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Kate Drummond, Mackintosh School of Architecture, MArch

Winner Sustainability Graduate Degree Show Prize 2025

ANDERSTON CITY GARDEN

From the Ground Up: Reclaiming and Re-Greening Neglected Urban Common Grounds Through Community-Led Design

From the Ground Up explores the idea that community-led re-greening of neglected urban spaces can lead towards intertwined social, spatial, and ecological renewal. It critically addresses the impacts of urban disinvestment - disconnection, stigma, and ecological degradation - while proposing co-designed, incremental interventions rooted in care, participation, and long-term stewardship.

The project explores how lighter-quicker-cheaper, community-led, co-designed re-greening strategies could transform an undervalued interstitial urban space into vibrant, multifunctional landscape that supports both environmental renewal and social cohesion. Focusing on the intersection of landscape architecture, participatory design, and spatial justice, the research investigates how collaborative, durational interventions can reframe "common ground" as a site of care, connection, and climate adaptation.

The project proposes a set of strategic, scalable interventions for reclaiming grey infrastructure and explores how co-design practices can empower residents to shape, steward, and sustain their shared environments. Ultimately, the work argues for a shift in the way planners, officials and landscape architects approach neglected urban fabric. To view it not merely as empty space, but as latent social and ecological commons with the potential to regenerate from the ground up.

Moreover, that investment should not just focus on infrastructure and capital change, but that there should be a shift towards an ethos of care that acknowledges the necessity of ongoing support. This includes funding skilled community ‘gardeners’ to steward these spaces while fostering meaningful connections with the communities in and around them.

‘At the beginning of the twentieth century, only sixteen cities in the world had populations larger than a million people, yet at the close of the century more than five hundred cities had more than a million inhabitants, many boasting more than ten million residents and still expanding.’ [1]

Cities across the world are growing denser; 55% of the world’s population live in urban areas, by 2050 this is expected to rise to 68%[2]. Balancing the residential and infrastructural development required for this expansion in urban human population with sustainable ecological city environments is crucial for the future comfort and survival of all.

We need to rethink our urban landscapes. Traditional grey infrastructure—roads and paved spaces—dominates public areas but fails to meet the changing social and environmental needs of urban spaces all over the world. Rather than dedicating vast areas to cars and concrete, we must ask: How can we transform underused and undervalued urban grey spaces into vibrant, multifunctional green places that actively support both community well-being and ecological resilience?

As Kristoffer Holm Pedersen states in his Landzine article, ‘By transforming grey infrastructure into vibrant green ‘socialstructures’, cities can promote biodiversity, enhance climate resilience, and foster stronger community connections. This is not just an aesthetic improvement – it is a necessity for liveability, economic growth, and climate adaptation.’ [3]

From a design perspective, this project invites a rethinking of how we treat shared urban land -particularly in housing estates and in lower income neighbourhoods. It asks us to see these areas not as peripheral, but as sites of potential: for ecological regeneration, social gathering, and everyday joy. Top-down greening risks perpetuating exclusion or even driving gentrification. Instead, co-designed interventions driven by those who live in and would potentially care for these spaces can help restore not just the land, but the right to a greener, healthier city for all.

In the face of climate crisis, biodiversity loss, and rising urban temperatures, green public spaces are more vital than ever. Yet, the prevailing approach to urban re-greening too often prioritises capital investment in new infrastructure over the sensitive, creative, low-cost re-imagining of space or the ongoing care of planted living systems.

Care is not a soft value; it is a foundational one. It creates employment, fosters community, improves public wellbeing, and ensures ecological resilience. Rather than pouring money into the top-down design of an eye-catching new landscape without a plan for its future, this research advocates for investing in landscape care. This is not just good stewardship; it is good strategy.

In a time of ecological urgency, re-greening must go hand-in-hand with re-valuing the skills and people that make it possible. Landscapes are long-term investments. And that investment must include not just materials and design but maintenance, attention, and above all, community.

Now, more than ever, we need to build cities not just of concrete and capital, but of care.

[1] Charles Waldheim, ed., The Landscape Urbanism Reader (Princeton Architectural Press, 2006), 27. [2] United Nations, ‘68% of the world population projected to live in urban areas by 2050, says UN’, United Nations, United Nations, accessed 7 April 2025, https://www.un.org/uk/desa/68-world-population-projected-live-urban-areas-2050-says-un. [3] Kristoffer Holm Pedersen, ‘From Grey Infrastructure to Green Socialstructure’, Landezine, 3 March 2025, https://landezine.com/from-grey-infrastructure-to-green-socialstructure/.

#sustainability #ethics #architecture #glasgow #housing #low income #urban #greening #urban renewal

Lovis Bjork

Winner, Stage 5 MSA Sustainability Prize 2025

In Porto, many buildings stand abandoned and unused. Since the construction industry is a major contributor to global carbon emissions, this project seeks to show how we can make the most of what already exists rather than building new. The site was chosen for its high concentration of vacant and abandoned buildings, where it is common to preserve only the facade, which can be seen as a superficial approach. “The School of Restoration” explores alternative ways to reuse buildings.

