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Design and Craft in Brighton
Contemporary design evolves from the intersection of different disciplines and technologies. Current definition of the relationship between design, craft and industry denotes synthesis and symbiosis as key characteristics of this age. The extent to which design and craft overlap today in the triangle of design, craft and industry does hint at the possibility that these two disciplines are in fact one and the same thing. The identities of designer, artist and artisan are becoming increasingly fluid - the same goes for industrial, digital and craft techniques and methods that now form a symbiosis. The transformation of practices reflects changes in our value systems, which relate to patterns of consumption, but also changes in the processes of designing and making objects.
Debates continue over how to define design and craft. Design and craft have brought new energy, ideas and collaborative partnerships to a common field with an equally varied mix of processes and methodologies. The disciplines themselves have changed thanks to this symbiosis, and their underlying principles and processes are now shared and increasingly used by the industry. This conjunction offers the opportunity to create hitherto unseen combinations of materials, techniques and technologies. Design and Craft in Brighton is an example of this.
The aim of the Design and Craft curriculum at Brighton is to create an educational model that would make it possible to (re)discover partly lost and invisible ties between Old and New – traditions, cultures and technologies of making, and offer a variety of professional opportunities. For that we create transparency in teaching and learning and synthesize discipline-specific processes and techniques. In order to promote critical discourse and debate between these two disciplines, it is also important to compare their identities and to articulate their differences and their diversity. Our joint curriculum aims to introduce students to a wider range of creative processes and methods and to turn them into ‘thinking’ designers and craft practitioners who would be able to make informed decisions. The programme emphasises the value of experimentation with different materials and techniques, taking into account the traditions and intuitive use of material that is so common for the craft field, but also the formulation of development criteria and systematic methods that are normally
associated with the field of design. Instead of following set paths based on professional stereotypes (‘we do it this way here’) the students get a more varied experience, and an education that brings together studios and workshops, ideas and materials.
Research and Communication as a subject area offers the students a ‘theoretical platform’ where they can debate the causal relationship between ideas and objects and try to find answers to the ‘why’ and ‘how’ questions. In addition to that, research projects run by our staff as well as contacts with scientific and industrial partners give us opportunities to enrich the curriculum with live projects where the students can participate. As a positive result we see more and more students taking an interest in our master and doctoral studies. The MA in Sustainable Design has been operating successfully for three years.
One of the specific strengths of the Brighton curriculum is Professional Practice which is integrated into the course work, enabling our students to shape their professional profile as well as their creative identity. We aim to give students the skills to get by in the business environment and also to feel at home with the legislation surrounding intellectual property and production.
We are extremely proud of our students’ successes and we value their input and role in shaping the culture and identity of our programme. This catalogue of projects by Design and Craft graduates of 2012 is challenging the boundaries of imagination with ideas, objects and artefacts grounded in reality through processes of making, driven by values of social well-being. On behalf of the programme team of Design and Craft I would like to thank the students, and congratulate them on their inspiring design proposals, and for their commitment and collective endeavour in fundraising and networking for the purposes of this publication. it is my pleasure to observe their confident entry into the professional design world.
Jüri Kermik Programme Leader, Design and Craft
Bridget Wheeler ...I learn a tradesman’s skill? page 6 - 7
Bryony Penman ...domestic objects begin to question our habits? page 8 - 9
Fiona Rourke ...we reflect? page 16 - 17
Chloe Meineck ...we use music to help people with Dementia? ...we could feel embedded carbon emissions? page 10 - 11
Grace Hancock ...you don’t take the medication? page 18 - 19
Craig Barrow ...natural elements and phenomena are used to create objects? page 12 - 13
Hyun Ju Kim ...furniture grows with your child? page 20 - 21
Edward Fiddes ...you encourage wildlife and nature in urban environments? page 14 - 15
Jessica Hung ...we embrace physical and social interaction? page 22 - 23
Josh Bitelli ...I bought a road worker a beer? page 26 - 27 Robert Grimshaw ...the design process becomes a tool for social engagement? Lucy Macdonald
page 34 - 35
...I introduce interventions into the city? page 28 - 29
Sam Sharman ...we focus upon what lasts within the home? page 36 - 37
Melissa Remai ...we were presented with an emergency? page 30 - 31 Sarah Hibbert ...you could drink from a house? page 38 - 39 Patrik Hiley Thorne ...we leave the machines at home and escape to the countryside? page 32 - 33
Seung Han Lee ......someone is smiling to you when you are lonely? page 40 - 41
What happens if...
