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

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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. 

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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

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

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.


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

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.)

(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.”
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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

Pauline Catalem, 2019

The Pablo chair

The Pablo chair, named after a famous Latino-American prisoner, is a piece of furniture combining both a desk chair and a lounge
chair. Overcrowded cells, the lack of space, and mattresses overused to cover the lack of comfort are the main problems prisons are facing daily. Prisoners are also looking for
ownership and therefore misuse furniture to create a sense of belonging.

Made from organic materials, Pablo offers two comfortable chairs, one rigid made in bioplastic to suit any studying or eating
activities, and another soft one in PVC/nitrile foam covered in Neoprene, suitable for reading, watching TV. The range of colors proposed for the covers are pacifying and drains energy. Safe, Pablo cannot be used as a weapon because of its organic shape. Slotting into one another, Pablo takes less space, offers a seat to each prisoner, reducing fights, and creates a sense of belonging to its user.


Debbie Petrou, 2019

Future Focus

Future Focus in partnership with Monzo Bank is a board game and app, which aims to improve the financial literacy of Generation Z.
The game involves answering ‘Quiz’ questions as a way of bettering their financial knowledge, as well as ‘Risk’ questions, which helps to improve their risk appetite. The players are also faced with ‘Reality Checks’, which impose realistic situations that they will most likely come across in the future.

In 10 to 15 years, when these teens become adults they will hopefully become more confident in actioning the financial skills they have acquired through playing the game, and as a result have fewer financial worries.


Alice Kawashima, 2019



Iron Deficiency is the top nutritional disorder in the world - affecting 1 in 10 women’s health in the United Kingdom. Iron deficiency occurs due to extreme blood loss and is another major side effect of heavy periods. Femo aims to re-design the female menstrual experience by assisting self tracking of the menstruation cycle and haemoglobin level.

Containing bluetooth connectivity to an application which monitors blood levels, the amount of blood loss and emotions. The product features a non-invasive haemoglobin meter that also measures glucose, SPO2, heartbeat and is a wireless phone charger. The system encourages users to use the haemoglobin meter in their morning routine through a beautiful, ritualistic device that reminds users to


www.alicegenberg.com, 2019


To make a cup of coffee, only 0.2% of the coffee bean is used and the remaining 99.8% goes to waste. Worldwide we produce 9.5 million tons of waste coffee grounds yearly and most of it ends up in landfill where each ton generates 14 tons of CO2.

At the same time we live in a world where raw resources become more scarce by the day and by using waste coffee grounds that are already present as a resource to make a new material, we can give value to something that is seen as useless.

Coffee Leather is the result of a series of experiments where waste coffee grounds were mixed with natural ingredients and then converted into a durable, leather-like material with the aim to work as a sustainable and ethical alternative to traditional leather.
When Coffee Leather no longer fits its purpose, it can easily biodegrade back into nature and thereby close the loop.


Alexandros Angelidis, 2019



2.12 billion tons of waste are produced every year by humans, out of which only a fraction is recycled. In order not to drown in
our own trash, whilst avoiding harming our environment more than we already do, we need to find new purposes for products that
are sold as single-use.

The School Desk, designed for VG&P, is reminiscent of an era where all this did not seem to matter. Clearly the need for change
in our behaviour is essential for the survival of our nature.
Therefore the final product accounts for this by turning more than 2000 used yoghurt pots into something utilitarian and long-lasting.



Luisa Filby, 2019


What if children could pick up coding as naturally as they do any other language? This was the starting point for Hello Kano: seeking to make coding ultimately accessible, in line with Kano’s brilliant ethos of democratising access to technology.

Hello Kano is a build-it-yourself, simplified AI that teaches children to code by voice. In ‘Interact mode’ the child begins to learn the differences between human and artificial intelligence, preparing them for future interactions with increasingly invisible algorithms. In ‘Build mode’ they learn to speak to computers more efficiently, using set phrases, or ‘code’. They use technology creatively, coding interactive stories and games, working towards voice coding competency. None of the child’s data is accessible and most of the exchanges happen offline.

Children are already speaking to Siri and Alexa: Hello Kano is a safe and social introduction to the kind of technology that will soon be everywhere.

Contact: luisa.l.filby@gmail.com


Kaye Toland, 2017



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.


Julius Ingemann Breitenstein, 2016


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.


Paulina Lenoir Guajardo, 2015


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.


Sasha Brumi, 2017


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.


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.


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.


Wilson Astley, 2016


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.


Alida Sielaff, 2017


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.


Abay Zhumagulov, 2015


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.


Madeleine Duflot, 2016


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.


Kuan-Yuan Frank Lin, 2016



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.


Will Verity, 2014


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.


Bruno Schillinger, 2014



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.


Yang Zhao, 2016


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.


Josh Worley, 2014


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.


Ellen Nyqvist, 2017


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.

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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

Teresa (Zhou) Zhu, 2018



Guardians is a project expressing my understanding on grown-up. There are three Guardians in this project. They protect me in past, now and future. They are based on my three family members: my nephew, me and my grandfather. Past, is a guardian who protects curiosity, innocence and happiness. He makes me live in a life without any worries. Now, is a cheeky guardian. He is brave and smart but also creating some troubles. He appears when I want to provoke some attention. Future is the strongest guardian. He is courageous and tough enough to protect the whole family. He gives me the courage when I am in trouble.


Qie Yin, 2018

When Celadon Meets Memphis

Through years studying in the field I have been concerned about ‘How can I establish a bridge between different cultures by ceramic design’?

My final project When Celadon Meets Memphis becomes the answer to this concern.

I put Celadon glaze and Memphis style together to design a series of vases with both ornamental and functional. Celadon glaze, was famous in Song dynasty (960-1276), it shows my culture heritage and Oriental background.

Memphis design style is a design movement from Milano. it makes me feel breaking the existing cognitive and give people a strong sense of shock, just like when I just came to study aboard in UK from China. Memphis here to shows my journey of learning. I bring these two cultures together into my project. The dramatic memphis shapes and patterns, covered by fine celadon glazes, presenting the conflict and coexistence of hybrid style in my work as well as the conflict and coexistence of different cultures on myself.

contact: yq_cherry@163.com


Hannah Workington, 2018

Hannah Workington is an artist specialising
in figurative sculpture. This project explores the narratives around
historic battles using ceramic horse sculptures. It is well documented that, throughout history, horses have been used to carry
people into battle and been sacrificed in the name of war.

In this body of work Hannah has used the horse as a canvas to carry the sentiments of each battle as they advance through time.
Using historical documents, letters, maps, and classical literature, the surface is layered with records from the time, and the eventual consequences of each battle as theyshaped the way we live today.

contact: hannahworkington@yahoo.com


Rachel Wilcock, 2018


21st Century Ceramicist

Rachel is an inquisitive designer who uses familiar ceramic forms to challenge perceptions. Her work always aims to stimulate
discussion and prompt thought.

