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	<title>Design histories group</title>
	<link>https://design-histories.com</link>
	<description>Design histories group</description>
	<pubDate>Thu, 23 Jun 2022 11:23:09 +0000</pubDate>
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	<item>
		<title>Home</title>
				
		<link>https://design-histories.com/Home</link>

		<pubDate>Tue, 01 Feb 2022 17:27:28 +0000</pubDate>

		<dc:creator>Design histories group</dc:creator>

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	<item>
		<title>Information</title>
				
		<link>https://design-histories.com/Information</link>

		<pubDate>Tue, 01 Feb 2022 17:27:28 +0000</pubDate>

		<dc:creator>Design histories group</dc:creator>

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		<description>Information



	We are a group of designers and researchers linked to Northumbria School of Design. Our work explores how contemporary design might draw on an engagement with history. We view history as a neglected resource that can inform our creative practice. Through a series of projects, we seek to produce works of design that respond to historic themes and heritage sites. Re-interpreting the past is a form of creative dialogue - we create new forms based on historic typologies, materials and processes. In turn, this creates a deeper understanding of the past both for ourselves and, we hope, the wider public.
Our group is made up of designers linked to Northumbria University School of Design including current staff and alumni. We are open to future collaborations, whether that is with heritage organisations or other designers who share an interest in how the past can inform contemporary design.
Contact: info@design-histories.com


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		<title>Current - Material &#38; Memory</title>
				
		<link>https://design-histories.com/Current-Material-Memory</link>

		<pubDate>Tue, 15 Feb 2022 17:37:14 +0000</pubDate>

		<dc:creator>Design histories group</dc:creator>

		<guid isPermaLink="true">https://design-histories.com/Current-Material-Memory</guid>

		<description>&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/0f78a4aeac94d9c796a14e401013477fb7f75b3ba7fa08837ea77e31d4d48439/mm_9x16_story_wordmark_loop-0708.gif" data-mid="233240066" border="0" data-scale="58" data-icon-mode data-rotation="90" src="https://freight.cargo.site/w/1000/i/0f78a4aeac94d9c796a14e401013477fb7f75b3ba7fa08837ea77e31d4d48439/mm_9x16_story_wordmark_loop-0708.gif" /&#62;

	Material &#38;amp; Memory

Brinkburn Priory, Northumberland
Jul-Oct 2024


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Exhibtion catalogue&#38;nbsp;︎︎︎



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	Material &#38;amp; Memory brings together works by staff and former students from Architecture and Design at Northumbria University. The Manor House at Brinkburn came into the care of English Heritage in 1965, when large sections of the internal features had to be stripped-out due to dry rot. This left the building seemingly unfinished, revealing layers of history in the exposed construction and materials. The participating creatives have drawn inspiration from this sparse yet atmospheric setting, each offering a contemporary interpretation of an aspect of the site’s history or material condition.&#38;nbsp;This site-specific ‘Material &#38;amp; Memory’ works engage in dialogue with the layered history of Brinkburn Priory and Manor House. The functional art objects bring together the different scales of monumentality and intimacy in a simultaneous experience, rendering space into place. By subtly referencing the monumental history and details of Brinkburn within the haptic human scale of craftsmanship, they make its meanings tangible, connecting the past to the here-and-now. As such, they are essentially architectural, introducing an attitude of care in how to bring heritage into the future. As Norberg Schulz wrote: ‘The existential purpose of building (architecture) is to make a site become a place, that is, to uncover the meanings potentially present in the given environment.’
Prof. Caroline Voet, Architect PhD
Programme Director, Bachelor of Architecture, Faculty of Architecture, KU Leuven, Belgium
Exhibition curation: Ben Couture (Architecture) &#38;amp; Anthony Forsyth (Design School) &#38;nbsp;&#38;nbsp;Identity: Gareth Jones


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	<item>
		<title>Past </title>
				
		<link>https://design-histories.com/Past</link>

		<pubDate>Thu, 16 Jun 2022 12:34:02 +0000</pubDate>

		<dc:creator>Design histories group</dc:creator>

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		<description>Re-imagining Aydon

