This Roundtable began life as a public event on the subject of liquid crystals in our visual, mat. This focus necessitated developing an interdisciplinary set of methods, which results in the reassessment of disciplinary borders and productive. The research brings together subjects, themes and questions traditionally covered separately by two disciplines, the history of design and history of science. A key component of the project is methodological. It is based on research into artefacts from three areas: X-ray crystallographers’ postwar practices of visualising molecular structures using models and diagrams the Festival Pattern Group scheme for the 1951 Festival of Britain, in which crystallographic visualisations formed the aesthetic basis of patterns for domestic objects and postwar furnishings with a ‘ball-and-rod’ form and construction reminiscent of those of molecular models. more This thesis investigates the use and significance of X-ray crystallographic visualisations of molecular structures in postwar British material culture across scientific practice and industrial design. This thesis investigates the use and significance of X-ray crystallographic visualisations of mol. Supervisors: Sarah Teasley and Peter Morris The latter developed critical perspectives on survival and disaster preparedness through the lens of art, design and their histories. FM ().Īs a curator, I've worked at the V&A in the Design, Architecture and Digital Department as Curator of Twentieth-Century and Contemporary Furniture and Twentieth-Century Product Design, and have collaborated with Dr Maya Oppenheimer and Francesca Cavallo as the curatorial practice Operating Manual for Living in the Worst-Case Scenario. The show was produced in partnership with the Science Museum Art Programme, the RCA, UNESCO’s International Year of Crystallography and Resonance 104.4. In 2014, I made the six-part radio broadcast and podcast, "Atomic Radio," which explored intersections of the science of X-ray crystallography, art, and design. I also created a pilot archive of the sounds of designed objects at the Victoria & Albert Museum, called "Sounds of the Collections". Mellon Visiting Professor Eric De Visscher, undertaken with RCA Information Experience Design students. This includes the research-led pedagogical project, "The Sounding Object," led in collaboration with VARI Andrew W. My research interests also include sound as a component of design, and ways in which design scholars can conduct and communicate research using sound. This research builds on my AHRC Collaborative Doctoral Award funded research undertaken across the Royal College of Art History of Design Department and the Science Museum, completed in 2016. It takes on issues such as how complex flows between fields shape designers’ collaborations and cultural exchanges with science how design mediates public scientific knowledge and ways that design historians can draw upon an interdisciplinary set of methods for studying topics where design and science meet. My on-going research on post-war British design and X-ray crystallography investigates exchanges, links, and disjuncture between design and science, and traverses topics from the 1951 Festival Pattern Group's atomic pattern design, to scientist's visualisations of knowledge. Most recently my research has focused on design for risk communication in the context of COVID-19 (with emphasis on graphic design and illustration), and the visual representation of the virus specifically. Relationships between design and science are a key area of exploration for me. I am also an Associate Lecturer on the RCA/V&A History of Design MA. As Senior Research Tutor at the Royal College of Art, I lead the MRes in Communication Design. I am a historian of design and science and a sound artist.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |