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L The Central Saint Martins magazine for business

Halo 9




p01 Welcome p02 Our move to King’s Cross p04 IP@CSM – bringing great ideas to market p06 Boxing clever – Luta knowledge transfer partnership p08 Building the new society p10 Taking the Pulse of the market p12 Teaming business with graduate talent p14 Art in space p16 Top gear p18 Alight on me p20 Real life curriculum p24 Swire Hotels – making art public p25 Dom Perignon – what would Andy do? p26 Fashion in Film Festival p27 20:20 Fashion Fund p28 Science and art – friends reunited p30 Counting down

As the economy crawled out of the trough of the 2008/09 recession we found that our clients and partners started to look at how new investments could help them innovate for the future. You won’t be surprised to learn that CSM Innovation was ready and waiting to work with them to do this! 2010 saw us working on a joint venture with California-based digital design agency Method to develop and commercialise student and graduate intellectual property. The resulting company, Method Design Lab, launches this spring and you can find out more overleaf. We also saw investments by our own graduates in their futures through new commercial and social enterprise ventures. Find out more on pages 8 to 11. CSM students and staff also had opportunities to work with really exciting companies on iconic products. Students re-imagined Heinz ketchup; the designers in the Design Laboratory repackaged the legendary Dom Perignon champagne; and our graduate fashion designers reinterpreted Audi’s new cars as fashion.

to London 2012

We’re not immune to the sporting fever beginning to grip London with the Olympics just over the horizon. A knowledge transfer partnership with social enterprise Fight for Peace took us into the boxing ring, and a branding project for ParalympicsGB introduced us to the diverse world of the paralympic movement. 2011 will bring our involvement in the biggest investment to impact on Central Saint Martins for 150 years – the move to our new site in King’s Cross planned for September. We look forward to welcoming you there in the autumn. Dani Salvadori Director of Enterprise & Innovation

Cover image Light Years Away by Hilary Powell © Hilary Powell Left and above Cashpoint Art? Design Against Crime and Hammersmith Police teamed up with artist Steve Russell to create this Cash Point Safety Zone. Image © Steve Russell / Design Against Crime.



The spectacular new Central Saint Martins campus, which opens this autumn, will be the cultural heart of a 64-acre King’s Cross site developed by Argent. Janice Warman investigates the impact the new college building will have on a diverse area

Far left Aerial view of the site at King’s Cross © Simon Hazelgrove Left Installation in the Granary by Ellie Reid © John Sturrock

Our move to King’s Cross ‘The chance to welcome 4,500 of world’s brightest art and design students and staff is about the best thing any new scheme could have in any capital city,’ says Argent chief executive Roger Madelin. ‘Having CSM here is a terrific way of attracting business. Great art, design and performance is a big draw. It helps people be more creative in their business lives.’

excited by the prospect of University of the Arts London moving to the King’s Cross site. ‘It has the potential to become one of those iconic university buildings recognised worldwide by anyone looking to pursue creative studies.’

The area already has a strong arts and fashion-based culture, with the British impressionist Walter Sickert and writers There will be one million square like Charles Dickens once based in the feet of shops and restaurants and 2,000 area, and Camden market leading the way apartments in the new development, on vintage clothing, Sarah points out. ‘It’s King’s Cross Central. The new Central Saint an amazing cultural addition. It’s fantastic Martins building, designed by the awardwhen respected international institutions winning architects Stanton Williams, choose to relocate in your area. It’s really will include the Grade II listed Granary exciting – this is the largest regeneration building, giving onto London’s largest new project in Europe at the moment.’ public square and the restored Regent’s Canal. The new studio buildings behind ‘The move to King’s Cross will the Granary will have a performance provide a lot of new opportunities for our centre with a public theatre, four levels of staff and students to engage with our local workshops and lecture theatres, an internal community, both long-established and street lit by a translucent roof, a gallery and new,’ says Professor Jane Rapley OBE, a terrace overlooking London. To the west Head of College. of the CSM campus will be small individual retail units where graduates can run start‘We already have excellent links up businesses. through our widening participation team with local schools and through our Councillor Sarah Hayward, Cabinet academic staff with local institutions such Member for Communities, Regeneration as the Wellcome Foundation and the and Equalities at Camden Council, is British Library.


New investments in innovation – King’s Cross

‘Our students, of course, will find their own diverse ways of using and working in the local area. And we hope that outdoor spaces like Camley Street Natural Park and the Regent’s Canal excite them as much as the more urban environments of King’s Cross and St Pancras stations and our own buildings and their surroundings. We’ll feature some of this new thinking in a series of public festivals during the 2012/13 academic year. ‘We’re also looking forward to being part of a really new community that will grow up around us over the coming years.’


IP@CSM – bringing great ideas to market A new joint venture with experiential design agency Method, Inc will commercialise the college’s outstanding intellectual property resource, writes Barry Hunter

Imagine a world-class art and design college with a rich stream of IP but limited access to venture capital. Now picture a creative consultancy with an enviable record of bringing new products and services to market on behalf of clients.

‘embraces everything from digital and interface design to retail and social strategy work. Where people encounter brands, we help them connect better.’

Method will partner CSM’s Design Laboratory to create Method Design Lab, a Some relationships are destined new entity established in London with seed to happen. That’s how it struck Santiago funding in its first year from the US agency. Matheus, angel investor, playmaker, ‘Both partners are interested in the same ex-MD of IDEO UK and now VP corporate thing,’ explains Yann Mathias, creative development at AVG Technologies, who and business director at CSM’s Design brought CSM and Method together. ‘As I Laboratory and part-time creative director got to know Kevin at Method it was obvious at MDL. ‘The focus is on design-centric theirs was a highly entrepreneurial culture. innovation, which is rare. You get a lot of CSM, of course, isn’t short of an idea or tech-driven innovators like MIT or IDEO, two – but coming up with ideas is only part but the design-centric model hasn’t existed of the commercialisation story. I knew the until now.’ potential was there for Method to inject its expertise in guiding great ideas to market It’s a theme taken up by Dani through its client companies.’ Salvadori, CSM’s Director of Enterprise & Innovation, whose role includes building Method, a 12-year-old design revenue streams for the college. ‘This agency with offices in San Francisco, really is different,’ she says. ‘The creative New York and now London, focuses on industries in the UK represent the second experiences wherever customers are. largest sector of the economy, but there’s ‘What we do,’ says CEO Kevin Farnham, no other incubator doing what we’re doing


here.’ CSM has been working for over three years to develop a pipeline for carrying college ideas to market. ‘Unlike the big science institutions such as Stanford or Imperial College,’ says Dani Salvadori, ‘we lack the transfer infrastructure and the financial investment to make it work. Designers can’t do it alone. So Method is the ideal partner for us.’ Kevin Farnham is equally clear about his choice of partner. ‘Our decision was based on seeing where the college wanted to go. We saw a very strong desire to stay at the leading edge. Our ethos is similar, so it makes this an easy marriage.’ For Method, too, the venture’s design focus is key. Even in Silicon Valley, says Kevin, the accelerator process is technology driven. ‘We’ve been finding it tough to get our own best ideas off the ground. When development cycles take time, the opportunity may recede. This venture means we can focus 100 per cent on seeing the job through.’

