The way we experience the ‘here and now’ is radically changing. Technology allows us to shift between multiple existences, unfolding new presences. This year, Ravensbourne’s postgraduate degree show explores this newfound potential, as well as the risks which accompany it.
Entitled ‘Critical Presence’, the exhibition showcases reflections on these new presences, as well as design solutions which respond to this changing environment. Interdisciplinary design works, fashion and art installations from students representing eighteen countries will be on display at the exhibition held as part of the London Design Festival at Ugly Duck in Bermondsey London.
The idea behind this project is to explore the culture of play and technology intersecting to shape human and interaction by using participation and communication with interactive play.
The game, “Reflective Matter”, makes the player(s) face different levels of challenges. Some challenges are fixed and can be played on the surface to trigger actions. Other features of the game involves obstacles which can be chosen and arranged by the player(s) depending on how they would like to play before activating the game. All of these obstacles have to be played within a certain time limit, the music will be in sync for a quick 1 minute game.
This mesmerising abstract labyrinth can be seen as a reflection of the challenges we meet on a daily basis, making us realised that we can be in control of the situation and not the other way around. The objective here is not only overcoming the challenges, but also defeating time. This immersive experience and the reflection process, when playing the game, provides a powerful and transformational approach that will help the player(s) through the next stages of development.
This project explores the combination of different analogue and digital techniques to create animatronics for science fiction film-making. With the aim of discovering new combinations of techniques that simplify the process of making an animatronic prop, I’ve created science fiction world with different characters designed within that world. After researching animatronics, both analogue and digital techniques, I’ve experimented with finding the most efficient way of using them.
Combining digital design, 3D printing, electronics, mechanical elements, and mould making, I’ve developed an animatronic prop based on a particular character. Through conducting these experiments, I’ve discovered that an over-casting of silicone parts with an inner 3D printed structure and the substitution of hinges by flexible connectors proves to be an especially innovative and efficient technique to develop animatronics.
“Agender me” is an exploration of how traditional female and male signifiers in fashion can be utilised to shape genderless clothing today.
The project is an investigation of what gender is and how gender is constructed as an expression through fashion in addition to thinking about how fashion works to reflect gender roles. As society’s ideas around gender are changing, so is fashion. As a designer, I consider genderless fashion a natural progression in fashion history. Today we are assisting in a fight against traditional ideas around gender.
This project takes the challenge of designing genderless fashion to mean that genderless doesn’t neccessarily mean defaulting to a typically ‘masculine’ style. To understand the question of designing towards a genderless statement, both masculine and feminine codes must be subverted, and that needs to start from the designing stage. Through designing in this way, I hope to also open up a dialogue beyond binary thinking around gender.
Crossing the Line addresses the issue of racial discrimination, stereotyping, and racial prejudice. As an Asian-American designer, i feel it is my duty to push forth the boundaries of cultural representation forward by applying new methods of design techniques. The objective is to refrain from the overused method of utilizing Asian prints and traditional Asian silhouettes to solely represent the East Asian culture. Instead, it is to focus a traditional aesthetic, such as the methods of origami fabric manipulations and folding techniques to contemporarily represent my cultural identity.
By utilizing origami foldings as the main source of inspiration to create sculptural structures while combining them with contemporary silhouettes, I aim for it to become a modern approach in which showcases the hybridization of the East and West.
Instead of constantly living in the past or simply being stuck in the same cycle, it is time to move forward and bring forth a new manifestation of representation that does not invite any sort of ridicule and internal oppression; a new rendition to fight against these negative stereotypes.
Throughout my life, my creative influences and inspirations have been somewhat chaotic, rebellious characters; obeying no god or leader, living as they please. As I come to experience fashion in the professional world, both through my time studying fashion and in the workplace, I’ve thought a lot about how the artistic essence of fashion is so often at odds with its reality. At times I’ve felt trapped in a box, and feeling as if rebellion and revolt should be more a part of the creative process. I’ve rejected the idea of disposable one-time-wear fashion and choose to wear vintage clothes, which I get mostly for free. Why would I buy something when I can create something that shows passion for free?
I have always been comfortable in expressing myself through the way I look, and some might consider my failure to conform or comply in terms of style as a form of anarchy. Therefore, this ethos extends to my work, and this project is an expression of discontent. Is change something that can be generated by fashion? I’ve looked towards anarchic icons such as Vivienne Westwood to understand the interplay between artistic energy, social norms and commerce. Fashion and art should be about expression; not money.
This collection is built on a sense of freedom and self expression; to approach and challenge society’s rules of traditional masculinity and open up new definitions of what it means to be a man.
Each piece of the collection is a limited edition, unique in that all textiles used have been hand-made to create a feeling of delicacy and softness. These are qualities often considered not to be masculine. Throughout this collection, hand-woven and hand-dyed techniques has been utilized to transform each textile to create a feeling of intimacy.
