| 1. |
- Thornquist, Clemens
(författare)
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Classroom
- 2018
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Rapport (övrigt vetenskapligt/konstnärligt)abstract
- The conditions under which education is conducted and teaching is mediated can be described in different ways. One is with pictures. Professor of Fashion Design Clemens Thornquist has photographed classrooms around the world. In 44 pictures, he shows environments that are known to all of us. However, the pictures do not show how teaching is conducted, its purpose, or which results it leads to either in the short or in the long term, but we can imagine. This report allows us to interpret what happens and what is achieved in the different environments and classrooms.
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| 2. |
- Lewis, Erin, 1980-
(författare)
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Design Potentials of Magnetic Yarns
- 2018
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Ingår i: Design Potential of Magnetic Yarns. - Porto, Portugal.
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Konferensbidrag (refereegranskat)abstract
- Magnetism holds a strong potential as a design material due to the array of possible expressions based on its fundamental behaviours of attraction and repulsion. The magnetic phenomenon presents itself simultaneously as visual and non-visual material through its quality of being imperceptible under certain conditions until manifested in some way, such as physical interaction or electronic control. This balancing of physical constants, material and immaterial considerations of magnetic phenomenon, become a rich site for exploration and experimentation when combined with the immense variables available in textile design such as yarn attributes (yarn number, yarn twist, fiber composition) and textile structure (woven, non-woven, knit, twisted and interlaced). Therefore, the use of magnetism as a design material holds a strong potential for dynamic and responsive textile expressions when used in composition with one another. While the discourse surrounding the material-immaterial relationship is active and present across various design disciplines [1,2,3], the representation of magnetic phenomenon as a design material remains underrepresented in the field of textile design. This experiment illustrates a method of creating yarns that are responsive to magnetic fields through a process of hand-painting natural, synthetic, and combination yarns with a widely-available ferromagnetic solution. The result is a reference catalogue of yarns exhibiting design potentials for textile-based magnetic interactions.ExperimentThis poster presentation describes a method of creating yarns that are responsive to magnetic fields through a process of hand-painting natural, synthetic, and combination yarns with a widely-available ferromagnetic solution. The yarns measure 10 cm in length and are grouped in bundles to form tassels. They are anchored to a fixed structure at a central point from which all movement arises. A magnetic field is applied to the yarns through the use of permanent- and electro-magnets. These painted yarns exhibit a unique variety of behaviours and characteristics ranging from lifting/dropping, expansion/compression, splaying, and fluctuating movements, as well as the yarn’s ability to hold structural form. These expressions are based on the yarn variants of fiber composition, weight, twist, flexibility, absorption ability, and evenness of absorption.ResultsThis experiment results in a catalogue of natural and synthetic yarn attributes pre- and post- ferritic treatment, which identities their magnetic and behavioural abilities. The results suggest design potentials to be further explored through textile construction methods such as weaving and knitting.Figure 1. Magnetic yarns in a woven textile construction.AcknowledgementThis research is supported by the Swedish School of Textiles, University of Borås, SwedenReferencesWiberg, M. (2014). Methodology for materiality: Interaction design research through a material lens. Personal and Ubiquitous Computing, 18(3), 625-636.Dunne, Anthony. (2006). Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design (Rev. ed.]. ed.). MIT Press.Kwon, H., Kim, H., & Lee, W. (2014). Intangibles wear materiality via material composition. Personal and Ubiquitous Computing, 18(3), 651-669.
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| 3. |
- Malmgren De Oliveira, Stefanie
(författare)
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On seeing : in fashion design
- 2016
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In fashion design, the designer strives for the development of ideas in view of significant visual goals. The process of specifying and developing ideas is a highly visual process. Based on what has been ‘seen’ as for example in a reference material or in explorations, designers define possible tracks to follow, decide which ideas to deepen or which ones to reject. Their activities can thus be described as a process of seeing.There is nothing novel about the importance of seeing as an act in the design process; on the contrary, seeing, is usually an intuitive act that any designer explicates throughout the process of shaping his/her vision. However, the systematisation of seeing in the design process in order to advance ways of working in the field of fashion design is still very much an area that is open for further research.In this thesis, possible ways of seeing are explored through experiments in different stages of the design process. Based on an image serving as a point of departure, seen elements were derived and put in relation to a body in a two-dimensional photographic sketching stage, in accordance with different ideas of dress. Selected ideas were then further elaborated and explored in terms of their design possibilities.The results of the experiments are propositions of design ideas that have been ‘seen’ in a single sketch or a series of sketches. The contribution of this licentiate thesis are: 1) A thorough mapping of two design stages (point of departure and two-dimensional sketching stage), and how they provide a deeper understanding of the design process, leading to 2) an improved sensibility with regard to design possibilities, their value and developments, and finally 3) the establishing of a methodology with which to discern the composition of a visual language/vision in fashion design based on ‘seeing’.The act of seeing is presented as the fundamental tool of designing for shaping a vision. By delving into the systematisation of the notion of seeing in a fashion design process, a methodology of seeing is introduced, which aims to enhance the possible ways of visualisation when designing.
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