History of Design Postgraduate Program

7/27/2019 History of Design Postgraduate Program

1/21V&

A/RCA

HISTO

RYO

FDESIG

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STG

RADUA

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PR

OGRAM

ME

2011


2/21

02/03 STATEMENT BY HEADS OF COURSE MARTAAJMAR ActingHEADOFgrADuAtEstuDiEs,V&A JANEPAVITT HEADOFHistOryOFDEsign

prOgrAmmEAnDDEAnOFscHOOlOFHumAnitiEs,rcA

04/05 STUDENT ESSAYS: ChIARASIRAVo T & DT:cAtErinADEJuliAnis

scArAbAttOli,nAplEs16951742 RuThMASoN AcOmmuniOntOkEn:rEligiOn,

iDEntityAnDpOwErintHEEArlyninEtEEntH-cEnturyscOtscHurcH,lOnDOnwAll

ZoyASTREET mAtEriAlityAnDprOcEDurAlity

12/13 DEGREE RECIPIENTS 2011 HArmAnbAins kirstinbEAttiE kAtHlEEncOnOVEr suAnnAcullEn AlicEDOlAn HElEnEDuFOurOsulliVAn kAtiEimOng AyEsHAkApilA AyAnOkObAyAsHi JEssiE lingHAm-FrEncH HAncHunliu kAsiAmAciEJOwskA mArymcmAHOn sAmpilkingtOn sOpHiEplEnDEr JEnnysAunt tHOmAsinsummErFOrD sHirlEysuryA putritrisulO lEAnnEwiErbA DEnisEHAgstrOmEr susiEmckEllAr cAtrOssi

C

ONTENTS 14/15 RESEARCH STUDENTS 201011 mAryAnnbOlgEr

cAtHErinEguirAlDEtrEnquAlyE mAryginsbErg kAtArynAJEOwskA DAViDprEstOn rEbEccAbEll EmilycAnDElA mArinAEmmAnOuil DEnisEHAgstrOmEr JEssicAJEnkins micHEllEJOnEs Hui-yingkErr JAsminEkilburn-tOppin susiEmckEllAr liViArEEnDE cAtrOssi sHEHnAsutErwAllA AlicEtwEmlOw HElEnwAltEr

16/17 STAFF RESEARCH OUTCOMES glEnnADAmsOn mArtAAJmAr JErEmyAynslEy sArAHcHEAng cHristinEgutH AngElAmcsHAnE JAnEpAVitt sArAHtEAslEy

32/33 AwARDS, PRIzES ANDSCHOlARSHIPS 201011

34 AlUMNI NEwS

Object -based study at the V&


3/21

2011haeeaexadodveeafoheaffaddeofheHoofDepoae.ioveeoehoooefeoheaheveeofheeaadoeoaofo2012.

wehaveeeheadaoofaexeoaoohoofmA,mphadphDde.thefadeaooodeoaeaeveoadaeofo,aeaoooodedaeeahadhoohoexazedaheoadheoeodaeae.theoa,oadvaaedhedeaeofjefoeaodeeaeoheoeheeh-eEhaeo,fooodavcaooVoaazaa,fodoeaeqchaodeahe1990aeeooheeeaeadhadeeahaofoeed

heoae.soefaaeeeefoheofheamAadphDdeaoje,haaoeofdeexoexadedjeeoahe,dE,sede,chaadbaz.Aoeeoe,aeaadaaoevde,adeeaehahvaeeahdeae,fohereaaeoheeeda,ovaveeeveeheooedeeoo,aehe,oaadahoadhehoofehoo.Aeveehaoeeadaeheeheeeadfeedeavo.

F-eareaae,modeadAaDeHodeoefaaoheeofheoae.idedheaeexaeofheeadhadaoffeaeaeeah:aexaaoofaeheeh-eneaoaax;adoofpeeaoooje,adaexoaoofheaeaofvdeoae,oaeafe.Feaodeoae

eveeeaeavaeaaadhoao.

thedehaveaooedoavaeofV&Aexhoojehea.TraditionTransformed: Contemporary Korean Ceramics,o-aedD.cheghadxf-eade,aaedheceagaeeaheV&AeeemaadOoe.theajoA/weexho,Postmodernism: Styleand Subversion 1970-1990,o-aedD.geAdaoadJaepav,haeeoedV&A/rcAdeehhohodeveoe,adheadeaooedoheoaeofevehaeaadfee.the asterpiecesof aiolicaexho,hhoeaheV&A 02/03

STATEMENT

BYJOINT

HEADSOFPRO

GRAMME 2012,aedEasaadoedhoheeahreaaeDeHo

de.bohoeveaddvda,dehavedeveoedexexa-aoje,hahedehooedo,Unmaking Things [.ah.o]e,eded,addeedhede,adahednoveeheae.

Aeofdeveoeadeeaheveeeodedohefeaeahoaehea,afoaohofahoadoe,foae,oaeoaeofrcAdoexhaeheedehodejoedheoeaefoheshooofDeadcoaooooe-daoje.sdeaooedeeaooThe Bone Workshops,aofaaeV&A/rcA/leed/ucloaoaveeeahojeexo

eoofaeafodffeedaeeve(nimal, Vegetable, ineral and OtherThings).sdeaoaaedResearchingthe Text,aohoexoehodooefoheeeahofeaodeex,aehhbecoeereaaemAoae.mAsdefooheaheedheaadoodaoofsianDesign and its istories: Geographies, Chronologies,ethodologies,aeaoaoo-oazedhHahoFjaofOaauve,hedaheV&AJ.OhedeaeevovedheeeahadafohercA/V&A/washegoonternationality on Display: The legacyof the 1862 xhibitionfoFea2012.

reeahoeoeaheoeofoave,adheahaeeheoeoofoeajoojeadheahofeoe.theeahofedeaehheoexofdeaehhoheeooaoaadeaoa.Aeofooeaoe

fooeoaoaoeeedffeeeeofheeafohe PostmodernismexhooheGlobal Design istoryvoe,foheSurface Tensions ohoadooohentoxicants and ntoxication adhenimal,Vegetable, ineral oje.

theehaveeeaeofoeoaffhaehea.D.Voakeeoaoaohheoaeededhea,aheaeaeoooaceasmaadoeoeeaucA.D.rhadcheeaoefoaeheoofleereaaeAadcealeeduve.Oehafofaffaddeeodeooaaeheohadhahefoheeoooohahehaveadeoheoaehheeahadeeahadheeeoaoeaeado.weeoeheavaofD.saahchea,aoedhsearcAseotoDeHooeadhemodeea.maoaaoooJaepav,hoooheoaDeaofhercAshooofHaeA,heoaHeadofpoaefoHoofDe.AooDgeAdao,HeadofgadaesdeaheV&A,

hohaeeaoedHeadofreeah,V&AhA.seahaoolzme(AHeadadDeHeadofreeah,V&A)adpof.chohebead(hoeeddoaV&AHeadofreeahoaeheooapaofEdhcoeeofA)foeaaaoheeeeaodveoeeahadoaoaofoohaffaddeoveheaea.

weaedehedoaoeaeaadfo2012-13,heAeaFedofheV&Ashoah.theAFV&AshoaheoffeedoadeafoheusAhoedooaeafeadafoheoae(oedeaaeavaaeooee).Aodeheo-eahedFedofheV&A,OveFodhoah,adooheaad(ee.32-33),heaeooeoaaadodeofhehheae.

io,eoddeoaeooheaeheaofhe.sa

ohhheoaeoeofheeoeofhaooeoeohaoeo!

MARTA AJMARActingHEADOFgrADuAtEstuDiEs,V&A

JANE PAVITTHEADOFHistOryOFDEsignprOgrAmmEAnDDEAnOFscHOOlOFHumAnitiEs,rcA

novee2011


4/21

04/05

STUDE

NTESSAYTime & DeaTh: CATERINA DE JUlIANISSCARABATTOlI, NAPlES 1695-1742cHiArAsirAVO(rEnAissAncEspEciAlism)

wheiaeao Time & Death heV&Aiaed.nooaaoje,eaeaaedoaneaoa,caeadeJa.ihadaedoveaeaojeoeofojeafedhaefeedheeaohhheaeaod. Time & Deathodaoeoexoehod,aeahehoaadofaeoa.sooeaeea,hoeve,hahojeaoadeodofaeoedoveae,haodhaveoeodeedahoadeoex.

Time & Death ahaedfo350ode1966Johpoe-HeeoehafofheV&Afoaadeaeroehe

aeofm.c.see. 1befoeh,aodoiaaahoooFaocaea, Time &Deathhadeefoeeheaofhechhofsaseveoapedonae,heaoed1944. 2caeaeeheeedevefoeaeaoohesaaxodee,gaeaogoosee3ad,ee,heV&A.caeahaeedhaoaaeaoo,hhheaehahaoaeeofdoehoeo,he Time &DeatheeheV&AheneaoacaeadeJaadoo.caea,ooeeeed Time & Deathaaoo,eavehofhefoao.

Time & Deathoaeoje:oodedeveateatrini della morte oeheaeofdeahdheaeeveeehe,adaoexof memento moriedaxofaze.theojeaodofheroacahorefoaoaeaheneaoaadoofdevooaoje.Aheaee,hoeve,eeeaveefad

ehaeoehehoofdevooaoje(oehahaoeededeadea).moeove,eehaheaaoexhhheV&A Time &Deathaodedahaveeeadveoehadeevefheexoao. 4

iodeooexazeTime & Death,heaeaoeeofheojeadheaoofaaojehaxdheaeeveeehadeaeheeheeeeexoed.theaefohh Time & Deathaeeaedeeaoexaeddeh:heovedheeaofhecahorefoaoadnaedeheehofheae,voaeoadoveoao.theooeofheeedeeddeJa,adhefo,aoaeaddeaoofTime & Death adojeeeeaoveaed.Avaeofaoeeeoed,doeoaaveeaeaddeoo,ddaeoex,oeoaadeeeae,ado

oaheojeheeve.theeoofojafeofheehhoa.

wax,ee,oeoofaheeeeaeoeed,5ageoeDd-Heaooe.ifaoeheaeeoeoeofa.theaeof Time & Deathdeeedaea,adeeeoheofaheeeao.waxaeevedoeaeaaoeaeaadheeeaaoaedhv.6theefoeeaeadeaaeafoeoaadoje.waxaedforoafeaa.badaofhedeadeeodedadheaedfeaoeooehehadeffeofheaeo.theeroaadoofeffeadfeaoeoaeeaefeedheaeofaadaeofheVadaodeohefoadoeehevodofae.7theeaeehaax,eae,oehoeeveoehofhedeadaohev.ifa,headoofaxeffeofoadvdaaeaeo

feaaedohohoheeaodeeodvaofo.waxodeveeveaeofae.uaheeeodaeodedfezeadeeaofaeoeodeedeae.Foexaeaeheeh-eaxoeeeveddeaeaaaexhedaheshemecooe.8Dd-Heaehaheeofax,aooveeoeeoaae:eveha,a,fa,evohea,adooehefeeofaaoffeh. 9waxadfeheeeaeed.

theeofaxaofoafe-edeoofhehaodaeahofhedffeeaeoffeadofdeah.Eahfe Time & Deatheaaeadao.Evehaafeofo,foheeaeeoheehedfofhedeaoe.theooaehoeofhehadheoo.Oaeadod,heedoofhado,aoeadea.theoedfeofDeathhekofhe teatrino,heeadao(fa Death and Timehhaveeeaoeaaee).Heeaheoadhehodheee:evehepoehoeaaedadedhefoeod Deathsje.Timeoa,aaadevaofDeah,hovahea.Evehehae,aaeof,exeheo. 10

theea,aheee,eeoehaDeahheaefoa,eaadoeae.

la,oehhodeadaoheddaoeofTime & Deathadoheojee.cadasvoAoao(1540-1603)oeaeaeoheedaoofhde, 11hhhededaeahaeoheoaeofeahhehdooeaedeahadhejdeeofgodoaooeaeaodhhedev. 12

thefahaheeojeaeaeofeafeaeheefefoveoe.nooaeheoae,heeeofhefeaoheoeeheodoffo, 13heeheaovoeoeooadeaheoaodeahadhedaeofodeae.ihee, Time & Deatheaohaaadaedaoaoje,adaojeoffaa.

theeeahfohaeaeedoeeo,ahohheeaeoeeeo.theeofahoheaeve,eaheaee,heeoead

oeaooeexoheaadhheehahedeJaeoh.ieeveaefaedha Time & Deathexdeedeoeovehevee.Advee,iefeoheeaeheeh-eeaoaeaheef-ehoa,adeveoeeee.theoeofhojeeaeavaooexoeoadoex,adhehoe.theaxheaeTime & Deatheaeadoooahdeod,aoeofaofoeeeahoheoe,voaddeofHedheEamodepeodia.


5/21

06/07

1V&AAhve,seeerp65/3349.2id.3seeoeodeeeeeseeadJohpoe-HeeV&AAhve,seeerp65/3349.4JaeEadephddeao, Sacred and Profane: Sight and Spiritual Vision in the rts of the Baroque 1650-1700 ,hedDphhe,(uveofsex2009),deahaededaedote&DeahadtheJdeeofheDaed(aoheaeaxaedodeJa).thheooeeoihaveeeaeodohejeadoffeaheaeoffoao.AheoheoehaoffefoaoodeJaadte&Deah,eooheoexofoo.

5Dd-Hea,geoe,Voeadsvva:AHopohetehemaearoeapazae(ed.)phemeral Bodies:Wax Sculpture and the uman Figure (loAee:hegereeahie,2008),.156

6nea,thear., Wax as rt Form,(lodo:thoayoeoffld.,1966),.14.7Eade,Jae,Sacred and Profane: Sight and Spiritual Vision in the rts of the Baroque 1650-1700 ,.107.8uo,saa,icooheomoe:eveexaoaeoaaeoe Psicort: La Psicologia dellrte a Bologna,(2003-2004),.3adg.Dd-Hea,waxFeh,Voce,.5.

9Dd-Hea,g.,waxFeh,Voce,.2.10iaaefopof.Ah.Faeosooa,seedeofAefohereoofua,hooedoheaoeoeofDeathheaea.

11svoAoao, Dellducazione Cristiana e Politica dei Figlioli ,lte,soadiazadsacaobooeo,novaedzoeaaeoodzoedleoodopoa,g.b.paava&c.too-mao-Feze-roa-nao-paeo,1926(edo1584)

12sedeeoaoaeeeeaaaaooeae,eeee,eeeodeaoeeoea,oaeeooaeavaeeeooedezzae,eaoovee,ehezzeeoo,eeeeoeheodoeoeaeoafea,aaeaeeaeeeaoeeeoaeoadeaoe,edeeedodzodDo;aooffaehdaeoehaadoadeeee;eoeoeoedeoodoaodeDeoo,heeeeedapaadoeDo.svoAoao, Dellducazione Cristiana e Politica dei Figlioli ,ooii,h.XV,.105

13paz,mao,leFedcealeeaalaceoaaeasezaeeAe:Adeicoeoieazoae Rivista di Storiadelle Scienze ediche e Naturali,Vo.XX(Feze:leos.OhEdoe,1975),.554

A COMMUNION TOkEN: RElIGION, IDENTITYAND POwER IN THE EARlY NINETEENTH-CENTURY SCOTS CHURCH, lONDON wAllrutHmAsOn(mODErnspEciAlism)

Ohe30seee1804hesochh,lodowaadJoehFea7.10fo600oooe.1toofheoeoeoohemeoflodo,oeofhheodahesaedsveadsaedgagaeeaheVoaadAeme.2Oeahoeoveeaheeedaeedhhead:scOts.cHurcH.lOnDOn.wAll.Oeveeead:rEV d.ry.1803,heaefeoreveedroeyohoavoedahemeofhesochhlodowa1803. 3madeofaee,eahoeaaade,aoaaeeofdeaoeoeheaoded.4

Ahohhojea,eaoh2daee,aovdeahoheeoae,heooadeadoeeofhesochhlodowaheeaeeehe.

pahoeeeedaeaeeeh-epeeahheooohooooo.ihedaeadoasaaeasda(asdaohhooaadaed),meadEdeodaaeaeoeheeeofheoeaoadoeodehhedfoahoheeadehddoodeoh.5OhedaofooheoaodeheoeohemeoEde,adohoehaoeodeadedoheaae.

Hoeve,heoeaooooeodafo.FomeadEde,oooeeehaadheeeaoofheeooooeoa

eeaeooaaohesaaeofhelodse.whefoeeofheoeao,oooeeehaooofo,edhehaheeededoeeofhe.ioheeeadaeeheoeodhavefeedheehavo.iaee,adheeeofhemedeooeeohhodaoefoheoa,heoeaoehavoodhaveodedhheeeeofee.the,heoeeeeaedaaeaaeadaaeehaeeofheoeaohohadeeaadedaoeodaeoo.

Foaaevovedvadeevoooe,heeojeaoehaedpoeaeefhaooaaoofheafeofch.FooheeaheddeaofJohcavhohadaedhexeehehahe[heodadoodofch]aeeeeedodeeadade,6heBook of Common Orderedeeofhechhofsoadoeeheeadadeaoofchodadood,ejeroacahodeaofaaao.7theoeehaedheoaeofhesaaehepeeachheoaoofheoheofheoa.

beodheoooefo,ooahovdedheojehaeofefeafohaoeaoofhesochhlodowa.ihepeeachh,heeadehaavoedoheooheoeao.theefoe,aheoerEVdr.y.1803,heoeaoeeededhahehadhoeroeyoaheme.ioaohyooeoadaeadhhodheeoe,heoofyoaoheoeeaeoofheahohhheoeaohadveedh. 8

Ahohaooaefooooeoeedhheaofhechhme,heaeofhesochhlodowa,yoaeeaaoe.i1803,heyoaeeedme,oeeeofheoeaooeaaadfoedaeoedDavdbhaaAesee.9Ahohheeaeoeodofheexaovaoehdheove,ee

ehaaheeofyoEvaea.10Evaeaaoveaoaheeaeeeheadheefoeehayoooofoehehh,heoeooefeedheoadheooadeaoadeaodaeeaoheohaaeaaeofhedeoofoohdeo. 11

Time and Death, attributed to Caterina de J ulianis (active c. 1695-1742)Colored and moulded wax, probably before 1727, 83 x 108 cm framed.London: V& useum, (V& .3-1966). Photograph from V& website.


6/21

08/09

theeofaheoheoveeofheoooeaveaadaeeeooaaeeooe.nevehee,heaeofhehehadeeaoaedhsoadeheheehe.iheefoeaeahadaheoheoooehehheadeahesochhlodowa,hefsohpeeachhlodo,eeexeheoaeheaodedohesohheae.

beodheoexofchahhaeheeaaeeahedoeeeaeeeheoe.seaoe,oveoe,ovoe,oaoeadadeoeeeaooadaheedofaaeoeoofexhaeadoevaeeodheaeaoh.theefoe,aafohehoaeoeedefoheeoe,eeofhesochhlodowaod

haveeevefaahaoeoaeaeofoeexhaeadooaoeeohaveeeedfoheadvaaeofheeoo.theoooefaaedpeeaeoae,oedheoeveaddvdadeeofhesochhlodowaoeao,adaedheaeofoee.

coee,oeaadeaveaoeodeeeafdaeaohefeofhesochhlodowa,adovdehoaaee-hoeohehaaeofheeoadoaave.

1lodomeooaAhve,sochhlodowateaecahoo1799-1857,Vo.1,1799-1836,ms.4967.1,30seee1804,.342meoflodoo.16133(ooaoheVoaadAeme)admeoflodoo.8925(hemeoflodooe).Foo.16133hhaveohegdhame1941avaedooeeH.s.A.cae,cootoeuedEad,waeadhechaeiad, The Numismatic Chronicle and Journal of the Numismatic Society,4(lodo,1964),.319-338,.149;E.F.Heda,Sacramental Tokens of the Presbyterian Church in ngland (moeh,1901),.27

3H.so,ed.,Fasti cclesiae Scoticanae: The Succession of inisters in the Church of Scotland from the Reformation ,Vo.7,lodoadEdh,1928,.489;lodomeooaAhve,sochhlodowaeeavedooeaolodowa, W.Wilsons istory and

ntiquities of Dissenting Churches,ms4974,Aoaoadeeeeheeeavededeo,.512-5134w.w.woodde, Communion Tokens Bibliography,phe?pevaa,1958,.75mako,Op. Cit.,.1586J.cav,nstitutes of the Christian Religion,a,E.A.mee,cade,2009,.5477Book of Common Order and Directory of the Church of Scotland ,.1248theoeofaoaemeaaeveeohesochhlodowaadheehdoeaoeaooheeaohefooedadheeoaahhheodeedheeeaddae:lodomeooaAhve,sochhlodoware,Odeadreaoeaoheaaeeofheeaeofoheeedhesocoeao1764,ms4979;lodomeooaAhve,sochhlodowaleebooofD.roeyo,ms.4972:ma71803,leeolodosowa;14ma1804,refeeeforoeyo;3Je1803,leefoDaeh;4Je1803,leefobosae,Edh;Oheexaeofmeaeedooooe:D.m.bee,Apevou-deedsohcootoefokeha,Aedeehe, Proceedings of the Society of the ntiquities of Scotland ,129,1999,.847-9

9so,Op. Cit.,.491;lodomeooaAhve,sochhlodowaeeavedooeaolodowa,wo istoryand ntiquities of dissenting churches,ms4974,Aoaoadeeeeheeeavededeo,.513

10A.Jeffe,Op. Cit.,.113-118,.11411r.b.kox,JaeHaoadEhpeea, The Journal of the United Reform istory Society,2.9,ma1982,.286-306,.287

Obverse and Rverse of Scots Church London WallCommunion Token, useum of London no 16133,on loan to the V&


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10/11

MATERIAlITY AND PROCEDURAlITYOyAstrEEt(AsiAnspEciAlism)

MATERIAlITymaeaefeoheeooaadaafaeofaea.woodfeefaa,aeadea.pafeeeahadohaaoe-feeoeaeheoeaeoeaehefaa(bahe1972).wheaevovevaod,aofheoedadevoedoheaeaofheae-od.

phooJaeJ.go,he1970,aoeedhhedeeooffaeadaeheevoe(go1979).goahaheoeofheaveehehaedevoeohehaoeeofaeahaaedoehhe-affodae,ha-

do-aeoad-o-ae.Aaheahaaaeeeodeaffodaehheoeadaaaoe,odeadadeadofaea.

PRoCEduRAlITypoedaefeoaaofea,exaodeadoee.poeedefeheaho:heehod,ehe,adohadveheoeaoofe,foehaaeeeeooazaoaeehhhooooeaeeeofah.(boo2007)

wheoedaedahaveeaedoeehheeofoe,oeaeoeeavovedaoedaeda.taeoadaeaeoeda,aheich.iheda,heoedaefaeooveeae.Hoaeaoevedhevaodaeaoedaeo.iPortal 2

(Vave2011)heeeoofheevoeafaeadaehheoaffodaeheavaaed.theaeaohaheaffodaeoffaeaejdedheooedaodaoheaeoeahefaeohaeheaffodae.iaeaveaeeeofheeaaoedafo,adoeaeofaeaoaohevaaeaofheae-od.

PRoCEduRAlRhEToRICANdMATERIAlITypoedaaohhaveheoexeveadheoaoe.Foexae,ioeaaoaeeheeeveeheodoofaehae,oeeadehae.Heeoaeehefoaohhehevaajoofoede-af-heaee.thexaeaodeoaeheheoaoeaofoeda,ahodeoveeofeehaooheaofeaaedooze.

poedaaeaaeexoedheoa.kaaaDaa(nao2004)oedaheoeooaeofoeoaoeoe.Aaa

aeoedaodheod,aojeaeaoef,oexoeaaoehaeed.iaeheeoofhaaeeaedheodofodeoeoedooeeaea.nohdffeeaeaofoheEffeoeoaofoahaeohehahea.ieee,ahaejofaea.

PRoCEduRAlMATERIAlITyANdGAMEdESIGNAffodaedeeeheoeao-ahhaaeafoo-avaevoehaaeaooffaeoadevaeofaffodaeeeeveaoeaoah(co1995).gaedeechcafod(2004)aehaoexooedae,aehodeaeaveaoe.iodeeadhaaoofaeahaaofoheaohaaeaaaeohaaeaeoeeveadeave.Aaae,iaoexeeeheaoofavaaeaodaha

iaooeoe-aoaeheeoeoeeaf.

looah!noaoeheeoo!Oh,ha.weaoheeveea!Hodohoh,heeaeeo?seo.Hao,eejeea.H.Jfoohea,aa.

thoe,aoohaaePortal 2hohaeeeeeaaedfoaooahee,eeoeaef-efeeaoeaoaede.levedehaaoaddeeeoffeedoaeeea,ooaoheeveaeofevedeoda.lee,aeofaedehhveaeoeaeoveaeaaeoeafheaeaaeodaeveoeao.Portalaoeeaffaheeaeoafaeaeodfedhaoa-.yoaeahevefae,eaeheeoehfaaadfaoheahaaeahaaeadfoeoeooeoeahheodaaea.

FuNANdFAMIlIARITy:RECoNCIlINGPRoCEduREANdMATERIAlmaeaeevaooodoofheaeaod.thevaaeaofaedodoeoheaffeveaeofvdeoae.maeaaea.iae,heehaheeae(bahae2010).wheaevovevaod,heehaaea,aofheoedaofheaedevoedoheaeaofheod,heaffodaeofhefaeeeeedoheee.Aeaeoeeaffohefa;aodeoofhoaadaea.

theheoaoofoedaaeaeeedheaeevaooodoofdaae;oedaeeaaeofaeaedfe.maeaadoedaaeedoaheoeooaeve,aheexeeeofaeahohaoooedaae.theeaoeeeeoeadahe,dehaedodooehaedafae,aeoeda;faoeda;heafeohoohoodfoaeaoeeexeeeheaeaofoodhohheoedeeedodeooh.Ojehaeeehavo,halaoaoaoo,oeaeaodoheoedeaddeeeheoede

ofhaao(lao1992).poedaaaefooodoofheda,aeaedaaehodfoeeaaaea.

boahPrimary sourcesnao,kaaaDaa,sopaao2,cD-rOm(2004).Vavecooao,poa2,moofwdo,maOs;Dado(2011).Secondary sourcesr.bahe,ythologies (Hadwa,1972).i.boo,Persuasive games: The expressive power of videogames (The Tpe,2007).b.bahaeadJ.sha,themehahemeae:Apomoepoe, thics and Game Design: Teaching Values Through Play(2010),311.H.m.coadm.kh,tokdofAo:Apheoeooasd,phoohadpheoeooareeah55:4(1995),799819.c.cafod,Chris Crawford on nteractive Storytelling (nerdegae)(nerdegae,2004).J.J.go,The ecological approach to perception,(boo:Hahomf,1979).b.lao,wheeaeheae?thesoooofaFemdaeAfa,bje&la, Shaping Technology / Building Society:Studies in Sociotechnical Change,1992,225-258.k.rhodadm.t,the,Dedathefo(caeecoeeofA,ma2011).


