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)

May 8, 2019 — PCID

In Conversation with Humberto Campana

May 8, 2019 — PCID

Wanted Design 2019

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