The inspiration for this project is the desire to show the result of stepping beyond one’s comfort zone; like the feeling one might experience when skydiving. This reaction might be anxiety, fear, worry, happiness, and relief all at the same time. This collection is for a man who takes risks with wearing something he may not be used to and who is not afraid to embrace his sensitivity. A man that is proud to be different and stand out of the crowd.
We are currently living in a rapidly changing digital world and children need the skills to be successful in the 21st century classroom and workforce. While the digital world provides a wealth of opportunities to this new generation, it also presents new risks, such as unhealthy dependency on digital devices. These risks are inevitable but manageable, and moderation is key to achieving the right balance in how children engage in digital life.
COOL DOWN is the effective and practical solution to keeping children’s screen use to a healthy measure. To avoid the development of ‘addictive’ behaviour and screen dependency in children, it sets the rules about screen times on school and non-school days with rewards for cooperation and consequences for non-compliance or arguing, and enforces them consistently.
COOL DOWN has features such as assigning daily screen time limits, keeping track of device locations, blocking adult content on ios devices and androids, sending notification messages, reinforcing good behaviour by planning a reward system and organizing the schedule of the child. COOL DOWN will be a user-friendly application for parents to manage their children’s time and behaviour by balancing technology and real-life learning.
Gemmology is a fictional cinematic narrative that aims to engage young adults with the broader subject of history by focusing on that of specific gemstones. Using a series of 3D videos and a virtual reality experience, this project is intended for use as a supplementary educational tool to assist museums in greater audience interactivity.
Creating an action-filled adventure journey back through time, gemstones such as turquoise, jade or lapis lazuli for example, all prized for their colour and beauty, come alive to figure as touch points for overlapping histories.
Taking a trip through Ancient Egypt, China, and Mesopotamia, the project gives a narrative account of their memories, how they were discovered, their mythologies and influence in histories of civilization, commerce, culture and creativity.
The film explores the potential for reversing the uncanny valley through the interrogation of the world of meaning and its habitants. The gaze of the uncanny valley is shifted, as the film imagines what the real world looks like from the perspective of a simulation.
Futuristic, AI aesthetics are intertwined with occult imagery as the viewer gains a new perspective on their ability to recognize and be recognized. This is done in the quest for challenging the epistemologies of simulation, symbolism and how one relates to them.
Moasis is an audiovisual installation and performance, looking at the connections made between sound and gesture in moving image. Utilizing Leap Motion, a hand tracking device, as an audiovisual instrument, we are able to manipulate Ly San, the composition created by Malidah (Kaja Skrbinšek) specifically for this work. These interventions are highlighted by corresponding visual changes.
For the purposes of Moasis, Leap Motion is used as an all-in-one combination of sampler, mixer and audio effects unit, allowing for interaction with a customized sample bank. It therefore becomes a remixing tool, with our own actions completing the piece. Within the context of the installation, audience members are invited to actively participate in the process of remixing.
Taking the form of an interactive installation, The Assembly of Self reverses the relationship of audience to exhibit by placing the audience itself into a position of scrutiny. With the aid of projection mapping and live video feed, the viewer is integrated directly into a series of ‘character collages’ that explore familiar societal archetypes.
Influenced by Maurice Merleau-Ponty’s philosophy of phenomenology, this experience requires the audience to consider their personal and performative engagement with recycled behaviours of humankind, and the embodied nature of perception, to question the agency of “I”. The Assembly of Self uses the human form as a palette, and gestural language as a medium. The parameters of Space, Weight, and Time form the matrix through which the motion of each portrait has been choreographed, according to the 8 Basic Efforts as laid out by modern dance pioneer and movement theorist Rudolf Laban.
Storytelling has always been an essential need for human survival. Since ancient times, people would gather around campfires to listen to stories of heroes and brave hunters. Designers use “storytelling” as a method to enhance both the process and outcome because it uncovers the things that usually are overlooked and puts them in a new context. This project aims to explore storytelling techniques in design context; how objects can be used as an agent/medium of transformation and inform people about the intelligence of the mechanical inventions in the Golden ages of Islam.
A focus on the story of Banu Musa bin Shakir and Al-Jazari was made in order to highlight their main inventions and increase the intercultural respect between generations through a multi-sensory journey where the users have to interact with a variety of products in different stages to uncover the greatness of this legacy.
This project is about conveying emotions through typography in the visual identity for the London Short Film Festival. I have been exploring how typography can mine our emotional landscape by human senses of touch, seeing and hearing. While typography is a fundamental component in graphic design and communication and is generally used to convey information, in order for it to be considered successful, it must perform some basic elements such as scalability, appropriateness, high legibility, and readability.
