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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

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.

QIUHAN WANG1

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QIUHANWANG

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Mood board

Drawing

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Frame work

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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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chicken research drawing 3

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

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

Inner City

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Inner City

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Inner City

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Inner City

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NORMAL

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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.

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.

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.

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.

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

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.

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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street dog in Imsouane, Morocco

Imsouane Village

Ims'one Project Shelter

Fran and her dog Bosco

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

collage of space concept

Since at least the 20th century, men have been occupying the active position in social development and have treated women unfairly and restricted. In response to these situations, women began to call for equal rights, so they developed feminism. This project started research from the futurism‘s misogynist, and discussed the relationship between male-dominated society and feminism. This collage represents this relationship, and also expresses the opinion from a female futurist Saint-Point that androgynous being is the complete being, which responses to futurism. Therefore this place is for women and people whose gender identify as women to enhance their voice and support them in such a male-dominated society.

site selection

This building is occupied by this project as a masculinity building. Its dark single colour, rough texture and concise lines. Those are masculine features. The author of this painting of this building is Ettore Sottsass, who is a big fan of futurism. This is suitable for my starting point of research. In addition, the shape of this building and several small windows on the walls make the whole building look very private and there is a feeling that the internal space is well protected. This project wanted to use this atmosphere of this building to create a space to “protect” femininity.

plan & axonometric

by referring to a survey about women’s favourite leisure activities and considering project aim,the most important functions of this place are reading area, communication area and garden area. There are only feminism books in this building, people can get mental support by reading. And the communication area provides a place for them to share their experience freely and help each other with their problems. Garden area is not only a decorative area for femininity, but also it's a good way to make people relax by getting closer to nature.

urban outside

village outside

wildness outside

This project isn’t located any specific country, city or street, because, the male-dominated society isn’t some country or city’s characteristic, it is a common situation around the world. Therefore, I set it into three scenarios, one is in a busy city centre, one is in a quiet village, and the other is in wildness. I want to use these three scenarios to represent that women and people whose gender identity as a female can have access to the particular support wherever they are.

reception area

This is the reception area on the ground floor. The whole scene is mainly made of warm pink, with bright yellow and grey-blue as embellishments. These bright colours are selected from my theme colour, the adjusted Futurist Composition. Not only did it respond to my starting point of research, but it also set off the femininity atmosphere. The characters in the picture use sketches by the painter Jean-Antoine Watteau of the Rococo period. In the collage of characters. I use paintings from the Rococo period to enhance the atmosphere of femininity and meet one of the trends of retro-futurism in the inspiration.

mixed reading and communication

This is a mixed area of reading and open communication on the second floor. The objects on the heads of the characters in the picture represent what they are doing. The furniture in this project is all selected from Moooi, the brand's furniture style concept is fusion, suitable for the concept of androgynous of this project. The furniture selected in this scene has the flowing lines required by femininity in form, and the colour matches the atmosphere of the scene. Especially this cute rabbit lamp, under the echo of the garden, brings a relaxed and active atmosphere to space. In the elevator design, it got rid of the traditional elevator form. It borrows the look of frame elevators from ancient times to echo retro-futurism. The size of the elevator is larger than the ordinary elevator, because it has a flower pond on it, making the elevator not only a passage but also a movable garden display area.

cafe area

This is the coffee area on the second floor. This area is accompanied by a small garden, allowing people to enjoy a pleasant snack time in the company of nature. The design of the coffee table echoes the shape of the building and also provides an area for customers to sit and chat. Rose gold metal is used in this area to enhance the femininity atmosphere. Moooi's bird lights not only play a role in lighting in this space, but also make the whole environment full of a feminine fairy tale atmosphere. The shape of the bar stool looks like a female body, which is especially suitable for this space.

reading area

This area is the reading area on the third floor and the semi-open communication area on the fourth floor. The connection between these two areas is a sitting staircase where people can sit and read. All the readings in the reading area are about feminism. These readings can give better spiritual support to people who come here for help. According to statistics, one of the favourite leisure activities of women in reading. Therefore, in this community, the book area regularly organizes reading activities for everyone to communicate and discuss their reading experience. What separates the reading area from the semi-open communication area is not only the height difference of the floors but also the arched pink translucent glass with mottled patterns. The shape of this piece of glass echoes the shape of this building. The colour also matches the style of the wall. Its mottled patterns contrast with the smoother surrounding materials and also enrich the visual effects of the scene behind the glass.

