CSM Time 13 - Time To Be Happy

csm time

HAPPY

To

csm time to Be HAPPY — issue 13 / AutumN 2012 3

csm time to Be HAPPYissue 13AutumN 2012

CSM Time is produced by Marketing and Communications [email protected] association with Rhombus Writers, and designed by Paulus M Dreibholz (alumnus and associate lecturer) and Daniel McGhee (alumnus).

© 2012 Central Saint Martins College of Arts and Design unless otherwise indicated. We have made all efforts to credit images correctly. Please contact us if we have omitted to credit or miscredited an image – amendments will be made in subsequent issues.

HeLLoWelcome to the autumn edition of CSM Time… to be happy.

What a difference a year makes! At last we’re beginning to feel more at home in our King’s Cross space. What better reason to line up a bumper issue of good news stories?

On these pages we welcome new head of college Professor Jeremy Till (p4), and celebrate a host of CSM successes. There’s a guided tour of tomorrow’s KX in the company of site developer Argent (p6). Check out some of our student projects (p18) and the progress we’re making in response to the students’ Scribble Wall (p20). There’s also a look at CSM’s Frank Martin Fellowship (p12), a snapshot of how the creative media views us (p24), and a reminder of our important outreach work (p10).

Thank you to all our staff and students who have contributed to this issue.

uNBoXiNG tHe BoXes — 4eXtRAoRDiNARY KX — 6KiNG’s cRoss stoRies — 8WP@csm — 10ARt AuctioN 2012 — 12tHe JANe RAPLeY scHoLARsHiP — 13mA coLLABoRAtiVe PeRFoRmANce — 14NeW couRses — 16stuDeNt PRoJects — 18tHe scRiBBLe WALL — 20JeWeLLeRY DesiGN At csm — 22As seeN iN … — 24Best oF tHe BooKs — 26AFteRALL — 28comiNG sooN — 29HeLLo, i’m JeN — 30

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4 csm time to Be HAPPY — issue 13 / AutumN 2012 csm time to Be HAPPY — issue 13 / AutumN 2012 5

which courses tend to group themselves and in which they feel comfortable,’ he says. An example he cited of sharing skills in a practical way occurred in the laser room. ‘A fashion student had been unfamiliar with laser cutting and an architecture student was showing her how. To me it suggests art, design and education as a collaborative enterprise.’

It’s no secret that a tricky area for Jeremy will be in developing a forward-looking, 21st century reputation for the College while protecting its proven star courses. I put it to him that in the public imagination and the media, at least, the celebrity of CSM’s fashion school has tended to define the institution. Says Jeremy: ‘Our fashion courses are clearly remarkable and absolutely central to our profile or brand, but there’s lots of other amazing work going on here too.’

Based solely on touring our most recent round of degree shows, this is what caught his eye. MA Textile Futures: ‘The work is extraordinary – it’s about so much more than textiles.’ Jewellery: ‘A stunning exhibition – not a lot of orthodoxy going on here.’ MA Industrial Design: ‘Pure invention, with lots of sustainability embedded in it – I could have stayed for hours. And clearly lots of good stuff beyond these,’ he notes. A sector he would like to develop is one in which he says CSM is already a leader. How can we use design intelligence to inform new ways of business thinking? He argues that private sector, market-driven models have largely failed, asking: what other values and methods can we deploy? ‘To some extent it’s political, but it also has to do with the different ways

of thinking you can bring to business. Our excellent innovation management course springs to mind here.’ Much hinges on 2013’s public events programme, What’s the Point of Art School? Jeremy has high hopes for some hard-nosed responses that will help the College and the University challenge policy that jeopardises core funding. He looks forward to talking tough here, pointing out that 18 per cent of CSM’s graduates set up their own business within five years, whereas for the university sector as a whole that figure is just five per cent.

I suggest that if we knew the answer to the question ‘what is art?’, that would deliver the reply to his enquiry. ‘Not the whole answer,’ he says. ‘It may be that the point of art school isn’t necessarily just to do with art. Take my own field, architecture. You can use the whole discipline of architecture as an educational vehicle. The things you learn are astounding, from designing bridges to French feminist theory.’ He jokes: ‘Then you have to synthesise it all into a French feminist bridge.’ As a former practising architect, how does he respond to the King’s Cross site? His provocative book Architecture Depends (MIT Press, 2009), which takes a tilt at the utopian excesses of the profession, suggests he might be at odds with the King’s Cross campus creators. ‘I find I’m much more comfortable with it than I expected to be,’ he says. ‘Stanton Williams are modernists. They have a reputation for producing highly crafted, exquisite buildings, but here they

relaxed. The fact that they relaxed means our building is generous in what you can do with it. What concerns me more is the quality of some of the furniture and fittings. I know I sound like an architect, but these things matter.’

Among other things that matter are the rules Jeremy laid down at a recent all-staff meeting. He outlines them again. ‘Rule Number 1: No moaning in front of students … that’s where the whole thing starts to unravel. Moan to me, or moan to your Dean. Rule Number 2: No conspiracy theories – they spread like little viruses in this environment. Rule Number 3: Yes, there can be cock-up theories.’ The Head of College also has some resolutions that apply to himself. He wants to visit the Canteen regularly and sit down there with students. ‘It’s important they know what I look like so they can confront me with ‘Do you realise that …?’

I suggest cheekily he might also aim to grab a nicer office space for himself, possibly with a little window. He says that whenever he’s stuck at his desk, or locked into a spreadsheet, he feels respite is constantly at hand. ‘I know I can walk out into a workshop and be stimulated.’

Professor Jeremy Till, Pro Vice-Chancellor of UAL and new head of Central Saint Martins, says of himself: ‘My intellectual position had always been one of critique in a positive sense, of not getting too comfortable with the status quo, of challenging existing structures to see if there are better ways of doing things.’

