PCID is the Product, Ceramic & Industrial
Design programme at Central Saint Martins,
University of the Arts London

About Manifesto Exhibitions News

Product, Ceramic & Industrial Design programme
Central Saint Martins, University of the Arts London

The programme consists of four courses:

BA PD — BA (Hons) Product Design BA PD — BA (Hons) Product Design BA PD — BA (Hons) Product Design BA PD — BA (Hons) Product Design

MA ID — MA Industrial Design MA ID — MA Industrial Design MA ID — MA Industrial Design MA ID — MA Industrial Design

BA CD — BA (Hons) Ceramic Design BA CD — BA (Hons) Ceramic Design BA CD — BA (Hons) Ceramic Design BA CD — BA (Hons) Ceramic Design

MA D — MA Design (Jewellery, Furniture, Ceramics) MA D — MA Design (Jewellery, Furniture, Ceramics) MA D — MA Design (Jewellery, Furniture, Ceramics) MA D — MA Design (Jewellery, Furniture, Ceramics)

The Product Ceramic & Industrial Design programme at Central Saint Martins UAL brings together four courses of study that engage in design through
materiality and materiality through design. 


Contact PCID
pcidadmin@csm.arts.ac.uk

Follow PCID
Instagram, Twitter

Newsletter
Sign-up here
All are committed to:
creative ambition, collaboration, making.
And design: as a practice that transforms, is
anticipatory and adaptive, that delivers.


To collaborate on bespoke projects contact:
Innovation and Business, Central Saint Martins
innovation@csm.arts.ac.uk

Design + Code
Emily Schofield & Felix Steindl

Typeface: Favorit by Dinamo

We Make

to experiment,
to prototype,
to prove,
to materialise,
to manufacture,
to know.
It’s about the hand,
the eye,
the technique,
the ritual
and the heart.

Creative Ambition

More of the same is unacceptable. Our objective?
To make new opportunities and possibilities real.

Design is
transformational

Design is the capacity to transform:
the self, enterprises, publics, services
and the practice of design itself.
We are about the transformation of the
individual into a questioning, creative,
attuned and articulate practitioner.

Collaborative practice

Relationships are embedded in what we do
through co-creativity and collaborative enterprise.
We operate an art-school model of studio practice that demands participation and fearless endeavour.

Adaptive, anticipatory practice

Contemporary paradigms of production,
manufacture anddistribution demand
proactive practitioners.
We prepare our graduates to anticipate,
to explore and to articulate futures.

A community,
a network of practices

We are more than a University,
a College, a Programme.
We are a community: national,
international, past, present, future.

(Close)

Series of vessels by BA Ceramic Design students for Studio3Arts

A group of local school children at the Global Generation Skip Garden

Individually crafted menopause vessels for Hands Inc.

Large pot featuring the stories of visitors to the Dalston Eastern Curve Garden

Oct 4, 2017 — BA Ceramic Design

What Can Ceramics Do?

Each year, BA Ceramic Design students collaborate with organisations beyond the walls of the College. Often, these collaborators are commercial enterprises – design companies, manufacturers or retailers – but 2017 was different. This year, students explored the power of the ceramic material and its possibilities for social impact working with five charities and social enterprises.

The results of those five projects are on public show in “What Can Ceramics Do?” at the British Ceramics Biennial in Stoke-on-Trent, until 5 November. As the exhibition launches, we talk to Stage Two Leader, Emma Lacey about the results and resonances of this year’s projects.

From the experience of dementia or the stigma of menopause to the impact of urban regeneration, these five projects span subjects but all challenged the students to connect community with clay.

“Most clients wanted to see what we could do,” says Lacey of the initial briefs set by the clients – namely, Dalston Eastern Curve Garden, UCL Dementia Research Centre, Studio3Arts, Global Generation Skip Garden and Hands Inc. For many, this was their first time collaborating with students and so instead of prescribing the desired outcomes, the projects often began with conversation and exploration. In groups of five, second-year students were introduced to their client, immersed in the particular location or community and then asked to devise and develop their ceramic responses. All happening over a short period of ten weeks.

Some projects resulted in public workshops and community engagement. For example, at Dalston Eastern Curve Garden – a much-used green oasis in London’s Hackney – the students combined conversation and clay sculpting to uncover the feelings of the Garden’s users. With the site facing redevelopment by the local council, the project required empathy: “They were clear that they didn’t want us campaigning on their behalf – it was a sensitive discussion of which they were in the middle but they wanted to reflect on the values of the garden”. A show-stopping large pot is inscribed with the voices – some whispered, some shouted – of visitors. Currently on show at the Biennial, the pot will be installed at the Garden.

At Global Generation Skip Garden, students talked with local schoolchildren over an afternoon of platter painting to collect visual and spoken reflections on their use of the space.

Other collaborations exploited clay’s expressive qualities. Students working with the ‘Created out of Mind project at the Wellcome Collection Hub, interpreted the experiences of dementia sufferers into a series of clay vessels – each one personal and distinct from the next. The vessel also appeared in the Hands Inc project. Working on the charity’s Reclaim the Menopause initiative, the brief focused on dispelling the negative connotations of the universal female experience. The resulting vessels not only represent women’s unique body forms in their menopausal age but it is hoped they will become family heirlooms passed from one generation to the next and a place to hold stories about the menopausal experience.

The final project, collaborating with arts organisation Studio3Arts began as a more traditional brief: to create gifts for Studio3Arts’ supporters to mark its 30<sup>th</sup> anniversary. Spending time at the organisation’s home at the Gascoigne Estate, the students decided against creating a one-size-fits-all object instead wanting to echo the many voices and connections they had experienced. Across 120 vessels, 30 different glazes and 3 clay bodies the broad creativity reflected that of the client.

One of the threads that recurs throughout each project is the nature of clay to reflect individuality. How, in one context, the material can be standardised and repeated and in another it can be unique and expressive.

“I think that was the difference between this client project and the previous ones. It’s not about function and design directly instead all the projects wanted an expression, a voice for the people they were researching and representing.”

One of the outcomes across this series is a broadening of outlook of the students. “Often they collect textures or references to artists or designers,” says Lacey, “they collate their visual influences without realising that there is also a kind of ethnographic research possibility as well – meeting people, thinking about data and the wider world can inform your work visually.”

As happens in creative practice, the influence of one project bleeds into practice more generally. The students who worked on these projects now enter their final year studies with new-found skills in community engagement.

Often with a curriculum project it ends when it ends. But this time, nobody knew where it was going to go and we still have events coming up. The end of the project was last spring and it’s still rippling out. Organisations want collaboration and it’s a way that we can research and work so there’s definitely been an opening up to co-creation.”

“What Can Ceramics Do?” Is at the World of Wedgwood, Barlaston, Stoke-on-Trent, as part of the British Ceramics Biennial, 23 September – 5 November.

3D prototypes for PUNK, Anke Buchmann for Nachtmann NEXT GEN

PUNK, Anke Buchmann for Nachtmann NEXT GEN

Jul 26, 2017 — BA Ceramic Design

Award-winning collaboration with Nachtmann

Discomfort is usually a feeling to be avoided when designing a product but it’s central to Anke Buchmann’s award-winning collaboration with Nachtmann.

Nachtmann, a 200-year old Bavarian glass company, approached BA Ceramic Design to collaborate on its annual NextGen competition. The scheme, now in its 10th year, was a particularly attractive opportunity for the Ceramic Design students not simply because it would bring the winning design to a global market but because it offered the chance to work in glass, rather than clay:

The two materials use plenty of similar processes like mould-making. But I was interested to see what I could learn from glass that I could transfer to clay. So, for me, it was all about staying open.”

Anke Buchmann, BA Ceramic Design student

With the brief defined simply by what was feasible in production, students had free reign to go where their inspirations took them. Buchmann wanted to explore the combination of mindfulness and materiality.

Responding to our growing reliance on screens and the digital world, the designer wanted to create a drinking glass that jolted the user back into their physical present. “I’m interested in getting a new language into mass production,” she says, “I worked on a surface texture that, when holding it, brings you into the moment. Sometimes we get into a routine of functioning, driven to our devices, but I think it’s important to create pieces that bring us back to now. We are all screaming to be real again.”

At the same time as Buchmann was defining her approach, Punk was celebrating its 40th anniversary. A Punk-related book display was on show in the library and exhibitions were popping up across the city. Alighting on metal rivets and raised studs as a recurring motif for Punk fashion, Buchmann saw potential for a similar form to translate into glass and offer a balance between tactility, aggression and beauty.

“I come from an advertising background, so I often look at the target audience. For this brief it was getting younger people interested in crystal and the people that were into Punk form part of that younger market. Punk spoke its mind, didn’t care what people thought… This idea of being real again, feeling yourself but breaking out of the ordinary.”

Having defined a collection of tumblers and decanters through various models and prototypes, Buchmann was selected as the winner of the NextGen competition with runner up spot going to fellow BA Ceramic Design student Valerie Totubaline. Then began the process of preparing the PUNK collection for production which saw the designer working closely with the Nachtmann team to get the surface texture of each part of the product just right, not so sharp that it hurts but sharp enough to register.

Richard Volt, Managing Director of Nachtmann, praised her winning design as “a perfect summation of everything we’d aimed for: modern, unique, and personal.” In fact, the design team were so taken with Buchmann’s vision they added a set of martini glasses to the collection.

The staff and students of BA Ceramic Design headed to their annual trip to Ambiente at the start of 2017 with the added excitement of seeing the final designs launch at the Frankfurt fair. In June, PUNK was awarded a Good Design Selection honour at the Good Design Australia Awards. Looking back over the project with her PUNK collection launching in the UK this summer, Buchmann – who heads into her final year on the course in September – says:

“I would like to work with glass again. I had no expectation at the start of this project but tried to be as open as I could. Now I feel like anything is possible.”

 

Jun 1, 2017 — BA Product Design

RSA Design Award for indoor wheelchair

BA Product Design’s Nelson Noll has won an RSA Student Design Award for his innovative indoor wheelchair. Curve is designed as any other piece of furniture for the home, a resolutely domestic object.

I wanted to create something that replicated the feeling of taking your shoes off and putting your slippers on when you get home”
Nelson Noll

Through an initial focus on speed racing Noll’s research put him in touch with multi-gold medal winning Paralympian David Weir and other athletes where he discovered that even at such a high level of specialisation they use their racing chairs inside the home. This inspired Noll to create a chair designed specifically for domestic use with three wheels for a narrow pivot point and a higher seat base to access table heights in the home (traditional wheelchairs are lower). Curve is made from low cost and easy to produce materials – CNC-milled wood, 3D printed wheel and a pressed steel hinge which is the only part requiring larger scale manufacture.

Beginning with a series of briefs, the RSA’s Student Design Awards challenge emerging designers around the world to tackle pressing social, environmental and economic issues through design thinking and practice. This year there were over 800 entries from 21 countries, with Noll awarded the Global Disability Innovation Hub Award for his design responding to the #HackOnWheels brief.

Image 01: Minerva Pop GA45 Portable Record Player, Mario Bellini, Italy, 1968

Image 02: Ceramic Roof Tile Great Wall of China. 16th Century

Image 03: Windows On The World, One World Trade Center, Restaurant Reservation Card, New York, 2000

Image 04: Metti Pocket doll, Sebino, Italy, 1972

May 9, 2017 — PCID

Objects That Talk

Objects That Talk gathers together the stories of 65 things.

Each object has been donated by a member of staff or alumni from the Product, Ceramic and Industrial Design programme. Ranging from the timeless notebook to the less timeless Teasmade, the selection offers a glimpse into the personal histories and preoccupations of the contributors, but above all demonstrates our connection to the things with which we live our lives.