University of Brighton Graduates
...I learn a tradesman’s skill?
Brick / Bowl These bowls are made using the traditional hand brick making process. I learnt to make bricks from the book ’The Forgotten Arts and Crafts’ by John Seymour and from watching videos on the internet. I then replicated the process as best I could, but modified elements such as the proportions of the mould to allow the resulting piece to have the domestic function of a bowl, and the type of clay for decorative qualities.
www.bridgetwheeler.co.uk bridgetiwheeler@gmail.com +44 (0)7792036589
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Bridget Wheeler I’m interested in learning about the making processes tradesmen use - making which is driven by necessity. Tinker, Copper Vessels A Tinker was a travelling tradesman who supplied households with metal goods such as jugs and mugs, coffee pots and pans. He would make domestic objects which were required door to door and used simple joining techniques such as folded metal and rivet fixings due to a limited workshop. Vessels were coated on the inside with molten tin to make suitable for domestic use and to extend the life of the copper. My copper pots are constructed in the same manner, using only mechanical hand tools up until the point when the inside is coated with plastic and the handle is enamelled. Design & Craft 2012
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What happens if...
University of Brighton Graduates
...domestic objects begin to question our habits?
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Bryony Penman
Design & Craft 2012
Objects to Engage My work seeks to encourage people to engage with one another through domestic objects and to rethink about the everyday items that we take for granted. The aim is to break down formal social conventions, tea drinking for example, through intrigue, conversation and movement. These ’awkward teacups’ seek to reflect our codes of behaviour that can at times be awkward. Handles vary in size and saucers vary in curvature to increase or decease their stability. It is up to the users to decide which they most enjoy using through discussion. The combination of materials, wood and ceramic not often used together in this context, also brings up questions on the materials we use in a domestic setting. The wood with its warmer feel and insulating properties is a logical material coupling the ceramic cup, which while it can hold hot liquids is a poor insulator and the reduced noise of china on wood brings an unfamiliar twist to the experience.
www.bryonypenman.co.uk bpen34@googlemail.com
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What happens if... ...we use music to help people with Dementia? Chloe Meineck engages with topical issues such as embedded carbon emissions, alternative energy generation and solutions to help with dementia. Her work is cross disciplinary and can include infographics, 3D outcomes, animations and even computer programming. My research states that listening to recognisable music, from certain periods of time in a person’s life, can help trigger dementia sufferer’s most inaccessible memories. It can also revive someone’s lost identity and reconnect them with the family and friends they have lost through the disease.
University of Brighton Graduates
www.chloemeineck.co.uk chloemeineck@hotmail.co.uk +44 (0)7756433140
The Music Box and the objects stored inside are codesigner with the user, consolidating the people, objects and music they want to remember. Each object is hand made and contains an RFID (Radio Frequency Identification) tag. When the object is placed in the centre of the box, the system reads the tag and plays an individual piece of music. My system is coded through using open source hardware and software called Arduino
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Chloe Meineck
Design & Craft 2012
What happens if... ...we could feel embedded carbon emissions?
The Food Project is for children to understand simply the complex issue of embedded carbon emissions. The heavier the food, the greater the embedded carbon emission.