Jeremy’s outlook is backed up by wide experience. Trained as an architect, he has held senior posts at the Bartlett School of Architecture and Sheffield University, his final position before moving to CSM being Executive Dean of the School of Architecture at the University of Westminster. Arguably, his new post gives him more academic status, scope and authority than he has enjoyed before. So when I interview him at the College some two months after he’s taken over the reins, I ask how life is going at this arty, classy level, and what his hopes and plans are. He admits to a slight setback that occurred at a five-minute talk he gave to foundation staff and for which he hadn’t properly prepared. ‘It was a bit brutal,’ he recalls. ‘Their body language was stiff. They just sat there – no give at all! It spooked me, with the result that I wasn’t very good.’ For his subsequent 45-minute talk to the College he was careful to do his homework. (I tell him I’ve heard the word on the block was good on that one.) In general, he intends to advance the policy framework initiated by his predecessor, Jane Rapley. This means support for the principles of sharing workspaces, for shared projects, for breaking down barriers between subjects and courses. ‘I want to unbox the boxes into

Drusilla Beyfus was a Senior Lecturer on our Fashion Communication and Promotion pathway for 19 years. A former features editor at Vogue, she contributes regularly to the Telegraph Magazine and continues to work closely with CSM on special projects.

UNBOXING THE BOXES

tHRee moNtHs iNto tHe toP JoB, JeRemY tiLL tALKs to DRusiLLA BeYFus ABout HoPes, PLANs, AND tHe quest FoR A BetteR WAY oF DoiNG tHiNGs

It’s important students know what I look like so they can confront me with ‘Do you realise that …?’

Professor Jeremy Till © John Sturrock


KiNG’s cRoss At WoRKTo the south of Regent’s Canal you’ll see significant development of two office buildings – One and Two Pancras Square.

One Pancras Square, designed by David Chipperfield Architects, will be complete by December 2013 and will feature a large retail unit with a south-facing podium terrace. The building will also have a tube entrance.

As you travel north up King’s Boulevard you’ll notice London Borough of Camden’s new HQ under construction, with completion scheduled for 2014. In addition to Camden’s library, the building will house a leisure pool open to the public.

imPRoVeD oPeN sPAcesWorks at the bottom of King’s Boulevard will be completed by spring 2013, allowing further ‘public realm’ space to open up between One Pancras Square, the German Gymnasium and King’s Cross station (known as Battle Bridge Place).

Granary Square sees enhancement works to its 1,080 fountains, with individually coloured LEDs playing their part. Expect further fountain fun and programming during 2013.

From January 2013 a new street – Stable Street – will run from the northwest corner of Granary Square to complete a ‘circuit’ around Central Saint Martins. The new street follows the line of the Western Transit Shed, where the top floors have been let to site

developer Argent, Hoare Lea Engineers, and creative agency Zone. All are set to move in during the first quarter of 2013.

Work to enliven Stable Street and Handyside Street, which it joins, is planned for 2013, drawing people up and around the northern end of the college building. Look out for the new sports pitch taking shape in 2013 off Handyside Street and York Way.

By September 2013, the new Handyside Park will be open. Running north-south from the canal to Handyside Street, the park will feature seating and planting that contrasts with the relatively ‘hard landscaped’ aspect of Granary Square.

HousiNG AND LiViNGNext door to Handyside Park you’ll find ArtHouse, whose first residents move in from September 2013. At ground floor level will be a retail presence.

Along York Way, Saxon Court, designed by MacCreanor Lavington, will open to more One Housing Group residents (as Rubicon Court has recently). The new building has over 140 apartments, 40 of which are dedicated to the frail elderly.

At the far north of the development, and set for 2013 completion, is a 27-storey accommodation tower for 650 students. The units are owned and marketed by Urbanest Student Housing, whose show suite (and further info) you’ll find in The Filling Station on Goods Way.

eAt, DRiNK, sHoP, eNJoYThe Western Transit Shed’s ground floors could see up to six retailers trading from 2013. There’s a space specifically designed to house a pub or bar.

From early 2013 the final retail unit that fronts onto Granary Square will be opened to another independent food and drink operator. Watch this space!

As with 2012, we anticipate a great events programme for 2013. Successes (and lessons learnt) from 2012 will inform and enhance what we do – more about this in the next issue.

Finally, the development will continue to support the street food collective, now called KERB, which is planning additional evening events in the run-up to Christmas 2012.

FoR moRe iNFoRmAtioNFollow the developer’s photo-led news on facebook.com/kingscrosscouk, for their tweets @kingscrossN1C.

You might even try something more traditional like popping into the Visitor Centre in The Granary for a chat!

www.kingscross.co.uk

oVeR tHe NeXt YeAR oR so, imPRoVemeNts At KiNG’s cRoss WiLL cReAte moRe LiVeLY AND DiVeRse AReAs FoR us ALL to eNJoY, sAYs site DeVeLoPeR ARGeNt

EXTRAORDINARY KX

West Handyside Canopy © John Sturrock

Granary Square © John Sturrock

One Pancras Square © GMJ

View south down Stable St © The Neighbourhood


The end of October marked the submissions deadline for a BA Graphic Design photography pathway brief to capture the King’s Cross district, warts and all, on camera.

With two major rail termini side-by-side, King’s Cross is the new gateway to London, linking the capital with the north, with continental Europe, and with the world beyond. The area seethes with people in a state of transition – people making their way to their journey’s end.

What better place to capture the face of a city that has fascinated the world’s most

celebrated urban landscape photographers across the decades?

The area is rich in social history. Now the greasy spoons, dirty bookshops, tattoo parlours and seedy hotels have given way to chain stores, boutique labels, global brands and … well, Central Saint Martins.

The brief to first year BAGD students was to use photography to record personal impressions of King’s Cross in any or all of its many moods. Official advice? ‘Don’t stay in the academic bubble of the new CSM building – this is not the real world!’Using any camera to hand (film, digital,

mobile phone), students were asked to submit a set of five images. Top photographers cited as likely inspiration included Lisette Model, Robert Frank, William Klein, Garry Winogrand, Lee Friedlander, Eugène Atget and André Kertész.

The results, glimpsed here, support Bill Brandt’s dictum that ‘photography is not a sport – there are no rules.’ It’s the operator not the equipment that makes great pictures.

csm’s stuDeNts DocumeNt tHeiR imPRessioNs oF tHe WoRLD oN ouR DooRsteP

KiNG’s cRoss stoRies

© Jack Guy

© Nithin Karivardhan

Visitors enjoy the show


WP@CSM

oLD WooD, NeW tRicKs In September, Global Generation’s skip garden hosted an ‘upcyling’ day that brought together 40 BTEC business students, 25 Guardian volunteers, four apprentices from construction giants Kier and Mansell, plus mentors Katarzyna Majchrzycka (BAPD graduate) and Joseph Ewusie (2nd-year BAPD) as well as the entire GG crew to create new furniture from old materials.