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DEGREE

RECIPIENTS

FOR2011MA

HARMAN BAINSinDustriAl(Dis)OrDEr:rEspOnDingtOAcityinDEclinEpErspEctiVEsAnDprActicEsOnADAptiVErEusEFOrculturAlpurpOsEinlOnDOn(19752000)

kIRSTIN BEATTIEDOmEsticspAcE:tHEsOciAlcOnstructiOnOFtHEHOmEinqingDynAstycHinAc.16401800

kATHlEEN CONOVERFAsHiOnincOnFlict.wOrlDwAri,HAutEcOuturEAnDtHEFAsHiOnAblEbODy

SUzANNA CUllENcArVingcAirO:rEprEsEntAtiOns,iDEntity,wOODwOrkAnDtHEVictOriAAnDAlbErt

musEumcOllEctiOn

AlICE DOlANtHEDEclinEOFtHEmultiFunctiOnAlHAll?mAtEriAlculturEAnDsOciAlprActicEinkEntc.16601750

HElENE DUFOUR OSUllIVANcOmmunicAtingtHEgrEEncAusE:grApHicDEsignAnDtHEEnVirOnmEntAlmOVEmEnt,19602010

kATIE IMONGEqnicHOlsOn.AcArEErinDEsign

AYESHA kAPIlAstEAmpunk:FrOmsciEncEFictiOntODEsignculturE

AYANO kOBAYASHIDutcHDEsignbOOmintHE1990:lOOkingtHrOugHtHEFurniturE

JESSIE lINGHAM-FRENCH

rEDEsigningsciEncEAnDtEcHnOlOgyFOrpOst-wArbritAin:HOwwAssciEncEDEsignEDAttHEFEstiVAlOFbritAin,1951?

HAN CHUN lIUtHEcrAFtOFcHArity:FunDrAisingbAAArsinVictOriAnEnglAnD

kASIA MACIEJOwSkAtHEHOusEOFbEAutyAnDculturE.AprOVisiOnAlinVEstigAtiOn

MARY MCMAHONmAppingblAckFriArs:ArtisAnnEtwOrksAnDknOwlEDgEtrAnsFErinAlOnDOnlibErty(15501631)

SAM PIlkINGTONAll-in-OnEmAsculinity.AculturAlHistOryOFtHEOVErAllSOPHIE PlENDERFlAt-pAckFEstiVAls:cOnstructingitAliAnFEstiVitiEstHrOugHmAtEriAlculturEbEtwEEn.1550ad1650

JENNY SAUNTEnglisHDEcOrAtiVEplAstErwOrk1745tO1765:crAFtprActicEAnDprOcEssEssOFDEsign

THOMASIN SUMMERFORDmEDDlingwitHmEDicinE:tHEspEciAlisAtiOnOFsEAsurgEOnscHEstsintHEEArlymODErnpEriOD

SHIRlEY SURYAmEDiAtingAnArcHitEcturEOFAutOnOmy:AutHOrsHipAnDAutErismincHinAsincE1995

PUTRI TRISUlOcurAtingnOw:pErspEctiVEsinprEsEntingtHEcOntEmpOrAry,19851999

lEANNE wIERzBAbut,isitmODErn?:FAsHiOnAnDtEcHnOlOgyinmiD-cEnturymAnHAttAn

PHDDENISE HAGSTROMERinsEArcHOFAnAtiOnAlVisiOn:swEDisHEmbAssiEsFrOmtHEmiD-twEntiEtHcEnturytOtHEprEsEnt

SUSIE MCkEllARrAtiOnAlcOnsumptiOnAnDDEsign1927-1957.ADEsignHistOricAlAnAlysisOFtHEmiD-cEnturyAmEricAncOnsumErmOVEmEnttHrOugHtHECONSUR GUDS: CONSURSRSRC BULLTNS AnD CONSURS UNONRPORTS

lIVIA REzENDEtHErAwAnDtHEmAnuFActurED:brAiliAnmODErnityAnDnAtiOnAliDEntityAsprOJEctEDinintErnAtiOnAlEXHibitiOns

(18621922)

CAT ROSSIcrAFtingmODErnDEsigninitAly:FrOmpOst-wArtOpOstmODErnism


9/21

RESEAR

CHSTUDENTS2010

11MARY ANN BOlGERcElticmODErnism:tHEnEgOtiAtiOnOFnAtiOnAliDEntity,trADitiOnAnDmODErnityAsrEFlEctEDtHrOugHirisHgrApHicDEsignintHEpEriOD19491978

CATHERINE GUIRAl DE TRENqUAlYEtHEDEtErritOriAlisAtiOnOFgrApHicDEsign(Ers)?

MARY GINSBERGtHEsOViEtinFluEncEOncHinEsErEVOlutiOnAryArtAnDDEsign

kATARzYNA JEzOwSkApOlisHDEsign19451989:EXHibitiOnsAnDrEprEsEntAtiOns

DAVID PRESTONDEsigncOOrDinAtiOnAnDprOFEssiOnAlism

inbritisHgrApHicDEsign194663

REBECCA BEllmAtEriAlmArgins:glAssincEcHArt1930tOprEsEntDAy.intErnAtiOnAlism,nAtiOnAnDtHErOlEOFcrAFt

EMIlY CANDElAAtOmic,mOlEculArAnDOrbitAlicOnOgrApHyinpOst-wArDEsign

MARINA EMMANOUIlgrEEkgrApHicDEsignAnDmODErnisAtiOn,19471974

DENISE HAGSTROMER(GRADUATED IN 2011)insEArcHOFAnAtiOnAlVisiOn:swEDisHEmbAssiEsFrOmtHEmiD-twEntiEtHcEnturytOtHEprEsEnt

JESSICA JENkINStHEFunctiOnOFpublicArtAnDVisuAlcOmmunicAtiOnintHEsOciAlisturbAn

spAcEsOFtHEgErmAnDEmOcrAticrEpublic,194989

MICHEllE JONEStHEincOrpOrAtEDsOciEtyOFlOnDOnFAsHiOnDEsignErs:EnglisHcOuturE,19421975

HUI-YING kERRtHEFuturEOFtrADitiOn:AnEwiDEntityintHEbubblEOFJApAnEsEDEsign

JASMINE kIlBURN-TOPPINcrEAtingtHEmAtEriAlsOFsOciAbility:tHEwOrsHipFulcOmpAnyOFpEwtErErsAsprODucErsAnDcOnsumErsOFcOnViViAlmAsculinEculturEsinEArlymODErnlOnDOn

SUSIE MCkEllAR(GRADUATED IN 2011)rAtiOnAlcOnsumptiOnAnDDEsign19271957.ADEsignHistOricAlAnAlysisOFtHEmiD-cEnturyAmEricAncOnsumErmOVEmEnttHrOugHtHEcOnsumErguiDEs: CONSURSRSRC BULLTNS AnD CONSURS UNONRPORTS

lIVIA REzENDE(GRADUATED IN 2011)tHErAwAnDtHEmAnuFActurED:brAiliAnmODErnityAnDnAtiOnAliDEntity

AsprOJEctEDinintErnAtiOnAlEXHibitiOns(18621922)

CAT ROSSI(GRADUATED IN 2011)crAFtingmODErnDEsigninitAly:FrOmpOst-wArtOpOstmODErnism

SHEHNAz SUTERwAllAFrOmpunktOtHEHiJAb:HOwlOnDOnwOmEnHAVEEmbODiEDFAsHiOnAsrEbElliOn,1970tOtHEprEsEntDAy

