{"id":347,"date":"2015-11-02T15:13:52","date_gmt":"2015-11-02T15:13:52","guid":{"rendered":"http:\/\/www.blogs.hss.ed.ac.uk\/eca-principal\/?p=347"},"modified":"2015-11-02T16:47:14","modified_gmt":"2015-11-02T16:47:14","slug":"time-for-research","status":"publish","type":"post","link":"http:\/\/www.blogs.hss.ed.ac.uk\/eca-principal\/time-for-research\/","title":{"rendered":"Time for research"},"content":{"rendered":"
\""British<\/a>

“British Design” cover<\/p><\/div>\n

A number of personal research projects of mine have culminated in publication this autumn.<\/p>\n

British Design: Tradition and Modernity after 1948<\/em> marks the end of a project that began with my co-curation of the British Design: Innovation in the Modern Age exhibition at the Victoria & Albert Museum in 2012.<\/p>\n

The exhibition raised many questions about the particular relationship between place, time and space that characterises much of the UK’s design culture, and a conference during the exhibition’s run produced the chapters in this book.<\/p>\n

\"Utopian<\/a>

“Utopian Bodies” cover<\/p><\/div>\n

My co-curator and I wrote an introductory chapter reflecting on the political context of the exhibition and its setting in the year of the Olympics in London, while ECA colleagues Fiona Anderson and Richard Williams were invited to submit chapters on Borders-based textile designer Bernat Klein and the city of Edinburgh’s status as a site caught between heritage and new planning developments.<\/p>\n

In a more recent chapter in a catalogue accompanying the Utopian Bodies fashion exhibition, currently showing at the Liljevalchs gallery in Stockholm, I interviewed three prominent craftspeople working in tailoring, jewellery and footwear, asking for their reflections on skill, materials and memory in the production of unique artefacts.<\/p>\n