Aydon Castle, Corbridge, NorthumberlandJul - Oct 2022

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Re-imagining Aydon is an exhibiton of works created in response to the history, setting and atmosphere of Aydon Castle.Aydon Castle sits in an idyllic rural setting, perched above a deeply wooded ravine. The&#38;nbsp;castle – one of the best-preserved fortified manor houses in the country – dates back to the 13th&#38;nbsp;century and has witnessed wars and invasion in an area of the country that saw border conflict between the English and Scots. In more recent years, the castle became a family home before being taken&#38;nbsp;into the custody of&#38;nbsp;English Heritage in 1966.
Over the course of a year, designers made repeated visits to the site, observing the castle in changing conditions. The design process was intentionally slow, taking time to develop the ideas in response to visiting the site during different seasons. The rural location was also important, celebrating the vernacular and the inspiration of the surrounding nature. 


	 The work was informed by historical research through documentary evidence together with discussion with historians and curators. At the same time, the project involved a process of imaginative engagement with the building to create objects that are contemporary yet speak to the history of the site. 
We refer to the resulting objects as ‘hybrids’ in the way that they combine contemporary and historical elements. In some cases, we have taken historical typologies and interpreted them as modern forms. Other objects abstract directly from the fabric of the building itself – taking masonry features such as corbels and door lintels as inspiration. The materiality of the building has also informed a distinctive aesthetic shown by many of the pieces.
Wood of the Well

Chesters Roman Fort &#38;amp; Museum, Northumberland
Sept 21 - August 2022


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Coventina’s Well was a Roman shrine at Carrawburgh, on Hadrian’s Wall. When it was excavated in 1876, the well was found to be full of material dedicated to a then-unknown goddess, Coventina. Inspired by artefacts from the site and informed by the techniques of Roman woodworking, the Wood of The Well project created a collection of wooden objects that speculate about what might be missing from the well’s archaeological record. The work was exhibited alongside the real finds from Coventina’s Well, at the English Heritage Chesters Roman Fort and Museum, from September 2021 – August 2022. 


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		<title>Artefacts</title>
				
		<link>https://design-histories.com/Artefacts-1</link>

		<pubDate>Thu, 23 Jun 2022 11:23:09 +0000</pubDate>

		<dc:creator>Design histories group</dc:creator>

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		<title>Plank chair</title>
				
		<link>https://design-histories.com/Plank-chair</link>

		<pubDate>Tue, 22 Feb 2022 16:31:40 +0000</pubDate>

		<dc:creator>Design histories group</dc:creator>

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Plank chair



Chairs would have been high status objects and reserved for the most important members of society. They were often symbolic of a person’s importance – for example, as lord or lady of the manor. 


Plank chair is designed to reflect a sense of power and importance. The construction is simple and is inspired by the way early furniture was made – using simple planks to create what we refer to as ‘boarded’ furniture. In the early days of Aydon, furniture-making was not a separate profession and furniture would have been made by general carpenters. This means the joinery was normally quite simple.


The striking red stain is an environmentally-friendly pigmented linseed oil finish. We often think of castles as fairly drab spaces because much of the original décor has been lost over time. In fact, the spaces would have been more richly decorated than we assume – with painted motifs on the walls and textile wall-hangings. Strong colours were popular in the Medieval period and had symbolic meanings. The pigments would have been expensive and their use was a sign of wealth. 



Materials: Ash. Treated with a red stain.


Designer: Anthony Forsyth








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	<item>
		<title>Torche</title>
				
		<link>https://design-histories.com/Torche</link>

		<pubDate>Sat, 21 May 2022 17:40:39 +0000</pubDate>

		<dc:creator>Design histories group</dc:creator>

		<guid isPermaLink="true">https://design-histories.com/Torche</guid>

		<description>
	Torche



The window seats in the castle show how people would have used any natural light available. When this wasn’t available the castle residents would have used rush lights, tallow (animal fat) or beeswax candles. Only the wealthiest households would have used beeswax.


Nowadays, we illuminate rooms at the flick of a switch. With rising costs and the climate crisis, we are starting to think more carefully about how we use energy. New technologies are enabling us to rethink our relationship with light. With efficient portable lights we can illuminate our immediate space as we need to, rather than the whole area.


