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Jon Mortimer - Programme Leader Interior Design

Premier League Stadium Project

Jon acts as a Design Consultant for a major Architectural practice, advising on the redevelopment of facilities Premier League Football Club

Using his experience and interest in the way people emotively respond to spaces, Jon has help proposal for a major new stadium development for a Premier League Football team, looking at the supporters experience within the hospitality areas and advising on the form, function and material effect of the spatial design. Using his representation skills a series of designed spaces where developed and proposed, acknowledging and building upon the respect that the fans have for their team.  

Jon Mortimer

Programme Leader Interior Design

Qualified in 1992 as an Interior Designer and worked in professional practice for 20 years as a design consultant specialising in Interior Design – Hospitality Design / Wellness Design / Residential Design / Conceptual Design / Contemporary Design Trends / Planning Geometries / Representation.

Pedagogical Interests

Assessment processes within the creative disciplines / Diagrammatic demonstrative teaching of fundamental design processes and techniques.

Research Interests

“…I dream of immense cosmologies, sagas, and epics enclosed in the dimensions of an epigram.” Italo Calvino Letters 1941-1985:

Cosmological Epigrams and the Poetics of Erasure - How did Invisible Cities change how Venetians see Venice – the Crises of Representation - Creating new micro myths for old spaces / creating flash fiction to change the way people see the spatially familiar – “55 new myths for an old Wealden village”.

The Architecture of Future Faith: Contemporary designs for reinventing traditional beliefs – how designers use the devices and approaches of spatial manipulation to generate belief.

The Architecture of Loss: Contemporary designs for memorials – how designers use the devices and approaches of spatial manipulation to represent grief.

The Architecture of the Beaten Dream – how the attack on the Twin Towers changed the way designers see architectural icons. A visual guide to the principles of spatial design - Understanding spatial concepts through visual analysis and interpretation – the use of diagrammatic analysis to explore how designers think about space.

• Relationship Diagrams – Activities represented through diagrammatic proportional adjacencies
• Understanding Axis – Geometries of space as a design signifier, reading the ‘ley-lines’ of the interior.
• Transitions & Thresholds – between inside and out, the role of the seductive middle ground
• Windows & Daylight – controlling the emotional impact of the natural light within the interior.
• Doors & Openings – moving through walls, the tricks of the modern opening.

LANGUAGE, WRITING & APPRECIATION FOR DESIGNERS: Site Writing as a Design Tool / Architectural Design History Of London: Exploring, recording and understanding the City / Understanding & Appreciating Contemporary Interiors & Architecture.

SKETCHING, DRAWING & MODELING FOR DESIGNERS: Drawing on the City: The Urban Sketchbook / Drawing on the City: Urban Sketchbook as a tool for Designers / Sketching for Design: Freehand Axonometric, Isometric & Perspective Drawing / Architectural Drawing: Reading & Creating Plans & Sections / Perspective Drawing for Designers: One & Two Point Perspective as a design and presentation tool / Digital 3D Modeling for Interiors & Architecture: Sketchup 2014 – from initial concepts to a full rendering / Rendering in Photoshop: For Interior Designers / Introduction to Model Making for Designers: Concept to Finished Scale Representation.

PHOTOGRAPHY FOR DESIGNERS: Digital Photography for Designers: Photographing Architectural space / Digital Photography in the City: Urban Photography as inspiration and record.

DESIGN PRINCIPLES & SKILLS: Contemporary Interior Design / Domestic Interior Design in the modern home / Retail Interiors: Understanding Contemporary Interior Design For Retail / Urban Design as a tool for change / Visual Merchandising: the power of display / Interior Styling & Specification / Planning the Contemporary Interior / Professional Presentations Methods / The Power of Powerpoint: Creative presentations to engage and convince / Understanding Interior Design as a Business: Client, Contractor, Contract, Completion.

 

 

Presentation of a case study at the Middlesex University Annual Learning and Teaching Conference 2015: Revisiting Assessment

The problem of assessing creativity: a case study looking to address subjectivity in the assessment of Art & Design undergraduate submissions – from opaque judgements, through translucent opinions to transparent criteria; projected dialogues & rubric cubes.

A look at how the Interior Design Programme assess creativity using video feedback and a new kind of tailored multi-grade rubric Assessment Feedback Form which ties seamlessly to the programme Learning Outcomes.