Rachel’s degree show reflects her explorations into the developing relationship between technology and ceramics. Her work considers how technology impacts on crafts, and what role ceramic craft can play in a technologically-driven world. It examines whether digital developments have begun to influence the way designers/ craftsmen approach their practice and if the intrinsic value of ceramic pieces changes with the use of digital technologies. Through her work she asks what does it mean to be a 21st century ceramicist?


Angela Wang, 2018



Angela Wang is a designer maker enthused by Chinese tea culture, which provides her with profound insights into life: simplicity
and modesty.Her work Necessities is a Chinese proverb describing the basic needs of daily life: firewood, rice, oil,salt, soy-sauce, vinegar and tea. She believes when material life is satisfied, people are chasing for spiritual needs, like Wabi-Sabi that values imperfection and impermanence where nothing is immaculate and seeking simplicity and beauty from life’s complexity. Wood-fi ring represents the ever-changing life while ash and flame form a special natural glaze. Angela’s work conveys the idea that life should be modestand simple - the ultimate goal she pursues


Nishat J Tahsin, 2025



Nishat is a surface designer specialising in tiles. Her inspirations come from observing her surroundings. She is interested with the way layers of colour, pattern and texture can obscure and hide details, but also enrich a surface creating depth and interest. Nishat uses a variety of specialised ceramic techniques to create bespoke, bold and exciting designs.

Through rapid prototyping and surface experimentations, Nishat has created a specific range to demonstrate the versatility of tiles.

She looks to present clients with the freedom and unique ability to create bespoke patterns and tiles by choosing a base form and surface quality.

Composition and rotation of tiles can further enhance the idea of generating limitless patterns. Nishat encourages the audience to look, touch and explore the layers of satin, matt, glossy surfaces and more.


Lewis Rushton, 2018


Building new places by looking

Lewis is an artist interested in the use of clay processes to playfully investigate familiar materials, objects and places.

Building New Places by Looking is an experimental house made of 64 line blends, substituting glaze for baked beans, clay face-masks, eye-shadow, hair-removal cream, kale, lipstick, multivitamins, tea leaves, toothpaste...

The ongoing investigation re-imagines materials by the kiln, deviating from self-contained ideas surrounding materials and their uses. The transformed outcome explores testing and experiments as sculpture creating a new space for discovery and understanding.


Anna Rozenšteina, 2018


Anna is a ceramic designer and maker focusing on creating functional, location-inspired ceramics. Her projects embody the architecture, history, atmosphere and aesthetics of specific places, often in London. Tea Set for Pimlico - inspired by Tate Britain - has been a significant step in the development of her personal style. Anna’s most recent project takes a journey on the London Underground Victoria Line further exploring the different areas of the city via a simple and common object - a souvenir mug.


Sue Plumer, 2018


Sue’s current practice has been focused Sue Plummer around the rediscovery of old photographs from a previous project. She was inspired by the subject matter and quality of the analogue film images, as well as the potential in what revisiting an idea could bring to her new work. The images of modernist architecture, construction sites, building facades and scaffolding, inspired her approach to the construction of ceramic vessels. The strong graphic lines created in the architecture are reflected in her use of surface decoration.

Exploring scale, Sue’s work abstracts the architectural imagery, emphasising perspective through line, colour, and relief elements in a series of structural vessels.


Harri Nourse, 2018


Looking Back

Harri Nourse is a ceramicist who
specialises in hand-built forms. She
is really interested in glazes and how
she can manipulate them to create
alternative surfaces. Harri also draws
inspiration from historical fi gures in
the ceramic world as well as from her
ceramicist great grandmother. Looking
Back is a collection of two projects;
Understanding Constance and
Pioneering Women.
Understanding Constance was inspired
by Harri’s great grandmother Constance
and is a direct response to the
forms and surfaces she created.
Romance or Gamble celebrates six
women ceramicists in the early 20th
century who may be known but are not
necessarily recognised for their
contribution to modern day ceramics.


Michelle Mtinsi, 2018



Khaya a Ndebele word which means home. The range offers clients a neutral tableware collection to work well with modern interiors. Michelle has created simple forms complimented by minimal decoration techniques. She uses different shades of one colour further enhancing a simplistic aesthetic drawing attention to form and texture. Michelle has created a gradual monotone collection for Khaya, which contrast between unglazed and glazed earthenware.


Injee Lee, 2018

Things for Life

Wellbeing and happiness.
Good things that are with a happy life
always exist everywhere. How can ceramic
ware play role as things that help us
for well-being and happiness? There are
something that come to my mind when
I think what makes me happy. When I
live a ‘minimal life’ with the minimum
of things, when I can feel the depth of
time with a story that has a memory and
when I can feel an emotional value.
The gentle things in life: Music, Story,
Light and Cups of tea.


Aaron Le-Bas, 2018


Make It Your Own

Aaron is a designer maker who believes
each piece should encourage attachment.
Her work is inspired by the philosophy of
emotional design and the need for sustainable
The collection Make It Your Own, is designed
to encourage attachment through
play with the interchangeable lids, enabling
the personalisation of the collection, providing
you with the opportunity to get to know
each of the pieces, making them your own.


Simon Kidd, 2018


Sliabh Dónairt & Dregish

As a ceramic artist, Simons work explores specific locations and reflects on their relationship to
human experiences through the exploitation of processes and local materials.
Simons degree show consists of two ranges of porcelain artefacts; Sliabh Dónairt and Dregish,
exploring the Mourne Mountains in County Down and Dregish Bog in County Tyrone, while
reflecting on the experiences of the people of Northern Ireland.


Do Ha Kang, 2018

Better Communication, Better World

Do Ha from South Korea focuses deeply
into social inequalities and is passionate
about bringing improvement into
people’s well-being. Recently, due to
the atomic threats from North Korea,
Do Ha has empathetically researched
the issue by considering the historical,
political and economic factors from a
South Korean perspective. His work is
accompanied by a traditional Korean
technique ‘Buncheong’. This technique
was used during the greatest moments
of unifi ed Korea during the 15th
century but lost its popularity during
the Japanese invasion and Industrialization
in the 19th century. Hence, in this
project, Do Ha hopes for the revival of
Korean Ceramics and unifi cation of the
two countries.


Steve Kairu, 2018


Beyond the Mould

Kenyan designer based in London. ’Bridging
the gap’ - His work links design with
human interaction by exploring connections
through which the user relates to the design.
As a ceramic designer, He wants to produce
contemporary designs that are simple and
unique with a sense of individualism, but
also explore functionality through technical
exploration of objects with emphasis on the
form and surface inspired by African art and
urban architecture.


Natalie Joseph, 2018


X-Ray Plague

“Time travels in one direction…we are
compelled to travel into the future” -
Brian Cox.

