrupt and defer
the language of “my practice”
a practice of individuation
language of practice is the language of funding applications
we don’t present without names
We don’t present nameless
Naming as a form of violence
naming as ossifying
fixing to commodify
Acknowledgement as first step
Overcoming our complicity
my work/my practice,
What could it become
many many terms
Different ways to conceptualise it and put it into language
what role does language have in all of this
a manifesto
manifesto as movement to a different language
language of movement of criticism
Instead of floating through it
what we understand collectively
our own our practices
maybe just not paying
if you’ve got a problem you assume there’s a specific solution to that problem
Step outside – the potentials get bigger
meet in the car park
Stepping around the problem
increasing surveillance of students
Restriction of access
ways to work around that
movement around the campus is documented
Not a given that that’s okay
surveillance – it’s not a given that that’s ok
you start at group and end at solo
whole artist trajectory is group show towards solo show
start at group and end at solo
Art – start in group move to solo / it’s all pushed that way / it’s a tradition – proponent of larger apparatus of making solo
a larger apparatus of making solo
Abolish the solo show!
(Dorothea Lange, at her big moma retrospective, insisted on including her assistant’s work in it)
Presented to a student, to take part in – take part, scoop
student paying for the conversation / staff being paid to ‘give the conversation | taking part is the language of the university
Conscientious and active students paying
often not lines defined by the students themselves
this weird accountability thing
Its not a mutual thing
staff student ‘relationship’
the beginning of being solidified
We’re in the beginnings of being solidified
the early fizzy stages
it didn’t feel fun anymore
The work, my work, a unit of work
play
Resisting articulation or end
the structures that make things not fun anymore
Sustained practice (SH)
fun and play as subversive strategies
What about anger
what about anger
Anger within play
Play assumes we’re happy
where is anger within play
an indulgence
pastoral care as pull / indulgent
someone to care what you’re doing
you can’t show anger bc you’re getting pastoral care
It puts you in a clinch
play as in mess with it
Other ways to be antagonistic within the structure
it ultimately benefits the uni
Never made the actual work
withheld the work
benefited the course – won prizes
To not make the final product
it is very slippery
that’s not really the fucking point
The inconvenience of anger
the inconvenience of anger and of not playing
Of not giving back
Inconvenience of giving something back that’s not palatable
Not playing
Not user friendly
how do people think it’s different and why
remove reference to it
The institution are uncomfortable so trying to remove reference to them / keep it in house
the idea of looking back
Alumnus are used
alumnus – they let themselves be used
that doesn’t make any sense chronologically
University relying on complacency on a more giant body of students
university relying on complacency of larger body of students
like business does
I’ve just got to get through this
the individuation of it
I’m gonna carve this time out
I’m going to carve this time out
the sacrifices people have made
the sacrifices people have made
money/time
Relies on the sacrifices
A bind
competition, apathy
Some people aren’t in a position to reject it
powerless within that
to be in a specific place
What can we do as a group to disrupt or reject that
on a day to day basis
habitual things
Habitual actions
What habitual things over a long term force change
the privilege to be able to protest
the privilege to be able to protest
it’s about access as well
access to these thought processes
Access to these discussions
organising outwith the institution
Brief moments of interactions have sometimes been more worthwhile than 2 hr seminars
that spontaneous conversation that arises
the stuff that’s around the institution the para
is probably most valuable
The stuff that’s around the institution /the para part of the institution
Those spaces, they’re spontaneous
there’s something and it’s a bit sideways
make the structure make less sense
Let it go let it stop being property
how you articulate where your position in the university is
How you articulate what your position in the university is
what agency or organisation could look like
Let the property go
can ‘an organisation’ not have property
divert you from your aims are usually the three p’s: property, prestige, power
digital exclusion
Who’s left behind
The shifts that have had to happen
Necessary adaptation
false sense of agency
fob us off
Property when it’s not investment
property when it’s not investment
GAS – things are housed there
can an organisation or an institution be a free entity if it doesn’t have property?
keeping that space safe
is the issue not with the property but who controls the use of the property?
How do you make an open and radical accountability process?
a radical accountability process
those issues come up very much in the virtual space
not as free as the university would like you to believe
Property is theft
property as a thing or a space that can be collectively owned
property as something you own and others don’t (property is theft)
it is a long change
decentralising who holds the power
it didn’t just appear as we know it now
Rely on a common thought
I’m such a good product of capitalism
how much I’m a good product of capitalism – following through a structure –
radical complicity
Underpass learning
nowhere to gather
what you fund to keep going
the whole text is an echo in a way

///

Collectively authored by the current and continuing 19/20 Art Writing MLitt cohort.

IMPORTANT LINKS :
www.pauseorpayuk.org
www.alt-d.online

In solidarity with those embroiled in complaints against GSA we present a collaborative piece of writing that came about as part of a conversation responding to Fred Moten and Stefano Harney’s text ‘The university: last words’ and our own experiences of the institution.

This text is available to listen to as a special edition of the Art Writing Soft Shell podcast here.

///
     hang on can’t hear back in a sec
Radically detach
Rejecting the gowns the dress
I think just stop paying
the feedback is the grades / collective feedback takes its place
If we accept
experience economy
Access to your peers
in a pragmatic way
undermine value of credential
What is required
Using the university as a hermit crab shell
university as hermit crab shell
university as a hermit crab shell
occupy
carapace
Any kind of shell
something useful that can be carried off
steal from the university
Access to each other
beep
you’ve all been expelled
refusing
refusing to end
Refusing the discipline
sticky question
extracted as currency
extracted from you as the university’s currency
Submit awful work
Do your best work in secret amongst each other
do your best work in secret
then you lick it
the university as guard of resource
University as guard to be undermined
break down barriers of access
Disperse them outwards
I can let anyone into a zoom
physical barriers
Robin Hood it
What they hold
authorship
people on the inside giving away for free
Intellectual property
how are those entangled
Property ownership authorship
property ownership authorship
Collective authorship
complicity
Talked out of it by submission
voices that join in with each other
hierarchy of work
Work rises
hierarchy of work
What it means to have an art practice
arts ed capitalises on “my work”
the privilege of being paid to work/research
academics rise
Individuality of submissions
Read by a higher reader
even if working as a collaboration
the individuality of submissions
can’t submit as one
Property–>value
the labour isn’t equivalent
From the beginning we are learnt to say ‘my practice’ ‘my work’
You go in holding this thing
disrupt and defer
the language of “my practice”
a practice of individuation
language of practice is the language of funding applications
we don’t present without names
We don’t present nameless
Naming as a form of violence
naming as ossifying
fixing to commodify
Acknowledgement as first step
Overcoming our complicity
my work/my practice,
What could it become
many many terms
Different ways to conceptualise it and put it into language
what role does language have in all of this
a manifesto
manifesto as movement to a different language
language of movement of criticism
Instead of floating through it
what we understand collectively
our own our practices
maybe just not paying
if you’ve got a problem you assume there’s a specific solution to that problem
Step outside – the potentials get bigger
meet in the car park
Stepping around the problem
increasing surveillance of students
Restriction of access
ways to work around that
movement around the campus is documented
Not a given that that’s okay
surveillance – it’s not a given that that’s ok
you start at group and end at solo
whole artist trajectory is group show towards solo show
start at group and end at solo
Art – start in group move to solo / it’s all pushed that way / it’s a tradition – proponent of larger apparatus of making solo
a larger apparatus of making solo
Abolish the solo show!
(Dorothea Lange, at her big moma retrospective, insisted on including her assistant’s work in it)
Presented to a student, to take part in – take part, scoop
student paying for the conversation / staff being paid to ‘give the conversation | taking part is the language of the university
Conscientious and active students paying
often not lines defined by the students themselves
this weird accountability thing
Its not a mutual thing
staff student ‘relationship’
the beginning of being solidified
We’re in the beginnings of being solidified
the early fizzy stages
it didn’t feel fun anymore
The work, my work, a unit of work
play
Resisting articulation or end
the structures that make things not fun anymore
Sustained practice (SH)
fun and play as subversive strategies
What about anger
what about anger
Anger within play
Play assumes we’re happy
where is anger within play
an indulgence
pastoral care as pull / indulgent
someone to care what you’re doing
you can’t show anger bc you’re getting pastoral care
It puts you in a clinch
play as in mess with it
Other ways to be antagonistic within the structure
it ultimately benefits the uni
Never made the actual work
withheld the work
benefited the course – won prizes
To not make the final product
it is very slippery
that’s not really the fucking point
The inconvenience of anger
the inconvenience of anger and of not playing
Of not giving back
Inconvenience of giving something back that’s not palatable
Not playing
Not user friendly
how do people think it’s different and why
remove reference to it
The institution are uncomfortable so trying to remove reference to them / keep it in house
the idea of looking back
Alumnus are used
alumnus – they let themselves be used
that doesn’t make any sense chronologically
University relying on complacency on a more giant body of students
university relying on complacency of larger body of students
like business does
I’ve just got to get through this
the individuation of it
I’m gonna carve this time out
I’m going to carve this time out
the sacrifices people have made
the sacrifices people have made
money/time
Relies on the sacrifices
A bind
competition, apathy
Some people aren’t in a position to reject it
powerless within that
to be in a specific place
What can we do as a group to disrupt or reject that
on a day to day basis
habitual things
Habitual actions
What habitual things over a long term force change
the privilege to be able to protest
the privilege to be able to protest
it’s about access as well
access to these thought processes
Access to these discussions
organising outwith the institution
Brief moments of interactions have sometimes been more worthwhile than 2 hr seminars
that spontaneous conversation that arises
the stuff that’s around the institution the para
is probably most valuable
The stuff that’s around the institution /the para part of the institution
Those spaces, they’re spontaneous
there’s something and it’s a bit sideways
make the structure make less sense
Let it go let it stop being property
how you articulate where your position in the university is
How you articulate what your position in the university is
what agency or organisation could look like
Let the property go
can ‘an organisation’ not have property
divert you from your aims are usually the three p’s: property, prestige, power
digital exclusion
Who’s left behind
The shifts that have had to happen
Necessary adaptation
false sense of agency
fob us off
Property when it’s not investment
property when it’s not investment
GAS – things are housed there
can an organisation or an institution be a free entity if it doesn’t have property?
keeping that space safe
is the issue not with the property but who controls the use of the property?
How do you make an open and radical accountability process?
a radical accountability process
those issues come up very much in the virtual space
not as free as the university would like you to believe
Property is theft
property as a thing or a space that can be collectively owned
property as something you own and others don’t (property is theft)
it is a long change
decentralising who holds the power
it didn’t just appear as we know it now
Rely on a common thought
I’m such a good product of capitalism
how much I’m a good product of capitalism – following through a structure –
radical complicity
Underpass learning
nowhere to gather
what you fund to keep going
the whole text is an echo in a way
///

Collectively authored by the current and continuing 19/20 Art Writing MLitt cohort.

