RCA’s Platform 11: Not Just About Designing
9 Apr 2008 Category: Conscientious Design, Events & Exhibitions, Products, Worldwide
Today, PingMag would like to venture a little bit into academia to meet provocative ideas at their dawning: the Design Products course of one of the most famous postgraduate art and design institution, the Royal College of Art (RCA), has a reputation for its great offspring, such as Ross Lovegrove, Jasper Morrison or our favourite Takeshi Ishiguro, to name only a few. With just thirteen students enrolled, its Platform 11 studio uses design as a medium to address contemporary and speculative issues related to technology, psychology and socio-political trends. Time for PingMag to talk to the tutor, Noam Toran, who stopped by Tokyo for the students’ CRASHLAND exhibition at Trico Gallery last month.
Written by Chiemi
First, tell us about the platforms within RCA’s Design Products course…
The two-years MA Design Products course has seventy students and the platforms are a way of making smaller groups and having them focus. Each platform is run by two tutors who are usually specialists in areas of design. Some of the platforms are focused on furniture design or industrial design and there are different ways of going about that. For example, some of them are interested in philosophy, environment or materials.

From the CRASHLAND exhibition, Benjamin Males’ “Hermes:” British people are being watched by numerous CCTV cameras. As potential application of this technology, he created…

… a fully automatic racial targeting system, captured a target by camera to analyse and distinguish race.
What is the concept of Platform 11?
Platform 11 has been running for five years, and essentially we are interested in using design processes to address complex issues of society. A lot of these issues deal with the affects of emerging technologies. It’s not necessarily technologies themselves, but how they might influence behaviour or affect emotions. So, one element is technology and another element is socio-political trends.

Tony Mullin’s “Untitled” focuses on people’s relationship to their social and natural environments. The sand castles made with this bucket show…

… about decaying landscapes, dislocated bodies and natural environments…
Interesting that you try to approach those issues through design, not art.
Design could be suited for it more than art because it sits within a material language that we understand, and that is very personal and intimate rather than art which is seen and understood in a space that separates, in a gallery… So, the philosophy that we’re attempting is “Does design have the capability to address these issues in the same way that film, literature and art do?”
Hmmm… what kind of stuff do your students produce through a given brief?
They don’t try to answer the brief. The idea we focus on is the area of research. And from that, they develop work very subjectively, so we are not interested at all in the outcome. We just want students to produce interesting works that speak about complex issues, and afterwards, we can choose what context they want to be seen within.

Matthew Plummer-Fernandez’ “The Analogue Website” explores the possibility of mechanical survival in a digital world: a webcam running along a train track (above) takes images of physical objects (below)…

… thus acting as an interpreter between the two realms since its converting the pictures into imagery that is uploaded to the Internet.
What are they working on specifically, for example?
Lucia Massari’s work came about from the brief in this year when we asked them to “engineer an experience.” Meaning they had to create a simulator. So they needed to imagine real life circumstances or some based on personal experience, or desire and artificially create them using tricks such as movement, sound and smell.
So, Lucia ended up doing a video and a book about the bodybuilder. She was interested in the concept of hyper reality and she started to look at bodybuilders because there are aesthetics twisted from a generic understanding of physical beauty. She hired a bodybuilder to critique a statue of Michelangelo’s David that symbolises Western beauty. She videotaped him going through the image book criticising every element of David’s body. It was very funny. In the end, it wasn’t really a piece of design but it became something more of an art work.

Lucia Massari’s “David Pumpe by iron pumper.” Lucia showed a book and a video of a bodybuilder criticising the body features of the David statue.

According to the bodybuilder, poor David needs more muscle…


Demitrios Kargotis’s “Dr. Zorbas” - by watching the Greeks’ greatest moment in a little box, a Greek can blow a balloon with his pride. Of course, the size of the balloon depends on how big his pride is!

Jen Hui Liao’s “One Month’s Worth” allows a person to carry a months’ worth of supplies in the event of a catastrophe where organising systems break down and people are left to their own devices.
By the way, the CRASHLAND show was actually fantastic! The stories and the concepts from your students were fun and very interesting.
I’m glad to hear that. I think the show was successful too. The work itself had to be visually stimulating enough from the beginning to make people really want to know more about it. This show was a first test and we are going to look for a venue to exhibit it again in London.


Tom Foulsham’s “Investigations into Drawing with Light - Mechanism No.10.” The inverse of moving a pen across paper is moving the paper underneath the pen…

By using the camera lens instead of a pen, and the camera film instead of a sheet of paper, the drawing is shown on the night sky as the light.

How did your students feel about having a show in Tokyo?
I think they were thrilled. They must have learned a lot about how to organise and to exhibit a show abroad. The RCA students are not kids, they tend to be quite professional but they could be easily distracted by the power of Tokyo and sucked in. I’m really glad that they managed to do it.

In what direction do your students usually go after graduating from Platform 11?
Variety of things. Some people start to teach.
I guess not very many of them become ordinary product designers…
Oh, they do. I have a lot of graduates who have become very traditional product designers.
That’s interesting…
Yes (Laughs.) Because Platform 11 is conceptual and has a bit of a… strange side as a product design course (Laughs.) But our students have good design, engineer and programming skills. I’m very proud of them becoming professional designers.
Noam Toran, thank you very much! Looking forward to seeing your students becoming the next uber designers!
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