Transparency in assessment matters; the students tell us so, the National Student Survey results stresses it, the Higher Education Academy encourages process and rigour and pedagogical researchers find new ways to describe and objectify the process. Yet, in the teaching of Art & Design assessment procedures can be translucent at best and opaque at worst, after all, appreciating creativity is subjective isn’t it? Assessment often follows established traditions, one creative assessing another creative’s work, using experience, instinct and an understanding of the non-linear development of a student exploring the space between what is possible, what is acceptable and what is appropriate.  As a consequence the assessment feedback an Art & Design student receives is personal, impassioned, insightful knowledgeable, opinionated but rarely, from the students point of view, predictable or foreseeable. As a result some students can work to satisfy the perceived stylistic directions set by previously well-received work, the tutors own bearing subconsciously instilled upon the group.

Each tutor would agree that the single most important factor in learning is understanding where your strengths are and where you need to concentrate more focus – learning from success and failure equally, and in doing so developing. The tutors role in providing clear and relatable guidance that a student can build upon is key in facilitating this. But when assessing design students creative work there are no definitive answers, there is no ‘right’ but there can be many ‘wrongs’ and the tutor is put in the position of using their subjective position to judge the validity of the students personal journey through the design process. This process is fraught with potential pitfalls and relies on the integrity of the assessing tutor. The temptation of providing summative assessment of creative submissions using the blunt instrument of the four passing degree classifications (First, Upper Second, Lower Second, Third), is strong, yet it is this very simplicity that limits the students understanding of where they can or should concentrate their development.

As one possible clarification of the assessment process the staff and students of an undergraduate design programme have reshaped their assessment processes, over a three year period, to enhance transparency in grading and provide students with a guide to the what a ‘successful’ submission requires in terms of understanding, approach and outcome. The resulting procedure involves the students giving Audio/Visual Presentations of their submission to both tutor and peers with an open dialogue that allows the student to propose, the tutor to constructively criticise, the student to respond and their peers to contribute. Feedback is instant, recorded and can be played back to allow for further consideration. The grading process is an integral part of this presentation with detailed assessment rubrics, derived from the module Learning Outcomes, used to bring transparency to the summative procedure. It is this transparent criteria, discussed and agreed at the introduction to the student task (Project Briefing) that dilutes any possible subjectivity in the evaluation of individual creative submissions.

In this paper we will acknowledge the role assessment plays in the student experience, and the focus placed upon it by the National Student Survey, and recognise the issues surrounding the assessment of creative design student submissions where a ‘personal’ viewpoint in the student is a prerequisite for contemporary innovative solutions, yet an ‘impersonal’ standpoint in the reviewing tutor, themselves a ‘creative’, is a necessary part of objective assessment.

Launch of the Mythbombing website

Promoting the use of new myths to generate fresh connections to old places

Jon Mortimer has an interest in the manner in which words change the way we see space, the way space changes the way we see ourselves, and the role that myth has in empowering the thing we call ‘place’.

In 2015 he launched the Mythbombing website to publish a series of new myths that had been created around a small Kentish village, myths design to provoke a new kind of engagement using traditional folktale techniques.

http://www.mythbombing.com

Mythbombing: the creation of an epigramic saga, an imagined tale for a real place, Mythopoeia with a flash fiction shorthand, contemporary understandings of people and landscape and illustrations in a certain tradition, all based on nothing more than ideas and connections. Mythbombing requires the distribution and popularisation of that myth using guerrilla promotion, media and word of mouth, until it sticks. Each myth is only a start and hopefully they can live on somewhere, forming, in time, their own endings.

In 2015 he launched the Mythbombing website to publish a series of new myths that had been created around a small Kentish village, myths design to provoke a new kind of engagement using traditional folktale techniques. Each new myth is accompanied by a illustration in the tradition of the folktale collections of the Victorian era.

Judge on the Annual Conference.Interior Designer Educators Council of the United States (IDEC)

Jon joins the Judging panel of Creative Scholarship Competition for the Interior Designer Educators Council of the United States (IDEC) Conference 2015

Appointment as Judge on the Interior Designer Educators Council of the United States (IDEC) Conference 2015. - held in Fort Worth, Texas in March 2015. 

Interior Designer Educators Council of the United States (IDEC) offer the role of juror to  “nationally and internationally recognized jurors who are interior designers, architects, artists, or curators” and I consider it an honour to be participated in the IDEC national conference.