DDF17 Programme

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Dundee Design Festival is a UNESCO City of Design Dundee project, brought to you by Leisure and Culture Dundee, the University of Dundee and the Dundee Partnership.

Dundee was designated a UNESCO Creative City in 2014 and has since strived to use design to address both social inequalities and opportunities that exist in the city, and to promote how design can positively impact everyday life for its citizens. dundeecityofdesign.com

Welcome back to Dundee Design Festival.

It’s hard not to notice that Dundee is whirring with creative energy right now. It’s an exciting place to be, and it’s a privilege to be able to invite some of the world’s leading designers and thinkers to our city to share their amazing ideas for an extended five-day festival at West Ward Works.

The theme for this year’s festival is Factory Floor through which we celebrate and explore makers, machines, and the future of manufacturing.

We’ve drawn inspiration from Dundee’s illustrious yet complex industrial heritage and the extraordinary festival venue itself. Across three enormous galleries of this former print works, we present a series of dynamic exhibitions that bring together international designers from Dundee to Detroit whose work combines traditional industrial processes with handmade techniques.

You can expect to experience an assembly line of creative activity at West Ward Works. Follow a meandering, eye-bending plaster walkway

by Chalk, see innovations in 3D-printing in jewellery and furniture design, and get up close to a miniature landscape of hand-built ceramics

by James Rigley and Dawn Youll, objects that recall smoke stacks, girders and bits of brokendown machinery. And there are elegant designs by the celebrated Studio Glithero who, in one project, manage to connect the processes of textile weaving with mechanical organ music.

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This year’s festival is all about making, so we’re inviting people to don a smock, roll up their sleeves and try out new techniques at one of our many drop-in and ticketed workshops. These include plaster casting, model making, and carving jewellery from jewellers wax to make your very own solid silver ring.

There’s a day of wild experiments working with expanding materials and spinning machines with the brilliant design duo Silo Studio, plus a Foldability workshop led by origami expert and Glasgow School of Art graduate Kyla McCallum who will be teaching the complex technique of folding and pleating with fabrics.

On Friday, join Mark Surman, CEO of Mozilla Foundation, alongside some of the most influential minds on the Internet for a day-long forum exploring the future of work in an Internetconnected world. In partnership with the University of Dundee, find out how speech recognition technology and the billions of connected devices entering our homes and workplaces is changing the way we think about how we work, where we work, and who we work for.

DCA Shop are back with a specially selected range of products that showcase the very best of design from Dundee, and Dundee Rep’s pop-up café, Refectory, will be serving food and drink throughout the festival.

In the evenings, we have a whole host of special events including Pecha Kucha Night Vol 18 and film screenings, including the UK premiere of the documentary Graphic Means.

We’re also delighted to be hosting the first live performance in his hometown by Andrew Wasylyk of his new album Themes for Buildings and Spaces featuring haunting music inspired by Dundee’s post-industrial landscapes.

And for one evening only, Dundee Design Festival invites you to come down to West Ward Works and help form the Singer Machine Choir, a vast chorus of voices that together will playfully conjure the sounds of factories past and present.

Over the past three months we’ve visited factories across the region to record the sounds of working machinery that will help inspire visitors to create a production line of whirrs, drones, clangs and bangs. The choir will be led by celebrated Dundee singer Alice Marra and folk legend Sheena Wellington.

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Siôn Parkinson Curator and Producer of Dundee Design Festival 2017

To take part, you don’t need any formal training in singing, be able to read music, or have any experience in performing. Just lend us your voice, fill up the factory with noise and song, and help make something spectacular.

Siôn Parkinson Curator & Producer, Dundee Design Festival

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Glithero Bench Mould Furniture, 2010

Florence Dwyer Rug Design (stoneware)

Factory Floor Thu 25–Mon 29 May Gallery 1, open daily 10am-5pm, Free

An exhibition celebrating makers, materials and machines. Featuring fourteen of the most exciting and experimental designers from Dundee to Detroit.

CONTRIBUTORS: Annika Frye, Ariane Prin, Chalk, Dawn Youll, Florence Dwyer, Foldability, Glithero, Hilary Grant, James Rigler, Lynne MacLachlan, Silo Studio, Thing Thing, Trakke, Ninewells x DJCAD

Factory Floor brings together 14 designers working across ceramics, furniture, interiors, jewellery, lighting, product, textiles and healthcare design. What connects their work is a shared curiosity to test the capability of materials and explore new techniques.

This exhibition marks a time where designers are combining craft and industrial processes in a hybrid of the very old and the very new.

Silo Studio, an experimental design practice formed by Attua Apparicio and Oscar Wanless, have helped define this method of making. Silo make beguiling objects – objects that, even up close, are difficult to figure out. Instead they leave us wondering ‘how did they do that?’

Similarly, the Rust collection by French-born product designer Ariane Prin give little away of their making. The only clues are the glints of metal here and there. Prin sources waste material from High Street key cutters, gathering tiny pieces of metal filings that she then mixes with gypsum and acrylic. Slowly over time the materials can continue to change, a quality that distinguishes them from the rigidity of mass manufactured objects.

Ariane Prin Rust samples

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Detroit-based studio Thing Thing employ a similar ethos of ‘design vs chance’. For their project Here, There and Everywhere, Thing Thing have made a series of lamps by turning folded and inflated aluminium ‘pillows’ filled with shredded waste plastic over an open fire. The plastic is slowly melted then cooled before the foil mould is peeled off to reveal the hardened shape inside. The result is a series of colourfully marbled plastic objects made by hand.

Frye’s research into different manufacturing techniques took her to Berlin and BigRep, worldleaders in large-scale industrial 3D-printing. There she produced Woven Table, an entirely digitally produced object that is both functional and useful.

Glasgow-based jewellery designer Lynne MacLachlan also experiments with 3D-printing technology to produce impossibly complex forms.

To create such eye-bending patterns and shapes, MacLachlan’s jewellery can only be achieved with 3D-printing. But it is her command of the process that is truly incredible. “3D-printing is just another tool in a designer’s toolkit,” she argues. “Like any technique, it takes thousands of hours to master.”

Yet we are beginning to see how the democratisation of digital fabrication machinery might allow the amateur (i.e. non-trained, or nonspecialist designer) to make strides into the world of design and to start solving problems that only they can see.

Though the process of making and wearing a mesh mask is not wholly unpleasant, some patients have reported feelings of anxiety and claustrophobia.

To find another solution, Robertson, Jackson and Dunbar used a hand-held 3D-scanner from the local art school. The team used the device to scan participants’ faces in seconds. The data was then translated into a physical, 3D-printed object, bespoke to each participant. Rather than a material that encases the whole head and shoulders, the 3D-printed radiotherapy mask only covers the chin, cheeks and forehead. Though the process is yet to be developed and rolled out into hospitals, this collaboration between designers and clinicians shows the extent to which digital techniques have become more accessible, and what might be achievable when everybody designs.

Collections by two ceramicists, James Rigler and Dawn Youll, speak more immediately – if not, abstractly – to the industrial environment in which the exhibition takes place.

James Rigler’s collection of hand-built ceramic objects, Monuments, recalls an industrial landscape viewed from above. You can make out the saw-toothed roofs of factory buildings jammed up against one another, while his Pink Obelisk is a comic book cipher of a factory stripped right back to the outline of a smokestack: a memorial to work.

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Product designer Annika Frye literally wrote the book on improvisation and the design process (her book, Design and Improvisation, published

by Transcript, comes out next month). Germanybased Frye’s Improvisation Machine is a rotational moulding device. Using a simple plastic mould sealed with tape, the machine produces random plaster shapes which harden in minutes. Frye then cuts the objects open, sands them on the outside and varnishes the inside.

Fiona Robertson, a therapeutic radiographer at Ninewells Hospital, Dundee, has been working in partnership with designers Phil Vaughan, Robert Jackson and Scott Dunbar at University of Dundee, Duncan of Jordanstone College of Art (DJCAD).

Together they’ve been developing an alternative to the current method of moulding radiotherapy masks to help treat patients with cancer. One of the ways of making masks is to use a plastic mesh that is heated and shaped to the patient’s face and neck. The mask can then be secured to a table to keep the patient’s head still so treatment can be accurately directed at the cancer.

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Dawn Youll presents a mixture of plaster models, bisque (once-fired, unglazed clay), and glazed ceramic pieces. Youll’s shapes recall machine parts or offcuts from a metal fabricators. They offer a kind of glossary of building and industrial materials, from steel I-beams and bent piping, to corrugated iron, to more specific shapes such as a ribbed rubber grip from a sack cart. Shown here alongside a selection of multi-coloured test tiles and arranged over a workbench-like plinth, they offer a glimpse into a maker’s studio.

If Youll and Rigler’s pieces recall industrial spaces and places of work, then designers such as Florence Dwyer and decorative plasterers Chalk speak more to the home and domestic interiors.

Florence Dwyer creates rug designs starting with thin slabs of clay which she scratches and scores into to create quick, sketch-like patterns.

Working in collaboration with Turnberry Rug Works in Ayrshire as part of DDF’s Designer x Factory residency programme (see page 15), Dwyer is beginning to translate these patterns into handmade rugs using a tufting gun that fires fibres into an enormous stretched canvas.

Factories are typically designed to be useful or practical rather than attractive. Decorative plasterers Steven and Ffion Blench, a.k.a. Chalk, challenge this utilitarian aesthetic with their maximal installation of ‘more is more’. Steven and Ffion have produced a pathway composed of a thousand individually cast plaster shapes. Each element is placed directly on to the factory floor to form a tessellating ornamental design that will grow throughout the course of the exhibition.

Chalk’s mathematically inspired patterns chime with Foldability’s intricate folded and pleated fabrics. Founded by Kyla McCallum, Foldability works with origami to create products, packaging and bespoke pieces for interiors. Each mould is hand folded in an action repeated by McCallum for hours and hours as if on an assembly line.

Every line, ridge and furrow in the finished fabric is evidence of her labour.

Many of the exhibitors in Factory Floor share this heightened process-focused approach to design.

Glithero, a London-based studio founded by designers Tim Simpson and Sarah van Gemeran explore the way we value things by virtue of the way they are made.

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For their Running Mould furniture, for example, Glithero adopt a traditional technique of making plaster cornices by running a 2D metal profile through wet plaster. Raw yet exquisitely finished, the pieces convey an immediate sense of how they were made and what they were made from.

In much of their work, Glithero attempt to erase the distinction between product and process. We are pleased to be showing examples of their Running Mould furniture alongside two other projects: Paper Planes, a series of printed and machine folfded paper aeroplanes; and Playing Cards, a collection of woven fabrics inspired by the abstracted patterns of Jacquard loom punch cards.

Knitwear designer label Hilary Grant, and bag makers Trakke, display a more conventional link between design and manufacturing.

Based in Orkney, University of Dundee graduate Hilary Grant designs simple knit patterns on a computer screen to create compositions in bitmap where each pixel stands for a single stitch – a kind of digital Jacquard punch card. The result is a fabric composed of individual stitches of pure colour that blend in the eye of the viewer to create intensity from a palette of only two or three yarns.

Grant’s label works with a family-run knitwear manufacturer in the Scottish Borders to produce all their collections from high-grade lambswool yarns, spun and dyed in the UK. Trakke are another example of designers trying to keep their supply chain and production networks local. Trakke’s main supplier of waxed cotton fabrics is Halley Stevenson, a Dundee textile works who have been manufacturing at the same site since 1864.

It is perhaps Halley Stevenson’s ability to be flexible to the demands and nuances of an everchanging market – and the needs of emerging designers and entrepreneurs like Trakke – that has made the company so resilient over the last 150 years.

Though many traditional industries in cities like Dundee have closed since the de-industrialisation of the 1980s, some businesses – like Halley Stevenson – remain. Factory Floor does not seek to romanticise the past, nor to make claims of how contemporary design can rejuvenate a shrinking manufacturing industry in the UK. Instead,

Chalk plasterwork in progress

the exhibition seeks to celebrate the new factory floors, those tangible and invisible industries that exist in studios, workshops, bedrooms, basements, etc, and to share the experience of that fundamental human desire: to make.

Factory Floor was curated from a mix of invited designers plus an international open call. Thanks to our selection panel, Catriona Duffy (Panel), Sophie McKinlay (V&A Dundee), and Stacey Hunter (Local Heroes).

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Trakke machinist producing Lecht rucksack

Annika Frye for BigRep Woven Tables

Want to know more? Join exhibition curator SiĂ´n Parkinson for a personal tour of Factory Floor on Thursday 25 May, 10.30am, in Gallery 1.

Lynne MacLachlan Sphericon Handpiece, 2016

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After Industry Katie Treggiden Can design help cities once entirely reliant on industry – from Dundee and Detroit – to thrive again?

Modern design was invented by industry. The advent of mass manufacturing separated the design process from making. When the objects we needed were created by hand, they were made locally, often to bespoke specifications.

Design and making happened simultaneously with craftspeople making decisions and adjustments throughout the process; managing what designer David Pye called the ‘workmanship of risk’. Making by machine requires a different approach – the economics of tooling demand high volumes of identical objects, the form of which must be fully resolved before production can begin. Industrial making is dependent on the ‘workmanship of certainty,’ and to fulfil this need, design has become a distinct function in its own right.

So if design is a result of industry, what becomes of design in a post-industrial society? And what becomes of the cities built on the back of its success? Can design help cities once entirely reliant on industry – from Dundee and Detroit – to thrive again?

In 1973, Daniel Bell forecast The Coming of the Post-Industrial Society in his book of the same name. He predicted a shift away from dependence on the ‘economics of goods’ towards the ‘economics of information’ arguing that we should expect “new premises and new powers, new constraints and new questions — with the difference that these are now on a scale that had never been previously imagined in world history.” He wasn’t wrong – when Detroit lost the car industry to China and Japan, and Dundee lost jute production to India, the effect on both economies was devastating. “Weak market cities across Europe and America, or ‘core cities’ as they were in their heyday, went from being industrial giants dominating their national, and eventually the global, economy, to being devastation zones,”

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says Anne Power in her book Phoenix cities: The fall and rise of great industrial cities. “In a single generation three-quarters of all manufacturing jobs disappeared, leaving dislocated, impoverished communities, run-down city centres, and a massive population exodus.” The fact is that manufacturing simply stopped driving growth in the western world.

But just as the Industrial Revolution and its after effects shaped the 19th and 20th centuries, so the digital revolution will shape the 21st century. At its heart, whether it is through the workmanship of risk or of certainty, design is about solving problems, and the problems raised by post-industrialisation have been reframed as opportunities in what Chris Anderson has dubbed “the new industrial revolution.”

The almost compulsive sharing culture that has grown up around the internet, and particularly social media, plays into the hands of the modern maker. Not only does a well-curated Instagram feed provide more bang for their marketing buck than paid-for advertising ever did, but skills are shared, techniques are circulated and ideas are distributed like never before, meaning that anyone with access to the internet can start learning about design and making – and, crucially, become part of a community of designers and makers. And sharing culture is not the only digital development lowering barriers to entry. Funding and investment platforms like Kickstarter provide start-up capital – and selling platforms like Etsy and Not On The High Street provide routes to market at the click of a mouse. The current resurgence of craft is as much enabled by digital technology as it is a reaction against it. The world of decentralised, artisan workshops predicted by Daniel Bell in 1973 is finally starting to become a reality.

According to Karl Marx, “power belongs to those who control the means of production.” In the industrial era, the scale and cost of machinery meant that big companies controlled factories.

Now the digital revolution is redefining the factory (a word that comes from ‘manufactory’, and therefore means anywhere that things are made) and creating new factory floors. As Cory Doctorow says in his prescient sci-fi novel, Makers, “the days of companies with names like ‘General Electric,’ and ‘General Mills’ and ‘General Motors’ are over. The money on the table is like krill: a billion little entrepreneurial opportunities that can be discovered and exploited by smart, creative people.” Some

Workers at West Ward Works. Images © DC Thomson

Anne Power attributes the speed at which European cities such as Dundee are recovering from the effects of a post-industrial society, (compared with the slower recoveries of American cities such as Detroit), to “innovative enterprises, new-style city leadership, special neighbourhood programmes, and skills development,” – all things in which design is playing a key part.

Katie Treggiden writes about design. She regularly contributes to publications such as the Guardian, Crafts Magazine, Elle Decoration, Design Milk and Monocle24.

She has written three books and launched an award-winning design blog and print magazine. Her latest book, Urban Potters, is out in Autumn 2017.

Now that we’ve reached ‘peak stuff’ (according to IKEA CEO Steve Howard, of all people), young designers no longer aspire to design the next ‘it chair’, but instead want to apply the skills and methodology of design to some of the hardest problems facing humanity. Design thinking takes the process of solving a problem and asks, ‘What if the solution isn’t an object?’ Making something isn’t always the answer; sometimes it’s about creating systems, programmes and models. Take a problem like an empty 19th-century jute mill in the heart of your city. Design thinking might suggest a pop-up festival to demonstrate its value.