Understanding the arrow of time has
inspired Natalie’s creativity for speculative
design. She believes human
evolution whether negative or positive
as an inevitability. Natalie believes it
is necessary for humans to cross the
boundaries in order to develop as an

X-Ray Plague is a comic written by Natalie,
narrating the speculative future of
prosthetics. It envisions ceramics as an
advanced material of the future which
is redefi ning the extents of human
kind. Due to several events a trend
of bone tattooing has risen. The fi nal
pieces can be seen as collectibles within
the comic.


Ziming Han, 2018


Ziming is a ceramic designer born in China,
currently based in London. She focuses on
tableware design, interested in western contemporary elements and traditional Chinese
elements. Her design combines practicality
with the beauty of breaking and repairing.
Perfection and imperfection is relative.
Usually, people think repair means make
things good or returning to the original.
Ziming added her understanding of repair in
design. Repair is to give a value on broken,
in addition to making the broken usable and
adding functionality. She chose to use gold
and silver to emphasize the repair part. The
value of repair is refl ected in the ‘expensive’
of materials, but also on the functional


Jaili Huang, 2018



Due to the cultural mix, her work has been influenced by both tradition and contemporary
ideas. With a playful design approach, tactile surfaces and lines, her work is a combination of
functional tableware and unconventional details.
Aware of the increasing demand for creative tableware for fine dining restaurants, her design
combines passion for food culture and for tableware, and explore how serving ware connects
and interacts with the dining experience base on traditional craftsmanship technical skill and refined
food cultures she has expressed the functionality and practicality through the strong and
sleek lines to present the sculptural landscape of tableware and the interspersed and proportion
to connect to the sense of space.


Anke Buchmann, 2018


This moment will never come back

Anke’s work in performance, embodied
experiences and ceramic objects investigates
how clay can help us be present
in our body. As reaction to the hectic
and distracted every day, This moment
will never come back inspires people to
pay more attention to the here and now.
Activating her own body by synchronising
breathing and gestures, Anke’s time
based work embraces the ephemeral,
the experience.

Her overall interest lays in examining the
different dimensions of experiences that
come from the artist, the audience, the
process and the object. She is following
a 2-fold approach, balancing between
experience in engagement and interaction,
and material in the form of clay.


Sarah Christie, 2016



‘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


Tamsin Van Essen, 2007


Syon Blue


Robin Levien, 2000


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.’


José Maria Salgado, 2016


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.


Joely Clinkard, 2016



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.


Bridgette Chan, 2015


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.


Elena Gomez De Valcarcel, 2017



'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


Srabani Ghosh, 2016



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.


Stephanie Buttle, 2015


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.


Amanda Tong, 2014


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.


Adele Bruyes, 2006


Kensuke Nakata, 2014


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.


Ian Stallard, 2000


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.’


Maham Anjum, 2003


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 


Akiko Hirai, 2003


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.'


Claudia Cauville, 2014


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.


Agalis Manessi, 2000


Lena Peters, 2017


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.


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


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!’


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.


Kevin Kaijun, 2015



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.

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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

Sixtine Neufville, 2019

Ordinary Species: Creatures of the 21st Century

This project offers a perspective on our 21st century through the categorisation of human behaviour. To reflect on our conduct, rules and conventions, a range of nine objects have been created to defamiliarise everyday life, questioning the role the designer plays in it, and our normality.


Changkun Lin, 2019


The Silent Speaker

The Silent Speaker is situated in an alternate present in which the USSR did not collapse. It speculates a national AI assistance under high levels of control. It follows citizens’ chain reactions to hacking this strict system, and celebrating the rebellious creativity that emerges out of systems of control. Here we see the party issue AI and consequent mechanisms of subversion applied through the hierarchical strata of the state.


Anne Charpentier, 2017


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.


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.


Keyi Chen, 2019

Inte-Rest-ing Work Series

The Inte-Rest-ing Work Series aims to alleviate stress, activating and encouraging play at one’s desk while working. The playful interaction design challenges the intense and competitive working conditions that we see in a culture of extended hours. The range offers desktop tools which afford play and facilitate activities which distract and relax. These tools are supported by management who encourage wellbeing at work by ultimately improving efficiency through a more sympathetic and encouraging environment of micro-breaks and playful distraction.


Bharat Chaudhary, 2019

Domesticating the Daimonic

The psychological model of the human mind identifies two realms - the Ego and the Shadow. The former represents our social identity whilst the latter constitutes
the part of our personality which, in the course of our lives, is repressed and pushed into the darkness of the unconscious mind. This project aims to investigate the dark narratives (Narcissism, Sadomasochism and Transvestism) which emerge in our deep subconscious mind, engendering them into the typologies of everyday objects. The resulting transmutation personifies one’s hidden identities that are deemed as dark (daimonic) by mainstream society, therefore creating a scope for realisation of the true authentic self through an act of intensive introspection.


Gareth Ladley, 2015


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.


Zijie Lin, 2019


Live Like a Salmon

Live Like a Salmon is a speculative design project which explores how ‘family’ looks
if we have children after 65. Through a collection of products, this project pictures the details of family life in such a future from the perspective of child-rearing and elderly care. It proposes a new possibility of work-life balance, family relationships, and rethinks life cycles.


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


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.


Pengfei Xu, 2019


This project builds a dystopian society in which negativity is illegal. Negative youth are escorted to a hotel and treated for their negativity which involves submitting to aversion therapy. They wear a device that forces them to look energetic and are punished for their negative behaviour to correct their ideology. There are a series of absurd and ridiculous activities in this hotel. This design aims to raise concerns about the negativity of youth and make people think about a society which focuses on the development of technology and the economy, ignoring the development of culture, value, and morality.


Zoé Kahane, 2018


Green Me is a project aiming to engage communities to participate in urban greening. It provides people the necessary tools to do so, through an online platform and open source design. In the context of London, the designs are adapted to urban typologies such as railings, lamp columns and fencing panels and can be further developed by the community.


Yuqi Deng, 2018



The 'Evolution' of Dogs interprets dog positioning and social roles through products that show people's control and modification of dogs. This set of accessories is designed for dogs that are not “cute” enough and allows them to meet people's needs for pet appearance. The project exposes the ill conceived range of practices and expectations that exist within the word of competitive dog breeding and the everyday commodification of the pet.


Sarah Gold, 2014


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.


Yuie Yu, 2018



The Terror Drill is a role-playing game workshop with three participants, a scenario narrator and a ‘suspect’. It aims to help people rebuild resilience through the designing of a series of scenario-based emergency simulations in the post 9/11 era. This project explores ambiguity associated with the concept of fear and interrogates the shared common sense of terrorism.


Yuchen Cai, 2018



Multicultural teamwork is becoming more prevalent, especially in the design industry, posing opportunities and challenges for designers from different cultural backgrounds. Across explores ways of communication within these designers across the culture when working as a team. The tool set consists the Spinning Desktop that helps team members better concentrated and engaged, the Drink Dispenser providing a way to deal with negative emotions by sharing and refreshing, and the Air Band which builds empathy via experiencing teamwork pressure.


