Week 2: The Age of Consumption: Globally we have become consumed by consumption. The industrial revolution, the political economies of the colonial age, the rise of shopping as a leisure activity and boom in advertising in the post World War two era set on track a journey that has led to unparalleled economic growth and a rise in the power of multinational companies. This week will sketch out the historical circumstances that have led to the production and purchasing of goods and services being a defining feature of modern life.
Essential Reading:
Gabriel, Y. and Lang, T. (2006) The Unmanageable Consumer London: Sage Publications Pg 10 - 24
Sassatelli, R. (2007) Consumer Culture: History, Theory and Politics, London: Sage Publications Pg 32 – 51
Books
Appadurai, A. (1986a) The Social Life of Things: Commodities in Cultural Perspectives, Cambridge: Cambridge University Press.
Campbell, C. (1987) The Romantic Ethic and the Spirit of Modern Consumerism, Oxford: Basil Blackwell.
De Vries, J. (1993) ‘Between purchasing and the world of goods’, in J Bewer and R. Porter (eds) Consumption and the World of Goods, London: Routledge
Hirsch, J. (1991) Fordism and post-Fordism: The present crisis and its consequences in W, Bonefeld and J, Holloway (eds), Post-Fordism and Social Form: A Marxist Debate in the post-Fordist state. Houndmills: Macmillan Academic and Professional.
McCraken, G. (1988) Culture and Consumption: New Approaches to the Symbolic Character of Consumer Goods and Activities, Bloomington: Indianan University Press.
Sombart, W. (1967) Luxury and Capitalism, Ann Abour: University of Michigan
Stearns, P. (2001) Consumerism in World History. The Global Transformation of Desire, London: Routledge.
Williams, R.H. (1982) Dream Worlds. Mass Consumption in Late Nineteeth Century France, Berkeley: University of California Press.
Journals:
Arvidsson, A. (2001) ‘From counterculture to consumer culture: Vespa and the Italian youth market, 1958 – 78’, Journal of Consumer Culture, 1(1): 47 - 71
De Grazia, V. and Cohen, L. (eds) (1996) ‘Class and Consumption’, special issue of International Labour and Working Class History, 55 Spring
Fairchilds, C. (1998) ‘Consumption in early modern Europe. A review article’, Comparative Studies in Society and History, 35: 850 – 58.
Hilton, M. (2004) ‘The legacy of luxury: moralities of consumption since the eighteenth century’, Journal of Consumer Culture, 4 (1):101 -23
Laermans, R. (1993) ‘Learning to consume: early department stores and the shaping of modern consumer culture, 1896 – 1914’, Theory, Culture and Society, 10 (4) 79 – 102.
Miller, N. And Rose, N. (1997) ‘Mobilizing the consumer: Assembling the object of desire’, in Theory, Culture and Society, 14 (1): 1- 36
Exhibition Websites:
Art, Fashion and Identity Royal Academy 2011 http://www.royalacademy.org.uk/exhibitions/gsk-contemporary-season-2010/
Modernism: Designing a New World V&A 2006 http://www.vam.ac.uk/vastatic/microsites/1331_modernism/home.html
Websites:
Chris Jordan http://www.chrisjordan.com/
Post Consumers: http://www.postconsumers.com/
Week 3: Theories of Consumption
Industry and innovation, the availability of choice and credit and a desire for the new and fashionable have fuelled a society dominated by consumption. This session will introduce you to how anthropologists, social scientists, evolutionary psychologists and economists have developed frameworks that allow us critically examine how economic and cultural motivations drive our desire for material things.
Essential Reading:
Daniel Miller (2008) The Comfort of Things, Cambridge: Polity (you will be assigned chapters in groups at week 2)
Books:
Baudrillard, J. (1998) The Consumer Society: Myths and Structures, London: Sage (1970)
Bourdieu, P. (1984) Distinction: A Social Critique of the Judgement of Taste
Douglas, M. And Isherwood, B. (1978) The World of Goods: Towards an Anthropology of Consumption. London: Allen Lane
Giddens, A. (1991) Modernity and self Identity: Self and Society in the Late Modern Age. Stanford, CA: Stanford University Press
Miller, D. (1987) Material Culture and Mass Consumption. Oxford: Blackwell
Miller, G. (2009) Spent: Sex, Evolution, and Consumer Behaviour
Scitovsky, T. (1976) The Joyless Economy: An inquiry into Human Satisfaction and Consumer Dissatisfaction. New York: Oxford University Press.
Slater, D. (2007) Consumer Culture and Modernity
Veblen, T. (1994) The Theory of the Leisure Class, London: MacMillan (1899)
Journals:
Arnould, E J. And Wilk, R. ‘Why do the natives wear Adidas? Advances of Consumer Research, 15: 139 – 68
Belk, R. W., Wallendorf, M. And Sherry, J. (1989) ‘The Sacred and the profane in consumer behaviour’, Journal of Consumer Research, 16:1-38
Blumer, H. (1969) ‘Fashion: from class differentiation to collective selection’, Sociological Quarterly. 10:275 – 91
Friedman J. (1991) ‘Consuming desires: strategies for selfhood and appropriation’, Cultural Anthropology, 6(2): 154 – 64
Garnham, N. and Willaims, R. (1980)’Pierre Bourdieu and the sociology of culture’, Media Culture and Society, 2:209 – 23.
Gell, A. (1988) ‘Anthropology, material culture and consumerism’, Journal of the Anthropological Society, 19 (1):66 - 112.
Liebenstien, H. (1950) Bandwagon, snob and Veblen effects in the theory of consumers’ demands’, Quarterly Journal of Economics, 64: 183 – 207.
Rook, D. (1985) ‘The ritual dimension of consumer behaviour’, Journal of Consumer Research, 12: 251 – 64.
Simmel, G. (1991) ‘The problem of Style’, Theory, Culture and Society, S: 63 – 71.
Week 4: Consumerism the Handmade of Capitalism
Capitalism, the current dominate economic model, is the most effective mechanism the world has seen for providing goods and services and creating financial wealth but nearly 1 billion people still survive in abject poverty on less than $1 a day and the world’s natural resources are rapidly being depleted. This session will consider the implications of this system where corporations are concerned with maximising profits and accumulating capital.
Essential Readings:
Porritt, J. (2005) Capitalism as if the World Mattered, London: Earthscan. Pages 65 – 87
Klein, N. (2000) No Logo, London: Flamingo. Section 1 - No Space
Books:
Amin, S. (1997) Capitalism in the Age of Globalisation, London: Zed Books
Bauman, Z, (1998) Globalization: The Human Consequences, Cambridge: Polity Press
Blythman, J (2004) Shopped: The shocking power of British supermarkets, London: Harper Perennial
Durning, A. (1992), How much is enough: the consumer society and the future of the Earth, London: Earthscan
Foster, H. (ed) (1985) Post-Modern Culture, London: Pluto Press
Giddens, A, (1990) The Consequences of Modernity, Cambridge: Polity Press.