Rob Kesseler, Professor of Arts, Design and Science — Film with lens, FujiColour Super HR 24 frames, Japan, c.2000

In 1958, the artist Christo started making elaborately tied packages as artworks that he sent to various recipients, who when opening the package became complicit in the destruction of the artwork. This culminated in a package made in 1962 and sent to his friend the artist Ray Johnson. The package was photographed, carefully untied and the photograph inserted back into the package and sent off with a note to inform Johnson that the photograph was a record of the artwork he had just destroyed. My selection echoes this theme, an object whose functionality will lead to their destruction.
Bought at an airport on impulse, attracted to the exquisite detail of the retro packaging that locates the camera lens in the hubcap of the roadster. The thing about disposable cameras is that you don’t get the camera back after processing. So although I have taken about three shots I don’t know if I will ever process the film in my lifetime and it is so long since I took the shots that I cannot remember what I took. The exception being the photograph I just took of a vase of tulips on my mantelpiece. The camera normally sits in my cabinet of curiosities at home – a crypto palimpsest.

Image 04: Betti Marenko, Research Leader PCID programme — Metti Pocket doll, Sebino, Italy, 1972

A pocket doll, literally. It is flat – almost bidimensional – and it could be nimbly folded. Head, arms and legs can be turned at 360° so it could easily fit into the back pocket of my jeans. It was called Metti because its slogan was: “Metti La Tua Bambola In Tasca” (literary “Put The Doll In Your Pocket”). There was a clear element of liberation and tomboyishness involved: I could take my doll with me when I was playing out with the boys, climbing and running and hiding and making general mischief. My first exposure to gender blurring. It has never left my side (if not my pocket) for over four decades.

Image 01: Nick Rhodes, Programme Leader Product, Ceramic and Industrial Design — Minerva Pop GA45 Portable Record Player, Mario Bellini, Italy, 1968

I bought this in a Milanese second-hand shop in 1992. It’s a period piece – you can only play 45 records on it. The design by Mario Bellini presents the playful side of Italian modernism with its handbag language emphasizing its place as a youth-oriented consumer product. It was originally released in patriotic green and red – the colours of the Italian flag. It really says: what’s wrong with fun?

Image 03: Paul Sayers
, Stage 3 Leader BA Product Design — Windows On The World, One World Trade Center, Restaurant Reservation Card, New York, 2000

This simple, easily discarded object, is one of those mementos from a visit made at a time of great change in my life in June 2001. I remember the chance of taking the one single elevator straight to the top of the building, not to the viewing platform on the other building, but to this bar and restaurant, thinking that I might come here often if the interview at the Design Agency in New York went well. Three months later the world changed.
I found the card and framed it. I still feel the emotion in my skin when I look at it, for all that it reminds me of personally and obviously for what happened on that terrible morning

Image 02: Tony Quinn, Course Leader BA Ceramic Design — Ceramic Roof Tile Great Wall of China. 16th Century

In China, it is said that if you visit the Great Wall you are a hero! I was lucky enough to visit the Great Wall in late 2016. I hiked approximately 3km in 3 hours, well, hiked is something of a euphemism for mountain climbing. The wall is a spectacular feat of human engineering, over 500 years old, as most of it originates from the Ming Dynasty (1368–1644). The wall is a testament to simplicity and appropriateness of materials. If you want to build a huge wall to span thousands of kilometres, then wood, stone and clay are perfect.
This is an original roof tile from one of the watch towers on the wall, circa 1500. I was given this as a reward from the person who took me on the wall. I like to think this was a heroic reward given to someone who understands the significance of the object. For this is no ordinary, ordinary object. This is a ceramic roof tile, that has been manufactured using the same method from the day it was placed on the wall c.1500 to the present day. This simple method of taking clay and pressing it into a wooden mould then firing to 1100˚C has been the definitive method for making roof tiles in China for hundreds of years. It is an example of a continuous definitive production process. It hasn’t changed because it can’t be bettered.

Curated by Betti Marenko, Paul Sayers and Carla Sorrell, Objects That Talk is on show in the Window Galleries, Central Saint Martins, 20 March – 28 April.

May 9, 2017 — PCID

Old phone, new phone

Two projects from the Product, Ceramics and Industrial Design programme bring the past and future of design into focus.
For Objects That Talk, a current Window Gallery exhibition, staff and alumni have contributed meaningful things from their personal collections. Among the chairs, toys and notebooks are four phones, a surprising recurrence across 65 objects. More surprising, perhaps, is that half are Nokia mobiles from the early 2000s.

How has this particular piece of technology come to mean so much? Alumna of the PCID programme, Despina Hadjilouca has a personal take on her 1600 Ultrabasic phone. A hand-me-down from her sister, the phone has become an essential part of her everyday routine: “It was never the plan to keep it for so long. It was not a statement – using a non-3G, non-4G phone in the era of smart phones, it just happened. It is the most reliable device I own and I will be heartbroken when it finally breaks down.”

Mobile phones have become our daily pocket companions, and though the prevailing culture of upgrading technology might emphasise a pattern of obsolesce there is an alternative story of stalwart stability. Paul De’Ath, Course Leader of BA Product Design, explains that his 3310 handset – also on show in Objects That Speak – has never failed him. It is this particular design of which Nokia recently announced the relaunch.
For De’Ath it represents “a phenomenal race to the top; a time when design was driving the desire for new technology and where diversity of ideas was encouraged. Mobile phones were, due to their relative accessibility, replacing cars as the item that would communicate the values and attributes of the owner. The Nokia 3310 was the ubiquitous device that changed future telecommunications for many people.”


Mobile phones have become not only everyday tools but also intimate expressions of our values and tastes. Though still a device through which to contact and connect, the mobile phone has become the smart phone, and its functions grow and grow. Telecommunication giant Huawei approached Central Saint Martins to challenge students on both MA Industrial Design and MA Design: Ceramics, Furniture, Jewellery courses to reimagine the future of smartphone accessories by interweaving technology design and fashion into one object.

“A phone is something that we’re so used to now,” says Nick Rhodes, Programme Leader of Product, Ceramic and Industrial Design, “a smart phone is so much part our lives that it has almost become invisible. And it’s not until you get a project like this that you really get the opportunity to stop and think about the implications of the smart phone and its impact on life.”

The brief was focused on “The New Aesthetic”, a concept that Mark Delaney Head of Huawei London Design Studio explains as “the intersection of technology, fashion and design… as technology becomes more immersive and people live surrounded by it, they want products that reflect their lifestyle and that’s what we’re looking for.”
With the future-gazing brief in hand, the students set about exploring the territory of The New Aesthetic. The winning team Spectra – comprising Stef Liu, Daniel Mutis, Joshua Rose and Lisa Stolz – created a device that not only pushed what a mobile phone physically is by fusing it with jewellery, but also pushed how the technology intimately mediates our experience of the world around us. By scanning colours in their environment, Spectra transforms surfaces into sound in real time, allowing the user to collect sounds and create music as a way to document their experiences of a place.

As Rose explains: “We felt that The New Aesthetic was something more multi-dimensional, and that it represented people who are constantly taking inspiration from their environment and expressing themselves in multiple ways, whether it be fashion, music or photography.”

For Huawei, Spectra impressed with its broadness of thinking. The winning design, as David Kim, Huawei Brand Director says, opened up the concept of The New Aesthetic “into the next dimension… Innovation is not always coming from the labs, and that is why we are privileged to partner with all these emerging enthusiastic and inspirational talents from Central Saint Martins.”

May 9, 2017 — BA Ceramic Design

The Future of Ceramics

Currently on display in the Lethaby Gallery, Craftsmanship Alone Is Not Enough captures BA Ceramic Design’s history and development over a hundred years at Central Saint Martins. With that in mind, and looking forward to the next century, we asked staff and students past about what they see for the future of ceramics.

“The hope that people will still design and make beautiful ceramics and use them in daily life. Explore and expand the material.”
(Maham Anjun, who graduated in 2013, is an award-winning potter, designer and researcher.)

“Lots of scope for public engagement that hopefully might alert the powers that be to the value for expanding more opportunities to work with clay.”
(Agalis Manessi, who graduated in 1976, is a ceramicist who draws inspiration from ceramic folk traditions.)

“The durability, the cleanliness, the coldness, the warmth, the beauty of ceramics guarantees its future benefits. Imagine a day without it.”
(Robin Levien, who graduated in 1973, is one of the country’s most successful product designer. His Rosenthal Thomas tableware has been a bestseller for over two decades.)

“I really hope that we will see more young people having the opportunity to work with clay at school, even though it’s hard to be hopeful of that at the moment. Which is why I also hope that we will continue to find ways to provide adult education opportunities to allow wider access to ceramics to anyone. On the cliff edge of Brexit, it seems that, we will all need to fight harder for those opportunities.”
(Sarah Christie, who graduated in 2016, is interested in giving voice through ceramics.)

“The democracy of the subject will become much more established with the development of the digital. Many people will be able to attempt to design in ceramics but if you know how to use the material, know its idiosyncrasies and histories, you will be very much in demand for your own designs but for others locally, nationally and internationally.”
(Kathryn Hearn’s practice reflects the Cambridgeshire Fens, with its liminal, rural but industrial landscape. She was Course Leader on BA Ceramic Design from 1989-2015.)

“Recognition.”
(James Evans, who graduated from CSM in 1987, creates biomorphic sculptures using ceramic and metallic materials.)

Emma Lacey, Stage Two Leader (BA Ceramic Design) talks to us about her '100 mugs' piece featured in Craftsmanship Alone Is Not Enough, an exhibition documenting 100 years of ceramic design at Central Saint Martins.

Stephanie Buttle discusses her piece Position Six, exhibited in Craftsmanship Alone is Not Enough. Stephanie graduated from BA Ceramic Design in 2015.

BA Ceramics tutor Duncan Hooson talks to us about the Clay Cargo "saggers" featured in Craftsmanship Alone Is Not Enough, an exhibition documenting 100 years of ceramic design at Central Saint Martins.

Feb 13, 2017 — BA Ceramic Design

Clay Conversation

As Craftsmanship Alone is Not Enough, our exhibition celebrating a hundred years of ceramics at the College, has just finished, we talk clay with a few familiar faces.

Jan 27, 2017 — BA Ceramic Design

You know about this clay stuff, right?

To mark the Lethaby Gallery exhibition, Craftsmanship Alone is Not Enough, Duncan Hooson, Stage One Course Leader on BA Ceramic Design, introduces us to this sensational stuff called clay.

It’s messy, temperamental and wonderful.
We line reservoirs and canals with it.
Bake, cook, drink and eat from it.
Defecate, piss, vomit, wash and bathe in it.
We create conceptual, decorative, visceral, lyrical art with it.
We make big architectural brick and tiled buildings.

Just look at the reflective crocodile tiled roof of the Sydney Opera House.
We make very small micro silica chip things.
Functional, useful, provocative, place-making and site-specific things.
We, mould, speak, and communicate, have conversations outside and inside the community of practice about it.

We leave it for future generations to ponder and try to understand us, enabling archaeologists to find, analyse, explore and theorise the it of it.
It’ll be here long after we are gone. Walk on the Thames foreshore
 and put your own thumb in the thumb indent of a sherd from stuff made by a medieval potter or child and be transported.

How much do we understand it?
 We have to learn to know and love it.
 We make things with this stuff that sticks to our souls.
 It’s the muddy mud on our boots!

We put it in our mouths daily as toothpaste, cake our face in it to create masks to make us more presentable, bearable and likeable, ease our stomachs, swallow medicines, clarify wine, grow grapes, soften leather with it.

Earth’s atmosphere won’t harm on re-entry from space because of it.
Ceramic ball bearings keep us moving.
Filtration systems keep us hydrated.
Insulators stop us being electrocuted.
Carburettors keep the air cleaner.
Old and new terracotta systems keep foods longer.

