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Fictional exhibition poster from Stage 2 of Master of Design in Interior Design project titled "Time is Malleable".

Project Synopsis: When a Midwinter festival goes wrong, our hosts – a Neolithic tribal leader, a magpie and a standing stone, are accidentally transported through time, from the Land of the Pishinrain 2628BC to Argyll 2031AD. Arriving in Glasgow, they are fascinated by the scale and acoustic properties of the Gartcraig Road salt dome and decide on this as the site of their future festivals and ceremonies. Making use of the unfamiliar objects from their new material world, they design new ceremonies based on those of their past, with a wish to reconnect with their past lives through these familiar acts. Time is Malleable is a fictional exhibition of the assemblages of objects created by our Hosts for this purpose. The exhibition presents an investigation into material culture and the role objects play in the creation of memory, ceremony, relationships and time.

The Time is Malleable fictional exhibition postcards were to appear like the exhibition postcards often available to buy in a museum giftshop. Four different postcards were created, with four different images on the front, representing the four seasonal ceremonies of our Hosts. The postcards are printed on a typical satin postcard stock.

Fictional exhibition poster from Stage 2 of Master of Design in Interior Design project titled "Time is Malleable".

Project Synopsis: When a Midwinter festival goes wrong, our hosts – a Neolithic tribal leader, a magpie and a standing stone, are accidentally transported through time, from the Land of the Pishinrain 2628BC to Argyll 2031AD. Arriving in Glasgow, they are fascinated by the scale and acoustic properties of the Gartcraig Road salt dome and decide on this as the site of their future festivals and ceremonies. Making use of the unfamiliar objects from their new material world, they design new ceremonies based on those of their past, with a wish to reconnect with their past lives through these familiar acts. Time is Malleable is a fictional exhibition of the assemblages of objects created by our Hosts for this purpose. The exhibition presents an investigation into material culture and the role objects play in the creation of memory, ceremony, relationships and time.

The Time is Malleable fictional exhibition postcards were to appear like the exhibition postcards often available to buy in a museum giftshop. Four different postcards were created, with four different images on the front, representing the four seasonal ceremonies of our Hosts. The postcards are printed on a typical satin postcard stock.

Fictional exhibition poster from Stage 2 of Master of Design in Interior Design project titled "Time is Malleable".

Project Synopsis: When a Midwinter festival goes wrong, our hosts – a Neolithic tribal leader, a magpie and a standing stone, are accidentally transported through time, from the Land of the Pishinrain 2628BC to Argyll 2031AD. Arriving in Glasgow, they are fascinated by the scale and acoustic properties of the Gartcraig Road salt dome and decide on this as the site of their future festivals and ceremonies. Making use of the unfamiliar objects from their new material world, they design new ceremonies based on those of their past, with a wish to reconnect with their past lives through these familiar acts. Time is Malleable is a fictional exhibition of the assemblages of objects created by our Hosts for this purpose. The exhibition presents an investigation into material culture and the role objects play in the creation of memory, ceremony, relationships and time.

The Time is Malleable fictional exhibition postcards were to appear like the exhibition postcards often available to buy in a museum giftshop. Four different postcards were created, with four different images on the front, representing the four seasonal ceremonies of our Hosts. The postcards are printed on a typical satin postcard stock.

Fictional exhibition postcard from Stage 2 of Master of Design in Interior Design project titled "Time is Malleable".

Project Synopsis: When a Midwinter festival goes wrong, our hosts – a Neolithic tribal leader, a magpie and a standing stone, are accidentally transported through time, from the Land of the Pishinrain 2628BC to Argyll 2031AD. Arriving in Glasgow, they are fascinated by the scale and acoustic properties of the Gartcraig Road salt dome and decide on this as the site of their future festivals and ceremonies. Making use of the unfamiliar objects from their new material world, they design new ceremonies based on those of their past, with a wish to reconnect with their past lives through these familiar acts. Time is Malleable is a fictional exhibition of the assemblages of objects created by our Hosts for this purpose. The exhibition presents an investigation into material culture and the role objects play in the creation of memory, ceremony, relationships and time.