The Global Generation skip garden, explains Katarzyna, is located somewhat mysteriously in and around KX’s various construction hotspots depending on the status of site works.

The day began with students greeting volunteers and kitting them out in their high-vis clobber. Everyone introduced themselves and explained what they hoped to contribute. It took a day of de-nailing, sawing, sanding, painting and assembling fuelled by a hearty lunch (thanks, Susie at GG!) to create 15 sample kitchen slate boards and three leaning shelves.

Says Katarzyna: ‘The aim was to come up with a very simple product using materials reclaimed from contractors on site. Having plenty of quality material at our disposal gave us lots of ideas, but we had to keep it super simple so that people without carpentry skills could make it work.’

Kitchen slate boards were constructed using a pine frame and roof slate. Leaning shelves were made from wooden boxes and pine frames. The handmade furniture project is part of the social enterprise work undertaken by BTEC business students.

In November BTEC students presented their social enterprise ideas at the Guardian to a panel of experts including Berni Yates from WP@CSM, receiving feedback and marketing advice.

iNto tHe DRAGoNs’ DeNOver 40 pupils from Mount Carmel School in Islington submitted designs to our ‘Dragons’ Den’ comprising a panel of design industry professionals plus the school’s deputy head. Theme for the event was ‘Bringing the Outdoors In’.

Ideas by ten pupils were collated to produce a collection of print designs, which were sampled and then manufactured at our KX screenprint workshops under the expert eye of BA Textile Design tutor Deborah Peasgood and technician Kangan Arora.

The Islington youngsters worked with Deborah and Kangan to create over a hundred tea towels, aprons and bags to be sold at the school and at the King’s Cross Skip Garden’s Organic Cafe.

CSM continues to work with Mount Carmel on bespoke programmes for its design technology and art departments, helping to steer more pupils towards art and design degree courses.

ARtWoRK FoR cAmDeNCSM tutors, graduates and students have collaborated with pupils from a local school to create a striking artwork for the chief executive’s parlour at the new ‘on site’ Camden Town Hall.

Led by tutor, recent BAFA graduate Shepherd Manyika, and two student ambassadors – Mehmet (stage two graphics) and Khedidja (stage three architecture) – a group of very enthusiastic art and design pupils from Regent High School created an artwork that duly became a print. A huge thank-you to John Wollaston in the digital print area!

Says Shepherd: ‘Our vision was to encapsulate past, present and future. The new KX site we toured for inspiration – with Angela Jewell from developer Argent – has a colourful history of trade and clubbing. It also has an optimistic future based around education and commerce.’ The CSM team set out to represent each Camden pupil’s input in a collaborative way, merging contributions to create a single outcome. ‘We wanted,’ says Shepherd, ‘to showcase everyone’s effort without favour, because that’s how the builders on the construction site seemed to work.’

KiNG’s cRoss DioRAmAsDuring October half term, WP@CSM’s ‘Design Matters’ programme did more work with Global Generation and KX site developer Argent to introduce design and architecture to local young people, including the Global Generators, a group of 14 to 16-year-olds from King’s Cross.

Three days of activity introduced the simple tools used by professionals to research, develop and communicate ideas about the design of the built environment. Using this toolbox, the half-term project set out to explore, reflect and imagine the past, present and future of King’s Cross.

Thanks to Global Generation and Argent’s professional links, young people investigated the roles professionals play in developing cities and sustainable communities. They also had a chance to work with these professionals to realise elements of the project and its exhibition.

The project outcomes will be showcased in the Crossing at CSM via a series of dioramas – 3D visioning models – that describe how the participants feel about King’s Cross then and now.

Discussions are underway with partners to see how the exhibition’s 3D models might be housed in the hoardings of the development site in order to reach a wider audience.

LiFe is sWeet WP@CSM has signed up with the Honey Club to learn more about the art of bee keeping so that we too can successfully house our very own bees.

Launched by Global Generation and branding agency Wolff Olins, the Honey Club is a social enterprise that aims to build an evolving learning platform for bee-loving communities in the city. The initiative brings together King’s Cross residents – including CSM, Phaidon, Eurostar and the Guardian – and young people from local schools, among other partners.

The Honey Club hosts a series of interactive events exploring the ecological challenges facing bees and the steps we can take to support them within the urban environment.

In September, a honey-tasting ‘Mini-Fest’ set out to connect club members with London-based beekeepers. WP@CSM was paired with Brian McCullam, who recently visited CSM to scope out the best place to house bees.

The ‘Beekeeping 101’ event was all about getting to know the wonderful world of bees and the people who look after them. We explored how bees operate in the hive, how they communicate, their precise division of labour, the enigma of the queen, and the process of making honey.

We also did our own harvesting by using an extractor to ‘whip’ the honey from the frames. We then poured the lovely golden stuff into little jars for us all to enjoy on our toast the next morning.

We’re still scouting for ‘Bee Champions’, so please contact WP@CSM if you’re interested.

ouR WiDeNiNG PARticiPAtioN PRoGRAmme BRiNGs us cLoseR to tHe LocAL commuNitY

Into the Dragons’ Den © Bernie Yates

Artwork for Camden Town Hall © Widening Participation

The Honey Club

King’s Cross dioramas © John Sturrock


ART AUCTION 2012 THE JANE RAPLEY SCHOLARSHIP

Autumn 2012 sees the first awards to CSM postgraduate students made by the newly launched Jane Rapley Scholarship Fund.

Established in the name of the former head of college, the fund helps support Masters students at Central Saint Martins in line with our strong tradition of delivering an outstanding education to successive generations of talented art, design and performance students.

Three scholarships of £3,000 each are available to first-year students accepted on any MA or MRes course at Central Saint Martins. The awards aim to help meet the materials and maintenance costs of postgraduate study for Home and EU applicants.

Assessed initially by UAL student funding with an eye on financial status and circumstances, applications are ranked

according to need. Academic shortlisting and selection of successful scholarship candidates is by a panel including two CSM deans and Professor Jane Rapley OBE.

The former head of college, who retired in July 2012 after more than two decades at Central Saint Martins, continues to be involved in education projects within and beyond UAL.