It’s super tough stuff.

Anti-stab Kevlar will protect.
It protects the cutting bit while deep earth drilling and stabilises
 the holes during it.
It has geotechnical and environmental applications and is used
 in foundry work for casting metals.
The oil industry uses it for filtering and refining petroleum.
It’s used in water treatment and wastewater management. Doulton’s partnership with Balzagette knew the value of it – they moved sewage under and out of London through salt glazed pipes, a smooth ride.
It’s used in the production of rubber and plastics.
It’s in this paper you’re holding right now.
Oh and another thing. Silica compounds are in your mobiles and computers.

We take apprenticeships, degrees, create narratives and graduate with it.
Simply touching clay stimulates the senses as fingertip channels of information flood the brain.
We can then start to understand and control it.
How much understanding does this take?
Years and years depending on the level of fascination with it.
Deeper knowledge just takes time.
It’s not a discipline for the impatient.

First timers can gain initial successful results, old timers know it’s about doing it again and again and…!

This is an excerpt. To read the full piece, pick up the Craftsmanship Alone is Not Enough publication at the exhibition on show at the Lethaby Gallery until 11 February.

Jun 9, 2016 — MA Industrial Design

CSM MA Industrial Design x Renault

MA Industrial Design partnered with Renault to challenge students to rethink the car interior for future self-driving vehicles. We caught up with the winning design team to say congratulations and to hear how they were inspired by Pina Bausch and Hussein Chalayan.
The word ‘car’ doesn’t seem quite right when talking about ‘Oura’, the winning project from Renault’s collaboration with MA Industrial Design. Described as a ‘wearable vehicle’, it’s a vision of the future in which any hint of car convention has been stripped away.
Created by Lily Saporta Tagiuri, Evgeniya Chernykh and Zhenyou Gao and selected by a panel that included Renault’s Vice President of Exterior Design Anthony Lo, Oura is gesture-controlled with an interior design conjured by virtual reality design technologies and suspends the driver as they move almost weightlessly through space.
The project began broadly investigating future mobility in the context of autonomous vehicles. The Masters students worked individually with initial ideas spanning from exploring Google as a transportation hub to the use of VR for people with wanderlust in remote places. Chernykh explains: “It was interesting because the project combines research – it needs to be connected to logic ­­– and also dreaming about the future. It was something limited and then without limits all at the same time.”
The students were carved up into groups by their tutors so Tagiuri, Chernykh and Gao began by finding the connections between their practices. Though their interests had stretched from VR to way-finding make-up, the group talked about the conflicts of smoothness and glitches within the transport experience. “We observed that nothing operates smoothly now,” says Chernykh, “there are glitches like traffic jams. So we looked at things like the spacesuit, how to create a sense of seamlessness.”
Focusing on the movement of the body brought choreography into the conversation. Dance, and Pina Bausch in particular, was a particularly fruitful path. Watching a dance in which the protagonist falls and is caught by a partner before hitting the floor, touched on the sense of trust and protection that the group were after in their design. ‘We didn’t want it to be like a piece of technology, where you’re entering and relinquishing control. The vehicle had to be your partner’, explains Tagiuri.
And so, they performed the functions of a car as a dance with Tagiuri acting as the vehicle and Gao the passenger. “It was an experiment about trust,” says Gao, “how can the car protect the passenger and how it can move.”
Having mapped current personalised vehicles from the Segway to the hoverboard, the team knew what they didn’t want. And their inspirations were broad, from the aforementioned Bausch to artist Rebecca Horn and fashion designer Hussein Chalayan. As Tagiuri explains, “we responded to things that were mechanised but elegant and playful.”
Oura connects to the driver at the waist, like the hold of a dancer, stabilised with inbuilt gyroscopes creating a sense of weightlessness and achieving the seamless experience of travel the trio were after, while offering a world of digital activity and control through a virtual reality experience.
While Oura embraces the creative speculation on what the future has to offer, each decision, the students emphasise, follows distinct reasoning. An autonomous car, by its nature removes the need for the protective structure that we’ve become accustomed to in a conventional car, as well as the interface that goes along with driving. “We wanted to reduce the materiality without jeopardising the positive experience of being in a car,” explain Taguiri, “For us it was a series of logical decisions that took us there. It wasn’t that we wanted to reject the brief. We weren’t trying to rebel at all.” It may have begun as a project about future automotive interiors but the designers were quick to realise there didn’t need to be an ‘interior’ at all.
“We were never going to give Renault a car design, they are car designers,” says Taguiri, “We’re going to give them what we can do… and we’re going to have fun.” Well aware that their design had pushed the brief and was one of the most conceptually challenging, the trio presented their work to the judging panel.
It was this combination of courage and creativity that Renault responded to. “The designers went beyond the confines of a vehicle,” says Anthony Lo, Vice-President of Exterior Design at Groupe Renault, “they created the most surprising concept.”
Throughout the process, the designers took risks. Asked to design a car interior, they presented a concept that ostensibly has no interior. But that experience is exactly what has been the most valuable, Taguiri says: “It’s important to have the courage to do your own thing, have your own style. You don’t have to conform to convey; sometimes, confirming the status quo isn’t very convincing.”
(CLOSE)

Objects That Talk

London

2017 (coming soon)

(CLOSE)

Chaos to Epiphany

New York

2017

Designing into the unknown, the projects here all began with the humble conundrum: “we know that we don’t know”. These works – a selection of final projects from the four courses of study at Bachelors and Masters levels in the PCID programme, share a need to make sense of the chaos arising from conflicting imperatives of opportunity, need and desire.

From the simulation of symptomatic dementia, the use of technology in spiritual practice, to the confrontation of socio-political dilemmas – these are projects that interrogate their subjects through the application of intense curiosity, criticality and discipline-specific design skill.

Although this work is of a single department, we hope you will notice a complete absence of house style and a total rejection of uniformity.

This is our house style.

Paulina Lenoir Guajardo, BA Product Design

Really Long Shoes, 2015

Material: Leather, rubber, wood, mixed media

Collaborators: Mick Duggans and Jesus Alonso

Photography: J McGill Winston

Efficiency has overtaken most of the daily interactions, architecture and objects in an urban context. As a consequence, we have lost control over our individual pace and interpretation of time.

Objects and architecture composing the urban landscape dictate the pace of the people inhabiting it. Every person has an individual rhythm which is often concealed, contained and limited by these external structures and systems. Yet the familiarity of urban routines, spaces and objects make it difficult to be aware of how we conform our diverse rhythms to our daily lives.

The Excessively Long Shoes are a way of consciously imposing a slower pace on oneself. Their shape, weight, and length exaggerates and slows down daily movements, making them less familiar, thus creating a contrasting pace. Through imposing a rhythm on oneself with an object of the everyday one can transcend the ordered structure created by the urban environment by becoming aware of how we are succumbing to externally imposed rhythms. Efficiency has overtaken most of the daily interactions, architecture and objects in an urban context. As a consequence, we have lost control over our individual pace and interpretation of time.

Anne Couvert-Castera, MA Industrial Design

Hindu Tales: Souvenirs of a Future, 2016

Materials: Mixed media

Research and feedback in collaboration with Hindu communities in London.

Hindu Tales questions the interactions of spirituality and technology. It focuses on Hindu devotees and imagines how they might use new technologies in their religious practice.

Testimonies gathered from Hindus identified key questions about Hindu identity, Hinduism’s capacity to embrace the socio-technical evolution of society, and to regenerate itself made me realize that it is an admirable topic for designers.

Hindu Tales does not claim to predict the future. It’s about raising questions, ‘what-ifs?’. It offers 3 “fragments” or vignettes of a potential future for the Hindu Community in a technological age: ‘The Cab Altar’; ‘The Love Guru’; ‘Connected Festivals’. Each fragment depicts a scene from the everyday life of a persona from the Hindu diaspora. It imagines design responses to overcome the remoteness from Mother India, bringing to Hindus around the world a new way to live their spirituality, affording the sense of a global Hindu community.

The Cab Altar

Raj is a cab driver in London, he connects back to his roots and family during his prayers, via a “connected cab altar”, featuring a set of smart objects. Raj receives sensorial messages from home (prayers, scents…). It is based on the sensorial and the emotional immersion.

Giada Giachino, MA Design (jewellery)

Per Inciso, 2016

Materials: Shellfish byproducts, silver, resin

Photography: Vicente Mateu

Collaborators: University of Maine & Cameo Italiano

In response to traditional cameo and coral jewellery production, this collection presents innovative processes to create a sustainable industry for the future. Re-contextualising materials both from the food and jewellery industry, such as lobster, mussels and shell lips, Per Inciso transforms byproducts into something precious. Though a new flexible material forms the project’s basis, Giachino also explores engraving mussel shells as well as integrating the shell-lip waste from cameo production into jewellery. A provocation about preciousness and material value, Per Inciso celebrates its origins, highlighting the future possibilities of these previously discarded materials when applied to traditional jewellery techniques.

Cécile Maïa Pujol, MA Industrial Design

Ceci n’est pas une chaise, 2014

Materials: Wood, resin and gesso.

Ceci n’est pas une chaise employs stories of production as a source of inspiration and a platform for critical engagement. It is the manifestation of the relationship between crafts and mass production. It aims to reconcile both.

The existing and the newly created, the original and the copy, the authentic and the fake, this project seeks to merge very different artefacts in order to create a new time scale. When does the copy become original? Through the use of moulding and casting replication processes my physical interaction and manipulation of each individual object questions standardisation and sameness in mass production. The copy is used as an alternative proposition to what exists, and the mould becomes a medium of creation.

The project celebrates the beauty of the material and the process. Objects as drawings in three dimensions, going back to the sketch to draw a new form of life-objects become an illustration of an endless metamorphosis.

Di Peng, MA Industrial Design

Dementia Simulator, 2016

Material: Mixed media

Photography: Daniel Letter

Dementia is a difficult disease to understand. Those caring for dementia sufferers, be they family members or healthcare professionals, may struggle to appreciate how the disease can affect everyday experiences. The Dementia Simulator provides a way to experience a variety of the disease’s symptoms, not only engaging empathy but also offering the user a route to reflect practically on future care.

While no one can truly step into the mind of another, the virtual reality headset creates an immersive environment that affects the senses. Users encounter distorted sights and sounds as well as experience difficulty speaking.

The Dementia Simulator is a provocation to move the dialogue about dementia forward.

Will Verity, BA Product Design

Deimatic Clothing, 2014

Data shows that existing cyclists in the UK are overwhelmingly male and that only 25% of all bicycle journeys are made by women. Fear was identified as the biggest barrier preventing women from cycling. In this project Will explored how deimatic behavior exhibited by animals could inspire a safer cycling experience. Deimatic behaviour means any pattern of threatening action to scare off or distract a predator, giving the prey the opportunity to escape – for example a puffer fish will artificially inflate its size to ward off a predator.

The garment uses proximity sensors embedded into the jacket that control the LED back panel. If a vehicle is approaching too close to the cyclist the jacket will respond with intermittent flashing.

Maria Gasparian, MA Design (ceramics)

Colour Ceramic City, 2016

Materials: Clay, earthenware glaze

 

With special thanks to Alexis Harrison and Peter Webb of Arup Associates

At present there is a real need for public urban spaces that offer engaging and sensory experiences. Through use of dynamic colour, texture and form, Colour Ceramic City aims to break the routine of everyday city life and choreograph the space around it.

These self-supporting sculptural volumes and surfaces are formed by extruding clay coils with the fluidity of lines recalling the complexity and ever-changing movement of urban life. Pieces are scalable and can adapt to local contexts offering endless opportunities for site-specific interventions creating vibrant spaces within the city.