The Time is Malleable fictional exhibition postcards were to appear like the exhibition postcards often available to buy in a museum giftshop. Four different postcards were created, with four different images on the front, representing the four seasonal ceremonies of our Hosts. The postcards are printed on a typical satin postcard stock.

Fictional exhibition postcard from Stage 2 of Master of Design in Interior Design project titled "Time is Malleable".

Project Synopsis: When a Midwinter festival goes wrong, our hosts – a Neolithic tribal leader, a magpie and a standing stone, are accidentally transported through time, from the Land of the Pishinrain 2628BC to Argyll 2031AD. Arriving in Glasgow, they are fascinated by the scale and acoustic properties of the Gartcraig Road salt dome and decide on this as the site of their future festivals and ceremonies. Making use of the unfamiliar objects from their new material world, they design new ceremonies based on those of their past, with a wish to reconnect with their past lives through these familiar acts. Time is Malleable is a fictional exhibition of the assemblages of objects created by our Hosts for this purpose. The exhibition presents an investigation into material culture and the role objects play in the creation of memory, ceremony, relationships and time.

The Time is Malleable fictional exhibition postcards were to appear like the exhibition postcards often available to buy in a museum giftshop. Four different postcards were created, with four different images on the front, representing the four seasonal ceremonies of our Hosts. The postcards are printed on a typical satin postcard stock.

Fictional exhibition postcard from Stage 2 of Master of Design in Interior Design project titled "Time is Malleable".

Project Synopsis: When a Midwinter festival goes wrong, our hosts – a Neolithic tribal leader, a magpie and a standing stone, are accidentally transported through time, from the Land of the Pishinrain 2628BC to Argyll 2031AD. Arriving in Glasgow, they are fascinated by the scale and acoustic properties of the Gartcraig Road salt dome and decide on this as the site of their future festivals and ceremonies. Making use of the unfamiliar objects from their new material world, they design new ceremonies based on those of their past, with a wish to reconnect with their past lives through these familiar acts. Time is Malleable is a fictional exhibition of the assemblages of objects created by our Hosts for this purpose. The exhibition presents an investigation into material culture and the role objects play in the creation of memory, ceremony, relationships and time.

The Time is Malleable fictional exhibition postcards were to appear like the exhibition postcards often available to buy in a museum giftshop. Four different postcards were created, with four different images on the front, representing the four seasonal ceremonies of our Hosts. The postcards are printed on a typical satin postcard stock.

Fictional exhibition postcard from Stage 2 of Master of Design in Interior Design project titled "Time is Malleable".

Project Synopsis: When a Midwinter festival goes wrong, our hosts – a Neolithic tribal leader, a magpie and a standing stone, are accidentally transported through time, from the Land of the Pishinrain 2628BC to Argyll 2031AD. Arriving in Glasgow, they are fascinated by the scale and acoustic properties of the Gartcraig Road salt dome and decide on this as the site of their future festivals and ceremonies. Making use of the unfamiliar objects from their new material world, they design new ceremonies based on those of their past, with a wish to reconnect with their past lives through these familiar acts. Time is Malleable is a fictional exhibition of the assemblages of objects created by our Hosts for this purpose. The exhibition presents an investigation into material culture and the role objects play in the creation of memory, ceremony, relationships and time.

The Time is Malleable fictional exhibition postcards were to appear like the exhibition postcards often available to buy in a museum giftshop. Four different postcards were created, with four different images on the front, representing the four seasonal ceremonies of our Hosts. The postcards are printed on a typical satin postcard stock.

Fictional exhibition guide from Stage 2 of Master of Design in Interior Design project titled "Time is Malleable".

Project Synopsis: When a Midwinter festival goes wrong, our hosts – a Neolithic tribal leader, a magpie and a standing stone, are accidentally transported through time, from the Land of the Pishinrain 2628BC to Argyll 2031AD. Arriving in Glasgow, they are fascinated by the scale and acoustic properties of the Gartcraig Road salt dome and decide on this as the site of their future festivals and ceremonies. Making use of the unfamiliar objects from their new material world, they design new ceremonies based on those of their past, with a wish to reconnect with their past lives through these familiar acts. Time is Malleable is a fictional exhibition of the assemblages of objects created by our Hosts for this purpose. The exhibition presents an investigation into material culture and the role objects play in the creation of memory, ceremony, relationships and time.