That festival might attract the right audience and the right investment to convert it into something more permanent. That investment might result in a cultural centre that can engage, educate and inspire another generation of design thinkers – and equip them with the skills to solve the problems of the 21st century. In Dundee, that’s exactly what it has done. After Dundee Design Festival finishes, West Ward Works will be converted into one of the largest cultural centres in the UK – a testament to the power of design to evolve its way around problems, and a living reminder that it will continue to do so for centuries to come.

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2,500 maker spaces, hacker spaces and fab labs (fabrication laboratories) worldwide now offer access to digitally-controlled machines such as CNC-routers and 3D printers, alongside more traditional tools and machines, that might previously have been out of the individual maker’s reach. And as costs fall, its increasingly likely that serious makers can own these tools themselves.

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The Factory Floor has its origins in the Industrial Revolution, a period of massive growth in manufacturing that changed how Britain worked.

Our Silent Monitors Pete Thomas

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At the start of the 19th Century, Robert Owen – a Welsh-born factory owner and social reformer – was at the forefront of this change. When Owen became a partner at the largest cotton factory in Scotland, the New Lanark Mill, discipline among his workers was poor and management was enforced through verbal and physical abuse. He believed in a more compassionate approach and introduced a new way to monitor and improve performance. He called it the Silent Monitor.

Every worker at the mill had a Silent Monitor, a small block of wood with four sides, each painted a different colour, that hung beside their workstation. Workers were observed throughout the day, and each night a supervisor would turn the block to indicate how they’d behaved or performed that day. Black indicated ‘bad’; blue meant ‘indifferent’; yellow ‘good’; and white ‘excellent’.

This experiment marks the beginning of the modern workplace.

Less than 8% of the UK workforce now work in manufacturing, while more than 80% of employees work in the services sector.

Increasingly, the businesses in this sector are interested in people’s personal data. Apple recently became the most profitable company in history, ever. In a market saturated by smart phones, services are Apple’s fastest growing and highest margin source of income. Whilst Apple doesn’t directly monetise your data by selling it onto third parties, it does use it to improve its services, such as using voice data collected by Siri to improve future voice recognition. Likewise, Facebook uses its data to effectively target advertising which is how it makes money.

Some data collection happens without us really being aware of it, tracking our location, listening to the way we speak, recording how many steps we’ve taken or what web sites we visit. Other data is volunteered, like the stuff we share, our social media profiles, our opinions and our likes. Online we complete feedback forms evaluating service and purchase as part of our transactions, and in public spaces like airports, shopping centres and museums we’re encouraged to press colourful buttons, providing satisfaction ratings that monitor other people’s performance.

There are more active mobile devices than there are people in the world. By 2020, with the emergence of new connected devices, it’s expected that there may be 20 billion ‘things’ connected to the internet, collecting and sharing data. The Internet of Things is at the forefront of new developments in the workplace and the home. A Swedish technology company,

In the home, the objects we surround ourselves with are becoming connected too, from lightbulbs, to thermostats, to TVs. But there is a lack of clarity for most people about what data these devices are collecting in their day to day activities. There is also the risk of how others – notably the world’s security forces – are working out how to hack these devices to collect their data. As a society, we have accepted the tracking, collating and sharing of our personal data as ‘normal’.

Robert Owen’s Silent Monitors were mechanisms for control. By measuring workers’ conduct they became visible symbols of the power structure within the mill, but they also brought with them freedom from physical and verbal abuse. In much the same way, the current interest in personal data has the potential to be enabling and repressive.

In our connected, data driven, social media culture of likes, loves, calories-eaten and stepswalked our homes are the new factory floor, we are the new machine operators and the connected objects our Silent Monitors.

Pete Thomas is a designer. He is co-founder of creative studio Tom Pigeon and teaches at University of Dundee, Duncan of Jordanstone College of Art and Design.

He lives in Fife.

EXHIBITION

Our Silent Monitors

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These colourful objects helped the management monitor behaviour and allowed workers to see how their own performance compared to that of their colleagues. The idea was to change their conduct by changing the culture, making good conduct ‘normal’.

Epicentre, offers employees the chance to have microchips embedded into their hand enabling them to function as swipe cards. And Steelcase, the world’s largest office furniture manufacturer, is committed to developing a new range of sensorenabled office furniture that monitors and responds to people’s use of them.

Gallery 3, open daily 10am-5pm An interactive installation by Pete Thomas and Martin Skelly.

How do you feel about how your digital data is used? Throughout the five-day festival, a team of designers will collect visitor feedback and interpret it into a huge painted installation covering the factory floor in Gallery 3.

This interactive exhibition by Pete Thomas and Martin Skelly takes its inspiration from the Silent Monitor invented by Robert Owen at New Lanark Mill in the 19th Century.

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Images Š Ross Fraser McLean

@designdundee #dundeedesignfest Explore Print City with Print Festival Scotland

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EXHIBITION

Print City: Build a City Landscape Gallery 2, open daily 10am-5pm, Free an adventure for all ages

Print Festival Scotland, a partnership between Dundee Contemporary Arts and the University of Dundee, invites you to explore a vast hand-printed city at this year’s Dundee Design Festival.

Print City is a monumental, immersive installation built from hundreds of huge, hand-printed building blocks that slot together to form an abstract urban landscape.

Watch the city being built throughout the five-day festival as the Print Festival Scotland team create a production line of creativity. Together they will print a series of striking monochrome designs and patterns that combine to make a dazzling spectacle of forms.

The work in its entirety will provide different spaces for interactions and activity from other designers and artists groups. And as the city starts to take shape, audiences will be able to walk through its streets, sit in its park or watch boats leave its harbour – and maybe even help to print a building or two.

The construction of Print City is based on a set of seven interlocking geometric shapes that bring to mind children’s construction toys. Many of the printed designs are taken from drawings and illustrations created by the people of Dundee via a series of public workshops staged at the DCA earlier this year.

People were asked to draw their visions of the city – their stories that cling to buildings and spaces, or what they imagine the future of their city to be.

Print Festival Scotland then mixed these drawings with a selection of historic images, illustrations and documentary photographs of Dundee.

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Print City

Come and explore a monumental city, built from hundreds of large-scale, hand printed cardboard building blocks. Watch the city grow, interact with the artists, walk through the streets and sit in the park.

The result is a depiction of a city with a rich printing heritage. This is evident in both the building that hosts this new installation and its history as a print works, and the outstanding print facilities and community of printmakers in Dundee that have made Print Festival Scotland and Print City possible.

Follow on social media #printfestscot #printcity printfestivalscotland.com

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TALKS & DEMO

Make/Share WRKSHP, Gallery 1, Thu 25 & Fri 26 12-5pm, Free

Creative Dundee’s regular Make/Share event brings people together to hear behind-the-scenes insights into the work of creative people from a mix of backgrounds. Make/Share will be running on Thursday and Friday afternoon every hour, on the hour, from noon. Join a range of speakers as they demonstrate their design processes.

Contributors: Joanna Helfer (artist); Kerry Kidd (RaspiKidd); Louise Kirby (print designer and illustrator); Mal Abbath (Biome Collective); Marsali Miller (Interior and Environmental Design); Ryan McLeod (Slurpp) plus many more.

WRKSHP Gallery 1, open daily 10am-5pm

WRKSHP is a practical work base, maker space and demonstration studio. Co-designed and produced by Creative Dundee, WRKSHP features a programme of drop-in and ticketed workshops and demos by designers and makers as well as providing workbenches and desktops for shared working. There are also shelves packed with resources, materials, tools and machines for you to delve into and start making.

A range of traditional and digital fabrication equipment provided by MAKLab is available on site to learn about and experiment with. Enjoy taster sessions in 3D-printing, laser-cutting, milling and casting. With some of Scotland’s most experienced studio technicians from MAKLab on hand, you can get right up close to the design and fabrication process and make almost anything.

Kindly sponsored by NCR.

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Creative Dundee supports creative talent to base, grow and sustain their practice in and around Dundee, by connecting, collaborating, cultivating and amplifying the city’s creativity.

During last year’s festival, Creative Dundee together with Creative Edinburgh produced Mass Assembly, a day-long forum exploring the future of collective working.

The event further confirmed that creatives embrace new ways of working and enjoy doing so in partnership with others.

