The Hasler Gallery

Five artists and designers were given free rein of the Museum of Domestic Design and Architecture, as part of a local regeneration project in the Hasler Gallery, North Finchley. This was an exciting opportunity to develop new work inspired by the Museum's collections, and to show it in an unusual location. The site itself, the Hasler Gallery, was crucial to the success of the project and proved to be a catalyst for some of the work's development. As this book shows, all of the artists made connections between what they saw in the Museum and the space in which they showed their work. This project reminds us of the value of museum collections not just as a record of the past, but as the starting point for innovation in the present and change for the future

The designers behind the style.

An illustrated lecture given by Maggie Wood, Assistant Curator at the Museum of Domestic Design & Architecture, to accompany the exhibition "Designer Style". This lecture looked at the changing role of designers during the 1950s, in particular the rise of the ‘star designer’, as named designers became more well known to the public. The lecture explored the work of four designers (all of whom were represented in the "Designer Style" exhibition), namely Lucienne Day, Terence Conran and Jacqueline Groag - plus Mary Storr, a less well known young designer working at the same time

Collecting experiences

The Centre for Excellence in Teaching and Learning through Design (CETLD) and the Art Design Media Subject Centre of the Higher Education Academy (ADM-HEA) organised a symposium to explore art and design students' learning from museums and their collections. Research conducted by CETLD at the V&A, identified limited targeted educational provision for higher education design students in museums. The same research suggested ambivalence from museum educators about the most effective ways in which to support higher education students learning from museums; this is in spite of the fact that tutors see the role of the museum as an academic facilitator, supporting student learning (Speight, 2007). Similarly, tutors were ambivalent about ways that they can support students learning from museums, although they believe that museums do provide a range of valuable learning opportunities. This day highlighted the innovative and exciting work being undertaken in this area. Richard Lumb, Education Officer at MoDA gave a presentation on the museum's Student Workshop Leader Scheme

Japantastic: Japanese-inspired patterns for British homes, 1880-1930

In the 1870s and 80s, Britain experienced a craze for all things Japanese. Japanese art and design was seen as exciting and exotic by Europeans, because it was so different to Western culture. It offered a whole new way of looking at and representing the world. Arthur Silver was a British designer of wallpapers and textiles. He established his company, the Silver Studio, in 1880. He and his colleagues were avid collectors of Japanese source material. The Silver Studio incorporated Japanese materials, methods and motifs these into designs for wallpapers and textiles for British consumers between about 1880 and 1930. The resulting designs are not straightforwardly ‘Japanese’ but are the result of a cross-cultural fertilisation of design ideas. Today the Silver Studio Collection is the core collection of the Museum of Domestic Design & Architecture (MoDA), Middlesex University. This book accompanies an exhibition held at MoDA between 2009 and 2010. This is a text only version. A fully-illustrated version is available from www.blurb.co

The Incisive Line: prints, paintings & drawings By Richard Fozard (1925 - 2000).

Richard Fozard’s fine engravings and etchings present a potent vision of landscape. He was an individual and a spiritual artist in the tradition of Samuel Palmer. Fozard’s career as an artist-printmaker began in 1939 when, at 14 years of age, he entered the litho-art studio of the Gilchrist brothers (process engravers) who paid for him to take evening classes in design and life drawing.With the onset of the Second World War, the firm’s work changed and he took work on the land, returning to his childhood love: the Yorkshire Dales. In 1961 he moved to Hornsey College of Art, later to be merged with Middlesex Polytechnic (now University), lecturing three days per week until 1986. As a teacher, he always emphasised the primacy of good draughtsmanship and, as a printmaker, he was a seasoned and patient master of his craft whose students were inspired by the experience of watching him ink, wipe and print an intaglio plate. This exhibition is the first major retrospective survey of his collected works - etchings, copper engravings, woodcuts, pen and ink drawings and watercolours - ever to be held. It will offer a unique opportunity to assess the strength of his works and to celebrate his artistic vision and accomplishments, establishing him as a notable, individual figure in that special tradition of English, poetic, pastoral art

Implementing resource discovery techniques at the Museum of Domestic Design and Architecture, Middlesex University

This paper is a report on a Jisc-funded project at the Museum of Domestic Design and Architecture aimed at assessing the use of Social Media in combination with a Balanced Value Impact Model

That feels like home: connecting sites of lockdown to design collections

This article discusses the response of the Museum of Domestic Design and Architecture, Middlesex University, to the COVID-19 pandemic, and in particular the development of the second series of the museum's podcast That Feels Like Home