The project connects five abandoned buildings around a small square. Each building represents a different reuse strategy, together forming both a restoration school and a living example of what adaptive reuse can mean.

Strategy 1 - Preserved as a ruin: The building is protected from further decay but allowed to show the passage of time. It serves as a multi-use space with a rooftop terrace, creating outdoor space in a dense urban area.

Strategy 2 - Upgraded: Modernised with insulation and accessibility improvements, it houses accommodation and a café.

Strategy 3 - Combined approach: Reflecting the complexity of adaptive reuse, this building contains workshops, archives, and study areas.

Strategy 4 - a memorial: A more philosophical approach where the structure is no longer physically present, the building exists as a sculptural trace inspired by Rachel Whiteread’s cast work. It also preserves the street instead of leaving a void.

Strategy 5 - Restoration focused: Prioritising authenticity, it uses original materials and traditional techniques. Students engage in hands-on restoration, working on handcrafted windows, lime plaster, and original paintwork.

The project also demonstrates how distinct buildings can form a cohesive whole, connected by bridges and shared public spaces.

There are both advantages and disadvantages to all the different approaches for handling historic buildings. A restoration project preserves the original character of the building but may not fully meet modern needs. On the other hand, a renovation may better accommodate contemporary demands for comfort and functionality but risks compromising historical and cultural value.

In Porto, there are buildings and ruins dating back to the middle ages, unique structures with high cultural significance. In such cases, a preservation strategy can be appropriate, especially since many of these structures are in a condition that makes full restoration difficult. The benefit of preservation is the opportunity to experience the building’s authenticity: its patina, wear, and historical presence. The downside is often low thermal comfort, as no energy upgrades are made. However, this is typically not an issue if the building is not intended for regular use, such as housing. For a Baroque house from the 17th century, restoration may be a more suitable strategy. It allows the building to be returned to its intended appearance while preserving cultural and historical value. When historical techniques and natural materials are used, restoration is also an environmentally friendly choice. Still, there are challenges, deciding which historical layers are worth restoring can be difficult, and removing functional modern additions just to replace them with period-correct elements may not be sustainable. Another downside is that restored buildings often lack accessibility, excluding some people from fully experiencing them.

For buildings that are not culturally unique, particularly those intended for residential use, renovation or retrofitting may be the most appropriate strategy. These approaches improve functionality, comfort, and resilience to shifting climates and extreme weather. The cons are that some historical or cultural value may be lost - that cannot be regained once removed.

What all these strategies that have been tested have in common is that they protect the building from Porto’s wet climate, and extend its life. The different strategies should be considered as viable alternatives instead of resorting to facadism, where only the facade of the building is preserved without regard for its full context or actual need.

In summary: There is no single correct approach to reuse. Each strategy has its strengths and compromises: prioritising comfort may reduce historical value, while focusing on authenticity may limit functionality. What unites them all is their ability to extend the life of structures that would otherwise be lost.

#sustainability #ethics #climate crisis #glasgow school of art #design #Porto

Mia Millar, Product Design, Highly Commended 2025 Sustainability Degree Show Prize

Queer Cert

My project, Queer Cert, was developed through research into the coming out journeys of queer individuals and aims to leverage the transition into university or college, using this new beginning to support and encourage the exploration of identity. By working closely with institutions, Queer Cert promotes education around identity, encourages individuals to celebrate their own identities, and drives policy change by embedding queer perspectives and values into the heart of the institution. The programme champions visible and diverse role models, centres allyship over segregation, and fosters a culture of inclusion and shared understanding.

The Queer Cert process includes:

-Signing up to begin the certification process -Analysing student experience surveys to gain insight into the institution’s current culture -Collaborating with Queer Cert to identify areas for improvement in fostering a more inclusive environment -An identity-focused workshop that encourages reflection on personal identity and its social importance for students and staff -Establishing a Queer Cert Council, embedded within the student council, to drive real and meaningful change -Training and supporting visible, accessible LGBTQ+ role models across campus -Being assessed against the Five Pillars of Exploration framework -And finally, achieving certified Queer Cert status as recognition of your institution’s commitment to LGBTQ+ inclusion.

This project promotes social sustainability by creating an environment where LGBTQ+ individuals feel safe, valued, and supported within educational institutions. By fostering acceptance, allyship, and policy change, Queer Cert addresses inequalities that often marginalise LGBTQ+ communities. Additionally, the project’s focus on embedding queer voices and role models into institutional structures means it is designed for long-term cultural change. Rather than a temporary fix, it aims to create ongoing, systemic improvements to how universities and colleges approach diversity and inclusion.

Watch the Queer Cert video

#queer #queer artist #product design #certtificate #LGBTQ #inclusion #systems #training

Shades: A Regenerative Retail Space Rooted in Representation

Jessie Orville, Interior Design

Shades is a beauty store — but more importantly, it’s a space of belonging. Created for people of mixed heritage, Shades reimagines what beauty retail can be: a place that doesn’t just sell products but centres the individual. At its heart, Shades is about visibility — cultural, personal, and architectural.

Designing for Inclusion

Mainstream beauty often excludes those with complex or underrepresented identities. In fact, 40% of Black female shoppers in the UK struggle to find the right makeup shade (Black Pound Report, 2022). With Glasgow now home to one of the fastest-growing BME populations in Scotland, the need for inclusive design is urgent.

Shades answers this through an immersive, inclusive model:

A tactile swatch wall of 90 shades across 30 skin depths and 3 undertones

Magic mirrors using AR to scan skin and hair needs

Expansive tester stations with ample back stock — so no one’s shade is ever “out of stock”

A custom oil bar for personalised haircare

These aren’t just features — they’re a response to systemic gaps. By focusing on real, lived needs, the design builds trust where the industry has often failed.

Cultural Sustainability as Spatial Practice

Beyond inclusivity, Shades embodies cultural sustainability — the idea that design can protect, celebrate, and pass down heritage. The store’s layout includes:

A herbal learning hub that revives traditional haircare rituals

A bottle-making exhibition inspired by Caribbean and global ceramics

A multicultural tea bar, where visitors connect through rituals, scents, and storytelling

Each element supports knowledge-sharing and cultural reconnection — an act of resistance against erasure.

Honouring History, Regenerating the Future

Located in a 1926 B-listed building in Glasgow, Shades embraces adaptive reuse. Instead of replacing history, it works with it — preserving the curved façade and classical proportions, while transforming the interior into something entirely new.

Material choices were made with longevity, repairability, and symbolism in mind:

Brass details represent mixed heritage — a blend of copper and nickel, rooted in ancestral traditions

Terracotta, travertine-effect surfaces, and oak veneers offer timeless appeal and reduce waste

Textured fabrics mirror skin and hair, grounding the space in sensory relevance

All lighting is LED, with adjustable temperature and brightness — reducing environmental impact while enhancing the accuracy of makeup testing.

Reclaiming Space Through Representation

Shades isn’t just sustainable in practice — it’s sustainable in values. Representation is woven into the fabric of the design:

Every piece of bespoke furniture is named after a Black or POC icon, from Audre Lorde to Noor Inayat Khan

The Claudia Collection tells the story of Windrush migration through sculptural forms: Peyi Mwen (before departure), Traversée (the crossing), and Arrivée (arrival and adaptation)

A digitally edited fresco featuring POC subjects reclaims space in Western art traditions, celebrating the beauty of hybrid identities

A Regenerative Vision of Beauty

Shades moves beyond sustainability as a checklist. It proposes regeneration — of culture, memory, identity, and community. Through spatial storytelling, material choices, and a people-first ethos, the store becomes more than a retail space: it’s a site of healing, learning, and pride.

To see more

Prisha Khare, Product Design

RefrAction - The Tool For Shaping Workplace Culture

"70% of ethnic minority workers say that they have experienced harassment at work in the last 5 years. - Trade Union Congress Report, 2019"

My final self-directed project at GSA tackles something deeply personal - as a person of colour, I’ve often thought, “This could easily be my reality.” But it’s not just about me. It’s about making workplaces and communities fairer, safer and more inclusive for everyone.

RefrAction is a design intervention that challenges cultural and religious bias in the workplace through empathy-led training and tools. It aims to bridge the cultural education gap and create accountability for others, while empowering people of colour to reduce feelings of impostor syndrome and self-doubt. The training is suited but not limited to small teams in SME's, guided by a facilitator through three activities - The RefrAction cards, game and website.

“People don’t know enough about different cultures and religions. Sometimes, I want to learn more and educate myself, but I know it might not be appropriate to ask a Person of Colour." - Non-Person of colour interviewee

One of the biggest hurdles to real inclusion is that people who haven’t faced bias or racism can never truly understand the experiences of those who have. RefrAction’s unique culture-focused DEI training overcomes this through the use of ‘personas’. Employees step into the shoes of personas like ‘The Imposter’ or ‘Mr. Just a Joke’ and complete training roleplaying as them.

“Training in the past has focused a lot on figures, which is very useful from a business perspective can be cold and distant on an emotional level. This felt very different. The character cards allowed for me to take a different perspective and think about the feelings and humanity behind DEI training." - Stakeholder during User testing.

By helping people understand each other better, RefrAction enables companies to build a foundation for more respectful, inclusive, and connected workplaces. This promotes the growth of individual employees and teams, leads to better results, and helps dismantle the broader systems of inequality in society.