AlICE TwEMlOwtHEpOliticsOFDEsigncriticismsincEtHE1950

HElEN wAlTERsArtOriAlsElF-FAsHiOningAnDtHEinDiViDuAlin1880AnD1890lOnDOn

14/15


10/21

GlENN ADAMSONgehadevoedhofheaeaoheoeoofaajoV&Aoje,Postmodernism:Style and Subversion 1970-1990,o-aedhJaepav.(seeJaeoefooedeaohexhoadaoaedao.)HehaaooeedooaeeohevoooThinking Through Craft(be,2007).thefoofhefohooo,eedThenvention of Craft,heeodfo1750o1850,heodeafaeeeoeeeaadeeedofavaddoe.theooaodedoofoeoao-daae,aaoehehedvdeeeedeeeaeoehaaf,d,aaddeeeoedov.

iaddooheeajoojegehaoedhovaooeoaadhoo.2011aheaoofeaRethinking the Baroque (Ahae),Ways of akingand Knowing (uveofmhape),adeaaoefohemeofAadDe,loAeecomeofA,DdeecoeoaA,comeofA,adkoxvemeofA.HaveehedehadedeoeeeahesoeofnohAeagodhseae,adheofeeecafFoad,hedahecafoacoeeofAsaFao.

whfeooeosaahteaeadheuveofwagooreo,geededGlobal Design istory(roede),avoeofeaadeoehaexaedeaaedofoaexhaeado.whVoakeeofheuveofheceaveA,heeaooSurface Tensions,aoheo-ededvoe(fomaheeuvepe).Fa,heheeadedofoheaaJournalof odern Craft,oaoahfheaof

ao.

STAFFRESEARCHO

UTCOMES

16/17Jean-Paul Goude and ntonio Lopez, Constructivist maternity dress,1979. worn by Grace Jones


11/21

MARTA AJMARtheahaeeeeaafomaa,hooedaAHeadofgadaesdeaheV&A,heaoheadhereaaeea.Heeeahhafoedoheeoje:

ealthy omes, ealthy Bodies: Domestic Cultureand the Prevention of Disease in Renaissance andarly odern talyaoaoaveeeahojeoedhohahee-eaweoetreeahga.coahoadaeaede,heojeeaoo(hpof.sadacavaoadD.teasoe,roaHooa).theojeexoehohoje,aeadheahvde(ee)heahhhaadeaheahadeeeeaaedhhe

hoe.

Producing the RenaissanceheeofaaehhD.soneheoe(coadie).leadoaooahadaV&Aexho,heeeahojeexoehohaoeaaofaojehoaaaoe,eeeaoadaeodheaofaefadeveoedadaediaeee.1350ad.1600.thohafoohehaedaeaadeeooofojeadaeofafah,hojefaeooooheadoadoeeeheo-aedeadhedeoavea,aoheoveoadvohheahahaveeaaedoheoeeofaadooaadeaedae,adexoeeadheoood.

nimal, Vegetable, ineral and Other Things.OveheaeamaahaaedhD.rhadchee(uveofleed),D.Vobh(AhoooDeae,ucl)adhercAaeeeahojeveahe

deadadeeaoofaaea.sefoad,vaoa,oaaheedAoeafaeofoeoaheaeaodaaeeofaa,veeaeadea,hojeexoeheahhahaddveeeeooofaeahadeveoedfoheaeaoheeeda.safoheAa,heoeeahohooboe(theboewoho)eehedaheV&Amaaddedeeaoaade,ao,aoeadmAde.theooeeaededvoeofeaoaaea.

paoheaaadeeahaveded:thegoareaae:Aiveaoofco-caOjeheEamodepeod,Global Design istory,ed.g.Adao,g.reoads.teae(roede,2011),(hlamo);adgeoahadheEvoe, Cultural istory of Childhood and Family,ed.s.cavaoads.Evae(Oxfod,2010).

maadeveedaeofeeahae,d,mah,aheeaoaHErAoFashioning the arly odern: Creativityand nnovation in urope, 1500-1800 (uveofHe,mah)adFeaaheBody in BedResearch Seminar Series (HoDeae,roaHooa,uveoflodo).sheaodeveedeeahecoadie,abe

coee(uveoflodo)adfoheAFd.maaoveeeheAHrccoaoaveDooaAadaheV&Aadeoefoheco-coeoshoahadmeohpoae,deedofoeaoahoahhheV&Aoeo.

sheoeoeveoheAHrcpeerevecoeeadheiHrmeoFeohcoee(AHo).

18/19Chalcedony glass ewer, Venice, c.1500-25, V&.


12/21

Two covers for the monthly periodical Neue Werbung(ay and October 1956), the ofcially approvedgraphic design magazine published in ast Berlin.

JEREMY AYNSlEY

JeeAeoeoeeeahomodeaddeeae,ohEoeadheusA.Oeooeaheea,DeveoalaaeofVo:gahDecafoa,hhaeaedheaoaoaheexhoaloAeecome,California Design, 1930 1965: Living in aodern Way(lAcmA/mitpe,2011),ededao,HeadofDeoaveAadDe,wedkaa.Jeeooaoveaehoodeahdedeveoedohewecoaofheusahoae,aeofheadexaoofcafoaehed-20headheavaofaEoeaadEa-oadeeaoheHeemae,sabaadlo

Daze.theodededeafodeadooahhhafoedheaahee,deadeedeoodadoaed,doodedeaaddeheadvecafoa.

iA2011,JeeavedoaeherashoaredeeaAoeewehacoeeofmedaAadDe,Dexeuve,phadeha.Heaveoee,oeohoeeahee,heoheoeeahaaddeaheroacoeeofA,offeaoveveofae-aedaddoeeahahadeveoedfohhedeee.HeaoaedThe Polish Poster School: an exhibitionheahdedeaeaDexeuvehhdeooeaaeoeoofaadoaoefo1950o1990eeahedoDexe.

Aheedofheea,JeeeedaeodeeahojeoahdeadadvehegeaDeoare.thojeexedeaeofohao,Designingodern Germany(reao,2009)adveaehodeehasoaoeeoaedheooooahaohhaedhevaaaeofodedeaddffeedfoeeoea.ioeoeohh,heaadhaofsoamodehohDeageaHosoeAacofeee,hedakcoee,lodo,heJeaJe,oeofhphDde,eeedheeeahodeae1970Eabe.

Dheea,JeeeaedheehofheAHrcpeerevecoee.HeaooedhaaaEdoaAdvoboadeeoaterial Culture Review, Design istory Japanadnteriors: Design, rchitecture, Culture.ADeoofreeahahercA,JeehaoveaeooeeheaeeeahheeofhecoeeeaaofohereeahExeeeFaeo2014adoadhheoeoohoeaeodeveoeeahaveadaaao.

20/21


13/21

SARAH CHEANG

saahcheaaaoedhsearcAseotoDeHooeadhemodeea.saahhodabAHoofDefobhouve,adamAAHofosexuve.sheoeedhephDasexuve2003,adhaoedfoheaxeaaseoleecaadHoasdealodocoeeofFaho.HeeeahfoeoaexhaeeeeEaadwe,haeaeecheeaeae,heod,adheaaoofede.ceeeaheeoooje,ohofhhexoehoeofo-ade,fahoadaeae.theexaeeeh-efahofocheehhewe,foaeadhaeo

aaeadpeeedo.theeodoeade,fahoadooea,adofehde,odadoeadoeoffaho.

saahaoo-ehojeaaededoeooheaeaofha,air:Styling Culture and Fashion (2008),hhhaed,aooheh,oeveVogueadheStylisthea.Aheoehehaoeaaeooaheaao:SinophiliaadFashion and thnicity.saahaoaofao-daeaofhoaexooeeeoofaeadaaveofefhohae.