Marta Bordes Blanco, MA Design (ceramics)

Elastic Lights, 2015

Ceramic, elastic cord, customized electrics

This collection of articulated lamps brings movement and play into ceramics. The lamps explore an articulated system of elements inspired by technical applications of ceramics in engineering and medicine. The project challenges common assumptions about ceramics, enhancing the potential of the material and interaction with a user. Geometric components linked by elastic cords celebrate the functional potential of flexibility and directionality. The system playfully allows manipulation of the lamps, enhancing the tactility and visual experience.

Seen here as architectural applications the system is designed to work at domestic scale to large scale and in the future at a possible micro scale with different types of technical ceramic and elastic materials.

Mark Laban, MA Design (furniture)

Digital Daiku, 2016

Material: Maple Wood

Rustic Stool 1.0 was developed through a process-driven approach to design, engaging directly with the manufacturing technique itself: a 3-axis CNC router.

The machine’s functionality becomes an integral part of the design process, where idiosyncrasies and imperfections influence the development of the product. By manipulating the software through playful and experimental interventions, unexpected surfaces are created that deviate from the smooth perfected geometries associated with the conventional application of this technology.

These artificially generated rough textures evoke the raw state of the material in its natural form, defining the object with a hybrid aesthetic that nuances rusticity through the language of the machine.

The stool is part of Digital Daiku, a collection that interprets traditional Japanese aesthetic principals and explores their possibilities to inform furniture crafted using contemporary digital manufacturing processes.

Sarah Gold, MA Industrial Design

The Alternet, 2014

The Alternet is a proposal for a telecommunications network, a public utility for the Internet age – created, controlled and owned by everyone. The Alternet gives people control of data through straightforward data licenses.

Router

The Alternet is envisioned as a mesh network. It is decentralised, resilient and run by everyone, for everyone. The community uses digital governance tools, similar to Wikimedia, to manage and maintain the network.

Barometer

The data barometer is a window into an individual’s personal data, visualising its trade within the Alternet. Directly influenced by the licences, the barometer changes colour representing the corporate colours of the last service to make a request for personal data.

Licences

Individuals establish data licences for each of their personal data types by answering four straightforward questions. The licences give the choice of sharing or complete privacy. The licences are empowering because they shift individuals from passive consumers to active participants.

Stephanie Buttle, BA Ceramic Design

Position 6 (Working Title), 2017

Material: Ceramic, rope, rubber bike tubing

Stephanie Buttle’s work reflects her search for, and discovery of, an aliveness and performative experience within her ceramic practice. The working title of her most recent work, Position 6, describes a 6th ballet position that in classical ballet training does not exist. The sculptural work takes on an abstract figurative representation, offering a narrative around the politics of intimacy and the complexities of relationship. The physical interaction of the artist (performance) with the work/material is the beginning of a new exploration within a developing practice.

The ceramic work is held in an “off balance” stance, putting the material and techniques under stress, creating and emphasising fragility. The appendages are detached but remain part of the main structure, evoking a feeling of abstract pathos and tension. There is also a subtext of criticism aimed at the conservative dogma of aspects of a classical training, and the restrictive opinions held within it.

“My physicality was always part of this work, a relationship that develops and is explored within each new iteration. Critically within the piece is a potential for failure within the context of live performance, creating opportunity for uncertainty and spontaneity, to potentially make something unexpected, or just to be ordinary.”

Info (close)

BA (Hons) Product Design

BA Product Design believes product design solutions should meet the wants and needs of real people. Widely recognised externally as an environment in which rigorous thinking generates creative, commercially relevant work, this course gives you the intellectual, academic and subject-specific skills you need to define your own professional practice.

Course leader: Paul De'Ath

Course length: 3 years, full time

College: Central Saint Martins, UAL

Course location: King's Cross, London

Apply Now
(close)

Kaye Toland, 2017

www.kayetoland.com

Mycycle

mCycle is a socially, economically and ecologically sustainable menstruation management service. It challenges taboos, shares ownership and completely closes the loop on menstrual products.

Every month, mCycle delivers – by bicycle – organic tampons and sanitary pads in a box that transforms into a bin. Once used and collected it’s composted into non-food soil for prison park and football fields. mCycle is a co-operative company which puts control into the users' hands and creates a local online community in which they can share their experiences of menstruation and their bodies. As a co-operative, the products get cheaper over time making them more affordable.

(close)

Julius Ingemann Breitenstein, 2016

www.juliusingemann.com

The Unpaid Intern

Currently, when generative algorithms are incorporated into the contemporary design process, they can eclipse rather than compliment the process. The Unpaid Intern reframes these algorithms as tools within the process. It enables designers to reflect on, and then iterate and refine their designs.

The algorithm takes a form, and then creates countless variations on that form. The controller allows design teams to interact haptically with the algorithm simply and collaboratively, rather than crowding around a laptop. The Unpaid Intern offers broader, more interesting ideation opening the designer’s eyes to new paths and possibilities. It also allows better communication between designer and client, for example helping both parties visualise future design directions.

Looking beyond its tongue-in-cheek title, at its heart The Unpaid Intern’s aim is to enable designers, not replace them.

(close)

Paulina Lenoir Guajardo, 2015

www.paulinalenoir.com

The Excessively Long Shoes

Efficiency has overtaken most of the daily interactions, architecture and objects in an urban context. As a consequence, we have lost control over our individual pace and interpretation of time. Objects and architecture composing the urban landscape dictate the pace of the people inhabiting it. Every person has an individual rhythm which is often concealed, contained and limited by these external structures and systems. Yet the familiarity of urban routines, spaces and objects make it difficult to be aware of how we conform our diverse rhythms to our daily lives.

The Excessively Long Shoes are a way of consciously imposing a slower pace on oneself. Their shape, weight, and length exaggerates and slows down daily movements, making them less familiar, thus creating a contrasting pace. Through imposing a rhythm on oneself with an object of the everyday one can transcend the ordered structure created by the urban environment by becoming aware of how we are succumbing to externally imposed rhythms.

(close)

Sasha Brumi, 2017

LifeCycle

LifeCycle is a bike saddle Sasha has designed, “with distinctive individual benefits in terms of comfort, performance and status”. The bike seat is one that puts the user first: “The connection between you and your bicycle seat is personal,” says Sasha. “The surface of the saddle is supported by hundreds of branches. Based on your data, these are purposely positioned to optimise comfort and performance just for you.” Inspired by nature, the “branches” additionally minimises waste.

LifeCycle is designed by measuring your “sit bones” and gathering information such as “height, weight and riding style” to ensure a perfect fit.

A design such as LifeCycle “is only achievable with the latest 3D printing technology paired with the development of advanced materials”. However, Sasha is currently reevaluating the process, in order to make LifeCycle as affordable as possible.

(close)

Libby Howard, 2017

Cloak Bench

The Cloak Bench offers a storage solution, whether it be at home or within a commercial environment.

This was a Unit 10 Client Project for Very Good & Proper. Cloak Bench was put into production and exhibited at the VG&P stand for Design Junction 2017.

The BA Product Design course has a long standing relationship with Very Good & Proper. Founders Ed Carpenter and André Klauser have collaborated with the course on client projects for many years. This year’s brief to 19 final year students was to research and design products that could be added to the current range.

The Cloak Bench by Libby Howard was selected by VG&P as a great interpretation of the brand and a clear, functional, rationally manufactured product with an appeal to both domestic and commercial environments.

(close)

Cheng Chen, 2016

Circle Collection

Psychology. Modular. Public Furniture.

Personal space is defined as the region surrounding a person, which he/she psychologically regards as his/her own. People want to keep themselves at a safe distance from others when being in a public space. Hence, these are standing sets, designed for the purpose of a short stay in a public place. The individual can stand in a circle base with light colour, which is a metaphor representing one’s own private domain. It serves as a boundary and implies that the space within the circle is private.

This collection consists of standing stools, standing tables and standing backs. According to each one’s specific need, users can choose amongst them and enjoy both a short rest or some urgent work in this temporary private space.

(close)

Wilson Astley, 2016

Pangloss

Pangloss was an investigation into the design process. I encouraged every design decision to be influenced by cynicism. Cynicism has always been a powerful force in my life. From the films I watch, to the music I listen to, to the books I read; cynicism colours everything. With Pangloss I wanted to prove that far from being a destructive, backwards facing force, cynicism could be used productively, as part of the design process to create a positive outcome.

This led to the creation of “Pangloss”, a new synthetic material that emulates the poetry of growth, in plastic. A laboured, error-filled production method with a temperamental, homemade rotational moulder resulted in errors and imperfections in the material created. These errors far from detracting, added to the story of its creation, and added to its emotional value.

(close)

Alida Sielaff, 2017

www.alidasielaff.com

Kintsugi Ceremony Kit

The Kintsugi ceremony experience looks at giving a product a special meaning by incentivising the consumer to collaboratively craft the object along with a lasting memory.

The Kintsugi Kit is a wedding present and its "ceremony" is a crossover between the German wedding tradition, Polterabend, where dishes are smashed for good luck and Kintsugi, the Japanese art of joining broken ceramics with gold. The couple would smash the plate according to the tradition and then collaboratively reassemble it using the Kintsugi Kit, creating a unique product and ultimately crafting a memory, which will give the final product a special meaning and achieve longevity.

This project was a Unit 11 Self Initiated project and was nominated for a Rado Star Prize.

(close)

Abay Zhumagulov, 2015

www.abaiz.com

Delightful. Diffusing. Disgusting.

Product design is about conformist easy pleasure. But the nature of human pleasure is more complex.

One of the human paradoxes is enjoyment of objects and situations that innately give rise to fear or aversion. This project investigates emotions of disgust as a means of providing a complex aesthetic experience in product design. Disgust is amongst the strongest of aversions. Yet disgusting objects often exert a macabre allure. This emotion can constitute a positive appreciative aesthetic response.

What could be more disgusting than parasite infestation? However, the hygiene hypothesis proves that the lack of exposure to infectious agents and certain parasites suppresses the proper development of the immune system leading to the rise of autoimmune disorders in western countries. Clinical trials demonstrated that ingesting certain parasitic worms could treat these ailments. The result of this project is Ova, a night-time bedside diffuser of parasitic pig whipworm eggs for immune system modulation in order to safely prevent or treat autoimmune diseases.

(close)

Madeleine Duflot, 2016

madeleineduflot.com

Shapable Screen

Shape the screen to shape your privacy.

Working in public spaces can lead to a lack of privacy over one's work. Distractions are everywhere around making it harder to keep focused. It has been proved that a minimalist workspace is best for concentration. Following those 3 essential points, I designed hm19, a shapable screen. The Shapable Screen enables its users to instantly create an uncluttered and efficient working atmosphere. The design is carefully thought through to make the experience enjoyable for both users of the screen and people around in the working area: It is not obstructing the view of people walking around, its bright color keeps the space light and its easily shapable structure adapts to any kind of situation. Hm19 lives in perfect harmony with its users.

(close)

Kuan-Yuan Frank Lin, 2016

www.frank-linky.com/

Flaws

Flaws is an investigation of how design can exploit unpredictability of errors and create bespoke items in a mass-manufacturing context.

Errors and imperfections that occur in craft are often considered as what characterises each item as individual. Whereas in mass-manufacturing processes these errors are viewed as inadequate results. Standardised items on the market are leading to more people owning the same possessions, yet there is an increase of unfulfillment between the user and the product.

Flaws is a series of vases inspired by the unpredictability of errors that occur during mass-manufacturing processes. They are made to challenge the common misconception of how standardised products are more desirable, and attempt to solve the issue of our consumers general dissatisfaction. Through constant experimentation with the process of slip-casting, I was able to design and introduce a new production method that makes each vase individual, without adding additional materials or processes.
The project presents an on-going design discourse, as well as inviting consumers and designers to view imperfection and errors in a different way.