semi-communication area with a garden

This is a semi-open communication area with garden. In this area, Moooi's signature lantern is used. This horse lamp is matched with the garden, setting off the indoor forest-like atmosphere. The carpet chosen is a pattern of flowers tiled, echoing the garden area. The sofa is made of velvet, which highlights the noble femininity. This semi-communication area can accommodate small groups of about 10 people for collective communication. Everyone can express their opinions and opinions equally here, and they can also share their own experiences in social life to help and support each other. In addition, in this area, gardening and flower arrangement activities are also carried out regularly. Help people here to release the pressure accumulated in daily life in a way that is close to nature.

private area

Model development

This picture shows how to get the model based on visual angles

The model

This is the model I developed by visual angle theories. The model is used to verify the effectiveness of communications.

Communication Effectiveness Verification process

This picture shows how to use the model to verify the effectiveness of communication

The photo of the residential project

This is a residential project designed by myself in 2018, Singapore. This is the shared space.

Analysis of the residential project

This picture shows the verification of the communication effectiveness in a residential shared space. The project was designed by myself in 2018, Singapore.

the basic modules of the furniture

The furniture including floor chair, cushion with different fabrics and at least 9 basic modules, which can be connected and stacked over each other to create various configurations.

10. Final Design

These are the different scenarios when using my modular furniture.

Verification result

Verification result

Verification result

The stories

These are the stories I got from online resources and interview, which are used to get potential requirements for my final design

Background

Key theories

Methodology

The manifestation of gender discrimination in public space

Case studies

Design Scheme

Development

Origin of architectural form

The sculpture exhibition area

Sculpture Exhibition Area

Painting and Photography Exhibition Area

The historical exhibition area

Characteristic experience space

The activity area

Second floor atrium landscape design

immersive space

The leisure area

Interior space design of the fourth floor

The Surprise Box

The Surprise Box

Conclusion

Background

Menu for audience

Menu for performer

Audience

For the audience, inFORM walls are used in their space to capture the dynamics of the performers, and aireal devices will help them interact with the performers.

performer gif 选择

Performer

For performers, they will perform in a green screen room, and MR technology will help them design the entire stage. Aireal devices can help them interact with the audience.

Museum

The combination of wall and Teslatouch touch technology makes visitors feel the texture of the painting.

Location

Concept

Story Area

Story Area

Ocean Area

Ocean Area

Energy Area

Energy Area

Circulation

Future Development

Egyptian Halls/ Ground floor floorplan

The project aims to turn back the Egyptian Halls into a place for people to work, learn and make by transforming the building into workspaces for makers engaged in redefining their creative practices from the perspective of sustainability. The active ground floor will house a ceramicist studio and shop, a cafe and a sustainable fabric shop. The workshops and open studios will be located on the upper floors of the building.

Material bank

The interiors of the building, which had had layers of alterations over time, were deconstructed in order to provide a material bank to inform and generate the new interiors. The positive deconstruction process redefines waste construction materials as valuable material resources. The drawing expresses the elements that were dismantled and reused within the new layout.

Section

Ground floor: Ceramicist in residence workshop and studio/ Cafe/Sustainable fabric shop. 1st floor: Textile workshops. 2nd floor: Printmaking workshops. 3rd: Ceramics

Axonometric view of the ground floor

Axonometric view of the ground floor shops. From left to right: Ceramicist's shop and studio/ Cafe/ Sustainable fabric shop. All shops have access to the back lane to make it into an active lane and allow spaces for community workshops within the different shops.

Café

Perspective view of the ground floor café.

Ceramicist in residence workshop

Perspective view of the ceramicist in residence workshop on the ground floor.

Sustainable fabric shop

Perspective view of the ground floor fabric shop.

Axonometric view of the textiles studios

Axonometric view of the textiles studios located on the 1st floor. There is a weaving studio, an embroidery room, fashion studios, print room with exposing and drying area, a sustainable material research room and a botanical dye lab. There is also a common open space for talks, open studios for community learning and a material library for research and study.

Detailed axonometric of the textile studios

The interior was designed to be flexible, adaptable to changes and potentially dismantable in the future so that it is truly sustainable. Partitions that were added are made of wood so that they are non-intrusive (highlighted in green). Some partitions were repurposed from the previous layout (highlighted in blue) to reduce waste materials. Finally the bridge partition acts as a bridge between studios, expression of the collaborative approach encouraged within the studios.