Hertz, N. (2002) The Silent Takeover: Global Capitalism and the Death of Democracy,
Sklair, L. (2002) Gloablisation Capitalism and its Alternatives, Oxford: Oxford University Press.
Journals:
Fejes, F. (1980) ‘The Growth of the Multinational Advertising Agencies in Latin America’, Journal of Communication, 30 (Autumn) 36 – 49
Fernandes, L. (2000) ‘Nationalizing the Global: Media Images, Cultural Politics and the Middle Class in India’. Media, Culture and Society 22/5:611-28.
Goss, J. (1993)’ The magic of the mall: an analysis of form, function and meaning in the contemporary built environment’ Annuals of the Association of American Geographers, 83 (1) 18 – 47
McGurkin, E. (1997) ‘Tibetan Carpets: From Folk Art to Global Commodity’, Journal of Material Culture, 2/3:291 – 310
Monga , Y.D. (2000) ‘Dollars and Lipsticks: The United States through the Eyes of African Women’. Africa 70/2: 192 – 208.
Robinson, W. (1997) ‘ A Case Study of Globalisation Processes in the Third World A Transnational Agenda in Nicaragua.’ Global Society, 11/1 61 - 91
Spencer, R. (2004) Corporate Law and Structures: Exposing the roots of the problem. Corporate Watch http://www.corporatewatch.org.uk/?lid=2592
Exhibition Websites:
The Robert Opie Collection: http://www.robertopiecollection.com/Application/Corporate/museum2GB.asp
V&A Brand New:
http://www.vam.ac.uk/vastatic/microsites/BrandNew_Site/intro.html
Websites:
Adbusters: http://www.adbusters.org/
The Corporation: http://www.thecorporation.com/
The Story of Stuff: http://www.storyofstuff.com/
Blog created for assessment purposes by Georgina Edwards during her first year studying a BA in Textile Design at Chelsea College of Art.
Showing posts with label Brief. Show all posts
Showing posts with label Brief. Show all posts
Saturday, 29 January 2011
Brief: Writing up Research ideas and Electronic Research Portfolio Project for Unit 1 & 2
BA (Hons) Textile Design – Spring Term Theory 2011
Writing up Research ideas and Electronic Research Portfolio Project for Unit 1 & 2
The Theory Unit 4 is all about encouraging you to engage with contemporary, historic, cultural, theoretical and environmental contexts (see following notes). You will use your Blog (unit 1) and the Object/image analysis presentation (unit2) to work towards ideas for unit 4.
The written project we want you to do will be based on your research material and the notion of ‘reading’ objects/images or exploring a design concept, and then building up an understanding of its social and cultural context.
In the writing we want you to show (evidence) the results of this research process.
· The writing will consist of 2000 words (not more than 2200) supported by an electronic research portfolio (your blog) that has been built up during the research process and stage one.
You can assume your reader has a knowledge of the type of cultural product that you choose.
Project background and how to set out your research in essay form
Rather than give you an essay question to answer we want you to make a choice, to make a decision on a research process that begins with investigating some designed thing or design concept that relates to your personal interest in textile design. So:
· Choose something that excites and interests you NOW!
· Choose something that helps you become an even better informed textile designer!
· The ‘something’ can be a design concept, as much as a designed ‘object’ or ‘image’!
Then, show (evidence) in the writing up of the research process:
· The artistic, or technical context, and the social and cultural contexts within which your chosen something was produced.
(continued)
For example:
Years ago, I visited the Pitt Rivers collection, part of The University Museum Oxford, walking around this amazing collection I remember “finding” an ‘Eskimo Anorak’ made of strips of seal intestine. It was beautiful, white, transparent, strips all sewn together in this amazing texture, obviously waterproof. What kind of way of life produced this object? Finding out more about North American indigenous cultural groups was helped by seeing a fantastic exhibition (and catalogue) called ‘Sacred Circles’ at the Hayward Gallery. Subsequently I had the honour of being introduced by a mutual friend to the famous structural anthropologist Claude Levi-Strauss who had come to London especially to see this exhibition. Wow!
Pick something you find fascinating to start your research exploration, a design by a designer you admire, something in a design collection, but see if you can make this research work for you as a textile design student.
Some notes for your reference on CONTEXT
The contemporary
If you choose something that is contemporary, it will have some relationship to an historical context, even if it is a deliberate act of rejection of an aspect of the past or present.
The historical
If you choose something that is historical, how we view and understand its context is contemporary.
The cultural
Whatever you choose it is going to originate in a cultural context, even if the historical or ‘lifestyle’ cultural context has been largely stripped away, as in a museum or gallery display. This is where research and reading can be so informative, giving you a way of ‘locating’ the chosen ‘object’ informed by background material that is not necessarily connected to the object when you encounter it.
Of course there are different cultural contexts, and contexts where cultural contexts cohabit, as in our cosmopolitan, post-modern cultural environment. Difference can be celebrated, or suppressed!
The theoretical
The word theory comes from the Greek word theoria, which basically means ‘speculation as opposed to practice’. As design students you know that speculation and practice are not always opposed, because speculation can encourage research into practice, and vice versa, but ‘theory’ and the theoretical is all about the discussions and debates about what seems to be the best explanation based on all the available evidence, which in our case will relate to design and designing. If evidence contradicts a theory then we have to “go back to the (theory) drawing board” and re-work it, or drop it altogether!
If you can show in your essay you are aware of the theoretical discussions and debates that are relevant to your chosen subject by citing references to them then you are definitely in the ‘theory’ business.
The environmental
A concern with the environmental context of textile design is one of the very particular strengths of your course. You will be learning about contemporary issues related to the environment and will be encouraged to consider how this might affect your textile practice. But don’t wait for the lectures before researching.
Write a 200 word statement about what your initial thoughts are on what you want to research and reasons why. Submit it to the textiles discussion board forum (on Blackboard) and your blog for Stage One electronic portfolio by 1st February. Offer feedback/suggestions to your peers in the following weeks before presentations start.
Philip Courtenay – Academic Support
Start Researching from NOW
Writing up Research ideas and Electronic Research Portfolio Project for Unit 1 & 2
The Theory Unit 4 is all about encouraging you to engage with contemporary, historic, cultural, theoretical and environmental contexts (see following notes). You will use your Blog (unit 1) and the Object/image analysis presentation (unit2) to work towards ideas for unit 4.
The written project we want you to do will be based on your research material and the notion of ‘reading’ objects/images or exploring a design concept, and then building up an understanding of its social and cultural context.
In the writing we want you to show (evidence) the results of this research process.
· The writing will consist of 2000 words (not more than 2200) supported by an electronic research portfolio (your blog) that has been built up during the research process and stage one.
You can assume your reader has a knowledge of the type of cultural product that you choose.
Project background and how to set out your research in essay form
Rather than give you an essay question to answer we want you to make a choice, to make a decision on a research process that begins with investigating some designed thing or design concept that relates to your personal interest in textile design. So:
· Choose something that excites and interests you NOW!
· Choose something that helps you become an even better informed textile designer!
