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School of Design

The School of Design Postgraduate Showcase features work from programmes in Fashion and Textiles; Graphics, Illustration, Photography; Interior Design and Product Design.

In recent months, we have all been experiencing profound disruption and abrupt intrusions upon our ways of living. It is hard to understate the significance of the moment and uncertainty abounds.

In spite of the dissonance generated by the pandemic, these postgraduate students continued to improvise and create. They worked remotely but maintained a nearness to their respective staff teams and each other. Dispersed studios came together online to engage in dialogue during which all matters were reappraised, contested, unpicked, reassembled. Work was developed and refined during some of the most challenging periods of the emergency. The conclusion of that effort and invention is the work on show here. Presented, now, at a time when the haze is perhaps lifting, what you are able to clearly witness, is testament to the enduring capacity of the imagination to transform, reconnect and make sense of the world around us.

Patrick Macklin

Yasmine Amani 2020 Degree Show

Behind the scenes and introduction to textile artist Yasmine Amani and her Masters Project.

chicken drawing 3

chickens research drawing

research: chicken details

research feather drawing detail

chicken research drawing2

chicken research drawing 3

Feather Research Detail

Textile ribbon detail

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Textile Visualisation

Textile Feather Detail

textile visualisation2

Textile detail 2

textile sample

Silhouette Lineup

design sheet

'Transient Bodies' - Kieran Flaherty

A brief introduction to 'Transient Bodies', a behind the scenes look at the design process and how Covid-19 was navigated and its effect on the collection.

Transient Bodies

Undermining perception by obscuring pattern through 3D paper manipulation.

Transient Bodies

Inspired by the tradition of Kimono making, in which rectangular pieces of fabric are cut from a larger length called a 'tanmono', initial silhouette experimentations were conducted on the half-scale mannequin using varying lengths and thicknesses of tracing paper. Hand drawn lines were featured to explore moiré-inspired textile designs on transparent materials, being overlayed to create depth and obstruction.

Transient Bodies

Translating my textile work into 3D forms, I took inspiration from the artist Richard Sweeney and his work creating fluid structures from paper. The resulting paper forms will be used to help influence silhouette and possible textile designs

Transient Bodies

Close up details of fluid paper 3D forms for use as 2D textile research

Transient Bodies

Fluid structures envelope the stand, swirling around the figure, obscuring the body and flowing into each other to produce a new form.

Transient Bodies

Fluid paper forms suspended in motion.

Transient Bodies

Fabricated materials generated to accommodate the use of laser technology as a way of incorporating stretch whilst also maintaining a lightweight, wearable quality

Transient Bodies

Hand drawn lines are translated into a repeating linear motif which are then laser cut, with the graduating pattern distorting the body's form.

Transient Bodies

Exploring the reciprocal relationship between the textile and silhouette and how each influences the other.

Transient Bodies

Two-dimensional patterns are laser cut to produce flexile, three-dimensional materials which encompass and adapt to the shape of the wearer.

Transient Bodies

Utilising previous fluid paper structures as a guide, the pattern is manipulated into varying forms, transforming the three-dimensional textile structures generated when draped and worn.

Transient Bodies

Referring to the 'tanmono' and Kimono style of pattern cutting, double-sided squares of fabric were strategically cut to incorporate pattern, enhance malleability and produce a colourful aftereffect when in motion.

Transient Bodies

Laser cut wave patterns are strategically manipulated to follow new paths along the body, cascading naturally downward and obscuring the figure with pattern and shifts of colour.

Transient Bodies

Laser cut waves of fabric obstruct the body, revealing glimpses of the figure through moving shifts of colour.

Transient Bodies

Over 2000 individual laser cut lines are assembled to incorporate stretch and produce an aftereffect optical illusion - with lines shifting through patterns and colour faster than the eye can track.

Transient Bodies

Harmonic waves of blue graduate into vibrant red and encompass the stand.

Transient Bodies

Laser cut, reversible material developed to produce aftereffect optical phenomenon whilst in motion, obscuring the body with distorted pattern and shifting colour.

Transient Bodies

Combining laser cut materials and fluid forms to create dynamic silhouette explorations.

Transient Bodies

'Transient Bodies' collection final line up.