Building on this year’s festival theme of Factory Floor, Creative Dundee will be running WRKSHP, a practical work base for designers and creatives to work from and share their practice with other practitioners and festival visitors. So whether your tool is a laptop or a lathe, a sketchbook or a soldering iron, or if you just need space to try new things out, then bring what you need and join us there.

Fi Duffy-Scott Make Works x Siôn Parkinson. Images: Ross Fraser McLean

Designer x Factory

Make Works are an open access online platform that allows anyone to find manufacturers, material suppliers and workshop facilities in their local area.

Started in Scotland in 2012, Make Works now teaches other places, such as Birmingham, Bristol and Bath how to do the same thing.

Siôn and Fi met at Make Works HQ in Glasgow.

SP Why did you start Make Works?

FDS I was a frustrated product designer graduating from art school. I didn’t know where to get things made or find specialist materials. I spoke to a lot of people to find out if there was some secret little black book that I didn’t know of that tells you where to get stuff made. It turns out there definitely wasn’t one. I found that a lot of designers felt similarly frustrated. So, we thought of a hundred different ways to connect designers to factories, and the first one on the list was simply to make an open directory of local manufacturers.

SP: Tell me about the partnership between Make Works and Dundee Design Festival and your involvement in setting up the Designer x Factory (DXF) residency programme?

FDS It’s been amazing working with DDF this year. The idea of placing designers with factories instantly appealed to me. It’s important for designers to have better access to manufacturing and to have more of a supported placement.

With Make Works, contact details for factories are completely open so designers have to pick up the phone and start building that relationship themselves. But this is the trickiest bit. It takes a lot of time, effort, and patience to do this from scratch. So being able to have a programme where there’s support to pair individuals with organisations that are receptive, to have a budget for technical advice, and to be able to offer designers time to spend on research, development and experimentation is amazing. I can’t wait to see what comes out of it.

SP What kind of support did Make Works bring to the project?

FDS Make Works brought experience of how to speak to manufacturers in Scotland and knowledge of the best people to speak to within each factory. Over the years we’ve developed some tactics of how best to approach factories, so being able to make the start of the relationship between designer and factory as smooth as possible was something we could share.

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Dundee Design Festival producer Siôn Parkinson speaks with founder of Make Works, Fi Duffy-Scott, about their collaboration setting up the Designer x Residency programme, launched for the first time in this year.

SP Can you reveal any of those tactics? What advice would you give to any designers who want to work with manufacturers?

FDS The first thing I would say to anyone approaching a factory is ‘pick up the phone’.

People so often don’t look at their emails, or they see lots of text and struggle to get back to you, so my advice would be to first pick up the phone then

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follow up with a short email. And if you do speak to someone, don’t get downhearted if they don’t respond enthusiastically straight away. Just ask if they know anyone else who might be able to help.

I also do things like use my brother’s email address so they think I’m a man. <laughs> That works sometimes, which is depressing, but it’s a tactic I have used on occasion. But really, it’s all about finding the right person to speak to. That, patience, and perseverance. Make sure you have a long lead-in time for your project and that you have a clear sense of the budget you have to spend.

Manufacturers are not going to give you lots of advice for free. They’re running a business and you need to respect that.

SP With the DXF residency, the designers are not necessarily coming to the table with a clear or fixed idea of what they want to produce. What kind of facilitation did you need to make between the designers and manufacturers to allow them this opportunity to experiment?

FDS In the first instance, we picked factories who we knew would be receptive to the spirit of experimentation. We knew some people working in several factories who we thought would be open to this. Then it was about giving designers confidence to get their foot in the door and just get going. The manufacturing sector can seem rather opaque and intimidating sometimes. But when a good foundation is set up for you, as it was in this project, the fear is taken away. The designers were then ready to get straight in there and start making.

SP You were part of the panel to select the residents along with Old School Fabrications and Tom Pigeon. What attracted you to the designers you finally selected?

FDS It wasn’t an easy process. There were so many amazing designers we could have ended up selecting. The reasons the people we selected shone through was because we could envisage how their work would fit within a factory environment. All three residents are quite varied in the kinds of work they make. They come from very different backgrounds and the panel was excited about seeing a diversity of designers working with a range of fabrication techniques. It showed us the breadth of design practice in Scotland and the need for these kinds of partnerships to be forged.

With Florence Dwyer, for example, she presented us with these ceramic maquettes that she’d been making. They were very raw, but very appealing, and they instantly pointed towards rug design.

There was a very clear translation between the

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two processes, so it was a good fit for her to be paired with someone like Turnberry Rug Works in Ayrshire.

And with Tommy Perman and Simon Kirby going to work with FifeX, again, we could see how that relationship would be a positive one. It was about how a truly imaginative pair of individuals could lean on the expertise of someone else.

The first two partnerships happened very quickly, partly because we knew FifeX and Turnberry Rugs well and knew they were up for new ways of working. It was trickier for Dawn (Youll).

The selection panel all instantly loved Dawn’s work. She had specifically mentioned that she wanted to work with glass and neon, which we all agreed was an exciting development for her practice. We had approached a few scientific glassblowers, but we were coming to them cold.

Eventually, a factory in Stirling put us in touch with a glassblower at the chemistry department in the University of Glasgow, who was very excited to have Dawn in to their workshop and teach her how to produce high-spec glassware. After six months of working with the material herself, she’ll be prepared to go out and meet with other glassware manufactures in Scotland with specialist knowledge of her own.

SP You’ve been busy mapping the manufacturing sector in Scotland over the last five years. What’s your take on the state of manufacturing in the country right now?

FDS I think it’s clear that manufacturing in Scotland is still at the heart of our economy. We’re still producing things of significant quality. And there’s a whole host of new companies starting up in the fields of digital fabrication. I’ve always seen the manufacturing industry as something that moves forward in small steps. To futureproof that industry, we need to challenge the idea of reaching for large-scale mass manufacture, and instead aim for small-scale, localised production networks, where not just designers but consumers are able to have the things that they need in their lives made or fixed by a factory that’s close to them. To walk into a factory now with that concept, you’re just going to get the door slammed in your face. But we are slowly moving towards a scenario where people have more access to the way that things are made.

But it’s a slow process.

I have a lot of respect for the manufacturing industry. There are a lot of people employed because of it, and there’s a lot of amazing skills to be found there. But I wonder if there is an alternative way to produce things.

Dawn Youll x John Liddell Glassblowing Workshop.

FDS I think it’s important to understand that the Maker Movement generally is about local networks, about people wanting to build things close to home. I think people are increasingly frustrated with the consumer model as it stands.

Of course, there are moments where it’s more expedient to just buy an item of furniture, an IKEA coffee table, for example, pre-made and off-theshelf. There is a well-established consumer system to satisfy that. Yet it appears more and more that people are less satisfied by this model. People are more engaged when they understand where a thing comes from – even more so when they make that thing for themselves. There’s a real joy in turning stuff into something useful. I mean, making feels amazing. It’s like growing vegetables: they taste so much sweeter when you’ve grown them yourself. It’s certainly a more sustainable way to consume.

SP And yet it seems contrary to talk about ‘making more’ and ‘sustainability’, doesn’t it? How do you square that?

FDS I struggle with this all the time. When you say ‘manufacturing’ there is an image of businesses that are high-growth, large-scale, and producing for a mass market. But I’ve learned to associate manufacturing with enabling people to have control over what they want to produce, in being able to have a say in how we want our things to be made. For me, manufacturing can be smallscale and localised. Yes, it can seem counterintuitive to say that we’re encouraging people to make more things. Do we need to make anything more at all? Probably not. But we do still need the skills to be able to repair things. We do still need to understand the properties of materials to fully comprehend the world around us. And we do still need creativity if we are to survive and thrive. I mean, do we need more sculpture? Do we need more art? When is the art we have ever enough?

Creativity will continue to manifest in physical form – I doubt it will ever find its way to being purely digital or immaterial. Humans connect to each other via physical objects. I can’t imagine a time when we’ll stop doing so. But I can imagine a time when we’ll choose to have more ownership over how our objects are made, maybe on a smaller scale, a time when we’ll begin to just make what we need.

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SP There’s something that you’ve evidently picked up on, and that Dundee Design Festival is focusing on this year with its theme of Factory Floor, a kind of design practice that borrows from industry and takes it back to the studio. And with the work you’re doing teaching others how to use the Make Works model in their towns and cities, there is clearly a global desire to connect more with manufacturing. Why do you think this is?