· The ‘something’ can be a design concept, as much as a designed ‘object’ or ‘image’!
Then, show (evidence) in the writing up of the research process:
· The artistic, or technical context, and the social and cultural contexts within which your chosen something was produced.
(continued)
For example:
Years ago, I visited the Pitt Rivers collection, part of The University Museum Oxford, walking around this amazing collection I remember “finding” an ‘Eskimo Anorak’ made of strips of seal intestine. It was beautiful, white, transparent, strips all sewn together in this amazing texture, obviously waterproof. What kind of way of life produced this object? Finding out more about North American indigenous cultural groups was helped by seeing a fantastic exhibition (and catalogue) called ‘Sacred Circles’ at the Hayward Gallery. Subsequently I had the honour of being introduced by a mutual friend to the famous structural anthropologist Claude Levi-Strauss who had come to London especially to see this exhibition. Wow!
Pick something you find fascinating to start your research exploration, a design by a designer you admire, something in a design collection, but see if you can make this research work for you as a textile design student.
Some notes for your reference on CONTEXT
The contemporary
If you choose something that is contemporary, it will have some relationship to an historical context, even if it is a deliberate act of rejection of an aspect of the past or present.
The historical
If you choose something that is historical, how we view and understand its context is contemporary.
The cultural
Whatever you choose it is going to originate in a cultural context, even if the historical or ‘lifestyle’ cultural context has been largely stripped away, as in a museum or gallery display. This is where research and reading can be so informative, giving you a way of ‘locating’ the chosen ‘object’ informed by background material that is not necessarily connected to the object when you encounter it.
Of course there are different cultural contexts, and contexts where cultural contexts cohabit, as in our cosmopolitan, post-modern cultural environment. Difference can be celebrated, or suppressed!
The theoretical
The word theory comes from the Greek word theoria, which basically means ‘speculation as opposed to practice’. As design students you know that speculation and practice are not always opposed, because speculation can encourage research into practice, and vice versa, but ‘theory’ and the theoretical is all about the discussions and debates about what seems to be the best explanation based on all the available evidence, which in our case will relate to design and designing. If evidence contradicts a theory then we have to “go back to the (theory) drawing board” and re-work it, or drop it altogether!
If you can show in your essay you are aware of the theoretical discussions and debates that are relevant to your chosen subject by citing references to them then you are definitely in the ‘theory’ business.
The environmental
A concern with the environmental context of textile design is one of the very particular strengths of your course. You will be learning about contemporary issues related to the environment and will be encouraged to consider how this might affect your textile practice. But don’t wait for the lectures before researching.
Write a 200 word statement about what your initial thoughts are on what you want to research and reasons why. Submit it to the textiles discussion board forum (on Blackboard) and your blog for Stage One electronic portfolio by 1st February. Offer feedback/suggestions to your peers in the following weeks before presentations start.
Philip Courtenay – Academic Support
Start Researching from NOW
Brief: Theory Presentations Related to essay in Unit 4
BA (Hons) Textile Design – Unit 2 - Theory Presentations Related to essay in Unit 4
Theory co-ordinator : Caryn Simonson
Object/Image Analysis PRESENTATIONS
You are required to do a:
5 minute presentation with illustrations, based on your ideas for your essay.
After the presentation there will be 5 minutes peer and tutor feedback so you should prepare a presentation that lasts 5 minutes only to allow time for feedback.
You present individually but every student is expected to contribute to giving peer feedback to fellow students during the session. You must include visual images. Aim to use between 2-3 images maximum. Make approx. 3 copies of any hand-outs to pass round the audience to show visual images – you could also use a sheet with your key points listed.
Aims of the presentation:
To receive feedback on your ideas towards your essay so that you can progress further – like a group tutorial
To learn from your peers, learning from their approach to their analysis and developing your own skills in critical thinking through contributing to discussion. There may also be cross-overs in their topic and yours - participation also supports your peers.
To express ideas clearly and communicate an argument convincingly
To develop presentation skills
To develop your ability to be critical and self-reflective.
To enable you to see the diversity of subjects within the student group and how yours fits into this.
Tips for Presentations!
What?
Explain what your object/image/design concept for analysis is
Why?
Give clear reasons for why you have chosen a particular area of study. Give academic reasons why - avoid statements such as “because I love it” - explain why this area of study is important to your development, your practice and professional development as a designer.
Concepts/ideas?
What is the key purpose of your investigation? What are the key concepts and debates you are discussing? What has come out of brainstorming and using the image analysis processes introduced in the lecture programme? What key concepts relate to your object that you are investigating?
Methods of Research - How have you found information on your subject matter? What strategies and research resources are you using? What key texts/theorists are significant to your debate and how are they informing your thinking? You will get help for this from your tutor for the essay but try to research independently for the presentation.
Case studies/examples - What designers, artists, objects, films, books, exhibitions or places etc., are you interested in and how are these supporting the development your argument/discussion?
In your presentation, you may use one or two key quotes to support your research findings and you should refer to particular authors’ views. Explain what your research findings are so far. EVALUATE what they are saying – this is part of ANALSYIS of your research.
Tips for preparation :
Avoid too much material – focus on two or three main points you want to get across – do not go over time. What are the key points you want to get across?
Avoid writing down word for word what you will say – you may forget to make eye contact with your audience. Instead, try to make brief notes on cards, or bullet point notes.
It is a good idea to get together with one of your peers and do a run-through to practice the timing and get some initial feedback on your communication skills.
Try to create interest and encourage debate - is the topic controversial? have you made discoveries ? Is there an intriguing line of enquiry you are following, did you find anything confusing/puzzling through your research process? ask questions about your topic and try to offer potential responses
Make sure everyone can hear you – ask them if you are unsure
Ask another student to make thorough notes of staff/student feedback for you.
TEXTS
You will need to show your understanding of the relevant theories from your research material, presenting the main points clearly. Consider the relationship between texts and the points of view of the authors, how do they differ? What is distinctive about your ideas – how do they differ and how do they connect ?
Can you see the potential for making comparisons/relationships between the ideas explored in the texts you have researched i.e. written research material and your chosen visual material?
ALL STUDENTS MAKE A PRESENTATION. THE PRESENTATION IS NOT GIVEN A SEPARATE MARK BUT IS INCLUDED AS PART OF THE UNIT 2 ASSESSMENT EVIDENCE OF YOUR RESEARCHED MATERIAL TOWARDS THE ESSAY IN UNIT 4.
REMEMBER THE PRESENTATION IS WORK IN PROGRESS TOWARDS THE ESSAY IDEAS AND YOU MAY NOT HAVE DEVELOPED THE “THEORY” RESEARCH IN DEPTH UNTIL YOU RECEIVE ADVICE IN THE PRESENTATION FEEDBACK FROM YOUR TUTOR –
The presentation is a starting point for developing your essay ideas.
Theory co-ordinator : Caryn Simonson
Object/Image Analysis PRESENTATIONS
You are required to do a:
5 minute presentation with illustrations, based on your ideas for your essay.