Mood board

Drawing

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Frame work

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QIUHAN WANG1

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QIUHANWANG

QIUHANWANG

10-b

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56-b

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55-b

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54-b

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53-b

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53-a

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50-b

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23-a

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22-b

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22-a

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21-b

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Qi Sun portflio


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Final Collection 1

Final Collection 2

Final Collection 3

Final Collection 4

Final Collection 5

Design Sheet


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Fabric Samples


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Outcome Simulation


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Footage | age of the foot

The publication Footage | age of the foot offers an introduction to the world of feet through the contributors’ and my interpretation – which is a limited interpretation that results from choices I’ve made, and discussions I’ve had, and could be supplemented in the future. Serious articles balance absurd and entertaining visual contents. They are ordered through objects feet-related, sorted alphabetically. This experimental magazine uses different visual languages and plays alternatively with posters’ layout and newspapers’ layout. To “jump” in this world of feet, visit the website https://footageageofthefoot.cargo.site/ or order a copy of the magazine by dropping me an email to plev00.pro@gmail.com.

Details

Website

Visit the website: https://footageageofthefoot.cargo.site/

Gathering tomorrow

After months of lockdown and uncertainty for the future, the idea of gathering is one of the main issue. “How are we experiencing movement restriction, social distancing, isolation, slowness, quietness, emptiness, and fear? What's our take on human-nature relationship? What philosophical insights can we draw from this peculiar moment in our modern history?” (from A Dance Mag). The performance Gathering tomorrow focuses on the atmosphere of a gathering after lockdown, on the idea of being allowed to stand, to be on our feet to meet and dance again. Above, a score of the dance is presented as a baseline before collaborating with dancers. The publication shows some visual references and some drawings of movements to understand the framework of the dance, split into 5 parts. This interactive zine is meant to be used by dancers who can write and draw on it to add any relevant suggestion. In the future, the performance will be filmed to create a video as a final outcome.

Insomnia

An experimental short film by Nina Klaff and Pauline Levy. Voiceover: Nina Klaff. Music: Jamiro den Enting.

Pictionary during isolation

A poster made with some drawings from Skribbl, an online Pictionary, played during isolation. In collaboration with Nina Klaff and Giorgia Tonolo.

Pause or pay campaign

PLEASE START WORKING

Procrastination has a significant impact on everyone's life. The comic book shows what procrastinator's life looks like, and use an ironic, humorous, and surreal way to present. Hoping people who read this comic book laugh and think not just themselves faced this problem and have a strong sense of identity instead of struggling in this situation.

Inner City

1000x660MM

Inner City

1200x520MM

Inner City

1200x520MM

INNER CITY

600X400MM

Inner City

1200x520MM

Inner City

1200x520MM

Inner City

600x400MM

Inner City

1000x660MM

Inner City

1200x520MM

NORMAL

600x400MM

NORMAL

600x400MM

NORMAL

600x400MM

NORMAL

600x400MM

Selected works

"Unsexing" edition

This booklet was made during stage 3, on female artistes who were pushed aside or erased from art history for many years. This booklet ask also the questions on how should we give these artists justice without marginalises, pigeon holes and isolates them from movements and influences. As for the title, it's a word from a quote from an art critic on women artistes, saying that becoming an artist would unsex women. The wire'O binding was chosen to highlight that the booklet isn't finished because the conversation and these issus are not.

Untitled collection

This collection of zine is on the theme “censorship”. It's called the “Untitled collection”, reflecting on erased content. The first publication would tackles censorship in Hollywood cinema, the Hays code, which were rules on what to show in movies that studios had to follow and what were its effects on cinema.

Accompanied with this publication, would be a small index on marketing and branding of products in movies.The ideas of this small index was tackle, products placements in the movie industrie. Products placements was encouraged in films, it could help considerably, the sales of an items, but the products must be seen in a positive light. This small edition pokes fun of about this and the ways it is presented to us. It shows photo montages of famous movies scenes and integrates random products.

12 edition workshop

During a workshop, the students had to work on a existing object 12 times or more. The project was to intervene on torn posters around the city of Glasgow. Animation was chosen as the main medium of intervention, to complete the missing parts of these posters.

A page instagram was created with the images of different posters with the geographical locations so people can find the poster and see the evolution of time of these objects. Instagram page : https://www.instagram.com/poster_hunt/

WALLPAPER PROJECT ON ABANDONED BUILDINGS

One of her main studio project, was on “abandoned places” around in Glasgow. She used wallpaper and bichromatic visuals to create a pattern of their history inspired by the Toile-de-Jouy motifs. The red represents the past and the blue the current state. You only have to play with the colour acetate papers to see the different patterns.