(close)

Will Verity, 2014

www.willverity.com

Deimatic Clothing

Data shows that existing cyclists in the UK are overwhelmingly male and that only 25% of all bicycle journeys are made by women. Fear was identified as the biggest barrier preventing women from cycling. In this project Will explored how deimatic behaviour exhibited by animals could inspire a safer cycling experience. Deimatic behaviour means any pattern of threatening action to scare off or distract a predator, giving the prey the opportunity to escape – for example a puffer fish will artificially inflate its size to ward off a predator.

The garment uses proximity sensors embedded into the jacket that control the LED back panel. If a vehicle is approaching too close to the cyclist the jacket will respond with intermittent flashing.

(close)

Bruno Schillinger, 2014

brunoschillinger.com

Unidentified

Unidentified was inspired by observations of object ‘misuse’ and our remarkable ability to appropriate objects instinctively and imaginatively. A series of purposefully ambiguous objects challenges traditional notions of function and nurtures a more dynamic relationship with our everyday products. Leaving their ultimate purpose up to the user, these objects encourage serendipity and imagination. This results in product experiences and learning processes that are unique to each user.

The design process takes this ambiguity into account. Randomly selected attribute cards from four categories – shape, material, detail and action – are used to set design parameters for the creation of objects merely suggestive of function. The success of these objects is assessed by the variety of functions invented for them by test user groups. These assessments in turn feed into the next design iteration.

Materials: Ash, cork, marble, resin, concrete, brass and plywood.

(close)

Yang Zhao, 2016

www.cargocollective.com/like-design-y-zhao

Shark Man

SharkMan is hybrid wearable furniture, an innovative and experimental design which explores the possibilities of deformable “soft furniture” to suit different situations. Responding to the need for flexible private space in the contemporary world, SharkMan creates an environment around the user whether they’re sitting, lying down or standing. The design works not only as a flexible space but also to carry personal belongings with two interior zips so the user can transform SharkMan easily and without help. The design can be altered to create total privacy or be open to the world depending on whether the user is on a laptop, reading a book, or even having a nap.

Materials: Cotton, sponge, metal, felt
Photography: James Barnett

This was designed in response to a Unit 10 Client Brief set by Hitch Mylius to resolve the differing needs of private and public space.

(close)

Josh Worley, 2014

www.opentools.cc

Open Tools

Democratisation of craft through digitalisation of making tools.

Open Tools, an open source web platform, is designed for the sharing of making tools including a wood lathe, workbench and potter’s wheel. Tools can be downloaded in the form of a digital kit comprising templates, cutting files and instruction manuals. Each tool is designed to be constructed from basic sheet materials such as plywood and can be operated with a power drill.

Open Tools responds to the rise of domestic 3D printing, questioning what value objects will have to the new consumer-producer if they can be produced with the click of a button. Using the Internet as a powerful sharing platform, Open Tools instead encourages users to craft unique objects with their hands by providing access to tools, knowledge and inspiration.

Materials: Plywood sheet.

(close)

Ellen Nyqvist, 2017

www.ellennyqvist.se

Dogme Design

Translating the Dogme95 film movement, the manifest and rules into design in order to create a product that's as true as possible by making everything visible - 'exposing the tricks' in design. A collaboration between designer, user, material and process. No glue, no nails, no screws, using the quality of the material. The designer is the user designing according to the rules, the user is the designer assembling and finishing the product. The rules are a restriction but also a freedom, setting limits to freedom but at the same time creating freedom within limits. To catch the uncomfortable, provocative and rough approach of Dogme95 film, the user is forced to cut through leather walls in order to use the cabinet. Dogme, but the result can.

Info (close)

BA (Hons) Ceramic Design

BA Ceramic Design at Central Saint Martins is unique internationally as an undergraduate course with an emphasis on design, offering an in-depth exploration of clay and a wider engagement with the material’s many contexts. The design lens with which we operate offers insight into the subject, allowing students to develop a personal perspective and practice within a broad definition of both ceramics as a medium and design as a subject. The scope practice within the course covers traditional archetypes, processes and skill sets while also examining the edges of the discipline and pushing into diverse collaborative opportunities.

Course leader: Anthony Quinn

Course length: 3 years, full time

College: Central Saint Martins, UAL

Course location: King's Cross, London

Apply Now
(close)

Sarah Christie, 2016

www.sarahchristie.net

Library

‘Libraries gave us power’

Manic Street Preachers, Design For Life, 1996

Library holds a collection of words that break boundaries. Libraries are endangered holders of knowledge, agents of curiosity. They enable anyone to acquire the knowledge and wherewithal to overcome boundaries, whether real, imagined or those that we are persuaded of. At a time of relentless preoccupation with borders, cuts, closures and austerity, access to knowledge, culture and public spaces feels increasingly curtailed. How do we overcome what keeps us out?
Visitors are invited to ‘cross’ a boundary made from ostraca (potsherds), invoking ancient Greece’s method of voting by writing on an ostracon, and adding their own words to the Library’s collection. The boundary will gradually be eroded as visitors are asked to actively consider their real and perceived boundaries – anything from international

(close)

Tamsin Van Essen, 2007

www.tamsinvanessen.com

Syon Blue

(close)

Robin Levien, 2000

www.studiolevien.com

Jelly Mould Tea Set

‘I was exploring kitsch during my second year on the course. I think my lime green lustre Jelly Mould Tea Set delivered! Besides the aesthetics, the project gave me the opportunity to really learn about model making, mould making, slip casting and decorating. Looking back after over 40 years working within the ceramics industry around the world, my Jelly Mould Tea Set was the start of my career as a ceramics designer.’

(close)

José Maria Salgado, 2016

www.jmsalgado.co.uk

Ante Plate

A fictional line is drawn where a plate sits on a shop shelf. Ahead of the line is its aftermath, its functionality and daily use (food-safe, dishwasher and microwave proof, etc) and before the line is its ‘beforemath’ the making process behind the plate.
Ante Plate is an object that speaks of its making, its ‘beforemath’; a journey that combines digital technology in the CNC milling of the mould with the traditional industrial process of jiggering. Ante Plate is a coded object, where the surface design stems from conventional patterns denoting ceramics in technical engineering drawings. The infographics on the plate’s reverse, reminiscent of backstamps, detail the processes that have brought it into being, from the temperature it was fired to the glaze applied.

(close)

Joely Clinkard, 2016

www.joelyclinkard.com

HumanWare

HumanWare is a community of ceramic vessels who stand together as a metaphor for a diverse people-scape. Some with vivid colour, some with humanlike features and others holding wild and alive foliage, each piece is unique, an expressive celebration of the diversity of individuals and wild spaces in the city.

Central Saint Martins’ position within the new development of King’s Cross inspired Joely to create work which reacts to people and place. Using a raw material such as clay and creating every aspect of the work by hand, her work celebrates the imperfections of the handmade, a contrast to the clean and geometric environment of King’s Cross.

HumanWare echoes the vibrancy offered when fashion, culture and personality inhabit an environment as well as the uncultivated, raw gifts that green spaces bring to the city.

(close)

Bridgette Chan, 2015

Ting

Mindfulness: “the intentional, accepting and non-judgmental focus of one's attention on the emotions, thoughts and sensations occurring in the present moment”. It is a form of reflection through meditation.
The ability to reflect is a natural reaction and it is how humans grow to become better, much like new designs that are constantly attempting to improve our quality of lives. However, due to our fast-paced society people are often disenchanted by the repetition of day-to-day activities, which causes stress that jeopardises our wellbeing.
Taking inspiration from the Zen garden, Bridgette has designed a one-person tea set that aims to promote personal wellbeing. She wishes the user of her product to live very much in the moment and to take the time out of our daily demanding lives to make tea. The art and process of brewing tea in the teapot to fill one full cup is at the forefront of her design.

(close)

Elena Gomez De Valcarcel, 2017

elenagomezdevalcarcel.com

Familia

'Familia' is a playful collection of porcelain objects for children. The
objective is for this collection to help a child with their
self-expression throughout the different stages of their childhood.
Family plays an essential role in a child's life. The collection works
together in union, mirroring the family's interaction, with each
sub-collection of animals creating smaller familial units made up of
related animals.

The nightlight is a support tool for parents and children who nd
bedtime difcult, whether that’s down to a fear of the dark or just
boundless energy. The nightlight helps to create a bedtime routine
and allows a child to form an emotional connection with the object,
where turning it on before sleep becomes a calming prelude to
sleep. It is not a toy but it does make bedtime fun.

'Express what you feel' is a collection of small ceramic toys which
help children to develop their emotional intelligence by allowing
them to express their feelings through play. It is aimed at children
and their families. Self-expression as a child helps to create adults
capable of dealing with their own feelings from an early age by
consciously analysing their emotions. The development of good
emotional intelligence is as important as rational intelligence;
self-condence, empathy, and knowing how to identify their
emotions improve child's behaviour and even their academic
performance.

(close)

Srabani Ghosh, 2016

www.srabanighosh.com

Assimilation

As a response to Central Saint Martins’ home at Granary Square in King’s Cross, Ghosh’s work explores creative provenance and place.
Constructed from 910 handmade bricks, Assimilation is a large scale architectural sculpture made in collaboration with sponsors HG Matthews, a specialist brickworks in the Chilterns. Its surface is embellished with reinterpreted imagery from the College’s history while the structure echoes a leftover Victorian detail from the original Granary Square site. Assimilation celebrates Central Saint Martins’ history – from inception in 1854 to the current day – and makes a physical connection to its present while also paying tribute to the brick makers as material manufacturers of the city.

(close)

Stephanie Buttle, 2015

www.stephaniebuttle.com

Are you going to leave that there?

Stephanie’s former professional experiences within performance and lens-based mediums inform her dynamic approach within her current ceramic practice. This physical and narrative led engagement is visualised within her graduation installation ‘Are you going to leave that there?’. The material qualities of clay and contrasting processes available within ceramics act to express the artist’s fascination with the themes of balance, space and vulnerability within a more ambiguous sculptural experience.

(close)

Amanda Tong, 2014

www.amanda-tong.com

The Perfect Imbalance

Amanda attempts to reflect the Eastern concept of Yin-Yang diet through her tableware series. The black and white unbalanced pieces are presented on a designed wooden seesaw platter that encourages the diners to interact and adjust its balance. This interactive design set aims at raising people’s awareness of the connection between food and health as well as the importance of balance in life.

(close)

Adele Bruyes, 2006

(close)

Kensuke Nakata, 2014

www.kensukenakata.com

Japanese Stoicism

As a ceramic artist, Nakata is interested in raising awareness and sending messages though his art works, creating a political memorial which prompts the audience to question or remember social issues.
In 2011 the people of Japan suffered a major catastrophe when the north of the island was hit by a devastating tsunami. Following a period of shock and grief the people displayed a remarkable sense of stoicism in overcoming severe hardship and disruption to their lives. This work celebrates the resilience ingrained in the nation’s soul, the rebuilding of communities around traditional Japanese values such as endurance and rituals of rebirth – cherry blossoms.

Nakata draws upon the long tradition of ceramics through the repeated action of creating cherry blossom petals out of porcelain. For the duration of the exhibition Nakata will be spending extended periods of time in reflective contemplation making the petals which
will increase and form collections as the exhibition progresses.

Material: White porcelain with enamel.

(close)

Ian Stallard, 2000

www.fredriksonstallard.com/

Ming #1 Vase

‘Ginger (David Cook), our technician, was immensely supportive and continued to help me after CSM as I started my own ceramic business. The model for the Ming#1 vase in the exhibition was made together with him at his home. I could not have created this on my own as I did not have the equipment or the money to have it made for me.’

