I’m pitching for the 1995 Ravensbourne prospectus to be included in the archive. Photo Dr Ian Hague

The prospectus successfully made it into the archive

Siân Cook, formerly a tutor at Ravensbourne, and now at LCC, pitches her Condom packaging to the Jury who were standing on the upper level

Joel Karamath presents ‘nothing’ to the archive

Along with Siân, I designed the identity of ‘Room 2084’

Members of LCC staff were asked to pitch an object to a jury of archivists who would determine if it was suitable for inclusion in room ‘2084’

The Jury

Each member of staff had their own display in the exhibition with an ‘evidence label’

The prospectus is an example of the systematic approach to design and absence of rhetoric

A series of ‘outsider’ words were run around the lower edge of the first floor to emphasize the outside status of the objects

The grey colour scheme, Futura black typeface take their que from an Orwellian vision of the future

Words on the upper level speak of the ‘archive’

 

For more details of Uncertainty Playground and Room 2084 visit the LCC and LDF websites.

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I delivered a paper today at the Graphic Design Educators’ Network Conference ‘Ideas of Revolt’.

In Thesis InFormed Catalogued I spoke of the writing and design produced by first and third year students in the Design School at London College of Communication

Conference day 1 workshops

Conference day 2 strands

In her article Design Education and the role of revolt, Hannah Ellis suggests tutors need to take the lead when it comes to being resistant and rebellious. What’s missing from her critique is that the sharing of good practice in relation to how conventions are being challenged is what the delegates take away from the two days. It’s in this reflective period post-conference that rebellion, resistance and ideas of revolt will be considered and no doubt be implemented into curricula, it will for me, anyway.

Today I visited the Estorick Collection of modern Italian art to see the Franco Grignani exhibition. Famous for his Woolmark symbol, I was delighted to learn more about Grignani, who designed some remarkable graphic and typographic arrangements, employing gestalt principles and optical effects. Well worth a visit and the accompanying catalogue provides a rich visual account of his work between 1950 and 1990.

 

Today Mark and I visited St Catherine’s College Oxford, designed by Arne Jacobsen. It was a pilgrimage for me as I have been a devotee of Jacobsen’s work and have always wanted to visit St Catherine’s. It didn’t disappoint, it is a Grade One Listed modernist masterpiece.

St Catherine’s College Oxford by Arne Jacobsen

More photos can be found on my Instagram

We also visited the exhibition Rose Finn-Kelcey: Life, Belief and Beyond at Modern Art Oxford:

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Tonight I had the pleasure of introducing Alice Twemlow to students and tutors in the Design School at LCC. Alice delivered an illuminating talk on Writing as Practice. The image above is where Alice maps writing about design/design writing. I facilitated a post-lecture Q&A. Alice talked to us about squiggles, waste, emojis, Laurence Sterne, Alice in Wonderland, gender neutral toilet signs, Igor Kopytoff and The Cultural Biography of Things, Twitter, SVA, Eindhoven, RCA, Reyner Banham and what she’d like to do next: something radical in relation to academic journal design! She told us that writing about design should start with the object but it doesn’t stay there for long, good criticism is based on good research and a critical proximity. Overall the audience enjoyed the talk and it gave me a much needed injection of inspiration about writing about design.