Email: [email protected]

#sustainability #ethics #DEI #inequality #Religious Bias

Blise Orr

A Workshop for Master Interior Design

As part of the IDGSA MA course, I hosted a workshop designed to help students understand the materiality of objects within non-contextual spatial environments. The workshop encouraged participants to explore alternative ways of perceiving spaces, considering the multiple histories embedded in architecture through the objects within. It also examined the role of interior designers and the materials they choose, highlighting how ecology is deeply intertwined with design—far more than is often taught.

The workshop aimed to prompt students to rethink the realm of architecture by questioning objects in relation to their environments. We focused on interrogating objects through multiple lenses: Material, Speculative, Personal, and Historical.

Students worked with an archival object from the GSA archive, accessible on campus. By directly engaging with a plaster cast, they gained hands-on experience in various campus spaces.

As part of the process, students were tasked with creating digital models of the objects through 3D scanning. This exercise helped them understand how data transforms as it moves between different contexts. It also prompted reflection on the size of digital files they were generating and the environmental impact of digitalisation.

Beginning with their personal perspectives, students examined how different narratives alter an object’s meaning in new contexts, further distancing it from its original place and purpose.

Next, they considered the materiality of the object—tracing the origins of the plaster, the hands involved in its creation, and the processes of material extraction and transformation. This approach added depth to the object’s narrative.

Students then speculated on the object's potential future, manipulating its digital file to envision alternative states. This step encouraged them to engage with imagination and long-term thinking, helping them design for future scenarios in an increasingly unpredictable world.

Finally, to align these concepts, students researched the historical context of the object—how it came to be in the GSA archive and its original provenance. While historical research was familiar to them, the interdisciplinary approach of the workshop introduced new perspectives on how history can be interpreted and understood.

Blise Orr on LinkedIn

#sustainability #climate crisis #ethics #design #Interior Design #3D modelling

Starting a Climate Action Group

The Mackintosh Climate Action Network (The Mack CAN)

The Mackintosh Climate Action Network (The Mack CAN) was started as a response to the infinitely complex web of information, disinformation and fluff around the Built environment’s response to the climate emergency. As students, we have been placed in a unique situation to embrace the responsibility of being the new generation of architects being trained to be especially socially, civically and environmentally conscious individuals. However, this perspective is often daunting. Many companies and products still undergo a huge degree of greenwashing and empty promises.

This year a group of students from the Mackintosh School of Architecture decided to get together to equip students with the knowledge and skills to combat this wave of information and discussion that is being thrown at them. Our mission is to increase the climate literacy of the student body and to instil a critical and even cynical mindset of materials, information and best practices.

However, our challenge thus far has been making what is good, and attractive. It’s not enough to highlight the benefits of sustainability; it’s about making the cause compelling enough for students to prioritise it. Making information accessible and compiling databases is a challenge. I am confident this plagues even many MNCs. So far we have had mixed reactions to our actions. Many of our strongest supporters are practising architects, industry professionals and fellow ACAN student groups. Our target group, however; the student body is largely unmoved. I do not see this as the end of the road, but rather as a challenge to evoke a sense of solidarity around climate-focused initiatives and events. Academia is a test bed for ideas, and the lukewarm response is also an indicative reflection of the wider indifference towards a critical understanding of our roles in climate action. If our team can galvanise the student body it will mean we are on the right track to replicate it in practice.

#sustainability #climate crisis #ethics #glasgow school of art #circulareconomy #design #reuse #architecture

Hayley Dawson, Master of Letters in Art Writing

The Histories and Lives of Working-Class Glasgow

Winner 2024 Graduate GSA Sustainability Degree Show Prize

I have just completed the Art Writing MLitt, studying part time over the last two years. Throughout this time I have focused on what it means to be working-class in the creative sector, particularly within the Glasgow arts scene. I have written longer form pieces exploring my family’s history within the Glasgow area, as someone who still inhabits many of the same areas they did. I have also published written pieces in full Scots in an attempt to subvert the assumed notions of knowledge and power and how language is represented in spaces of academia. My practice documents my research and struggles to fit in as a working-class person in a predominantly middle-class art world, and the ways in which working-class culture and community helps me to process this divide.

I also work with sculpture; using ceramics, fabric and casting to explore and document the lives and experiences of the working-class and how objects feature heavily in our lives. I used ceramic wall hangings to explore Scots language and the need to preserve my own mother tongue. I have worked with the Agnes Owens Archive, a recently established archive of Owens’ life and work, who was critically underknown in her life time and is only now gaining recognition posthumously. I made a bust of Agnes as part of a two person show exploring her and Alasdair Gray’s work. The bust was my attempt to reclaim statues and busts, often reserved for important figures, for the working-class person. I also made a ceramic sculpture of a library as part of the exhibition. This spoke of the places working-class people feel comfortable in, as opposed to academia and other institutions. A lot of my work has discussed the discomfort that myself and other working-class people feel in places such as universities. The library functioned as one such physical embodiment of the topics I discuss in my writing.

