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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

QIUHAN WANG1

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QIUHANWANG

QIUHANWANG

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56-b

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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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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

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Feather Research Detail

Textile ribbon detail

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Textile Visualisation

Textile Feather Detail

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Textile detail 2

textile sample

Silhouette Lineup

design sheet

Mood board

Drawing

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Frame work

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Qi Sun portflio


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'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.

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.

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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

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

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.

street dog in Imsouane, Morocco

Imsouane Village

Ims'one Project Shelter

Fran and her dog Bosco

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.

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.

Inner City

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Inner City

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Inner City

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INNER CITY

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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.


Continue Reading 70-80-90

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

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.

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.

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).

Spectacles Poster

The Construction of the "Home"

A Cat's Morning 01

A Cat's Morning 02

A Cat's Morning 03

A Cat's Morning 04

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This is a space open to the public, filled with concrete cubes of varying heights, symbolizing different life lengths. Each cube is engraved with a QR code. People can scan them to get some unexpected information. It may be a paragraph of text, a picture, or a story, but they are all related to death. Here the relationship between the living and the dead will be re-established.

rendering

"The most surprising impression is the appearance of personal imprints, such as names or numbers that can evoke memories, as a representative medium or a way to express sadness." In the current digital age, the deceased Various information can be uploaded to the terminal. People can retrieve information about the deceased by touching the name on the screen. This information may be slowly forgotten by people, but it is converted into data and stays here forever. Traditional tombstones only provide two functions, one is to record limited information (name, date of birth and death, etc.) of the deceased, and the other is to provide a memorial place for the living. The occupation of land by tombstones will be a serious problem in the future. After we have solved the recording of the deceased's information with a new method, should there be a new tombstone form to replace the traditional tombstone?

significance

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The Human Last Resort

It is an existence for people to think about, it is inclusive and an infinite possibility.

Background: This world seems to become a 'reverse zoo'

During the epidemic, animals took to the streets, while humans became ‘trapping animal’

The COVID-19 outbreak has restricted human freedom while giving other animals the opportunity to move more freely. There is a global debate about who should bear the burden of the pandemic. The truth is outbreak of this pandemic ultimately comes from human, from human overuse of the earth's resources. The current life of human not only destroyed the living environment of other species but now, in turn, poses a massive threat to human survival and life. During the epidemic, humans experienced an environment improvement, and the value of a lot of things by humans to rethink in the slow era of reduced consumption. Keeping the planet's ecology sustainable and suitable is the basis for the continued survival of human as a species on the earth. This means that we should rethink our lifestyle, and human needs an environment-friendly lifestyle for future.

Theories

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.

The advantages and disadvantages of consumerism are very obvious. However, the contradictions caused by the emergence of consumer attention have not been well solved in the past several hundred years, but also added many new problems, such as the objectification of people, distortion of values, environmental degradation and extinction of species. And this consumerism seems to be an "unstoppable" pattern. Yuval Noah Harari described in Sapiens that if a modern capitalist economy is to survive, it needs more and more production, like a shark that will suffocate if it doesn't swim. And consumerism is the product of sustainable capitalism. Harari calls consumerism a code of ethics that ensures that humans will continue to buy to prevent capitalism from stagnating. I am not against consumption per se, but I am not in favour of consumption as an end or money as a religion. Consumerism seems to have created a bottomless pit that cannot be filled and has no end.

A tipping point for human future

At present, human beings have approached a tipping point that all our choices will lead to a future which has ‘no return’.

Compare With Original Lifestyle

In the research, I have found out that human living experience may not be as good as it was in agricultural times. We always want to find a pathway to pursue a more relaxing life, but this has, instead, brought more difficulties. Comparing these two periods in human history, I have revisited and enjoyed the more natural and friendly nomadic era. In there, money was not the media in trade but Barter, which was the model of social exchange.

Centre change

Since the status of money has leapfrogged from an intermediate, the shape of the entire society has changed unconsciously. Schools and medical classes that were originally in the social centre gradually moved out of the city centre. And the originally social place has gradually become a giant shopping mall with consumption. Therefore, our current social centre has become centred on ‘money’ and ‘right’.

In the new nomadic life system, the barter to be a theme, re-zero the value of money. Here, the four elements that people need most brought back to the core of society. This is a not materialized world, and the values of money no longer bound people in disguise. This social made up of real needs. In this new system, everything is possible, thinking is free, and the meaning of each person's existence is defined by himself.

Nature create vs Human product

Borrowing the elements found in the natural world, the design has adapted sustainable form, materials and structure. This nomadic building design not only to be environmentally friendly but also to decompose pollutants created by humans and purify the environment.

House units plan

The furniture employed in the design has been modular, whose construction has stressed the central areas. The model has been expanded to a broader architectural and urban scale. Examining different scales of spaces, I have wanted to intervene or even break the cycle of consumerism. Everything here is modular, and people can live according to their needs and hobbies.

Modular furniture design

Activities schematic

Here I want to design modular furniture that can combine more daily activities. By studying the scale of the human body, trying to find a suitable height size ratio for design.

Modular furniture arrange

THE SETTING OF THE STORY

People are now aware of the evils of consumerism, but they think their influence is small. (In my questionnaire, two-thirds of people are aware that consumerism leads to a worse living environment for human beings. But most say the effect is minimal.) Later (in 2049), the environment became worse. Instead of being restrained, people at that time consumed the earth's resources in a crazy way. (If a modern capitalist economy is to survive, it must produce more and more, just as a shark, if it does not swim all the time, suffocates.- Sapiens, Yuval Noah Harari) Gradually a group of pioneers appeared, who thought that such consumption and plunder could no longer be done. In their analysis, consumerism is not a sustainable way of life. They abandoned this mode of extreme material life and reentered a new nomadic world. So this little community came into being. It's a barter, education, health, and social community. With the evolution of time, the living environment of cities becomes worse and worse, and more and more people realize that maybe they should change their living mode. People are here to discuss life, to discuss ideas, to build a new perfect world system. It's about thinking, exploring and experimenting with new forms of life. It is not known whether this would last long, but people began to think about a more harmonious model of man and nature.

House units - Floating and On the land

House units Overlook - Floating

House units Overlook - On the land

Fishing And Planting

Centre - Social

Centre - Education

Centre - Barter Transaction

Centre - Medical

Overlook - Community

CONCLUSION: With concerns over the environmental problems facing us today, the research has sought for an alternative life mode, which can achieve a better ecological balance between human activities and the earth. With emphasises on the human need, and theorised by the 'non-one-way degree of human', I am convinced that my new interpretation of nomadic lifestyle is one of the possible solutions. Through this project, I hope to make more people think about their behaviour and their relationship with nature.

Location

Concept

Story Area

Story Area

Ocean Area

Ocean Area

Energy Area

Energy Area

Circulation