A Place Called Villa Diodati
- by Namuun Zimmermann and
Martijn Rigters
Namuun Zimmermann and Martijn Rigters’s
objects reveal a temporary glimpse into the underlying reasons for Mary Shelley’s creation of the Frankenstein tale.
A well known fictional story, composed of the very private experiences Shelley had. From the struggle of a woman in a 19th century patriarchic society, the loss of loved ones and the exploring of unchartered grounds in advancing science, all of them played a great role in the creation of the monsters.
These cold-blooded, abstract objects reveal the unfortunate story behind the creator of Frankenstein‘s story, with the touch of a warm hand.
Horror House
- by Kevin Smeeing and Fabio Hendry
Frankenstein's monster was stitched together out of disparate parts, which were selected and fused to form a whole and give new life. This collaborative project tackles the role of exhibition design by questioning the idea of the narration and the links in-between.
Taking inspiration from the rough and industrial features of the basement site, basic construction materials - plasterboard, sawn timber and sheet plastic - were selected. These materials reference and celebrate the act of building as a moment of creation, they become skin and bones and are animated by the breeze as people circulate through the space. The movement and light emanated from the unknown, reference graphic scenes in horror culture and create an ambience, which contrasts commercial settings and contemporary design ideas.
Blankets of Belonging
- by Stine Keinicke
 “... but how was I terrified, when I viewed myself in a transparent pool! At first I started back, unable to believe that it was indeed I, who was reflected in the mirror; and when I became fully convinced that I was in reality the monster that I am.”
        Frankenstein’s monster Shelley,
        Mary, Frankenstein 01. 01. 1818
Frankenstein’s creation is not born a monster but becomes one, only when treated as such by the society he is born into. Blankets of belonging are a series based on the human need to fit in.
The blankets draw on the tradition of mother’s creating quilts to welcome and celebrate their newborn child.
Distorted images of surroundings are used as patterns on the blankets and quilted lines are sewn in water-wave patterns, symbolising the devastating moment when the monster sees his own reflection in the lake.
Dr Frankenstein’s own hand created the monster.
It is within this context that fractions seek
to explore the hyperobject that is global warming. The effects of this change can be seen the world over, and is far more substantial than the local manifestations that it produces.
Fractions looks at the changes in our environment and using data from scientific research has presented it in the form of percentages within the objects themselves.
From loss of overall tree coverage 50%, increase
in greenhouse gases 40% to the Polar cap ice water in sea levels rising 20%.
Imagine if, instead of seeing Frankenstein’s creation as a monster, people wanted to learn from him?
Is Artificial Intelligence the monster of our time?
Alrite, AI sets out to interrogate if there are ways in which we can learn from AI. These systems learn from us and they develop new understandings.
But is the reverse also possible?  
We asked the parkourist Louiseanne Wong to copy the movements of an AI that taught itself parkour and compare it with her usual practice.
My Horrible Creation / Lost Wax Vases
- by Parsha Gerayesh
Mary Shelley’s “Frankenstein” tells the story of Dr. Victor Frankenstein, a young scientist who creates a grotesque, sapient creature in an unorthodox scientific experiment.
Shelley deals with the detrimental effects of Victor’s obsession with, and over dependence on science and technology. Likewise, in today’s world there has been an invasion of technology into modern life that has created a new design language and landscape of digitally fabricated objects.
Gerayesh‘s project is an attempt to create a counterpoint to such techniques by re-appropriating older manufacturing processes from mould making and lost wax metal casting. Rather than opting for a digital additive process, the object is created by hand, working outwards from the negative space.
Dr. Frankenstein attempted to surge beyond accepted human limits with his monster and that is what he has tried to do in producing these pieces.
Retro/speculative
- by Thor ter Kulve and
Adam Blencowe
Adam Blencowe and Thor ter Kulve show a selection of works produced under there collaborative name Studio In Place.
A series of 1:6 scale models depict furniture produced over the last year alongside three speculative pieces that respond to Mary Shelley‘s Frankenstein novel. The fictional designs imagine how the monster explored the world as he came to master his senses of sight, touch and hearing. Alongside the representative furniture, a full size table and bench are shown.
Lurking Monsters
- by Seongil Choi
Why do we feel scared to see something artificial act like a living creature?
Seeing animated behaviours creates a glitch in the primitive part of our brain. We understand these movements emanating from a life form, yet at the same time we know that they don’t belong to any living organism.
These three sculptures are designed to provoke this glitch on the brain, to make you feel weird and creeped out. Though perhaps you can find beauty in them...
The sculptures appearance is inspired by Korean ancient totems and Japanese voodoo dolls,
the monsters have a basic intelligence that allows them to follow movements, recognise and track faces them, giving them the signs of primitive life.
Epidermal
- by Will Yates-Johnson
The question of what turned Frankenstein’s creature into a monster lays at the heart of the novel. At a pivotal moment the creature comes across a blind man who offers kindness and takes him in. This harmony is shattered when the man’s children return and, horrified by what they see, drive him away. From this point on, he declares an “everlasting war against the species.”
Their horror and disgust - comes from the creature’s appearance, “his yellow skin scarcely covered the work of muscles and arteries beneath.” Is the creature a monster simply because he looks like one?
Utilising freely downloadable CAD models (harvested through search terms stemming from an analysis of Shelley’s most frequently used words in the novel) as a raw material, new epidermal creatures have been assembled. Ignoring mass, scale and ideas of beauty, the resultant chimeras present a potentially horrific appearance.
Rebuttal
- by Thomas Marriott
Dr. Frankenstein worked alone in his apartment, consumed by a personal desire to discover the secrets to the creation of artificial life.
With determination and perseverance, his hard work and late nights working away in isolation pay off and a monster is born… The story that follows is one of tragedy and internalised debate about the ethics of creation.
The idea that healthy debate is important in the creative process informs this project. A series of stools that reference the house of commons have been produced that will support a number of informal debating workshops throughout the course of the show. These sessions will use the work as topic for debate and starting points for discussion.
Rebuttal aims to go further than provoke conversation, asking people to take a position,
fight their case.