The base is made from steel which is blackened to reflect how steel and iron objects would age over time. This is seen in the remaining ironwork visible in the castle – for example, the door hinges. The colours also pick up the veins of iron ore in the sandstone from which the castle is built.



Materials: Blackened steel. Hand-blown glass shade. Battery-powered LED.
Designer: Anthony Forsyth





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	<item>
		<title>Buttress candelabra</title>
				
		<link>https://design-histories.com/Buttress-candelabra</link>

		<pubDate>Tue, 22 Feb 2022 11:15:58 +0000</pubDate>

		<dc:creator>Design histories group</dc:creator>

		<guid isPermaLink="true">https://design-histories.com/Buttress-candelabra</guid>

		<description>
	Buttress candelabra
A simple candelabra produced in cast iron. The simplicity, heft and raw finish of the candlestick are inspired by the building itself. 


The form reflects the walls and towers that made up the defences at Aydon. 




Materials: Cast iron. Treated with black beeswax


Designer: Anthony Forsyth













&#60;img width="4000" height="6016" width_o="4000" height_o="6016" data-src="https://freight.cargo.site/t/original/i/be061bb7d390af9cc36a4dc554a3493f4bbd7c6ec6d11811224b1cf98f7fcb77/DSC_0494-reduced.jpg" data-mid="143319745" border="0"  src="https://freight.cargo.site/w/1000/i/be061bb7d390af9cc36a4dc554a3493f4bbd7c6ec6d11811224b1cf98f7fcb77/DSC_0494-reduced.jpg" /&#62;
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	<item>
		<title>Parapet</title>
				
		<link>https://design-histories.com/Parapet</link>

		<pubDate>Thu, 26 May 2022 17:58:29 +0000</pubDate>

		<dc:creator>Design histories group</dc:creator>

		<guid isPermaLink="true">https://design-histories.com/Parapet</guid>

		<description>Parapet




Storage trunk / table made from stained ash wood. A somewhat imposing and unrevealing form from the outside, it keeps contents hidden and safe on the inside. The trunk hatch is stepped down on the inside, referencing the fortifications of the castle structure.



Materials: Stained ash


Designer: Tom Leslie

&#60;img width="3840" height="5760" width_o="3840" height_o="5760" data-src="https://freight.cargo.site/t/original/i/de796939890a3ce1a783f6a57b3e19b18b00d90072f219301042fa6fffc39084/Aydon-Castle-12-corrected-reduced.jpg" data-mid="145311593" border="0"  src="https://freight.cargo.site/w/1000/i/de796939890a3ce1a783f6a57b3e19b18b00d90072f219301042fa6fffc39084/Aydon-Castle-12-corrected-reduced.jpg" /&#62;&#60;img width="4500" height="3000" width_o="4500" height_o="3000" data-src="https://freight.cargo.site/t/original/i/d5518adb5721c966799ba6366c1b2fc6502af55244c302cae8df545ec958809d/Aydon-Castle-132.jpg" data-mid="146207392" border="0"  src="https://freight.cargo.site/w/1000/i/d5518adb5721c966799ba6366c1b2fc6502af55244c302cae8df545ec958809d/Aydon-Castle-132.jpg" /&#62;

</description>
		
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	<item>
		<title>Cresset</title>
				
		<link>https://design-histories.com/Cresset</link>

		<pubDate>Tue, 22 Feb 2022 14:35:46 +0000</pubDate>

		<dc:creator>Design histories group</dc:creator>

		<guid isPermaLink="true">https://design-histories.com/Cresset</guid>

		<description>
	Cresset




Cressets were bowl-shaped lamps used in the medieval period. The lamps were often made from stone or ceramic. Fat or wax was poured into the bowl, together with a wick, to create a simple lamp. The stone versions in particular, have an appealing heft and simplicity to them.


I have reimagined the cresset in sandcast bronze. Bronze was a commonplace metal used in the medieval period for making household objects, and the production process – sandcasting – goes back hundreds of years. The outer surface is left with the rough surface created by the casting process. The inner surface is hand-polished to reflect the light. 


Shiny materials were highly prized during the medieval period, perhaps because of the time and effort required to achieve a polished surface. Even with modern sanding materials, it has taken several hours to create a reflective finish. 




Materials: Sandcast bronze. Hand-polished.


Designer: Anthony Forsyth








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