A NeW BuRsARY iN HoNouR oF tHe FoRmeR HeAD oF coLLeGe suPPoRts mA stuDeNts

The awards aim to help meet the materials and maintenance costs of postgraduate study for home and EU students

For six years our annual MA Fine Art auction has been raising funds in support of postgraduate art students at CSM, as well as offering students memorable experience of the most immediate and adrenalin-fuelled way in which art is bought and sold.

Auction proceeds have traditionally supported the costs of hiring an external venue for the MA Fine Art interim exhibition. They also contribute to the students’ final degree show and a critical feedback session at end of year.

This year’s event had an expanded remit. In addition to raising funds for CSM’s Postgraduate Art Programme, the 2012 auction supported the launch of the new Frank Martin Fellowship.

Under the expert eye of Sotheby’s auctioneer Adrian Biddell (now in his fourth year at the CSM event), the live auction took place at CSM in November. In all, 31 lots donated by distinguished alumni and friends of the college went under Adrian’s good-humoured

hammer. A silent auction of artworks by our postgraduate students lent vital support on the night.

Brainchild of former head of college Jane Rapley, the new Frank Martin Fellowship recognises the extraordinary contribution Frank made to our story as St Martin’s head of sculpture between 1952 and 1979. His support for experimental new teaching approaches and radical innovations in abstract sculpture had a formative influence on a generation of leading artists.

Said Mark Dunhill, Dean of the School of Art at CSM: ‘Thanks to the generosity of a group of eminent artists, former teachers and students associated with CSM past and present, we look forward to appointing the first Frank Martin Fellow in 2013.’

Artists and art bodies making donations in support of the launch included Sir Anthony Caro (who taught with Frank Martin for 25 years), Barry Flanagan, Phillip King, Bruce McClean, Richard Long, Barry Martin, Richard

Deacon, William Turnbull, and the Eduardo Paolozzi Foundation.

The Frank Martin Fellow will explore questions that help us expand the creative possibilities of materials, processes and technologies, generating a dialogue with staff and students through a programme of narrative events and experimental workshops.

Says Mark Dunhill: ‘By drawing on the enthusiasm and specialist knowledge of a contemporary artist, the Frank Martin Fellowship will enrich our curriculum and foster productive collaborations with industry for our fine art students.’

The CSM Art Auction 2012 raised a total of £60,350 in support of our postgraduate art students and the Frank Martin Fellowship. Highest successful live bid was for the late Barry Flanagan’s sculpted bronze ‘Scaling Up Orando’ – a steal at £24,000.

csm’s ANNuAL FuNDRAiseR tAKes oN A NeW DimeNsioN WitH tHe LAuNcH oF tHe FRANK mARtiN FeLLoWsHiP

Professor Jane Rapley in her former office in Southampton Row

Mark Dunhill and Anthony Caro


mA coLLABoRAtiVe PeRFoRmANce

A partnership with Akram Khan Company, renowned for its intercultural and interdisciplinary collaborations and for challenging conventional thinking about dance forms, is at the heart of UAL’s new MA Collaborative Performance course.

Launching in 2013, the new Masters programme is the first UAL ‘cross-college’ course, Akram Khan himself is a mentor for the course.

Centrepiece of the collaboration in 2012/13 between Akram Khan Company and UAL, is an interactive performance co-production. ‘Einstein Tagore – The Bombmaker and the Poet’ is a new multi-media play by Nitin

Sawhney based on conversations between the great physicist Albert Einstein and Indian Renaissance man Rabindranath Tagore in Berlin in 1926 and 1930.

To deliver the co-production, Nitin Sawhney – multi-award-winning composer-turned-writer – will work with students across UAL from disciplines including performance design, digital arts, animation and acting. The finished work will preview at the Platform Theatre in 2013 before transferring to the Barbican and then touring.

For further informationabout the course visit www.csm.arts.ac.uk/courses/ma-collaborative-performance

UAL’s first cross-coLLege coUrse feAtUres An inspirAtionAL joint ventUre

Nitin Sawhney will work with students drawn from multiple disciplines across UAL

Akram Khan worked with Danny Boyle on the director’s ‘Isles of Wonder’ extravaganza at the London 2012 opening ceremony, and was Achievement in Dance winner at the TMA Theatre Awards 2012. His ‘DESH’ production has picked up a host of awards for its creative contributors, winning Best New Dance Production at the Olivier Awards 2012.

Dance performance, Akram Kahn Company

Akram Kahn


mA ARcHitectuRe: cities AND iNNoVAtioN Starting Autumn 2013

With half our planet’s population now living in urban centres, the search is on to find brave new ways to engage with each other and the institutions that govern our lives. Beginning autumn 2013, CSM’s MA Architecture: Cities and Innovation students will work with colleagues, industry and crucially, the public to explore ways in which architecture can help shape the sustainable cities of the future against

a backdrop of galloping migration, globalisation, youth unemployment and resource depletion. London itself plays a key role in this enquiry – the capital becomes a ‘world laboratory’, a global test bed for urban innovation in response to rapid social, cultural and political change.

For more information visitwww.csm.arts.ac.uk/courses/ma-architecture

mA cuLtuRe, cRiticism AND cuRAtioNStarting January 2013

What can we learn about our life and times from investigating culture in its historical framework? This new 45-week course illuminates the practice of history in relation to the present moment by examining archives, collections and cultural reference points while exploring exhibitions, events and publications as vehicles for presenting fresh understandings of history. Launching in January 2013, MA Culture, Criticism and

Curation combines cross-disciplinary research into image, object and text with practical work in curating and writing, preparing CSM students for wide-ranging careers within the creative and cultural industries or for ongoing postgraduate study.

For more information visitwww.csm.arts.ac.uk/courses/ma-culture-criticism-curation/

NEW COURSES

tWo moRe PostGRADuAte couRses FoR 2013 AFFiRm csm’s sPiRit oF iNNoVAtioN

London becomes a ‘world laboratory’, a global test bed for urban innovation

Blast Magazine cover © CSM Museum & Study Collection The stark contrast of urbanisation


RecoDiNG sHAKesPeARe Central Saint Martins students worked closely with the Royal Shakespeare Company to deliver two prestigious projects at the RSC’s Stratford home during summer and autumn 2012.