Ying Wang, 2018



The Milk Ceremony draws our attention to plastic waste. It enables the users to fully experience the origin and production process of plastic in a context of domestic production. It brings us closer to the means of production and encourages reflection on the material, its production and use in the domestic landscape. The ritual and the experience it affords gives action to our consciousness and the sustainable material produced through the ceremony provides prosumers possibilities and incentives within this mode of production.


Yineng Xu, 2018



The project attempts to use empathetic tools and multi-sensory experiences to generate potentially inspiring strategies, and to help designers intervene in mental health concerns is a context of pregnancy. Co-preg is a set of objects that builds empathy in pregnancy. It allows the user to experience moments of pregnancy. It strengthens male empathy, whilst also paying attention to the psychological needs of pregnant women and providing interactive feedback.


Qiang Huang, 2019

Bike Scavengers

The project develops statement products made with components from shared bicycles. An association called ’Bike Scavengers’ is established to encourage people to disassemble millions of overproduced discarded bikes on the street and to turn them into valuable products. ‘New’ objects are created from semi-finished parts provided by the association using scavenged reclaimed components. At the heart of the project there is a critique of the environmental detriment caused by bike- sharing schemes in their operations and unregulated growth in China.


Yao Fu, 2018



In this project I have designed an innovative wearable device, which can convert digital signal into the sense that human can feel and understand. This haptic device provides us a more immersive way to boost our emotional communication.

This product is dedicated to explore a new channel for the future remote communication and solve the limitations of conventional visual based interaction. The product I designed will help people to receive and deeply read digital information by their skin. This frees people’s vision from reading information and also allows digital information to leave a deeper impression to people.


Tuna Yenici, 2018


Era is a smart motorcycle helmet that focuses on the infotainment potential of future motorcycling. For the first time in motorcycling history, a virtual reality experience is being offered for the passenger and there are four different packages available for potential customers which are : solo ride pack, passenger pack, augmented reality pack and the virtual reality pack.


Stef Liu, 2018



INFINITY is a blockchain-enabled data management platform that incentivises users to collect and share personal biodata securely with direct monetary rewards and benefits, for the purpose of self-improvement and the acceleration of biomedical innovations.

Through service, product and speculative design strategies, the project explores both the opportunities and ethical concerns new technologies could bring to us in this data-driven future.


Stanya Petkova, 2018


Activote is a board game that teaches its players in an entertaining way what civil participation is, it also encourages them to become involved with each other to pursue their own goals and interests. The game promotes the personally responsible citizen attitude, as it is the one that will make people more empowered, and active in present-day democracy.


Liliya Galabova, 2018



The Resilient apparatus for surviving environmental change explores the environmental concerns the world is facing today by imagining a future where these issues have exasperated. The project is a conceptual solution, an apparatus for nomads to help their bodies get used to the changing urban conditions while travelling.


Jeffrey Doruff, 2018



This project seeks to interrogate evidence-based – “what-works” – practices that shape contemporary paradigms in education. The interaction is a framework for discussing our values and perspectives for both the holistic learning experience and the measured learning outcome. As a celebration of learning practices and experiences that engage with open-ended problems, The Drum Thing is designed as a object-to-think-with, encouraging participants to think about what should be desired from education and our learning futures.


Elora Pierre, 2018


Local factory - Living standards is a research service exploring the local availability of resources as inputs for a co-operative production system supporting self-built initiatives. This methodology is articulated around the need for insulation and the pieces here consist of a series of open manufacturing modules for doors, windows and walls, providing evolutive solutions and avoiding to engage into heavy construction work.


Charles Leoni, 2018



ORA is an assistive technology that helps to improve situational awareness and safety for cyclist. Composed of a bone conductive headset and a smart rear light, ORA is able to sense the surroundings in order to warn the cyclist of hazards on the road, using 3D sounds, for a safe and unique experience.


Alexander Colle, 2018



Maah represents a new generation of domestic robots. Is unconventional shape, mechanism, and interaction module, exists to interrogate the industry. It represents another ways of making future sentient machines, using a new range of material and technique. Finally it questions the true function of companionship, what makes us being attached to non-familiar entities.


Affan Deshmukh, 2018


Chamber of Commons

Chamber of Commons is an attempt to raise awareness about the problems such as lack of health education, lack of proper knowledge, the general population in rural communities goes through in their everyday life using self-organisational tools that are influenced by local knowledge and cultural dynamics, with particular focus on semi-urban and rural Indian hospitals.


Matthew Vella, 2019

Light and Play

This project is an attempt to explore the concepts of both light and play by treating them as two different design typologies which can be mapped and matched together. The ultimate aim is to create an interactive lighting piece which requires innovative user interaction and therefore creates a new ritual of use - one that aims to be both playful and engaging.


Hossain Saeb, 2019


UTell is a storytelling platform which aims to counter extremism through peoples’ stories. The project uses immersive storytelling as an empathetic tool that helps people to build a better understanding of each other’s perspective around Islamopobia in the UK. The platform runs storytelling workshops in collaboration with communities and institutions to work with people and facilitate them to share their stories, translating them into multiple immersive experiences. The Whispering Wall is an output of the UTell process, an interactive sound installation that has been created in collaboration with Muslim voices.


Elliot Quinn, 2019

Community Guidebook

This project explores ideas of power, decentralisation and group decision making. Through looking at these issues through the lens of participatory design, it explores the idea that a community can set the agenda and lead change. In challenging the facilitator’s role, it develops a process and a set of tools that allow the community to become independent. As the process leads to empowerment, it also improves social capital, building a foundation where people can truly shape their future.


Jacobo Prieto Gomez, 2019


Satory uses satire as its main tool to discuss issues of democracy, freedom of speech, nationalism, power and money. Through the use of visual ambiguity in the critical associative design practice, satire is engendered into objects to challenge the audience by establishing a dilemma of interpretation in relation to Western power structures and their faults.


João Pope Almeida De Carvalho, 2019


As new trends are emerging in millennials’ living habits, concepts such as job hopping are now common in developed cities. The Urbanomad project has investigated multiple fields associated with this trend to present a solution that assists young professionals relocating to rented apartments. It consists of a set of essential living objects and a suitable way to carry them in a suitcase that, once settled, converts into two pieces of furniture.


Yanbo Ni, 2019

Shop on Wheels

Shop on Wheels is a trolley designed to bring charity shops outside, in cooperation with The British Heart Foundation. The trolley displays and sells different products which are selected by shop staff as suitable for young people. Through promoting the effect, concept and activities of charity shops, it hopes to change people’s negative stereotypes of them and instead showcase what they sell while acting as a mobile donation station at the same time.