For students and staff at CSM, the project brings a world of commerce to the college door. Says Yann Mathias: ‘We haven’t been able to offer people a dedicated platform for realising their ideas in a commercial way. Now we’ll take their products to market, either with them or on their behalf if they prefer. Or they can come on board later.’ For the college, there are attractive brand benefits. ‘It’s great for our reputation,’ says Yann, ‘because it shows we’re thinking beyond the degree. We can take ideas to the next level and help students be commercial designers. And that’s pretty unique.’ Ideas bound for glory will need to meet MDL criteria from the creative, business and innovation standpoints. ‘Then we’ll do an early feasibility study,’ explains Yann. ‘We test the idea, ensure there’s no competition, and check the technology is available. It’s about due diligence – time well spent to avoid costly mistakes later.’ Yann and team are looking to see investment within the venture’s early phases. ‘To kick off with we’ll champion

ideas from within our own walls until the methodology is secure. Later we’ll talk to universities, business schools, or anyone with a great idea.’ Says Kevin Farnham: ‘We have a number of prospects already waiting in the hopper for evaluation. We aim to meet once a month to review ideas on a rolling basis.’ Adds Dani: ‘I think a sign of success will be that pretty quickly it won’t just be CSM. We’ll bring in other top schools – from the US, from Canada, from elsewhere in Europe.’

Far left Student work on display at the degree shows © CSM Innovation Above left BBC iPlayer. Image courtesy of Method Above right CSM’s annual degree shows 2010 © CSM Innovation

MDL hopes to field 10-15 projects of varying sizes in its first year. For Dani Salvadori the venture ticks important boxes at tactical and strategic levels. ‘My job is to attract income to the college – and to help our people be as enterprising as possible. As an academic body we have to constantly do new things, but to date we haven’t achieved enough in the digital space where Method has real strength. This collaboration will help us close that academic gap.’

New investments in innovation – Method Design Lab


A remarkable sportswear initiative that began in the favelas of Rio de Janeiro is packing a punch in Britain. Janice Warman reports

Boxing clever – Luta knowledge transfer partnership Luke Dowdney, born in the UK but who resident in Brazil for 12 years, set up Fight for Peace (Luta Pela Paz) in 2000 to promote social inclusion using a programme of boxing and martial arts combined with education and personal development. Now he’s following it up by launching a performance quality fightwear clothing brand. Luke, an anthropology graduate and former amateur boxer whose own career was cut short by injury, founded a boxing club in the favelas and worked with 6

drug gangs. ‘There are one million people living in favela communities, openly armed kids walking around the streets. Boxing is a good way to access those kids. It’s tough, it’s recognised by your peers in the same way as being in a gang.’ Luke has now launched Fight for Peace here – he established a FFP Academy in Newham, London, in 2007 and, with support from private investors, is now launching the Luta sportswear brand. ‘I don’t believe in the traditional idea of charity delivering endemic social change.

I think the traditional model works for disaster situations or large-scale medical or health issues, but for some social issues it can create dependency and encourage the wrong outlook for both the donor and those receiving support,’ Luke says. ‘The handout mentality can be a problem.’

Above left Fight for Peace boxer, Roberto Custódio, pictured in Rio de Janeiro © Fight for Peace Above right Action shot from FFP’s Muay Thai inter-club event in October 2010 featuring Ismael Paulo and Sergio Gomes. Photograph by Bruce Basudde Mutebi

Luke plans to replicate Fight for Peace in five other communities suffering from crime and violence, including countries in Africa and Los Angeles in the US. And he wants to launch another Academy on the African continent.

But the engine of change will be powered by the sportswear brand, which will expand from fightwear to general sportswear and street clothing – 50 per cent of its profits will fund existing and new Academies. And Central Saint Martins, with funding from the government’s knowledge transfer partnership scheme, has a unique role to play.

‘As many people are aware, brands like Nike and sports lifestyle brands are constantly trying to reach into those areas to find out what is real, then commercialise it and sell it to the mainstream.

‘At the other end of the scale is sportswear. Seventy per cent of sportswear is worn on the street for lifestyle applications. We want to develop that.

Luta plans three ranges: the core highend performance sportswear (or fightwear) for boxing, judo, karate and other sports; training wear for the gym and other sports; and sportsinspired lifestyle wear which will have the broadest market reach.

‘We’ve interviewed hundreds of fighters over the last year, asking them about their needs and how clothing will make a difference Adam Thorpe, reader in socially to their training experience – street cred, responsive design at Central Saint Martins temperature control, the rigours of the fight (and a successful sportswear designer for Puma world. Urban streetwear takes its cues from and Louis Vuitton) is using his expertise in favela wear,’ says Luke, who was awarded an working with disadvantaged communities to MBE in 2004 for his work with Fight for Peace. help develop the brand in the UK. ‘Because Fight for Peace is such an established Luta’s first fightwear product range organisation, many of its ambassadors are will go live in the UK in May 2011. Its website champions, so we can gain access to the best in features as its campaign model Brazil’s top the world and find out from them what’s right light welterweight boxer, Roberto Custódio, and wrong with their existing kit. It’s design whose own father was murdered and who for fighters and by them. himself came up through Fight for Peace.

‘We run participatory design workshops in Rio and London. By working with these young people at street level we can learn about some of the imagery and some of the ways they perceive and refer to their own cultures and put it forward for political and commercial consumption.

New investments in innovation – knowledge transfer partnerships


Right Conciencia Visual graffiti at Urban Festival ‘Por el Medio de la Calle’ June, 2010. Caracas, Venezuela. Photo by: Mary Pili Ojeda Far right Urban Green Line in action at Regent’s Canal, Broadway Market. Photo by Jack Taylor

Building the new society When CSM MA Industrial Design gradautes alumni Bruno Taylor and Vincenzo Di Maria launched innovation agency Common Ground, they aimed to put design at the service of positive social change. Today, applying design thinking to social challenges like youth unemployment, an ageing population and sustainability, their focus is on how services or experiences, rather than products and goods, are designed. ‘We represent a new generation of designers leaving school with a conscience,’ says Bruno. ‘It’s a shift away from existing consumption patterns. It’s more ethically driven – a move away from the product-centred and profitfocused model we grew up with.’


For a new generation of CSM graduates, design can and must have a positive impact on the way we live. Halo meets the social innovators forging a better world to reach. From there you can design a brief, just as you would in product design.’

a feature, and in their neighbourhoods, where crime is a constant.

Testing – building a model or prototype of a service – is also part of the process. But the real challenge, admits Bruno, lies in the quantification of success. ‘Just how do you gauge intangibles like confidence and mental health? We consider it early on in the process,’ he says. ‘Instead of ticking questionnaire boxes at the end, we measure people coming into the service as well as passing out of it. If you aim to drive social change, you have to be able to show what difference you’re making.’

Working with artists, sociologists and criminologists, Itamar and team are designing schemes that give young people a voice and help them stay out of trouble. By year’s end, the project focus will switch to the elderly victims of crime.

As part of the NESTA-funded ‘Age Unlimited’ programme, Bruno and Vincenzo are helping Age Concern Hackney to design and deliver a new service that encourages men in mid life to plan better for the future. ‘A lot of these men aren’t looking more than two weeks ahead,’ says Bruno. ‘They’re at risk of social isolation. They also become vulnerable to ill health, which is a huge issue in the borough, putting pressure on public services at the worst possible time.’

For Itamar Ferrer, co-director with Penelope Plaza of Conciencia Visual para la Vida Urbana, using design to generate social capital currently means confronting issues of crime and violence in her native Venezuela. ‘The state here has failed to offer meaningful alternatives to young people who often get stranded without a way to express themselves,’ says Itamar. ‘They’re routinely exposed to crime and they get tempted very young. There’s nothing for them, no extra curricular activity to nurture their better social instincts.’