Accompanied by this is a small booklet where you will find the chronological history of the building. In this example, the building in question is St Peter Seminary.

There will a possible continuation on the project. Mainly focusing on Lennox Castle and other vacated spaces.

Illustrations on the theme disconnected

The idea of these illustrations was to use the space occupied during quarantine, to illustrate our state of mind verse reality outside of our safety bubble.It approaches different forms of disconnections: The first being sound, we are describing physically a natural landscape which gives the illusion of a holiday on what seems to be a sort of island. Until a form of rupture with the sound of ambulance and the evocation of the impact of the COVID-19 virus. We cannot see anything, we can only hear and imagine. The images plays also a key role in the narration, it shows our daily routine, but something seems off and the text highlight this with the sounds described the images and the sounds are telling to different stories.

70-80-90

70-90 means 1970s to the 1990s in China. In this project, I chose an organization or individual to represent each decade; in the 1970s I chose the The No Name Painting Association, in the 1980s I chose Xiamen Dada group, and in the 1990s I chose Wang Gongxin and his wife to represent Chinese experimental art. The purpose of this project is to be today's Chinese artists, we need to look back at how the artists of the last century survived in a harsher environment, and how they met their artistic value in the rapidly changing social background.


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70-90/Full version video

Films in 1994

This book contains all the movies released in 1994. The concept of this project is very simple: Turn the virtual information on the Internet into material in physical form to oppose the trend of digitization of books and record the movie history.

Films in 1994-1

Films in 1994-2

Films in 1994/video

Golden era 1 - “celebration original”

The main theme of the whole project is that I want to reproduce the golden age of Chinese contemporary art at the end of last century and let people reflect on the artistic environment in China today. Under this general concept, there are three paintings created from different background events. The first one came from the movie , the second came from the protest by Chinese artists in 1979, and the third came from the burning of works by Xiamen Dada group. Each series will use different methods to express the same thing.

Golden era 1 -"political pop celebration"

This work is based on the original celebration, using the style of the most popular style -political pop in China in the 1980s.

Golden era 1 -"cartoon celebration"

Cartoonism quickly entered China in 1990s, and Keith Haring's style and works were particularly prominent. So I used his style to adapt the original work.

Golden era 2 - "want art free"

Although traditional Chinese painting has gradually declined since the 1990s, there are still artists such as Xu Bing and Gu Wenda who re-use ink elements to create and blend with Western modern art. This work was completed with this creative method. "Want art free" was completed in 1979 when Chinese artists protested because of the cancellation of the exhibition. I wanted to reproduce this with new forms of ink and abstract images; in order to warn contemporary artists not to be stuck by the market and money.

Golden era 2 - Cartoon style "want art free"

Golden era 3 - "Fire"

Similarly, this work is also based on a historical event. In the 1986, China’s former art group Xiamen Dada burned its works in the square to protest against the art environment where there was no art gallery or government support at that time. This work uses cynical realism in style, and it was first seen in 1991 by artist Fang lijun.

Golden era 3 - "Fire"

Cynical realism and Gu wenda's new ink style

II. in touch

A found footage film. Composed of videos stored in my phone library of skin-to-skin contact in the time before social distancing and Covid-19 and interviews with people in different places on their lives during the pandemic, talking about touch - or lack thereof. Music by Nicolo Traini and Toby Withers.

III. where the light comes in

Two weeks in four walls, with only light for company.

On return to London just before lockdown, I self-isolated to protect the vulnerable people in my home - down the road from King’s College Hospital. Light became a marker of time: sun streaks punctuated the day, while the blue of ambulances streamed in at night. I made a ritual of photographing where light fell in the morning. This culminated in an A4 publication.

IV. INSOMNIA

An experimental short film by Nina Klaff and Pauline Levy. Voiceover: Nina Klaff. Music: Jamiro den Enting.

V. STAGED: A moving portrait

A moving portrait of a father, by his daughter. Starring Jack Klaff as himself and others. With music by Toby Withers and Vivaldi.