IMPORTANT LINKS :
www.pauseorpayuk.org
www.alt-d.online
gsamfa.net/

In solidarity with those embroiled in complaints against GSA we present a collaborative piece of writing that came about as part of a conversation responding to Fred Moten and Stefano Harney’s text ‘The university (last words)’ and our own experiences of the institution.

This text is available to listen to as a special edition of the Art Writing Soft Shell podcast here.

///

hang on can’t hear back in a sec 
Radically detach
Rejecting the gowns the dress
I think just stop paying
the feedback is the grades / collective feedback takes its place
If we accept
experience economy
Access to your peers
in a pragmatic way
undermine value of credential
What is required
Using the university as a hermit crab shell
university as hermit crab shell
university as a hermit crab shell
occupy
carapace
Any kind of shell
something useful that can be carried off
steal from the university
Access to each other
beep
you’ve all been expelled
refusing
refusing to end
Refusing the discipline
sticky question
extracted as currency
extracted from you as the university’s currency
Submit awful work
Do your best work in secret amongst each other
do your best work in secret
then you lick it
the university as guard of resource
University as guard to be undermined
break down barriers of access
Disperse them outwards
I can let anyone into a zoom
physical barriers
Robin Hood it
What they hold
authorship
people on the inside giving away for free
Intellectual property
how are those entangled
Property ownership authorship
property ownership authorship
Collective authorship
complicity
Talked out of it by submission
voices that join in with each other
hierarchy of work
Work rises
hierarchy of work
What it means to have an art practice
arts ed capitalises on “my work”
the privilege of being paid to work/research
academics rise
Individuality of submissions
Read by a higher reader
even if working as a collaboration
the individuality of submissions
can’t submit as one
Property–>value
the labour isn’t equivalent
From the beginning we are learnt to say ‘my practice’ ‘my work’
You go in holding this thing
disrupt and defer
the language of “my practice”
a practice of individuation
language of practice is the language of funding applications
we don’t present without names
We don’t present nameless
Naming as a form of violence
naming as ossifying
fixing to commodify
Acknowledgement as first step
Overcoming our complicity
my work/my practice,
What could it become
many many terms
Different ways to conceptualise it and put it into language
what role does language have in all of this
a manifesto
manifesto as movement to a different language
language of movement of criticism
Instead of floating through it
what we understand collectively
our own our practices
maybe just not paying
if you’ve got a problem you assume there’s a specific solution to that problem
Step outside – the potentials get bigger
meet in the car park
Stepping around the problem
increasing surveillance of students
Restriction of access
ways to work around that
movement around the campus is documented
Not a given that that’s okay
surveillance – it’s not a given that that’s ok
you start at group and end at solo
whole artist trajectory is group show towards solo show
start at group and end at solo
Art – start in group move to solo / it’s all pushed that way / it’s a tradition – proponent of larger apparatus of making solo
a larger apparatus of making solo
Abolish the solo show!
(Dorothea Lange, at her big moma retrospective, insisted on including her assistant’s work in it)
Presented to a student, to take part in – take part, scoop
student paying for the conversation / staff being paid to ‘give the conversation | taking part is the language of the university
Conscientious and active students paying
often not lines defined by the students themselves
this weird accountability thing
Its not a mutual thing
staff student ‘relationship’
the beginning of being solidified
We’re in the beginnings of being solidified
the early fizzy stages
it didn’t feel fun anymore
The work, my work, a unit of work
play
Resisting articulation or end
the structures that make things not fun anymore
Sustained practice (SH)
fun and play as subversive strategies
What about anger
what about anger
Anger within play
Play assumes we’re happy
where is anger within play
an indulgence
pastoral care as pull / indulgent
someone to care what you’re doing
you can’t show anger bc you’re getting pastoral care
It puts you in a clinch
play as in mess with it
Other ways to be antagonistic within the structure
it ultimately benefits the uni
Never made the actual work
withheld the work
benefited the course – won prizes
To not make the final product
it is very slippery
that’s not really the fucking point
The inconvenience of anger
the inconvenience of anger and of not playing
Of not giving back
Inconvenience of giving something back that’s not palatable
Not playing
Not user friendly
how do people think it’s different and why
remove reference to it
The institution are uncomfortable so trying to remove reference to them / keep it in house
the idea of looking back
Alumnus are used
alumnus – they let themselves be used
that doesn’t make any sense chronologically
University relying on complacency on a more giant body of students
university relying on complacency of larger body of students
like business does
I’ve just got to get through this
the individuation of it
I’m gonna carve this time out
I’m going to carve this time out
the sacrifices people have made
the sacrifices people have made
money/time
Relies on the sacrifices
A bind
competition, apathy
Some people aren’t in a position to reject it
powerless within that
to be in a specific place
What can we do as a group to disrupt or reject that
on a day to day basis
habitual things
Habitual actions
What habitual things over a long term force change
the privilege to be able to protest
the privilege to be able to protest
it’s about access as well
access to these thought processes
Access to these discussions
organising outwith the institution
Brief moments of interactions have sometimes been more worthwhile than 2 hr seminars
that spontaneous conversation that arises
the stuff that’s around the institution the para
is probably most valuable
The stuff that’s around the institution /the para part of the institution
Those spaces, they’re spontaneous
there’s something and it’s a bit sideways
make the structure make less sense
Let it go let it stop being property
how you articulate where your position in the university is
How you articulate what your position in the university is
what agency or organisation could look like
Let the property go
can ‘an organisation’ not have property
divert you from your aims are usually the three p’s: property, prestige, power
digital exclusion
Who’s left behind
The shifts that have had to happen
Necessary adaptation
false sense of agency
fob us off
Property when it’s not investment
property when it’s not investment
GAS – things are housed there
can an organisation or an institution be a free entity if it doesn’t have property?
keeping that space safe
is the issue not with the property but who controls the use of the property?
How do you make an open and radical accountability process?
a radical accountability process
those issues come up very much in the virtual space
not as free as the university would like you to believe
Property is theft
property as a thing or a space that can be collectively owned
property as something you own and others don’t (property is theft)
it is a long change
decentralising who holds the power
it didn’t just appear as we know it now
Rely on a common thought
I’m such a good product of capitalism
how much I’m a good product of capitalism – following through a structure –
radical complicity
Underpass learning
nowhere to gather
what you fund to keep going
the whole text is an echo in a way

Collectively authored by the current and continuing 19/20 Art Writing MLitt cohort.

IMPORTANT LINKS :

www.pauseorpayuk.org
www.alt-d.online
gsashowcase.net/louie-tyssen/
gsamfa.net/

Beatriz Lobo (b. 1994, Brazil) is a curator, museologist and researcher. An enthusiast of non-hierarchical thinking, she believes in the equality of ideas and non-linear ways of composing and organizing them. Interested in performance art as a form of critique, and guided by a theoretical approach, she works under an intersectional feminist framework. Her most recent research investigates strategies to decolonize the curatorial through Brazilian art practices.

Beatriz holds a BA (Hons) in Museum Studies and her professional experience extends from community-based museums to private collections. For more information, please refer to the website.

DISSERTATION TITLE

Performing Refusal: Lygia Clark’s practice as a decolonial tool within the curatorial

ABSTRACT
Although decoloniality has been a prominent topic in the arts since the 1990s, the major studies and publications on the topic have been led by institutions from the Global North. Despite the increasing amount of exhibitions by artists of colour and other minorities, the internal structures of these institutions are still white-male dominated. This paper introduces Brazil’s political scenario since the 1960s and, under the Black Feminist Poethics methodology, discusses strategies of decoloniality within the curatorial field. By building a parallel between Lygia Clark’s practice and conceptualising refusal aligned with the Practicing Refusal Collective, it proposes refusal as a generative tool. Finally, the research is brought to a contemporary context, presenting the COLERE Project, a curatorial initiative that has emerged to perform the theory and methodology discussed in this very paper. It concludes the fundamental importance of people of colour and other minorities to lead discussions that concern themselves. Ultimately, this paper demonstrates that visibility is not power, suggesting alternative ways of working in the arts, going beyond exhibiting unprivileged artists, and placing them in a role of knowledge production and decision-making instead.

BIO

Kate Holford is an artist and writer based in Glasgow, UK. She is Founding Art Director at Stillpoint Magazine (2018-ongoing), an international, digital publication that inhabits digital spaces to build public knowledge rooted in psychoanalysis. In December 2019 she co-organised the symposium Racism and Ecology in Berlin as part of Stillpoint Magazine’s Issue 003: FALLOW, and currently facilitates an Antiracism Reading Group for psychiatrists with Editor-in-Chief of Stillpoint Magazine Anne Marie Wirth Cauchon. She was curator of Imagine the Future, a performance event and exhibition of moving image installations by Jessica Holdengarde, Glasgow (2020).

As an interdisciplinary artist, she utilises curatorial strategies of connection-making and practice-led research methodologies to develop projects which often manifest as multimodal publications across print and digital formats. Much of her work appears in the written form, merging critical reflections and poetical forms. Recent research has been concerned with modes of correspondence and autotheory, in relation to intimacy, surveillance, extraction, and vulnerability, manifesting in the project Dear Lithium,. 

She was previously the Deputy Director of Stillpoint Spaces London, a psychotherapy, coworking, and events space, where she was Curator of the in-house exhibitions programme. In 2018 she held a solo exhibition of her work In The Stories There Is An Abundance; and produced Offerings, an accompanying pamphlet of poetry. She has exhibited in group exhibitions in London, Bristol, and Falmouth, UK. Previously she has been a Bookshop Manager. She completed a Master of Letters in Curatorial Practice (Contemporary Art), co-convened by the Glasgow School of Art and University of Glasgow in 2020, and received her BA(Hons) Fine Art from Falmouth University in 2013.

DEAR LITHIUM,

I: Publication: a collection of texts and analogue images that form a single ‘object’, brought together in the shape of a envelope. This object can be found in a public book exchange near the site of the UK’s first pilot lithium extraction plant, United Downs, Cornwall. This is the only edition in circulation.

II: dear-lithum.exposed: a website interrogating the effects of the digital/non-digital divide on experience of place, intimacy, and togetherness, in an age of increasing reliance on technological interfaces for creating and maintaining relationships with others.

Hu Yihang is a “silent” pseudo curator and radical post-idealist in a sense. His practice investigates “redundant events” arising from the ontological contradiction of ideological intervention in communities; His recent research centres on the reconstruction of the body caused by epistemological and aesthetic conflicts, the ontology of organic bodies and digital simulacra and the dialectic of texts as visual and phonetic act in the exhibitions.