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What happens if... ...natural elements and phenomena are used to create objects? System for shaping wood through lightning strikes System for shaping wood through lightning strikes consists of a 6 meter high stainless steel lightning conductor that when struck, channels the current, splitting a piece of wood through an arranged set of steel forks, leaving a charred and battered form. Situated upon isolated hilltops, the object focuses our attention on these monumental and unrestrained forces of nature and connects us with this unprecedented, fleeting moment of power. Through the use of natural occurrences, chance and change, my work emphasises connections and relationships between science, nature and the potential for design intervention, provoking questions over the interactions we share with the ever changing world around us. University of Brighton Graduates
The conductor and fork system is made from varying stainless steel components, with the electrically insulative joints and structural components made from porcelain and glass re-enforced plastic tubing. On the very top of the rod sits a handcrafted copper tip, reminiscent of traditional lightning conductors.
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Craig Barrow
www.craigbarrow.co.uk craig@craigbarrow.co.uk +44 (0)7752472682
System for recording the sun’s path across the sky Inspired by traditional Campbell Stokes Sunshine Recorder’s, the Met Office’s official sunshine hours metering method in which the suns radiation is magnified to scorch marks into daily sun cards. The same technology can be used as a simple yet alluring mark making system. Permanently transcribed across individual hand turned wooden bowls, the sun’s energy is captured and recorded as it moves across the sky. The direction, intensity and consistency are dependent on time, location and the interjections of the surrounding environment; each scorched path is completely individual. The process of the event becomes a ritual in itself, becoming as important to the piece as the resultant outcome. The piece can be used to mark a particular day or event of significance or simply self decorate through use, making a connection to it’s time and place. 13
Design & Craft 2012
natural occurrences, chance and change
What happens if... ...you encourage wildlife and nature in urban environments? Urban Wildlife
University of Brighton Graduates
Brighton and Hove is a city that encourages biodiversity, by organising workshops for local people to come and plant shrubs and trees in parks to installing and monitoring bird boxes throughout the city. I have been researching different ways in which to promote and enrich urban wildlife even more, as well as how to encourage people to interact with and learn more about it within our urban surroundings. Throughout the project I have been working with local park rangers to develop my knowledge and understanding of urban wildlife, this has aided my three product designs.
City Park Bird Hide The bird hide is designed using easy to construct wooden joints that slot together and are pinned in place. The idea of the construction is that it is easy for a small group to assemble and the design is transferable to other sites around the city as well as being easy to scale up or down depending on the amount of people that need to fit inside. My brief for this product was given set by the park rangers of Brighton and Hove city council.
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Edward Fiddes
promote and enrich urban wildlife
Design & Craft 2012
Habitat Sign Posts The signposts are designed to encourage different species to nest inside them. For most of my designs I have incorporated bird boxes and insect habitats. The bird boxes are designed for small birds such as blue tits and finch’s; alongside encouraging nature the posts promote human interaction and awareness of wildlife that coexists in urban environments.
www.efidd.tumblr.com ed_fiddes@hotmail.co.uk +44 (0)7889478172 15
What happens if... ...we reflect?
University of Brighton Graduates
www.fionarourke.co.uk fionarourke@gmail.com +44 (0)7854178178
Mirror, Mirror... & Reflect, Refract, React... Mirrors are culturally synonymous with selfawareness. They provide a unique virtual stage in which we play the part of the protagonist, the director and the critic. In this space we face our conscious selves; our expectations and aspirations, our weaknesses and fears.
In this space we face our conscious selves; our expectations and aspirations, our weaknesses and fears.
’Mirror, Mirror ’ and ’Reflect, Refract, React’ are two parallel bodies of investigation into our relationship with mirrors and reflections. The first considers how social and cultural values articulated through modern media affect our relationship with our virtual selves. The second applies the mirror to the body, rather than viewing the body in the mirror, offering wearers the opportunity to reestablish playful connections with mirrors through movement and performance. 16
Fiona Rourke
Design & Craft 2012
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What happens if... ...you don’t take the medication? Stackable light boxes My work examines issues of mental health that have no simple medical treatment, the symptoms of which can be controlled to some extent but never completely cured. Instead of attempting a solution, the objects I make are intended to act as a series of coping mechanisms to the various manifestations of these conditions. The purpose is to comfort the user and improve mental well-being. The forms of the objects have been inspired by architectural spaces alluding to the comforting nature of homes and shelters.