Confronting the veils

Due to the COVID-19 global pandemic, my whole world was turned upside down and like most people, I have had to work remotely and live largely in isolation for several months. For photographers stuck inside, especially for photographers interested in fashion, like me, this was a big problem in that, I would have to completely reframe my practice. Initially, I was very anxious and nervous, I was so confused and I couldn’t imagine how I could create something related to fashion within my tiny room. I was overwhelmed by the situation and it seemed impossible for me to make work without a studio and photography equipment like a tripod and lighting. I did not have anyone to collaborate with, no models, makeup artists or stylists. I needed to find a way to make work and find a way to use myself as a model and the subject of my photographs. Whilst I am not a shy person, I’m not an extrovert either - my preference is to be behind the camera not in front of it. I needed to overcome my fears and put my insecurities to one side and find a way forward. As I made my first tentative steps towards self-portraiture, I began to slowly find an effective way of working. My room became my stage and my studio and I became a performer. I adopted a persona that explored different characters that in turn became the subject of my photographs. I found a way to embrace my fears, anxiety and loneliness and absorb the psychological pressure and position it within my image making. I used my body with domestic objects as props, appendages and decoration to express my inner struggle with self-isolation, social distancing and the wider world of lockdown. I played with themes associated with, barriers, distance separation and behind the masks and veils, I found a way to make work and in my own way confront the challenges of this global pandemic.

Confronting the veils

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THE AMAZON IS ON FIRE

Publication Size 9.9mm * 21mm ,Using marks left by the fire as a visual language

THE CHINESE VERSION

Statistics show that in 2018, Hong Kong and China accounted for the first and second-largest share of Brazilian beef exports, accounting for 24% and 19% respectively. In this context, I think it is necessary to make the Chinese version of The Amazon is On Fire. Revision of The Chinese version on Layout Chinese fonts are more complex than English fonts, so the font size has been changed change the font from 11PT to 12PT for ease of reading.

“森” is Chinese. It means forest. “森” is made by three characters----” 木”. ” 木” means trees. In ancient times, the creator put three characters of the tree together and turn to a character that is forest.

street dog in Imsouane, Morocco

Imsouane Village

Ims'one Project Shelter

Fran and her dog Bosco

Don't Forget There's More

A countries development and welfare are being evaluated with only one indicator - the Gross Domestic Product (GDP). The only way for a company to be successful and rewarded is following one goal - Profit. The purpose of the economy to serve people‘s welfare is being overshadowed by growth. The chase after this has in fact helped society to overcome many challenges but it has also resulted in the climate crisis, the largest gap between rich and poor that ever existed, and other impasses; and is now more than obsolete. Redefining success and specifying indicators that reflect the real welfare of our system is crucial for shifting the economy away from the chase that fuels the climate crisis and is not serving a long-term vision. That requires zooming out, turning around, and internalising that, where now is only one way, there lie many other and better possibilities. “Don’t Forget, There’s More” aims to create a sense of these turnarounds, using metaphors in order to help the growth of attachment towards the greatness of change and possibilities.

Reshaping Realities

>For Growing Welfare<

Reshaping Realities also addresses the need for different goals in our economic system. Getting there requires rethinking the entire system and shifting perspectives away from the known and towards imagination. It investigates those possibilities by modifying ordinary objects into a new purpose and meaning.

>For Approaching Goals Differently<

>For Taking Care Of Every Sector<

>For Measuring What Counts<

>For Looking Beyond<

An Endless Line Is A Circle, Not A Line

Since the days of industrialisation our economy model has hardly changed: it still follows the pattern “take-make-dispose” - a linear model of resource consumption. In the face of the climate crisis, fired by the current culture of consumerism, it is hard to believe that this is evolving only very slowly. In order to produce products and services environmentally friendly the “take”-“dispose” simply have to be connected - creating a circular economy. It replaces the “end-of-life” concept with regeneration and restoration, staying within planetary boundaries. An Endless Line Is A Circle, Not A Line explores the concept of the circular economy, the vision of transformation, circularity, and energy flow in abstract drawings.

Exploration Imagination

With these experimental drypoint etchings I explored the possibilities of imagination that lies within the creation of new forms, landscapes and atmospheres.

Milo's Discovery

This picture book for children was a project I pursued on the side, just for the sake of enjoying illustration. The pictures shown here are a selection of more. In collaboration with Katherine Wright (Text).