He is also a co-founder of curatorial community /nfornonsense/ & founder of /Stray Dogs’ Garden (野犬花园)/ & 1/3 of curatorial collective /the_bricolage/.

Recent produced exhibitions include: /My Truth is Your Story/ (Britannia Panopticon Music Hall, November 2019), co-curated with Hannah Benassi and Shalmali Shetty; (online project, March 2020); /Phenakite are Forever/ (online project, August 2020); /Bon Voyage/ (Wooton Gallery, January 2021).

yihang.hu29@gmail.com
Instagram: @yihanginthewild

Claude Chan

Bio: Claude is a curator and researcher from Hong Kong. Her practice is concerned with queer histories, performance, technology and posthumanism, particularly the relationship between human body and technology as a framework for challenging the issues of ontology and anthropocentrism. Her research is centred around interview and conversation, with a focus on the role of the curator within an artist’s practice when facing ethical issues of display.

Recent exhibitions and research include: In/Invisibility: Presence In Performance, co-curated with Carol Dunn, Hannah Braithwaite and Shalmali Shetty (Kelvin Hall, March 2020); Authority & Freedom: Testing the Context, co-curated with Beatriz Lobo Britto, Marianne Vosloo, Dia Cao and Luke Liu (Under M8 Motorway and A804 Phoenix Road, Oct 2019). She has worked for CCA Glasgow through its Art Internship since 2019, assisting the curatorial team on the Cooking Pot Programme (May/June 2020).

Curatorial & Research Statement:

With a strong interest in posthuman art and curatorial practice, my curatorial methodology uses creative discourse as a strategy by conducting interviews with artists and curators as specialists key case studies, from which a layered exploration of experience, theories and narrative may develop.

My Master’s dissertation aims to discuss the concept of posthumanism in terms of exploring changing relationships between technology and the human body as a framework for challenging issues of ontology and anthropocentrism; observing that, the discussion of this topic in contemporary art and curatorial practice remains to be fully charted, and the theoretical research on it is worthy of which to pay attention. By reviewing historical exhibitions concerning the post-human, this research aims to examine the conditions of curating that frame the existence and further development of posthuman art, as well as presenting the desire for body enhancement as a response to expand the imagination and discussion.

My curatorial concerns centre around the moral impact of artistic practice on curatorial practice, seeking to develop a deeper understanding of the attitudes that curators should hold when facing these challenges through my research. By analyzing key case studies in my dissertation, I hope to present a wider view of posthumanism in curatorial practice, which will advance and support my own curation of projects in the future.

About the Project

Roc Blackblock– Barcelona; KMG – Edinburgh; Priestcorp – Glasgow; Siguel – Poland and Dr. D – London

Running through autumn 2020, Art of Defiance originated in Glasgow as a progression of creative responses centred on the ideas of connection, disruption, influence and change within the period of the Covid-19 pandemic. The project is curated by Marianne Vosloo and has developed through close collaborations with artists spanning a range of backgrounds, whose practices seek to create spaces of resistance and forms of disruption in the physical and digital public spheres in a time of crisis.

Art of Defiance takes the form of a series of poster interventions in advertising sites situated on the walls of the railway arches in Glasgow’s Eastvale Place. This small dead-end street is tucked away in between a diverging point of two railway lines next to an old industrial site, now a multi-disciplinary arts venue called SWG3. In addition, the project takes the form of web postings on social media and a customised website, developed collaboratively with each artist. The project connects a group of visual artists, street artists, aerosol artists and communication designers with overlapping subversive practices. Art of Defiance captures creative reactions to concealed, pre-existing and invisible issues further exposed by the pandemic, personal experiences, contemporary events and public discourse.

The zero in A0D represents artists, practices and voices not fully recognised in the art canon and, those who prefer the shadows of artistic anonymity. At the same time, zero is the new beginning of unlimited possibilities and visions for the future.

Curatorial Rationale

The emergence of coronavirus rapidly grew from a highly infectious disease into a set of circumstances and restrictions worldwide that would affect everything that we know and all aspects of our lives. What surfaced as a result of this turmoil was an unmasking and magnification of social and economic inequalities, with many levels of injustices made visible by an “invisible agent” (‘The Pandemic’s Invisible Agent‘, www.hyperallergic.com). The humanitarian crisis that unfolded simultaneously presented new possibilities to unsettle, subvert and transform systems and structures of power in creative ways, whilst concurrently revealing acts of resilience and new visions for the future.

The development of Art of Defiance started in the street; directly engaging with the strong imagery of placards and protests seen in early 2020. Most memorable was the political graffiti slogans painted in protest onto the monument of the Confederate General Robert E. Lee in Richmond, Virginia, as part of numerous 2020 protests against police brutality in the U.S.A.  The discarded placards around the toppled Edward Colston statue in Bristol similarly highlighted the strong presence of art in protest. This builds on evolving political struggles, acts of intervention to raise awareness of repressive and regressive acts of selfish capitalism, and an emerging satirical theme in activist art. Art in public space continued to emerge resilient and unrestrained, despite pandemic restrictions, while the rest of society viewed it on the internet under lockdown.

The placement of artwork into advertising sites such as billboards and bus stops in the urban environment is a disruption and repurposing of the commercial space. At the same time, the content of artwork created specifically for Art of Defiance is in itself seeking to disrupt, defy and challenge the major social, economic and political manipulations of 2020. A0D is the beginning of a community beyond the local, and which engages in the broader discussions around public art emerging during the pandemic.

Each of the artists has devised a poster intervention considered as an act of defiance in itself, which directly addresses the pandemic period. They have produced a piece of artwork during 2020 whilst remaining in five separate locations in Europe, working under different lockdown restrictions and limitations. The production of the artwork as posters connects with the history of artistic protest posters used at times of major social change.

A0D is both an arts commission and a shift towards a movement in public art. The platform gives a collective voice to artists working in different parts of the world, and that is my contribution as curator. The project goes beyond curating the poster interventions in Glasgow, to try and connect with, and actively contribute to, a broader conversation internationally.

The major global events arising throughout 2020 alongside coronavirus fears, have motivated a surge in activist contemporaneous research across public sites as well as newly formed online artistic platforms, creating an ideal recipe for Art of Defiance: for artists to shout back, to escape the limitations of daily life, and to challenge authority. And possibly to signal the start of a major new cultural revolution?

Curatorial Statement

I am a South African with an extensive interest in subversive and activist art practice, especially in street culture, public space interventions and the involvement of art in pivotal contemporary events. This interest emerged in my formative years in the Limpopo and Gauteng Provinces of South Africa where my awareness of the powerful effect of art in communal space developed into a fascination for art as a disruptive force. My visual experience of art as a tool of protest against the Apartheid regime and as part of a wider internal resistance movement fighting for change, established my desire to seek out art on the unconventional fringes of the mainstream. My curatorial practice explores interdisciplinary connectivity, transformational shifts and social engagement through art with a particular interest in artistic practices identified as marginalised, alternative, or part of DIY urban sub-cultures. My current research-led projects focus on anti-establishment art and creative activism within spaces that seek to defy and undermine dominant systems of influence and control on society.

Biography

Marianne Vosloo is a freelance curator, artist and event organiser, and an arts programmer at SWG3, Glasgow. She is the co-organiser of Yardworks, an annual multi-disciplinary live arts event at SWG3, showcasing Visual Art, Street Art, Design, Typography and Aerosol Art in public space. Marianne has a degree in Art History and Visual Communication from the University of Pretoria, South Africa. Recent exhibitions include Authority & Freedom: Testing the Context (Underneath M8 motorway and A804 Phoenix Road, Glasgow, 2019) co-curated with Beatriz Lobo Britto, Jiaying Cao, Kehan Liu and Pui Ying Claudia Chan, and Control Alter Delete (The Photography Studio, SWG3, Glasgow, 2020). The latter event linked the work of a satirical artist, illustrator and writer, a subvertiser and visual activist, painting and printmaking students and a street artist to showcase overlapping subversive responses to structures of power and authority.

Grace Jackson is a curator and writer from Toronto, Canada, currently based in Glasgow, UK. Presently, Grace is completing her Master of Letters in Curatorial Practice (Contemporary Art) at the Glasgow School of Art and the University of Glasgow. Her research interests include queer theory; alternative and ephemeral forms of archiving; and curatorial practices based on hope, disappointment, and uncertainty.

Previously, Grace was the director of the Toronto gallery The Zwig Foundation Collection from 2017-2019, where she organised artist talks, community events, and alternative curatorial programs that intended to enliven a static collection with new perspectives and discursive forms of looking and learning. Additionally, she was editor-in-chief of discount magazine, an artist-run publication based out of Toronto from 2015-2018. With discount, Grace led the organising, fundraising, and publication of two successful issues that brought together international artists based on varying themes. Grace completed her BFA in Art History with distinction at Concordia University in Montreal, Canada in 2015.

PROJECT SUMMARY

VIDEO ~ From My Bedroom to Yours: Art History Lessons from an Absolute Nobody and EXTENDED ESSAY ~ Unruly forms of Care: Preserving Humility as a method of Curatorial Resistance

This curatorial project takes the form of both essay and video, using the work of artist Vaginal Davis to unpack traditional curatorial strategies of care.

Vaginal Crème Davis is an LA-born, Berlin-based artist whose artistic practice spans a vast and untameable array of media. Throughout her work, she has applied unpredictable styles, techniques, themes, and venues making her difficult to define or pin-down. Her lengthy career destabilizes notions of gender, race, sexuality, and linearity, as she fluidly moves between progressing forward and returning back to old habits and ideas. As Dominic Johnson explains, “Davis’s personas reject the internal counter-cultural mandate to refuse self-criticism, instead problematizing the functions and assumptions of normative trends within the margins,” (Johnson, 2001). Her conceptual lectures, zines, and drag performances not only move away from standards imposed by mainstream culture, they further seek to undermine standards more generally. Davis continues to challenge her viewers to look for alternatives to current circumstances and new possibilities that are not always evident elsewhere.

Famously described as employing a form of ‘terrorist drag’ by José Esteban Muñoz in 1999, Davis imposes unruly and eccentric concepts upon her audience, often even radicalising ideas that already appear unconventional (Muñoz, 2018, 93). In 2003 Davis explained to her interviewer:

“When it comes to performance art, I am more interested in the failures than the so-called successes. I have never cared for entertaining anyone. My performances may have elements that some may find entertaining, but that’s not my main purpose.” (Bregman, 2003)

Gaining a clear understanding of Davis’s goals is not necessarily possible, as her intentions with each project vary enormously. However, determining the purpose of her work, or trying to grasp it entirely is perhaps beside the point. Davis invites us into a space in which we are not necessarily privy to what is going on; however, we are together in collective discomfort, sharing an uncertainty about how we should feel or what we should think. Angry, messy, humorous, and unkempt, yet always intelligent and thoughtful, Davis’s work activates the politics of her own body, as well as the bodies, spaces, structures, and oppressions that surround her.