However, beyond these criteria, typography must also ‘speak’ to the viewer on the level of feeling too. Shapes and types trigger our imaginations and bring out our styles of the typefaces themselves; they create reactions before we even read the words, feelings prompt memories, connecting and resonationg with all of our senses.
Rendez-Vous with the Land sets the notion of anthropogenic relief against a context of love and regeneration. Requalification of the scars on Earth may be seen as an opportunity for deep personal inner renewal. The horizon seems to nuance to infinity with its ups and downs, twists and turns, from one life to another. A walk through a mining quarry is a scene of passage where spectacles of a psyche are in play.
Narrative style is inherited from poetic writings of Pierre Reverdy: juxtaposing several distant realities that are not immediately related. A mining quarry, similar to Horizon de Reverdy, becomes an alterity in space, where notions of land relief, landscapes, reclamation and sharing resources unite in poetic expression.
As a Moving Image MA student, understanding the power of different narrative techniques through different mediums is a constant fuel for curiosity.
In this installation I aim to explore and analyze the different responses and experiences users may have to narrative while being immersed in the 3D environment, using a multi-sensory immersive virtual reality system. It aims to decipher how the stimulation of other non-conventional primary senses (visual and auditory) intervene in the telepresence of a VR experience considering the metaphysical outlines of cyber-philosophers and VR pioneers such as Michael Heim, Jaron Lanier, Jonathan Steuer, Marie-Laure Ryan and others.
Additionally, it intends to make a prediction of how the developing VR technologies will affect our own experiences and behaviors in the future and how we will define its role in society. What other uses could this immersion reach, what else could it be useful? How can a prediction be made into the future where the advances of technology have breached through the visual and auditory limitations of immersive virtual realities and accomplished a fully integrated multisensory user experience?
In India, my neighborhood street is flooded with colorful textiles. However, the daily struggle of local artisans has become apparent with the noticeable decline in demand for handmade textiles such as Madhubani. Block print and natural dye techniques are increasingly being replaced by machines and in combination with a precedent of unacknowledged cultural appropriation in a globalised market, recognition of cultural context and/ or compensation to local artisans becomes a more prominent issue. Without the ‘official’ routes to protect such types of intellectual property rights, alternative solutions must be explored. Can contemporary fashion design play more of a part in highlighting the places where goods originate from, to preserve local cultural heritage, recompence artisans’ efforts, and work towards transparency in these new challenges?
With these questions in mind, Intellectual Property Rights is a fashion collection that sells ‘storytelling scarves’. By placing the label on the surface of the fabric, this scarf promotes local artisans and makes more visible the reality of how these methods are intrinsically linked to local culture and place. The scarf motifs are inspired by my traveling experiences and intricately filled with details of what might be the dying artform of Madhubani textiles.
2017 saw the 40th anniversary of the launch of the Voyager Golden Record, a phonograph record included aboard the two Voyager spacecraft. The records contain sounds and images portraying the diversity of life and culture on Earth, and are intended as a message for intelligent extraterrestrial life forms. In some ways we can think of these records’ contents as a training dataset for alien cultures who stumble across it.
We Are Here is about the time capsule that was returned to Earth by an alien civilisation in response to these original Voyager records. It is a ‘message in a bottle’ from an extraterrestrial life form. Who sent it? And why?
The installation is informed by research into storytelling through music and sound, and what imaginary or science fiction narratives can tell us about human existence.
A journey has many paths taken within it, and these can be told in a form of a story.
This project draws on many influences, twists and turns on the map of my ‘incomplete city’, and how place becomes saturated with memory through time and repetition. Walter Benjamin famously described Baudelaire as a flaneur, a character happy to be ‘botanizing on the asphalt’, paying attention to the specifics of urban place. My idea of an ‘incomplete city’ is an entanglement of the synthetic & man-made and the organic & living. I’ve used fabrics, both in texture and construction, which reflect my own attention to the imperfections of the urban environment itself – the organic detritis, uneven lays of concrete, the widening cracks of acid rain erosion – to convey a sense of unending movement and regeneration.
My way of creating for these designs has been to trace the broken down and worn-out, by draping, drawing, cutting and creasing with types of synthetic fabric and plastics for construction to create textured pieces under the transparency of PVC.
This project is about personal colour based on skin colours and skin tones, skin layers and skin structures. The practice-based research question is ‘How to make the attractiveness of skin depending on skin colour and skin structures and create textile design’. Skin colour looks different depending on warm and cool tone shades, I want to help people to find their right fitted colour when they wear clothes. I select different colour of mesh as the main fabric, various yarns, threads and plain fabrics. The reason why mesh is selected is to emphasize the skin colour.
When using the mesh, you can see skin through the fabric and skin colour can be changed depending on fabric colours. To create new background image of fabrics, I made drawings and marbling works which are similar to the skin structure’s images. Also, to create my own fabrics, I tried to make different fabric samples using different materials which are for the expression of skin structures. The aims of the project are to understand people who have different skin colour and make them understand their personal colour through the colour analysis.