A Microworld: an Ornamental Filament Contaminates the Surface

Poster and publication realised as the outcome for the last project related to moulds and science. The whole project can be seen as a metaphor for the moulds’ growth. The aim of the project is to make people look at moulds not just as waste, but as the natural and organic form of art they are. The poster is made of satin and there is a central embroidery, hand made. The publication is inspired by laboratory notebook, pieces of record every researcher and scientist write while experimenting. The booklet shows how the fake embroidered moulds grew on satin as if they were real and alive.

Daily Compulsions. The Dialogue Between Flatmates

Publication about the designer and her flatmate F's most personal behaviours, habits, and daily life obsessions. The book describes these private moments through pictures and small texts, written by the graphic designer and her flatmate. The publication is divided into three part: the first one analyses F’s obsessions, the middle one shows the apartment they shared, and the last one is about Giorgia’s own daily rituals.

Anonymous Objects Series

A Series of three small publications. The project aims to rethink about three common objects: receipts, price tags, and transportation tickets by scanning, cutting and using parts of them to create something meaningful and new. The project focuses on letters, numbers, and glyphs’ manipulation which are present on the printed objects themselves.

We are all the media: Covid-19 Calendar

The cover and the monthly chapter

Infodemic caused by COVID-19 makes Renyu want to explore the role of individual media in misinformation. In her mind, each of us is a media with signal, and we have the ability and obligation to be responsible for the process of information dissemination. 

Covid-19 Calendar

10.02.2020: Garlic-save-life day

Drawing lessons from the concept that the Chinese traditional calendar records the good and bad luck of every day, Renyu puts the real part and the false part of the news as comparison objects in this calendar. And make them overlap with each other, showing their delicate relationship in the process of communication.

Covid-19 Calendar

09.04.2020: 5G-cause-virus day

The calendar form can harmoniously record every day about the existence of fake news, and at the same time, it combines fake news images produced by collage technique to enlarge the absurd content of fake news for the audience as much as possible.

Covid-19 Calendar

Using irony to restore and record some ridiculous ideas and absurd things people have done during this period.

Covid-19 Calendar

Covid-19 Calendar

Online Calendar

Covid-19 Calendar and Calendar Goggles

With PVC glasses in red, audience can only see the part of black text. The text is clear. It also means that when people view information, they should think and distinguish between true and false.

Covid-19 calendar

The Plastic bag

This calendar is more like a documentary, it needs to be stored and sealed just like ordinary important documents. Renyu put this calendar in a sealed bag, which is transparent, so as to convey the concept that this calendar needs to be used in another way.

Covid-19 Calendar

10.03.2020: Mosquito-transmit-virus day

The booklet: 31 days in quarantine

For everyone, covid-19 period is an unforgettable historical memory, and everyone has their own memories. Renyu wants to record my own time in an interesting way. Content, it is about some life experience and feeling changes.

31 days in quarantine

06.07.2020: The day before the deadline

Use plane to reinforce the content, it won’t collide with the drawn lines, but also bring a sense of volume. On the basis of plane, some texts and colors are added.

31 days in quarantine

06.04.2020: The day i store food

Using any combination of these three elements to match different paintings. The visual effects produced in this way will not be in the same way, but in a unified but dissimilar form.

31 days in quarantine

31 days in quarantine

The cover and the binding

31 days in quarantine

20.04.2020: The day I comfort my friend

Somatic Experience, Room 1

Somatic Experience Therapy starts with symptoms of trauma which are anger, fear, anxiety or physical problems.

Once entering the room people are asked how they are feeling and will be provided with access through different entry ways accordingly. People who feel angry and frustrated are provided with an entry point where they have to squeeze through to allow a release of some of their anger physically. People who feel scared and anxious are provided with an entry point where they are met with turnstile to help them push through their fears with guidance. The third and final point of entry is for people who have been affected physically by trauma by having no physical obstruction in their way to enter. This system of access is repeated at the exit of the room and this is so that people can be aware and considerate of their feelings before and after the journey through this room.

Somatic Experience, Room 1

The first stage in the Somatic experience is finding a comfort zone. These digital panels change colours in a therapeutic manner to create a calming and comforting effect and with the distraction of this space, people should be able to ease and clear their minds. Bio-plastic tiles can be collected here and this tile will be carried through the journey after which the visitors may mould it however they wish to then leave behind in the building’s atrium in order to share their personal stories and feelings with others.