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Designer x Factory Florence Dwyer x Turnberry Rug Works Florence Dwyer is an artist working with ceramics, carving patterns into small slabs of clay which she then glazes and fires to form a series of miniature rug designs. Florence was paired with Turnberry Rug Works in Gervan, Ayrshire, so that she might develop her ideas into large-scale tufted rugs and objects for interiors.

Dawn Youll x The Glassblowing Workshop Dawn Youll is a contemporary ceramicist working with traditional techniques such as modelling, mould making and slip casting. Dawn is working with The Glassblowing Workshop, scientific glassware specialists based at University of Glasgow.

Tommy Perman & Simon Kirby x FifeX Tommy Perman is a designer, artist and musician based in Dundee. Tommy often works with scientist Professor Simon Kirby, who, alongside his research into the origin and evolution of language, collaborates with artists and musicians to explore issues of communication and culture in an increasingly connected world. Tommy and Simon are working with interactive designers and fabricators FifeX based in Tayport, Fife.

Florence Dwyer x Gerry Shaw Turnberry Rug Works

Photos Š Ross Fraser McLean/Studio RoRo

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Tommy Perman & Simon Kirby x Ken Boyd FifeX

Designer x Factory is a unique partnership between the organisers of the festival, UNESCO City of Design Dundee, and Make Works.

Beginning in May and running for over six months, Designer x Factory offers three designers time and space with Scotlandbased manufacturers to test new ideas, improvise with materials and experiment with different industrial techniques.

An exhibition of the work made by the designers during the residency will go on display in Autumn 2017.

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images courtesy of Beano Studios product © DC Thomson & Co Ltd, 2017

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Join Game Play for a day of games and performance

WORKSHOP

Game Play Gallery 3, 10am-4pm, Free (booking required) age 18+ Game Play is a fun, full day interactive workshop exploring the intersections between games and performance. Join leading theatre makers and game designers to co-design and build a series of extraordinary experiences which place the audience at the centre of an immersive story.

Led by playwright Sandy Thomson (Poorboy), game designer Malath Abbas (Biome Collective) and animation and interactive designer Lynn Parker (Abertay University), you will help build narrative structures, character suggestions, and game parameters to produce a series of interactive ‘game-like’ experiences in real space. The final prototype of Game Play will be tested on a live audience on Sunday 28th May at Dundee Rep.

Annika Frye Improvisation Machine, 2012

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Programme

CURATOR’S TALK

Factory Floor: Exhibition Tour Gallery 1, 10.30-11am, Free Join festival producer and curator Siôn Parkinson for a tour of the exhibition Factory Floor and find out some of the incredible stories behind the making of the designs on display.

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Toby Paterson & Collective Architecture: Making The Way, 2014

WORKSHOP & DEMO

Live Build: Model & Make WRKSHP, 1-2.30pm, Free drop-in a bit messy, age 8+ in family groups A hands-on workshop delivered by the world-class design team at information technology giants NCR. A team of NCR New Product Introduction technicians will build one of their state-of-the-art cash machines from scratch and against the clock. Challenging them, participants will work together with designers to build a personal small-scale ATM model that reflects the tools and techniques of early design innovation and product development at NCR. Drop-in and gain some practical 3D cardboard modelling skills – all off-screen and in real space.

WORKSHOP

CARVE WORKSHOP

Collective Architecture: Future Façade WRKSHP, 11am-12.30pm, Free (booking required) How can architects, designers and fabricators collaborate better to produce a range of materials and forms that are more responsive to Scotland’s urban and rural environments? Jude Barber and Dafni Michalaki of Collective Architecture, one of the country’s leading architecture studios, invite you to explore the possibilities of four raw materials – brick, concrete, sheet metal, and wood.

To illustrate their design process, Jude and Dafni will invite key fabricators and suppliers of these materials to join them in conversation. During the workshop, the architects and fabricators will share examples of their process and illustrate this through samples, sketch architectural models and collaborative projects with artists and designers such as Martin Boyce, Toby Paterson and Graphical House. They will invite participants to get up close and handle raw materials, consider their properties and imagine their design possibilities.

Contributors: Jude Barber and Dafni Michalaki of Collective Architecture, with Plean Precast, Ibstock Brick and Timber Initiatives.

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WRKSHP, 3-5pm, £78 (booking required) age 18+ Founder of Vanilla Ink Studios, Kate Pickering, and jeweller Katie Lees bring you an opportunity to design and make a one-off piece of jewellery. You don’t need any experience in making or jewellery design, just a willingness to be creative. Using a range of hand tools, participants will craft a piece of jewellery from a single piece of jeweller’s wax.

Your ring will be cleaned and polished to your specifications in the Vanilla Ink workshop in Glasgow and posted back to the hands that created it.

Create your own jewellery with CARVE

© Ross Fraser McLean

FILM: D Screen present

Why should we make more?

Workplace: The Connected Space

Gallery 3, 3-4.30pm, Free Despite assertions that manufacturing is still at the heart of our economy, factories have become largely invisible in our towns and cities, employing fewer and fewer people. What is the future of manufacturing in Scotland? And how can designers make it more visible?

In the face of depleting resources, climate change, etc., what is morally at stake for designers, makers and manufacturers in making yet more and more stuff? Or are the conditions right for another industrial revolution spurred on by new digital technologies?

Can better collaborations between consumers, designers and manufacturers be the answer to rethinking the production model and improving living standards?

Join speakers from design and industry leading the charge to make Scotland’s manufacturing more visible, and more viable.

Contributors: Alec Farmer, Founder of Trakke Ltd; Chris Gaffney, MD Johnstons of Elgin; Clare Cooper, Co-Founder ELLi (Assisted Living Technology); Fi Duffy-Scott, Founder of Make Works; Clive Gillman (Chair), Director of Creative Industries for Creative Scotland.

Dir. Gary Hustwit, run time 65 mins Gallery 3, 5pm, Free (booking required) A documentary focusing on an everyday setting that affects millions: the modern office.

Digital technology has radically changed how and where most of us work, but the physical spaces we work in haven’t kept up with that transformation.

How can we make them better places for people to work and collaborate? How has the office evolved over the last 100 years? And do we even need offices anymore?

Filmmaker Gary Hustwit (Helvetica, Objectified, Urbanized) seeks answers to these questions as he follows the design and construction of the New York headquarters of digital agency R/GA. Screening supported by R/GA

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TALK

EVENT

Pecha Kucha Night Dundee Vol 18 Gallery 1, 7-10pm, £5 (booking required) The speedy global Pecha Kucha Night returns to DDF, giving each of the dozen speakers just 20 images and 20 seconds per image to talk about whatever they want. Moving, funny and always inspiring, Pecha Kucha - or ‘chit chat’ in Japanese - was developed by Klein Dytham Architecture, in Tokyo back in 2003. PKNs now run all over the world – the last count was over 900 cities and growing. #PKN_DND

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DJCAD & Mozilla Foundation

Mozilla and the University of Dundee recently established the Open Internet of Things (IoT) Studio.

Together, the Open IoT Studio aims to advance a healthy internet where people make responsible connected things and build meaningful collaborations.

FORUM

Is the Internet of Things creating a healthy factory floor?

Gallery 3, 9.30am-12.30pm, Free (booking required) The Internet of Things (IoT) describes a growing global network of objects and devices that connect everything around us, from what we wear, to the homes we live in, and even the medical devices embedded in our bodies. IoT encompasses everyday objects as well as complex data systems in cities and industries.

As we head towards a new wave of the internet where billions of connected devices are coming into our lives, DJCAD and Mozilla Foundation ask you to take a pause and question if we know how and where these products are being made. What is happening to the data that these devices produce, and are they creating a healthy approach to the way we use the internet? And if no-one is paying for the data the Internet of Things creates, then who is working for the services and companies that own them? Where, in this invisible world of data flow, is the new factory floor?

In this morning of talks, Dundee Design Festival and Duncan of Jordanstone College of Art & Design (DJCAD) invite Mark Surman, CEO of Mozilla Foundation plus a panel of leading voices on the internet to set out this new factory floor that weâ&#x20AC;&#x2122;re all working for.

Mozilla Foundation is a non-profit organization that believes the internet must always remain a global public resource that is open and accessible to all. The Foundation exists to support and collectively lead the open source Mozilla project.

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Mark Surman

Contributors: Mark Surman (keynote) is the executive director of the Mozilla Foundation. Mark supports the notions of web literacy, the skills and competencies needed for reading, writing, and participating on the web and Open Philanthropy, which advocates the transparency of the operations of nonprofit organisations toward the public.

