This year’s Design Degree Show, “The Milk Has Turned Against Us”, opens to the public on 14 June at Copeland Park in Peckham. In the weeks leading to the show, we’re giving you a peek at the work that will be on display. Today, we’re highlighting the graduation project of Noriyoshi Bernard Hitachi:
“My project began with investigating the question “Why can’t icons last forever?” a supposition predicated on the notion of longevity and tension between iconicity and ephemerality. Contextually belonging to the Waste Isolation Pilot Project (1979), designers investigated how the present would use icons to visually communicate risk and danger to the future. In order to define the boundaries of what an icon is, I initially looked at graffiti as it were an abundant and accessible urban icon. However, over the course of the project, I identified that cultures and rituals are more effective iconic entities, since the vehicle itself implicates the necessity for active maintenance in its preservation, therefore proposing that ways of preserving meaning and communicating ideas over time belong not within objects but in repetition of behaviors and actions.
Iconicity is built from the repetitive behaviors of collective ephemeral actions. Having this as a foundation, I used the graffiti artist as an urban performer, an anonymous character that people play into. In this role, the choices that are made are merely in accordance with how people expect a graffiti artist to act. I created the robe as a catalyst object, a costume that allows users to belong within a larger collective narrative and performance of graffiti. I am interested in this particular relationship between the graffiti and robe as an ephemeral object, and the performance of graffitti-ing as an iconic behaviour. The aim of the project is to unfold this question through creating a series of objects that interact within the space and generate points tension.”
This year’s Design Degree Show, “The Milk Has Turned Against Us”, opens to the public on 14 June at Copeland Park in Peckham. In the weeks leading to the show, we’re giving you a peek at the work that will be on display. Today, we’re highlighting the graduation project of Sam Warren and Maja Nordblom:
“What A Wonderful World?” is a sensory led, immersive adventure. Multiple pathways are available within the narrative of a fragile dystopian future, where our climate has become increasingly volatile. In this scenario, London has begun to flood due to rising sea levels and more irregular weather patterns.
The experience takes place within a custom set, built to take the appearance of a kitchen within a small apartment in Central London. We have used projectors, multiple computers and a number of sensors and webcams to create a fully functional, standalone space for three people to experience at a time.
The thesis behind this project is that our everyday choices in life are often neither conscious nor thought out; rather they are spontaneous and instinctual. Therefore, creating an immersive experience that asks people to consider their unsustainable actions in life, must also have a narrative driven by unconscious human actions.
Consequently the multiple pathways this narrative can take are guided by emotional recognition software and sensors that read the natural stress levels of the body. By allowing these instinctual, bodily outputs to guide the path this story takes, we believe we are better reflecting how we act in our everyday lives, forcing the audience to actively reflect upon their unsustainable, unconscious choices, more consciously.
This year’s Design Degree Show, “The Milk Has Turned Against Us”, opens to the public on 14 June at Copeland Park in Peckham. In the weeks leading to the show, we’re giving you a peek at the work that will be on display. Today, we’re highlighting the graduation project of Aaron Panesar:
“My studio project ‘Masculine Trajectories://’ utilises design-led action to intervene within the climate of masculinity, in contemporary society and culture. Through the development of a set of discursive measuring ‘tools’ designed to facilitate conversation, we can begin to form healthy dialogues surrounding our individual, and collective understandings of masculinity.
The tools are deployed through a series of engagements, focusing on three areas: Artefacts, Language and Empty Your Pockets. These engagements provoke participants to engage with the materials I have collected through first hand research and allow participants to draw on personal experiences.
The overarching aim of the project is to highlight the people, words and material items that occupy the grey spaces within society in regards to masculinity and femininity. Ultimately allowing for a new language to be formed through the engagements.”
This year’s Design Degree Show, “The Milk Has Turned Against Us”, opens to the public on 14 June at Copeland Park in Peckham. In the weeks leading to the show, we’re giving you a peek at the work that will be on display. Today, we’re highlighting the graduation project of Jamie Antin:
“My project aims to highlight how the biggest battles in sport are not the ones on the pitch, court or ring. The work investigates and celebrates the ‘People’s Game’. I aim to expose the idea of how this lowest level of sport has taken influence on city space and how the city space has affected sport.
Grassroot sports have always been important within the cultural and sustainable development of urban spaces. However, in a current crisis of lack of funding and support from both organisations within the private and public sector, its impotence and lack of growth has now left clubs concealed within the walls and spaces they operate within.
In using these subgroups, I aim to enhance how we can expose and understand the larger cultural narratives of society detained within their diverse communities, placing the sports within a new realm of education for the public. This aims to show a body of work that makes connections between elements of sport, art and design to enrich the voices and messages, placing them within a more contemporary context.”