Further, Davis’s work offers a powerful avenue through which to explore practices of curating, and therefore caring for art. My video project seeks to both present the work of Vaginal Crème Davis, while also experimenting and exploring avenues of curation that are antithetical to traditional standards of white cubes and academia. Following from Jack Halberstam’s concept of the ‘queer public intellectual,’ the project seeks to undermine boundaries between academic and community-based forms of learning, blending them together and demonstrating their validity harmoniously (Halberstam, 2003, p. 363). The extended essay examines institutionalised curatorial methods that seek profit and cultural capital above the interests of the artists they work with and seeks to demonstrate how Davis’s work is inherently in opposition to such goals. Divergently, the art historical video diary intends to offer a unique counterpoint to institutionalised curating and writing about art. Inspired by Davis’s anarchic and nonlinear practice, curator Grace Jackson comes to us via webcam, taking us through three disparate works by the artist. From the confines of Jackson’s bedroom, we have the opportunity to engage with personal and sensory interpretations of Davis’s work that are indeed bound by fact, yet also by ephemera. The project seeks to demonstrate the fluidity necessary within authentic forms of care, asking us to consider how each artist can offer new ways to interrogate curatorial practices.

Curator’s Biography

Jiaying Cao is a curator and designer from China, currently living in Glasgow. She is adept at turning concepts into reality, and likes to explore different forms, genres and media in both curation and graphic design. She is currently interested in film-making and has also created and participated in the shooting of several short films. Recently, she has been conducting research on curatorial activities in different professional fields, exploring productive ways to present artworks to the public.

She holds a BA in Information and Communications from Shih Hsin University in Taiwan (2019). Recently curated exhibitions include: Monologue: an exhibition about solitude co-curated with Tingzhen Zhang, Weizheng Huang, Weidong Zhuang and Yongru Chen in December 2018 at Songshan Cultural and Creative Park, Taipei; Authority & Freedom: Testing the Context, co-curated with Beatriz Lobo Britto, Pui Ying Chan, Kehan Liu and Marianne Vosloo in October 2019 at M8 motorway pedestrian underpath, Glasgow; and the Online project Dia-Logue, August 2020.

Curatorial statement

My curatorial methodology is based on interview and expanded dialogue. I seek to explore how interviews and online interactions serve to promote art and enable it to reach a wider audience, establishing through these my own curatorial framework.

Most of my curatorial projects include two elements: interactivity and interviews. Interviews have the potential to communicate core ideas about artworks, while interactivity encourages expression and sensory experience. I actively use these two methods to close the distance between art and the audience

Through the practice of interviewing I can learn more about artists and their practices,  have a symbiotic exchange and influence on one another. The format of the interview allows the artist’s voice to be heard, giving the audience a closer understanding of the ideas and intention behind their artworks. Additionally, through the process of interviewing, I can learn about other people’s curatorial experiences, and subsequently through an iterative practice, continually review and find the most suitable curatorial methods for myself.

This interaction with artists and curators builds the internal framework of my curatorial practice. Interactivity can attract audiences to engage with curatorial projects or exhibitions, and through this interaction, the audience is not only a viewer, but also, part of the exhibition experience, hopefully allowing the audience to be completely immersed in it. In turn, breaking the stereotype that art is untouchable, so that art can be accessed and felt by more people.

Project Description:

Dia-Logue is an online project curated by Jiaying Cao. Through the art interview as the main method, this project explores diverse methods for bringing artwork(s) to the public(s) and curatorial workings across different fields. Jiaying firmly believes that the sonic space can draw the audience closer.

The project launched on 3 August 2020 and will continue to develop as a long-term project. Everyone is welcome to join and have a chat with her, to make this project more colourful and abundant as it grows in content and form.

Alison O’Shea is currently based in Cork city, Ireland, currently pursuing the MLitt Curatorial Practice (Contemporary Art) programme through extended study. Her curatorial and artistic practices’ primary concerns include alternative methodologies of productivity, and creating sustainable practice models through speculative fiction. Recent curatorial projects include; relaxation*, Siuán Ní Dhochartaigh, Glasgow, UK; Over or Under, Molly O’Leary and Dominique Rivard, co-curated with Joe Henry and Cecelia Graham, Glasgow, UK; and Burning Down the House, Cork, Ireland. Her upcoming project a passive house is a collaborative publication and event with her sibling Lily O’Shea and will launch in late November 2020 in Cork city, Ireland.

Lily O’Shea is a visual artist based in Ireland and current artist-in-residence at The Guesthouse Project as part of the INHOUSE initiative, Cork. Her practice is concerned with political questions surrounding the contemporary labourer. This practice involves sculpture, performance, and film, as well as different forms of writing and publishing in varied contexts. Recent group exhibitions include: Rhetoric, Crawford College of Art and Design Online Degree Showcase, Cork, 2020, Villa the End, Berlin Gallery Weekend, Charlottenburg, Berlin 2019, and Art(ist) Film, The Gate Cinema, Indie Film Festival, Cork, 2019.

a passive house takes the last months of lockdown as a satirical artist residency interrogating ideas surrounding creative pursuit, productivity and down-time. A passive house is a house which is truly energy efficient[1], a sustainable and comfortable structure. This publication will comprise of a series of archival material from within the house – a house which is striving to become a passive house – the goal of energy efficiency is still present but for the occupants rather than the structure. The occupants of the space return to share a room for an extended retreat into the house.

The production of this text has simultaneously been a search for a sustainable practice but also an ever-present pressure to create an output to validate the pursuit of a practice. The methodology utilised to create this piece might be considered to be procrastination – in an attempt to understand what this work is, methods such as extended periods of reality TV watching, can drinking and sleeping have been utilised. These methods have now become the material of this object as procrastination has allowed us the time of having very little time whilst simultaneously having this opening up of time due to the blurry boundaries of when this work must be done. The attempt to describe what this labour is, removes some of the irony of calling it labour in that there is now an attempt to co-opt these everyday activities as artistic pursuit. Once the observation of the residents by the residents has begun; the excavation of the everyday, the labour which was being avoided begins.

[1] https://passivehouse.com/02_informations/01_whatisapassivehouse/01_whatisapassivehouse.htm

Joe Henry is an independent artist and curator based in Glasgow, Scotland. Joe’s work centres around music and art, developing more recently work that emerges as an interwoven meditation on healing through art and music.

His research investigates collaborations between, musicians, composers, poets, writers and photographers, curating and producing artwork that interweaves film and sculpture, music and video. Recent exhibitions and film work include:

Amy Winehouse by Charles Moriarty,(Dublin CHQ Building, May 2018);
The Lost Warhols by Karen Bystedt (Brown Thomas, Dublin, Oct 2018);
LCD Soundsystem by Ruvan Wijesooriya & Joe Henry (Guinness Storeshouse, Dublin, June 2019, and SWG3 Glasgow, October 2019);
Basquiat by Roland Hagenberg (Dublin Art Source, RDS, November 2019 and Sal Fine Art, Dublin);
Healing in a broken world, short film (Glasgow School of Art and the University of Glasgow, Postgraduate Degree Show, August 2020).

Kat Zavada (b. 1990, Poland) is an independent curator, researcher and spiritual technocrat based in Glasgow. She uses speculation as a method to investigate radical & fringe concepts. Her current research examines “humans as data beings”, dataveillance and post-work imaginaries.

After her first Master’s in Social Communication at the Pedagogical University of Cracow with a dissertation titled “The political image of the alt-right movement in Poland”, Kat went on to study MLitt Curatorial Practice Contemporary Art at The Glasgow School of Art and the University of Glasgow.

Recent curatorial projects include: Data Beings – collaboration with artisit Letta Shtohryn (in progress), Works On Work – collaborative research platform (ongoing), Hyper Hyper podcast (ongoing). She conducted a research in support of the COP26 related programme during her internship at the CCA Glasgow (disrupted by COVID-19). Kat contributed to the organisation of several arts and culture projects such as Cracow Gallery Weekend (2018), she founded and organised the visual art & experimental music festival Nadmiar/Excess (2017 – ongoing).
Portfolio: www.katzavada.com

¯\_(ツ)_/¯ Curatorial Statement ¯\_(ツ)_/¯

Curation for me is a form of critical enquiry, knowledge creation and exchange.
I use speculation as a method to investigate fringe or radical topics – to question the present by constructing alternative realities. My process bounces between academic rigour and humour, as I tackle academic themes in a sometimes non-academic manner.

My curatorial process has a rhizomatic structure, an assemblage of the political, economics, sociology, philosophy and pop culture. My research spans neoliberal tech utopias, South China Post’s newsletter, Reddit memes, Reza Negarestani’s tweets and conspiracy theories. I’m intrigued by topics related to post-work, late capitalism, data colonialism and post-Anthropocene imaginaries.

Each new project has its beginnings in a ‘curatorial crush’ which is born out of excitement, uncertainty and true admiration for an artist’s practice. This, I believe, leads to a dynamic collaboration full of challenging discussions and intellectual stimulations. Through my curatorial practice, I strive for genuine relations built upon trust and mutual respect, but foremost, openness to honest feedback and constructive critique.

I don’t have just one curatorial methodology and I do not believe in a one-size-fits-all model. Instead, I approach projects by learning the process and needs of my collaborators. I listen, respond and adjust to find a comfortable and effective way of working for both sides. It is a flexible and empathetic way of working. This creates a solid base that allows for exciting explorations and the creation of new knowledge.

Since the beginning of the coronavirus pandemic and the resulting lockdowns, I have taken refuge in the childhood home of my late mother in Phoenix, Arizona. This place has provided me an opportunity to engage with the unusual landscape of the Sonoran Desert, which has proven to be a unique site as I continue to generate related works to what had begun at the GSA. In addition, I have been frequenting an art sanctuary called The Land With No Name which is located in the high desert grasslands of occupied Tohono O’odham ancestral lands. By day I encounter the intensity of the desert heat and sun, exacerbated by the high elevation. By night I sleep in a converted shipping container, all without running water, electricity, or cell service. It is one of the most mysterious and ethereal landscapes I have ever had the opportunity to witness and be engaged by.

My deepening encounter of this place is informed by the memory of my mother’s words about the desert, and a desire to honour her through my work in her land. During my time in this desert, I have developed a certain sensibility by studying the light phenomenon, arid vegetation, and the earth’s contours. These elements are all enveloped within a sky in conversation with the earth through the sound of its wind. The winds continuously shape and shift the land, signalling a connection between the visual and the felt experiences of the desert. This has led to a process of exploration in the “capturing” of wind in conversation with land, as measured through the form of light.