This fictional exhibition guide presents the outcome of the Time is Malleable project – a research project into material culture and the role of objects in the creation of memory, ceremony, relationships and time – in the form of a familiar object picked up when visiting an exhibition, the exhibition guide. The 64 page guide was printed on newsprint by Glasgow based company Newspaper Club in their digital mini format.

3D Printed ‘tile' made during the prototyping process of mycelium tiles for use in the domestic interior. Created during Stage 3 of Master of Design in Interior Design. from Stage 3 of Master of Design in Interior Design project titled "Digital Design Craft Fabrication".

Project Synopsis: Recognising the increasing uptake of domestic craft activities seen during the COVID pandemic lockdowns, and the need driven by climate change to reconsider the materials we use and our relationships to the objects we surround ourselves with, this project proposes a series of interior objects to be crafted in and for the domestic environment, using waste material and other environmentally responsible materials.

Craft within two contrasting areas of Scotland (Glasgow and Argyll) formed the basis for the project research, with interviews and observation of craft practitioners working in these areas conducted. Both analogue and digital methods were employed to process, manipulate and experiment with the data collected, and through this, new interior objects of domestic craft have been proposed. The forms of the proposed objects speak directly of the processes through which they have developed, highlighting the wider environmental connections of the objects.

Hand crafting objects for your own domestic environment results in objects valued on many levels. From valuing simply for the enjoyment of making or the ability to create something useful, to valuing these crafted objects’ ability to store memories or to express self-identity through their creation and display. In creating interior objects which are highly valued, their future responsible use is secured.

Artefact description: 3D Printed ‘tile’ which is an example of forms created through extraction and manipulation of data from a soundscape of furniture designer/maker Martin Campbell working in his workshop in the Southside of Glasgow. Scripts written within the visual scripting language Grasshopper were used with a 2D visual representation (spectral frequency image) of the furniture making soundscape as an input to the scripts. This input data was then used to drive the creation of 3D forms which were 3D printed.

The 3D prints are fixed to a plywood, pine and cement base (a leftover material exploration from a previous project) to allow silicone moulds to be taken from the 3D prints. The moulds were used during the project to create a mycelium tile grown on waste wood shavings taken from Martin Campbell’s workshop. This prototype is recorded within the digital project journal, but unfortunately decayed quickly.

The mycelium tile was proposed for use as an internal window shuttering system. Mycelium, which is the root system of fungus, is currently a popular bio-material being explored within the design and construction industries as an environmentally responsible alternative to many existing materials such as leather. The mycelium can be grown on waste materials such as wood shavings, or as was also suggested in this project, domestic food waste such as coffee grounds or vegetable peelings. The mycelium can be grown in moulds, with the material baked once removed from the mould to stop further growth.

3D Prints on plywood, pine and cement base made during the prototyping process of mycelium tiles for use in the domestic interior. Created during Stage 3 of Master of Design in Interior Design. from Stage 3 of Master of Design in Interior Design project titled "Digital Design Craft Fabrication".

Project Synopsis: Recognising the increasing uptake of domestic craft activities seen during the COVID pandemic lockdowns, and the need driven by climate change to reconsider the materials we use and our relationships to the objects we surround ourselves with, this project proposes a series of interior objects to be crafted in and for the domestic environment, using waste material and other environmentally responsible materials.

Craft within two contrasting areas of Scotland (Glasgow and Argyll) formed the basis for the project research, with interviews and observation of craft practitioners working in these areas conducted. Both analogue and digital methods were employed to process, manipulate and experiment with the data collected, and through this, new interior objects of domestic craft have been proposed. The forms of the proposed objects speak directly of the processes through which they have developed, highlighting the wider environmental connections of the objects.

Hand crafting objects for your own domestic environment results in objects valued on many levels. From valuing simply for the enjoyment of making or the ability to create something useful, to valuing these crafted objects’ ability to store memories or to express self-identity through their creation and display. In creating interior objects which are highly valued, their future responsible use is secured.