After the presentation there will be 5 minutes peer and tutor feedback so you should prepare a presentation that lasts 5 minutes only to allow time for feedback.
You present individually but every student is expected to contribute to giving peer feedback to fellow students during the session. You must include visual images. Aim to use between 2-3 images maximum. Make approx. 3 copies of any hand-outs to pass round the audience to show visual images – you could also use a sheet with your key points listed.
Aims of the presentation:
To receive feedback on your ideas towards your essay so that you can progress further – like a group tutorial
To learn from your peers, learning from their approach to their analysis and developing your own skills in critical thinking through contributing to discussion. There may also be cross-overs in their topic and yours - participation also supports your peers.
To express ideas clearly and communicate an argument convincingly
To develop presentation skills
To develop your ability to be critical and self-reflective.
To enable you to see the diversity of subjects within the student group and how yours fits into this.
Tips for Presentations!
What?
Explain what your object/image/design concept for analysis is
Why?
Give clear reasons for why you have chosen a particular area of study. Give academic reasons why - avoid statements such as “because I love it” - explain why this area of study is important to your development, your practice and professional development as a designer.
Concepts/ideas?
What is the key purpose of your investigation? What are the key concepts and debates you are discussing? What has come out of brainstorming and using the image analysis processes introduced in the lecture programme? What key concepts relate to your object that you are investigating?
Methods of Research - How have you found information on your subject matter? What strategies and research resources are you using? What key texts/theorists are significant to your debate and how are they informing your thinking? You will get help for this from your tutor for the essay but try to research independently for the presentation.
Case studies/examples - What designers, artists, objects, films, books, exhibitions or places etc., are you interested in and how are these supporting the development your argument/discussion?
In your presentation, you may use one or two key quotes to support your research findings and you should refer to particular authors’ views. Explain what your research findings are so far. EVALUATE what they are saying – this is part of ANALSYIS of your research.
Tips for preparation :
Avoid too much material – focus on two or three main points you want to get across – do not go over time. What are the key points you want to get across?
Avoid writing down word for word what you will say – you may forget to make eye contact with your audience. Instead, try to make brief notes on cards, or bullet point notes.
It is a good idea to get together with one of your peers and do a run-through to practice the timing and get some initial feedback on your communication skills.
Try to create interest and encourage debate - is the topic controversial? have you made discoveries ? Is there an intriguing line of enquiry you are following, did you find anything confusing/puzzling through your research process? ask questions about your topic and try to offer potential responses
Make sure everyone can hear you – ask them if you are unsure
Ask another student to make thorough notes of staff/student feedback for you.
TEXTS
You will need to show your understanding of the relevant theories from your research material, presenting the main points clearly. Consider the relationship between texts and the points of view of the authors, how do they differ? What is distinctive about your ideas – how do they differ and how do they connect ?
Can you see the potential for making comparisons/relationships between the ideas explored in the texts you have researched i.e. written research material and your chosen visual material?
ALL STUDENTS MAKE A PRESENTATION. THE PRESENTATION IS NOT GIVEN A SEPARATE MARK BUT IS INCLUDED AS PART OF THE UNIT 2 ASSESSMENT EVIDENCE OF YOUR RESEARCHED MATERIAL TOWARDS THE ESSAY IN UNIT 4.
REMEMBER THE PRESENTATION IS WORK IN PROGRESS TOWARDS THE ESSAY IDEAS AND YOU MAY NOT HAVE DEVELOPED THE “THEORY” RESEARCH IN DEPTH UNTIL YOU RECEIVE ADVICE IN THE PRESENTATION FEEDBACK FROM YOUR TUTOR –
The presentation is a starting point for developing your essay ideas.
Sunday, 2 January 2011
Unit 1 title: Pop Up - Textile Display -Exhibit Present Flaunt
Chelsea Collage of Art and Design
Unit 1 title: Pop Up
Unit 1 title: Pop Up
Textile Display
Exhibit Present Flaunt
Exhibit Present Flaunt
Textiles defined: cloth or fabric that is woven, knitted, or otherwise manufactured.
Textiles or fabrics are an intimate and common ingredient in every person’s life. It seems strange that for the occurrence and obligatory existence the pinnacle and elite of the designs have only recently been given the valuable spaces in London’s top galleries. ‘Exhibit Present Flaunt -Textile display’ as a project is designed to explore this new pop-up trend of textiles as a serious and popular art form and see how human intimacies with fabric can provide a base from which we can relate to the new gallery projections.
In opinion, there are three main motivations for someone to display and presents textiles, this is incorporated with the function. In an art gallery a curator has the job and purpose to exhibit. Commercial projections range according to scale, but both a window dresser in a department store and market stall owner has the same trade interests and can be summarised as devoted to present. And on personal levels within a person’s home and or even a company’s work environment a textile on display is there to flaunt. All three different motivations can provide this project with inspiration for the ‘pop up space’ outcome.
Exhibit
To exhibit textiles can be difficult because of their two dimensional tendencies and lifeless characteristics. Textiles exhibitions and displays of high design are Popping up all over the capital. Curators are now developing new and exciting techniques to present the form in a promising appeal. For a gallery to devote there main temporary exhibit space to a textile collection means that they are achieving an attractive aesthetic. It also shows that there is now a admiration that both art critics and public have for the art form. The following exhibitions are examples of major contributors to this conjecture
· Summerset house: SHOWstudio: Fashion Revolution, 17 Sep - 23 Dec 2009
· V&A: Quilts: 1700 – 2010 , 20 Mar - 4 Jul 2010
· The Barbican:Future Beauty: 30 Years of Japanese Fashion, 15 Oct - 6 Feb 2011
Present
Presenting textiles is a key part to the multi million pound uk clothing industry. Getting it right or wrong can alter companies profit margins to such an extent that big companies spend hundreds of thousands employing people to solely design the area of sale, ideally creating an illusion of wonder and attraction that promotes the sales. Shops renowned for their window displays include London’s Harrods and Selfridges, as well as the more mainstream Topshop, Zara and John Lewis. Even when money isn’t there to support a business enterprise, creativity can still deliver an imaginative presentation, often market stall vendors provide parades of interest that you can not walk past before having a look. It is the commercial transitions from a space to stage that can provide an interesting inspiration for a pop-up presentation.
Flaunt
Textiles play an intimate part in every person’s life. We can not escape avoiding intimacy with fabric. When we are born we are immediately placed into the warmth of a blanket and when we die the majority do so in the comfort of a woven bed sheet. We develop a love and desire for the fabrics because of their comforting and warming qualities extending both practically and emotionally which is why our homes are full of textiles. It is exciting to see what forms they take in this context and the part they play to add ornament that can then be socially applauded in a performance of flaunting or personally appreciated.
Objects of inspiration
Inspiration so far is concentrated on textile display, all this focus questions the worth and value of the textiles we are presenting. As a connection I feel my objects used as inspiration should be selected based on there material value.