Recently I have focused on looking at class through the lens of time and grief. My granda passed away during the course and I had already been making work about his career as a stereotyper within the wider scope of my family history. It felt cathartic to continue writing about him and to cement his legacy, which would otherwise perhaps only be known by his family and friends. To continue to expand the context of a cannon of other working-class people who are beginning to be acknowledged for their important contribution to arts, creativity and the wider world.

I would also like to share with you some of my writing.

A hopeless case

Yer a hopeless case (insert name here): This is whit maist Scottish working-class weans are telt fae almost as soon as they kin hawd their heeds up, or similar words tae this effect listed below -

Ye’ll never amount tae onythin Stick in an get good grades an ye’ll probably be awrite You’ll no be rich or famous, dinny be sae stupit University’s no fir the likes ae us We’re working-class, we go tae work Dinnae haud yer breath Yer no pregnant or in the jail, so yer daein well Ye’ll need tae get a wee pert time joab if yer wantin tae buy yersel onythin I canny afford tae keep ye Yer no livin here rent free Who dae ye think ye urr We canny afford it Ye’ve tried tae get intae the uni wance, is that no enough Whit aboot just haein a wee faimilie an a man Its no much but its somethin It wis a gid enuf job fir me Ye’ve goat ideas above yir station lady Yi need tae earn yer keep Theres nae hope fir ye Am afraid ye don’t huv the right qualifications fur this joab Yer no exactly whit we’re lookin fur

Ye’ve goat great potential but Dinnae get ahead iv yersel Ye’ll be oot on yer arse if ye don’t get a joab quick smart How will ye pay yir bills Dae ye no jist wantae stay at hame Yer a waste of space Ya space cadet Yer tuned tae the moon Whit dae ye think this is, a hitel Ye work until ye drap Live tae work Go tae the heedies office Yer disturbin the rest ae the class thit wantae learn Qualifications areny everythin You dinnae need qualifications tae lift hings Have you no goat a brain in that heid ae yours Hawd yer wheesht Children should be seen an no heard Dinnae aim too high There wiz a mair experienced candidiate Ye’ll end up in the jeil Yi need tae stoap speakin scots if yi wantae get aheed Theres nae hope fir ye

GSA Showcase

#sustainability #glasgow school of art #working class #glasgow #steel

Abie Soroño, Master of Letters in Curatorial Practice (Contemporary Art)

(A)I will never be human

“(A)I will never be human.” hosted through feministiai.org defines Artificial Intelligence or AI as a branch of technology and computing that aims to mimic human qualities such as creativity, cognition, recognition, speech processing, translation, and image recognition. The research interrogates the inner workings of AI, questioning the sources and biases of the knowledge upon which it is based. To democratise AI knowledge, the project collaborated with four artists whose practices intersect with cyberculture, artificial intelligence, glitch feminism, cloning, various avatar formats, and feminist theory. For the project, Abie commissioned two works from each artist namely Eekie Watson, Elle Crawley, Christina Lopez, and Rona Luug. Two collaborative works were facilitated that utilised the Exquisite Corpse technique in illustration, as suggested by Rona. This technique, traditionally used in drawing, was translated into digital formats. The process involved starting with two separate images, which were then passed to Rona for editing, then to Elle, Christina, and finally to Eekie for finalisation. Keywords for the prompts were chosen that revolved around surveillance capitalism, the body, avatars, clones, and collaboration. A variety of mediums utilising AI technologies were welcomed, including AI-generated art, datasets as art objects, AI software/tools, speculative AI experiments, and multimedia installations. Interdisciplinary, community-focused, and open-source projects were particularly encouraged, ensuring all works were documented and displayed through 2-D screens. (A)I will never be human is a series of static digital works displayed in 50 adshels (bus displays), computer screens, standalone electronic display panels, and a website that was launched simultaneously from 20 July - 27 July 2024. In designing this exhibition, a guerrilla marketing strategy was employed to maximise public engagement. Sites were strategically chosen near knowledge and research centers such as the Mitchell Library, University of Strathclyde, University of Glasgow, Glasgow School of Art, and the Gallery of Modern Art Library. Sites in the south side were also chosen, specifically near Tramway and other large art organisations. Apart from that, the displays were concentrated around the city center and near offices, places that would usually have a high concentration of footfall during the times and days the works were displayed from 8 am to 6 pm daily such as Buchanan St. and Sauchiehall St. Key considerations for these public displays included selecting locations that would respond to and interact with their surroundings, ensuring a dynamic and contextually relevant presentation.

To enhance accessibility and reach, a website was simultaneously launched with the physical displays. This approach was crucial in the strategy to make the project information accessible and widespread, especially for those without mobile devices. Through this creative, low-cost strategy, the aim was to engage audiences through unconventional channels for public art, mimicking how large brands connect with audiences by providing targeted campaigns designed to capture attention and spur action. Mapping out AI and the diffused model

Interestingly, the project's diffused model of distribution relates to stable diffusion, an AI model that translates text to images. This parallel underscores the project's engagement with contemporary AI technologies. By employing digital displays across Glasgow, artists and designers were positioned as collaborators operating at the intersection of feminist theory, decolonial perspectives, and AI technologies.

