Kila Galvin, a recent graduate student of the MA Curating and Collecting Heritage in the School of Humanities and Social Science, writes about her placement at the Design Archives as part of the course.
My initial engagement with the Design Archives occurred during a teaching session conducted by Sue Breakell as part of my “Museums and Collections in Context” module in the MA program for Curating and Collecting Heritage. The session left a profound impression on me, fuelled by the captivating collections presented and Sue’s insightful portrayal of the archive. Archives have always intrigued me; the prospect of exploring the past, unearthing the narratives or histories of objects, and preserving them for future generations is profoundly compelling. Undertaking my placement amidst such incredible designers and their collections was a privilege. I spent six months learning about the different aspects of the archive. From talking about preservation with Sirpa Kutilainen to learning about the accessibility of the archive with Jen Grasso, I understood the various elements that help the archive function as a resource for research and education. These discussions highlighted the importance of balancing the preservation required with the need to make collections accessible to the public, ensuring that the archive remains a dynamic space for learning.
My work at the Design Archives began with repackaging and cataloguing the objects in the Paul Clark Collection. This remarkable collection comprised various items, including crockery, clocks, and even a doorstop shaped like a shoe. Paul Clark, born in 1940, was a crucial figure in the emergence of British Pop Culture, and his designs reflect this vibrant era in design history. As I worked with these objects, I gained hands-on experience in proper archival techniques, learning the intricacies of cleaning and safely wrapping items to ensure their preservation. Each object required careful handling, and through this process, I developed a deeper understanding of balancing preservation with accessibility.
Additionally, I learned the importance of making archives accessible to all users, ensuring that collections like the Paul Clark archives are available for research. Cataloguing for the Paul Clark Collection, Jen Grasso and I have been working closely on the idea of accessibility in a description. Using the Design Archives cataloguing manual, I have learned the importance of consistency within a catalogue. Ensuring that the data within the archive is consistent and up to professional standards is crucial. Language is constantly changing, which challenges archivists, and the limitations of specific terminology used to address certain things are continually evolving. This experience expanded my appreciation for the role of design in history and the responsibility archivists have in maintaining the integrity of these objects for the future.
My placement at the Design Archives sparked a passion for archival work and deepened my understanding of the critical role cataloguing plays in preserving collections. I gained insight into the importance of language when cataloguing, recognising how it shapes both accessibility and interpretation. After graduating, I had the privilege of helping curate the ‘Collections’ exhibition at the Stradling Collection in Bristol, further enhancing my understanding of how collections are presented to the public. This enriching experience has strengthened my interest in archives and equipped me with valuable skills that I hope to continue applying in future roles. I am genuinely grateful for the opportunity to have been part of the Design Archives team.