University of Brighton Graduates
www.gracehancock.co.uk grace@gracehancock.co.uk +44 (0)7776208062
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Grace Hancock
Design & Craft 2012
the objects I make are intended to act as a series of coping mechanisms to the various manifestations of these conditions
Seasonal Affective Disorder affects roughly 2 million people in the UK. Treatment for S.A.D ordinarily involves hours of bright light therapy. This set of cast resin and stainless steel light boxes provides a less clinical alternative to existing treatment. They are stackable; creating a sense of interaction and play. The three different sizes produce different levels of light, allowing the user to add and take away units in accordance with how much light treatment is needed.
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What happens if... ...furniture grows with your child?
I have a long-standing interest in design - in particular aspects of design appropriate for children’s furniture. I appreciate that many of today’s parents have a keen interest in design choice and have become acutely aware of the advances in design techniques. Many parents want their children’s furniture to reflect some of their own aesthetic leanings, a trend that today’s designers have recognised and applied to their furniture and furnishings.
University of Brighton Graduates
smilehyunju@gmail.com +44 (0)7545781530
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Hyun Ju Kim
When watching children play, they sometimes prefer a simple box over several toys. They often show interest in small changes.
Design & Craft 2012
When watching children play, they sometimes prefer a simple box over several toys. They often show interest in small changes. Also they like making their own secret places where they are comfortable spending time in. From the observing their psychology and their playing methods I focused my research in making a piece of furniture which serves not only one purpose but which can change; ideally it will provide children their own space, to catch their interests. With such background research, this baby cot is a piece of furniture that a baby first encounter and I wanted to develop it into something which can change according to the needs of the child rather than an item no longer of use.
My design is adaptable for a variety of uses. Initially, it serves as a baby’s cot but can be converted to an infant’s bookcase and/or a clothes’ rack. It is presented in an easy selfassembly format, using birch plywood and requiring no additional materials in order to transform into the other optional furniture items. For example, the cot can be converted easily by standing the items on end so that one half becomes the bookcase and the other side a clothes’ rack. As a bookcase, the item offers a child opportunities to enjoy their own space and seclusion for individual activities.
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What happens if... ...we embrace physical and social interaction? Inspired by social and physical interaction, I have created a body of work that explores the connection between people and the products. Asking how these items elicit new relationships and stimulate exciting experiences within a community.
University of Brighton Graduates
One of my outcomes is the ’Community Bench’, which is designed to create opportunities to build new relationships and strengthen bonds within the neighbourhood. The oversized tools are designed to allow a team of all different ages to work together in order to build the bench. As the instruction manual is concealed it triggers social interaction and discussion, allowing people to decode the product and learn how it is assembled.
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The oversized tools are designed to allow a team of all different ages to work together in order to build the bench.
Jessica Hung
Many people subconsciously react and exploit things in the environment, for this reason I designed the bench and the tools to speak for themselves; instantly telling the user how the components can be constructed. This intelligently designed bench gives people the creative freedom to customize its shape and function, whilst the cast resin buttons that adorn its surface come in a wide range of colours and textures; designed in order to enhance the aesthetic according to the personal tastes of the community involved. As a result it gives them collective ownership and a memorable landmark to be enjoyed time and time again.
www.jessica-hung.com jessicahung@hotmail.co.uk +44 (0)7920761989
Thoughtless acts - ...every day interaction reveals subtle details about how we relate to design and natural world is key information and inspiration for deign, and a good starting point for any creative initiative.
Design & Craft 2012
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University o Design Graduat
Design by James Brown - jameshaybrown.com
of Brighton & Craft tes 2012
What happens if... ...I bought a road worker a beer?