In listening to the wind, people throughout the ages have reached to hear the voice and breath of God to point or guide them in certain directions. People speak of going where the wind takes us, to succumb to the will and power of the forces of the greater universe, and to honour and respect its origin. In its physicality, wind originates from earth herself, a voice of Mother Nature, a wellspring from the Motherland. I like to think of this as an ephemeral presentation of a guiding force, not dissimilar to the voice of a nurturing parent. As I sit in the realities of both global and personal loss, I believe there is access to an ancient knowledge in the gesture of visually capturing something that is both powerful and fleeting, an attempt to transcribe the invisible and intelligible conversations between the heavens and the earth.

By walking along the growing patterns of flora on the contours of the desert ridge lines, I have observed how the wind paints the landscape through its almost purposeful dispersion of seeds; living responses of this landscape to the gestures of the wind. My experiments to denote these gestures with light have articulated themselves through the forms of sails, ham radio towers of rust and stone, cast nets, stones that reflect and emanate light, and other forms of light instruments. Brought together, these creations are intended to coalesce into a visual temple to the wind, where I might send wind up in the signal of light.

I call myself a “small to big” artist. More specifically, it is like drawing on a blank sheet of paper. Some people will draw a draft at the beginning and finish their work base on the sketch. I am in the opposite position: direct drawing without any planning. When I create enough content without thinking, those things I created will naturally fill up the entire empty paper.
My inspiration comes from “unique moments”. Walking on a square, I saw a pigeon stepping on another pigeon’s head to get a piece of bread; two pedestrians quarreling on the road, but they still maintained a social distance during the fight. In the nightmare last night I dreamed that I was crushed to death by an elevator. Those are what I call “unique moments” in life. All my art practice also starts here by capturing those moments.

Basically, my art = +story +memory+fun+aesthetics. Sometimes they are creepy and cute.

Hello! I’m Georgie Mac. A Glasgow-based artist working with drawing and performance. I invent and create my own drawing tools and test them in live drawing performances. My work is inspired by the cosmological, I’m seeking out my place in the universe one experimental drawing at a time. I’ve been using video to document my process, and I would love for you to visit me over on Youtube. Feel free to say hello, I like it when people say hello.

I present two virtual spaces : mind map and lockdown

projects 

They retrace and archive my mental mapping process.

It involves a rhizomatic dynamic where images, concepts

and objects are woven into each other.

Mind map originally ran parallel to my sculptural research.

Throughout the lockdown, I decided to give it a

proper space to exist and evolve independently.

Lockdown projects is a new creation that zooms in on my

lastest projects.

Zhiwei Zeng, from Guangdong, China, studied at Guangzhou Academy of Fine Arts and The Glasgow School of Art, mainly use photography and moving images for artistic creation. The New Scenarios series are new works in 2020, generated using computer three-dimensional technology, and mainly explore the visual possibilities of the comprehensive virtual era.

Born in the northern city of China, Tianjin, I am a contemporary artist who specializes in the use of image media. Personal research and artworks involve visual experience, information communication, etc. At the same time, as a Chinese artist, I also pay special attention to the differences in the origins between eastern and western cultures and tries to practice contemporary art with Chinese-style philosophical logic, so as to enrich contemporary art. Besides, I have a professional background in IMS, so I am also interested in algorithm art and generative art.

I originally graduated from a Graphic Design Masters orientated towards social matters. I developed a background in print and editorial design. My practice is now focusing on research, social design and community-based projects. I am interested in looking at how design can support emancipation but also how design relates to politics and democracy.

My Master’s research project looks at political representation and democratic processes. It challenges the concept of representation and majority as effective forms of democracy and proposes different frameworks for democracy and civic engagements.

Because politics is often pictured as a complex topic only accessible for experts to discuss, instead, I tried to look at it with a didactic approach.

The research presents two complementary approaches “From the System to the People” and “From the People to the System”. Ultimately, what I am asking is how to represent multiplicity? What are the obstacles and problems of representation? Why do they exist and how to go around them?

I first attempted to define the French political system of representation in principle and in practice as a case study. I looked at its history, philosophy, practices and the roles played by experts and public institutions hoping this will enable me to identify entry points or short-circuit for change and civic engagement.

As my research perspective shifted I realised people were affecting the system themselves. I researched around the problematics of participation and how, why, when and by whom they are currently fostered. I identified different discourses around participation relating to different ideologies.

To get perspective, I searched for analogies. I compared network theories, animal and vegetal philosophies with the different discourses and ideologies around participation and with the way our social and political systems function. This allowed me to anchor my topic in a wider ecosystem and to compare current interactions and modes of assembling, of co-existence, and see what can be improved or challenged.

If you would like to know more about my work, don’t hesitate to get in touch!

I am Mugdha Patil, a graduate of the Master of Design in Design Innovation and Citizenship course at the Glasgow School of Art. I completed my undergraduate studies with a Bachelor of Design degree in Furniture Design from the National Institute of Design, Ahmedabad (NID). I am a designer who believes in making social change through people-centered and people-led actions and policies. I design services, products, product-services, and experiences that promote social, ecological transformation by applying research that focuses on people and the ecosystems (social, cultural, economic, psychological as well as physical) they occupy.

Citizenship for me means having a sense of belonging to a society. Design can help bring that about. I believe that taking into consideration the needs of an ecosystem as a whole gives us an opportunity for creating lasting change that is not just environmentally sustainable but also economically feasible and socially equitable. I believe that the design process has a thousand endings; it simply doesn’t end with a product and I continue to absorb its messages and meanings beyond that.

About the project.

My project, The Design of Dissent, combines public pedagogy and participatory design to create a Museum of Dissent. The final proposal made is that of a co-curated and co-created space where citizens can educate themselves about the various ways of critically participating in government, engage in the causes they believe in, and commemorate people’s power and struggles from the past.

The overall aim of this project is to identify how citizens perceive their duty of participation in government, especially in terms of dissent and our civic education on this particular topic. My focus is especially on the process of collective legacy-making, trust in institutions, and different approaches to critical civic participation, in times of protest and social change.

Following a qualitative case study + participatory design approach, this research intends to build a rich in-depth investigation focusing on how civic education is realized in our political lives and how critical sentiments are expressed by the citizenry, through the use of interviews, workshops, surveys, and document analysis. The results of this project are intended to bring more clarity to the ‘design’ of dissent, legacy of people’s movements, people’s trust in institutions (or lack thereof), and the viability of leaderless social movements.

My name is Imanina. I’m a designer interested in designing for a post-capitalist society.

My most recent work explored media and democracy in the UK and looked at how alternative, citizen-owned media might provide a voice for the mis- and under-represented groups in society.

I’m keen to further explore how design might be used as a catalyst for social good, that is accessible for all and not just an elite few.

After finishing my BA in Industrial Design at the Academy of Fine Arts in Kraków, I pursued a Masters in Design Innovation & Citizenship at The Glasgow School of Art. Together with my partner Kat Zavada, we organise Nadmiar/Excess – contemporary art and experimental music festival. I was part of the editorial board of Formy.xyz – Poland’s first peer-reviewed design journal (2018–2019). I held design roles at Ergo Design and Comarch. Together with Tillman Kratzer and Kat Zavada, we are preparing to launch Works On Work – a collaboration space for people pursuing projects related to the topic work.

For me, Design isn’t necessarily about finding a solution nor about solving problems. It is about creating space or situations where conflicting views and power relations can be discussed and renegotiated. I oppose the idea of the designer as a facilitator who seeks consensus between different actants, for it blurs authorship and what follows – responsibility. My practice is not about creating consensus or pleasing all parties. On the contrary, I see great value in conflict and dissensus as vehicles for liberation.

My master’s thesis looks at the idea of wellbeing appropriated by the contemporary mainstream managerial discourse, where employees’ happiness is perceived as something to be quantified, managed, and used as a productivity-enhancement strategy.

In opposition to the dogmatic aesthetic representations happiness related to a neoliberal moral fantasy imposed by those in the position of power, I propose taking a step back to anticipate and celebrate the spontaneous, unmanageable sources of joy and satisfaction resulting from autonomy.

The project aims to document minor everyday activities, techniques and coping strategies that go against the managerial regime – micro-disobediences that give one a sense of autonomy. Some examples may include: binge-watching Netflix during work time, taking unnecessarily long breaks, choosing different routes than the algorithm decides, being intentionally mean to your customer, acting grumpy when everybody is overenthusiastic or perhaps not participating in socials. And through these ‘coming-outs’ create a space free of slack-shaming and overstepping guilt.

With this project, I want to provoke a further conversation about work dogma and the spiritual violence of positivity at work. Unguilty Pleasures is an (auto)therapeutic tool for many working people, including myself.

Since 1880, we’ve lost two thirds of our ocean’s fish biomass and if nothing changes we could lose 60% of our ocean species by 2100. Coronavirus led to a collapse in fish exports and many people’s livelihood is being used as a bargaining chip in Brexit negotations.

Within this context, I sought to ask: what is the future of our ocean industries and how might we take a more regenerative approach to harvesting our oceans?

To divine this knowledge I asked experts who work in sustainable fishing advocacy, seaweed harvesting and government bodies. I learned about Integrated Multi-trophic Aquaculture(IMTA): a means of growing edible seaweeds next to shellfish in a way that cultivates biodiversity by drawing new fish and plantlife to areas where it’s cultivated.

I then worked with budding crofters and people who fantasised about escaping from the city to navigate what they wanted and how they might take steps to reify their fantasies. There wasn’t an awareness of the possibilities that were available.

I propose an informational campaign that would help those who want to work closer to nature to take clear steps to starting an IMTA farm.

A Fashion and Textiles Educator currently working at BPS Secondary College in Mauritius. As a fashion and textiles teacher she has always promoted the Green concept in students project work.

With a Bachelor degree in textile and fashion, she is always interested into studying the properties of fabric, basics of colour and texture.

This project began as an exploration of fabric construction methods.

It involves engaging stakeholders and collaborators in the processes of designing, making and testing of textiles. The strategy used is upcycling of fabric remnants sourced from the local textile mill in Elgin. The approach to upcycling, with which this practice is aligned, treats the textile source as laden with information that guides the form of new fabrics out the textile waste. Subsequently, the fabrics were sent for testing in Portugal for the creation of Almalaguês- Spanish sneakers.

Awarded as a Highly Commendable project in September 2020 for the SIE Fresh Idea Competition.

This project used design as a medium to explore the significance of ordinary furniture to residents’ daily life and the feasibility of sustainable development of furniture.