To further contextualise this project, Glasgow was honoured as a pioneering city in two ways: as the UK's first aspiring Feminist city and as one of the UK's top 10 AI-ready cities. Finding overlaps in these serendipitous connections was a significant part of the process in developing the project. The initiative focuses on:

Developing AI models/datasets from underrepresented cultural perspectives

Examining bias and power structures embedded in current AI systems

Using AI as a means to reclaim narratives erased by colonialism and patriarchy

Facilitating collaborative initiatives centered on feminist AI development and education

A part of the takeover, a cookie tour was also organised on the final day of the campaign, the 27th of July. This cookie tour explores the idea of cookies and data and how this all relates to the surplus of daily information being collected. Our everyday behaviours continually generate a stream of behavioral surplus, which is mapped as data in larger datasets; this surplus, as Shoshana Zuboff articulates, fuels the engine of what she terms "surveillance capitalism." The project aims to highlight how the handheld devices we carry and the computers we use contain vast repositories of information and data, often collected surreptitiously by third parties through location tracking and stored cookies. These digital "crumbs" create traceable trails of our online behavior, which are then utilised by corporations to train and sell larger systems under the umbrella of artificial intelligence.

So, whose?

As AI continues to permeate all facets of contemporary society, the question was posed: whose perspectives and experiences are actually shaping these world-building technologies? Through this project, artistic practices reimagining AI's applications in contemporary art through an intersectional feminist lens were foregrounded, aiming to amplify voices historically marginalized and excluded from AI's development.

The digital works curated interrogate AI's false claims of objectivity and neutrality, revealing how these technologies often entrench Western colonial hierarchies, masculine paradigms, and oppressive biases around gender, race, class, and bodily norms. In doing so, the aim was to open up radical possibilities for recoding AI from pluralistic, decolonial feminist standpoints rooted in principles of justice and collective liberation for all people. Diverse contemporary practices were explored – data interventions and counter-narratives in language and visuality that work to deconstruct AI's colonial capitalist logics and encode pluralistic intelligences. Crucially, the displays were centered on revolutionary worldviews like cyberfeminism, xenofeminism, and glitch feminism.

In the research, it was important to acknowledge AI's origins in coding, pattern, and logic-based systems, which can be traced to women's work. The origins of AI and the formal logic it was based on, known formally as "Syllogism," a concept by Aristotle, were traced. As well as Ada Lovelace's views on early computing and how then, pattern-based work related to logic was associated with women's work. This deductive reasoning, where a series of statements with an assumed truth concludes, combined with processes mimicking human mental processes to perform specific tasks and solve individual problems, constitutes early AI systems. In recent years, developments have focused on creating neural networks that imitate the functioning of neurons in the brain, combining them with genetic algorithms. (A)I Will Never Be Human: Reimagining AI's Societal Impact

The title chosen for the project, "(A)I will never be human." is influenced by the readings amassed and how the mention of the phrase "...if it will be human" or "will it ever be human?" became a recurring pattern. It also reflects the current landscape of AI, where it becomes increasingly likened to how humans act, think, feel, respond, and look. This title and the project as a whole question the nature of AI and its relationship to human cognition and behavior. In curating this exhibition, artists who collectively posit AI's transformative promises as a catalyst for decolonised futures were brought together. Their work resists AI's perpetuation of top-down control and exploitation, instead aiming to democratise AI knowledge, reestablish its power distributions, and create safe cultural spaces for marginalised communities. By reclaiming autonomy over technological narratives, this exhibition was positioned to activate AI as a frontier for forging new cultural logics premised on the emancipation of all oppressed peoples. The aim was for the public to emerge with fresh perspectives on AI's current defaults and, more critically, a renewed sense of society's vital agency in collectively reimagining AI.

#sustainability #AI #ethics #safe spaces #coding #Feminist AI

Siyuan He, MArch, Mackintosh School of Architecture

THE SILENT VOICES: Slavery History heritage City Guide Reconstructing The Urban Cultural Heritage

Mackintosh School of Architecture, Glasgow School of Art, Master of Architectural Studies (Creative Urban Practice Pathway) Student: Siyuan He Advisor: Dr Luca Brunelli

The Atlantic Slave Trade was an important historical event that also brought about great development and transformation to the European economy, and the cultural heritage it left behind has an indelible mark on the city. This strategic design project aims to investigate how cultural heritage related to the Atlantic slave trade, such as historic buildings, streets, squares, can be reconstructed in the urban environment, (using Glasgow as a case study). Driven by the concept of dark tourism and the theory of collective memory, through the study of several different dark tourism projects, and the reading and analysis of literature and data, an attempt was made to find a spatial intervention strategy appropriate to the city. Revealing to tourists and residents alike that the great economic gains made by European traders came at the cost of great human suffering and loss of life of African slaves. The project emphasises the need to acknowledge this dark chapter of history and calls for spatial interventions to implement educational and commemorative significance and promote a deeper understanding of the dark history. Future design directions should be developed to spread to other cities in the UK and even other countries in Europe involved in the Atlantic slave trade to form a regional network, but also to the continuation of other historical events to create a wider discussion of the history involved and its contemporary impact.