Somatic Experience, Room 1

Somatic Experience, Room 1

Somatic Experience, Room 1

Somatic Experience, Room 1

The second stage in the Somatic Experience is for people to identify and explore the effects of the traumatic event. This can be a difficult process and therefore a personal space is provided where people can write about their traumatic experiences. It is an important step to talk about what is hurting to be able to take the experience as a lesson and to be able to read what other people have experienced can help others to open up about their own experiences.

Somatic Experience, Room 1

Somatic Experience, Room 1

The final stage in Somatic experience is to identify how the body needs to respond and to find a natural and safe way to release negative energy. The back and forth motion of a swing can help people to calm down while the swinging motion can also be a physical release of energy.

Cognitive Behaviour, Room 2

Cognitive Behaviour Therapy is a cycle of emotions, thoughts and behaviours. This means that what we feel affects how we think and act. What we think affects how we feel and act. And what we do affects how we think and feel.

When entering this room, people will find themselves in a cage structure. The aim of this structure is to symbolise a beautiful prison. This is because a place of withdrawal is often the easiest thing to do for people who have experienced a traumatic event and although it is beautiful, is it also a prison for emotions. At this stage people should be able to recognise that coming out of their beautiful prison is a step they have to take as they are in control to leave and connect with others about their emotions and continue their journey to resilience. At the entrance, people are also presented with the end of a slide which happens to be the end of the journey around this room. This is because the end of the journey around the room goes back to the beautiful prison, symbolising just how easy it is to fall back into that trap and thus continuing the cycle of the therapy.

Cognitive Behaviour, Room 2

The next part of the room is where people are given a choice of creating confusion or order. Two strips of lights represent order as the lights are aligned perfectly meanwhile the middle strip of lights are controlled by the visitors and how they choose to connect them. The choice to connect the lights neatly or perhaps mix them up is a symbol of the next step after coming out of their beautiful prison of withdrawal, whereby the choices people could make is between continuing a troubled life not focusing on their mental health needs after a traumatic event or the choice to create order in their life and seek out professional help. Using the plastic bio-plastic tiles collected in room one, the next stage is for each individual to mould their tile in any way they wish in the craft corner. This could be a representation of their feelings, experiences or something more personal such as their palm or finger prints.

Cognitive Behaviour, Room 2

Continuing the journey throughout room two, people are presented with a set of stairs. Both the stairs and the upper level of room two are made out of a metal mesh that can be uncomfortable for people without shoes (as this is something that had to be removed on arrival). This metal mesh walkway is to control the way people move through this level as their steps are likely to be slow and steady. This is to symbolise that making this journey to resilience can be quite difficult at times and cannot be rushed.

Cognitive Behaviour, Room 2

Reflection Bubble Space

The second floor atrium space is where people have the opportunity to leave their personalised bio-plastic tiles. Representing each individual taking the necessary steps to a happier life. This space also serves as a waiting area as this building also provides one on one and group therapy sessions for those who feel ready to seek professional help. Also found in the atrium of the building, the bubble space designed to be used as a space for personal reflection. Entry can be made from the ground floor and from the second floor into a spiralling tunnel of bubbles. Within this building, this structured is designed to be permanent however similar structures can be built to be transported to different locations with its simple wooden frame and its deflatable quality to create an awareness of this Therapy centre and its facilities.

Reflection Bubble Space

Section (1) Reflection Bubble Space

Section (2) Rooms 1 and 2

Concept collage

Analysis 1

Analysis 2

Analysis 3

Analysis 4

Analysis 5

Analysis 6

Social distance

Portable/Mobile section

Working flow of flexible section

Working flow of flexible section

Spatial rendering of flexible section

Spatial rendering of flexible section

WechatIMG1014

part3 and part4

artwork layout1

artwork layout 2

This project is more inclined to speculative design, which is to speculate about the living space in the near future, and reflects the solution to the current problems. It uses seemingly fragile disposable plastic to build a permanent space, so as to make people reflect on our current concept of disposable plastic consumption.

In the 1950s, the emergence of plastics has affected people's consumption habits. Due to its high cost performance and other advantages, people began to use plastic products in large quantities. At first, people didn't regarded plastics as disposable products, but as time went on,people found that they could achieve the purpose of cleaning by shopping and throwing things (for example: garbage bags), which reduced the time of housework, so that formed the habit of discarding. Influenced by people's consumption habits, the space began to appear with simple lines and colorful organic forms of plastic furniture.