University of Brighton Graduates
HGV’s swarm down the motorways from closed industrial estates to superstores with their cargo hidden behind plastic blinds. Generally speaking, we have little idea of the inner workings of industrial production and little or no relation to the people behind the scenes. Objects rarely bare the seam-lines of construction and electrical goods are assembled with security screws that discourage DIY repair. I have become immersed in the production systems of two local industries, a project that uses a speculative playfulness to angle a looking-glass towards two integral yet inaccessible industries.
the line painters can decipher which of them has painted a line by The complex web of roads spanning and its minute detailing.
dissecting Britain, support and connect all other industries. Dean Larter the road worker says; ‘When I lay a road, it looks good,’ he boasts of roads that have lasted fifteen years and like true craftsmen, the line painters can decipher which of them has painted a line by its minute detailing. While these esoteric events are integral to the smooth running of everyday life, they are seen as little more than an inconvenience. I have borrowed tools, materials and knowledge from these experts so as to highlight the energy spent keeping something seamless.
www.joshbitelli.co.uk josh@joshbitelli.co.uk 26
Josh Bitelli
Design & Craft 2012 Similarly, I have spent time with Bakers who start work just past midnight, living their lives behind factory doors. One industrial, white loaf cannot describe the energy and personality of these characters who sing along to Johnny Cash and are happy to bake bucket-sized loaves for my own perversion of their established system. Brighton’s Forfars bakery celebrates it’s 75th birthday this year, a phenomenal achievement considering how much the production of bread has changed over the last century. The Forfars bakery has kept up with the growth of our cities with specialised machinery and an optimised factory layout. I have used Forfars fluffy, white loaves to cast a set of ceramic trophies and proven it possible to hack even the most standardised and safety-checked industries for the production of artisanal and crafted objects. 27
What happens if... ...I introduce interventions into the city?
The City Pod
University of Brighton Graduates
My work investigates ’missed opportunities’ in the city. This stems from my frustration with dull areas of cities that have not been designed to consider the public, such as dysfunctional structures or bland, uninspiring public areas. By utilising these often overlooked areas of potential in a city, I challenge the generic and standard catalogue of reoccurring street structures; hoping to introduce a new and more optimistic vision of a city.
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Lucy Macdonald
challenge the generic and standard catalogue of reoccurring street structures
Design & Craft 2012 The City Pods are a system of sleek containers that link together to introduce greenery along facades of buildings, making a parasitic use of existing walls and drainpipes. The pods can be installed in street spaces or as part of a shop front, to brighten up the outsides of buildings or even for private courtyards and shady areas. The City Pod is made so production is easy and simple yet it is cleverly designed to be adaptable in many different surroundings.
www.lucy-macdonald.com lucymacdonald@live.com +44 (0)7598925725
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What happens if... ...we were presented with an emergency?
University of Brighton Graduates
I’m a conceptual designer that uses society as inspiration, adding tongue and cheek. My design style has very much stemmed from my personality: I don’t take things too seriously. Through my work I use satire: I criticise people’s stupidity or vices, particularly in the context of contemporary politics and other topical issues.
www.melissaremai.co.uk m.a.r.designs@hotmail.com +44 (0)7714272344
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Melissa Remai The cork vase, with its macramĂŠ travel bag is inspired by research of the areas of England that are prone to flooding. The reasoning behind this design idea has been driven forward by the fact that as of 2013 it will be harder for people to insure their homes against a flood and of course personal belongings. The vase is designed to live within the home disguised as a vase, but once a flood occurs the vase transforms to an emergency floatation device which houses your personal belongings. The significance of the materials lay with the materials used at sea: cork which was once used as life jackets, and the macrame bag which is made of polypropylene rope which floats in water and retains shape.
We all have our own little emergencies, vulnerabilities and behaviours
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Design & Craft 2012
We all have our own little emergencies, vulnerabilities and behaviours- this emergency is something many of us can relate to. The design of this piece of jewellery is intended for the cigarette addict, made in silver emphasising the preciousness of that last cigarette. Hidden to society for the habit is deemed unclean. When the emergency of running out of cigarettes occurs, this piece of jewellery houses the perfect fix.