Contact: Email LinkedIn Insta

#sustainability #slavery #glasgow

Alizeh Khan, MDes Design Innovation and Service Design

Inclusive Food Systems: Empowering Community Initiatives for Culturally Relevant and Equitable Food Distribution

As food insecurity rises globally, a crucial question arises: How can we ensure that marginalized communities receive food that not only meets their nutritional needs but also respects their cultural preferences? The “Food Connect” initiative confronts this issue by exploring how community-led initiatives can bridge gaps in food redistribution, with a special focus on delivering culturally appropriate food to underserved populations.

Traditional food systems often fail to address the diverse needs of marginalized communities. While many conventional models emphasize basic nourishment, they frequently neglect cultural relevance, resulting in significant gaps in food distribution.

To address these gaps, the initiative introduces an innovative solution: an integrated platform that connects local programs, CSR organizations, and marginalized communities. This approach aims to create a more inclusive and sustainable food system. By providing tools such as recipe cards and a dedicated website, the initiative helps communities prepare meals that align with their cultural traditions. These resources not only enhance nutrition but also reduce food waste by ensuring that donated food is both wanted and effectively used, fostering stronger community connections.

The project exemplifies how community-driven solutions can address systemic issues in food distribution. By identifying existing gaps and offering scalable, inclusive solutions, it challenges traditional models and fosters important conversations about food justice and social equity. In a world grappling with food insecurity and cultural misalignment, this initiative emerges as a timely and transformative response.

This effort demonstrates the power of design and innovation in tackling deep-rooted social issues. By prioritizing the needs of marginalized communities and encouraging collaboration among diverse stakeholders, it reimagines the future of food distribution in a culturally sensitive and environmentally responsible way. As the urgency for food justice escalates, this project underscores how thoughtful, community-centered design can drive meaningful and lasting change.

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#climate crisis #sustainability #glasgow school of art #food #circulareconomy

Why is so much bread thrown away?

Hanqi Tang, MDes Circular Economy

Why do people throw away 20,000,000 slices of bread daily in the UK, despite its resulting 584,000 tons of CO2 emissions? The main scenario for bread waste is in households, with the root cause being the low value of individual slices, leading people to disregard them.

After engaging with locals, I discovered that much of the discarded bread is not due to spoilage, as well as these breads maintain considerable nutritional value even past their prime. By reviewing related literature, I discovered an opportunity: leftover bread, rich in carbohydrates, fiber, and protein, can serve as substrates for cultivating biomaterials like mushrooms, that is, mycelium.

This poses an interesting speculation: what if we could assign greater value to surplus bread by using it to grow mushroom and mycelium, thus changing how people dispose of bread? By establishing a local, digital network based on APP called "BreadMyco," residents could donate their leftover bread to participating community gardens. These gardens would then use the bread to cultivate mushrooms and mycelium. In return, residents would receive mushrooms, adding value to surplus bread. Additionally, Mycelium companies could also procure materials through BreadMyco.

This design linking local residents, community gardens, and mycelium material companies into a hyperlocal network focused on reducing bread waste.

#waste #circulareconomy #mycelium #bread #reuse #recycling #ethics #design #glasgow school of art #climate crisis #sustainability

Yihao Li, MLitt Fine Art Practice

Embodied Landscapes: The Intersection of Anatomy, Ecology, and Technology

My developing project, “Embodied Landscapes,” explores the interconnectedness between the human body, the environment, and the impact of technology on our physical and social structures. I tried to examine the inner body’s imagination, sensation, and reflection from the perspective of visuals and their embeddedness within the awareness structures. The goal was to use artistic methods to research topics commonly examined within an academic framework. The project focused on aspects of bodies that have been/are excluded or made invisible within contemporary and historical discourses. The work, “Untitled (Somatic Circuit),” challenges the boundaries between organic and inorganic forms, drawing on sustainability, environmental awareness, and social justice themes.

“Untitled (Somatic Circuit)” presents a complex and evocative installation that bridges the intersection of anatomy, material literacy, and conceptual exploration. The assemblage of materials—including organic elements, mechanical components, and digital elements—creates a compelling narrative about the human body, its cultural representations, and the intricate interplay between nature and technology. The core concept behind this piece is the notion of the body as a landscape—both a literal and metaphorical terrain that bears the marks of environmental degradation and technological intrusion. Combining elements of natural and synthetic materials reflects how the human body is not just a physical entity but a site of ongoing negotiation between nature and culture, biology, and technology.