Common Ground’s approach is about early intervention to pre-empt consequences later. ‘Our method is to ask: what’s the problem? So you start with the people you aim

Conciencia Visual is hosting a series of workshops during 2011 to help Venezuelan school children explain what’s going on in their lives – in their homes, where violence is

‘We’re planting the seeds so that others can scale up or take a project forward,’ says Itamar, a CSM MA Applied Imagination graduate and former intern from the college’s Design Against Crime Research Centre. ‘We aim to return to the UK with a portfolio of co-created solutions that have potential there too. In many ways, the UK is just a less extreme version of Venezuela.’

way. The project hosts a website that invites visitors to tag green spaces on a virtual map while sharing ideas about building a healthier, more sustainable future. ‘Our main challenge for 2011,’ says Mikkel, ‘is how do we define and grow the green line. Is it a physical or an online presence? On the one hand it’s an active tag, a way of marking what you’ve planted. But it’s also a symbolic idea, a means of asking: who else is connected to, or inspired by, this way of thinking and doing?’ For Mikkel and colleagues, now prototyping their project so that others can pick up on it easily, transparency is paramount. ‘This is a tool to help people group or organise around something positive while supporting organisations and businesses that are already doing good things. If someone sees what we’re making, then copies it, that’s fine.’

For Mikkel Grønkjær Hansen and the 8-strong Urban Green Line collective – all CSM students on MA Innovation Management – social cohesion and sustainability are the The Urban Green Line has been issues that matter. nominated for the INDEX: Award 2011, the world’s largest cash prize for design, with The Urban Green Line, a Londonfinalists announced in April. region Audi Foundation ‘Sustain Our Nation’ award winner in 2010, is a physical and Common Ground will host a short symbolic trail running through the city course in service design this summer as part that connects communities to green spaces of CSM’s short course programme – the first and sustainable businesses, encouraging such course at UAL. co-creation and guerrilla gardening along the

New investments in innovation – social change


The coalition government is now nearly a year old, and setting great store by creative enterprise. It is, says Prime Minister David Cameron, looking for a return to a balanced, sustainable economy via a ‘growth review’, a study that will concentrate initially on just those digital and creative skill-bases that the University of the Arts London is famous for fostering. So how do we encourage talent and turn it into enterprise? There is of course no easy answer, but at Central Saint Martins designers and artists have long been encouraged to work directly with businesses. Students and graduates also have access to the skills within the college’s Innovation Centre. Meanwhile, the Enterprise Centre for Creative Arts at UAL offers a lot of practical help to its alumni’s emergent companies, including advice on business start-ups. One of the first crucial steps is to get yourself noticed, and many CSM college students and graduates get a chance to exhibit at Pulse, the big summer trade show in London

for interiors. ‘Launchpad’ is the area of the exhibition devoted to new talent, says show director Nigel Carrier. New or recent graduates, who are more likely to be near the point where they can manufacture their designs, are the most likely candidates for success. At last year’s show the 14 graduate businesses exhibiting took orders worth over £11,200, with the prospect of a further £28,700-worth of future orders. The buyers included Liberty, House of Fraser and Urban Outfitters. ‘The Launchpad area is really valuable to both buyers like me and students,’ says Michelle Alger, Home Buying Manager for Liberty, in London’s West End. ‘It’s one of my favourite parts of the show. I think progress is being made with teaching students business skills, but there’s a long way to go. Every course should come with a huge emphasis on business acumen.’ Chunwei Liao, graduate from MA Design: Furniture, is a very determined young Taiwanese designer and entrepreneur who shook up the Milan Furniture Fair a few years ago with his cardboard

‘Transformer’ lighting and seating. He’s a great believer in being visible, showing at Cologne, Paris and Milan as well as at Pulse, while still at Central Saint Martins. The designer’s own company, Paperself, is now making waves in the fashion industry with an extraordinary range of intricate paper eyelashes – from peonies to ponies. ‘At my first show I was immature,’ Chunwei Liao says. ‘You think you’re prepared, but you need practical experience. My journey has been step by step, but I think some of the most important things have been getting to talk to customers individually, and learning how the marketing side of your business and the production side need to be hooked up together.’ In these difficult times, hard-working ceramicist Karou Parry, who studied on BA Ceramic Design, has opted to run two businesses. The first is her own pottery company. The second is as one third of the design talent behind gifts and curiosities retailer Luna Curious, which operates online, but has also just opened

a second shop in London’s Shoreditch. Although she’d always wanted to design and make ceramics, Karou had to wait until she’d saved enough – as a production manager in the music industry – to return to college as a mature student. Her organised and confident attitude enabled her to take advantage of exhibiting in London. ‘I made sure I was really ready, working on everything from product lines to realistic pricing lists and press releases,’ she says. Pulse certainly works for her – last year she returned as a seasoned exhibitor. What advice does she have for someone just starting out? ‘Pricing is very important. As is research. I spent six months researching the market and thinking about my strategy. It’s vitally important to understand your customers – after all, you’re not designing for yourself.’ Pulse runs from 5-7 June 2011 at Earl’s Court

Far left Eyelashes by PAPERSELF. Photographed by Iki Chen @ Left Pulse 2010 © CSM Innovation

Taking the pulse of the market


London still has a beating heart of creativity, if small businesses showing their wares at Pulse are anything to go by, says Gaynor Aaltonen

New investments in innovation – graduate businesses


Left Elizaveta Gnatchenko’s Baroque Double Sphere ring from the ‘La Divina Commedia’ Collection. Image courtesy of Tateossian

Central Saint Martins is constantly exploring new ways for business to interact with its students and graduates, writes Janice Warman

Below Grace Cross Pebble Collection

CSM’s new graduate consultancy programme pairs graduate teams with an experienced designer to deliver small-scale projects – and CSM Talent Scout can help small businesses to find recent graduates to help with a project. ‘We have so many requests from companies looking to work with students on our courses,’ says Tim Hoar, business development manager. ‘The problem is we have to fit in with course deadlines and sometimes timelines are too short.’

Teaming business with graduate talent


again next year. ‘It’s a wonderful, painterly cover. We were all very enthusiastic about Owain’s design. It was a whimsically engaging response to the brief – fresh, alluring and striking. Because our journal is about original thinking and problem solving for clients through imaginative brain power, it answered the brief perfectly.’

Feona has praise too for the way the project was run: ‘It’s been an extremely positive experience, and I’ve no hesitation in saying that. It was a very smooth, efficient and fun process. The way it was The new scheme benefits industry run was first-class. It was sensitive, it as well as graduates. The current job market was diplomatic. While the tutors were is tough, and working on longer-term live clearly representing the graduates, they projects gives alumni immediate experience understood the business imperative. on graduation and helps them build their freelance portfolio and, of course, to make Jewellery designer Tateossian invaluable contacts. ‘It’s not that easy to asked Central Saint Martins graduate move into a job,’ says Tim. ‘People find jobs designer Hannah Martin, to head up a through the networks they create.’ Equally, competition among six jewellery graduates the scheme benefits clients. ‘Businesses to create a special collection to mark its approach us because they want fresh 20th anniversary. Judges included Vogue thinking. The scheme gives clients access Jewellery editor Carol Woolton and GQ to that fresh thinking and creativity.’ editor Dylan Jones. The winners were Elizaveta Gnatchenko and Grace Cross. Advertising giant WPP wanted a CSM graduate to provide a cover design for ‘In the end Tateossian organised its Atticus Journal. Through the graduate a huge event at Christie’s where they scheme it ran a competition won by Owain showcased the results of our work and Thomas, a 25-year-old graduate in graphic made sure all the press could see it, which design now designing prints for H&M in was probably much more valuable than Stockholm, whose freelance work includes any money we might have had from the illustrations for The Guardian, Another experience,’ says Elizaveta. Man, and The Illustrated News. For Grace Cross, the Tateossian ‘I did enjoy the process,’ says Owain. competition was very welcome, coming as ‘The brief was very simple. They wanted it did just after graduation. ‘It was good to something that looked like someone work on a live project. I was still living in creating an idea – although coming up with London, working in a pub, so this kept me that graphic is more tricky than it sounds.’ focused on my career.’ WPP particularly liked the fact that Owain hand paints his illustrations – unusual in ‘The students really dug deep and the age of computer design. came up with some incredibly innovative collections while staying true to the Group communications director Tateossian signature style,’ says CEO Feona McEwan says WPP was delighted Robert Tateossian. with the result and plans to run the contest