The ‘Recoding Shakespeare’ exhibition by MA Communication Design students combines art and cutting edge technology to offer a dramatic visual representation of Shakespeare’s work.

Elements of the ‘Recoding Shakespeare’ include ‘Ophelia’s Skull’ by Owen Lee, a reflection on life and death combining visuals, sounds, verse and materials in the form of a skull decorated with text from Ophelia’s death scene, and featuring a 20-note hand cranked musical box.

‘Talking Dots’ by Hanna Bischof is a collection of prints plotting the dramatic course of three of Shakespeare’s tragedies using colour-coded dots. ‘Coloured Water’ by Konstantinos Mouzakis is a video installation charting the relationships between characters in Twelfth Night through the use of coloured water controlled by a system of motorised syringes.

In a parallel RSC collaboration, CSM’s MA Character Animation students created a set of short animated films exploring the bard through two of his key texts. Each work in the ‘Devices and Disguises’ series takes its inspiration from Twelfth Night or The Tempest, exploring a range of themes including identity, gender, post-colonialism, friendship and love.

www.myshakespeare. worldshakespearefestival.org.uk

oRANGe HAND You tHe KeYsMA Industrial Design students at CSM are among the winners of a competition run by Orange that invited entries from five different European schools, including Central Saint Martins.

Of the four prizes awarded across a combined field of 58 students in the ‘Orange Hand You the Keys’ competition, CSM picked up two.

MA Industrial Design student Victor Johansson won the Coup du Coeur du Jury (The Jury’s Favourite) award for his project ‘Cloud of Things’. Fellow MAID student Szu-Wen Wang shared the Vision award for ‘BlahBlah’.

The other four participating schools were the École Nationale Supérieure des Arts Décoratifs in Paris, the École de Design Nantes Atlantique, the Institut Supérieur de Design in Valenciennes, and the Nuova Accademia di Belle Arti in Milan.

With support and advice from Orange, the 58 young designers set out to imagine the connected home of tomorrow, grappling directly with technological realities to reveal the digital world at the heart of our everyday lives.

At a follow-up event hosted by CSM in October, MAID’s Course Leader Nick Rhodes chaired a discussion in front of 150 students and guests of the question ‘What are the Design Archetypes of the Connected Home of Today?’

Panellists included Dr Stephen Hayward, design historian and anthropologist; Afroditi Krassa, interior and product designer; Alistair Parvin, architect; Santiago Matheus, managing director at Method Design Lab; Alessandro Confalonieri, industrial designer; and Clément Bataille, design and user experience at Orange Group.

music oF tHe sPHeResMA Creative Practice for Narrative Environments and BA Architecture: Spaces and Objects students at CSM worked together to design and create the Song Board installation as part of a Mayor’s Office project to install interactive public art pieces in London during the Olympics.

The Song Board, a multi-sensory interactive artwork located at the main entrance to King’s Cross station, invited commuters, residents and overseas visitors to create their

own speech patterns and compose their own music by playing with a set of sonic balls.

While some simply walked by and observed, others took the time to engage. The interplay of the human senses provided a playful and memorable experience in the heart of the host city, celebrating the participatory and collaborative ethos of the Olympics.

Students taking part were Mahsa Damigah, Alexander Goller, Katie Russell and Yuri Zampirolli. Their tutors were Patricia Austin, Oscar Brito, Matt Haycocks, Jona Piehl and Gregory Ross.

STUDENT PROJECTS

Cloud of Things © Victor Johansson

Song Board, Matt HaycocksColoured Water by Konstantinos Mouzakis

Claudius’ Hand by Owen Woonyung Lee

Ophelia’s Skull by Owen Woonyung Lee

csm time to Be HAPPY — issue 13 / AutumN 2012 csm time to Be HAPPY — issue 13 / AutumN 2012 2120

When CSM invited students to use the college wall outside the Lecture Theatre to jot down the three things they liked most about our new building – and the three things they liked least – the results were funny, naughty, provocative and ‘on the money’.

Led by illustration pathway tutor Andrew Hall, BA Graphic Design students at CSM then took up a competition challenge to design posters that interpreted the anonymous scribbles as artworks. Here, winner Radek Husak, who graduated in June, reflects on the project …

When we were first briefed I had only a vague understanding of the Scribble Wall concept. It seemed to be a long strip of paper on which people moaned about pretty much everything, from security guards to electric sockets. But when I looked more closely I realised some of my own opinions and feelings were reflected in other people’s thoughts.

As designers we were asked to express those thoughts through our personal visual language. A typographer obsessed with letters, I quickly turned to the heritage of

the school, exploring ways to combine past and present. With a vast array of famous tutors like May Morris and Edward Johnston to choose from, I decided to focus on the quintessentially British Eric Gill.

In order to create a consistent set of posters I used Gill Sans of all weights as my foundation. As a second principle I decided to stay true to the written material, retaining misspellings and slang as an element of the design. Now it was time to add my mark. Using a palette of red, white and black I focused on clarity and legibility. By highlighting and rearranging key words I drew out messages hidden from view. In the design process the type becomes an illustration that aims to reveal the underlying meaning of the texts. Letters freely arranged on paper have lives of their own.

Radek Husak is a freelance graphic designer specialising in branding and identity design. His area of expertise includes all forms of printed matter as well as digital publishing.Radek works from his home studio in central London.

www.rhusak.co.uk

tHe scRiBBLe WALLiN tHe DesiGN PRocess tHe tYPe Becomes AN iLLustRAtioN tHAt ReVeALs tHe uNDeRLYiNG meANiNG oF tHe teXt

scRiBBLe WALL FoLLoW-uPWe’ve made good progress in response to comments made on the Scribble Wall in 2012, and we’ll be issuing regular updates as we make further improvements in a range of areas. Read on for some examples of steps we’re taking …

Diversity

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Poster 4: roof terrace accessTo make better use of its space, the Roof Terrace is now open to all our courses for supervised teaching. A new working group is looking into how the terrace could be better used all round.

Poster 8: diversityWe all agree that the diversity within our learning community is great, with roughly 90 countries represented at CSM. We’re continually developing our outreach work and our support for all students. We’re also improving information about what we do. For 2012/13 we’ve produced a new Student Support booklet. A collaboration is underway between BAASaO and MACPfNE to develop a new meditation or prayer pod at KX.