Rachel Rayns is a freelance creative producer.

While working as an artist in residence at the Raspberry Pi foundation she developed a series of projects to introduce people of all ages to computer science through creativity. She is currently working with the Mozilla Foundation exploring how we can design for a decentralised Internet of Things.

Jayne Wallace is reader in Craft Futures in the School of Design at Northumbria University. Her work spans digital craft and interaction design, focusing on how we develop physical and digital devices that support well-being and a sense of self.

She is co-founder of the Research Through Design conference series and Journal of Jewellery Research.

Justin Marshall is a maker and researcher who for nearly 20 years has been investigating how craft practices meet digital design and production technologies. He is interested in how access to digital manufacturing tools can empower individuals and communities to make and respond to local concerns.

Jackie Malcolm is a designer and founder of successful graphic design consultancy ARC Visual Communications. Since 1998, she has been teaching within Duncan of Jordanstone College of Art & Design.

WORKSHOP: DJCAD & Mozilla Foundation

Voice Works: Speech Recognition & the Internet of Things WRKSHP, 2-4pm, Free (booking recommended) not that messy, 18+

This practical workshop hosted by the University of Dundee will follow discussions and tasks that will allow participants to build prototypes and explore the possibilities of voice and the internet.

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An afternoon workshop exploring the future of speech recognition in an increasingly connected world. As the big corporate players battle for market share in the artificial intelligence home speaker market (Amazon, Samsung, Google), who is considering what effect these â&#x20AC;&#x2DC;always-onâ&#x20AC;&#x2122; listening devices have on domestic family life and our future interactions with the internet?

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Filling the huge, resonant spaces of West Ward Works, celebrated singer Alice Marra and folk legend Sheena Wellington plus special guests will lead you in simple vocal exercises and songs.

Explore Biome Collective’s sonic installation and help produce live soundtracks to digital projections and animations.

Dundee Design Festival and Biom Collective record Michelin machinery

Singer Machine Choir will focus more on play and process rather than aiming towards a finished, polished performance.

You don’t need any formal training in singing, be able to read music, or have any experience in performing. Just lend us your voice and help make something spectacular.

Not to be missed.

WORKSHOP

Singer Machine Choir Gallery 1, 7-9pm, Free (booking recommended) Calling all singers.

For one evening only, Dundee Design Festival invites you to come down to West Ward Works and take part in the new Singer Machine Choir, a vast chorus of voices that together will playfully conjure the sounds of factories past and present.

Over the past three months Dundee Design Festival together with local games designers Biome Collective and musician Andy Truscott (Kinbrae) have visited factories across the region to record the sounds of working machinery. Sounds collected from DCA Print Studio, waxed cotton producers Halley Stevenson, Michelin tyre factory, textile fabricators Scott & Fyffe plus the terrifying clatter of textile machines on display at our neighbouring Verdant Works will help inspire you to create a production line of whirrs, drones, clangs and bangs.

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INSTALLATION

Punch In/Punch Out Refectory, open daily 10am-5pm Ryan McLeod invites you to Punch In and share your stories around design and creativity as part of his Creative Chit Chat podcast. Simply choose a question or topic from the punch card rack, come in and have a blether. Add your own question to the rack for others to answer before you Punch Out. The audio from these conversations will be recorded throughout the festival and edited down into a series of podcast episodes.

These will be released on Ryan’s podcast: Creative Chit Chat - Dundee.

To listen to some of the back catalogue of episodes capturing the journeys, working practices and thoughts of creatives in and around Dundee, head to cccdundee.com

Drop in and try your hand at printmaking with DCA

WORKSHOP

Printmaking Gallery 2, 10-12pm, 2-4pm, Free drop-in messy, age 5+ in family groups Join the Learning team from Dundee Contemporary Arts for a series of drop-in printmaking sessions, using the ever-changing city of Dundee as our starting point. Inspired by the vast Print City installation, weâ&#x20AC;&#x2122;ll make our own screen prints based on Print City designs, assemble some 3D models and create our own badges. Come along to print your city and make your mark.

WORKSHOP

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Imagine, invent and create with Ardler Inventor Project

Invent WRKSHP, 1-3pm, Free (booking recommended) a bit messy, age 5+ in family groups Want to build toothbrush racecars and race them across the factory floor? The team at Ardler Inventor Project will be on hand to help you design and build your own inventions using a wide range of craft materials and miniature motors. And come hear how people in Dundee have been inventing in their own area to improve the lives of their community.

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Newton’s Bucket bowls by Silo Studio

@designdundee #dundeedesignfest NSEPS chair by Silo Studio NSEPS (Not So Expanded Polystyrene) by Silo Studio

DEMO

Newton’s Bucket WRKSHP, 12-1pm, Free

Silo Studio

Dundee Design Festival is delighted to invite Silo Studio to take up residence in West Ward Works for a day of demonstrations, workshops and film screenings.

TALK

Handmade Hi-Tech

Silo Studio demonstrate their spectacular Newton’s Bucket machine designed to mould liquid in motion.

In 1689, scientist Isaac Newton conducted an experiment to test his theory of rotational movement on liquids by spinning a bucket of water suspended by a rope. The motion forced the liquid to curve up the sides of the bucket to briefly form a sunken shape. Inspired by this experiment, Silo Studio have developed a machine that spins colourful resins at high speed to form a series of striking bowls that each uniquely capture a moment in time.

Gallery 3, 11-11.40am, Free Silo Studio is a London-based experimental design practice formed by Attua Apparicio and Oscar Wanless.

Coming from backgrounds in engineering and design, the core of Silo’s work is to look at bringing industrial processes and materials into the studio to develop further. By adopting a hands on approach, which they refer to as ‘handmade hi-tech’, they aim to discover possibilities that the production line does not see, developing the expressive potential of industrial materials, mixing craft with technology.

Join them in Gallery 3 to hear what inspires their extraordinary work.

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WORKSHOP

Sew, Steam, Shape WRKSHP, 1.30-4.30pm, Free drop-in not that messy Silo Studio host a drop-in workshop, inviting you to experiment with sewing, steaming and sculpting three-dimensional objects.

Silo will be on hand to share with you their amazing manufacturing process of steaming polystyrene beads in fabric moulds. They call it NSEPS (Not So Expanded Polystyrene). Steaming causes the beads to melt, expand and fuse together, distorting their moulds to create unexpected, amazing shapes.

Textile moulded glassware by Silo Studio

FILM: D Screen present

Studio Experiments

Maker

Gallery 3, throughout the day, Free

Dir. Mu-Ming Tsa, run time 65 mins Gallery 3, 6pm, Free (booking required)

Dundee Design Festival will be screening a series of videos that document Silo Studio’s experimental processes. The films describe Silo’s hands-on approach to design in projects such as Newton’s Bucket, NSEPS, and Textile Moulded Glass (recently developed for Danish design brand Hay). Short, punchy, and inspiring, catch them in Gallery 3 on the ground floor throughout the day.

Maker is a feature-length documentary looking into the maker movement in the USA reforming the economy with a new wave of Do-It-Yourself and Do-It-Together.

The Maker Movement, sometimes called the Third Industrial Revolution, subverts traditional manufacturing by building on innovative concepts such as open source, local manufacturing, crowd funding, and digital fabrication. Breaking the hobbyist movement stereotype, Maker delves deep into this ecosystem of design and manufacturing in the Internet era. The film explores the ideas, tools, and personalities that are driving the Maker Movement – and returns with a timely snapshot of one of the transforming influences of the current age.

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FILM

Screening supported by Designit Maker a documentary about the Maker Movement

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WORKSHOP

Foldability: Fold WRKSHP, 10.30am-12.30pm, ÂŁ15 (booking required) not that messy, age16+ A decorative textile folding workshop. Make your own pleated tote bag with advice from designer and origami expert Kyla McCallum, founder of Foldability. Learn how to fold intricate patterns using cardboard moulds to form and fix complex geometric shapes into fabric, and take away a piece of stunning design.

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WORKSHOP

Dawn Youll & Chalk: Plaster Cast WRKSHP, 1.30-4.30pm, Free drop-in really, really messy, age 8+ in family groups Join contemporary ceramicist Dawn Youll and decorative plasterers Ffion and Steven Blench, aka Chalk Plaster Design, for an afternoon of model making and casting in plaster. Learn extraordinary new skills including the process of running decorative mouldings, as well as mixing and casting plaster to produce complex interlocking designs. Bring a smock!