As a recurring motif, anatomical forms, particularly the spine, symbolise the backbone of human existence, connecting physical structure with metaphysical ideas about support, strength, and vulnerability. Incorporating branches, wires, and technological elements emphasises human innovation's invasive and sometimes destructive influence on the natural world.

The installation features a striking juxtaposition of natural and industrial materials. The organic forms, such as branches and bones, contrast sharply with the mechanical parts, like bicycle wheels and digital elements. Natural wood represents the organic, untainted state of the environment, while metal and plastic signify industrialisation and technological advancement. The digital elements, including video projections and mechanical components, underline technology's omnipresence in modern life.

This contrast emphasises the tension between nature and technology and invites viewers to reflect on the body's place within these realms. Incorporating anatomical structures, such as the spine and pelvis, rendered in transparent or semi-opaque materials evokes a sense of fragility and transparency. These elements are strategically placed within the installation, allowing the viewer to navigate around them, creating a dynamic and immersive experience. The viewer's movement becomes part of the work, engaging with the physicality of the materials and the space. One of the innovative aspects of this work is the use of translucent glass wax to cast vertebrae, creating a haunting visual effect that blurs the lines between natural and artificial, past and present. The glass wax casts are suspended, interacting with the natural wooden elements engraved with ancient symbols, thus merging historical narratives with contemporary concerns

The materials used in this installation were carefully selected to minimise environmental impact and embody sustainability principles by employing found objects, reducing waste and imbuing the work with a sense of history and continuity. The branches, sourced from discarded remnants, represent the resilience of nature, yet its scars and marks also tell a story of environmental exploitation and human intervention.

The metal and plastic components sourced from electronic waste and scrap yards reflect the pervasive presence of technology in our lives and its often detrimental impact on the environment. By repurposing and upcycling these materials, the work challenges contemporary consumerism. The installation is designed to provoke a dialogue on environmental stewardship and the ethical responsibilities of human beings in the face of ecological crisis.

Moreover, the work engages with social justice issues by questioning how environmental changes impact different bodies (both human and non-human). The depiction of the somatic remnants, an essential yet vulnerable part of the human anatomy, serves as a metaphor for the marginalised communities most affected by environmental degradation and technological advancements.

The artwork aims to evoke a strong emotional response by making the invisible effects of environmental and technological changes visible and tangible. The delicate balance between organic and synthetic materials mirrors the fragile state of our current ecological and social systems. The viewer is invited to reflect on their role in these dynamics and consider the broader implications of their interactions with the natural world and technological advancements.

The project also challenges the viewer to think critically about the sustainability of our current practices and the social inequities exacerbated by environmental issues. By engaging with these themes through physical and digital mediums, the work fosters a deeper understanding of the interconnectedness of all life forms and the urgent need for a more equitable and sustainable future.

“Embodied Landscapes” is an art project and a call to action. It underscores the importance of sustainability and social justice in contemporary art and society. By bridging the gap between the body, environment, and technology, this work offers a profound commentary on the state of our world and the imperative to protect and preserve it for future generations.

Yihao Li is a visual artist and researcher in Glasgow, UK. His practice spans drawing, sculpture, and installation art, focusing on East Asian art, Orientalism, and fascination with the interplay between form and material. Start with a question on the physicality and materiality of sculpture, which necessarily invoke bodily relations. His work employs various materials to interpret and translate the concept of the absent body within the realm of pre-empirical knowledge. He articulates a symbiotic relationship between form, materiality, and cultural identity as a testament to the ongoing exploration of artistic expression and the complexities of human existence.

Contact information

07551052358

Social media information

@leonardlee0730

#glasgow school of art #climate crisis #design #Orientalism #materiality #sculpture #form #human #spine

A place in my heart

Aliya Prichard-Casey, MLitt Curatorial Practice & Lilian Evans, Master of Fine Art

A ticket stub, a nail, a cigarette packet – a discarded object. All objects we held in our hands but not in our hearts. It is the shared attraction to such from which this exhibition came forth.

Thus, a place in my heart exists as a collaborative exhibition brought forth by curator, Aliya Prichard-Casey and Glasgow based artist, Lilian Evans. Embracing the context of the Pipe Factory and its history of dereliction, this project draws upon the catalyst for such: the humble rolled cigarette, and the primary reason for the downfall of clay pipe production worldwide, and subsequently, the cause of the Pipe Factory’s dereliction.

This exhibition, exploring the relationships we hold with our material surroundings, confronts our tendency to consume, use, and discard whilst reframing the object and its potentiality.

Framed through Moments Of Encounter, this exhibition acts as a marker of a point in time, a position in place thereby unveiling the interconnection, the traces, between all people and things.

Utilising attachment and its polar, abandonment, to centre the consumerist tendency to use and discard, this exhibition highlights the human predilection to assign face values to objects thus cementing the brevity of their existence as objects of value. This exhibition, in its repurposing of discarded materials, brings forth the materiality embedded within these objects and finds value for them as art.

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