New investments in innovation – graduate consultancy

Would he use the CSM graduate scheme again? ‘Absolutely! Young talent is what drives the fashion industry. I always believe in supporting and nurturing design talent. To get a fresh take on jewellery and fashion is inspiring.’ Would Robert be happy to employ any of the graduates? ‘We currently work very closely with our two chosen winners,’ he says. ‘Watch this space!’ For smaller businesses, CSM Talent Scout has a database of freelance graduates that it uses to match with project requests. For a small fee, says Tim Hoar, it send a brief to appropriate people on the list. ‘It’s between the client and the designer to make arrangements. We provide templates of suggested fees, and give the designer an idea of how to pitch and what to charge.’ Ryan McCann is label manager for Domino Records, whose artists include Arctic Monkeys, Franz Ferdinand, the Animal Collective and Dirty Projectors. He placed an ad through CSM Talent Scout for a creative to help promote music and was delighted with the response. Ryan set candidates an assignment in lieu of holding interviews. ‘I was very impressed by their enthusiam. Two of them really went to town and made me music videos from scratch.’ Unfortunately the job description changed so none of the applicants was taken on. But Ryan will keep in touch with two interviewees. ‘They’re bright sparks,’ he says.


Art in space

How is artistic practice changing, and how will this affect the artist’s need for studio space? asks Gaynor Aaltonen

To my mind, it all began with Marcel Duchamp. In the early 20th century the Dadaists and Surrealists challenged the authority of the art object itself. If the artist said a urinal could function as art, then what did that say about art? From that point on, so-called ‘fine’ art was in a constant state of flux. By the end of that same century installation art focused on process and interaction, not as a means to an end but as the end product itself. Video art, cyberart and new media have further complicated the picture.

the necessary ‘permissions’ took around six months of bureaucratic delving, for which Madalina was unprepared. ‘I can’t see artists routinely filling out risk assessment forms,’ says Anna. Another recent project for AIR involves regular cleaning of a Stanton and Staveley manhole cover, under the full moon – ‘a bonkers activity in a very forgotten corner of a vast city’, as Rosalie Woods charmingly puts it. Rosalie’s work is very much about questioning value in society. For this project in particular, she could only work outdoors.

Artists’ studios were once atelier spaces. Yet many of today’s artists don’t see crafting objects or scraping paint about as their future. They’ve set themselves a no-holds-barred brief to advance our understanding of who we are. And digital technology allows people to work in ever-smaller spaces, even in spaces that are ‘virtual’. The changing nature of art practice – often involving collaboration not just with other artists but with the public and specialists from many other fields – means that spaces for meeting can be as important as spaces for making. Theoretically speaking, a ‘studio’ could be a classroom, the street, or a virtual space that exists only online. All it need be is a place to host the creation of something new – new and, in principle, challenging.

So will artists ever abandon the studio altogether? Jonathan Harvey, cofounder of the London charity Acme Studios, which develops affordable studio space for artists in need, doesn’t really buy that. He thinks the argument for eversmaller spaces tends to be commercially driven. ‘In fact, the role of the studio is not just about production, although it can, of course, be that too. The whole business of making and experimentation requires a separate space. Having a studio is as much about self-identification as anything else. Many artists tell me their studio becomes the centre of their lives.

As Anna Hart of AIR studios (see a profile of recent work on page 18) points out, collective support can be crucial. One recent AIR artwork by Madalina Zaharia involved sailing on a public pond. Getting

‘Artists have had to remain at the margins, because you can’t measure artistic success in terms of financial turnover. Artists are both the pioneers and the victims of ‘regeneration’. They’ve always had to grab temporary, cheaper spaces, and often exist in a time of transition for an area, with no long-term security.’

Jonathan would like to see that change, not least because of his strong belief in the value of artistic involvement to the public. Art, he says, is becoming much more democratic. He cites as one example Isa Suarez’ ‘Human Rights Jukebox’, which explored the United Nations’ Universal Declaration of Human Rights with residents of Southwark and Camberwell. Graham Ellard, reader in Art, Architecture and the Moving Image at Central Saint Martins, agrees. Yet he finds his students’ art practice is changing, fast. ‘It’s timely that we question the received idea of the studio as the workshop space needed for making large, material objects. In fact, a studio might need to be a shared, multi-use space. It might be better as an edit suite or a gallery.’ Acme and the college are now working on a two-year research project examining the future needs of artists within the studio, through a formal knowledge transfer partnership process. However, Jonathan Harvey emphasises that for many artists working right now, it’s enough just to have a roof over their heads. Typically, Acme charges rent at a third of market prices. ‘We’re also looking at ways to develop more work/live spaces,’ Jonathan says. ‘It’s great to see more artists’ spaces integrated into new development schemes, and artists having the chance to become a permanent part of a community. I think that’s of real public benefit.’

Right Barbara Tyrell in her Work/Live unit at Acme’s Fire Station (1997-2001). Photo: Hugo Glendinning (1999) Far right ‘We were real pirates’ Photo © AIR 2010


New investments in innovation – artists’ spaces


Top gear ‘The A1 is surprisingly bold. My fashion should be as well’ – Marie Hill


Images © Grégoire Alexandre, 2009

Where do fashion designers get their inspiration from, and how do they turn it into what we see on the catwalk? Liz Adams reports on four recent Central Saint Martins BA Fashion graduates who were given an unusual muse in the shape of a high-performance car

‘The accentuated seams are reminiscent of the lines of the A5 Sportback’ – Viktor Smedinge

When Audi’s latest car models were showcased in its 2009 annual report, the company set out to reveal a dimension to its automobiles not normally seen in a generic product shot. Working with the BA Fashion course at Central Saint Martins, Audi selected four recent graduates and flew them to Munich to inspect four cars, previously kept under wraps, with a brief to design an outfit inspired by the automobiles. The designers discovered a strong synchronicity between their own aesthetic and that of the cars. The words ‘sleek’, ‘luxurious’, ‘craftsmanship’ and ‘cutting edge’ came up time and time again as they studied their allocated cars and sketched initial ideas.