In the 1960s, with the encouragement of the plastic consumer market, the trend of interior decoration -- "new Rococo" style has been intensified. Because of the variety colors of plastic, 1960s interior style is like an overturned palette

In the 1970s, people began to realize excessive consumerism and materialism, have the awareness of environmental protection. The interior style began to pay attention to natural elements

In the 1980s, plastic intensified the fast food culture, affected the post-modernism style, which pursued various color, patterns and textures

In the 1990s, entertainment, communication, home appliances and equipment which were made of plastic were widely used, people want to stay away from electronic devices, liberated from the rich space decoration before, resulting in minimalism

In the 21st century, people excessively rely on plastic, resulting in plastic pollution, people began to pay attention to the environment, and space paid more attention to the concept of sustainability. In general, plastic has affected people's consumption habits - from permanent consumption to disposable consumption;

Kitchen

However,Sidney Gross protested that the "problem of garbage" flowed not from packaging or plastics but from "our civilization, our exploding population, our life-style, our technology." Which means the main culprit of environmental pollution is not plastic itself, but the way people use plastic. Therefore, I think people should face up to the advantages of plastic materials. If they are not easily discarded, they will not cause pollution to the environment. The current economic system requires us to consume and discard more and more goods. However, the durability of these goods is usually our desires and best interest of the environment.We should change the habit of using plastic from disposable consumption to permanent consumption.From a once-and-for-all culture to an economy supported by more durable goods.

Bedroom

Study room

Bathroom

The aim of the project is to change people from disposable consumption habits to permanent consumption habits, and make people pay attention to plastic through furniture made of plastic: plastic is also a kind of durable material with a lot of practical value. The project makes full use of the "waste plastic" which every family has, creates a beautiful and delicated living space, involves all aspects of life, and improves people's prejudice against plastics,make people realize the value of plastic, so people wouldn't throw away plastic easily, thus indirectly reducing the plastic waste in the natural environment. Through the prediction of living space in the next 20 years,people can reflect on the current habit of using plastic.If human beings can face up to the two sides of plastics, develop their strengths and avoid their weaknesses: make full use of the advantages of plastics, do not arbitrarily discard, reuse or recycle plastics, the problem of plastic pollution can be well alleviated.

Location

Concept

Story Area

Story Area

Ocean Area

Ocean Area

Energy Area

Energy Area

Circulation

Future Development

About Pause pod

The starting point of my project is an analysis of isolation and how that can be divided into the perception of isolation and into social isolation. The focus of the thesis will be on the latter aspect and how this affects the mind and body. My interest in this topic started after a few weeks spent in isolation from other people due to the Covid-19 pandemic affecting the world in 2020. Now we find ourselves isolated from our groups of friends, colleagues and family, but thanks to the development of technology, even if we are far apart, we can keep in touch, through calls, messages and video calls. What would happen if all our connections stopped and we found ourselves completely alone ? My research question is: As human beings, can we detach from people, disconnect from our things and stop interacting with our devices just to avoid being by ourselves and our thoughts ? The thesis will have as its main focus a few cases of extreme isolation, whether the subjects were isolated as a lifestyle choice, voluntarily for experimental studies or through enforced isolation. I want to create a new type of space where it is possible to spend a long or short period of time based on the individual being willing to spend time alone, in a space without sunlight but with artificial light, which will eliminate the individual's perception of time.

When I started my research into isolation, my main goal was to look for a positive aspect of solitude, and I came across the research performed by Long and Averill in their article Solitude: An Exploration of Benefits of Being Alone, which examined the advantages of intentional solitude. The article emphasises the fact that reducing interaction between people and their environment and limiting the use of devices and other stimulation can have major benefits, but only when the time spent in solitude is deliberately chosen by the individual. The four benefits listed are: freedom, creativity, intimacy and spirituality. The title of my project is 'About Pause'. The Pause Pod itself was created through the concept of reducing interaction between people and their environment, and reducing stimulation from the outside world. The idea is to take the negative association that we have with solitude and integrate this state of complete isolation into our lives. My intention is to create a place where an individual can unplug from the busy and frenetic time that we are living in, whenever they feel the need to do so. I want to be able to put together all the positive aspects of being isolated and bored and take ad-vantage of them, and maybe even benefit from them.

Technical drawing

STAGE 3 FOLIO vv 2

STAGE 3 FOLIO vv 5