The statistic of 1 in 20 children having been abused in the UK is stark. With a newly emerging threat of online grooming becoming more prevalent, there’s a need to tackle this threat by collective effort. This project took shape through discussions with teachers and researchers on how to approach child grooming with children in the 8 to 10 year old age range.
This interactive graphic novel lets adults and young people play and replay different scenarios where a young girl is being ‘groomed’. The player can help the young girl to reach out for help by acting out, and at the same time, the player can decide to show curiosity by pushing the girl’s community to investigate her behaviour. The player’s choices will influence the story’s flow.
The app is a conversation starter about online grooming and sexual abuse.
We live in unprecedented times, where advancements made in methods for collecting and vizualising data mean that our data is being harvested and analysed more than ever before. From the Cambridge Analytica scandal to the GSMA’s Big Data for Social Good initiative (which supports public agencies and NGOs to avoid epidemics, natural disaster, and environmental pollution), the scope of what data can be used for and the power it presents to those who have it is clearly one of the biggest issues for contemporary concern.
With this in mind, this project aims to explore how certain fields might benefit from data visualisation in ways not undertaken previously. There is a lack of work around exploring particular forms of football visualisation. Using the football industry as a case study, this project will explore the question of how the art of Moving Image and projection technology can improve the representation aspect of future data visualization pieces. Can we develop football data into a more abstract and expressive outcome to correlate with the current “age of high division, interactive and dynamic visualization” as stated by Michael Friendly? Inspired by practitioners such as Phil Reyneri and Joanie Lemercier, the piece also experiments with reverse mapping and the possible advancement thanks to projected AR technology.
Elsewhere is an interactive virtual reality diorama in which players can explore a mysterious forest at dusk. Seeking to develop and experiment with spatially-distributed, non-sequential narratives in VR, and how popular tropes in storytelling can elicit certain emotions, the outcome is a narrative derived from the exploration of a variety of props and scenery.
Incorporating motion controllers and natural interaction, the set design is as much a character in this experience, offering hints and keeping the secrets of the woods. Techniques like digital sculpting, physically-based material painting, real-time lighting, and spatial audio has been used together during the process of developing this project, in order to build an immersive and wondrous world.
The aim of this research is to analyze and underline the relation between body and movement, through the connection with materials, their adaptation and reaction to this. In the context of the digital era we live in, where the virtual often appears to dominate the physical aspects of life, this dissertation explores a possibility of creating a new category of fabrics. We are now the new tribe of digital natives; digital people in digital environments. The research explores a question of how a movement can be encourage or embodied in our urban garments through the use of programmable materials? This is a story, or rather, the wardrobe, of our new digital world.
Moreover, in support to the conceptual world of materialization versus volatility, of tangible vs intangible, physical vs virtual, it follows an investigation on what is movement. How can we produce and trace it? The focus of this project is on the challenge of materializing our movements, in order to bring awareness to this new situation and the challenges that arise from it.
My project is inspired by European porcelain ware of the 19th century. The use of tableware and tea sets is a ubiquitous part of our daily eating rituals. Porcelain collections are passed down from one generation to the next, or expanded by the addition of new items. My hypothesis is that naturalistic depictions in porcelain design are a factor in why people invest in an item. There is a certain innocence and neutrality to animal imagery, which I sought to explore. The haptic and visual traits of animal structures, along with their protective and defensive mechanisms are especially interesting, therefore I wanted to incorporate these biomimetic attributes in my tea set.
My creations were ideated through digital parametric design software. My medium is porcelain clay, whereas my tool is my self-built Ceramic 3D-printer. With all these different variables, a definite aesthetic is hard to predict. To me, my tea set does not need be true to a traditionally manufactured porcelain vessel, neither does it have to look completely digital in origin. Thus my designs aim to be something unique and novel altogether.
The purpose of my project is to enable audiences to think about about the ‘value of time’ by presenting the contrasts between slow repetitive movements of embroidery by hand and the fast pace of modern technology-enabled life. Like walking or driving, embroidery could be viewed as a repetitive but meditative activity which gives importance to observing fleeting moments but which over the long-term, has a positive effect upon people’s quality of living and their appreciation for time.
Furthermore, I want my audience to reflect on their own stories from their culturally specific backgrounds and encourage them to share them through any handmade work. Narratives such as this are the binding needlework of human experience. I myself draw on the context of Chinese proverbs related to time and view these philosophical offerings of lived experience as innate to our sense of belonging and place in the world. We can continue to return to them and use them in our daily lives.
In a broader sense, and as consumers, we can also think about the importance of working processes in the connections and stories between craftsmen and craftsmanship.