Graduate consultancy

Influenced by the cars’ silhouettes, body lines and even headlight details, the four CSM womenswear designers came up with dresses that echo dramatically Audi’s precision engineering. Results were set against striking urban landscapes conjured up by photographer Grégoire Alexandre from the simplest of materials. For a video and interview with the designers visit:


Gaynor Aaltonen finds guerrilla art illuminating a drab corner of north London ‘Happiness is a butterfly which, when pursued, is always just beyond your grasp, but which, if you will sit down quietly, may alight upon you.’ Nathaniel Hawthorne

Alight on me

An unconventional art project called ‘Alight’ has been breathing new life into an unloved part of London, an area that could use some serious artistic awakening. Three thousand blinking lights atop the north London tube station at Archway offer a clue to what’s been happening. David Batchelor’s riotous sculpture ‘Big Rock Candy Fountain’ has been arguably the most visible of the projects. At 10m high, it’s certainly the tallest. It was named after an American bluegrass ballad, a wishfulfilment ‘song of the land of milk and honey, where a bum can stay for many a day, and he won’t need any money’. ‘Big Rock Candy Mountain’ was written in the 1930s when, as now, times were hard. The theme of fantasy can be read into it, says David, although that’s not expressly what the work is about. ‘I wanted it to be about the colour and energy of light, and specifically fairground lights. It was inspired by the idea of fountains – the sort you might find in Rome, or Venice, or Las Vegas.’

Above Light Years Away by Hilary Powell © Hilary Powell 2009 Right top David Batchelor’s Big Rock Candy Fountain © LondonSockExchange 2010 Right bottom Jane Watt’s Trip the Light Fantastic © LondonSockExchange 2010

Las Vegas Archway is not. It is, however, home to Byam Shaw School of Art, part of Central Saint Martins. ‘We want to expand expectation about what art can be and what it can do,’ says Anna Hart, who runs Byam Shaw’s AIR, the project studio behind ‘Alight’. ‘In this case it’s been a shared, collective experience that’s brought light and excitement to a drab corner of the borough.’ The projects are all about finding creative expression in the everyday. Each one is life-affirming, drawing the shifting communities of this neglected part of London into something new and unexpected.


What they said Kerri, 24, student

Hilary Powell’s multi-layered project turned a run-down shopping precinct into an informal roller skating rink. Taking off at night as commuters thronged the area on their way home, the project explored ways of bringing dead space to life, filling it with natural energy and motion. People came from all over London to take part. Skaters had LEDs attached to their hats, shoes and knees, lighting them up as they moved. Hilary captured the moving figures, animated by light, using both still photography and film. The film, ‘Light Years Away’, was later premiered in the open air against the skating rink wall. ‘This is not art as in making things pretty. It’s more about doing something which has meaning for people and which stimulates the imagination,’ says Hilary. ‘It’s rare to be able to work with that level of conceptual freedom.’

‘I like it. It adds something to Archway. I really like the way the light reflects everywhere.’

Bhuviq, 25, student

‘To me, it’s very enthusiastic.’

Rafal, 34, builder

‘I’m not very fond of it. It looks OK in the evening, but during the day it’s just a strange collection of pipes. It’s in keeping with the surroundings, though.’

Jane Watt wanted to explore the way light reveals the fantastic in the ordinary. For her ‘Trip the Light Fantastic’ installation huge illuminated images of dancers were beamed from windows high above while the darker recesses of Archway were transformed by bright pink spotlights into an escapist fantasy. People danced spontaneously in the dramatic columns of light.

Catherine, 22, chef

‘It’s nice. I thought it was only here for Christmas.’

Graham Hitchen, the new chair of Creative Islington, describes these and other projects as ‘guerrilla art,’ and admires the way the artists encouraged people to take ownership of unloved spaces. ‘It’s artist-led and it takes risks, with pieces that don’t fit preconceptions of what art should be. ‘Alight’ shows the role art can play in animating our harsher urban landscapes.’

Katelyn, 37, make-up artist

‘I thought it was a Christmas idea. But anything bright and sparkly is welcome in Archway!’

David, 76, businessman

All the ‘Alight’ commissions were supported by AIR (Archway Investigations and Responses) at Byam Shaw School of Art, in partnership with the London Borough of Islington and with support from Transport for London.

‘It’s lively and cheerful. And it’s visually stimulating thanks to the movement. I think very positively about it.’

New investments in innovation – community art


Real life curriculum Fresh thinking from CSM students is helping businesses innovate and express their brand values

Bally The brief set by this iconic shoe company to CSM’s MA Fashion course was to create a range of women’s shoe designs with a strong luxury feel and high editorial value which demonstrated Bally’s heritage of exquisite craftsmanship and the highest quality leathers. Under the exacting direction and inspirational supervision of Course Director Professor Louise Wilson OBE, 15 students submitted work for selection with five being picked to visit Bally’s last and heel manufacturers in Italy to have their designs created. The five students were chosen

Heinz Heinz approached CSM’s BA Product Design course to carry out research into how their iconic ketchup bottle might evolve in modern society and to explore developments in user behaviour around tomato ketchup. After delivering an insightful brief Heinz encouraged the students to begin with a handson approach by providing a selection of sausage sandwiches and ketchup in various recent incarnations of packaging. The main questions the students needed to address were: ‘how do you keep such an iconic product as relevant


because their work focused specifically on innovative heel shapes with each choosing to create styles that accentuate a different part of the foot. The students then went on to work with the craftsmen at Bally’s Swiss shoe factory to begin the prototype process, which was of unique benefit as Louise Wilson explained: ‘Bally has given these students the opportunity to realise their designs, plus an invaluable insight into the operations side of their chosen field.’ After several months and four revisions an event showcasing the samples was held during London Fashion Week at Brown’s Hotel in London’s Belgravia.

Of the five students, Bally decided to purchase work by three – Estefania Cortés Harker, William Hendry and Charles Youssef. Since then, six shoes (two per student) have gone into production. The arrival in-store of the Central Saint Martins collection has been celebrated with events in London and New York during Vogue Fashion’s Night Out, and has been viewed by Bally as a commercial success. MA Fashion is now working on a men’s shoe collection for Bally.

today as it was when it was first introduced in 1876?’ And ‘how do you keep it a much loved part of people’s lives?’ This required extensive consumer research into how people use ketchup, who uses it and where, along with other issues such as sustainability and convenience.

demonstrating their relevance and their appeal to the Heinz consumer.

Following the initial research the 44 students presented their findings to Heinz, which led to 11 ideas being selected for further development. These were then taken from concept stage to finished designs, illustrated as soft models and presented with details of materials and manufacture, crucially

‘Bally has given these students the opportunity to realise their designs, plus an invaluable insight into the operations side of their chosen field’

Saint Martins. We see this as a long-term partnership and a key part of Bally’s evolution as a modern heritage brand in the world of luxury.’

Bally’s CEO Berndt Hauptkorn said: ‘We’re very excited about this collaboration with students from Central

Above Winning design by Estefania Cortés Harker. Image courtesy of Bally

Heinz is currently using the project’s results to inform its own research and development. The company was so interested Out of 11 concepts in the students’ responses that the overall winner was Nicola it commissioned additional Little, whose ‘pop pots’ idea research from CSM into focused on ketchup as a cooking attitudes towards sustainability ingredient but is also suitable in packaged goods. BA Product for condiment use. Placed Design’s relationship with Heinz second was Amelia Boadie’s has continued, and students are expanding pot of ketchup to be currently working on a brief for used as a dip at barbecues or another iconic Heinz product – parties, encouraging sharing baked beans. and togetherness. Placed third were Sarah McDonnell’s ‘eco pouches’, which are easy to transport, refill and recycle, and come in three handy sizes. The three winners received book tokens and cash prizes, and

Left Heinz Beanz Student Briefing and Tasting © CSM Innovation

‘How do you keep such an iconic product as relevant today as it was when it was first introduced in 1876?’