What happens if... ...we leave the machines at home and escape to the countryside?
Patrik Hiley Thorne is engaged in an ongoing study of tools, making processes and research that could be seen as traditional in the 21st century, but attempts to provide fulfilment and satisfaction that cannot be offered by technology.
University of Brighton Graduates
heavymetalsamuri.tumblr.com patrikhileythorne@gmail.com
These are hand tools to encourage the user to make with natural materials, gain inspiration from natural form and temporarily escape from the busy imposing, inanimate urban environment.
Tools This is the prototype for a wearable tool kit, to sustain the designer within isolation in the British countryside. Although this kit is bespoke to the designer’s own needs, it is his intention to enable the user to access areas of limited human interference fully equipped for making shelter or making with natural materials. The designer has been using the process pattern welding steel to produce long lasting and striking tool accents. As well as an axe and entrenching tool within the kit is a set of two Damascus steel knives, combining ancient technique of pattern welded Damascus steel with the modern process of vacuum forming veneered handles. Damascus steel holds a great edge and its striking nature is an attempt to highlight the importance of learning to use and interpret tools for your own use. 32
Patrik Hiley Thorne
Discord This project is concerned with the ambient noises within nature that can reduce emotional discord felt in urban surroundings. It includes a prototype sound recording device, seat/refuge point and carrying yoke with built in Aeolian wind harp.
Design & Craft 2012
gain inspiration from natural form and temporarily escape from the busy imposing, inanimate urban environment.
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What happens if... ...the design process becomes a tool for social engagement? Knit Furniture
University of Brighton Graduates
Using the ’Purl’ knitting circle as the driving force behind this project I have explored how collaboration can benefit the design process. Having learnt a new craft from the group the end products show how the trading of knowledge can create products that find innovative uses for certain skills and form new technical opportunities between craftspeople. The collaborative nature of the project encourages an accessible design process that engages the participants in skills outside of their normal periphery.
setting up links between industry and craft practices to create products that form an idiosyncratic, modern local vernacular.
www.robertgrimshaw.co.uk ragrimshaw@gmail.com 34
The garments that adorn the table and side cabinet use knitted textiles as a means to join and upholster the structures. As no adhesives are used in the process, the products are able to be taken apart and have their garments changed. Inspired by the ability to construct items on site, the garments are made across a number of weeks at the Thursday night knitting club and then assembled with the wooden frames in shop, ready for sale.
Robert Grimshaw Production Partnership Two businesses based in East Kent become partners to create a series of products. In this instance a sign maker in Ramsgate is paired with a seat weaver based in the neighbouring village of Wingham. Similar to the ethos of a 19th century cottage industry, products are manufactured through a series of sub-contracted skills readily available in the area. This supports the local industry; whilst the short distances travelled between each production stage maintains a low carbon footprint. Â The plans for the chairs are published freely to the public, allowing the new partnership to be emulated anywhere across the country in which these two trades exist. The project highlights how co-manufacture can exist across diverse platforms, setting up links between industry and craft practices to create products that form an idiosyncratic, modern local vernacular.
Design & Craft 2012
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What happens if... ...we focus upon what lasts within the home?
Past / Present
University of Brighton Graduates
Tastes and aesthetics within the home change over time but what endures? My project is about the standard items in the home that bind us together in commonality.
structure providing objects, such as picture pins and hooks, within all our homes unites us together as a culture
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Sam Sharman With the intention to identify objects within the home that not only linked individuals but generations, standard forms of fixtures and fittings, which support the individualization of the home have become iconographic of the details we overlook. Their image produces a conflicting sense of nostalgia and currency within us- having come to represent a role within the average home which has endured over time due to their perceived irrelevancy from the realms of fashion and trend. www.samsharman.com s.sharman@brighton.ac.uk
Design & Craft 2012 The use of these structure providing objects, such as picture pins and hooks, within all our homes unites us together as a culture - we are able to both relate and understand a foreign space by this common knowledge. My body of work aims to relate this narrative by elevating their use from hidden behind pictures & coats to one that not only displays and elevates their importance within the home in clear view but provides a contemporary interpretation of their use.
