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Vivaan Singh

@designmaybe

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Side Table 
420 × 420 × 500 mm The side table is built from the photograph of my grandpa asleep in his chair, with his tea, TV remote, and the paper marked up with that day’s horses beside him, ready to go to the bookies. Side tables became a recurring object during my conversations in Clydebank: they were pulled, topped with old biscuit tins of pictures, and used for games of cards and dominoes. It feels significant as a domestic object because it sits quietly alongside everyday life, an object that supports others that often goes unnoticed. In my project, it became a way of bringing together these shared routines of family, hospitality and conversation. The woven tabletop is fixed to a welded steel frame with hot rivets, referencing the sewing machine factory and the industrial processes that once shaped Clydebank. Alternating blackened and unblackened steel sheets create contrast, with the heat from the rivets interacting differently with each surface. Printed across the weave are two women working in the Singer factory, layered with architectural details of Clydebank today and the local Jobcentre logo. The layers bring together women’s industrial labour, the changing built environment and the contemporary world of employment, placing different moments in the town’s history into the same object. Huge shoutout to @garancevallee for the weave inspiration.
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A little sneak peek of our exhibition 👀 Come by, take a look and discover our installation as part of the Brompton Design District during London Design Festival. 36 Thurloe Place, SW7 2HP London Photography: Kane Hulse @kane_hulse_studio @l_d_f_official @brompton_design_district @tiwa_select
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Tangle is an interactive lamp for a home space that enables users to define the meaning of „enough light“ in their spaces. It enables a tactile interaction through rotation pushing back against the de-materialization of touch. The construction of the lamp increases tension and resistance to physically express an increase in brightness. The wires it is suspended by tangle during rotation, creating tension, thus the feedback. A clockwise rotation increases brightness and an anticlockwise rotation dims brightness. To lock the light brightness, you simply push the light towards the back structure, where it magnetically attaches, holding the tension and brightness in place. To switch off the light, you simply push the light away from the frame and watch it detangle.
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SYNC examines the relationship between body, mind and space, developing adaptive and sensory responses to how we move, focus, interact and live alongside technology.
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Tray and Dish The tray and dish draw from the domestic spaces I entered while speaking with people across Clydebank. People often offered food during these conversations, served on familiar trays alongside the doilies that appeared throughout their living rooms. These everyday objects became part of the archive. The tray carries an image of a square sausage in a morning roll, a distinctly Scottish food. Its history is closely associated with industrial Scotland and the routines of working life, making it an everyday food that carries a strong sense of place and cultural identity. Layered with the doily is the phrase “Clyde Built”, a reference to the pride attached to what was produced and the people who produced it on the Clyde. The print is overlaid with a still from Still Game, a personal reference to evenings watching the show with my family. At the same time, the show also becomes a way of thinking about changing generations and the distance between the world represented by older characters and present day.
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Spare Chair 1100 × 550 × 480 mm Spare Chair references the ladders of John Brown’s shipyard and the clock hand of the Singer clock tower, bringing fragments of Clydebank’s industrial landscape into a domestic object. The chair uses blackening and heat treatment, with hot rivets and welding leaving physical traces of its making. Archival images of the shipyard and West Dunbartonshire Council are UV printed, layered together to bring the industrial past into conversation with the contemporary town. A doily on the back references the living rooms I entered while conducting interviews across Clydebank. The title comes from the spare chair pulled out from the corner when company arrives. A familiar domestic object that became a point of entry into conversations about memory, place and change.
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Rather than presenting the project chronologically or by discipline, Residual Structures of Feeling is structured through the language of cinema. This filmic framework became a way of communicating the project as a narrative, allowing research, making and exhibition to unfold as interconnected chapters rather than isolated outcomes. The Prologue introduces the archive: family photographs, industrial artefacts, oral histories and documentary material that establish the social and cultural landscape of Clydebank. Like the opening sequence of a film, it sets the atmosphere without attempting to explain everything, inviting the audience into a world assembled from fragments. The Story is the design process itself: Conversations, photography, moving image, material experimentation and object-making exist in constant dialogue with the archive, generating new work that continually reshapes the research rather than simply illustrating it. Finally, the Epilogue takes the form of the exhibition: Rather than concluding the project, it creates the conditions for new conversations to emerge between visitors, objects and the archive. In this way, the exhibition becomes another chapter in the project, extending the narrative beyond the gallery and allowing the methodology to continue evolving. The project is therefore not presented as a finished body of work, but as an ongoing dialogue between archive, making and audience; one where the story continues long after the exhibition ends.
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Residual Structures of Feeling are the lived values, emotions, habits, and ways of understanding the world that persist from an earlier social and cultural formation, even after the material conditions that produced them have disappeared. Existing as embodied experiences that continue to shape identities, relationships, and everyday life. This lasting effect, known as the half-life of deindustrialisation, persists in an older generation that has difficulty articulating its loss, and a younger generation that has to deal with its inherited consequences without having ever experienced it. 🏴󠁧󠁢󠁳󠁣󠁴󠁿 🏴󠁧󠁢󠁳󠁣󠁴󠁿 🏴󠁧󠁢󠁳󠁣󠁴󠁿 🏴󠁧󠁢󠁳󠁣󠁴󠁿 This project explores the lasting effects of deindustrialisation in Clydebank, Scotland, asking how design can engage with places, histories and identities that can no longer be directly experienced. Beginning with my own family history, the research expanded into conversations with multiple generations, archival research, material experimentation and object-making to investigate how memory continues to shape everyday life. Drawing on industrial methods of making, including welding, hot riveting, chemical blackening and UV printing, the project translates research into a collection of contemporary furniture and objects. These pieces are not intended as historical reconstructions, but as prompts for conversation that bring traces of Clydebank’s industrial past into the domestic environment, where memory, identity and relationships continue to be formed. Presented as an exhibition, the project brings together archive, contemporary culture and making to create new dialogue between generations. Furniture, images, film and spatial installation become prompts for conversation, encouraging reflection on the quieter narratives that continue to shape communities long after industry has disappeared.
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Show and assessment is a wrap. It has been a very intense year that flew by! Thank you to all @rca_designproducts students and staff for making every day a celebration!
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Two more refined prototypes of the welded aluminum tube hooks.
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forgot to post these polaroids in the summer so here they are now. taking 8 months off work to go and study at @rcagraddip was my favourite thing I did this year 🌌🌌🌌
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Staggered Vase Project (December 2025) @rca_designproducts Experimental Design Object 02 I originally intended to use this material as a table leg, but was unable to fully flatten and bend such a thick tube. After a series of imprecise machine and hand gestures, the single tube was eventually turned into something functional. One of my favorite outcomes of the entire unit, all from an initially failed experiment.
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