My own strongest emotional relationship with a textile is with my childhood teddy bear. It went everywhere and now shows the effects: battered, bruised, worn, torn and even disintegrating. The fabric made toy still sits in a special place, displayed proudly for no one interests beside my own. Its now individual form, pattern ,colour and textures are unique to its journey. I feel if I use a collection of fabric toys that are worn, fractured, loved and broken to provide inspiration for my designs I may be able to connect similar feeling of adoration and care into the new textile techniques shown in Chelsea’s eight week workshop programme. In which we be shown how we can construct, design and enterprise textile processes in knit, weave, print (including digital) and stitch.
Brief - Photography Induction
Monday 29th November 2010
Photography induction with Alex Madjitey
Location - Photography Studio, A Block, Ground Floor
(through the canteen and to the left of the lift, ask at front desk if unsure)
Photography induction with Alex Madjitey
Location - Photography Studio, A Block, Ground Floor
(through the canteen and to the left of the lift, ask at front desk if unsure)
Brief - Pop Up - Recommended Texts
FOR REFERENCE -
Look for artists who work with Space and collections and/or narrative actively in their work:
Look for artists who work with Space and collections and/or narrative actively in their work:
- Damien Hurst,
- Tracy Emin,
- Christian Boltanski,
- Joseph Beuys,
- Fluxus,
- Mark Dion,
- Rachel Whiteread,
- Sarah Lucas,
- Joseph Cornell,
- Cornelia Parker,
- Kyoichi Tsuzuki,
- Jimmy Durham,
- Peter Fischli and David Weiss,
- Susan Hillier,
- Robert Rauschenberg,
- Rebecca Horn,
- Hans Stoffer,
- Lisa Milroy,
- Matthew Barney,
- Noble and Webster,
- Jeremy Deller,
- Hans-Peter Feldmann, ,
- Jan Svankmajer animations,
- Hip hop,
- Alexander Mc Queen,
- Tim Walker – fashion photographer. www.jamesplumb.co.uk – Projected discarded objects creating new forms plus designed objects using obsolete paraphernalia.
- Committee – product designers work together to ‘assemble, adapt and juxtapose discarded objects, the leftovers from the retail world. Their signature Kebab Lamps are ‘totems' for today’s material culture, painstakingly constructed by skewering different objects together to create standing lights.’ www.jerwoodvisualarts.org/appliedarts/EXHIBITIONS
Look at Display, how museums relate objects to tell histories and stories:
- Museum of Childhood - Bethnal Green Rd
- British Museum- Museum Street,
- Flow gallery,
- Sir John Soanes Museum
Also look at contemporary retail display:
- – Dover Street Market , Dover street
Brief - Pop Up
BA (Hons) TEXTILE DESIGN
STAGE 1
AUTUMN TERM: 2010/2011
Project: POPUP
UNIT 2: Concept & Process
Date:18th October -10th December
40 credits
POPUP
Popup spaces are a new, exciting and sometimes anarchic way of transforming disused space.
Do-it yourself culture is taking over
Shops, galleries, restaurants, cinemas appearing in empty and unloved spaces.
Your desk is your space
Create a dramatic, visually exciting Popup collection of objects that interconnect in a variety of ways to illuminate some aspect of your contemporary experience. We are asking you to create Two POPUPS. Popup1 will inform your first two technical blocks (Autumn term) and Popup2 will inform the remaining two technical blocks Spring term (see timetables on blackboard).
Consider representing a Place or a Sequence
POPUP PLACE
For example - Popup Peckham popup fridge /garden shed.
Objects which describe a particular environment which you may have an interest in or a personal connection to ,scale and breadth of space are an important consideration – could be an investigation of a very tiny world in microscopic detail, from a patch of ground to street level to locality to universe
POPUP SEQUENCE
Connections between objects, storytelling, back stories, free association, family histories,
reflecting on an experience. Objects relating to an issue you are really concerned about. A political issue. A Joke. A secret. Something mysterious. A juxtaposition of unlikely elements. a sequence…a transformation, a metamorphosis. Synecdoche (where the part stands in for the whole or the whole for the part).
The POPUP, although a piece of work in its own right, is also an image bank for future development; a source of inspiration for you to draw on in the coming weeks. It will also act as a starting point for the work you will make in the forthcoming technical workshops. We are asking you to respond to your collection developing your own visual language, responding to colour, contrast , juxtapositions, narratives, texture, form, mood.
PROGRAMME OF STUDY
18th October – Assemble your Popup on your desk consider your arrangement carefully to convey your particular story or mood.
Independent Study & Taught Sessions
The next two weeks in the studio will be spent recording through drawing, cataloguing, painting constructing, inventing, wrapping, photography. This will include independent study and taught sessions. You will be introduced to a variety of approaches to drawing in day workshops run by specific tutors.
TUTORIALS
Monday 25h October - One to One Tutorial
You will be assigned a Personal Tutor and have one tutorial to discuss your progress and any issues.
Thursday 9th December – One to One Tutorial on progress
Monday 21st February – Unit feedback tutorials – one to one
UNIT ASSESSMENT DEADLINE – Monday 14th February – display your work in your studio space by 10am DG17. You will then use this day as an independent study day whilst tutors assess your work in the studio. No access to studios on this day after 10am.
Learning Outcomes – In order to pass the unit you are expected to:
1. demonstrate knowledge of the key principles of textile design and design processes.
2. present, evaluate and interpret information through your practical visual research, and use this to develop design work that is translated into your samples.
3. evaluate the appropriateness of processes, skills and methods of textile design in order to explore your ideas through knitted, woven, stitched, printed and digital samples.
4. use self-reflection and critical evaluation as part of the learning process.
5. communicate your ideas and findings using structured and coherent arguments. Present samples professionally appropriately to textile design.
6. demonstrate transferable skills and qualities such as initiative and problem solving
The learning outcomes will be assessed through the marking criteria listed in below.
Marking criteria
Assessment evidence
• Evidence of design research and development.
• Presentation of a collection of design work reflecting specific themes related to the project.
• Fabric samples for each textile technical block.
• Technical notebook
• Presentation of research material related to study tasks for theory.
Self-evaluation form
STAGE 1
AUTUMN TERM: 2010/2011
Project: POPUP
UNIT 2: Concept & Process
Date:18th October -10th December
40 credits
POPUP
Popup spaces are a new, exciting and sometimes anarchic way of transforming disused space.
Do-it yourself culture is taking over
Shops, galleries, restaurants, cinemas appearing in empty and unloved spaces.
Your desk is your space
Create a dramatic, visually exciting Popup collection of objects that interconnect in a variety of ways to illuminate some aspect of your contemporary experience. We are asking you to create Two POPUPS. Popup1 will inform your first two technical blocks (Autumn term) and Popup2 will inform the remaining two technical blocks Spring term (see timetables on blackboard).
Consider representing a Place or a Sequence
POPUP PLACE
For example - Popup Peckham popup fridge /garden shed.