Jody Leach, 2019


Focal is a local food system that improves the physical access to good nutrition by providing free fruit and vegetables to primary school children.


Lukas Nemec, 2019

Mirror Self

Intended for people suffering from schizophrenia, Mirror Self explores the possibilities of applying design practices in a psychology and psychotherapy context. The initial question in the project was whether design can offer a mirror and serve as a platform of self-knowledge. The project applies a method of embodied metaphor
and explores ways that the process of transformation can become a subject of discussion and inner change. The process results in a physical product; an articulation of the problems of stigmatising which people with schizophrenia face.


Xiao Lin, 2019

Dancing Youth

Chinese square dance is an outdoor collective sport originating from Chinese broadcast gymnastics. Through studying people related to square dancing, this project aims to explore and deepen square dancing’s commercial and social value.

Dancing Youth’s service system optimises the capital and service chain of square dancing by adding the role of college designers to support in the design and production of material used in the activity, such that all the stakeholders related to square dancing can benefit. It does this through the design and delivery of an app- based platform efficiently linking relevant parties with an interest in square-dancing.


Yeyang Liao, 2019

The Coffin Chair

Because of China’s large population and limited space, the “Green funeral” movement was implemented by the government in 2018. It aims to achieve comprehensive cremation by making coffins forbidden. There is a tradition of those in their 60s where they prepare a coffin early in order to wish for a long life. They live with their coffin before death. As a result of the movement, thousands of coffins were controversially forcibly collected from elders’ homes.

If coffins were seen as furniture, elders would have the right to keep them and the tradition could keep going. This project develops furniture which transforms into a Chinese coffin.


Muyao Li, 2019


In a time where narratives around an object have surpassed the narratives within it,
the project takes an open approach guided by intuition and instinct, finding unknown from the known by reconnecting narrative layers of meaning back into objects. Time is a series of clocks that embodies this idea and reflects the manipulation of cultural and formal components. Each clock is a self-contained story, each their own poetic substance.


Gabriel de Noray, 2019

Design with Stories

Beginning from the premise that stories are super powerful in raising people’s awareness, Design with Stories is a design tool which aims to embed stories into the design process as a generative method, creating story-teller products. The toolkit presents a canvas to fill out and follow, using narrative structure from well-known plots, in order to translate complex issues into stories. These stories are used to trigger design ideas during the early stages of a project. The tool has been applied here in a context of environmental sustainability and used to create a collection of products that tell the story of environmental issues through domestic products.


Yichuan Gong, 2019

Invisible Rooms

Three Invisible Rooms store three people’s fictitious, interconnected dreams in which they each gain back what they have lost in real life. Composed of texts describing realities and objects constructing corresponding dreams, Invisible Rooms investigates an approach to using objects in order to tell stories in an irrational way and the relationship between personal experience and objects.


Tyler Gindraux, 2019


Making as a Means

In an immigrant integration context, the project explores ‘the making process’ as a means for bringing people together. Through developing more inclusive methods of engagement, the research influences a series of designed outputs while reflecting on a participatory designer’s role in shaping new integration strategies.


Xiaomeng Gao, 2019

Mental Health Self-Awareness Aid Tool

What if a future society were designed only for people living with depression? How could people without depression fit into such a social system? This minority group has sought a treatment based on technology rather than psychology, to find the best way for them to become depressed so that they can complete their self-development and fit into this new type of society. The project imagines a future in which design is focused on people living with depression. In response, these tools examine what it would be like to encourage people to become more depressed in a future social system. The project ultimately asks questions about the effect of our increasingly technologically mediated lives on mental health and wellbeing. It takes current trends in mental health and concerns of technological use to logical extremes.


Lorena Catinari, 2019

LI_BOO: Visible Connection

This project aims to establish a space where the user is connected, secure, protected from external agents (or hacking) and living in the moment, both privately and productively. By exploiting Li-Fi technology, it focuses on a new approach to accessing the internet. The space is designed to satisfy the need for privacy and security in a crowded public space, where people often work, study, or are connected for an extended period of time. Li-Fi has the potential to improve current Wi-Fi performance both in terms of privacy and efficiency.


Clara Bernard, 2019

The Rhetorical Dinner

Let’s have a disturbing dinner... The Rhetorical Dinner is a materialisation of rhetorical devices expressed through tableware. By exploring the rhetorical function of everyday objects, these two elements - the object and device - are combined to reconsider the culture and value of the object and its rhetoric.


Victor Bassigny, 2019

Making Common Space

Through the project, a process for communities and councils to collaborate in making common spaces has been developed. It aims to effectively help people work together to build their public space and produce social ties through a series of collaborative tools and methods. Supporting a social inclusion scheme in the city of Caen, France, a range of participants from the council, making communities and local residents were brought together to produce furniture for common space. The materials come from local construction sites and are refurbished by long-term unemployed people. The process supports community integration and cohesion while promoting principles of circular economy situated within the city.


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.


Zhen Jiang, 2017


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.


Anne Couvert-Castera, 2015


“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.


Marie Laffitte, 2017


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.


Marta Monge, 2015


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.


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.


Joao Gil, 2016


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.


Sara Lopez Ibanez, 2017



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.


Marina Mellado Mendieta, 2016



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.


Pan Wang, 2015


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.


Elif Gengör, 2016


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.

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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

Neug Wi Kim, 2018



‘Samrimryok’ meaning the immersion of self within nature, is an attempt to connect with the intensity and sensation of past experiences of nature, particularly seashores, as a healer. Exploiting sensations of touch and the visual qualities of unique hand-cut stones to create symbols of wellbeing and restfulness.

Kim explores the materiality of her chosen pebbles and takes inspiration from the experiences of specific locations where she has been. Kim has collected pebbles for this collection on Mongdol, Chesil, and Brighton beaches. Sensuously smooth or intriguingly rough, multihued or monochrome, patterned or plain, the stones from each area tell a different story of how it came to be, providing powerful inspiration sources for design. The stones Kim has cut make explicit the value of personal narratives of relaxation, highlighting the power of a visit to the beaches, and the special time with the pebbles that she has designed with.

Each and everyone of us has gathered stones, Kim offers a new way to consider the value of what stones might be in contemporary jewellery. Why buy a mined stone when you and those closest to you can find and set your own stone through this project.


Zi Li, 2018



Since we entered the age of digital, emoji has become a visual symbolic language, which is gradually growing deeper into many peoples’ life. It offers a way not to have to speak but to share your thoughts to others who can simply observe. ‘Emoticon’, Li’s collection seeks to offer a new way to express your emotions.

‘Emoticon’ is a project that explores the emotional experience of living in cities, offering a thoughtful and humorous reflection on the changing facial expression of feelings from the banal to the intimate through the language of emoticons and rhythms of city lives.