Graphic Means: A History of Graphic Design Production Dir. Briar Levit, run time 65 mins Gallery 3, 6pm, Free (booking required) Up until just over 30 years ago, when the desktop computer debuted, the whole design production process would have been done primarily by hand, and with the aide of analogue machines. The design and print industries used a variety of ways to get type and image onto film, plates, and finally to the printed page.

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FILM: D Screen present

Graphic Means is a journey through this transformative Mad Men-era of pre-digital design production to the advent of the desktop computer. It explores the methods, tools, and evolving social roles that gave rise to the graphic design industry as we know it today.

UK premiere supported by Affinity Designer.

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DEMO

Doodle Targets: Draw, Scan, Play WORKSHOP

Printmaking Gallery 2, 10am-12pm, 2-4pm, Free drop-in messy, age 5+ in family groups Join the Learning team from Dundee Contemporary Arts for a series of drop-in printmaking sessions, using the ever-changing city of Dundee as our starting point. Inspired by the vast Print City installation, we’ll make our own screen prints based on Print City designs, assemble some 3D models and create our own badges. Come along to print your city and make your mark.

WRKSHP, 10am-12pm, 1.30-4.30pm, Free drop-in not that messy, age 5+ in family groups Design and draw the most terrifying, most bizarre monsters you can imagine, then scan them so that they appear instantly within a computer game.

Get ready to take on your weird and wonderful inventions. Doodle Targets is a mini-game that takes your creature creations from paper to virtual reality in seconds.

Supported by Abertay University.

PERFOMANCE

Andrew Wasylyk: Themes for Buildings & Spaces Gallery 3, 7-9pm, £10 (booking required)

Andrew Wasylyk performs with his nine-piece band

WORKSHOP

Comic Works WRKSHP, 11-1pm, Free drop-in not that messy, age 5+ in family groups Come and join the expert crew from Dundee Comics Creative Space who will help budding artists bring their imagination to the page in this free drop-in workshop. A must attend event for children aged 5 to 15, with a chance to find out more about the University of Dundee’s project based at the Vision Building.

Andrew Wasylyk, the alias of Scottish writer, producer, multi-instrumentalist, Andrew Mitchell, invites an intimate audience to explore his hometown of Dundee. Eight architectural sites and open spaces have inspired his recent album, Themes for Buildings And Spaces, in a series of instrumental compositions echoing the materials, the everyday and the romanticised memories of a post-war cityscape continually shifting and evolving throughout the decades.

In this one-off performance at West Ward Works to mark the close of Dundee Design Festival 2017, Andrew plus a nine-piece band will present a different view of a deindustrialised Dundee in an extraordinary soundtrack to the celebrated and the forgotten, the melancholic and optimistic.

image courtesy of Beano Studios product © DC Thomson & Co Ltd, 2017

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Eat Drink Shop DCA Pop-up Shop

Dundee Rep Café Bar bring their unique blend of fresh, exciting produce to the Dundee Design Festival.

Pick up your own beautiful piece of design at Dundee Contemporary Arts’ pop-up shop, open throughout the festival. We’ve hand-picked a collection of products that showcase the very best of design from Dundee, Scotland and beyond. There’ll be work from much-loved local makers like Tom Pigeon and a range of products inspired by DC Thomson. Many products have been specially selected to complement the festival theme of Factory Floor, including 3D printed jewellery, specially-selected books and homeware with an industrial theme.

Fresh coffee, delicious pastries, mouth-watering sandwiches, warming soups and baking, Refectory can be found in the old canteen of West Ward Works on the first floor in between Galleries 1 and 2.

Open daily throughout the festival, Refectory will have a menu that changes daily. All profits go toward the work of Dundee Rep and Scottish Dance Theatre.

Morning selection includes pain au chocolate, croissant, fruit and muffins. Lunch selection includes sandwiches, soup, crisps and biscuits. Afternoon tea includes scones, traybakes and ice cream pots.

Opening Launch Party: Sponsors of our event Verdant Gin, the newest gin on the block. It has Dundee at its very core, from its modern yet classic taste – smooth and sophisticated – through to its name, synonymous with jute and weaving. Verdant Gin is available in selected retailers in the city.

71 Brewing was born out of the creative regeneration of Dundee. The Brewhouse is in a restored former ironworks where the makers aim to craft the finest Dundonian pilsner.

You can also browse works from our Editions programme, featuring limited editions by artists from DCA’s exhibitions programme, all created in our Print Studio. This year’s selection will also highlight the festival theme, with references to design, industry and the changing urban landscape.

Ruth Ewan’s deeply embossed text Nae Sums references the 1911 jute mill workers’ protests; Claire Barclay’s delicate Houndstooth prints explore the nature of traditional Scottish weaves, while Manfred Pernice’s Tuttilino draws from his research into a local disused linoleum factory. You can also see the Yes Men’s McRevolutionaries – a humorous call to arms for a new industrial revolution. Our newest editions DIY/FBI and Monoprint by exhibiting artist Mark Wallinger will also be available to preview and reserve.

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Refectory by Dundee Rep

If your visit leaves you wanting more, pop along to DCA Shop, just a short walk from West Ward Works, or visit shop.dca.org.uk.

RDANT V ESPIRIT C. o

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#DDF Offsite The DDF #Offsite programme highlights design activity which takes place outwith our central festival hub. More events listed online at dundeedesignfestival.com

FORUM

Innovate UK University of Dundee, Dalhousie Building Lecture Theatre 2, Balfour Street DD1 4HB Thurs 25 May, 9.30am-2pm, Free Innovate UK, the UK’s innovation agency, is an executive non-departmental public body, sponsored by the Department for Business, Energy & Industrial Strategy.

Their team are coming to launch a new round of funding for businesses who want to identify innovation opportunities and generate better propositions for products, services and business models. It is open to any UK business in any sector, so whether you work in manufacturing or health, digital or engineering, this briefing event will provide your company with relevant details of the competition scope and how to apply. This is also the focal point to meet with Innovate UK leads and KTN managers and, most importantly, the opportunity to network with other companies and designers looking to develop applications to the competition.

Register at designfoundations.co.uk EVENT

Degree Show 2017

University of Dundee’s Duncan of Jordanstone College of Art and Design Duncan of Jordanstone College of Art & Design, Perth Road DD1 4HT, Preview Fri 19 May 6-9pm Sat 20-Sun 28 May, Mon to Fri 10am-8pm Sat/Sun 10am-4pm The University of Dundee’s Art, Design & Architecture Degree show celebrates the success of graduating students from Duncan of Jordanstone College of Art & Design and the department of Architecture, within the School of Social Sciences. For 10 days DJCAD’s buildings are transformed into one of the country’s biggest galleries.

GOVJAM 2017 POP UP

Designing Public Services in Dundee Open Change, 25 Tay Street Lane, Dundee DD1 Wed 24 May, 2pm, Free GovJam is a global event about redesigning public services. People in over thirty cities worldwide gather over two days to simultaneously work on a common design theme. This pop-up event presents and discusses Dundee GovJam. Find out how service design can transform the city and about the launch of Service Design Academy. openchange.co.uk/dundee-govjam-pop-up/ 36

Graduate work on display includes: Animation, Architecture, Art & Philosophy, Digital Interaction Design, Fine Art, Graphic Design, Illustration, Interior & Environmental Design, Jewellery & Metal Design, Product Design, Textile Design and Time Based Art & Digital Film.

Join us in celebrating the success of the 2017 cohort of students as they emerge from their academic life to take their talent to the wider world. dundee.ac.uk/degreeshow

Factory Gates Explore some of Dundee’s iconic factories and workspaces on these exclusive tours led by the people who work there. Tours have limited capacity and booking is essential.

FRI 26

SAT 27

SUN 28

Winter & Simpson

2pm

Verdant Spirits

2pm

SpeX Pistols

3pm

71 Brewing

2pm

Verdant Spirits

2-3pm

SpeX Pistols

2-4pm

Michelin

3-4pm

71 Brewing

2pm

Verdant Spirits

2-3pm

SpeX Pistols

3-4pm

71 Brewing

5-6pm

71 Brewing

2pm

Verdant Spirits

2-3pm

SpeX Pistols

3-4pm

71 Brewing

5-6pm

71 Brewing

MON 29 11am

Winter & Simpson

11am

Tokheim

11am

Scott & Fyfe

2pm

Verdant Spirits

2-3pm

SpeX Pistols

2-3pm

Scott & Fyfe

3-4pm

71 Brewing

Michelin Tyre Company Ltd Baldovie Rd DD4 8UQ 16+, Free (booking essential) This is a unique opportunity to see inside the Michelin factory which has been making car tyres in the city since 1972. The world class Dundee plant manufactures over 7.5 million car tyres each year.