Objects which describe a particular environment which you may have an interest in or a personal connection to ,scale and breadth of space are an important consideration – could be an investigation of a very tiny world in microscopic detail, from a patch of ground to street level to locality to universe
POPUP SEQUENCE
Connections between objects, storytelling, back stories, free association, family histories,
reflecting on an experience. Objects relating to an issue you are really concerned about. A political issue. A Joke. A secret. Something mysterious. A juxtaposition of unlikely elements. a sequence…a transformation, a metamorphosis. Synecdoche (where the part stands in for the whole or the whole for the part).
The POPUP, although a piece of work in its own right, is also an image bank for future development; a source of inspiration for you to draw on in the coming weeks. It will also act as a starting point for the work you will make in the forthcoming technical workshops. We are asking you to respond to your collection developing your own visual language, responding to colour, contrast , juxtapositions, narratives, texture, form, mood.
PROGRAMME OF STUDY
18th October – Assemble your Popup on your desk consider your arrangement carefully to convey your particular story or mood.
Independent Study & Taught Sessions
The next two weeks in the studio will be spent recording through drawing, cataloguing, painting constructing, inventing, wrapping, photography. This will include independent study and taught sessions. You will be introduced to a variety of approaches to drawing in day workshops run by specific tutors.
TUTORIALS
Monday 25h October - One to One Tutorial
You will be assigned a Personal Tutor and have one tutorial to discuss your progress and any issues.
Thursday 9th December – One to One Tutorial on progress
Monday 21st February – Unit feedback tutorials – one to one
UNIT ASSESSMENT DEADLINE – Monday 14th February – display your work in your studio space by 10am DG17. You will then use this day as an independent study day whilst tutors assess your work in the studio. No access to studios on this day after 10am.
Learning Outcomes – In order to pass the unit you are expected to:
1. demonstrate knowledge of the key principles of textile design and design processes.
2. present, evaluate and interpret information through your practical visual research, and use this to develop design work that is translated into your samples.
3. evaluate the appropriateness of processes, skills and methods of textile design in order to explore your ideas through knitted, woven, stitched, printed and digital samples.
4. use self-reflection and critical evaluation as part of the learning process.
5. communicate your ideas and findings using structured and coherent arguments. Present samples professionally appropriately to textile design.
6. demonstrate transferable skills and qualities such as initiative and problem solving
The learning outcomes will be assessed through the marking criteria listed in below.
Marking criteria
- Research : Systematic identification and investigation of a range of academic and cultural sources
- Analysis : Examination and interpretation of resources
Subject Knowledge : Understanding and application of subject knowledge and underlying principles - Experimentation: Problem solving, risk taking, experimentation and testing of ideas and materials in the realisation of concepts
- Technical Competence : Skills to enable the execution of ideas appropriate to the medium
- Communication and Presentation : Clarity of purpose; skills in the selected media; awareness and adoption of appropriate conventions; sensitivity to the needs of diverse audiences
- Personal and Professional Development : Management of learning through reflection, planning, self direction, subject engagement & commitment
- Collaborative and/or Independent Professional Working : Demonstration of suitable behaviour for working in a professional context alone, or in diverse teams
Pages 59 and 60 of the Course Handbook 2009/10 (available on Blackboard) explain in detail the levels of achievement indicators for each of the marking criteria.
Assessment evidence
• Evidence of design research and development.
• Presentation of a collection of design work reflecting specific themes related to the project.
• Fabric samples for each textile technical block.
• Technical notebook
• Presentation of research material related to study tasks for theory.
Self-evaluation form
Brief - Discovery Rough Guide- Assessment info
BA (Hons) TEXTILE DESIGN
THIS SHOULD BE READ IN CONJUNCTION WITH THE ROUGH GUIDE PROJECT WHICH IS PART OF THIS UNIT.
In this unit you will be introduced to learning at Undergraduate level and to the aims and structure of the course and the curriculum. Group or individual introductory reviews of your work will help you to locate your ideas and interests within the course and you will learn about research and study skills and how to become an independent learner who can critically reflect upon your own practice. Workshop, library and technical inductions will help you to understand the resources that are available to you, and how to use and operate them effectively and safely. In addition you will also be introduced to University and College resources such as IT, Academic Support and Student Services.
ASSESSMENT DEADLINE : 14th February 2011 by 10am
Present the work that you have done for induction on this deadline by 10am in your studio space in Room DG17 and label it Induction UNIT 1. The induction unit work : the work done during the days in grey on your timetables for the Autumn and Spring Term.
ASSESSMENT CHECKLIST – work to be presented:
THIS SHOULD BE READ IN CONJUNCTION WITH THE ROUGH GUIDE PROJECT WHICH IS PART OF THIS UNIT.
In this unit you will be introduced to learning at Undergraduate level and to the aims and structure of the course and the curriculum. Group or individual introductory reviews of your work will help you to locate your ideas and interests within the course and you will learn about research and study skills and how to become an independent learner who can critically reflect upon your own practice. Workshop, library and technical inductions will help you to understand the resources that are available to you, and how to use and operate them effectively and safely. In addition you will also be introduced to University and College resources such as IT, Academic Support and Student Services.
ASSESSMENT DEADLINE : 14th February 2011 by 10am
Present the work that you have done for induction on this deadline by 10am in your studio space in Room DG17 and label it Induction UNIT 1. The induction unit work : the work done during the days in grey on your timetables for the Autumn and Spring Term.
ASSESSMENT CHECKLIST – work to be presented:
Rough Guide project – all work : sketchbooks, research work, final rough guide book, print-out of Studio / Theory task on your blog and Blog address submitted- Welcome Postcard project feedback postcard completed
- Induction Log and File with: Health & Safety checklist completed. Library induction notes, IT induction notes, technical notes from sessions below
- Winding and Wrapping work
- Hand knit workshop
- Photography induction notes
- Wood/Metal workshop induction
- Reflective statement completed (form available on Blackboard)
- Learning Outcomes
On successful completion of this unit, you will be able to achieve the following learning outcomes:
Unit 1 Learning Outcomes
Marking criteria
1. evidence of engagement with the principles and practices of your discipline
Subject Knowledge
2. an ability to locate and evaluate information from a range of written and/or visual sources
Research
Analysis
3. an ability to communicate ideas and arguments in an academic form
Communication and Presentation
4. evidence of engagement with the principles of Personal and Professional Development
Personal and Professional Development
UAL Marking Criteria
Your work in this unit will be assessed against University of the Arts marking criteria, which are designed to give you clear feedback on your achievement. The table above indicates how they relate to the unit learning outcomes. The full marking criteria descriptions for Learning Outcomes and UAL standard feedback form for assessment can be found under Section 7, Assessment.
Assessment Evidence:
• reflective statement – Form to be completed
• written assignment – Rough Guide Study Task on Blog
• development file – to include technical workshop notes/ study skills notes/ notes on e-library session / notes on TED introduction
Brief - Discovery Rough Guide - Groups
Group A - HOXTON / BRICK LANE / SPITALFIELDS
Shops, Museums, Galleries, Cafes:
Hoxton Boutique, Wink, Bookartbookshop, Artworks, Tatty Devine, Trueman brewery,bagel shop, Pongees. Cheshire St , Redchurch St Spitalfields Market Atlantis….