Textile swatch for Nigerian gele made by ayes, London (c.1980),University of the rts London, rchives and Special Collections,London College of Fashion rchive24/25


14/21

CHRISTINE GUTH

theahaeeaaaveadeadoefocheghaheadofheAadeadaeaeea.peaaofoheexhotadoTransformed: Contemporary Korean Ceramics hhheaedoehehx-eadeheHoofDeoaeeaheaeadoedhohheaadeea.rehhaeeaoaoexhoof87aeeaefodaheVoaadAemeeeoaeaaeoffeeddeaoooeaaokoeaeaaadeeadoeaedehheahaeeofaaexho.thehooeedoma20adeaedoveOoe4,2011.

AvaooaaeaohoodehoadheeoazedjoheV&AadhenaoaieofDeAhedaad,idamaheeedaoheoofodeodeveoheeeaadofeoa.theohaaveedoheniDdedJaepav,headofheHoofDepoaeahercA,che,aeaheeeod-eadehoaveeeaoooodocao,doeaeqcha,adoeoacheeahee,eeve.weaehohahveadofheexhaehheniDheaadeea2011-12.

theeaoaonepeeveoAaDeadHoe:geoahe,choooe,mehodooeaahdajoevehhcheaddeheoaaaed.co-oazedhpofeoHahoFjaofOaauve,adafdedheJaasoefohepoooofsee,haadeaheohfeehoafoaodheodoheV&AoJ22-23,2011.iaddooheoazeheo,eveadeadadaeofhercAeeedae.(theaoeodedheeaadercAeeahdemJ.seo,hoaoeofheeae.)theaeofoadaoaheeedoheooaeofAaeeveooade

aeadde.theoaoazedheoexofafohencyclopedia of sian Design,hhcheadpofeoFjaaeoaoaheoohehoafoaodheod.thfovoeao,devoedodeEaAa,sohAa,adhemddeEa,adoaeoaadoae,oehedbe.

cheeeahoaeofaeaeeaodeJaaoefheahefoofaeaeedioso,iovaoadheteaceeoFfeehadsxeeh-eJaahedGlobalDesign istory,avoeededoeaegeAdaoadsaahteae(roede,2011).sheaooedahoeeoJaoeThe Cult of Beauty: The estheticovement 18601900,(V&Apao,2011).

HeooeeahfoaooaoHoaeaaveedoaadoeveohejeheoexofhebhmeeeAHo

ofhewodOe-hdedOje,aedobbcheaof2010.sheaoeeedaofvaohaeofheooeeacadeadOxfoduveeadaofeeekaoadlodo.

Blue-white, by in J. Seong, 2011. Reproduced with permission.22/23


15/21

Wall tile, Netherlands, Tin-glazed earthenware, c.1640-1670,V&. 26/27

ANGElA MCSHANEthea(2011)haeeheaoofAeamshaeajoefeeeoPolitical BroadsideBallads in Seventeenth Century ngland: CriticalBibliography,hedhpeadchao.tho(hho600ae,daaaodoea),eeeadeadeofaaeeahohe10,000ooexaoaddeaadheeofheeveeehe:def,oaaedoadoe,adfdexoeha1500e(3100edhee)haeaeoaffaofae.theV&AehodjxofheeehenAleaoeo,heaeaveoaofoveaaaadaeeoefooaadeoadaeaeadoaoe,aea

o.AajoheoadheaoeoofheooaaoheJaaaheyaeceefobhA/V&AExhaeFeo.thoheyaeooovdedaheededeodofeeadeeahohhooeeheodoada,aoedohhffeaohheycbA,adaeddoaofeoeohaheehecoe.theexehaoojeodeveeveaaefoeaoaofeeeia,soadadEadoveheexaadeea,aofhheaeoohaeoehaeaooahoheaeo.

iaddoohePolitical Broadside Balladsoah,eveaoheaeadeaoeo2011:reczefosodeseveeeh-ceEhbaad,Journal of arly odern istory;baadadboaddefoheeofo1660Joadraod,ed.The Oxford istory of PopularPrint Culture, vol. 1: Britain and reland to 1660

(Oxfoduvepe:Oxfod,2011)adahaeaV&AaoeaedoheeEoe16001800aeeoje:pepaoae,leemeea.ed.peteaeEoeamaeee 16001800 fromthe Victoria and lbert useum.

theaaoaheoeoofhehee-eaEsrcfdedeoioxaadioxaoHoaadcapeevehDphwho(cade).phedooeofhhhefadaeoaeeoeaao.theedeoeaedoofee-eveedjoa,hhihaveo-eded:heSocial istory of lcohol andDrugs, n nterdisciplinary Journal (o-ededhuclhoaeoaheDJaekeae)adPast and Present(o-ededhcadesoaHoa,Dphwho).meahe,edfofd,hhhoexadhoaadhheevaojeodehadedaedaeahoad,aeedeveoed.

Oheeeahojeaoeoe:dvaeoeeehforoaHooathebodbedreeahseasee,hhehoeodeveooaajooaoaveojeadaaowoeadhemaeaceofweaodeEadfokcoee,lodoDeaeofEhlaaeadleaereeahsea,hhhaedoheaofaajoV&Aofeee2013ovoaed:gaaadgao:woewmaeafoEheeomode

Fa,exeeojehaveeehohefoehea.F,aaofheEoe1600-1800ea,daotaa(aaofanaaHoaddeeo)ada-EoeaeofD,loveadloahaveeedeveoed.Adeod,aedoofheV& Online Journal (ie3),aeeofexeeea,ehoadeadodehee,hheeooeoedaodheheeofe,eehed

A.


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28/29

JANE PAVITTJaeooheoaHeadofHoofDeahercAaheaofheaadeea2010/11,afe13eaaheuveofbhopareeahFeoaheV&A.Aheedofhea,A2011,heaaoadeDeaofhercAshooofHae.theshoooffemAadreeahoaecacoeoaA,cawAadDeadcaadHoasde,aodeV&A/rcAHoofDe.pafoheoeadeheexaoofheV&A/rcAaeh,hefoofeeeahojeadaeoaeHoofphooahadF,hhededfoah2013.