Sponsored student projects


‘Boundless creativity and enthusiasm from the students coupled with faultless management by the CSM team – working with Central Saint Martins was pure, hassle-free joy’

Above far left Atrium Elevation, Sony Music London Office by Clas Celsing and Eva Vestmann

Below far left MA Fine Art students with their work. Image courtesy of Mischon De Reya

Below One of the winning pieces for installation at the Sony Music London Office

‘Michael’s work really impressed us. It perfectly embraced the dual concept of creativity in conflict, the Family Law department’s ethos which inspired the competition’

Sony Music When Sony Music wanted an original and arresting visual installation for its new head office to illustrate its musical history and heritage from 1888 to the present day, the company ran a competition for all CSM’s BA Graphic Design students and held a launch event in the building which was to be their blank canvas. In December 2009 over 250 students crowded into the offices on London’s Derry Street to receive some audio-visual inspiration and to be briefed by Emma Pike, Sony Music VP Communication and Artist Relations, and Richard Connell, General Manager, Arista Records. This was followed by a tour of the space and a chance to ask questions.


The essence of the brief was to inspire staff and excite visitors by reminding them that what Sony Music does is ‘to shape popular culture through the medium of music and the creation of superstars’. Project tutor Bobby Gunthorpe commented: ‘This awesome brief was a once-in-a-degree opportunity that generated a truly unprecedented response from our students.’ An interim exhibition of the most successful concepts was presented in the Innovation Centre Gallery and, following feedback from the client, 11 groups (17 students) were invited to develop their ideas further. The finalists presented their work to a panel of judges who selected three runners-

up and announced the joint winners as Eva Vestmann and Clas Celsing. Eva and Clas were asked to combine their concepts, which were based on quotes from iconic Sony Music artists such as David Bowie, Elvis Presley, Patti Smith and Michael Jackson, and the finished result is currently being installed at Sony’s offices. The project was a winning experience for all. Said Emma Pike: ‘Boundless creativity and enthusiasm from the students coupled with faultless management by the CSM team – working with Central Saint Martins was pure, hassle-free joy.’

Mishcon De Reya Mishcon de Reya’s Family Law department decided to mark the 30th anniversary of Sandra Davis, Head of Family Law, joining the firm by funding a competition for our MA Fine Art students to address the theme of ‘Creativity in Conflict’. A prestigious launch event held at the Imagination Gallery in the West End, which featured work from the previous Central Saint Martins MA Fine Art degree show alongside acrobatic jugglers, saw emerging artists Emily Lockren and Stephen Ford mix with high-profile figures from the legal world.

participated in the first round of judging where several pieces were selected which explored the theme of conflict and were seen to provoke debate. The main event was an exhibition of all the finalists coupled with an award ceremony which took place at the law firm’s Red Lion Square offices and which featured a judging panel including independent collector and curator Kay Saatchi.

The overall winner and recipient of the first Mishcon de Reya Art Prize and £5,000 was Michael James for his piece entitled ‘Deciphering what it is you really like’, a two-canvas During the interim show oil painting which combines a held at The Bargehouse on the variety of painting styles and South Bank in February 2010, depicts a selection of seemingly representatives from Mishcon random objects, including a

Sponsored student projects

fish on a plate, a rooster and of placing their work in a higha teaspoon. The judges felt it profile business environment’. created an impressive conflict in terms of both style and content. Judge and guest of honour Sandra Davis said: ‘Michael’s work really impressed us. It perfectly embraced the dual concept of creativity in conflict, the Family Law department’s ethos which inspired the competition.’ Michael’s work is now on display in Mishcon’s Red Lion Square offices. MA Fine Art Course Director Joanna Greenhill highlighted the benefits for students beyond the prize money, saying: ‘The competition gave MA students specialising in painting a chance to increase their professional practice skills and offered them the prospect


Swire Hotels – making art public

Dom Perignon – what would Andy do?

When the Montpelier Chapter Hotel in Cheltenham opened in November 2010 it unveiled an art collection comprising 160 pieces by art students and leading contemporary artists, writes Liz Adams

The famous champagne house commissioned CSM’s Design Laboratory to create a limited edition label and box that referenced a 1981 extract from Andy Warhol’s diary

Right Oil on canvas ‘Untitled’ by David Leeson in the hotel bar. Image courtesy of Swire Hotels Far right Image courtesy of Dom Perignon

The paintings, photographs, sculptures and prints which today animate Cheltenham’s Montpelier Chapter Hotel were carefully selected by CSM’s BA Fine Art Course Director Jane Lee to work with their surroundings and to ‘stimulate memory, association and an appetite for sharing experiences’. The 61-room Grade II listed building has retained its original early Victorian splendour while undergoing a comprehensive renovation, a process Jane was involved in from the start, visiting the hotel before its transformation and studying architectural drawings as she sourced the collection. The collection is built around major works which consist of six paintings by established artists including David Leeson and Mario Rossi and two sculptures by Irene Gunston. The Birds Portfolio and the Bugs Collection are part of the print section and the result of collaborations between some of Britain’s best known 24

artists and Byam Shaw School of Art (part of Central Saint Martins). There are also four digital prints of work by undergraduate sculpture students which were specially commissioned. Work was sourced from a range of contemporary galleries, including the influential and experimental Matt’s Gallery in east London and The Fold Gallery in Hackney, as well as from CSM’s own MA Fine Art Interim Show. The collection remains a work in progress with a proposed glass sculpture by Peter Fillingham, commissioned for the front of the hotel as part of Swire Hotels’ commitment to accessible art. Managing Director Brian Williams said: ‘It’s been a pleasure working with the team at CSM and we believe we have a unique and fascinating collection of art for our patrons to enjoy.’

Andy Warhol describes the so-called ‘2,000 Club’ as ‘a club of 20 guys who get together to buy 2,000 bottles of Dom Perignon which they put in a sealed room until 2000 when they finally drink it’. The running gag is about who will be around and who won’t. Whether this actually happened isn’t known, but the artist’s influence on popular culture is as relevant today as it was then.

Building on the peeling banana imagery from the Velvet Underground’s album cover and Warhol’s vibrant ’60s screenprints, they developed a series of colour codes to create five different concepts from which the client selected the winning design. The finished product is a range of limited edition 2000 and 2002 vintage Dom Perignon available in three variations.

Dom Perignon (part of the LVMH Group) wanted something which was collectable, bold and instantly recognisable and which could be adapted to create dramatic point-of-sale possibilities. The project received rare approval from the Warhol Foundation and was envisaged as a tribute to Andy Warhol’s signature style with the aim of creating maximum impact in display terms. The design team focused on the playful aspect of the artist’s work and began with the question: ‘What would Andy do?’

Dom Perignon was so impressed with the results that it asked the Design Laboratory to create an animation dramatising the creative process. This short film is on display in reception at CSM Innovation.

Art and design consultancy


Since its foundation in 2005, the Fashion in Film Festival has become a leading showcase for the common ground shared by fashion and film. The third festival, Birds of Paradise, is a fascinating exploration of costume as a form of cinematic spectacle in European and American cinema. A major series of screenings and special events took place at some of London’s most prominent arts venues from 1-12 December 2010. The festival travels to the US and Canada during 2011. For upcoming tour dates go to the Fashion in Film website:

Fashion in Film Festival

20:20 Fashion Fund Top EA Dupont’s Moulin Rouge (1928) © British Film Institute

First row left The Liberation of the Mannique Mechanique (1967) © Steven Arnold Estate First row right Male and Female by Cecil B. DeMille (1919) © Kobal Collection

Bottom left Lupe by José RodríguezSoltero (1966). Image courtesy of Fashion in Film and Film-maker’s Co-operative New York Bottom right The Butterflies, Unknown, Italy 1907. Image courtesy of Lobster Films

In response to ongoing cuts in education and the arts, MA Fashion Course Director Louise Wilson has launched a CSM appeal fund, writes Heidi Hammond

Above left Christopher Kane, Donatella Versace and Louise Wilson Above right Daisy Lowe, wearing Versus by Versace, pictured with Donatella Versace Images courtesy of Dafydd Jones


Fashion past, present and future

As Central Saint Martins prepares to move to its new home in King’s Cross, the fashion department is already planning how it can afford to remain at the forefront of the industry and continue to identify and nurture the stars of tomorrow. They have invited 20 visionary fashion insiders to pledge a minimum of £20,000 each to ensure that the best young designers receive the education and support they need to progress in the industry. In exchange for this, donors can expect a benefits package which includes the hottest tickets in the fashion calendar – VIP invitations to the college’s MA and BA Fashion shows. The 20:20 Fashion Fund was launched at the Dorchester Hotel in November 2010 with a star-studded dinner hosted by Donatella Versace, who has herself donated £20,000. She seemed shocked that such a prestigious institution should be in need of funding, saying: ‘I had no idea that Central Saint Martins might need money. It’s so special you might assume people are already donating. All the biggest stars have come from CSM.’ But after hearing Professor Wilson speak passionately

on the subject, no one who cares about fashion could be in any doubt as to the worthiness of the cause, in Donatella’s opinion. ‘It’s vital for fashion to sponsor fashion, and it’s been hugely successful. Without the colleges the very face of our industry would change. There would be no BA or MA shows, of course, but sponsorship encompasses bursaries, hardship funds, materials – so many things. Sponsorship also brings high calibre ‘live’ projects to students, offering an opportunity to work with international companies, to travel to factories and to work with press and PR in promoting projects.’ Other 20:20 Fashion Fund donors which CSM wishes to thank include John Rocha, Joan Burstein, Gucci Group, American Express, Lane Crawford, Natalie Massenet (net-a-porter), Converse, Top Shop, Marks and Spencer and Bally.


Exhibit A: a new Masters degree at CSM that teases out synergies between art and science. Items B and C: two Artakt-curated exhibitions that deploy art and artworks to comment on current scientific discourse. The all-new MA Art and Science at CSM, first proposed by course director Nathan Cohen three years ago, is based on his own experience as an artist and educator. ‘My work deals with notions of structural space, so I’d been aware of the possibilities of artists collaborating with scientists,’ says Nathan. ‘And today, with a whole host of initiatives coming from NESTA and others, we’re seeing an explosion of interest in interdisciplinary dialogue as a means of generating new knowledge.’ The MA, part of a restructured postgraduate art programme at CSM, envisages an initial intake of 15 students in September 2011 and is the first course internationally to offer a sustained twoyear experience of the subject area. ‘We’re looking for people whose instincts and enthusiasms will help this field evolve,’ says Nathan. ‘The course is a vehicle for exploring what art and science might be in the context of what it means to be human.’ Being human is very much the focus of an exhibition hosted by the Science Museum in 2010/11 to mark the centenary of the Institute of Psychoanalysis. Curated by Dr Caterina Albano at CSM’s Artakt consultancy and presented by the Science Museum’s Robert Bud, ‘Psychoanalysis: The Unconscious in Everyday Life’ explores the unconscious mind through a range of artefacts and artworks. Highlights include items from Freud’s private collection of classical antiquities, which surrounded the great psychoanalyst at work; a selection of drawings, never displayed before, from a haunting Melanie Klein case study; and contributions by leading artists including Grayson Perry and Kristian de la Riva. 28

Enlightened bedfellows in the 19th century but since estranged, art and science are currently a hot double act. Barry Hunter reports

Exhibition visitors uncover meanings and associations as they encounter a sequence of themed cabinets, with psychoanalysts interpreting via a voiceover commentary. ‘The exhibition,’ explains Caterina, ‘looks at the experience of the unconscious as it happens to all of us every day – in other words, through our material culture. It’s also a reflection of how psychoanalysis can help us understand new behaviours prompted by emerging technologies. Gadgets are changing the way we negotiate contacts with each other, altering the deep belief systems that allow us to relate successfully.’ The exhibition’s location at the Science Museum prompted a lively debate about the status and standing of psychoanalysis itself. Is it a science, or something other? ‘It doesn’t fit easily into the cultures of science and art,’ says David Bell, President of the Institute of Psychoanalysis. ‘It doesn’t reside in either camp – it belongs in both. The exhibition’s title reminds us that the unconscious isn’t confined to the consulting room. It pervades our lives, shaping our desires. It’s just that we don’t always see it.’ Through Artakt, CSM is also a partner in MitoSys, a five-year research project into cell division that teams 12 scientific institutions across Europe and culminates in an exhibition or exhibitions, scheduled for 2014, in London and elsewhere. Curated by Artakt’s Marina Wallace with exhibition organiser Anna Nasmyth, MitoSys builds on successful collaborations between Artakt and scientific partners including the Wellcome Trust and, of course, the Science Museum. ‘It’s an exceptional opportunity,’ says Marina. ‘CSM is included as a partner at the top table of scientific institutions without actually being one.’ MitoSys, which brings together Nobel laureate-level scientists, will invite composers and choreographers to help

tell its story because, says Marina, ‘cell division is hardly a static affair – it’s about movement, about life’. The project will also film its scientists at work to illuminate the research process.

‘It’s an exceptional opportunity. CSM is included as a partner at the top table of scientific institutions without actually being one’

For participating scientist JanMichael Peters of Vienna’s Research Institute of Molecular Pathology, MitoSys – still in its formative stages – offers the tantalising possibility of ‘switching sides’ to become ‘scientist in residence’ at Central Saint Martins. ‘I love science,’ says Jan-Michael, ‘but it only represents one approach to the world. Combining science with art lets us consider things from different angles to create an experience that goes beyond the facts.’ Adds Marina: ‘Science is too important to be left to scientists and art is too important to be left to artists. In a sense, this project isn’t about either. It’s about the personal experience of knowledge, for the researcher and exhibition visitor alike.’

Images courtesy of MitoSys

Science and art – friends reunited


Four students from CSM’s MA Creative Practice for Narrative Environments course worked on a six-week placement project with ParalympicsGB to inspire the London 2012 Great Britain team through the look and feel of the paralympic camps and village

The students came up with a concept to create a motivational journey through the space, mapping the athletes’ emotions from training to winning based around the theme of ‘Play’, both in a competitive and recreational sense. Corinne Rockall, one of the students who worked on the project said: ‘Our response to the brief was informed by background and on-site research as well as by interviews with past and future Paralympics athletes and staff. The fact that the final design was to be applied to very large spaces also shaped our design thinking.’ The final imagery extrapolated from the Paralympic ‘Lionshead’ logo as well as the Paralympic sporting pictograms and colour scheme in order to reflect ParalympicGB’s visual identity. For student Jasmine Wu it was a real opportunity to put her new-found expertise into practice. ‘The brief for this space design project required us to create graphics. But what an audience focuses on is not only the space, the object or image, but also the experience and feelings of the athletes. It feels as if the paralympic athletes are telling a story when you enter the camp, so I gained a good understanding of how to create a successful narrative environment.’

