Emerging Technologies

This book, written when Walker was Visiting Professor at the Technical University Munich in 2011, describes his research on the effects of digital technology on architectural design and construction, and on the development of ‘digital craft’. The primary example given is The Swarm, a digitally designed and manufactured pavilion, produced with students while Walker was at TU Munich. It now stands outside the Bayerischen Architektenkammer (Bavarian Chamber of Architects) in Munich. Through such research-by-design, Walker asks larger questions: what can designers craft without a master craftsman’s skills, and how can craft skills be recovered through digital fabrication? Another example in the book is the Swoosh Pavilion, one of two public-space-scale architectural pavilion prototypes Walker developed between 2008 and 2009 at the Architectural Association (AA), using applied digital modelling and CNC techniques to investigate methods of teaching and testing digital processes through making. Swoosh (2008) and a second AA pavilion, Driftwood (2009), were discussed by Walker and Martin Self, his co-investigator, in ‘Fractal, bad hair, Swoosh and Driftwood pavilions of Intermediate Unit 2, 2006–2009’, published in the AD reader, Manufacturing the Bespoke (2012), which includes essays by well-known critics and designers such as Mathias Kohler and Michael Stacey. Both AA pavilions were sponsored by FinnForest Merk, Arup, HOK and Building Design Magazine, and were seen by large international audiences in Bedford Square, London during the 2008–9 ‘AA Projects Review’ shows. The book Making Pavilions (Walker and Self, AA Agenda No. 9, Architectural Association Press, 2011) also discusses their work over seven years of teaching at the Architectural Association. At the same time, Walker collaborated on a series of Serpentine pavilions, commissioned annually by the Serpentine Gallery, London, co-designing these experimental structures with internationally renowned architects Daniel Libeskind, Oscar Niemeyer, Toyo Ito and Alvaro Siza.

Sunray etched Visors for the Jamaican Olympic Team in three colours: yellow, green and black

Design for visors for the delegation from Jamaica to the London Olympic Games 2012. This design was commissioned by PUMA 2012 based on McLean's designs featured in the website House of Flora, which functions as a space of display, archive, folio, point of sale and dissemination. The McLean standard design for visors is a component of the avant garde, pret a porter millinery, accessory design collections, and stylistically customised for the Jamaican team. McLean's oeuvre is original in its integration of the experimental traditions of art school workshop culture with the professional demands of fashion manufacture and trade culture. Combining the innovation of the postmodern urban artisan with the exacting demands of industrial production, dissemination and distribution McLean's design work spans the disparate worlds of national art collections such as the Victoria and Albert Museum (A Hat Anthology Exhibition, and catalogue 2009), London Design Museum ( Fifty Hats that Changed the World 2009). Integrating design considerations of multiple and mass production with the stylistic considerations of the studio workshop McLean brings the wit of the avant garde urban artisan to the structures and systems of fashion industry. The designs reach to a global audience as product users, as well as to the international connoisseurship of crafts and design specialists. The rigour of McLean's research and innovation is evident in the specificity of the stylistic references made through her selection of materials, processes, form, colour and symbolism. A range of cultural references cite the rich fusion of early twentieth century modernist culture in which the disparate worlds of popular, proletarian, culture fertilised the stylistic austerity of high modern formalism. McLean here considers the relationship between millinery and coiffure, following from the millinery piece featured in (Marcel bobbed hairpiece hat), and now brings the considerations of ethnic difference to bear on her design. Afro hair brings user group specificity to the milliner, and the visor design is a resolution of function and style for both protection and display. Connoting the sartorial conventions of workwear headgear, rather than the nineteenth century colonial 'cricketer's' cap, or the twentieth century US 'baseball' peaked cap, McLean's 'Jamaican Olympic Visor' brings distinctively postcolonial meaning to the cultural profile of the heterotopic media space. Designing for the popular culture of Olympic sports, televised and broadcast to global audiences, brings new forms of agency to the fashion designer, and McLan's design deploys a style that is widely recognisable from other popular culture's film and TV depictions of workwear to mark the distinctive tradition of supremacy that black athletes bring to the European traditions of cultural heritage. Supplanting the Arcadian 'laurels' with which winners are, traditionally, crowned, McLean's visor design innovation, suggests that it is not impossible to challenge and transform apparently timeless hierarchies of power and supremacy, so that ex-slaves may also become victors. McLean's fashion designs all work within this reach of fashion towards the carnivalesque inversion of social orderliness through play, display and sartorial activism.

Photography, desire and resistance in the lives of women, following the 1979 revolution in Iran

In my last four years of PhD by practice at the Royal College of Art, I have conducted extensive research on archival photography including materials held at the Museum der Weltkulturen, Frankfurt am Main; the Institute for Iranian Contemporary Historical Studies (IICHS) , Tehran; and the International Institute of Social History (IISH), Amsterdam. My project started with the fortuitous encounter with a photograph taken by Iranian photographer Hengameh Golestan on the morning of March 8, 1979. The photograph shows women marching in the streets of Teheran in protest against the introduction of the compulsory Islamic dress code. In 1936 Reza Shah had decreed a ban on the headscarf as part oh his westernising project. Over forty years later following the 1979 Revolution, Ruhollah Khomeini reversed this decision by ordering that women should now cover their hair. This ‘found image’ presented me with a glimpse into the occulted history of my own country and the opportunity to advance towards a deeper learning and understanding of the event of March 8, 1979 a significant date in the history of feminism in Iran. In what follows I revisit the history of Iran since the 1979 revolution with a particular inflexion on the role women played in that history. However, as my project develops , I gradually move away from the socio-historical facts to investigate the legacy of the revolution on the representations of women in photography, film and literature as well as the creation of an imaginary space of self representation. To this end my writing moves constantly between the documentary, the analytical and the personal. In parallel I have made photographs and video works which are explorations of the veil as object of fascination and desire as well as symbol of repression.