White Cube, Geffrye Museum, Whitechapel Art Gallery, Bethnal Green Museum of Childhood, Fournier St - Weavers Houses Flowers East, Vyner Street Galleries, Seventeen gallery
Group B - COVENT GARDEN / CHINA TOWN / SOHO
Shops, Museums, Galleries, Cafes:
Koh Samui, Pineal Eye, Shop, Agent Provocateur, Jones, Paul Smith, Dillons, Foyles, Zwemmers, Poste Mistress, Magma, London Graphic Centre, American Retro, Cloth House, Soho Silks, Borovicks. Maison Bertaux, Patisserie Valerie, Cappacetto. Museum of Transport, National Gallery, National Portrait Gallery.
Group C - NOTTING HILL / KENSINGTON
Shops, Museums, Galleries, Cafes:
Preen, Olivia Morris, Relic, Supra, Graham & Green, Celia Birtwell, Emma Hope, Paul Smith,Bill Amberg, The Cross, Temptation Alley, Ray Harris. – Portobello Market….Ledbury street
Lisboa, Leighton House, Kensington Palace, Kensington & Chelsea Library, Serpentine, Royal College of Art. Flow Gallery.
Group D - BRIXTON
Shops, Museums, Galleries, Cafes:
Brixton market- Electric Avenue plus an extensive area of covered market ,Francos - Great pizzas , Pound shops, Bookmonger, Traid , Atlantic Fabrics, Circus
London Print works Exhibition space ,Various small galleries Atlantic Rd Brockwell Park –walled garden,,allotments,,Lido & café
Group E - BOND STREET / DOVER STREET/ PICCADILLY
Shops, Museums, Galleries, Cafes:
Dover street Market –Comme des Garcons,Junya Watanabe Fenwicks, Miu Miu, Browns Focus, Versace, DKNY, Japan Centre, Fortnum & Mason, Top Shop, Libertys, McCullock & Wallace, Ochi Ni, Photographer’s Gallery,Anthony d’Offay (Dering St), Hauser and Wirth, Royal Academy, Waddingtons. All of Cork St. Wallace
Shops, Museums, Galleries, Cafes:
Hoxton Boutique, Wink, Bookartbookshop, Artworks, Tatty Devine, Trueman brewery,bagel shop, Pongees. Cheshire St , Redchurch St Spitalfields Market Atlantis….
White Cube, Geffrye Museum, Whitechapel Art Gallery, Bethnal Green Museum of Childhood, Fournier St - Weavers Houses Flowers East, Vyner Street Galleries, Seventeen gallery
Group B - COVENT GARDEN / CHINA TOWN / SOHO
Shops, Museums, Galleries, Cafes:
Koh Samui, Pineal Eye, Shop, Agent Provocateur, Jones, Paul Smith, Dillons, Foyles, Zwemmers, Poste Mistress, Magma, London Graphic Centre, American Retro, Cloth House, Soho Silks, Borovicks. Maison Bertaux, Patisserie Valerie, Cappacetto. Museum of Transport, National Gallery, National Portrait Gallery.
Group C - NOTTING HILL / KENSINGTON
Shops, Museums, Galleries, Cafes:
Preen, Olivia Morris, Relic, Supra, Graham & Green, Celia Birtwell, Emma Hope, Paul Smith,Bill Amberg, The Cross, Temptation Alley, Ray Harris. – Portobello Market….Ledbury street
Lisboa, Leighton House, Kensington Palace, Kensington & Chelsea Library, Serpentine, Royal College of Art. Flow Gallery.
Group D - BRIXTON
Shops, Museums, Galleries, Cafes:
Brixton market- Electric Avenue plus an extensive area of covered market ,Francos - Great pizzas , Pound shops, Bookmonger, Traid , Atlantic Fabrics, Circus
London Print works Exhibition space ,Various small galleries Atlantic Rd Brockwell Park –walled garden,,allotments,,Lido & café
Group E - BOND STREET / DOVER STREET/ PICCADILLY
Shops, Museums, Galleries, Cafes:
Dover street Market –Comme des Garcons,Junya Watanabe Fenwicks, Miu Miu, Browns Focus, Versace, DKNY, Japan Centre, Fortnum & Mason, Top Shop, Libertys, McCullock & Wallace, Ochi Ni, Photographer’s Gallery,Anthony d’Offay (Dering St), Hauser and Wirth, Royal Academy, Waddingtons. All of Cork St. Wallace
Brief - Discovery Rough Guide
CHELSEA COLLEGE OF ART & DESIGN
BA(HONS)TEXTILES DESIGN: STAGE 1
INDUCTION WEEK1 and WEEK 2
DISCOVERY. ROUGH GUIDE
- This is a collaborative project, the aim being to make our own magazine/Rough Guide to London.
- Concentrating on five different locations, we are relying on you to come up with all the research on your three discovery days.
- The idea is for you to acquire a sense of place and understanding of the richness and diversity of London.
- Take an A5 sketchbook and a camera if you have one. Collect lots of information. Take notes, draw,record, collect things (street detritus, fabric swatches, labels, flyers, tickets, rubbings etc).
- Make your pages visually interesting as well as informative.
- Do your research either in small groups or as an individual.
- Be considerate, be street wise and ask for permission when taking photographs
- All of our collected information will be collated and put together by inventive means to make our own rough guide to London.
- For additional information see www.streetsensations.co.uk
- Google Earth
Brief - Blogging
BA (Hons) TEXTILE DESIGN
BLOG Introduction : Friday 5th November – 10am -10.45am in the Lecture Theatre
You are asked to set up a blog following the Blog introduction. The blog project is for studio and theory entries.
Email your blog address to the Course Administrator by Friday 12th November so we are able to review the blogs in progress over the term.
Blogs allow you to write informally, recording your progress, ideas and thoughts. These might include reflections on gallery and museum visits –study tasks set, your ongoing studio project progress, images of your drawings/your collection/your sketchbook, links to relevant research material and inspiration that give your POP-UP collection context e.g. a visit to the museum of Childhood if you’re looking at toys etc... The blog allows your peers to see what you are interested in and what you’re working on. In the studio context, you view each other’s work on a regular basis but the blog is useful for written work too. When you begin to research for your essay, you will be asked to upload initial thoughts/ideas for your essay topic and object/image analysis work which you’ll be doing in the Spring term.
BLOG INTERIM REVIEW – Your blog will be reviewed and you’ll have a review session as a group at the start of January in the Spring Term. Date to be confirmed but please have all your blog study tasks and additional reflective work up to date by then.
BLOG ASSESSMENT DEADLINE : 8th February 2011 by 10am.
You will receive assessment feedback in your Unit 1 and 2 tutorial following the 14th February UNIT 1 and 2 deadline. You do not get a separate mark for your blog but you will get some written feedback and it is part of your assessment evidence for unit 1 and 2 and 4.