Counting down to London 2012

As preparations for London 2012 hot up over the next year, Central Saint Martins hopes to be increasingly involved in the activity surrounding the games. Our new building in King’s Cross will certainly be part of the action – it’s only four minutes’ walk from the Javelin train that links St Pancras to the Olympic Park at Stratford. CSM is working closely with King’s Cross site developers Argent and sports marketing agency Fast Track on a vibrant destination for visitors to London that will involve brands, live sports and cultural experiences in the heart of the city.

Images courtesy of ParalympicsGB


Said Tanya Crook, Chief Operating Officer, ParalympicsGB: ‘CSM worked with our staff and athletes to design and deliver a final concept which was dynamic, simple and inspiring, capturing our brand and the essence of 20 sports embodied in one team in 2012.’

Countdown to London 2012


Clients, funders and partners

Contact us:

CSM Innovation works with a wide range of clients, project funders and project partners. In the last two years we’ve worked with these businesses and organisations Clients Abdulfatah Ibrahim Julaidan EST Agnes b Alfa Romeo Amberlight Anova Books Ltd Audi Aurora Orchestra Baide Bally BBC Beijing Diongxiang Sportwear Co Ltd (Kappa) Bloomsbury Publishing Plc Breakthrough Breast Cancer British Cheese Board Broxap Busaba Cape Press Ltd CaribTours Ltd Cass Arts Centre for International Studies & Diplomacy Centre for Protection of the National Infrastructure Chambre de Commerce et D’Industrie Calais Champagne Moet & Chandon Chan Yi Publishing Taiwan Charter Central Services Cisco Systems Cool Diamonds Council of Europe Crafts Council Dan-Form Daniel Hersheson Design Museum Docklands Museum Don’t Panic Ltd Duke Street Investment Capital EDF Europa Mobel Verbund GmbH Family of Rock Folli Follie Fonehouse Glass House Glenmorangie UK Global Eye Great Ormond Street Grey Advertising GTA Travel Gucci Group GV Art Habitat UK Ltd Hammerson Harrods Hatton Gardens Festival Havana Club Heinz Henderson Hill & Knowlton Holocaust Memorial Day Trust House of Communications Hugo Boss Imagination Technologies Institute of Education IPG Sandbox Italian Trade Commission ITRS Japan Centre Japan Jas Hennessy & Co JTB Europe

Korean Institute of Design Promotion L’Oreal Professionnel Land Securities LDJ Leicester City Council Liberty of London Lineapelle Links of London Loewy Group London Borough of Lambeth London Borough of Lewisham London Borough of Sutton London Metropolitan University LPP, Poland Luxottica s.r.l LVMH Mangrove Consulting Ltd Marks & Spencer McCann Erickson DBA Universal Mediabrands International Limited Metropolitan Publishing BV Microsoft Research Miki Travel Mishcon de Reya Moet Hennessy UK National Audit Office National Counter Terrorism Security Office Nissan Novell Entertainment Omela Ltd Oracle Training Consultants Ltd P&G Performance PR Peroni Phil McIntyre Entertainments PIPC (UK) Ltd Platform Holdings Limited (Underground Clothing) Platinum Guild International Play Action Portsmouth City Council Premiere Vision Pringle Puffin Post Puma Pure PV Denim Queen Mary, University of London RIWAQ RNIB Royal Agricultural College Samsonite Samsung Science Museum Seismonaught Selfridges & Co Shanghai Kappa Sporting Goods Co, Ltd Sigen College, China Smythson Snug & Outdoor Sony Music South West Trains Southbank Speakers Corner Trust Sturm und Plastic Sveriges Television AB Swarovksi Swire Hotels Tateossian Telemagination Ltd

Tetrapak Foundation Text 100 (Lenovo) Triumph UK Pavilion at World Expo 2010 UK Sport Ukraine Hairdressers Association Unilever Unite Universal McCann EMEA Universal Media University of East London Unnati VF Europe (Wrangler) Wafir Factory for Industrial Detergents Weber Shandwick Wild Mauritius Ltd Zag Ltd Project funders Arts Council England Arts Humanities and Research Council Audi Design Foundation Brighton and Hove Council British Council British Film Institute British Transport Police Civitas (Brighton) Cocheme Charitable Trust Cycle Super Highways Economic and Social Research Council Engineering and Physical Sciences Research Council Film London Gheri Sackler Higher Education Innovation Fund Home Office Lewisham Film Initiative London Borough of Barking & Dagenham London Borough of Camden London Borough of Islington London Borough of Waltham Forest Neal’s Yard Foundation Pieter & Olga Dreesman Technology Strategy Board Transport for London V&A Virtualisation Ltd Wellcome Collection Wellcome Trust World Health Organisation Project partners Absolute Print ACPO/ Secured by Design Action for Employment Actionaid AND Publishing Archway Library Archway Methodist Church Archway Town Centre Management Group Art in the Open Barbican Beautiful Beauty Salon BFI Soutbank Bicycle Film Festival BLIP British Museum

CABE City and Islington College City of London Counterpoint Creative Islington Design and Technology Alliance Designing Out Crime Association Elisava Factory Fitness & Dance Centre Harman Restaurant Homes for Islington Horse Hospital Institute of Psychoanalysis Islington Arts Factory Jai Kudo Junction Restaurant Café Lazari Investments Limited London Borough of Islington London Butoh Asylum London Meridian College London Underground Metroline Metropolitan Police Mori Museum, Tokyo Mother Red Cap Mount Carmel Technology College for Girls Movement Angol Dance Company National Policing Improvement Agency Office of the Public Guardian Origin Housing Association Oslo National Academy of the Arts ParalympicsGB Perpetuity Group Questionmark Computing Limited RMIT University Rowan Arts Royal College of Surgeons Royal Institution Shanghai Institute of Visual Art Somerset House Tate Modern Thomas Brothers Transport for London Tubelines UCL Jill Dando Institute of Crime Science University of Huddersfield University of Technology, Sydney Vexed Generation Western Australia Office of Crime Prevention Sponsorship raised by our students for degree shows Bohle Ltd Borders Gagosian Gallery HTA Architects Lead and Light Miss D R Pye Paul Mu Reed Recruitment Richemont International SA RKD Architects Royal Society of Chemistry Salmond Chambers Soothsoft Square Group Tate WRG Creative Communications

King’s Cross Dani Salvadori (Director of Enterprise & Innovation) +44 (0)20 7514 7255

Do you have any questions or comments for the team behind Halo magazine? Feedback is gratefully received. Email:

Student Projects Ellie Mathieson (Student Sponsored Projects Manager) +44 (0)20 7514 7008

Editorial Team Editor: Dani Salvadori Gaynor Aaltonen Liz Adams Eimear Byrne Heidi Hammond Barry Hunter Aurelie Michler Janice Warman

Sponsorship Marie McMillan Guy (Corporate Relations Manager) +44 (0)20 7514 7271 Professional Training Liz Adams (Business Development Manager) +44 (0)20 7514 7320 Research and Innovation Monica Hundal (Business Development Manager) +44 (0)20 7514 8716 Student and Graduate Business Tim Hoar (Business Development Manager) +44 (0)20 7514 8471 Design Laboratory and Saints Creative Intelligence +44 (0)20 7514 7028 Innovation Events and Venue Hire +44 (0)20 7514 7296 Short Courses and the Summer School +44 (0)20 7514 7015 Follow us on twitter @csminnovation

Above left The Comedy Games performance at the World Expo 2010. Image Courtesy of Edwin Matthews. Left Rehearsals in Shanghai for the Comedy Games. Image Courtesy of Edwin Matthews.

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