Don’s work examines the many strands of information embodied in the ornamented woodwork of the late medieval parish churches of Devon. The design of screens, lofts, pulpits, fixed benches, etc. manifest the process through which external forces and sources of information were received, combined, and deployed in uniquely local ways.
dpwhite3@aol.com
‘We’ve learnt that everything in the city counts, the cars, the dead factories, the rubbish, the vulgar events, the expressive parts that go against the grain. Looking at the lot together you see how each thing brings out the strength in the next… which makes neat design a bit of a day dream.’ – Narrative Architecture Today
(NATO), 1983
miranda.zahedieh@network.rca.ac.uk
Austerity and rationing traditionally characterise the home-front during World War Two. For a rich, cosmopolitan elite, however, the war meant a different home-front, one offering a continuation of a lifestyle built on luxury in which such colourful indulgences as diamond brooches, leather gas-mask cases, couture dresses, and fine dining survived.
neil.taylor@network.rca.ac.uk
Mid-century Britain was characterised by debate about the use of space for material means. In their designed plays between the stable and the transitory, the surface and structure, the open and the enclosed, holiday camps offer a route into these processes of physical change. Stretching between city and country, home and holiday, past and present, holiday camps speak to contemporary questions of designed nationality, designed ephemerality, or designed enclosure.
elizabeth.bisley@network.rca.ac.uk
Divided into three main chapters; British Socialism in the late-nineteenth century and the growing Arts and Crafts Movement; Crane’s decorative, commercial and political art and thirdly his role as an educator, Louise’s work aims to explore the relationship between Crane’s political and artistic philosophy and the impact of his role as an educationalist.
louise.collins@network.rca.ac.uk
Cryséde produced handmade woodblock printed textiles in Cornwall in the 1920s and 1930s. Jeanie’s work attempts to situate Cryséde within contemporary discourses surrounding production, retail and consumption. Alec Walker’s designs are discussed in relation to the production of a feminine conservative modernity, the blending of tradition and modernity that is evident in the playful aesthetic of the inter-war years that appealed broadly to the middle-class and middle-brow. If craft creates a ‘third space’ between fine art and design, according to contemporaneous debates, with all spaces separate and opposing the commercial or mass-produced, Walker’s textiles fall into an undefined void somewhere in between. An interstitial space, traversing and transgressing the borders of definition, Cryséde simultaneously occupied contradictory positions; large-scale craft production; hand-made yet flawless; industrial knowledge into traditional production methods; commercial with a painterly exclusivity.
jeanie.sinclair@network.rca.ac.uk
The television and microwave oven were two uses of electromagnetic radiation popularised in Britain in the post-war years. By considering the response of domestic consumers I reveal the relationship between technology and society. The reaction to domestic uses of electromagnetic radiation revealed the desires and anxieties of a society in a state of flux.
kathryn.falla@network.rca.ac.uk
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