(close)

Maham Anjum, 2003

www.mahamanjum.co.uk/

The Cinnamon Club range, 2010

‘I was inspired by artisan potters making functional pottery in South Asia, who I spent time researching while on the course. BA Ceramic Design allowed me to investigate material, experiment with ideas within ceramics and design. It taught me to break rules.

Vitrified terracotta. Larger shallow bowls handmade by the Biyagama Potters in Sri Lanka 

(close)

Akiko Hirai, 2003

www.akikohiraiceramics.com

Moon Jar

‘I was interested in the product side of ceramics when I studied at Central Saint Martins. The course taught me to be constructively critical of my own work. More than a decade has passed and the training I was given has reflected in my own practice with my work becoming stronger both visually and conceptually.

One of the principles of design is to understand how to produce objects that are appropriate to their context. It applies to any form whether it is a mass produced domestic ware, a unique piece of art or a conceptual installation.'

(close)

Claudia Cauville, 2014

www.cargocollective.com/claudiacauville

Modern Family

Claudia’s work is greatly influenced by her family background and in particular by two strong female family characters: her grandmother Jeanne, and her godmother Christine who is a painter.
Spending many summers at the family farm in the South of France, Claudia has developed a taste/palette for earthy colours and textures, together with the ability to find beauty in the most unexpected shapes. Passionate about architecture, painting and family, the Modern Family collection is a translation of the relationship between the maker and the final outcome. Modern Family is a tangible representation of colour and forms that originate from the artist’s abstract drawings. A mixture of names and personalities, this is a growing collection of objects that pushes the boundaries of functionality. An imperfect mix, a little like any family today.

(close)

Agalis Manessi, 2000

(close)

Lena Peters, 2017

lenapeters.co.uk

Secrets of the Hidden North

The objects were discovered in 2015 in the woods of
Northumberland National Park, just above Hadrian's Wall, in the
remains of a small settlement. According to archaeologists, they
date from a period just previous to the construction of this wall; a
time when the conict between the invading Romans and the native
Celtic Britons was at its peak. They are unique in terms of style, motif
and decoration, but have clear Roman influences in some of the
stories as well as in the form and design, whilst being
simultaneously stylistically different enough for it to be obvious they
were made by a different people.

The objects in the images seem to be related to pagan rituals and worships, with an emphasis on nature and animals. Specifically, each image portrays the same woman in a variety of animal guises. Historians posit the theory that these objects were made by a group of combined Romans and Celtic Britons who chose to live outside of the conflict, living hidden just above the Roman territories until the fighting forced them to abandon their settlement. In this exhibition, we see their gods, their myths and their history for the first time.

(close)

Dominic Upson, 2017

Apple Tree Hills Cider Bottle

Drawing inspiration from traditional English and Japanese craftsmanship Dominic Upson designs and makes objects that are both functional and decorative.
Apple Tree Hills bespoke cider bottles are inspired by Dominic's family's traditional English apple farm in the heart of Suffolk. The family turns the apples they grow into juice and cider with the juice currently being filled into mass-produced glass wine bottles. With the knowledge gained of ceramic as a material whilst studying ceramic design, Dominic considered a ceramic vessel hand thrown on the potter's wheel would more eloquently represent the craftsmanship of the apple juice inside. The focus on refilling instead of recycling also opens up potential for sustainability and the development of stronger customer ties. Incorporating the landscape the farm is set in as well as the family's apple farm emblem into the branding is therefore at the forefront of the design of these cider bottles.

Hand thrown, glazed ceramic
Collaborator & Sponsor: Stoke Farm Orchard
Photography: James Barnett

(close)

Chris Headley, 2000

Horticulture, Restrained, Rhubarb and Circuses, Unnatural Selection, War Spoils

‘It was the breadth of the course at the Central (we’re talking 1970 – 73 here) and the introduction to so many ways to approach design and techniques of making ceramics that gave me, a young graduate, the confidence to experiment and develop my own artistic vision. I felt that I had so much knowledge at my fingertips and so many techniques! I could free up my thoughts, develop the required skills and produce whatever my imagination would come up with. Having said that, after migrating to Australia I found myself dealing with a totally new environment, both physically and culturally. The works here, produced some fifteen years on, during a return visit to the UK, highlight the transition from departing the Old World to embracing and absorbing the New. It was a challenging process, that appears so easy now!’

(close)

Monika Grandvaux, 2014

Dangerous Labour

This project stems from both a deep interest in maternal health issues and Monika Grandvaux’s personal involvement in covering the issue of maternal mortality as a documentary photographer over a period of 10 years.

Using multiple hand thrown vessels, the piece presents itself as an abstract mural based on the 2010 World Health Organization estimates on maternal mortality around the world. It aims to raise awareness of the sheer number of women dying everyday due to pregnancy related causes, as well as the striking disparity between the global North and the global South. This work explores how the ceramic object, driven by a conceptual framework, can become a tool for the dissemination of knowledge while displaying a strong association with the tradition of craft.

(close)

Kevin Kaijun, 2015

www.kaiceramic.com

Icelandic

Whilst exploring and traveling around Iceland, a country that is highly geologically active, the more I explored it, the further I fell in love with this remarkable island. With the widespread availability of geological power, Iceland forms a variety of landscapes. I travelled along the No.1 Highway, the main road that divides Iceland into 7 parts according to their noted topography, such as waterfalls, volcanoes or hot springs.
My inspiration for this final project comes from the geographical map of Iceland. I have made 7 pieces with various textures hidden inside the gaps of dividing lines. The 7 pieces can fit in with each other and forms an integral map of Iceland. In this project, I have incorporated 3D printing technology into my design, which has helped me achieve the accurate shapes.

Info (close)

MA Industrial Design

MA Industrial Design develops students to take on strategic roles, identify and respond to trends, initiate new design approaches and thrive in multidisciplinary teams. Through design projects – often with external actors – the course engages four design emphases: Enterprise, Publics, Discourse, Service. These disciplinary frames locate broadening professional practices and offer a forward-looking conceptualisation of Industrial Design as one which is open to challenge, exploration and advancement.

Course leader: Nick Rhodes

Course length: 2 years

Time commitment: 30hrs/week, typically over 3 days

College: Central Saint Martins, UAL

Course location: King's Cross, London

Apply Now
(close)

Di Peng, 2016

Dementia Simulator

Dementia is a difficult disease to understand. Those caring for dementia sufferers, be they family members or healthcare professionals, may struggle to appreciate how the disease can affect everyday experiences. The Dementia Simulator provides a way to experience a variety of the disease’s symptoms, not only engaging empathy but also offering the user a route to reflect practically on future care.
While no one can truly step into the mind of another, the virtual reality headset creates an immersive environment that affects the senses. Users encounter distorted sights and sounds as well as experience difficulty speaking.
The Dementia Simulator is a provocation to move the dialogue about dementia forward.

(close)

Lily Saporta Tagiuri, 2017

High Heat, Low Water

Our climate is changing and our access to fresh water is becoming increasingly precarious. How can we modify our lifestyles to adapt to future climates?

High Heat, Low Water explores ways to increase democratic access to fresh water in a warming world. Designed as a network, the piece consists of three tools; together they offer a glimpse into the ways our domestic and individual lives will exist in the wake of climate change and the resulting power systems. This includes a set of culinary tools that conserve water and recipes using drought-resistant plants, a cloud catching kite that gleans fresh water from air moisture, and a cloud seeder which induces rain through chemical injection. Together these objects respond to the risks of a changing planet and highlight the potential for individuals to have resource sovereingty

(close)

Zhen Jiang, 2017

Opposites

This project subverts and disrupts traditional design rules. The objects are intended to find a balance between fantasy and practical design. Through altering these systems, we might develop new behaviours of use. Adopting an opposing perspective exposes the limits of conventional design. These objects clearly ‘oppose tradition’: a mirror that is not flat, a table that similarly lacks a at surface, a warped photo frame and a dustbin placed on its head.

Through altering our perspectives, we alter our use of these objects. The objects are simultaneously unusable for their original purpose and useful in a new way. They enable people to realise that the object’s form in itself is not important, and the key is how things serve people. These objects oppose aesthetics of daily objects externally but connect with our daily life internally.

(close)

Anne Couvert-Castera, 2015

www.hindutales.jimdo.com 

“Hindu Tales - souvenirs of a future” aims to question the interactions of spirituality and technology. It focuses on Hindu devotees and imagines how they could use new technologies in their religious practices. 
“Hindu Tales” presents 3 fragments, vignettes of a potential future in a technological age.
The project consists of a set of props, belonging to fictional London Hindu migrants in the context of a "technological age". Each fragment depicts a scene from the everyday life of different personas from the Hindu diaspora. “Hindu Tales” imagines design responses to overcome this disconnect from Mother India; bringing to Hindus around the world a new way to practice spirituality, as well as promote a sense of a global Hindu community.

(close)

Marie Laffitte, 2017

Holis

How can the design process translate a philosophical educational theory into a pedagogical tool? How can permaculture principles, based on holistic alternative educative methods, inform pedagogical serious play for 8 to 11 years old children in an urban school environment?

HOLIS, A Permaculture Game is a set of classroom designs that argues how holistic permaculture principles

The project explores micro- politics for social transition, in a shifting landscape of design, drawing on the notion of transitional design; a movement which is global and is taking roots locally, between natural and social complex systems. The educational philosophical theory opens the debate of a strategic change in educational values and the possible points of influence and alternative pedagogical thinking from Celestin Freinet (France) applied to design can educate through serious play. In this context, the storytelling set of agonistic tools and boundary objects is based on an urban agriculture narrative, aiming to engage children to mobilise and improve the curriculum.

(close)

Marta Monge, 2015

cargocollective.com/martamonge

Border Crossings

Border Crossings aims to raise awareness and trigger debate on the current state of illegal migration. It focuses on African migrants and their perilous journeys, chasing an elusive European dream. The project paradoxically twists the vision of clandestine immigration provided by news media, by exploring the migrants’ point of view, looking at someone’s journey and many ordeals, revealed by the “discovery” by immigration authorities of fictional, improvised objects. This project exaggerates the public fear of “the other” that fuels anti-immigration sentiment and portrays the migrant as a threat lurking outside the gates of Europe. The result is a series of tainted objects, whose harmless appearance conceals the story of an invisible reality, much closer to us than we realise.

(close)

Cécile Maïa Pujol, 2014

Ceci n’est pas une chaise

Ceci n’est pas une chaise employs stories of production as a source of inspiration and a platform for critical engagement. It is the manifestation of the relationship between crafts and mass production. It aims to reconcile both.
The existing and the newly created, the original and the copy, the authentic and the fake, this project seeks to merge very different artefacts in order to create a new time scale.
When does the copy become original? Through the use of moulding and casting replication processes my physical interaction and manipulation of each individual object questions standardisation and sameness in mass production. The copy is used as an alternative proposition to what exists, and the mould becomes a medium of creation.
The project celebrates the beauty of the material and the process. Objects as drawings in three dimensions, going back to the sketch to draw a new form of life-objects become an illustration of an endless metamorphosis.

Materials: Wood, resin and gesso.

(close)

Sarah Gold, 2014

www.sarahtgold.co.uk

The Alternet

People are now aware of the manipulation and profiling made possible by the tsunami of data we all produce when using information technologies. The services that constitute the Internet depend on our data sustaining their businesses. In this scenario, recovering control of our privacy means regaining control of our data.
The Alternet is a fair trade, radically reinterpreted Internet structure that provides data ownership through straightforward data licences. It allows individuals to choose whether to share their data and how their data is used.
Users become participants as The Alternet is established and stewarded by the Alternet Co-operative, its users. In this way, The Alternet differentiates itself from the Internet and Darknets because it is a digital commons – a civic alternative.