As a necessity of residents’ daily life, furniture hides many unknown stories and secrets and also carries emotions of different users. Every piece of furniture has a special meaning for everyone. However, the fast-paced life of modern society makes the circulation of products faster, and the replacement rate of furniture is increased so waste is inevitable. It is regretted that many furniture worthies of being preserved are therefore neglected and then abandoned. The reason for its waste is not only because of damaged furniture, style changes, and residents’ relocation but also ignore daily furniture and the lack of environmental awareness. Although there are endless related education projects, how to implement residents’ behaviours into daily life is the pinpoint of this project.

This project traced the circulation process of furniture, explored and redefined the meaning of furniture to residents, and finally designed a solution to extend the service life of furniture accordingly.

Dialect heritage aims to protect and promote dialect heritage. It focuses on remote communities in Scotland for their decline number of dialect speakers. Also, the research concentrate on Doric language as research example and the final outcome is related on it. The final outcome visualizes the idea of ‘dialect heritage make up a part of cultural heritage in the community’.In addition, this board game can be used as a catalyst, with youngsters meeting up with older native Scots speakers. During this process, youngsters have the opportunity to discover and begin to use new words, and the speakers found their inheritors and pass on their dialect knowledge. It could solve the problem of fewer dialect inheritors in remote communities.

Natural Light in Learning Environments

Learning environments and especially schools have always been of great interest to architects mainly because through design those spaces can influence a child’s education and future. A school is not just a building to accommodate students and teachers, and it must not be seen as such. A learning environment can play an important and significant role in students learning and academic performance.

The importance of natural light in a learning environment is what this research will focus on. While dealing with natural light in a learning environment, the architect will come across many other aspects like natural ventilation, views, the relation- ship of the classroom to the outdoor spaces, the orientation of building and classrooms, the colours and materials in the space that will have to be chosen to improve the quality of the natural light without causing discomfort or other negative effects.

In my research I have tried to determine the positive effects of taking advantage of natural light in the architectural design of learning environments. More specifically, the positive effects that are connected with student’s performance, health, the aesthetic and efficient quality of space and the possibilities that arise from the implementation of natural light in a learning environment.These positive effects are connected with a better quality of learning which is human-centred and sensitive towards the environment. In effect will lead to conscientious individuals and stronger societies able to confront today’s and tomorrow’s challenges.

Instagram : @sonyalizbeth

Linkedin : http://www.linkedin.com/in/sonyalizbeth

Email : sonyalizbeth@gmail.com

Hi, I’m Maja! In a previous life I was a physics grad but I realized I was more passionate about studying and helping people through design. My main interests are in public space as an arena for tactile democracy, encounters, and explorations. I aim to examine this through an analytical yet playful approach.

My master’s project, Serendipity in the City, looked at the city through the lens of “designing for serendipity”. I saw serendipity as a possible antidote to physical filter bubbles, routine, and strictly functionalist uses of space.

Through a series of discussions and walks, I explored the meanings of serendipity, community, connection and strangership with a range of people. The project identified 4 key areas to consider when building for serendipity, and proposed a freely accessible publication to inspire and empower citizens to form new relationships with their surroundings.

The full report can be viewed here.

A multidisciplinary designer with a socially engaged practice. Her practice-led research looks at creating accessible and democratic engagement processes and toolkits for public space and land research to mobilize alternative voices and experiences of the landscape. From sensory and sound mapping to spatial imaginaries, she is exploring ways in which notions such as ‘having a voice’ can go beyond the metaphorical, and sensory engagement can create accessible consultation processes.

Having delivered a diverse body of collaborative work internationally she has worked with experts across art, design, architecture and science to create work that is socially and environmentally driven. This includes public installations and engagement projects for TATE Britain, London Design Week, Hello Wood International Architecture Summer University, KÉK – Center of Contemporary Architecture and Istanbul Biennale.

She received I-Portunus European Union artist mobility grant to work with CCA: Center of Contemporary Art in Glasgow – as part of their ‘School for Civic Imagination’ public engagement programme and was awarded IDENSITAT ‘Sound of our Cities’, a Creative Europe Cultural Collaboration grant to deliver an urban sound mapping project in Barcelona this year.

My name is Francesca.

I graduated in Industrial and Graphic Design in Venice, where I understood how good products and multimedia projects should be planned. I learnt that the formal aspect of a product depends on its function and the user experience. In my opinion, the most important thing is that the designer role is to produce something that is durable even if the time passes by.

During the final undergraduate year, I started to work for a year in an Italian company, that produces glass objects and technical lamps. This job made me realize that I would like to do something more helpful for people.

The link between urban spaces and wellbeing has always been interesting for me, so I decided to move to Glasgow and attend the Environmental Design Master. Here I focused on the way a city or space can affect our behaviour in a positive or negative way. I learnt the importance of exploring and understanding a specific context through qualitative research to find solutions that can solve real issues and truly improve people’s lives.

Actually I am based in Italy and I would like to find a job in the Architecture and Urbanistic field. To be honest I do not know where I would like to live or do in the future. However, I know for sure that I would like to travel and live in different places to do as many experiences as possible, to enrich not only my career but also my life.

I am a visual communication designer based in Seoul, South Korea. My current interests and practice are in socio-environmental design, especially focusing on the possibilities of collective changes that individuals’ behaviour can foster.

This project ‘Empathy-derived recycling model’ opens up the opportunities of personal connection between refuse collectors and the general public, for residents’ better understanding of what results their behavioural decision on waste disposal could cause. The research explores people’s cognitive and environmental behaviour change when no one intends to cause environmental harms but far too much waste that could easily be recycled is going to landfill. The system highlights the significant environmental impact of correct recycling and putting the stuff in the right bins, and the intrinsic drive for such waste disposal behaviour can be improved by building up the familiarity with refuse collectors.

“Please try your utmost to separate and wash. It’s not just us you are helping. It’s yourself in the future.” – Mr. C, Refuse collector

I have a background in Architecture and have always been interested in exploring lived experiences. I am inspired by how narratives can play a part in shaping culture, influencing change in systems and attributing new meanings to spaces.

My graduate project was focussed on exploring the gap between the representational aspects and the built material reality of cities. My effort was to mediate an experience through a dialogue between the city and its people by challenging everyday conditions in urban streets. The result was an audio experience that could serve to dismantle the built, objective perceptions of the city and re-orient human perspectives. It is rooted in the idea that people form dynamic, iterative relationships with the spaces around them and this can be used to transform the urban experience.

A graduating Design Innovation and Environmental Design master student. After completing an undergraduate course in Industrial Design at the School of Design in Zagreb, Croatia, I wanted to expand my work into broader social contexts. In the future, I wish to explore how spaces and environments could be used as transformational tools for society. In my final MDes project, I researched death and dying in order to develop ideas for new environmentally and socially sustainable alternatives.

Grief and Growth is a speculative design for a holistic new death practice lead by the principles of nature, equality, and healing.

The outcome imagines a new death service ran by nature preservation charities. It includes requirements for memorial and ceremonial grounds installed at protected nature sites around the UK, as well as a model for use and service outline which provides accessible funerary options while aiding nature conservation efforts. Those remembering their loved ones in this context intrinsically think of nature, the circle of life, and their place in it. As the charities’ reach expands through this service, caring about and protecting nature become part of a shared heritage.

Upon further development, Grief and Growth hopes to introduce something that’s missing from contemporary death practices: perspective and options.

As a designer with a foundation in architecture, I am fascinated with how spaces can be well-utilized to improve the quality of life in society. I aim to understand how people use the space around them by applying user-oriented design research methods to everyday problems. As a graduate student in design innovation and environmental design, my goal is to uncover the layers to problems in food sourcing in crowded cities and arriving at creative solutions. I have explored possibilities for change and hope to continue learning and growing from the research done for this project.

INTRODUCTION

Fresh fruits and vegetables at your doorstep are what I consider to be a sign of progress. Getting your hands dirty and working towards ensuring that progress is how I envision the direction for society’s prosperity. Sourcing food in a sustainable way is something that a lot of designers and professionals have been trying to figure out. Farming locally can ensure not only a steady supply of groceries for yourself but also help resolve the shortage of resources in the world. I have always believed that together we can achieve more. The pandemic has shown us the importance of banding together as a civilization. The support and kindness we can offer each other collectively can prepare us for any unforeseen problems. This can be a broad concept and difficult to navigate where to begin with.

In this fast-paced and ever-changing world, the demand and need for basic amenities like food and water are increasing. There is tremendous pressure on the world’s resources, and we are not fully aware of the consequences that are yet to follow. I am interested in finding a way to live in a society where we can source our food ourselves. We are dependent on grocery stores and supermarkets for our daily fruit and vegetable needs. What if there is a way to find an alternate source of food that doesn’t rely solely on other systems. This idea of a sustainable way of living first came to me during my undergraduate studies. I visited a distant relative who was living in the countryside with a small farm in their backyard. They are an elderly couple who now use their retirement savings to live a clean holistic living by growing their own food. I was fascinated with this concept of sustainable living. But living in a city, I didn’t have enough resources to make this a reality yet. All my groceries have been store-bought. But amongst many reasons, not having the benefit of having your own plot of land to farm with all the right resources and time are some of the reasons I want to explore through this project.

The next experience showed me the importance of locally sourced produce in society. A few years ago, I was living in a community in the south of India called Auroville, outside of any Indian authority or laws and functions as an independent city. The philosophy of this town is to “a universal town where men and women of all countries are able to live in peace and progressive harmony above all creeds, all politics and all nationalities. The purpose of Auroville is to realize human unity”. Here I was able to experience a holistic life where I ate locally sourced food. I witnessed a pretty different environment from where I grew up. In the city, slowly people were losing connection with their neighbors. When I was a kid it was a common practice to gather in common spaces and have a chat or share stories in the community. While living in Auroville, I witnessed the same feeling of togetherness with the quality of food we shared. Here, all the food was locally sourced, and the establishments were also privately owned. I witnessed a healthier lifestyle through food that was independent of any corporation or business. My mission to obtain a close-by supply of fresh fruits and vegetables was rooted more than ever with this experience of my life. I want to be able to use gardening as a tool to be the starting point to reach a sustainable way of life in the future. As a designer, I hope to use the tools and skills I have been equipped with to make a positive contribution to society, starting with the area of food and farming which is a topic I have always been intrigued with. Through various research methods, I have explored the various aspects and characteristics that are attached to growing your own food and the related services that are currently present.

PLANNING

INITIAL RESEARCH
Community gardens are a key part of urban cities that create a common space for growing your own produce. Such spaces help people who don’t have their own land because of space limitations in a city. They are an integral part of enhancing the beauty of a neighborhood. I came across a paper which explores the effects of a community garden in improving the collective development of an urban neighborhood. This paper informs the joined efforts of a diverse community is favorable for advancing future. The community gardens that were “multi-functional” and “met social needs” were most succeeding. (Yeager, 2020) I have tried to understand the connection between people and their community and how these existing resources can be enhanced to result in something beneficial for everyone. I am also interested in finding a way to live in a society where we can rely on each other when it comes to source food ourselves.