Artefact description: 3D Prints which are examples of forms created through extraction and manipulation of data from a soundscape of furniture designer/maker Martin Campbell working in his workshop in the Southside of Glasgow. Scripts written within the visual scripting language Grasshopper were used with a 2D visual representation (spectral frequency image) of the furniture making soundscape as an input to the scripts. This input data was then used to drive the creation of 3D forms which were 3D printed.

The 3D prints are fixed to a plywood, pine and cement base (a leftover material exploration from a previous project) to allow silicone moulds to be taken from the 3D prints. The moulds were used during the project to create a mycelium tile grown on waste wood shavings taken from Martin Campbell’s workshop. This prototype is recorded within the digital project journal, but unfortunately decayed quickly. A jesmonite 3D Printed 'tile' has been created in its place (NMC/2000D).

The mycelium tile was proposed for use as an internal window shuttering system. Mycelium, which is the root system of fungus, is currently a popular bio-material being explored within the design and construction industries as an environmentally responsible alternative to many existing materials such as leather. The mycelium can be grown on waste materials such as wood shavings, or as was also suggested in this project, domestic food waste such as coffee grounds or vegetable peelings. The mycelium can be grown in moulds, with the material baked once removed from the mould to stop further growth.

Silicone moulds used in the prototyping process of mycelium tiles for use in the domestic interior. Created during Stage 3 of Master of Design in Interior Design. from Stage 3 of Master of Design in Interior Design project titled "Digital Design Craft Fabrication".

Project Synopsis: Recognising the increasing uptake of domestic craft activities seen during the COVID pandemic lockdowns, and the need driven by climate change to reconsider the materials we use and our relationships to the objects we surround ourselves with, this project proposes a series of interior objects to be crafted in and for the domestic environment, using waste material and other environmentally responsible materials.

Craft within two contrasting areas of Scotland (Glasgow and Argyll) formed the basis for the project research, with interviews and observation of craft practitioners working in these areas conducted. Both analogue and digital methods were employed to process, manipulate and experiment with the data collected, and through this, new interior objects of domestic craft have been proposed. The forms of the proposed objects speak directly of the processes through which they have developed, highlighting the wider environmental connections of the objects.

Hand crafting objects for your own domestic environment results in objects valued on many levels. From valuing simply for the enjoyment of making or the ability to create something useful, to valuing these crafted objects’ ability to store memories or to express self-identity through their creation and display. In creating interior objects which are highly valued, their future responsible use is secured.

Artefact description: Silicon moulds taken from 3D Printed ‘tile’ which is an example of forms created through extraction and manipulation of data from a soundscape of furniture designer/maker Martin Campbell working in his workshop in the Southside of Glasgow. Scripts written within the visual scripting language Grasshopper were used with a 2D visual representation (spectral frequency image) of the furniture making soundscape as an input to the scripts. This input data was then used to drive the creation of 3D forms which were 3D printed.

The 3D prints are fixed to a plywood, pine and cement base (a leftover material exploration from a previous project) to allow silicone moulds to be taken from the 3D prints. The moulds were used during the project to create a mycelium tile grown on waste wood shavings taken from Martin Campbell’s workshop. This prototype is recorded within the digital project journal, but unfortunately decayed quickly. A jesmonite tile taken from one of the moulds is included as a physical artefact (NMC/2000C).

The mycelium tile was proposed for use as an internal window shuttering system. Mycelium, which is the root system of fungus, is currently a popular bio-material being explored within the design and construction industries as an environmentally responsible alternative to many existing materials such as leather. The mycelium can be grown on waste materials such as wood shavings, or as was also suggested in this project, domestic food waste such as coffee grounds or vegetable peelings. The mycelium can be grown in moulds, with the material baked once removed from the mould to stop further growth.

Digital journal (digital file - PDF) plus 5 MP3s and 6 MP4s from Stage 3 of Master of Design in Interior Design project titled "Digital Design Craft Fabrication".

Project Synopsis: Recognising the increasing uptake of domestic craft activities seen during the COVID pandemic lockdowns, and the need driven by climate change to reconsider the materials we use and our relationships to the objects we surround ourselves with, this project proposes a series of interior objects to be crafted in and for the domestic environment, using waste material and other environmentally responsible materials.