(close)

Joao Gil, 2016

www.joao-gil.com

Biocomputer: Future of Health Institute

Welcome to the internet of bodies. Biocomputer goes beyond speculative design, offering the public an immersive experience of the future digitisation of healthcare. Humans are transformed into biocomputers connected to the internet in order to monitor and track the working realities of their bodies. Such consultation provides the haptic basis for an ethical discussion that moves from public to expert and from patient to scientist to policy-maker.
Drawn from current advancements in synthetic biology, body hacking and transhumanism, this project gathers insights for future worlds by engaging with the public in an experiential consultation process.

(close)

Sara Lopez Ibanez, 2017

cargocollective.com/saralopezib

Mindnosis

What if mental distress could be assessed by those who have experienced themselves? Due to the lack of empathy in mental health services that rely exclusively on medical models, Mindnosis set out to discover what a person thinks and feels in emotional distress.

The result is a social enterprise that offers self- exploratory tools and one- to-one meetings developed by those who are thriving with good mental health. The service’s aim is to validate personal learning and help those who are experiencing mental distress for the first time and those who struggle to make sense of it, communicate it to others or seek help for it.

The tools can be ordered anonymously online to gain insight into personal circumstances remotely, in non-medical settings. A week after receiving the discreet parcel, users receive a text invite to meet one of the contributors to the tools, in order to talk about their experiences, learn about wellbeing alternatives and co-create an empowering action plan.

(close)

Marina Mellado Mendieta, 2016

www.marinamellado.com

Neurogastronomy

Narratives about healthy or ‘clean’ eating have become de rigeur on social media, fuelling increasing anxiety about ‘good’ and ‘bad’ food. Overthinking the properties of every ingredient can crowd out a balanced view of what we eat.
Neurogastronomy is a set of tools to support the cognitive behavioural therapy for othorexia nervosa, a seemingly paradoxical eating disorder in which sufferers restrict their diet based not on quantity of food but on quality. The intentions may be for good health but the fixation can lead to malnutrition.
Working alongside the guidance of a psychotherapist, this set of cutlery and tableware encourages users to manage feelings of anxiety. The collection comprises cutlery that intensifies flavours through retronasal olfaction, a dish that allows the user to manage visibility and drinking cups that activate orthonasal smell. The language of each object, though consistent with the universal forms of tableware, is subtlety modified to avoid alarm, increase agency and sensory experience.

(close)

Pan Wang, 2015

Memetery

As more cemeteries are getting full, there is a subsequent increase in the price. ‘Memetery’ is a project that combines the meaning of cemetery and memory together. It is a location-based digital cemetery that is connected to a physical location in the real world. The deceased persons digital data, which is stored in the cloud, is linked to a location. The location is identified with the use of data and location services present in mobile and wearable devices. The system used Augmented reality to translate a sensory input into a digital tomb using mobile devices. This allows people to digitally bury the dead anywhere in the world.

(close)

Evgeniya Chernykh, 2017

Digital Shamanism

What if spiritual practitioners could use technologies to improve their healing rituals?

Digital Shamanism connects spirituality and science and advocates the power of metaphysical knowledge. In this project, I observed the healing nature of vibrations and explored applications in curing rituals. Interest in spiritual practices is increasing. People have begun to realise that they are losing a natural connection to their body. Such important rituals like visiting a doctor have become commercial and impersonal. A spectrum and growing range of issues in the health industry are related to the lack of emotional and spiritual condition in society.

Through a series of objects, Digital Shamanism it proposes a future where non-traditional ways of thinking and healing are scientifically supported and accepted and where spiritual practitioners can use technologies in their sessions and in such it questions contemporary doctor-patient relationships.

(close)

Gareth Ladley, 2015

www.garethladley.com

Auxiliary Tools

Auxiliary Tools is an investigation into idling technology and explores this through opportunities for design in context using digital manufacturing. At the heart of the project there is an argument for open source tools in order to tackle issues such as obsolescence and e-waste. Through exploring these issues the project also opens up opportunities in object and service design that exploit the use of modern manufacturing practices that allow designers to design bespoke tools for targeted audiences. In this project the scenario of a designer working with a restaurant kitchen to design tools for molecular gastronomy inspired menus is a basis for designing tools that are powered by a central open source hand tool.

(close)

Elif Gengör, 2016

www.elifgengor.com

Mom Too: e-search for infantile colic

The causes of infantile colic are still unknown and though the condition is short-lived, parents often struggle to deal with the frequent and loud outbursts of crying from their babies. Mom Too is a research service solution intended to find the cause of infantile colic through design interventions that explore various theories. Tools like an air-pressurised tummy massager, a back massager, an automated swaddle and an infant carrier can be programmed to perform soothing actions. They are activated automatically and the data is recorded through a smartphone app.
Mom Too is a service that helps researchers discover the unknown, relieve parental distress and change the perspective of the medical community by proposing novel research methods.

(close)

Lucy Mulholland, 2017

Reframing Fashion Stigma

Assistive Technologies: Fit for Function but not for Fashion? This project aims to reframe the stigma associated with assistive technologies through the design of fashionable assistive technologies.

My research has inspired me to reframe the image of hearing devices from a medical device to a fashion statement – such as with glasses. Fashion is a much-neglected area of wearable medical devices. According to Action on Hearing Loss, in 2015, there are 11 million people with hearing loss and who wear a hearing aid. By 2033, it is estimated that there will be 15.6 million people with hearing loss in the UK. On average, it takes 10 years for wearers to address their hearing loss and buy a hearing aid. Reframing Fashion Stigma has two parts; the Embrace Collection a set of decorative adjustable hearing aid accessories for women.

The second part is the Smart Aid App which allows users to interface with their hearing and is accompanied by a set of thermo-electric battery jewellery that allows wearers to fashionably charge hearing aid batteries.

(close)

Xiang Guan, 2017

Symbiotic Objects

Reimagine and reflect the relationship between people and objects. And could we eliminate unnecessary waste in the spirit of a sustainable world?

Symbiotic Objects aims to make people reimagine and reflect on their relationship to everyday objects such as tables and chairs. Through making and experimentation, it questions: What if you had a symbiotic relationship to daily objects? If this symbiosis existed would we find more meaning and possibilities in everyday objects? Would we be inclined to throw them away so readily? And could we eliminate unnecessary waste in the spirit of a sustainable world?

Through a table, chair and lamp that require a person to complete them, Symbiotic Objects explores a new relationship with people and objects exploring how the relational characteristic of product and furniture design, in specific everyday moments and interactions, can provide
a method to challenge cultures of consumption and obsolescence at a time of global environmental crisis.

(close)

Anne Charpentier, 2017

anne-charpentier.fr

In Quest of Alleviation


A recent study has shown that approximately one-third of the population in the UK are affected by chronic pain. Only 5% of the sufferers received an effective treatment an intuitive and playful way at home.
Prescribed by the care team, In Quest of Alleviation: The Personal Health Companion for Chronic Pain Sufferers is composed of a physical device and a mobile application. In the case of distress, it provides an immediate relief using games and tailored activities based on Mindfulness and CBT.

The physical device acts as a personal companion and a remote link with the care team, giving more autonomy and confidence to the patients. The application assists patients to make sense of their pain, easing communication with others and fosters actions to improve their quality of life despite the pain.
This project is the result of a ten-month collaboration with Pain Management Programmes and patients aiming to simplify the health journey of the sufferers. It results from the co- creation of a self-reflective tool simplifying the use of Cognitive Behaviour Therapy (CBT) and Mindfulness for the treatment of Chronic Pain. It promotes self-management and empowers patients by applying those techniques in an intuitive and playful way at home.

Info (close)

MA Design (Jewellery, Ceramics, Furniture)

MA Design focuses on your individual design practice and, through making and immersion in material processes, will broaden your career and research horizons. Your Masters project becomes the vehicle for developing your creative abilities and analytical skills, while you critically engage in the fields of emergent design discourse, global markets and the investigation of technologies. Our two-year Masters programme expects you to be ambitious. It will challenge you to explore and expand your opportunities, and make your mark on the global design industry.

Course leader: Simon Fraser

Course length: 2 years

Time commitment: 30hrs/week, typically over 3 days

College: Central Saint Martins, UAL

Course location: King's Cross, London

Apply Now
(close)

Marta Bordes Blanco, 2015

www.marta-bordes.com

Elastic Lights

This collection of articulated lamps brings movement and play into ceramics. The lamps explore an articulated system of elements inspired by technical applications of ceramics in engineering and medicine. The project challenges common assumptions about ceramics, enhancing the potential of the material and interaction with a user. Geometric components linked by elastic cords celebrate the functional potential of flexibility and directionality. The system playfully allows manipulation of the lamps, enhancing the tactility and visual experience.
Seen here as architectural applications the system is designed to work at domestic scale to large scale and in the future at a possible micro scale with different types of technical ceramic and elastic materials.

(close)

Fernando Jorge, 2017

(close)

Mark Laban, 2016

www.marklaban.com

Digital Daiku

Obsessive precision and accuracy, attention to detail, a profound knowledge of material and anonymity are some of the key hallmarks of traditional Japanese craft surprisingly now mirrored in digitally-aided manufacture.

Digital Daiku interprets traditional Japanese aesthetic principals, exploring their possibilities to create furniture crafted using contemporary digital manufacturing processes. The furniture is characterised on one hand by sleek minimalism and subtle detail inspired by traditional temple architecture, and on the other a refined rusticity informed by the Japanese tea house.

Digital Daiku developed through a process-driven approach to design and draws inspiration from the manufacturing technique itself: a 3-axis CNC machine. The resulting objects are simultaneously a tribute and a challenge to traditional ways of making and our perceptions of craft, tools and the maker in the digital age.

(close)

Tianyi Shi, 2017

tianyishi-design.com

Inside Out

This project de-constructs everyday upholstered furniture. Breaking the formal conventions of upholstered furniture and exploiting what happens when the internal structures drive the aesthetic, practical and physical form for extravagant new artefacts.

Usually, foam is hidden within the upholstery structure and covered by textile of one sort or another. In this project, the raw foam is used in an innovative way. Informally revealed and regrouped. Here lightness and volume provoke practical experiments and exciting explorations. These chairs highlight foams often unacknowledged, yet unique features, its marvellous texture, subtle colours, surfaces and the softness and flexibility of bubbles caught in permanent form.

(close)

Evangeline Pesigan, 2015

www.evangelinempesigan.com

Banta

Evangeline Pesigan explores a collaborative process between design and artisan craft cultures to generate furniture, an embodiment of contemporary ideas inspired by cultural influences from the Philippines. The collection highlights a sophisticated hybrid of heritage and modern production methods that celebrate culture and community within a
changing global landscape. The structural frames support a secondary woven layer characterized by unique qualities from traditional techniques of basket weaving and dwelling construction. The fluid forms and dynamic interwoven lines create a translucent environment within the chair. By engaging with artisans, Pesigan helps foster meaningful collaborations that advocate uniqueness of design and quality of craftsmanship.

Collaborators
Tirintas veneer loop chair developed with Vivere Lifestyles Co. Inc.
Pista tassel chair developed with A. Garcia Crafts
Photography: James Barnett

(close)

Evdokia Savva, 2009

(close)

Giada Giachino, 2016

www.giadagiachino.com

Per Inciso

In response to traditional cameo and coral jewellery production, this collection presents innovative processes to create a sustainable industry for the future. Re-contextualising materials both from the food and jewellery industry, such as lobster, mussels and shell lips, Per Inciso transforms byproducts into something precious. Though a new flexible material forms the project’s basis, Giachino also explores engraving mussel shells as well as integrating the shell-lip waste from cameo production into jewellery. A provocation about preciousness and material value, Per Inciso celebrates its origins, highlighting the future possibilities of these previously discarded materials when applied to traditional jewellery techniques.