Inspired by the deceptive simplicity of modern communication in city, Li hopes to recount differing emotional contents and conduct a kind of speechless dialogue and exchange with the spatial wearers and observers in design. The vivid faces, passed through a 3D print technology have divided and distorted into separate parts. Li reunites them into narratives, into delicate, unexpected jewellery forms to tell a story of the emotional experience of our lives in city.


Zhaoshen Wang, 2018



Wang’s project started with the observation and research into the frequent social events around identity that are a characteristic of contemporary European cultures. Events like gay prides, festivals, marches and gatherings. From this standpoint he explores an understanding of personal identities and social values. He questions, from a jeweler’s perspective, sexual identity, dress codes and how jewelry can participate in these discourses.

The ‘Infinite S’ collection explores sexuality in a wide range of forms, materials and outcomes. Wang draws upon Asian and Western historical depictions of sex, of taboos and openness through a soft-erotic vocabulary of sensuality and restraint.

Synthesizing Asian and Western influences through extensive research into knotting from fishing and farming communities on both sides of the globe provides a cultural bridge into the production of these pieces.

The concept plays out through shapes of gender-neutral jewelry and jewelry-like objects to discover new wearable potentials. Wang seeks to prove that contemporary art jewelry still keeps and defines the core values of our modern lives.


Francesca Neri, 2018



‘La Dolce Vite’ is a collection inspired by the icons of Italian design with a contemporary twist. It has a fresh, playful aesthetic, characterised by unusual structures, audacious textures, and inventive mechanisms.

By questioning the status quo of traditional jewellery and Made in Italy manufacturing processes, Neri applies an innovative perspective, turning jewellery inside out. The design language appears as a composition of streamlined curves held together or challenged by contrasting mechanical elements, where soft sections and harder engineered details balance each other out, offering a surprising sense of tension.

Composed from cabochon stones, kinetic elements, and contrasting coloured golds, these unconventional pieces embody a modern sensuality, the essence of Italian creativity.

The title ‘La Dolce Vite’ sounds like a reference to classic Italian cinema, although it is also a game of words: ‘vite’ is the Italian for ‘screw’, the main feature within this innovative setting system.


Xiaonan Zhang, 2018



This collection is inspired by the bonsai tree. A plant whose conflicted beauty emanates from the tension between the rigorous forming process and the final natural aesthetic which conceals the artificial. The process reveals human confidence in our power over nature, whilst the final form reflects our consideration for it, epitomizing the grower’s own personal creative expression and self-restraint.

With this as background, the theme for the collection is the ring featuring innovatively mounted jade stones, a stone traditionally used to project power and strength. The orthodoxies of such rings are for Zhang a metaphor for trees and the basis for new accessories, just like a tree is shaped to become a bonsai. Using inspirations from wearing jewellery in daily life and the history of European jewellery forms allow Zhang to explore new ideas.

‘I am deconstructing and regenerating jade rings in a manner which I hope to be incongruous yet restrained.

Through a new generation of jewellery, incorporating gold, silver, pearl, gems, diamonds, dried flowers, as well as the jade itself, I hope to share what "value" means to me. Consequently the ‘value’ of each jade piece ‘distorts’ my jewellery design process and therefore of the ring itself. Each piece helps me explore my psyche, then stands for itself, building a connection with the person wearing it’.


Chloe Duran Stone, 2018


BO'OY – Transitory forms, light & colour

As a designer, Durán Stone aims to raise our perception and awareness of objects within a space and of the space itself, working with the connections between them. Through the exploration of light and colour, it is possible to incorporate unexpected and unconventional elements that can change the ambience of a room or setting as well as our experience within it.

Light and colours affect our well being consciously or subconsciously and when used in combination with the personality of each object, they can influence our moods taking us anywhere from tranquility to playfulness and joy. In this way, objects and furniture become a transitory reflection of the surrounding space in a given moment.

The pieces in the Bo´oy Collection (meaning shadow in the Mayan language) consist of reflective and transparent coloured forms which go beyond their functional purpose to enhance the space in which they are placed.

The sculptural, abstract and colourful elements of the pieces trigger the senses, bringing surprise, curiosity, fun and change into everyday spaces. The moveable acrylic pieces can be arranged in infinite compositions and reveal themselves in different ways depending on the light and position in which they are placed; through this uniqueness their form and essence go beyond the idea of furniture.


Jacqueline Payne, 2018



‘Chroma’ celebrates the stunning characteristics and beauty of graphically patterned stones not traditionally used in fine jewellery. Payne seeks to reshape perspectives as part of a global reassessment of the value of ‘non-precious’ stones as a decorative resource.

In the first installment from this ‘global nomad’ jeweller, Payne takes us on a journey from the Australian wilderness to the ancient forests of Indonesia and the oceans of Madagascar to discover the rare and unusual stones collected by artisanal miners who hold fascinating local knowledge.

The collection is defined by a purity of form, achieved through custom cut stones, which also offer sensuously tactile surfaces to the wearer.

Carefully considered harmonies and contrasts of colour and pattern synthesise the stones with their gold and gem set mounts.

The collection offers a journey of discovery and a new appreciation for preciousness through a deeper understanding of rarity.

E: contact@jacquelinepayne.com


Lisa Osimo, 2018



Osimo is an Italian Jeweller who aims to create unusual and ironic wearables.

She creates pieces of jewellery from combinations of luxury' materials, exploiting the trust of 'Handmade in Italy' and assumptions around the 'appearances' of wearable art pieces. Her aim is to become a trustworthy yet ambiguous figure for her clients, gaining their trust during this era of uncertain political and economic futures.

The title, Free Bitch, reflects this idea of making the wearer feel free and strong. From urban slang it characterizes Osimo’s muse “someone who doesn't care what other people think, free to do what they want, how they want, and whenever they want regardless.”

This collection is made for women who are not afraid to be looked at, while the jewels act both as a shield and a weapon for the wearer towards the rest of the world. They're for women who buy their own jewels without waiting to receive them as a gift.

Osimo uses a particular material formed from industrial nylon mesh tube, called Crin. A material which allows her to design and realize incredibly light yet majestic pieces due to its ductility, lightness and incredible resistance.


Hiroko Hagio, 2018



Invitation to the Secrets of Flowers’ is a play on the beauty and enigma of flowers.
In a long global history of human fascination and interest flowers have been elevated to great levels of symbolism becoming expressions of celebration, courtship or sympathy, connecting flowers to art and daily life, funerary rites, religion, and wider ceremonies.

It may be that human’s commune with flowers, as flowers have the life cycle that evokes our life. The endowment of flowers with mysterious and supernatural properties, in particular of rebirth, associated with human kinds ultimate desire for immortality or revival remains strong.
Hagio's jewellery engages with this mystic beauty and power of flowers, seeking to empower her wearers.

Her pieces are created in silver and gold using artisanal and traditional Japanese techniques known as Tankin and Chokin. This allows Hagio to explore in metal fragile or enigmatic forms inspired by the anatomy flowers creating jewellery that seeks to deliver its own mysterious secrets.