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What happens if... ...you could drink from a house?
A Response to Buildings The collection transforms shapes, sizes and surfaces from urban environments into a range of tableware. Scaled down detailing constructs a diverse landscape of form and texture, with contrasting surface finishes mirroring the aesthetic qualities of urban facades. By reinterpreting features from buildings they are given a new purpose; roof tiles for gripping, chimneys for pouring.
University of Brighton Graduates
Hand built jugs, slip cast bowls and cups, cast vases, trays and serving dishes were created by translating drawings, prints and photographs of the cityscape into three dimensional forms. Quality of line and abstracted form layered with colour and mix of materials, including red clay, resin and concrete, link the pieces together, creating a distinctive aesthetic.
www.sarahhibbert.com it.s_sarah@live.co.uk
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Sarah Hibbert
Design & Craft 2012
Scaled down detailing constructs a diverse landscape of form and texture, with contrasting surface finishes mirroring the aesthetic qualities of urban facades
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What happens if... ...someone is smiling to you when you are lonely? ...you sit with a magazine on a chair?
University of Brighton Graduates
the original impression of the wood as a scrap material has been transformed
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Seung Han Lee
www.hansdna.com cryingjean@hotmail.com
The chair was made from stainless steel and its main purpose is to save space. This chair was inspired by the idea of combining a book case and a chair to make one functional object. The magazines hang from rails built into the chair, and the feet of the chair were designed to connect with the Smiling Bookcase. The idea for my design was to make a bookcase with recycled scrap wood and to use colourful plastic resin instead of glue. I feel the use of recycled materials in design is an area which could be explored more effectively. The original impression of the wood as a scrap material has been transformed. When I finished bookcase to look pristine, it completely lost its charm and personality. Because of this I deliberately left the furniture looking unfinished to give the bookcase a ''shabby chic'' effect. 41
Design & Craft 2012
The Smiling bookcase is a unique and innovative piece of furniture, designed with a strong identity. It is developed based on the concept of designing specifically for a single person household using recycled materials. People might feel lonely when they are at home alone, but being surrounded by ‘smiling' furniture would promote an atmosphere of joy and would intensify people's feelings of happiness. Both boxes have different colours and faces, the user can change the colour to suit their mood. It is adjustable. Be creative!By making the furniture with bright, cheerful colours, the user's mood could be elevated.
A world class creative education • Over 150 years of educational excellence and innovation in the arts, design and architecture with staff and graduates who are leaders in their fields. • Career-focused study blends the best of traditional academic practice with contemporary methods, thinking, facilities and opportunities for creative and cultural industry experiences across the globe. • Based in one of the UK’s most creative and cultural cities we provide excellent networking opportunities, an hour from London and beside the sea. • Award winning design graduates include Andrew Tanner, Fred Butler and Anna Bullus.
For more information on our arts, design and craft courses visit
http://arts.brighton.ac.uk/study
See t his t imely design research project wit h t ouring exhibit ion t hat explores local design act ivism at 100% Design 2012. For more informat ion cont act Nick Gant n.a.gant@bright on.ac.uk or Garet h Neal g.neal@bright on.ac.uk www.onourdoorst eps.community21.org
Open to Public 6th-8th July 9am - 5pm
Netil House 1-7 Westgate St. London E8 3RL
University Of Brighton Graphic Design and Illustration Graduates
www.nowwhat2012.com @brightonshow
Congratulates the Brighton Design and Craft graduates of 2012
Design by James Brown www.jameshaybrown.com info@jameshaybrown.com James has recently graduated with a Graphic Design degree from the University of Brighton.
Printing by Sharman & Company Limited www.sharmanandco.co.uk
All work Š individual graduate 2012
No part of this book may be reproduced in any form without written permission from the publishers.
tahw sneppah ...fi