Materials: Shellfish byproducts, silver, resin
Photography: Vicente Mateu
Collaborators: University of Maine and Cameo Italiano

(close)

Samuel Gull, 2017

Bump Before Bang

Gull’s project draws on an intense interest and passion for surfaces, exploring texture, decoration and the codes of meaning resonating from design and popular culture. Using a model of speculative design illustration and mining 20th century sci-fi and counter-culture theories of parallel worlds, Gull expands his fantasies of interiors, street scenes and half souvenir, half human monsters and sirens. These illustrations inform the making and the making rolls back to inform the next set of drawings, revealing narratives, which manifest as physical artifacts. These artifacts seem familiar, part charity shop, part ‘art’ gallery, part souvenir, yet remain unstable in their location and purpose. Collectively, these artifacts offer universes of design, one might be explored through the gallery system, another through animation or gaming, creating transferable physical narratives here revealed in this iteration through ceramics.

(close)

Po-Wei Chen, 2016

www.poweichendesign.com

O Collection

The O collection showcases a contemporary re-envisaging of the traditional Taiwanese furniture aesthetic, notable for its elegant, low level, and generous seating, suitable for Asian or Western sitting positions.
Constructed from three bonded layers of bamboo filaments with hidden bamboo pins, the O Collection celebrates the material for its strength, lightness and environmental credentials. Chen collaborated with craftsmen to explore the production processes but also challenge the boundaries of traditional methods of working with bamboo. Exploiting Taiwanese forming techniques, the designer transformed a traditional craft into a contemporary furniture design.

(close)

Naomi Bailey, 2017

(close)

Natha Khunprasert, 2015

www.nathakhunprasert.com

Chasing Colour

Chasing Colour is a jewellery collection made entirely from clear acrylic.
Each piece is intricately designed to reveal and conceal colours depending on the wearer and viewer’s perspective. By using the transparency of the material along with faceting and dyeing techniques, the jewellery pieces trap and reflect colour and light, creating an ever-changing appearance.
The collection aims to redefine common perceptions of the material and challenges the existing aesthetic of acrylic jewellery. Three distinct collections have been created, each accentuating differing qualities of light and colour: Facets, Cubist and NIX.
Facets: Transmission of colours within the internal structure and facets created by cuts on the material.
Cubist: Offers simplicity of geometric forms with bold construction and deconstruction of colours creating a surprise factor of contrast.
NIX: ‘Nothing’, where the perforated area is the highlight of the piece, framing the colours.

Acrylic, dye
The dyes and facets on the material create a reflection of colour within the internal structure. The colour appears and disappears depending on the perspective from which it is being viewed.

(close)

Gigi Barker, 2014

www.9191.co.uk

A Body of Skin

A Body of Skin explores the intricate subtleties and varieties of the skin surface and the volumes of the flesh. The ‘chair’ is recognisably a body but it is not a literal body. The ‘dress’ unfolds in what seems a swathe of voluminous skin. These volumes speak to an owner but we cannot locate the body parts nor name the elements. In order to sit on the chair, physical contact must be made with its skin and in so doing a connection is formed. This connection questions the relationship and level of comfort we have in our own skins and with another.
Silicone is the base material in all pieces, its visceral quality instantly evocative of skin. Impregnated with scent and infused with pheromones the silicone challenges the boundaries of the object’s relationship to the user.

Materials: Silicone, scent and pheromones.

(close)

Bethan Lewis Williams, 2014

www.bethlewiswilliams.com

Lights, Lithophanes & Landscapes

This collection of porcelain lighting revisits the mysterious 19th century technique of lithophane. Here 3D printing technology allows a new flexibility as well as bespoke interventions to challenge the traditional process. Unlit, the porcelain displays subtle textured and monochrome forms. Once illuminated, it features contemporary urban scenes contrasting current social, environmental, and aesthetic scenes with those of the romantic landscapes featured on 19th Century lithophane ceramics.

Materials: 3D printed ceramic lithophane.

(close)

Maria Gasparian, 2016

www.mariagasparian.co.uk

Colour Ceramic City

At present there is a real need for public urban spaces that offer engaging and sensory experiences. Through use of dynamic colour, texture and form, Colour Ceramic City aims to break the routine of everyday city life and choreograph the space around it.
These self-supporting sculptural volumes and surfaces are formed by extruding clay coils with the fluidity of lines recalling the complexity and ever-changing movement of urban life. Pieces are scalable and can adapt to local contexts offering endless opportunities for site-specific interventions creating vibrant spaces within the city.

(close)

Katharina Gross, 2014

www.katharinagrossdesign.com

Wax-ploration

This collection of furniture results from the development of a new formulation of a wax-marble-polypropylene composite. The flexibility yet permanence of this new wax pushes the boundaries of the furniture making discipline by providing a material that creates a new visual, tactile and structural vocabulary. This allows the design and development of unique, custom-made furniture from an affordable material through a rapid production process offering radical low cost solutions.

(close)

Alice Ciccolini, 2009

(close)

Emma Lacey, 2007

(close)

Ilaria Bianchi, 2015

www.Ilabianchi.com

CastAway Furniture

Can sustainable design develop new furniture aesthetics and possibilities?
CastAway Furniture proposes and develops a new aesthetic language to embody the conceptual and physical implication of the presence of waste in our lives. Bianchi generates provocative concepts of furniture by combining and re-contextualizing both industrial and urban waste. The resulting collection embodies a critique of the consumerist society we inhabit and highlights current issues related to waste production and disposal. This project interrogates the hierarchies of values consumerist society allocates to waste and the way in which almost every material can be converted into new functional artifacts through Bianchi’s process.
In CastAway Furniture the materials found dictate the evolution of the design process and this approach offers a model that can be used in multiple circumstances and with different materials.

(close)

Ana Cristina Quiñones, 2015

www.anacristinaquinones.com

Materia Madura

Materia Madura is a furniture and vessel collection, made from an innovative material derived from plantain and coffee waste. This project offers an alternative to agricultural waste and recycling with a non-toxic, sustainable, locally sourced, and biodegradable material.
Ana Quiñones analysed food waste as a critical societal issue and a resource particular to her home country, Puerto Rico, inventing a new material from waste materials to open innovative possibilities for design applications. The production model is transferable geographically, across the plantain and coffee belts and methodologically offers future potential for alternative food wastes.
Material Madura offers a globally transferable model.

Materia Madura: plantain, coffee, natural drying agent
Photography: James Barnett
Art direction: Ulrike Oberlack

(close)

Gunjan Gupta, 2006

(close)

Maylinda Bhakdithanaseth, 2014

www.maylindab.com

Organ 33

Inspired by Surrealism, Organ 33 treats hair as a creative material to express a sense of the uncanny, bizarre and provocative.
The project breaches boundaries between jewellery, hairdressing and wigmaking knowledge and practices through collaborations involving all three disciplines.
This collaborative knowledge allows the jewellery to challenge the perception of the relationship between hair and the female body, provoking and questioning a voyeuristic gaze. Where is hair ‘allowed’ on the body?
At the same time the jewellery suggests inclusively gendered wearers and performers who might be dressed in such objects.
Subverting a vocabulary drawn from the contemporary luxury industries, Organ 33 extends and contemporises a history ranging from 18th century and Victorian mourning jewellery through 20th to 21st century studio jewellery.

Materials: Human hair, gold and silver.

(close)

Darragh Casey, 2012

(close)

Jiahui Liang, 2017

janeeleung.com

Laughing Magpie Chair

For Liang the driving force of this project is returning high craft Chinoiserie wood carving rich with symbolism, back to the centre of Chinese society to create a distinctive bridge that reconnects East and Western cultures.

Recognising the influence of a booming economy and exposed to ideas of Western culture, the ‘new’ Chinese generations have created a strong, economic focused society, whilst retaining traditional family orientations. Homes are becoming smaller and many traditional interior features, shrines, formal rooms, carved thrones are disappearing. This dynamic cultural has created a different perception of traditional wood carved furniture and consequently communities of craftsmanship and their historical knowledge are becoming lost to China.

Inspired by the Chinoiserie, a wholly European style whose inspiration is entirely Oriental, Liang has created a new modular approach to Chinoiserie decoration, remaking the possibilities of elaborate chairs, whilst developing a systematic approach offering a bespoke, personalised process for new generations of high end furniture buyers in China and beyond.

(close)

Hannah Lauren Newell, 2017

hannahlaurennewell.com

Parjour

The inherent qualities of constructed textiles, bridging traditional technology with high craft are used to create pieces of jewellery that are unique to the genre and to the process. Jewellery and accessories that are dramatic and wearable, relaxed and effortless. Fluidity and drape as formal elements of structured visual elegance drive the main structures and technically complex knit. Into the knit, yellow and white gold vermeil chains are incorporated to enhance the structures, forming textures, fringes and tassels, supporting an elegiac Art Deco mood of independence and freedom.

Differing approaches to form and technology have been explored to present four collections allowing individuals to find elements that reflect their own sensibilities.

As our world becomes increasingly globalised and connected, these collections acknowledge the intense demand for designers to be flexible in their roles across disciplines and celebrates the joy and opportunities of interdisciplinary design enhancing innovation by practice specialists.

(close)

Jiayin Li, 2017

jiayinjewellery.com

Jiayin

Over the past 15 years the engagement with and passion for contemporary art and design in China has exploded. More and more younger generations are bringing contemporary conceptual approaches and ideas into their daily lives, re-defining dress, style and interiors. Never-the-less, traditional ideas of material value and preciousness are still strong and need to be re-framed and re-imagined for the jewellery industry. ‘Jiayin’ translates as beautiful sounds and good news in Mandarin. The Jiayin Project explores the rhythms inherent in music and musical instruments through delicate, crisp and graphic wire frames with unexpected and technically surprising stone setting.

The work focuses on the relationship between the players and music instruments, considering how strings form new structures and elements when played. Design exploration has divided these elements into separate parts, reuniting them into balanced, delicate, unexpected jewellery forms. Li explores jewellery as a metaphor for musical instruments, forming a ‘musical composition’ of rhythm and juxtaposition in earrings and bracelets.

(close)

Kim Norton, 2011

kimnorton.co.uk

Pause

A two year practice based research project involved pushing materiality through scale and to create an emotional or sensory experience through design. Fascinated with the weight density and physical presence of clay on mass Kim began exploring spaces that exist within spaces. The final design will be installed in to Lady Margaret Hall in Oxford during July 2011

To design a space to engage with to shelter, observe, reflect and rest.

An exploration into seating spaces which enables the viewer / visitor to experience differing perceptions of the space depending on where they choose to sit. The object allows a solitary moment to be captured it would be possible to reside and to be partially visible or secluded from others sharing the space. There a sensation through subtle nuances of being slightly encased or enveloped by the form. Both sides resonate the same ideas however may evoke a different emotional response with a distinct feeling of inside/outside emergence/withdrawal depending where you decide to position yourself.

To create a narrative between object and space.

Ceramics has a long rich history within the garden context I am using Brick clay in collaboration with Ibstock Brick in Bristol pushing this material in a contemporary thoughtful and purposeful way developing a new language and aesthetic moving away from those long held traditions and preconceptions of what clay has to offer.

To frame a view.

The ideas based around the long tradition of framing the view is a familiar notion throughout landscape painting I’m aiming to frame a less obvious view or structure a viewpoint within the garden from an unexpected perspective or position from a less glorified lens The positioning of the piece provides an element of ambiguity on approach wanting to reveal to materiality yet create a new aesthetic with an ancient building material often overlooked.

Considering how exterior spaces are continuously transforming throughout the seasons gardens are always changing It has been important how light reacts with the space and how this will differ during the year.