Katharina Kraus, 2018



This collection using natural light reflection in custom-cut gemstones, visually references the angled lines found in the architecture of cityscapes and deep carved lines in stone and concrete. Translucent Agate and transparent Quartz are combined with a wide array of transparent coloured stones.

Originally from Munich, where no building is taller than the city centre church, Kraus’s fascination is sparked by the angled lines of skyscrapers against the ever-changing sky.

The soft light reflections within the hand carved stones contrast with the precise visual geometries of the regular cut gems. Altitude and elevation are central aspects in the pieces, each gemstone being either angled to or away from the body and the wearers gaze. Visual effects transpire that flicker and change when the pieces are worn.

Each piece explores the relationship between idea, design, maker and material, using hand-craft traditional techniques and tools. Kraus believes in a fundamental connection between an object and the process of how it was made.

In hand making, maker and material, idea and its realisation are more closely linked and counter a sense of disconnection from the tangible experience in modern times. Jewellery becomes more relatable when origin and production are comprehensible.

The collection is aimed at women who look for one-off pieces or a bespoke alternative as a modern heirloom.


Deborah Enkaoua, 2018



Inspired by the nonchalant attitude of Parisians, how they act and their relationship with style and fashion; VICE//VERSA is a collection designed for this internationally followed style tribe and those who may want to join them.
Parisians operate duplicitously in the attitude they present to the world, one founded on a contrast between how they want to appear and how they actually see themselves.

VICE//VERSA is a unisex collection designed as a tool for the wearer to highlight style and personality. This duality is present in the whole collection emphasized in the binary elements of each piece. Each has a different colour, shape, scale and finishing, which will bring a different vision of the object based on the viewpoint that you are looking for. This duality in the design is present in each piece with each piece detailed on its inside and/or back.

VICE//VERSA follows duality in the production of the collection with the contrast between its making and its the ‘street styling’ inspiration. The collection has been made in a small fine jewellery “atelier” in Paris; a type of making usually used for fine and high-end jewellery. For Enkaoua, this high crafting brings Parisian production values to the detailing aspects of the collection.


Yixuan Gao, 2018



This project is intended to introduce some romance to daily life in this crowded, bustling and stressful world with musical jewellery.

The two collections respond to the wearers activities by sound making, exploiting touch sensors and micro-electronics offering different emotional experiences through visual and aural design.

The collection “Whisper” a series of silver earrings, plays soothing sounds through a touch/prompt button. By combining design with the melodious sounds, the jewellery portrays a secret world, whispering close to your ears a gentle romantic poem. It smoothes your emotions and creates a moment that belongs to you.

The collection “My little monsters” is inspired by daily life and imagination to create a wide-based narrative which has options to explore through jewellery and in the future, animation. Each monster has a different look, name, job and personality. Each has a ‘home town’ where they live and operate monster businesses. Created with hand and machine embroidery and a specifically designed audio module, every monster offers nearly 100 individual responses. Wearers can upload their own sounds using a SD card. As you wear your monster, they accompany you, bring smiles and pleasure to your friends with their funny expressions and deeply sincere words.


Bingqi Lee, 2018



The rapid development of design cultures across all levels of Chinese society forms the backdrop to this collection.

Using a minimal design language the pieces explore and re-interpret elements of traditional Chinese architecture into everyday and functional modern furniture. A classically defined colour plate and pattern references complete the collection.

Visual references from traditional chairs, moved from three to two dimensions breaks precedent to refresh the audience perspectives.

Manufactured from steam bent plywood and metal tubing, the emphasis is on functional connections and diverse chair forms for wider market appeal.

This project sits within the development of urban centres across China and against the ubiquity of their generic and mass produced ‘global modern’ furniture cultures.


Josh Rose, 2018



This furniture project combines artistic values and utility, and aims to generate a form of collaboration between the user and the work of the designer.
The project looks at both themes of longevity and ‘user involvement’ within the design of furniture.

The collection is inspired by a universal need for self-expression and our developed-world creation of identity through our relationship with possessions. The project examines this relationship and how it relates to our individual needs and the demands of modern society

The project explores different forms of furniture. The result aims to be both aesthetically and functionally playful. The individual pieces are heavily stylized, allowing their appearance to be ‘tuned’ by the user.

The millennial cabinet explores ‘surface’ design. By manipulating the pivoted decorative elements, the visual effect of the cabinet changes. This surface variability aims to relate either to the contents within, the space it occupies, or to the taste of the owner.


Ye-Byeol Sim, 2018


WHAT OR WHO: Jewellery for Contemporary Homo Narrans

“I love it because it is like my beaming face just before eating delicious food in front of me.”

John Niles described humankind as Homo Narrans, storytellers. In the digital era, flooded with information, we are truly living in a world full of stories. The digital platform such as social media allows individuals to tell their stories however trivial. However, each and every story is subtly different through experience, culture and background.

The collection ’What or Who’ creates a platform for telling personal narratives through jewellery. Inspired by pareidolia, which is ‘to unconsciously create something meaningful in a meaningless shape’ formed the background to this work.

In this jewellery collection playing with abstract forms can offer recognizable faces to be worn as earrings, brooches or necklaces. By invoking faces and exploring how they might interact with viewers, individuals can differentiate themselves by self-created narratives.


Melissa Jordan, 2018



In order to translate and share the spirit of her home country, Brazil, Jordan created for herself a fun and innovative approach to jewellery using playfulness as a key element of the work.
Known for its own magical charisma and as a land of spontaneous and fun-loving people, one of Brazil’s most positives aspects is the optimism in people’s identity and of values related to happiness, hope and joy.

The collection is framed to enhance a sense of fun by letting the wearer choose how they will wear pieces.
Bracelets can be used as earrings whilst rings can be attached to hoop earrings. With a funky, warm and juicy design, these asymmetric pieces are colourful and bold, bringing attention to those who are wearing it.
Handmade in Brazil, the gold plated rings, earrings and bracelets use irregular beads often formed of specialized hand carved precious and semi-precious stones. The stones create the main characteristic combined with delicate wire frames to outline their beauty.

Instantly uplifting and cheerful jewels for wearing everyday.


Lisa Stolz, 2018


MOWO - move with wood

Movement celebrates life and it is, although not obvious at first sight, encouraged by every object of this furniture collection.

The collection embodies two different pathways of exploring elastic wooden furniture. The unexpected flexible and sprung reaction of the plywood seats supports the user’s natural balance and fulfils the body’s need for movement.

A family of stools, fun objects for everyday use from desk work till dining, allow tilting and twisting movements. Their symmetric shapes and the absence of backrests encourage the sitter to explore different sitting positions. While the ‘minimal material’ thickness allows the plywood pieces to bend and twist when charged, the high tensile strength of birch wood withstands high loads and makes the stools suitable for different weights and sizes.