At the start of the project, I realized that I just had the bare minimum information on food sourcing or farming and had only the passion in the subject, to begin with. I started exploring different resources to broaden my knowledge to discover the possibilities I could go to. I found out about a webinar on Eventbrite organized by Illinois Institute of Technology (IIT) called Food Sourcing Solutions which at once caught my eye. The topic that was discussed was a live project conducted by graduate students along with collaborators and stakeholders from their community in Chicago, Illinois. Attending this webinar proved to be instrumental in setting the ground running for me. I got a rough understanding of a design project similar to mine. Here, the students spoke about the multiple solutions they had arrived at by prototyping their ideas and concepts with the community they were designed for. Through desk research, I found various news articles, journals, and reports that were helping me further understand the different layers and scope for this project. As shown below, I sketched out a rough mind map of what aspects of food I wanted to address. This helped me gather my thoughts and focus on growing fruits and vegetables and how this could be achieved.

DESK RESEARCH
The relationship between sustainability and farming was my main concern to address. I began investigating the concept and value of sustainable farming. I came across one of Unilever’s initiatives that emphasize the positive effects and more importantly the urgency for sustainable farming practices. Reducing the effects of climate change and benefitting the farmer’s community were some of the topics they were hoping to be working towards to meet the demand for goods and services. They also mentioned how providing farmers with a better yield would not only improve their lives but also the surrounding communities. However, this highlighted the role of an organization with sustainable ways to source food which was not the direction I aimed for. Through this project, I was hoping to find a way to meet the world’s growing needs without destroying all of the earth’s resources through individual contributions. To better investigate the effects of food sourcing on a person and their community, I would have to study the different nuances of what sustainability means. All of the preliminary online search for buzz words like sustainability, community, farming, etc. swept up pages of information with relation to environmental or economic impact. I was curious to learn about the social connection to sustainability. According to this paper on placemaking, different factors are responsible for the outcome of urban community garden projects. Here the emphasize that a community garden’s success is not only measured on its scale or the yield of crops. By acknowledging the effects of community gardens, I want to explore a way to incorporate into a variation of “home gardens”.

The pandemic has taken its toll over the world and people over the globe have gone through similar experiences with the lockdown. Having to isolate from society is the sole connection experienced world-wide. But the importance of supporting each other is a core value we can learn from this catastrophic event. I had to enquire more about whether the attitudes of people were changing in a more positive light was accurate or just optimistic delusions. I came across an article published by Civil Eats, a news source sharing stories surrounding the American food system. Here, a group of commercial farmers who usually do not grow fruits and vegetables is now contributing to helping the nearby town in times of need. This showed the potential of battling a shortage of food as a collective effort.

But why choose to grow it ourselves? For starters, it is an opportunity to learn a new skill. To have the closest nutritious food source that can improve our physical and mental health is always a plus. It could be cost-effective if done using the right methods but more importantly making us more independent. This article supported that theory which speaks about a retiree in her 60s from Singapore who overcame a shortage of food at the local store by growing it herself. Previously, she was unable to find the time to garden more often. There were also several other examples and data collected highlighting people’s increasing interest in home farming. These stories substantiate my belief that farming at home is possible despite having no prior knowledge or space for it. Not only is it achievable but also has mental health benefits. An article from the Guardian demonstrated the health and socio-cultural benefits of growing your own food. This article was about a man renting out a small space and growing vegetables in the garden for himself and helping neighbors do the same. He was able to live a healthier lifestyle for an entire year without ever going to the store. This article supported my idea of bringing people together using farming specifically to become more self-sufficient.

The connection between urban community empowerment and the benefits of farming was the next area I was curious to get insights from. I read about a paper that examines the positive and negative reasons behind the development of a community garden in an urban context. This was necessary to contend my assumption that cities do not have enough space to farm individually. Hence community gardens could be a great alternate to not having a private plot of spare land to grow crops. The purpose and functionality of community gardens or allotments were the main focus on my desk research stage. I briefly researched organizations that contribute to gardening and urban development that came across 2 places that I was aiming to speak at a later stage of my project. ‘Urban Roots’ in Glasgow and ‘Urban Growth’ in London would have been a great source of information to understand the role they played in their communities. Unfortunately, this was the start of the lockdown, and all places were temporarily closed and proved to be a roadblock for me at this stage.

LIVED EXPERIENCES
I began combining my desk research with my personal experiences that could also contribute to my research planning. I had participated in a bamboo construction and organic farming workshop in June 2018. The workshop run by Ar. Richard Belho of Zynorique Initiatives at Nagaland, India. Here I got a better understanding of how farming can be conducted in a cost-effective and organic way that benefitted their community. The farm was in a small village where there were not a lot of amenities that we find easily in most cities. I got to be a part of every stage of the gardening process, from planting the seeds to plowing the land. Not only that but also every member of the staff was putting in their contribution towards the farm. They were able to save money; instead of buying tomatoes and chilies, they were growing it themselves. This is when I was able to see how a small community with limited resources was able to be self-sufficient by working together. Another experience I had was coincidently on my way to get groceries in Glasgow, where I came across Greyfriars Community Garden. I was amazed to see it thriving in the middle of a global pandemic unaffected. I went on to explore other community gardens to confirm my theory that these spaces were functioning successfully considering the current situation.

SECONDARY RESEARCH

FIELD OBSERVATIONS  
Assessing the current state of community gardens around me, I went through a report on Glasgow’s community gardens. The research conducted in this report was to expand on the connection between sustainability and the urban community. It also speaks about a grassroots organization called Just Food which engages in collaborative community projects to feed the local community. I stumbled upon ‘Stalled Spaces’, a Glasgow City Council project on the closed gate at Greyfriars community garden. Because the place was closed like every other establishment, I was unable to find anyone to talk to and I observed the surroundings to find any information. This project was started to support local community groups and organizations across the city to develop stalled, under-utilized spaces. These temporary spaces aimed to improve the health and well-being of the community by increasing community engagement. This space was meant to open up spaces for recreation and making them safer for the public. To my dismay, I was unable to find any proof that this city council project was a success. I visited 6 of the community gardens, based solely on their location to my cycling radius. The first 3 community gardens I visited were on the south side of Glasgow. These were located in the middle of residential spaces with abandoned plots. The current situation of these spaces was in bad shape. They were completely abandoned with no sign of greenery, and some were reduced to being unused spaces again. The next 3 community gardens were situated by the Scottish Canals. These were also located close to a residential neighborhood, but it was different from the other ones I visited. Spiers Wharf, for example, is inside a well-maintained residential area and is not easily available for everyone. Since it was temporarily closed for outside access, not much information about the garden was available.

After visiting these community gardens, I was able to gain some insights on what to explore next. I decided to look into a few other city council projects to see if there is a pattern forming there. This was meant to help me work towards a solution to design a more functioning community garden. I noticed some of these “stalled spaces” initiatives were in neighborhoods that were not maintained properly. I planned to explore the urban rejuvenation aspect of the project to see how to bring people together and make them feel safe and look for any opportunities to make these community gardens feasible and accessible for everyone. Based on this one particular city council project it was obvious that these spaces were not living up to the potential. My deduction by this stage was that community gardens are currently failing to be a good enough food source for a person. However, I had to be sure before making a snap judgment and dismissing community gardens altogether based on just a few visits. I created a rough stakeholder map that wasn’t based on a lot of data, but it was a base ground to look at broadly the end-user to my design idea.

ENGAGEMENT

INTERACTIONS AND LIVE CASE STUDY
My reasoning from the observations to know the exact direction I have to take to reach a long-term goal had to be explored further. Starting with interviewing people who are experts and non-experts in farming. I drafted emails inquiring for stakeholders to interview by branching out to my personal and professional networks. Not everyone got back to me, but I was able to get some interesting leads. But it wasn’t too much of an issue as I soon found out after connecting with my extended family and friends’ circles on social media platforms. I discovered an organic farm providing fresh produce in a locality in Mumbai. Through mutual friends, I asked to set up an interview, but it did not go as planned.

INTERVIEWS
My first interview was with my family’s longtime friend who shared the first experience I had that gave me the inspiration for this project. They were able to provide another perspective to mine. I asked them several questions by breaking it down to simple general questions to get them comfortable with the subject matter and then dug deeper to see the reasoning behind their responses. The first one was from the perspective of people who turned to become expert farmers without prior knowledge. They continue to rely on themselves to source their own food. They originally lived in a crowded city and were able to achieve this holistic living after moving to the countryside, where space was abundant. The second interview happened after I attempted other research methods because I wasn’t able to get people to agree to sit down and have a chat. The second interviewee was an amateur gardener from Woodlands Community Garden in Glasgow and has been using the community garden in their neighborhood for the past 10 years. They lived alone in the city, so the community garden activity was more of social activity for them rather than as a way to source food. I downloaded my notes and data collected into a “journey map” describing the key elements for each interview and the recurring themes from these separate worlds. The main element that started to inform the project’s main concern of successfully growing food was that the gardening plot was available in close proximity and it because it was a platform to socialize. Also, both were unaffected by any concerns with food sourcing in the lockdown.

ONLINE QUESTIONNAIRE
I created a questionnaire through Google Forms to branch out and reach out to more people quickly. The response from the questionnaire was overwhelming because in a few days I managed to get a total of 150 responses. This itself was a positive sign that people were interested in this area of food sourcing. Here again, 3 key themes jumped out which I felt were interesting to explore later. I discovered that people were:

·       open to the idea of avoiding supermarkets completely.

·       they were willing to share a space with their neighbors.

·       would welcome help and resources to farm at home.

ANONYMOUS USER EXPERIENCES
The form sparked a conversation amongst people and they happily came forward with their personal stories with farming at home.

Following are anonymous experience-based personas I drew out that addressed some of the insights I made from the preliminary observations and assumptions.

·       Persona 1

She is a middle-aged doctor who finds time in her busy schedule in a crowded city to grow a few essential used daily in the kitchen. Returning home, she plucks a few herbs in the community courtyard to prepare dinner. If shad more space and time she would love to grow more fresh ingredients.

·       Persona 2

Working professional woman who has now found time in the lockdown to grow an abundant supply of micro-greens and pulses using plastic containers piling up at home. She has coped with space shortage with resources at home which would otherwise just land in a landfill somewhere.

·       Persona 3

Stay at home mother of 2 young children who has converted the rooftop of her house as a farm. Living in the countryside which has a more favorable climate she has utilized her skills to source all of the groceries at home. Diary products and other food groups are what is store-brought, and she would love to expand into gathering those at home too.