Visit the international materials technology company, specialising in commercialising ideas and innovations through a global network of partners as they open their doors to the factory and innovation space where they’ve been producing materials for 150 years.

SpeX Pistols 4 Johnston’s Lane DD1 5ET Free, (booking essential) Somewhere between a demonstration, a workshop and a tour – this is a great opportunity to explore Dundee’s very own optical boutique and experience first-hand their famed frame repair service and excellent customer care. Bring along your preloved frames for a restyle. (charge for replacement lenses) Tokheim Part of Dover Fueling Solutions, Unit 3 Baker Road, West Pitkerro Ind Estate DD5 3RT 18+ only, Free (booking essential) Tokheim, headquartered in Dundee, is one of the world’s leading manufacturers of fuel dispensing and automation equipment. Spend around an hour touring the cutting edge fuel dispenser assembly line, and see how Dundee expertise and innovation puts Tokheim Dundee on the global stage.

Verdant Spirits Edward Street Mill, Forest Park Place DD1 5NT 18+, Free (booking essential) An early opportunity to see inside Dundee’s first distillery for almost 200 years. Hear the story of their journey to producing a new range of craft spirits that build on the city’s rich industrial and international heritage.

Winter & Simpson 16 Dunsinane Avenue DD2 3QT 18+, Free (booking essential)

PRINTED ON MOHAWK OPTIONS TRUE WHITE SMOOTH 118GSM FROM G.F. SMITH

THURS 25 11am

Scott & Fyfe Factory Tour Tayport Works, Links Road, Tayport DD6 9EE 18+, Free (booking essential)

A printing pioneer, Winter & Simpson is Dundee’s oldest established printers and commercial stationers.

Explore their modern factory and uncover more about how printing has changed over the years.

71 Brewing Brewery Tours Bellfield Street DD1 5JA £8 includes tasting, 18+, (booking essential) Spend an hour exploring the workings of the newest brewery in Dundee with ‘The Engineers of Beers’. The 71 brand is a nod to the industrial heritage of the brewery’s home – a once mighty ironworks located in the heart of the Blackness industrial quarter.

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book tickets at dundeedesignfestival.com @designdundee #dundeedesignfest This programme is printed on G.F Smith papers Mohawk options true white smooth Colorplan Smoke cord embossing Colorplan Smoke granular embossing Colorplan Real grey fabric embossing Colorplan Factory Yellow

Story of Our Paper For over 130 years, G.F Smith has been obsessed with the simple beauty of paper. George Frederick Smith, commercial traveller, entrepreneur and devotee of fine stationery, founded the company in 1885, setting up offices in London and Hull. With his son Thomas Brooks Smith by his side, George Frederick ventured around the world in search of the finest papers, determined to turn his company into the one of the most celebrated suppliers in the United Kingdom.

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118gsm 135gsm 135gsm 135gsm 270gsm

Colorplan – G.F Smith’s pioneering range of coloured papers – has created an unprecedented number of possibilities in printed design for a generation of graphic designers. Having set a new standard of colour sophistication and subtle texture, Colorplan has continued to evolve in the decades since. Its range has never been as comprehensive or more ideally suited to meet the demands of the modern creative as it is today.

Even with today’s innovation and impressive array of sophisticated machinery making possible the complex effects of embossing and duplexing, much of G.F Smith’s work – from sourcing papers to stitching spines – is still done by hand and in person, just as it was 130 years ago.

Acknowledgements Dundee Design Festival is produced and managed

by UNESCO City of Design Dundee, supported

by Leisure & Culture Dundee.

We would also like to thank the following individuals and organisations for their support:

Our Festival Partners are Abertay University, Creative Dundee, DC Thomson and the University of Dundee.

Major Funders

Chair Stewart Murdoch Curator/Producer SiĂ´n Parkinson Manager Anna Day Coordinator Annie Marrs Assistant Coordinators Andy Truscott, Neil Cooney PR & Media Manager Jennie Patterson, Patter PR Exhibition Design Old School Fabrications Graphic Designer Angela Dunphy, Leisure & Culture Dundee Festival Identity & Website Fleet Collective We wish to thank all the participants in the programme and Dundeeâ&#x20AC;&#x2122;s design community.

Sponsors Dundee Festival Trust. G.F Smith.

NCR. 71 Brewing. Verdant Spirit.

Supporters Dundee and Angus Chamber of Commerce.

Dundee Contemporary Arts. Dundee Partnership.

Dundee Rep Theatre. FibreCast. Scottish Fire & Rescue Service. Rapid Visual Media. Duncan of Jordanstone College of Art & Design.

With additional thanks to Alice Marra. Ann Allardice. Barry Strain. Bill Findlay.

Biome Collective. Caroline Brown and University of Dundee Archive Service. Catriona Duffy. Clive Gillman. David Powell and DC Thomson Archive.

Dundee Rep. Fi Duffy-Scott. FifeX. Halley Stevenson.

Henri Meadows. Innovate UK. Jason Shearer. Jon Rogers. Katie Treggiden. Louise Forbes. MAKLab. Matthew McCallum. Martin Skelly. Michelin Tyre Company Ltd. Mozilla Foundation. Neville Rae. Ninewells Hospital. Paul Harrison. Paul Scharf.

Pete Thomas. Rodney Mountain. Scott & Fyfe. Scott Hudson. Sheena Wellington. Stacey Hunter. Sophie McKinlay. SpeX Pistols. Tokheim. Turnberry Rug Works. University of Glasgow Glassblowing Service.

Verdant Works. Winter & Simpson. And a special thanks to all our Festival Volunteers.

PRINTED ON COLORPLAN FACTORY YELLOW 270GSM FROM G.F. SMITH

Festival Team

Creative Scotland. Dundee City Council.

DC Thomson. EventScotland. Leisure & Culture Dundee. Northwood Trust.

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book tickets at dundeedesignfestival.com dundeedesignfestival.com

EXHIBITION

At a glance DAILY THURS 25

FRI 26

SAT 27

SUN 28

MON 29

Factory Floor open daily 10am - 5pm

10am-5pm

EXHIBITIONS

Our Silent Monitors; Print City; Punch In/Punch Out

10.30-11am

TALK

Factory Floor: Exhibition Curator’s Tour

11am-12.30pm

WORKSHOP

Collective Architecture: Future Façade

12-5pm

TALK

Make/Share (on the hour)

1-2.30pm

WORKSHOP & DEMO

NCR Live Build: Model & Make

3-4.30pm

TALK

Why should we make more?

3-5pm

WORKSHOP

CARVE

5pm

FILM

Workspace

7-10pm

EVENT

Pecha Kucha Night Vol 18

9.30am-12.30pm

FORUM: Mozilla & DJCAD

Is the Internet of Things creating a healthy factory floor?

12-5pm

TALK

Make/Share (on the hour)

2-4pm

WORKSHOP

Voice Works: Speech Recognition & The Internet of Things

7-9pm

WORKSHOP

Singer Machine Choir

10am-12pm

WORKSHOP

DCA Printmaking: Drop-in

11-11.40am

TALK

Silo Studio: Handmade Hi-Tech

12-1pm

DEMO

Silo Studio: Newton’s Bucket

1-3pm

WORKSHOP

Ardler Inventor Project: Invent

1.30-4.30pm

WORKSHOP

Silo Studio: Sew, Steam, Shape

2-4pm

WORKSHOP

DCA Printmaking: Drop-in

6pm

FILM

Maker

10.30am-12.30pm WORKSHOP

Foldability: Fold

1.30-4.30pm

WORKSHOP

Dawn Youll & Chalk: Plaster Cast

6pm

FILM

Graphic Means

10am-12pm

WORKSHOP

DCA Printmaking: Drop-in

11am-1pm

WORKSHOP

Comic Works

10am-4.30pm

WORKSHOP

Doodle Targets: Draw, Scan, Play

2-4pm

WORKSHOP

DCA Printmaking: Drop-in

7-9pm

PERFORMANCE

Andrew Wasylyk: Themes for Buildings & Spaces

Dundee City of Design # dundeedesignfest

dundeedesignfestival.com

The dimensions of this programme are taken from a Beano annual, one of the many comic book annuals produced in the West Ward Works building by DC Thomson.