‘Aera’ forms a second aspect of the collection, presenting a woven plywood structure, adaptable to the body’s weight and shape by allowing smaller deformations within its volumes. For floor use, indoors or outdoors it delivers a robust, sprung support, easily mounted on a bench frame, where it provides space for two people.

The fragmented arrangement of plywood pieces offers different forms through bending, compression and stretching.

MOWO is suitable for home, office or hospitality uses and offers efficient scalability for larger production volumes.


Hermine Doublon, 2018



“Propagule” is a collection of handmade porcelain ‘serve wares’.

This collection focuses on the relationship between decorative and functional aspects of containers within our domestic lives. Accentuating the tactile aspect of the objects allows each object of the collection unique characteristics emphasized by hand making.

Celebrating l’Art de vivre, the art of living, this set of wares is designed to punctuate the table landscape, to create new aspects and enjoyment of entertaining.

A series of containers in different scales, these curious vessels aim to pleasurably surprise users, addressing materiality through a delicate physical aesthetic.

The texture evokes ‘propagules’, ornamental elements punctuating the surface of the object, reminiscent of a living organism evolving and growing onto it. From low-key texture to high key dramatic interventions, the pieces show a palette of textures throughout the objects offering differing clients a way to engage with the collection.1


Carolina Cohen, 2018



Ginga deriving from the Brazilian expression ‘something that comes from the soul of the Brazilian, a movement and creativity with the body’. It’s a way to move. Brazilian culture is famous for appreciating the female body as its natural form. It celebrates the nude in many ways as sensual as it can be.

Built from the pillars fluidity, sensuality and empowerment, this jewellery collection promotes the unique beauty each woman possesses, enabling wearers to feel confident and sensual.
The collection consists of fine jewellery pieces composed from over-arching and sensually curved lines fitted with unique cut gemstones.

The forms were achieved by searching for lightness in big volumes when translating the natural sensuality of body curves into jewellery.


Yui Cui, 2018



“Have you really felt a natural world, a world full of various types of beautiful wildlife? I can only say that I have seen a small part of it, some of the last parts left behind in the process of urbanization. They are to me, unforgettable”.

This era is witnessing the rapid urbanization and the separation between humans and nature. "Our future is set to be urban", the media proudly reports. Nevertheless, for the individuals who have wonderful memories of or yearnings for nature and animals, the crazy urban environment actually leaves a sense of emptiness, loneliness and insecurity. So how might we fill this emotional gap?

Jewellery as a close decoration with the human body also carries emotional communication and self-expression. Cui’s jewellery collection Animated Companion takes visual inspiration from the active postures of some familiar animals. Different characters in the collection and various ways of assembly encourage the client to create their own narratives and show their personality. Through designing the flexible connections and hidden mechanisms in the pieces to increase the interactivities with the wearer, the designer hopes that this collection will accompany the client just like eternal friends.


Edwin Chairman, 2018



Pusaka, meaning treasure or heirloom in Sanskrit, is a silver filigree jewellery collection inspired by Indonesian batik iconography and Master-craftsmanship.

With a narrative that stems from the journey of Indonesia batik to the heart of its modern society, Pusaka highlights the dilemma for today’s batik community. Sustainability and survivability of Indonesia handcrafted batik in this global era, is at risk due to the popularity of knock-offs created by the big textile and garment industries.

Pusaka rejects the modern culture of mass production and mass consumption by utilizing traditional hand skills and technique to create smaller numbers of individual pieces.

Re-constructing elements found in Indonesia traditional batik pattern using structures from plants and buildings, Charmain re-invents ancient local traditions then explores them through jewellery.

Co-designing and collaborating with his local filigree master-craftsman from Kotagede, Indonesia, Charmian has invented a new filigree technique rooted in the traditional way of making.

Recycled sterling silver has been chosen to build this body of work due to its malleable and light characteristic. This offers a collection delighting in voluminous yet light Jewellery pieces that express the organic movement and delicate qualities found in handcrafted batik.


Muneera Alsharhan, 2018



The Desert Blooms is a collection of fine jewellery pieces inspired by the native desert flora of Kuwait. The desert is usually an arid and harsh environment but under the right conditions seeds that have been lying dormant for years grow and blossom all at once creating a magical landscape. For Kuwaitis these desert flowers represent strength, resilience and hope.

Consequently the collection is full of soft curves, sensuous volumes and bright un-tamed colours.

Alsharhan exploits her extensive knowledge of Kuwait’s jewellery history and of the current market seeking to create a new authentic Kuwaiti jewellery culture. One not trapped in the past, respectful history yet focused on the future of this countries now youthful cultural demographic.

This flow and merging of old and new is reflected in the production of the collection, Alsharhan exploring traditional techniques alongside emerging jewellery technologies.
Alsharhan’s passion as a designer is to make fine jewellery for modern women who might appear to be calm and peaceful yet blossom to express themselves loudly and unapologetically celebrating all that is good in life.


Maria Jose Zambrano, 2018


Fruit Bowl

The collection represents a tropical journey that travels from the intriguing nature of fruits through to Pre-Columbian art and symbolism all in the context of sustainability in particular by-products of the emerald.

Jewellery components can be selected from Zambrano’s interpretation of a ‘fruit bowl’; influenced by cultural references of her home country Colombia.

The collection aims to elevate the ordinary to the precious playing with the perception of value by juxtaposing and redefining objects and materials. Ad-hoc offers a concept of deconstruction and re-arrangement of interchangeable components. These can be linked in multiple ways to transform and adapt into various forms of jewellery.

Recycled metals such as aluminum, silver and gold and interventions on readymade objects are part of the structure of this abstract ‘fruit bowl’, a composition of fruit shaped artifacts carefully put together to form a mask when looked at from a far, it’s symbolic meaning can be decoded by the user personal choices through a reflective journey that encourages individuality.


Marta Bordes Blanco, 2015


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.


Fernando Jorge, 2017


Mark Laban, 2016


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.


Tianyi Shi, 2017


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.


Evangeline Pesigan, 2015



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.

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


Evdokia Savva, 2009


Giada Giachino, 2016


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


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.


Po-Wei Chen, 2016


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.


Naomi Bailey, 2017


Natha Khunprasert, 2015


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.


Gigi Barker, 2014


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.


Bethan Lewis Williams, 2014


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.


Maria Gasparian, 2016


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.


Katharina Gross, 2014



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.


Alice Ciccolini, 2009


Emma Lacey, 2007


Ilaria Bianchi, 2015


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.


Ana Cristina Quiñones, 2015


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


Gunjan Gupta, 2006


Maylinda Bhakdithanaseth, 2014


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.


Darragh Casey, 2012


Jiahui Liang, 2017


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.


Hannah Lauren Newell, 2017



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.


Jiayin Li, 2017



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.


Kim Norton, 2011



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.