Harriet McKay

Studio 1: Another India

Studio 1: Another India.

Studio brief

I recently received a marketing email from IKEA, inviting me to take a look at the company’s new SVÄRTAN range. I was struck by the incongruity of the use of the Swedish word for "river" to name a collection inspired by and co-designed in India. As a matter of fact however, the adoption of design ideas, appropriated, adapted and sometimes even stolen from elsewhere has long played a role, certainly in British interior design and decoration.

In the eighteenth and nineteenth centuries, the choice of the Orient as a means of styling the interior was a fashionable practice for the well-to-do. More recently, the post-modern and twenty-first century deployment of "exotic" motifs can be seen in British shopping centres, for example. Acquiring themes associated with the glamour or mystery of foreign lands has a long history as a tool in the interior designer’s repertoire.

This studio will examine, reflect upon and critique this history, also reviewing theories around global-flow, translocation and post-colonialism.

Indicative bibliography

Arjun Appadurai,  Disjuncture and Difference in the Global Cultural Economy in Theory Culture Society 1990; 7; 295
Emmanuelle Gaillard, Marc Walter, A taste for the Exotic: Orientalist Interiors, Thames & Hudson, 2011
Gervase Jackson-Stops, Views of the Royal Pavillion, Pavillion Books, 1991
John Potvin, (ed.) Oriental Interiors: Design, Identity, Space, Bloomsbury, 2015.
Edward Said, Orientalism, Penguin Books, 2003
Michael Turner, Osborne, English Heritage Guides, 2014

Outline of the first seven weeks of study

Week 1:  Introduction: aims, outcomes and overview
Week 2:  Visit to the Royal Pavillion, Brighton
Week 3:  Review of photos and drawings of the Royal Pavillion, presentations and class discussion
Week 4:  Visit to Leighton House, Kensington
Week 5:  The ‘Exotic’ in interior design, talk and class discussion
Week 6:  How to construct a dissertation using ideas developed during this studio series
Week 7:  Brief presentation and dissertation proposals, class discussion


Details

Tutor Harriet McKay

Tutor biography

Harriet McKay

CCS Lecturer and Co-ordinator for Interior Design.

Harriet McKay is a curator and academic with a specialism in interior design history.

Dissertation Studios

Studio 1: Another India

Harriet McKay

Studio 1: Another India will examine, reflect upon and critique the historic use of "exotic" motifs in design.

Studio 2: Contemporary Ecology

Nabil Ahmed

In Studio 2 we will explore environmental topics through the lens of art, architecture, spatial practice, media and design disciplines.

Studio 3: Music is the Weapon: Performance, Culture and the Music Industry

Christina Paine

Studio 3: Music is the Weapon: Performance, Culture and the Music Industry is an exploration of race, gender, class and more in music.

Studio 4: Not allowed

Emma Davenport

Studio 4: What Not to Wear? will investigate the roles that dress and fashion play in our workplaces.

Studio 5: Imperfect Theories

Ektoras Arkomanis

Studio 5: Imperfect Theories allows you to critically examine any work that can be seen as theory or presents an interesting relationship with theory.

Studio 6: Curating as a Spatial Practice: From the Wunderkammer to Installation art

Nico de Oliveira

Studio 6: This dissertation studio is designed to help students who are interested in curating as a broad subject, as well as those who wish to contextualise their own practice within the scope of displaying art.

Studio 7: Souvenir

Dr Lesley Stevenson

Studio 7: This studio is concerned with those objects that are lent a particular enchantment because of their relationship with the past.

Studio 8: Post – card

Edwina Attlee

Studio 8 will look at one element of that system – the picture postcard – from a number of different perspectives.

Studio 9: ‘The Form of the Text’

Danielle Hewitt

Studio 9: Together we will explore the space of criticism; acknowledging our point of encounter with objects, places, sites and processes and the relationship between text, writer and reader.

Studio 10: Constellating

Sinead Evans

As creative practitioners we digest and produce images every day – as citizens of the digital age we consume between hundreds and thousands of images each day. This dissertation studio will slim down your daily diet to one image.

Studio 11: Science Fiction Futurity

Luke Jones

Speculative descriptions of the future reveal a magnified — or distorted — reflection of the fears and desires of the present.

Studio 12: Alternative Fashioned Modernities

Lezley George

Much is happening in the world today that foregrounds questions pertinent to our identities in a globalised world.

Studio 13: Desire, Trauma, History

Jonathan Whitehall

How does the relationship of memory to fantasy affect history? What are the links between desire, sexuality and trauma? How are these relationships played out or negotiated in visual and written practice? These questions will form the beginning of our enquiries into artworks, films and literature.

Studio 14: Design and Nature: Forms of an Entanglement

Gabriele Oropallo

We will look at how the idea of nature has been constructed over time and place, and study its impact on design practice in an age marked by the sustainability imperative.

Studio 15: Music, Technology and Ideas

Lewis Jones

Studio 15: Music, Technology and Ideas encourages you to explore how and why we make music, including its origin, relationship to technology and more.

Studio 16: Narrative and Storytelling

Jon Baldwin

Studio 16: Narrative and Storytelling will see you produce storygraphs, storyboards and various forms of narrative analysis in the seminars.

Studio 17: Knowing Audiences

Jeremy Collins

Studio 17: Knowing Audiences will encourage you to study an audience group using qualitative research methods in your investigations.

Studio 18: Time and the Image

David Howells

This workshop will address some perennial problems of writing in the field of visual culture.

Studio 19: Material in Motion

Heidi Yeo

Studio 19: This studio will explore a reading of objects focusing on the interplay between materials, the objects they form and their context.

Studio 20: The Liminal

Andrew Hewish

This Dissertation Studio examines instances of the liminal as they occur in critical theory and culture, and is open to any topic and students from all disciplines.

Studio 21: Reading the library (and nothing but the library)

Joseph Kohlmaier

This year, Studio 21 will stage an unusual experiment. It will move, unpack, catalogue, and perform readings from one private library; and make this library, without exception, the single resource for all the research and writing in the studio.

Studio 22: Meaningful work

Paul Harper

Studio 22: Meaningful work explores the value of making and the idea of craft as meaningful work.

Studio 23: A Common Thread

Gina Pierce

Studio 23: In A Common Thread, we unpick and examine the importance of textiles and how they underpin culture, industry, and global connections.

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