LIVE CASE STUDY
Equipped with all the data I collected from talking and interacting with experts and stakeholders, I revisited my initial analysis from my field observations. In passing conversations with friends here in Glasgow, I was recommended to visit a couple of community gardens that disputed my theory that community gardens are a failing concept to grow food in the city.

WOODLANDS COMMUNITY GARDEN
This one was a well-designed space that showed an engaging community of people. There were other amenities provided which made the community engagement more of a success. Although they were currently shut, it was a beautifully designed space that is thriving with people socializing and growing produce. Multi-level spaces to maintain social distancing rules and enjoy the space were well-designed. A community garden with pizza oven and barbeque grill were also available as per the weather permits. Office spaces with a deck for social events are usually open to the public were closed now yet there were people using the space because of its design.

MARYHILL COMMUNITY GARDEN
This community garden I came across while cycling through Glasgow. It is located right by the main road blending in perfectly with the surrounding giving it a welcoming look. I figured this was thriving because of its positioning giving access to passersby on foot or in a vehicle. It also provided a green buffer space living enough to drown out noises and distractions from any traffic on the main road.

GARNETHILL COMMUNITY GARDEN
This one was suggested by a friend who lives close to it. This was smaller compared to the other 2 I visited but definitely functioning. It was beautifully decked with inventive planters made from recycled furniture and household fixtures. Though the place was small it was well-maintained from the conditions of the growing plants. The personalization of the space showed the investment of the community.

DATA ANALYSIS

EARLY INSIGHTS
I referred to IDEO’s Human-Centred Guide among other such toolkits I found online. I attempted some of the exercises and activities to understand navigating the data to reach the desired results. I started by attempting another way to address my goal for this project since the start of it. Asking “5 whys” was a useful tool to understand the depth of all the information I acquired from interactions and observing spaces. Questioning the first “why” showcased the reason to start was from a desire to learn a new skill. After digging deeper with each “why”, I was able to decipher core themes emerging from them. I put them in the form of “how might we” questions.

·       How might we create a sustainable food source through a community: to achieve a sustainable and healthy lifestyle.

·       How might we become less dependent on supermarkets: to become more prepared for the future.

·       How might we reduce food waste using gardening: to avoid a shortage of food.

This process helped me arrive at the long-term goal which was to work towards living in a self-sufficient sustainable community. But before that, I would have to prioritize the problem to reach that goal. With the “frame your design challenge” exercise, I tried to define the possibilities of taking practical steps towards making a change. I decided to concentrate on gardening as a stepping stone to reach the goal of an alternate source of food. I studied the changes in existing issues in the context of the stakeholder’s environment, currently getting in the way of being independent.

SYNTHESIS AND OUTCOMES

OPPORTUNITIES
The last exercise helped me identify opportunities to arrive at possible solutions. Changes needed to happen to the current systems in place to explore opportunities and solutions. I began asking the following questions like how might we make accessible space for everyone and keep people interested in learning something to be more self-reliant? To make these solutions a reality I had to uncover the actions required to be done. Following the worksheet “Impact Ladder” from the IDEO toolkit handbook, I looked at the changes that are deliverable in the stakeholders’ actions. My field observations in the start revealed that community gardens were not living up to its potential. Therefore, I needed to focus on the reasons for the ones that are functioning and contradicted my assumption. My questionnaire regenerated responses that supported my reasoning from the desk research. The perception that people were enthusiastic in gardening at home but for reasons like not having space, time, or confidence in skills to develop it further. My next motive was to find a way to generate a way to get people excited about it as a hobby but not let it fade away when other priorities take over.

I had to understand the different characteristics in the user’s environment that factored in their behavior towards gardening at home. But layering in this activity into a person’s life without making it tedious. I don’t want it to be a process of imposing my idea on people just because I had faith in it.  I had to make sense of the users’ context to begin forming a solution. Creating an ecosystem map suggested in the IDEO handbook, revealed the scope for change in the user’s environment, community, services, and institutions that contribute to their behavior in society. For the user to be consistent, they would have to have more access to the resources and time to be an expert. They should be aware of what is already existing in their community by better ways of communicating with other like-minded people in the neighborhood. As for the services and institutions that inform the user should be made available through a precise medium. So that they can be better advised on how to use the resources that they might not be aware of.

CONCEPT DEVELOPMENT

IDEATION
I was hoping to start a ripple effect in inspiring and improving the overall lifestyle and well-being of society. The close possible outcomes that can be generated to begin having that effect is what I explored next in this stage of my research. After refining the insights, I stepped into ideating the opportunities for change in the different stakeholder groups. I mapped out the shifts that needed to happen to arrive at the final goal in the form of a service or a product. Loosely following the steps in this activity guide (theory of change), I created some rough concept ideas against each of the shifts. These shifts or changes were a cumulative result of all the analysis and insights from the users I interacted with. In the map below, I placed red post-its’ on the concepts I wrote down that could have the most impact with “addresses this well” and the pink post-its’ on the concepts that have the potential to have an impact with “addresses this somewhat”.

FINAL ANALYSIS AND SOLUTIONS
Mapping out the concepts with the areas I wanted to make a difference in was starting to make sense after this exercise. I was happy to find out that I was arriving at some concrete deliverable ideas. In this next step, I bunched up the concepts that had the most impact (the red post-its).

·       Local neighborhood pamphlets/ newsletters/ advertising-

This service or product addresses the problem of misinformation because of technological issues or being unaware of how to use digital platforms.

·       Portable mobile structures in transition spaces-

This product addresses the need for a gardening space that can be flexible to the users’ limitations of space and accessibility. By allowing the user to place them in a familiar space, it has a better chance of blending into their routine and making it less of a chore.

·       Fixed structures placed strategically for different purposes-

This product would have to be placed after careful planning of each neighborhood’s shared spaces to ensure active participation. These zones will have to be either designed for specific vegetations or depending on the stage of growth.

After focusing on these 3 concepts, I began narrowing it down to one concept I can design now for this project. I started eliminating the concepts that I felt would not hold merit to be successful enough. Since all the types of vegetation require specific conditions for growing I researched the basic fundamental of gardening. A wide range of tutorial videos and hacks on how to garden are existing resources. I felt that designing a better medium through service just to spread awareness to people is not the direction I intended for this project. After watching a Ted talk on how Rob Greenfield transformed his life into becoming an expert from scratch was inspiring. The instructions and guidance from his blogs helped me design a few basic essentials I would have to incorporate into the final product. The elements that were necessary for a beginner were my base point for envisioning the final product. The first advice was to start small, next was to ensure there was access to light and to ensure a healthy growing plant. The last advice, which I thought was most important was to check locally what is available. The following are the key outcomes I would have to incorporate into my design.

·       From not knowing where to start to be able to see actual results: This would have to be a medium for people to socialize and learn to grow together. Thus, being well-informed combining with all the information found individually.

·       From not having space and time to be able to garden anyway: This would have to eliminate any space constraints in most urban cities and be an interesting and easy way to accommodate a busy lifestyle.

IMPLEMENTATION

CONCEPT ANALYSIS
The final concept I narrowed it down to with the help of the last exercise was to create an educational toolkit. This product would have the resources to start the process of gardening by including information, containers for planting, and a set of seeds for the basic ingredients for daily use. I wanted to focus on one of the facets of gardening. By concentrating on the “seed” stage of gardening I can contribute to changing an individual’s lifestyle.  I read a chapter from a report stating that the joint efforts of both the individual and their community are important in a successful urban garden. “Urban gardens can further serve as a vehicle to engage individuals and communities in efforts toward other social and environmental initiatives” (PDF) Urban Community Gardens as Multimodal Social Spaces, 2020) This helped me move ahead in the direction of addressing the problem in bite-sized solutions. The way I see it is that literally planting seeds is the first step to a green future.

DESIGN SOLUTION

FINAL OUTCOME
The journey map highlights the effects each element of the design will have on the user. The toolkit will hold containers that will be designed in a way so that it can be placed on a shelf or even hung from a hook. By making it mobile I believe it will be helping the users’ who lack space and natural light. This design will later suggest shared transition spaces can be used in case one does not have the conditions for the seeds to sprout after being tested out with the public. It would create an atmosphere to socialize, interact, and learn from each other. I believe this could bring people together to inspire more people. I would also integrate into the design a way for the user to personalize their containers to have a special connection to it. This way each person will hopefully have a personal intention to succeed with this experiment. I prototyped some alternatives to how these containers could be woven into the users’ life. One method was to place them along with shared transition spaces like corridors, parking lot, alleyways between buildings, provided that they have access to natural light and drainage. This would solve the space problem in cities. Another idea was to place the containers along spaces used in their daily commute like en-route to work, to exercise, or even just running errands. This would solve any more space issues by using place-making to ensure desired results. Also, these public spaces can be presented in a fun and interactive way to generate investment. I also had to consider the risks and pitfalls that can cause the product to fail or at least make the user demotivated to stay invested. The seeds would probably still not sprout in spite of perfect placement, they could be still be neglected after decorating and personalizing it. I would have to prototype elements of the design with different stakeholders to see how effective it really is. The stakeholders ranging from experts to amateurs. Since I was unable to prototype and reiterate the specifications, I got feedback for the design ideas from peers and colleagues with varied skill-levels in gardening. I would also like to take this forward and prototype the “container” at a local community garden.

I have broken it down into three main categories that will give a shot to capture the individual and their community’s behavior when it comes to growing food. The “seed” stage will help inspire aspiring gardeners to continue learning, the second stage of “sapling” when the seeds sprout will be pushed to a larger radius of using spaces shared with neighbors guaranteeing community engagement. Finally, the last stage of “yield” is the scope for design to be explored. Here I would like to design a system where it can work with the help of a community garden. Thus, forming a full circle of starting at home to end at a sustainable home outdoors. In the future, I would like to design a service that connects people and places iterating on different designs that blend with community engagement programs.

FINAL REFLECTIONS

FUTURE GOALS
For a community to achieve the kind of self-sufficiency where freshly grown food can be found at our doorstep is still a long way off. I believe that by having addressed even one small aspect of gardening at home can help solve problems in food sourcing. And by doing so, as a collective, we can be more self-reliant amongst each other. I would want to inspect the scope of gardening in different user environments like school or workplace. Learning to be skilled can be incorporated at an early age by introducing nursery beds in schools as well as in-office campuses. I also hope this research can collect feedback to see any development in society. Above all, I want to see this become a contribution to making lasting change in the world. Once the world gets back to its daily grind, I would like to develop on the scope of the project once we get back to our old routines. The importance of community togetherness should not be lost when the world slowly recovers from the pandemic. That would be interesting information to study and see if we would arrive at different solutions.