Craft within two contrasting areas of Scotland (Glasgow and Argyll) formed the basis for the project research, with interviews and observation of craft practitioners working in these areas conducted. Both analogue and digital methods were employed to process, manipulate and experiment with the data collected, and through this, new interior objects of domestic craft have been proposed. The forms of the proposed objects speak directly of the processes through which they have developed, highlighting the wider environmental connections of the objects.

Hand crafting objects for your own domestic environment results in objects valued on many levels. From valuing simply for the enjoyment of making or the ability to create something useful, to valuing these crafted objects’ ability to store memories or to express self-identity through their creation and display. In creating interior objects which are highly valued, their future responsible use is secured.

Final report (digital file - PDF) for MArch Studies (Urban Design pathway) final project "Thresholds of Cowcaddens".

Abstract: Alternative model to the modern city of urban enclaves is a city of thresholds. These thresholds “possess power to mediate actions that open spatially as well as socially fixed identities and encourage chance encounters” (Stavrides, 2007) connecting one space to another, as a mode of transition within the urban fabric and interlink between public and private.

Cowcaddens, a neighbourhood located within the city centre, yet segregated by elevated roads and unwelcoming ground floor car park underneath the 1960s housing estate’s pilotis, presents a Glasgow specific issue of disintegrated urban fabric as a result of post-war developments. To address this challenge, the concept of thresholds is applied, setting up the research question: Can concept of thresholds be explored on the scale of a neighbourhood and become a tool to determine and replace physical and social boundaries?

Final panel (digital file - PDF) for MArch Studies (Urban Design pathway) final project "Thresholds of Cowcaddens".

Abstract: Alternative model to the modern city of urban enclaves is a city of thresholds. These thresholds “possess power to mediate actions that open spatially as well as socially fixed identities and encourage chance encounters” (Stavrides, 2007) connecting one space to another, as a mode of transition within the urban fabric and interlink between public and private.

Cowcaddens, a neighbourhood located within the city centre, yet segregated by elevated roads and unwelcoming ground floor car park underneath the 1960s housing estate’s pilotis, presents a Glasgow specific issue of disintegrated urban fabric as a result of post-war developments. To address this challenge, the concept of thresholds is applied, setting up the research question: Can concept of thresholds be explored on the scale of a neighbourhood and become a tool to determine and replace physical and social boundaries?

A small fabric soft "kitten" mascot.

Lviv National Academy of the Arts has been a hub for displaced staff and students since the beginning of the invasion of Ukraine in 2022. Volunteers have been making camouflage nets for the front line. But alongside this they have also been making small toys/mascots for the soldiers from the leftover camouflage fabric. The Ukrainian soldiers are affectionately called “Our Kittens”, their Kittens fighting for Ukraine.

This "kitten" was gifted to GSA's Archives and Collections staff as a token of thanks from colleagues in the Lviv National Academy of the Arts. GSA Archives and Collections staff mentored LNAA staff through a digitisation project in 2023, as part of the funded project "Developing and Promoting Sustainable Cultural Heritage in Disaster Contexts" which was part of GSA's ongoing twinning with Lviv National Academy of the Arts. GSA's Archives and Collections staff were told that we here at GSA are also LNAA's "kittens", fighting to protect the heritage of LNAA and Ukraine.

Engraved ivory fountain pen

Horse skeleton attached to metal bar formerly used in drawing classes.

Illuminated manuscript marking the support of organisations and supporters who contributed to the GSA centenary conservation and access project.  Signed by the major benefactors, the document records the names of all the donors to the scheme using the names of famous alumni and teachers as donor categories.

Japanese inspired dark wood gavel and block with engraved silver coloured metal commemorative plaque reading, "Presented to the Glasgow School of Art by the City of Glasgow on the occasion of their 150th anniversary, 28 June 1995."

Cream coloured glazed ceramic Chinese figure in court dress. Some damage (repaired) to neck and missing hands. Old paper label with no. 629/20 and 'Sch 76' in red paint inside figure suggest that it was part of the School's handling collection.