JaeoeeahheahafoedoeaaofoheajoV&Aexho,Postmodernism: Style and Subversion 1970-1990,hhhehao-aedhgeAdao.theexhooeedoheo24hseee2011.Jaeadgeo-ededheaoaao,hhoaea40e,doooheexhohaDeeso-bo,Agea,JaeweadchaeJe;hoadAdaDa,rehodma,caotoh,maoseadsaga;rcAoeaeDavdcoe,saahteaeadrpoe;adV&Aaocaewox,chohewadoewhe.theexhoooEoeavee2012-13.

coheeeahfoaevoV&Aexho,Cold War odern: Design 194570(o-aedhDavdcoe2008),Jaeoeedaeaoheeaoofdeegaeaopeefoohefohoootomic Dwelling: nxiety, Domesticity andPost-War rchitecture (ededroshdefe,roede2012).Jaeeveveamh/phddeeaedhheedofo-aadodadeho,dreeabe,hoooafaddeaeoaczehoovaa.

artine Bedin, Super Lamp Prototype, taly, 1981, V&: .1-2011.


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SARAH TEASlEY

saahteaeehe201011aadeeaeaeojeoaoaddeveoeeeahadexhooje.sheoedoaeheoeaaexeoJaaeedeadaedohdadovee.

Global Design istory,o-ededhgeAdaoadgooreo(wa),ahedhroedemah2011.sheoeedveae,daaeoheoeofehadaJaaeeooedaofoheaaeofaheaheoadhojoaPropositions.HeaeoedeadaehedeaeeeeheJaaaeaavoefo

Hokouvepe,ee,adahaeooeadaeeavoefoJaaeeheseoshoo.Heeaodeadeoo1980tooaofheV&Apoodeaaoe,adaadofdenedoaoaedheooexhoaphdepadhesaahgaea2010.tha,heoeeheooahodeodeJaaforeaoboo.

whheeojeoeedoaoahoeo,saahdeveoedoajoeoje.sepo:poadpaeheJaaeeFeid,1890-1970,aooah,oexaeJaaeefedeadafaheoaadoaeo-oadeooeo,afoheaaoofdehoehodhJaaeesdeadexadheeoahofodedehooeeheoaaeoffede,afaadadedheod.po-beDe,aajoexhofoheV&A,exoe

ovavedeeoeooaadeoohaeeJaae1991,daa,a,adoadeadhedeoaaoofde.

saahoedoeeheoaveda,eeadofeee.ineyo,heoffeedheeeaapaoheneshoofoDeadaveaeeacoauve.peeaoaheaaeeofheEoeaAoaofohesdofseeadtehoo,coeeAAoaoadEoeaAoaoofJaaeesdefoedoeehoofdeehodoeeaheohede,adoexoheefeofohedeehodfodehoa.

sheeaedoedoooaaoaheodehofoo-ea,eaahegeffeme,heV&A,he

baaadheJaasoe.Hoeve,heaoeaodeveoeaohhdeaoe,afaeaoaoado-ae,aaofaooexoaoofhoaoooae.sheaveedobejfoarcA-thauvejobhAadeseshooodeada,eaeExeaExaefohebA(Ho)podDeoeaceasamauveofheA,adoeaamaeakoedetafeneoofeeeoheh.moee,hejoedheHo&poeoadehpocoe,hhaaehepaaeas-goomafa,Deadiovao,eadheDeEdaoiadmadebbaoje.

Fa,saahoeoeeoadooeehoahodeaAoaeEdoofhejoaDesign and Culture adeaeaeeofheEdoaboadfohejoaDesign ssues.


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FIRST YEAR COHORTAMERICAN FRIENDS OF THE V&ASCHOlARSHIP(Avaae2012)THE OlIVER FORD TRUST SCHOlARSHIP:rhmao(modesea)THE SYlVIA lENNIE ENGlAND SCHOlARSHIP:napoaz(reaaesea)GIllIAN NAYlOR ESSAY PRIzE AwARD INMEMORY OF TOM NAYlOR (BEST FIRST TERMESSAY):rhmao(modesea)adchaasavo(reaaesea)THE ClIVE wAINwRIGHT MEMORIAl PRIzE(BEST OVERAll PERFORMANCE IN THE FIRSTYEAR):lameha(modesea)adlzsafod(Aasea)THE ANTHONY GARDNER TRAVEl FUND

(ASIAN SPECIAlISM):Joehero,laasaeadoasee(oJaa);Jefewo(ocha/Hoko),adlzsafod(oida)THE BASIl TAYlOR AwARD (EUROPEANRESEARCH TRAVEl):Aeadachea(oia),adJeboad(oszead/Fae/gea).THE MONTJOIE AwARDS (RESEARCH TRAVEl):toc(ora);soehaDo(oia)BARD EXCHANGE (NEw YORk)iaeeHed

SECOND YEARCOHORTFRIENDS OF THE V&A SCHOlARSHIP:rahevageDISTINCTIONS FOR DISSERTATIONS:kbeae;Hachl;Jesa;AeDoa.AwARD FOR BEST DISSERTATION:Jesa

RESEARCH STUDENTCOHORTAHRC AwARDS:Jaek-to;HeewaePASOlD FOUNDATION AwARD:Heewae

AwARDS

,PRIzESAND

S

CHOlARSHIPS2010

11 THE V&A/RCA PROGRAMME IS GRATEFUl FOR THESUPPORT OF STUDENT RESEARCH PROVIDEDBY THE FOllOwING:AHrcbAsiltAylOrmEmOriAlpriEcliVEwAinwrigHtmEmOriAlpriEFriEnDsOFtHEV&AscHOlArsHipAntHOnygArDnErFunDgilliAnnAylOrEssAypriEinmEmOryOFtOmnAylOrmOntJOiEFunDOliVErFOrDtrustscHOlArsHippAsOlDFOunDAtiOnsylViAlEnniEEnglAnDFunD

Study trip to stanbul, pril 2011


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34

MA

RIVA ARNOlDwoaavoeefoheDefeJdaamervedae

lOUISE BARkERpa-eeeaheuvefoheceaveA,Eo

NANCY CASSERlEYwohAeamshaeoaV&AofeeeooeadSHENGFANG CHOUphDdeawauveocheeolehoe

ANN CHRISTIEwoaedeo(eoadodehdae)anohuvecoeeofheA,addooefeeaeaadeeeahad

RACHAEl CRABTREEwoamadewoogae(aoeaaehaeaeheaeda)

DAVINIA GREGORYpa-eeehoofdeakouve,uvefoheceaveAadbahsauve

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DANIEllE INGAFeeaefahoaddeoa

ANA RITA PAIVAwoabohaAoee

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AlUM

NINEwS

ElIzABETH wAlkERDeo(ado-fode)ofte4De.h://.e4de.o./

SIMON wEBBphDdeheAhaeoodeaeaheuveofyo

PHD

DIANE SIlVERTHORNEteahahoabeDeaeofHoofAadseemeda,adaoaeeeohemA

cameooeaheigrs.


20/21

FooefoaoaoheV&A/rcAHoofDepoadaeoae,eaeoaheoeadao,a:[email protected],eeee,oeefeeadfdaefoda.a.a.adah://.va.a./oe/ae//a-ho-of-de/.

Student-led Design istory online studio


21/21

V&ASouThkENSINGToNloNdoNSw72Rl+44(0)20 7942 2000www.VAM.AC.uk

V&A MUSEUM OF CHIlDHOODCAMbRIdGEhEAThRoAd

loNdoNE29PA+44(0)20 8983 5200

History of Design Postgraduate Program

Documents