Poster 10: collaborative workingWe all agree that flexible study spaces and shared Project Spaces are really useful for group project working. The expansion of our Learning Zones recognises the growing importance of informal spaces where students can work together, not forgetting that quiet zones are crucial too. We think the Street could be better used for collaborations. A new working group, like the one for the Roof Terrace, is looking at possibilities.

Poster 11: the canteen chairs!A working group is now reconsidering the Canteen. New tables for the Street, with oak tops and oak benches to match, arrive later in the new year.

Poster 16: no TV studio?During 2011/12 a well equipped TV, radio and sound studio was introduced on the first floor, within the 4D technical area.

In the new year we’ll be inviting students to take part in a virtual scribble wall. Details will be sent at the beginning of next term.

Poster 2: noisy open plan spacesTo improve acoustics, a special ceiling is being trialled in K101, a Product Design studio. If successful, this plan will be rolled out in other studios and project spaces.

Poster 14: foodWhile every effort is being made to provide a varied, healthy menu, we’ll have to admit it won’t be possible to cater for every taste! There are microwaves in the Canteen, so you can always BYO!


Lighting up CSM’s Lethaby Gallery until 14 December is an impressive exhibition sponsored by college partner De Beers Diamond Jewellers.

‘SET: 40 Years of Jewellery Design at Central Saint Martins’ showcases a selection of works by CSM alumni celebrating our unique association, over four decades, with the jeweller’s art.

In fact, jewellery design with its allied trades has been a CSM course cornerstone since 1908. The Central School’s Lethaby Building, bristling with workshops that proposed ‘design through practice’, established the learning template for jewellery study at Central Saint Martins today.

A new chapter in our BA Jewellery Design course’s story began in the 1960s when it played a pivotal role in the post-war renaissance in the jewellery arts. The CSM Museum’s remarkable collection dates from that seminal era, mapping decades of development in creative practice, and serving up an eclectic array of delights to be enjoyed here.

Contributing designers include Jane McAdam Freud, Metta Jensen, Ben Day, Fred Rich, Julia Manheim, Reema Pachachi, Zoe Arnold, Tomasz Donocik, Gary Wright, Sheila Teague, Tom McEwan, Anastasia Young, Beth Gilmour, Hannah Martin, Daisuke Sakaguchi, Hazel Clucus and Tom Mehew.

Also on show will be work by recent graduates Hollie Paxton (2011), Maiko Takeda (2010) and Yenz Lin (2009).

Established in 2001, De Beers Diamond Jewellers is an independently managed and operated joint venture between LVMH, the world’s leading luxury products group, and De Beers SA, the world’s top diamond producer.

De Beers Diamond Jewellers’ sponsorship of the Lethaby Gallery exhibition upholds the brand’s commitment to ‘bringing light to new talent’. Recent CSM jewellery graduate Hollie Bonneville Barden is currently designing for the company.

Until 14 December: Monday to Friday 10am–6pm; Saturday (during term time) 10am–4pm.

JEWELLERYDESIGNAT CSM

csm’s uNique coNtRiButioN to tHe stoRY oF moDeRN JeWeLLeRY GLimmeRs AND GLeAms

Shadow Glasses © Makio Takeda

Silver Ring © Francesca Amfitheatrof Chrysoprase ring, green Chrysoprase and 18ct gold, 2012 © Ben Day

Beech wood and silver ring © Mette Jensen Earrings, Silver with Woven Silk, 1981 © Fred Rich

Taste Ring, 18ct gold and diamond, 1975

© Gary Wright

Receipt © Hollie Paxton


sPotLiGHt oN mAiDIn its November/December 2012 issue FRAME turns the spotlight on recent industrial design degree shows, citing re-use as a hot current topic and showcasing work by four MAID students at CSM.

Jingyi Lin deploys a range of conceptual objects – a clock, a set of glasses, kitchen scales – to make us aware of the water consumption implications of our food choices and to encourage a more environmentally conscious diet.

Leander Angerer’s designs – spare, pristine, lightweight – evoke the freedom of a backpacker and the humility of a Buddhist monk to reclaim the simple satisfactions of a no-frills lifestyle and a back-to-basics personal philosophy.

Paulo Goldstein confronts the frustrations we all feel when something ‘as small as a pencil or as big as a financial services system’ breaks or breaks down. His collection of ‘repaired’ objects is an attempt to restore order and meaning to a wayward universe by placing major issues, such as global economic meltdown, in the category of ‘matters we can take into our own hands’.

Jason Lloyd Fletcher puts an interesting spin on re-use by fashioning old pieces of furniture into new items using modular metal connectors painted aqua for instant brand recognition.

As seeN iN…csm AND csm PeoPLe cAtcH tHe eYe oF meDiA commeNtAtoRs AND tALeNt sPotteRs

Best oF tHe BestIn a major profile of Michael Sodeau, FX devotes a spread to the prolific and precocious CSM product design alumnus whose ‘Anything’ range of desktop accessories for Japanese company Suikosha scooped the Red Dot Best of the Best award in 2009.

Famous for (almost) never turning down a commission, the designer’s London-based practice takes on everything from sofas and hat stands to restaurant interiors and stoneware. The man himself is also creative director at designjunction, the influential exhibitors’ show at the heart of the annual London Design Festival.

A CSM graduate in 1994, Michael remembers his student days fondly. ‘There was a core of us who worked into the evening until they came to kick us out at nine o’clock,’ he recalls.

In the same issue, FX uses its ‘One to Watch’ slot to focus on Blank, the creative enterprise founded in 2009 by CSM graduate Tinja Wright. Blank creates striking canvases that can be customised to suit the colour palette of any household space or commercial environment.

www.blankbespokeart.com

FRee tHiNKeRs WeLcomeIn its ‘Brilliant Britain’ supplement celebrating Britishness in all its creative splendour, luxury UK fashion brand Mulberry takes its journalistic hat off to CSM alumni Gilbert & George, and to our award-winning new building itself.

‘Famous for nurturing free thinkers and mavericks,’ it writes, ‘Central Saint Martins recently abandoned the scattering of old and cramped buildings it once occupied to set up shop in a sleek converted granary in the once derelict area behind King’s Cross station.’