Learning Outcomes
The Blog project includes reflections from Unit 1 – Rough Guide project, Unit 2 – Pop-up project and Technical Blocks, and Unit 4 – Theory – study tasks related to museums and galleries. The Learning outcomes that the blog relates to are:
Unit 1 Learning Outcomes
Marking criteria
1. evidence of engagement with the principles and practices of your discipline
Subject Knowledge
2. an ability to locate and evaluate information from a range of written and/or visual sources
Research
Analysis
3. an ability to communicate ideas and arguments in an academic form
Communication and Presentation
4. evidence of engagement with the principles of Personal and Professional Development
Personal and Professional Development
Assessment Evidence
Your blog should include:
BLOG Introduction : Friday 5th November – 10am -10.45am in the Lecture Theatre
You are asked to set up a blog following the Blog introduction. The blog project is for studio and theory entries.
Email your blog address to the Course Administrator by Friday 12th November so we are able to review the blogs in progress over the term.
Blogs allow you to write informally, recording your progress, ideas and thoughts. These might include reflections on gallery and museum visits –study tasks set, your ongoing studio project progress, images of your drawings/your collection/your sketchbook, links to relevant research material and inspiration that give your POP-UP collection context e.g. a visit to the museum of Childhood if you’re looking at toys etc... The blog allows your peers to see what you are interested in and what you’re working on. In the studio context, you view each other’s work on a regular basis but the blog is useful for written work too. When you begin to research for your essay, you will be asked to upload initial thoughts/ideas for your essay topic and object/image analysis work which you’ll be doing in the Spring term.
BLOG INTERIM REVIEW – Your blog will be reviewed and you’ll have a review session as a group at the start of January in the Spring Term. Date to be confirmed but please have all your blog study tasks and additional reflective work up to date by then.
BLOG ASSESSMENT DEADLINE : 8th February 2011 by 10am.
You will receive assessment feedback in your Unit 1 and 2 tutorial following the 14th February UNIT 1 and 2 deadline. You do not get a separate mark for your blog but you will get some written feedback and it is part of your assessment evidence for unit 1 and 2 and 4.
Learning Outcomes
The Blog project includes reflections from Unit 1 – Rough Guide project, Unit 2 – Pop-up project and Technical Blocks, and Unit 4 – Theory – study tasks related to museums and galleries. The Learning outcomes that the blog relates to are:
Unit 1 Learning Outcomes
Marking criteria
1. evidence of engagement with the principles and practices of your discipline
Subject Knowledge
2. an ability to locate and evaluate information from a range of written and/or visual sources
Research
Analysis
3. an ability to communicate ideas and arguments in an academic form
Communication and Presentation
4. evidence of engagement with the principles of Personal and Professional Development
Personal and Professional Development
Assessment Evidence
Your blog should include:
- Rough Guide Theory task
- Science Museum Study task
- British Museum visit – notes and reflections on the collection and related lecture
Trade between East and West V&A visit - notes and reflections on the collection and related lecture - Exoticism in Design lecture and Diaghilev exhibition at the V&A - notes and reflections on the collection and related lecture
- Reflective statement – a statement of what went well in your project and what you would improve upon.
Recommended Blogs to look at:
http://www.emmaneuberg.blogspot.com/ - Dr. Emma Neuberg’s blog and theory lectures on plastics and materials
http://slowtextiles.blogpost.com/ - Emma Neuberg’s Slow Textiles group
http://makeitdigital.blogspot.com/ – Melanie Bowles’ blog spot, print tutor at Chelsea and designer
http://www.loveandthrift.com/ – link to Clara Vuletich’s blog – TED research assistant and designer at Chelsea
http://textilesenvironmentdesign.blogspot.com/ - TED’s blog
www.a-n.co.uk/the_art_of_blogging - You should be able to access this in the library or online
‘The World’s 50 most Powerful Blogs’ In (2008) The Observer Magazine, 9 March, pp.16-46 – can access via eth e-library Nexus
http://www.thesartorialist.blogspot.com/ - images of the Sartorialist’s view on stylish people around town
http://stylebubble.typepad.com/ – Susie Bubble’s style blog
Brief - SWATCH – ‘a feeling for cloth’
Stage One PROJECT
SWATCH – ‘a feeling for cloth’
Project to be reviewed at Unit 2 assessment 14th February 2011
Choice of fabric is crucial in design – it affects weight, texture and the mood of your collection.
Collect samples of fabric, yarns & fibres from as many places as you can, making them into a book of swatches. You could bind the book yourself - or cover an existing one to make it more interesting.
Whilst collecting, look for a range of unusual materials from as wide a range of sources as possible, including fabric shops, street markets, grannies’ cupboards, the attic, charity shops…
Analyse and collate your samples. Write notes as you go along - for example, what they are made of, what they remind you of, what their history might have been or what their most appropriate use might be.
Try to arrange and catalogue your samples within the book. Use dressmaker’s pins, paper clips or staples - No glue - to attach swatches.
Here are some sample headings:
· Natural/synthetic
· Nets & Laces
· Velvets
· Knits & weaves
· Paper
· light sensitive (S.M.A.R.T. fabric)
· antique
· stripes, dots and spots
· metallics, lurex & sequinned
· reactive
· re-usable
· text/image
· rainproof
· techno, industrial , rubber & latex
· embroidered & embellished
· denims
· pleated, quilted, seersucker
· wrappings
· carpet & curtains
· fragments, sackcloth, tape & string
· serge, drip-dry & Bri-nylon
· haberdashery
· dishcloths, flannel, Brillo
· checks
· fluffy & fur
This book should be an ongoing obsession – it is a resource for you and can be added to in the future.
SWATCH – ‘a feeling for cloth’
Project to be reviewed at Unit 2 assessment 14th February 2011
Choice of fabric is crucial in design – it affects weight, texture and the mood of your collection.
Collect samples of fabric, yarns & fibres from as many places as you can, making them into a book of swatches. You could bind the book yourself - or cover an existing one to make it more interesting.
Whilst collecting, look for a range of unusual materials from as wide a range of sources as possible, including fabric shops, street markets, grannies’ cupboards, the attic, charity shops…
Analyse and collate your samples. Write notes as you go along - for example, what they are made of, what they remind you of, what their history might have been or what their most appropriate use might be.
Try to arrange and catalogue your samples within the book. Use dressmaker’s pins, paper clips or staples - No glue - to attach swatches.
Here are some sample headings:
· Natural/synthetic
· Nets & Laces
· Velvets
· Knits & weaves
· Paper
· light sensitive (S.M.A.R.T. fabric)
· antique
· stripes, dots and spots
· metallics, lurex & sequinned
· reactive
· re-usable
· text/image
· rainproof
· techno, industrial , rubber & latex
· embroidered & embellished
· denims
· pleated, quilted, seersucker
· wrappings
· carpet & curtains
· fragments, sackcloth, tape & string
· serge, drip-dry & Bri-nylon
· haberdashery
· dishcloths, flannel, Brillo
· checks
· fluffy & fur
This book should be an ongoing obsession – it is a resource for you and can be added to in the future.
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