Relocating to the ‘enormous’ Stanton Williams-designed site has given us ‘a blank canvas with which to move on into the 21st century’. There’s notable praise, too, for CSM’s creative legacy. ‘The alumni of this institution have had a phenomenal impact on the world,’ Mulberry says.

www.brilliantbritainguide.com

cuLtuRe oF coutuReCSM fashion students Oliver Ward and Louis Barthélemy attract plenty of positive notices in a special report by Vanity Fair on ‘Tomorrow’s Couturiers Today’.

A womenswear graduate at CSM this year, Oliver is a design assistant at Marchesa, the über-glamorous New York house led by Georgina Chapman, wife of movie mogul Harvey Weinstein. ‘Fantasy,’ says Oliver, ‘is what we do here.’

According to Willie Walters, BA Fashion course leader at CSM, Oliver was an unusual student in that he wanted to create garments by hand as in the true meaning of couture. Says his new boss in the Big Apple: ‘I can already see he has a very sensual approach to fashion, as well as a couture level of craftsmanship.’

Louis, who showed his graduate collection in Paris this year, now designs textile accessories – including scarves, capes and shawls – at Dior. The young Frenchman is excited by the prospect of working with Dior’s new creative director Raf Simons.

‘Raf will change the position of the house completely,’ Louis says. ‘It will be for a new woman, not the client of the recent past. It will be a new, understated luxe.’

Frame, Nov/Dec 2012 FX Magazine, September 2012

Mulberry publication, November 2012

Vanity Fair Magazine , December 2012


tHe FAsHioN ResouRce BooKBy Robert Leach

Fashion design is a process of investigating, understanding context, and constantly questioning what you’re doing and why. Subtitled ‘Research for Design’, this comprehensive survey brings together work by a wide range of designers, from Chanel to McQueen, in order to explore their trademark sources of inspiration and research.

Visually engaging and strikingly presented with 400 illustrations, 333 in colour, the volume has a reach that takes in everything from Christian Dior’s ‘New Look’ to traditional textiles from around the world. An invaluable resource for anyone in the fashion world, it will be essential reading for students, professionals and enthusiasts alike.

Robert Leach includes a series of detailed case studies investigating the research process in the work of designers including Paul Smith, Comme des Garçons and Anna Sui. Shelley Fox, head of MA studies at Parsons in New York, adds an insightful introduction.

In his ‘Visual Review’ section the author turns his spotlight on a who’s who of fashion, taking in global brands from Burberry and Prada to Westwood and Yamamoto. At the heart of the book is a wide-ranging ‘Research and Inspiration’ section, which includes chapters on Art as Inspiration, Nature and Science, Denim and Workwear, Zeitgeist, and Street Style, among other key topics.

Robert Leach teaches fashion at Central Saint Martins College of Arts and Design.

VoGue oN eLsA scHiAPAReLLiBy Judith Watt

One of a series of short books from fashion bible Vogue, this little gem examines the enduring legacy of a daring and visionary designer. Elsa Schiaparelli collaborated with artists such as Salvador Dali and Man Ray, pioneered the runway show, and designed costumes for movie stars from Mae West to Marlene Dietrich.

Featuring Schiaparelli’s pioneering designs, from the first picture of her revolutionary bow-knot sweater in 1927 to the surrealist ‘Tears’ dress and ‘Shoe’ hat of the late 1930s, Judith Watt also explains the story of the uniquely shocking pink synonymous with Schiaparelli today.

Vogue On is an influential and covetable series of books celebrating the defining designers of the last century. The first four books in the

series illuminate the significance of Elsa Schiaparelli, Coco Chanel, Christian Dior and Alexander McQueen, all pioneers in their time, while drawing extensively on the Vogue archive, the Sinequanon of portraiture and fashion illustration.

Alexandra Shulman, Editor of British Vogue, comments: ‘Vogue On offers an authoritative overview of the work of the 20th century’s most influential designers. Unique access to the treasures of the Vogue library combined with concise, elegant and informed writing ensures that this series is an unmissable addition to any student or enthusiast of fashion’s library.’

Judith Watt teaches History of Dress on the Fashion Communication with Promotion BA at Central Saint Martins College of Arts and Design. Judith is a fashion historian, writer and broadcaster.

mAsteRcLAss: PRoDuct DesiGNGuiDe to tHe WoRLD’s LeADiNG GRADuAte scHooLsPublished by Frame Publishers, Amsterdam

Aimed at current BA degree students, recent graduates and professionals looking to specialise, this survey provides a detailed overview of 30 leading graduate schools around the world that offer a Masters degree in product design.

Featured schools and courses – including CSM’s MA Industrial Design course led by Nick Rhodes – are selected on the basis of key criteria including the quality of the graduation work, the employability and success of former students, the calibre of lecturers, and the profile and reputation of teaching staff within the wider design community.

Each school is surveyed extensively across 10 pages containing useful information, such as programme description, application details and requirements, student demographics, mentor and alumni lists, tuition and scholarship details, and full contact details.

Articles offer insights into life at each of the schools and in their global locations. Each school profile features an introduction by the dean or head, followed by examples of recent student work, interviews with successful alumni, and information about housing, transport and the cultural scene from a student perspective.

With a world map showing the demographic reach of featured schools, a summary table, and a notebook section for research findings, this guide is a handy tool for would-be students looking to choose the institution that suits them best.

But WHeRe ARe ALL tHe PeoPLeBy Marcus Bastel

Compiled after the photographer’s ninth trip to the American Southwest, this haunting book sets out to reflect and reflect on what he discovered there or was drawn to during his travels.

‘When you live in London,’ he explains, ‘the mass of people that confronts you daily can at times be overwhelming. The Southwest was, from my very first visit, the total opposite. After a number of trips the stillness became something I sought out, often waiting for people to leave the scene in order to create a purer image. With the people gone, spaces took on a different reality.’

The resulting images resemble vacant film sets or model trains set in perpetual motion. ‘I think there’s something a little eerie about the lack of people in my shots – it breeds an expectation of something yet to happen, of someone about to enter the scene to take up the narrative.’

But Where Are All The People received an honourable mention in the Photography Book Now International Juried Competition 2010 judged by Darius Himes (Radius Books), Monica Allende (Photo Editor, Sunday Times), Judith Puckett-Rinella (T, the New York Times Style Magazine), Lesley A Martin (Aperture), David Fahey (Fahey/Klein Gallery), Michael Mack (Steidl/Mack Publishing), and photographers Martin Parr, Susan Meiselas and Brian Smith.

Marcus Bastel is a photographer and writer based in London. He studied fine art at the Rijksakademie van beeldende Kunsten in Amsterdam and at Sheffield Hallam University. He currently works at CSM as a CTR technician.

But Where Are All The People is available via BLURB or at marcusbastel.com

Best oF tHe BooKs

iNcLuDiNG tWo seLF-PuBLisHeD WoRKs tHAt sHoW HoW ARtists AND WRiteRs ARe iNcReAsiNGLY DoiNG it FoR tHemseLVes

AmeRicAN PostcARDsEdited by Ronan Haughton

Available through the self-publishing portal BLURB, American Postcards charts the experiences and impressions of three European photographers at large in post-9/11 America.

Using a picture-postcard format combining words with images, the book showcases the work of London College of Communication BA Photography graduates Norman Wilcox (UK), Amanda Johansson (Sweden) and Ronan Haughton (Ireland). Also included is work by Art Kaligos, a graduate in photography of New York’s Parsons School of Design.

American Postcards features exclusive travel writing by Peter D Osborne, author of Travelling Light: Travel and Visual Culture. ‘Then the police stop us. They’re friendly … they pose for Polaroids. Art confesses he would have preferred to have been handcuffed so that his European pals could have had an Easy Rider experience.’

Ronan Haughton is an enterprise and innovation contract manager at Central Saint Martins and is editor-in-chief at Less magazine.

Quadrille Publishing

Thames and Hudson

© Marcus Bastel

American Postcards © Ronan Haughton


Afterall Film Club, which is free, takes place three times a term at Central Saint Martins. The title of the film to be screened isn’t revealed until the moment it is introduced by the invited artist or writer.

Respected film theorist Laura Mulvey opened the Club in May 2012 with insights on Max Ophul’s La Signora Tutti; Dexter Dalwood followed with Paul Schrader’s Light Sleeper, and pointed out extended moments in the film dedicated to paintings hung within the film’s locations; Mark Leckey chose A Bigger Splash, the David Hockney documentary from 1973; and CSM alumnus John Stezaker opted for Nicolas Roeg’s Track 29, which might have left the audience dumbfounded were it not for the insightful discussion he instigated afterwards.

The fifth meeting of the Afterall Film Club takes place on 6 December, with Nina Power introducing a film of her choice. A philosophy lecturer at Roehampton University, Nina is the author of One Dimensional Woman (Zero Books, 2009). She used to run the occasional London film club Kino Fist with Owen Hatherley; is a founder member of Defend the Right to Protest, a campaign group set up in response to recent student protests in the UK; and writes regularly for The Guardian.

Afterall events in November included the sold-out ‘Artist as Curator’ symposium and the launch of their newest One Work book Yayoi Kusama: Infinity Mirror Room – Phalli's Field, with the book's author Jo Applin and art historian Briony Fer in conversation.

Just out is the Autumn/Winter 2012 issue of Afterall journal, which looks at migration – from the political agency of migrating subjects to queer assaults on static definitions of identity – through the work of Pauline Boudry/Renate Lorenz, Paul Chan, Lukas Duwenhögger and Sven Augustijnen. With an eye on the world’s shifting political geographies the journal also explores what constructs such as ‘East’ and ‘West’ have meant to artists including Ivan Kožaric and Almagul Menlibayeva.

Afterall, the contemporary art research and publishing organisation based at CSM, co-delivers our MRes Art: Exhibition Studies course as part of CSM’s Postgraduate Art Programme.

For more information about Afterall visit www. afterall.org

AFTERALL COMING SOON IN THE LETHABY GALLERY AT KX

Future Map 2013 exhibition: 18 January – 9 February 2013

ReseaRch exhibition exhibition: 20 FebRuaRy – 23 MaRch 2013

SET: 40 YEarS of JEwEllErY aT CEnTral SainT MarTinS ExhibiTion: 12 novEMbEr – 14 DECEMbEr 2012

FiLm cLuBeVeNtsPuBLicAtioNs

Poster for Afterall Film Club designed by Adeline Yeo, BAGD

Afterall ‘Artist as Curator’ Symposium. Image shows Elena Filipovic

giving the Keynote lecture – ‘When Exhibitions Become Form: A Brief

History of the Artist as Curator’. Photograph: Line Ellegaard

Afterall ‘Artist as Curator’ Symposium. Image shows

Willem de Rooij discussing his exhibition Intolerance, 2010.

Photograph: Line Ellegaard

30 csm time to Be HAPPY — issue 13 / AutumN 2012

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As the new Students’ Union Community Co-ordinator on site at CSM, I’m eager to find out what students want from their college, university and union, and I’m more than ready to make change happen. I want to improve students’ sense of community and belonging during their time here. My study background is in psychology and photography. I have a personal connection with UAL having recently graduated from MA Fine Art at Camberwell. I’m particularly interested in arts education and creative opportunity. That’s why I’d like to see opportunities communicated as effectively as possible to all students here at CSM.

We’ve made a great start so far this year with a really successful freshers’ festival. This included club nights at KOKO and Fabric, pub crawls and quizzes, and the ultimate freshers’ fair held on site at CSM. I’d like to thank you all for making these events such a success – we’ll be lining up more of them over the course of the year.

Meanwhile we’ve successfully launched our ‘Devil Pays Nada’ campaign to end illegal unpaid internships – find out more at the blog address below. We’ve also introduced our ‘Photember’, which crams November with lots of photography events from competitions to workshops, and which culminates at the end of the month in an awards do at the Photographers Gallery.

I want to meet students and staff alike. I want to find out what you do and what I can help you with. So please pop in and say hi. You’ll find me in room C002 next to Student Services at King’s Cross. Having said that, I’m often out and about talking to students. If for any reason you can’t locate me, please contact me via these addresses. Or leave me a note – I love postcards!

[email protected]

HELLOI’M JEN…

PoP iN AND sAY Hi, sAYs NeW stuDeNtuNioN commuNitY co-oRDiNAtoR JeNNiFeR BALL

Jennifer Ball © Josh Jones UAL Fresher’s Fair 2012 © Jennifer Ball

Badges from the SU’s Devil Pays Nada Campaign,

against exploitative internships © Jennifer Ball

Documents

CSM Time 13 - Time To Be Happy